Tuesday, September 4, 2012
Nonprofit Grant Writing
During my time as a volunteer grant writer and blog editor for the Chicago Underground Library (now Read/Write Library), I co-penned several successful grant proposals along with the organization's executive director. Among these were a successful Richard H. Driehaus Foundation grant and a successful Community Arts Assistance Program (CAAP) Grant in 2010.
2010 CAAP Grant
1)
Describe your past, present and planned activities as an
organization. (Cite performances, exhibits, publications, venues, dates, etc.) How are you qualified to accomplish the proposed
project(s)? See "Artistic Merit," page 7.
Our programming is intended to help make Chicago culture more inclusive, accessible, collaborative and fun. The Chicago Underground Library has developed and participated in many events designed for all age groups as well as writers and publishers at all educational and socio-economic levels. These events include Orphan Works, an event which invites artists from all disciplines to re-interpret little-known and anonymous works; and the Science of Obscurity event celebrating unpublished and in-progress works as lead-up event for the Printers' Ball. 2010 will mark our fifth year as a lead partner in the annual Printers' Ball, which attracts 2,000 people and is coordinated with the Poetry Foundation, Columbia College Chicago's Center for Book and Paper Arts, and over 200 local and national publishers and literary organizations. 2010 will be focused on outreach. We plan to increase our partnerships and expand existing relationships with Alternative Press Center, Marwen, Open Books, the Intuit Museum of Outsider Art, Chicago Literary Alliance, Center for Book and Paper Arts, No Coast, and other independent innovative libraries across the U.S. We also plan on developing programs for teachers, artists-in-residence, and workshop leaders who want to provide access to the collection, but for whom transportation to the library is an issue. Volunteers will curate a selection of materials tailored to curricula or students' neighborhoods about Chicago, independent media, technology, art, zines, writing, collaboration, and other relevant subjects.
2) Provide a mission statement. Discuss your artistic vision for this organization and explain what you plan to accomplish through its work. See "Artistic Merit," page 7. Please refer to "Glossary of Terms," page 8.
The Chicago Underground Library provides an open forum for creative exchange between all producers and patrons of Chicago's independent media, facilitating collaboration and awareness between diverse communities. Through innovative and inclusive approaches to acquisitions, cataloging, and programming, we illuminate connections and provide both a historical and contemporary context for the creation of new local media.
We provide a reading room and community space where all of our collection can be accessed, in addition to a social online catalog that that traces connections between every book and every user who wants to read it, complete with maps of where the item was produced in Chicago and space for users to add their own historical notes which will be incorporated into the catalog records. Our collection development is Chicago-specific, incorporating everything from such well-established publishers as Poetry magazine and University of Chicago Press to zines about art made by seventh and eighth graders at a social justice high school. We're 100% inclusive, without making quality or importance judgments. We take absolutely everything, as long as it's from the area. We catalog by every single person who contributed and compile exhaustive lists of subjects so that one can see how publications are linked and how communities have developed over time. We serve as a companion to traditional repositories; an alternative but parallel history that is interwoven and even frequently overlaps with established, mainstream collections.
3) Describe the project for which funds are requested. Please attach sketch of proposed project if applicable. See "Quality of Project Plan," page 7.
Funds will be used for fees associated with securing 501(c)(3) status, namely filing form 1023 with the IRS since we have funded the rest of our incorporation fees out-of-pocket. In keeping with our outreach focus for the coming year, funds will be used to expand activities to get the word out to users and producers of local media as well as potential volunteers. We have identified a number of large-scale public events where we could maximize our visibility among our target group of community organizations, working and aspiring artists and writers, students, and especially everyday Chicagoans who may or may not already be involved in cultural production. These include literary events, neighborhood festivals, and arts festivals. We will be printing bookmarks for distribution at events, schools, businesses, and organizations throughout Chicago. We would like to commission new artwork from Chicago artist Grant Reynolds for our website and promotional materials, such as t-shirts and buttons (to be purchsed at a later date) that strengthen our brand identity and recognition. Funds will also be used to maintain our online newsletter service provided by YourMailingListProvider. We currently have a 500-person mailing list that we plan to grow exponentially over the next year via the aforementioned events and new programming, and we send out 1-2 updates a month, depending on our programming activities.
4) Address issues related to starting a nonprofit organization: Who will serve as your board of directors? List their qualifications and describe plans for development. Where do you plan to operate, how do you plan to attain revenue, etc.? See "Quality of Project Plan," page 7.
Our working board is made up of librarians and arts professionals including directors and event coordinators, writers, editors, and visual artists. As our organization develops, we will assemble a board of advisors made up of recognized business, legal, arts, library, and education professionals with longstanding histories of community support. We have a strong volunteer group who have wholly supported all activities of the project so far. We've researched and examined organizations with committed volunteer communities and have structured our participation management to reflect best practices. Every volunteer is encouraged to bring their own ideas to the table. We plan to create 1-2 paid positions over the next two years for administration and programming. We are operating rent and utility-free out of a fringe theater located in a church and have a multi-year commitment from the theater and church to maintain that relationship since we serve the community. Without rent, we will be able to focus on saving money raised through events and our upcoming "sponsor-a-book" program in which users will contribute $75 to have their name included in the book's catalog entry as "Name Here thinks this book is worth saving." We recently established a finance committee who will plan our budget and explore future creative fundraising. We will apply for grants for conservation plans and materials, acquisitions, and project-based positions. We will also expand our internship program for library students.
5) How do you expect your organization to benefit from obtaining 501(c)(3) status? See "Potential Impact," page 7.
With 501(c)(3) status, we will be able to raise funds for collection preservation, programming, and greater community outreach while continuing to build on our own internal infrastructure to create a sustainable, lasting organization. We will apply for specific grants for archiving equipment and space expenses that will allow us to create conservation plans for our existing collection in addition to raising funds for an acquisitions budget to actively build the collection, which will directly benefit the Chicago publishers from whom we purchase. We would also like to fundraise for hiring a fulltime staff. We have relied exclusively on donations of printed material and volunteer time and labor up to this point. We work hard to be neutral and serve a broad audience, unlike many independent press collections with political agendas. We also make sure that we avoid any perceived favoritism to people or publishers. 501 (c)(3) status will ensure that we maintain our neutrality and lack of individual promotion by creating boards and volunteer communities who hold each other accountable so that no one's personal interests direct the development of the collection. Planned expansions for special projects include: The Storefront Theater Project, a collection of materials from Chicago's theater community; a children's and YA area where kids can see work produced by people their own age; and eventually an audio/video collection from musicians and filmmakers provided we develop the infrastructure.
6) Are there plans for additional organizational development initiatives beyond obtaining federal tax-exempt status? If so, please describe. See "Potential Impact," page 7.
We are currently exploring which professional library organizations to join, which conferences to attend and present our model at, and are in the process of organizing our volunteers into more specific committees. Conferences identified include ones on the subject of library science, nonprofit technology, and the future of media. We are actively working to recruit more professional volunteers who have experience in education and community outreach, as well as people from communities where English is not the first language. This is a new model, and we want it to be able to be replicated by organizations in other cities. We have already begun discussions with potential groups in Canada and Seoul, Korea who are interested, including cities throughout the US. We plan to keep up our conversations with these other organizations and hope to eventually be able to provide our library catalog software, built on Drupal, as an open source catalog that any community library can use. A number of our volunteers have become actively involved in local technology networking groups for nonprofit workers and librarians and we are constantly showing our model and asking for feedback from groups who have more experience than we do and from the kinds of people who would be regular users. Our next catalog will serve as social networking platform for users and publishers alike, but also as a history project where users can add background and context for individual items.
Our programming is intended to help make Chicago culture more inclusive, accessible, collaborative and fun. The Chicago Underground Library has developed and participated in many events designed for all age groups as well as writers and publishers at all educational and socio-economic levels. These events include Orphan Works, an event which invites artists from all disciplines to re-interpret little-known and anonymous works; and the Science of Obscurity event celebrating unpublished and in-progress works as lead-up event for the Printers' Ball. 2010 will mark our fifth year as a lead partner in the annual Printers' Ball, which attracts 2,000 people and is coordinated with the Poetry Foundation, Columbia College Chicago's Center for Book and Paper Arts, and over 200 local and national publishers and literary organizations. 2010 will be focused on outreach. We plan to increase our partnerships and expand existing relationships with Alternative Press Center, Marwen, Open Books, the Intuit Museum of Outsider Art, Chicago Literary Alliance, Center for Book and Paper Arts, No Coast, and other independent innovative libraries across the U.S. We also plan on developing programs for teachers, artists-in-residence, and workshop leaders who want to provide access to the collection, but for whom transportation to the library is an issue. Volunteers will curate a selection of materials tailored to curricula or students' neighborhoods about Chicago, independent media, technology, art, zines, writing, collaboration, and other relevant subjects.
2) Provide a mission statement. Discuss your artistic vision for this organization and explain what you plan to accomplish through its work. See "Artistic Merit," page 7. Please refer to "Glossary of Terms," page 8.
The Chicago Underground Library provides an open forum for creative exchange between all producers and patrons of Chicago's independent media, facilitating collaboration and awareness between diverse communities. Through innovative and inclusive approaches to acquisitions, cataloging, and programming, we illuminate connections and provide both a historical and contemporary context for the creation of new local media.
We provide a reading room and community space where all of our collection can be accessed, in addition to a social online catalog that that traces connections between every book and every user who wants to read it, complete with maps of where the item was produced in Chicago and space for users to add their own historical notes which will be incorporated into the catalog records. Our collection development is Chicago-specific, incorporating everything from such well-established publishers as Poetry magazine and University of Chicago Press to zines about art made by seventh and eighth graders at a social justice high school. We're 100% inclusive, without making quality or importance judgments. We take absolutely everything, as long as it's from the area. We catalog by every single person who contributed and compile exhaustive lists of subjects so that one can see how publications are linked and how communities have developed over time. We serve as a companion to traditional repositories; an alternative but parallel history that is interwoven and even frequently overlaps with established, mainstream collections.
3) Describe the project for which funds are requested. Please attach sketch of proposed project if applicable. See "Quality of Project Plan," page 7.
Funds will be used for fees associated with securing 501(c)(3) status, namely filing form 1023 with the IRS since we have funded the rest of our incorporation fees out-of-pocket. In keeping with our outreach focus for the coming year, funds will be used to expand activities to get the word out to users and producers of local media as well as potential volunteers. We have identified a number of large-scale public events where we could maximize our visibility among our target group of community organizations, working and aspiring artists and writers, students, and especially everyday Chicagoans who may or may not already be involved in cultural production. These include literary events, neighborhood festivals, and arts festivals. We will be printing bookmarks for distribution at events, schools, businesses, and organizations throughout Chicago. We would like to commission new artwork from Chicago artist Grant Reynolds for our website and promotional materials, such as t-shirts and buttons (to be purchsed at a later date) that strengthen our brand identity and recognition. Funds will also be used to maintain our online newsletter service provided by YourMailingListProvider. We currently have a 500-person mailing list that we plan to grow exponentially over the next year via the aforementioned events and new programming, and we send out 1-2 updates a month, depending on our programming activities.
4) Address issues related to starting a nonprofit organization: Who will serve as your board of directors? List their qualifications and describe plans for development. Where do you plan to operate, how do you plan to attain revenue, etc.? See "Quality of Project Plan," page 7.
Our working board is made up of librarians and arts professionals including directors and event coordinators, writers, editors, and visual artists. As our organization develops, we will assemble a board of advisors made up of recognized business, legal, arts, library, and education professionals with longstanding histories of community support. We have a strong volunteer group who have wholly supported all activities of the project so far. We've researched and examined organizations with committed volunteer communities and have structured our participation management to reflect best practices. Every volunteer is encouraged to bring their own ideas to the table. We plan to create 1-2 paid positions over the next two years for administration and programming. We are operating rent and utility-free out of a fringe theater located in a church and have a multi-year commitment from the theater and church to maintain that relationship since we serve the community. Without rent, we will be able to focus on saving money raised through events and our upcoming "sponsor-a-book" program in which users will contribute $75 to have their name included in the book's catalog entry as "Name Here thinks this book is worth saving." We recently established a finance committee who will plan our budget and explore future creative fundraising. We will apply for grants for conservation plans and materials, acquisitions, and project-based positions. We will also expand our internship program for library students.
5) How do you expect your organization to benefit from obtaining 501(c)(3) status? See "Potential Impact," page 7.
With 501(c)(3) status, we will be able to raise funds for collection preservation, programming, and greater community outreach while continuing to build on our own internal infrastructure to create a sustainable, lasting organization. We will apply for specific grants for archiving equipment and space expenses that will allow us to create conservation plans for our existing collection in addition to raising funds for an acquisitions budget to actively build the collection, which will directly benefit the Chicago publishers from whom we purchase. We would also like to fundraise for hiring a fulltime staff. We have relied exclusively on donations of printed material and volunteer time and labor up to this point. We work hard to be neutral and serve a broad audience, unlike many independent press collections with political agendas. We also make sure that we avoid any perceived favoritism to people or publishers. 501 (c)(3) status will ensure that we maintain our neutrality and lack of individual promotion by creating boards and volunteer communities who hold each other accountable so that no one's personal interests direct the development of the collection. Planned expansions for special projects include: The Storefront Theater Project, a collection of materials from Chicago's theater community; a children's and YA area where kids can see work produced by people their own age; and eventually an audio/video collection from musicians and filmmakers provided we develop the infrastructure.
6) Are there plans for additional organizational development initiatives beyond obtaining federal tax-exempt status? If so, please describe. See "Potential Impact," page 7.
We are currently exploring which professional library organizations to join, which conferences to attend and present our model at, and are in the process of organizing our volunteers into more specific committees. Conferences identified include ones on the subject of library science, nonprofit technology, and the future of media. We are actively working to recruit more professional volunteers who have experience in education and community outreach, as well as people from communities where English is not the first language. This is a new model, and we want it to be able to be replicated by organizations in other cities. We have already begun discussions with potential groups in Canada and Seoul, Korea who are interested, including cities throughout the US. We plan to keep up our conversations with these other organizations and hope to eventually be able to provide our library catalog software, built on Drupal, as an open source catalog that any community library can use. A number of our volunteers have become actively involved in local technology networking groups for nonprofit workers and librarians and we are constantly showing our model and asking for feedback from groups who have more experience than we do and from the kinds of people who would be regular users. Our next catalog will serve as social networking platform for users and publishers alike, but also as a history project where users can add background and context for individual items.
Sunday, August 19, 2012
closerlook Portfolio
Hello, Ms. Jaworek, Ms. Coakes, et al. at closerlook! Thank you for this opportunity to present some of my writing samples, and for taking the time to review my candidacy. I've included several clips from my 15 months at Groupon, as well as some professional art writing I've done to demonstrate my range across widely disparate subject matter and directives.
Live Groupon clips
Speculative Groupon work
Art writing across several platforms
Nonprofit Grant Writing
Live Groupon clips
Speculative Groupon work
Art writing across several platforms
Nonprofit Grant Writing
Writing for an Exhibition at the Chicago Cultural Center
Over the last several years, I've done quite a bit of writing for visual artist Matthew Woodward, including grant and exhibition proposals, project outlines, and artist statements and essays. Most recently, I wrote all the materials that accompanied a solo show at the Chicago Cultural Center's Michigan Avenue Galleries, View from the Birth Day, which ran from April 7 to July 15 of this year, and was the result of a successful proposal I also wrote. A medium-length version of the statement appears in the photograph above, which was blown up and mounted on the gallery wall, and an abbreviated version appeared on the Cultural Center's events site. The full body of the essay appears below, for the sake of comparison.
********
Louis Sullivan believed that the psychic
pressures of a particular age were embodied in its buildings. American
architecture, Sullivan thought, suffered from generations of imitative European
colonial forms that lacked the indigenous structures and symbols of an
autonomous architectural school. Because of this, it became his directive to
mark a juncture where American Architecture separated itself from European
classicism, abolishing imitation, and beginning anew with an authentic North
American style. This movement proved to be controversial among Beaux-Arts
traditionalists but wildly influential nonetheless--so influential that it
wasn’t long before an entire industry of facsimile sprang up, dedicated to the
mass production and widespread mail-order distribution of inexpensive,
prefabricated Sullivan-esque architectural embellishments.
This industry of replication eventually put Sullivan out of business completely.
This industry of replication eventually put Sullivan out of business completely.
My new body of work is a reaction to the Chicago
Cultural Center’s 2010 exhibition Louis
Sullivan’s Idea, inspired by these Sullivan-esque designs and the larger
industry of mass-produced architectural embellishment that surrounds them. The
work is crafted using the reductive drawing method, beginning not with blank
paper or canvas but with a dark surface ground created using such materials as
graphite, dirt, grease, and spackle. The light of an object is then applied to
the surface by removing the ground using an eraser or sandpaper, working,
erasing, and re-working the spaces that are created again and again. By using
repurposed construction and industrial materials, the work is an act of
rethinking the material aspects and contextual relevance of the Edifice. The
pieces’ large scale restores to these mass-produced elements the status of
monument native to the Edifice, but, in this context, they become a monument to
the efficiently made, speedily distributed, and uniform--a uniformity which
defies geography, geology, and philosophy, and which defines a nonclassical
American-ness that is completely new and lies outside the classical Edifice.
In Victor Hugo’s 1831 epic The Hunchback of Notre Dame, Claude Frollo famously prophesied that “the book will kill the edifice,” that the machined page would supplant the monumental structure as the great record of human thought. Frank Lloyd Wright in his 1901 treatise The Art and Craft of the Machine acknowledged the power of the machined page, but, unlike Frollo, saw it as a beacon of hope, a weapon that could defeat a meaningless mass-produced repetition of classical ideals and deliver 20th-century architecture from “complete, broadcast degradation of every type and form sacred to the art of old,” a mechanically reproduced and therefore philosophically bereft neoclassicism. That the machine, with its promise of canonizing these new American ideals in print and in steel, would immediately co-opt and syndicate this new American Edifice, just as it had with the European, was not anticipated: Sullivan’s own designs, like the classical designs he and Wright had railed against, were quickly knocked off, mechanically reproduced, and widely disseminated via mail-order architectural distributors.
It appears, then, that Claude Frollo was right: both systems, mechanical reproduction and mail-order distribution, originate with the page. Within the infrastructure of a staggeringly far-flung, publicly funded postal system, replicated architectural embellishments disperse just like the pages of a book--a book that millions now read, a book no longer a singularity, meticulously hand-copied by generation after generation of monks sequestered in a remote abbey. A national postal system serves literacy the way a sacred singularity never could; similarly, a mail-order building contradicts the classical Edifice in every way. The structure is divorced from any mode of deliberation and place on the part of its creator. The deliberation and place become arbitrary, with the user--not the creator--arbitrating design in an act of democratic reclamation. So, just as Sullivan searched for a democratic architecture that rejected empty replication of classical European ideals, he was driven out of business by a democratic mode of consumption.
This raises the questions: Through Sullivan’s loyalty to the architectural singularity, was he relying on outdated classical modes even as he attempted to leave them behind? Was he reaching, but just not far enough? Was the very idea of the Edifice, embodiment of the great spiritual and philosophical pressures of its time, a classical institution in and of itself, now completely irrelevant to American-ness?
It’s possible that the emergence of a mail-order architecture was itself the elusive valve Sullivan sought to turn, behind which the real psychic pressure of a young, industrial America pressed for release: the need to mass-produce and disseminate an independent national identity as cheaply, efficiently, and uniformly as possible. This need lies at the very core of America’s melting-pot ideals--the need for something easy to copy that could help make us all exactly the same. This body of work focuses on this mechanically reproduced architecture and the questions it raises with the intent its producers never brought to its manufacture.
In Victor Hugo’s 1831 epic The Hunchback of Notre Dame, Claude Frollo famously prophesied that “the book will kill the edifice,” that the machined page would supplant the monumental structure as the great record of human thought. Frank Lloyd Wright in his 1901 treatise The Art and Craft of the Machine acknowledged the power of the machined page, but, unlike Frollo, saw it as a beacon of hope, a weapon that could defeat a meaningless mass-produced repetition of classical ideals and deliver 20th-century architecture from “complete, broadcast degradation of every type and form sacred to the art of old,” a mechanically reproduced and therefore philosophically bereft neoclassicism. That the machine, with its promise of canonizing these new American ideals in print and in steel, would immediately co-opt and syndicate this new American Edifice, just as it had with the European, was not anticipated: Sullivan’s own designs, like the classical designs he and Wright had railed against, were quickly knocked off, mechanically reproduced, and widely disseminated via mail-order architectural distributors.
It appears, then, that Claude Frollo was right: both systems, mechanical reproduction and mail-order distribution, originate with the page. Within the infrastructure of a staggeringly far-flung, publicly funded postal system, replicated architectural embellishments disperse just like the pages of a book--a book that millions now read, a book no longer a singularity, meticulously hand-copied by generation after generation of monks sequestered in a remote abbey. A national postal system serves literacy the way a sacred singularity never could; similarly, a mail-order building contradicts the classical Edifice in every way. The structure is divorced from any mode of deliberation and place on the part of its creator. The deliberation and place become arbitrary, with the user--not the creator--arbitrating design in an act of democratic reclamation. So, just as Sullivan searched for a democratic architecture that rejected empty replication of classical European ideals, he was driven out of business by a democratic mode of consumption.
This raises the questions: Through Sullivan’s loyalty to the architectural singularity, was he relying on outdated classical modes even as he attempted to leave them behind? Was he reaching, but just not far enough? Was the very idea of the Edifice, embodiment of the great spiritual and philosophical pressures of its time, a classical institution in and of itself, now completely irrelevant to American-ness?
It’s possible that the emergence of a mail-order architecture was itself the elusive valve Sullivan sought to turn, behind which the real psychic pressure of a young, industrial America pressed for release: the need to mass-produce and disseminate an independent national identity as cheaply, efficiently, and uniformly as possible. This need lies at the very core of America’s melting-pot ideals--the need for something easy to copy that could help make us all exactly the same. This body of work focuses on this mechanically reproduced architecture and the questions it raises with the intent its producers never brought to its manufacture.
Published Work for Groupon
Groupon's editorial department could easily outnumber a small nation's army, and many, many people's red pens go into shaping each deal's content before it goes live on the site (that is, if the city planning department doesn't pull it for one of a million reasons first). Here are a few live deals that I contributed significant unaltered portions to.
I wrote 100% of the merchant profile for Nelly Spillane's, the entire last paragraph of the writeup section.
I also wrote 100% of this merchant profile for Super Spa.
I wrote 100% of this deal for The Original Retro Brand Apparel--that includes the deal and merchant descriptions as well as all of the microcopy, which is written to be used across multiple platforms.
I contributed the In a Nutshell section microcopy as well as the introductory "humor lede" to this Trevi Nails writeup.
I wrote the humor lede for this Hidden Valley Animal Adventure deal, too.
I've also written speculative work for training purposes at Groupon.
And, in addition to all that, I've written email subject lines and microcopy headers for literally thousands of deals, all within snug character limits and all adhering to strict styling guidelines.
I wrote 100% of the merchant profile for Nelly Spillane's, the entire last paragraph of the writeup section.
I also wrote 100% of this merchant profile for Super Spa.
I wrote 100% of this deal for The Original Retro Brand Apparel--that includes the deal and merchant descriptions as well as all of the microcopy, which is written to be used across multiple platforms.
I contributed the In a Nutshell section microcopy as well as the introductory "humor lede" to this Trevi Nails writeup.
I wrote the humor lede for this Hidden Valley Animal Adventure deal, too.
I've also written speculative work for training purposes at Groupon.
And, in addition to all that, I've written email subject lines and microcopy headers for literally thousands of deals, all within snug character limits and all adhering to strict styling guidelines.
Speculative Work
Although it doesn't appear published on the site, the work I have written for various training purposes at Groupon may offer a unique view of my skills--these pieces are untouched by the usual army of proofreaders, line editors, site administrators, and humor editors that usually have a hand in shaping every final product. My expertise as a Groupon copy editor ensures each one is 100% aligned with house guidelines and standards for accuracy, grammar and formatting guidelines, and legality. Having sole creative control over them means I've been able to keep the mandated signature "Groupon humor," which many readers find so disconcerting, to a tasteful minimum, while adhering to the company's style directives and proprietary terminology to paint a engaging experiential portrait using active language and vivid imagery.
Merchant Profile: Watermarc
Merchant Profile: Brown's Brewing Company
Complete Writeup: Sea Kayak Georgia
Merchant Profile: Watermarc
Merchant Profile: Brown's Brewing Company
Complete Writeup: Sea Kayak Georgia
Merchant Profile: Brown's Brewing Company
In
1993, the 150-year-old warehouse that now houses Brown’s Brewing Company stood
gutted and empty on a scarce-visited street. But Garry and Kelly Brown had big
plans for the structure—they envisioned not only the region’s first brewery
restaurant but also a community hub that would become an integral part of the
local economy and ecology. Today, Brown’s beers
boast several World Beer Cup medalists among their ranks, including the Whiskey
Porter aged in oak bourbon barrels and the Oatmeal Stout, which brought home
the prestigious gold medal in 2004.
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