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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Nov. 8, 1996)
HOW BEER IS MADE No two breweries are alike, but the principles are the same. According to the World Guide to Beer, these are the basic steps in brewing. IMalt, the basic raw material of brewing is fed into a mill. 2The mill grinds the malt. The resulting material is known as grist. 3The grist is fed into a vessel called a mash turn, along with hot water. Most of the beer-making world uses a decoction system, In which the mash is passed between two vessels. 4If the decoction system is used, a further vessel is employed to clarify the mash. This is known as a lauter turn. Rotating blades thin out the mash so that the maximum amount of liquid can be passed through the holes in the base. The clarified liquid, known as wort, is then passed to the brew kettle. 5 Hops are added to the wort in the brew-kettle and the mixture is boiled. This is the actual process of brewing. 6 After brewing, the hops are removed. 7 The wort is then passed to a device called the whirlpool where unwanted protein Is re moved. The liquid passes through the whirlpool and the protein is left behind through centrifugal force. 8 The wort then goes to a cooler to be brought to the proper temperature for fermenting. This temp erature varies depending on the type of beer. 9 Yeast is added before fermentation can proceed, This happens In the fermentation vessel. 4 A After the period of I Oprimary ferment ation, the wort is passes to conditioning tanks where it is allowed to age. <44 In most cases, the I I mature beer is passed through a filter. ■4 O After filtration, the I £■ beer is passed to a holding tank, ready to leave the brewery. Photos taken at Steelhead Brewery PHOTOS BY MATHEW STIFFLER/Emerald Brew: Beer will expire over time ■ Continued from Page 7A including Budweiser, Coors and Miller. ■ Bock: This is a German bottom-fermented lager. It’s a strong, full-bodied beer with a sharp aroma, a dark brown color and a high alcohol content. Bock is German for goat — most bock beers have a goat on the label. Bock should be served lightly chilled. ■ Light Beers: In Europe, the term “light” distin guishes pale lagers from dark lagers. However, in the United States it refers to a low-calorie beer. Light beers are made with a reduced amount of malt and grain and usually have less alcohol than regular beers. ALES ■ Pale: Sometimes known as India Pale Ale, this style of beer is copper-colored. The term pale was originally intended to distinguish beers of this type from the black London porter. They should be served at room temperature. ■ Porters: Originally made in London, porters are made with roasted, unmalted barley and are heavily hopped. A porter is known for being smooth and should be served at room temperature. ■ Stout: Stout was the successor to porter. It’s top fermented and extremely bitter. The famous example of this style is Guinness. It should be served at room temperature. ■ Bitter: The national drink of England, bitter ale is a heavily hopped and copper-colored beer. Serve at room or cellar temperature. ■ Trappiste: This beer is produced exclusively in five Belgian abbeys and one location in The Netherlands. It is an extra strong ale and should be served at cellar or room temperature. WHEAT BEERS ■ Hefeweisen: An unfiltered wheat beer, hefeweisen is full-bodied with a creamy taste. It should be served slightly chilled with a slice of lemon. STORING BEER Beer isn’t made to be stored forever. Live yeasts will expire. It should not be stored longer than a year. Beer will taste best when it’s stored in a cool, dark place — like the bottom of your refrigerator. Temper atures of more than 70 degrees break down the ingre dients in beer, and sunlight damages a beer’s taste. — Information from The World Guide to Beer ‘Ransom’ short on depth and believability Movie lacks character development, but meets suspense and action expectations By Tedani Hunt The Associated Press Since he first went behind the camera, Ron Howard has shown an adeptness at making movies that tap into relevant themes. But his craftsmanship usually comes with a foible: He never goes far enough. This happened in “The Paper.” It happened in “Back draft,” and, earlier, “Cocoon” and “Gung Ho.” And, sadly, it happens in Howard’s latest offering, a Mel Gibson suspense thriller called “Ransom.” That doesn’t mean “Ransom” isn’t an entertaining, satisfying piece of roller-coaster film mak ing. It is. Dark, slick and brood ing, with spectacularly adroit camera work, it pushes all the right buttons — too well, it seems. In anybody else’s hands, “Ransom” would never tran scend mediocrity. In the hands of Howard and his extremely competent cast, it becomes something more. It’s still sus pense schlock, but it’s meaning ful suspense schlock. The story, based on a 1956 Glenn Ford-Donna Reed vehicle of the same name, follows painfully sincere millionaire air line CEO Tom Mullen, who built his company from the ground up and now finds himself accused of paying off a machinists’ union to avoid a strike. Gibson fits easily into the role of Mullen, a well-meaning, easi ly rich New Yorker who moves in the highest social circles, has an apartment overlooking Cen tral Park and is adored by his wife, Kate (Rene Russo), and their son, Sean (Brawley Nolte, Nick’s remarkably expressive son). But then Sean is snatched, and an e-mail appears on Tom’s Power Book — complete with digitized video of Sean chained to a bed and blindfolded — and the story is off. The ransom is $2 million, and the rest of the film is consumed with how to pay, whether to pay and why not to pay. Gary Sinise, as cop-turned kidnapper Jimmy Shaker, makes a worthy adversary for Gibson. It soon becomes clear Shaker is a force to be reckoned with, a cop with his own set of morals and an assortment of mental tools to back them up. “Why you?” Shaker, his voice eerily disguised by a scrambler, tells Mullen as the men are com municating via cell phones in moving cars. “’Cause you buy your way out of trouble.” This idea — that Gibson is something less than a legitimate protagonist because he uses peo ple, too — is fascinating, but never pursued adequately. In the end, “Ransom” is a competently told tale about compromise, bullheadedness and the divisiveness a couple faces when a child is in danger. 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