The Elemental Mixology Tipples books contain a multitude of classic, popular, rare and custom drinks. Book one covers Punches, Blossoms, Fruitballs and Possets. By returning to the tradition of understanding drinks by types, these are the only current books that let the reader look up drinks even if not knowing their name - or even knowing for sure whether they already exist. All are prepared, according to the principles of traditional, American mixology. Recommended liquor, glassware and tools required for making each type of drink is indicated throughout the book. There are also sections the history of the types of, and often specific, drinks. Both book one and book two are needed.

A Dark History of Gin looks at the origins and development of a drink which seems to have a universal and timeless appeal. Historian Mike Rendell explores the origins of distilling in the ancient world and considers the how, when, where and why of the ‘happy marriage’ between distilled spirits and berries from the juniper bush. The book traces the link between gin and the Low Countries (Holland and Belgium) and looks at how the drink was brought across to England when the Dutch-born William of Orange became king. From the tragic era of the gin craze in eighteenth-century London, through to the emergence of ‘the cocktail’, the book follows the story of gin across the Atlantic to America and the emergence of the mixologist. It also follows the growth of the Temperance Movement and the origins of the Prohibition, before looking at the period between the First and Second World Wars – the cocktail age. From there the book looks at the emergence in the twentieth century of craft gins across the globe, enabling the drink to enjoy a massive increase in popularity. The book is intended as a light-hearted look-behind-the-scenes at how ‘Mother’s Ruin’ developed into rather more than just a plain old ’G & T’.

William Orpen (1878-1931) was in 1917 appointed as an official war artist in France. He not only saw the Great War as a call to paint serious subject-matter—enabling him to break away from the constraints of society portraiture in London—but also as an opportunity to write. Orpen was commissioned, along with artists such as Paul Nash, Stanley Spencer and Wyndham Lewis, to paint for the Department of Information. He was the only war artist to keep a written record of his wartime experience, published in 1921 as An Onlooker in France. In his Preface, Orpen rather too modestly states: “This book must not be considered as a serious work on life in France behind the lines, it is merely an attempt to record some certain little incidents that occurred in my own life there.” This art-historical study is a companion to this “attempt”. It examines, within the context of the global crisis that WWI was, and from various theoretical, philosophical and literary angles, his singular and at times provocative work. Orpen set out to provide a textual and visual record of life on the Western Front, as well as behind the lines—of what was supposed to be the “War to End all Wars”. For want of being a “fighting man”, the non-combatant artist-writer determined to fight with his own arms, his pens and brushes.

Plunge into New Orleans’ culture of death and mystery through the 40 scintillating cocktails in Hauntingly Good Spirits.

Anthropologists and historians have confirmed the central role alcohol has played in nearly every society since the dawn of human civilization, but it is only recently that it has been the subject of serious scholarly inquiry. The Oxford Companion to Spirits and Cocktails is the first major reference work to cover the subject from a global perspective, and provides an authoritative, enlightening, and entertaining overview of this third branch of the alcohol family. It will stand alongside the bestselling Companions to Wine and Beer, presenting an in-depth exploration of the world of spirits and cocktails in a groundbreaking synthesis. The Companion covers drinks, processes, and techniques from around the world as well as those in the US and Europe. It provides clear explanations of the different ways that spirits are produced, including fermentation, distillation, and ageing, alongside a wealth of new detail on the emergence of cocktails and cocktail bars, including entries on key cocktails and influential mixologists and cocktail bars. With entries ranging from Manhattan and mixology to sloe gin and stills, the Companion combines coverage of the range of spirit-based drinks around the world with clear explanations of production processes, and the history and culture of their consumption. It is the ultimate guide to understanding what is in your glass. The Companion is lavishly illustrated throughout, and appendices include a timeline of spirits and distillation and a guide to mixing drinks.

In an industry littered with great characters and extraordinary personalities, Joe Hobbs stands out as one of the whisky world’s most colourful and interesting entrepreneurs, a man who packed more into each decade of his life than most people manage in a lifetime. Whilst individual episodes and activities of his life are quite well known, his fascinating and wide-ranging full life story has not been told before, despite the fact Joe features in Whisky Magazine’s list of ‘Top 100 Most Influential Whisky Figures’ of all time. Not Your Average Joe tells the fascinating story of how the son of a bankrupt English farmer rose to be one of the leading figures in the history of the Scotch whisky industry, making two fortunes and losing one along the way. The book explains Joe’s pioneering exploits as one of the first military aviators during WW1; his controversial rum-running activities into the USA during Prohibition in the 1920s; his leading role in designing and building the city of Vancouver’s first skyscraper; his rise as one of the leading Scotch whisky ‘barons’; and his pioneering transformation of a derelict 10,000 acre Scottish Highland estate into the UK’s first cattle ranch during Britain’s ‘battle for beef’ in the lean years after WW2.

Behind the scenes of the many artists and innovators flourishing beyond the bounds of intellectual property laws Intellectual property law, or IP law, is based on certain assumptions about creative behavior. The case for regulation assumes that creators have a fundamental legal right to prevent copying, and without this right they will under-invest in new work. But this premise fails to fully capture the reality of creative production. It ignores the range of powerful non-economic motivations that compel creativity, and it overlooks the capacity of creative industries for self-governance and innovative social and market responses to appropriation. This book reveals the on-the-ground practices of a range of creators and innovators. In doing so, it challenges intellectual property orthodoxy by showing that incentives for creative production often exist in the absence of, or in disregard for, formal legal protections. Instead, these communities rely on evolving social norms and market responses—sensitive to their particular cultural, competitive, and technological circumstances—to ensure creative incentives. From tattoo artists to medical researchers, Nigerian filmmakers to roller derby players, the communities illustrated in this book demonstrate that creativity can thrive without legal incentives, and perhaps more strikingly, that some creative communities prefer, and thrive, in environments defined by self-regulation rather than legal rules. Beyond their value as descriptions of specific industries and communities, the accounts collected here help to ground debates over IP policy in the empirical realities of the creative process. Their parallels and divergences also highlight the value of rules that are sensitive to the unique mix of conditions and motivations of particular industries and communities, rather than the monoculture of uniform regulation of the current IP system.