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Buddy Holly

Charles Hardin Holley (September 7, 1936 – February 3, 1959), known as Buddy Holly, was an American singer and songwriter who was a central and pioneering figure of mid-1950s rock and roll. He was born to a musical family in Lubbock, Texas, during the Great Depression, and learned to play guitar and sing alongside his siblings. Holly's style was influenced by gospel music, country music, and rhythm and blues acts, which he performed in Lubbock with his friends from high school.

Holly made his first appearance on local television in 1952, and the following year he formed the group Buddy and Bob with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, Holly decided to pursue a career in music. He opened for Presley three times that year; his band's style shifted from country and western to entirely rock and roll. In October that year, when Holly opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.

Holly's recording sessions at Decca were produced by Owen Bradley, who had become famous for producing orchestrated country hits for stars like Patsy Cline. Unhappy with Bradley's musical style and control in the studio, Holly went to producer Norman Petty in Clovis, New Mexico, and recorded a demo of "That'll Be the Day", among other songs. Petty became the band's manager and sent the demo to Brunswick Records, which released it as a single credited to The Crickets, which became the name of Holly's band. In September 1957, as the band toured, "That'll Be the Day" topped the US and UK singles charts. Its success was followed in October by another major hit, "Peggy Sue".

The album The "Chirping" Crickets, released in November 1957, reached number five on the UK Albums Chart. Holly made his second appearance on The Ed Sullivan Show in January 1958 and soon after toured Australia and then the UK. In early 1959, he assembled a new band, consisting of future country music star Waylon Jennings (bass), famed session musician Tommy Allsup (guitar), and Carl Bunch (drums), and embarked on a tour of the mid-western US. After a show in Clear Lake, Iowa, Holly chartered an airplane to travel to his next show in Moorhead, Minnesota. Soon after takeoff, the plane crashed, killing Holly, Ritchie Valens, The Big Bopper, and pilot Roger Peterson in a tragedy later referred to by Don McLean as "The Day the Music Died" in his song "American Pie".

During his short career, Holly wrote and recorded many songs. He is often regarded as the artist who defined the traditional rock-and-roll lineup of two guitars, bass, and drums. Holly was a major influence on later popular music artists, including Bob Dylan, the Beatles, the Rolling Stones, Eric Clapton, the Hollies, Elvis Costello, Dave Edmunds, Marshall Crenshaw, and Elton John. Holly was among the first artists inducted into the Rock and Roll Hall of Fame, in 1986. Rolling Stone magazine ranked him number 13 in its list of 100 Greatest Artists in 2010.

Early life and career (1936–1955)
Charles Hardin Holley (spelled "-ey") was born in Lubbock, Texas, on September 7, 1936, the youngest of four children of Lawrence Odell "L.O." Holley (1901–1985) and Ella Pauline Drake (1902–1990). His elder siblings were Larry (1925–2022), Travis (1927–2016), and Patricia Lou (1929–2008). Holly was of mostly English and Welsh descent and had small amounts of Native American ancestry as well. From early childhood, Holly was nicknamed "Buddy." During the Great Depression, the Holleys frequently moved residence within Lubbock; L.O. changed jobs several times. Buddy Holly was baptized a Baptist, and the family were members of the Tabernacle Baptist Church.

The Holleys had an interest in music; all the family members except L.O. were able to play an instrument or sing. The elder Holley brothers performed in local talent shows; on one occasion, Buddy joined them on violin. Since he could not play it, his brother Larry greased the bow so it would not make any sound. The brothers won the contest. During World War II, Larry and Travis were called to military service. Upon his return, Larry brought with him a guitar he had bought from a shipmate while serving in the Pacific. At age 11, at his mother’s urging, Buddy took piano lessons but abandoned them after nine months. He switched to the guitar after he saw a classmate playing and singing on the school bus. Buddy's parents initially bought him a steel guitar, but he insisted that he wanted a guitar like his brother's. His parents bought him an acoustic guitar from a local pawnshop, and he learned how to play it from Travis.

During his early childhood, Holly was influenced by the music of Hank Williams, Jimmie Rodgers, Moon Mullican, Bill Monroe, Hank Snow, Bob Wills, and the Carter Family. At Roscoe Wilson Elementary, Holly became friends with Bob Montgomery, and the two played together, practicing with songs by The Louvin Brothers and Johnnie & Jack. They both listened to the radio programs Grand Ole Opry on WSM, Louisiana Hayride on KWKH, and Big D Jamboree. At the same time, Holly played with other musicians he met in high school, including Sonny Curtis and Jerry Allison. In 1952 Holly and Jack Neal participated as a duo billed as Buddy and Jack in a talent contest on a local television show. After Neal left, he was replaced by Bob Montgomery, and they were billed as Buddy and Bob. They soon started performing on the Sunday Party show on KDAV in 1953 and performed live gigs in Lubbock. At that time, Holly was influenced by late-night radio stations that played blues and rhythm and blues (R&B). He would sit in his car with Curtis and tune to distant radio stations that could only be received at night, when local transmissions ceased. Holly then modified his music by blending his earlier country and western influence with R&B.

By 1955, after graduating from Lubbock High School, Holly decided to pursue a full-time career in music. He was further encouraged after seeing Elvis Presley perform live in Lubbock, whose act was booked by Pappy Dave Stone of KDAV. In February, Holly opened for Presley at the Fair Park Coliseum, in April at the Cotton Club, and again in June at the Coliseum. By that time, Holly had incorporated into his band Larry Welborn on the stand-up bass and Allison on drums, as his style shifted from country and western to rock and roll due to seeing Presley's performances and hearing his music. In October, Stone booked Bill Haley & His Comets and placed Holley as the opening act to be seen by Nashville scout Eddie Crandall. Impressed, Crandall persuaded Grand Ole Opry manager Jim Denny to seek a recording contract for Holley. Stone sent a demo tape, which Denny forwarded to Paul Cohen, who signed the band to Decca Records in February 1956. In the contract, Decca misspelled Holly's surname as "Holly", and from then on he was known as Buddy Holly, instead of his real name Holley.

On January 26, 1956, Holly attended his first formal recording session, which was produced by Owen Bradley. He attended two more sessions in Nashville, but with the producer selecting the session musicians and arrangements, Holly became increasingly frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single, with "Love Me" on the B-side. Denny included Holly on a tour as the opening act for Faron Young. During the tour, they were promoted as Buddy Holly and the Two Tones, while later Decca called them Buddy Holly and the Three Tunes. The label later released Holly's second single "Modern Don Juan", backed with "You Are My One Desire". Neither single made an impression. On January 22, 1957, Decca informed Holly his contract would not be renewed, but insisted he could not record the same songs for anyone else for five years.

The Crickets (1956–1957)
Holly was unhappy with the results of his time with Decca, and inspired by the success of Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You", he visited Norman Petty, who had produced and promoted both records. Together with Allison, bassist Larry Welborn, and rhythm guitarist Niki Sullivan, he went to Petty's studio in Clovis, New Mexico. The group recorded a demo of "That'll Be the Day", a song they had previously recorded in Nashville. In June 1956, Holly along with his older brother Larry as well as Allison and Sonny Curtis had gone to see the film The Searchers, starring John Wayne, in which Wayne repeatedly used the phrase "That'll be the day". This line of dialogue inspired the young musicians. Now playing lead guitar, Holly achieved the sound he desired. Petty became his manager and sent the record to Brunswick Records in New York City. Holly, still under contract with Decca, could not release the record under his name, so a band name was used; Allison proposed the name "Crickets." Brunswick gave Holly a basic agreement to release "That'll Be the Day", leaving him with both artistic control and financial responsibility for future recordings.

Impressed with the demo, the label's executives released it without recording a new version. "I'm Looking for Someone to Love" was the B-side; the single was credited to The Crickets. Petty and Holly later learned that Brunswick was a subsidiary of Decca, which legally cleared future recordings under the name Buddy Holly. Recordings credited to the Crickets would be released on Brunswick, while the recordings under Holly's name were released on another subsidiary label, Coral Records. Holly concurrently held a recording contract with both labels.

Norman Petty reasoned correctly that disc jockeys would be reluctant to play and promote multiple new records by the same artist, but would have no problem playing these same records if they were credited to different performers. Holly himself was unaware of this strategy; in a 1957 radio interview with Dale Lowery, Holly said, "We have three records going out right now. Of course, the first one was 'That'll Be the Day', the first one released. Then we have a new one out by The Crickets, called 'Oh Boy!' and 'Not Fade Away', and then there's one out, it's the same group but it's under my name -- I don't know why they did it that way, but it went out under my name -- called 'Peggy Sue' and 'Everyday'." Holly's records were released with labels reading "Buddy Holly" or "The Crickets"; the band was never credited on records as "Buddy Holly and the Crickets" until 1962, when a compilation album was released.

"That'll Be the Day" was released on July 27, 1957. Petty booked Holly and the Crickets for a tour with Irvin Feld, who had noticed the band after "That'll Be the Day" appeared on the R&B chart. He booked them for appearances in Washington, D.C., Baltimore, and New York City. The band was booked to play at New York's Apollo Theater on August 16–22. During the opening performances, the group did not impress the audience, but they were accepted after they included "Bo Diddley." By the end of their run at the Apollo, "That'll Be the Day" was climbing the charts. Encouraged by the single's success, Petty started to prepare two album releases; a solo album for Holly and another for the Crickets. Holly appeared on American Bandstand, hosted by Dick Clark on ABC, on August 26. Before leaving New York, the band befriended The Everly Brothers. "That'll Be the Day" topped the US "Best Sellers in Stores" chart on September 23 and was number one on the UK Singles Chart for three weeks in November. Three days prior, Coral released "Peggy Sue", backed with "Everyday", with Holly credited as the performer. By October, "Peggy Sue" had reached number three on Billboard's pop chart and number two on the R&B chart; it peaked at number six on the UK Singles chart. As the success of the song grew, it brought more attention to Holly, with the band at the time being billed as "Buddy Holly and the Crickets" (although never on records during Holly's lifetime).

In the last week of September, the band members flew to Lubbock to visit their families. Holly's high school girlfriend, Echo McGuire, had left him for a fellow student. Aside from McGuire, Holly had a relationship with Lubbock fan June Clark. After Clark ended their relationship, Holly realized the importance of his relationship with McGuire and considered his relationship with Clark a temporary one. Meanwhile, for their return to recording, Petty arranged a session in Oklahoma City, where he was performing with his own band. While the band drove to the location, the producer set up a makeshift studio. The rest of the songs needed for an album and singles were recorded; Petty later dubbed the material in Clovis. The resulting album, The "Chirping" Crickets, was released on November 27, 1957. It reached number five on the UK Albums Chart. In October, Brunswick released the second single by the Crickets, "Oh, Boy!", with "Not Fade Away" on the B-side. The single reached number 10 on the pop chart and 13 on the R&B chart. Holly and the Crickets performed "That'll Be the Day" and "Peggy Sue" on The Ed Sullivan Show on December 1, 1957. Following the appearance, Niki Sullivan left the group because he was tired of the intensive touring, and he wanted to resume his education. On December 29, Holly and the Crickets performed "Peggy Sue" on The Arthur Murray Party.

International tours and split (1958)
On January 8, 1958, Holly and the Crickets joined America's Greatest Teenage Recording Stars tour. On January 25, Holly recorded "Rave On"; the next day, he made his second appearance on The Ed Sullivan Show, singing "Oh, Boy!" Holly departed to perform in Honolulu, Hawaii, on January 27, and then started a week-long tour of Australia billed as the Big Show with Paul Anka, Jerry Lee Lewis and Jodie Sands. In March, the band toured the United Kingdom, playing 50 shows in 25 days. The same month, his debut solo album, Buddy Holly, was released. Upon their return to the United States, Holly and the Crickets joined Alan Freed's Big Beat Show tour for 41 dates. In April, Decca released That'll Be the Day, featuring the songs recorded with Bradley during his early Nashville sessions.

A new recording session in Clovis was arranged in May; Holly hired Tommy Allsup to play lead guitar. The session produced the recordings of "It's So Easy" and "Heartbeat." Holly was impressed by Allsup and invited him to join the Crickets. In June, Holly traveled alone to New York for a solo recording session. Without the Crickets, he chose to be backed by a jazz and R&B band, recording "Now We're One" and Bobby Darin's "Early in the Morning."

During a visit to the offices of Peer-Southern, Holly met María Elena Santiago. He asked her out on their first meeting and proposed marriage to her on their first date. The wedding took place on August 15. Norman Petty had tried to dissuade Holly from marriage; he felt that it would disappoint Holly's public and damage his career.

Holly and Santiago frequented many of New York's music venues, including the Village Gate, Blue Note, Village Vanguard, and Johnny Johnson's. Santiago later said that Holly was keen to learn fingerstyle flamenco guitar and that he would often visit her aunt's home to play the piano there. Holly planned collaborations between soul singers and rock and roll. He wanted to make an album with Ray Charles and Mahalia Jackson. Holly also had ambitions to work in film and registered for acting classes with Lee Strasberg's Actors Studio.

Santiago accompanied Holly on tours. To hide her marriage to Holly, she was presented as the Crickets' secretary. She took care of the laundry and equipment set-up and collected the concert revenues. Santiago kept the money for the band instead of its habitual transfer to Petty in New Mexico. She and her aunt Provi Garcia, an executive in the Latin American music department at Peer-Southern, convinced Holly that Petty was paying the band's royalties from Coral-Brunswick into his own company's account. Holly planned to retrieve his royalties from Petty and to later fire him as manager and producer. At the recommendation of the Everly Brothers, Holly hired lawyer Harold Orenstein to negotiate his royalties. The problems with Petty were triggered after he was unable to pay Holly. At the time, New York promoter Manny Greenfield reclaimed a large part of Holly's earnings; Greenfield had booked Holly for shows during previous tours. The two had a verbal agreement; Greenfield would obtain 5% of the booking earnings. Greenfield later felt he was also acting as Holly's manager and deserved a higher payment, which Holly refused. Greenfield then sued Holly. Under New York law, because Holly's royalties originated in New York and were directed out of the state, the payments were frozen until the dispute was settled.

In September, Holly returned to Clovis for a new recording session, which yielded "Reminiscing" and "Come Back Baby." During the session, he ventured into producing by recording Lubbock DJ Waylon Jennings. Holly produced the single "Jole Blon" and "When Sin Stops (Love Begins)" for Jennings. Holly became increasingly interested in the New York music, recording, and publishing scene. Holly and Santiago settled in Apartment 4H of the Brevoort Apartments, at 11 Fifth Avenue in Greenwich Village, where he recorded a series of acoustic songs, including "Crying, Waiting, Hoping" and "What to Do." The inspiration to record the songs is sometimes attributed to the ending of his relationship with McGuire.

On October 21, 1958, Holly's final studio session was recorded at the Pythian Temple on West 70th Street (now a luxury condominium). Known by Holly fans as "the string sessions", Holly recorded four songs for Coral in an innovative collaboration with an 18-piece ensemble composed of former members of the NBC Symphony Orchestra (including saxophonist Boomie Richman) under the direction of Dick Jacobs.

The four songs recorded during the $3 1/2$-hour session were: These four songs were the only ones Coral ever mixed in stereo, but only "Raining in My Heart" was released that way (in 1959, on an obscure promotional LP titled Hitsville). All four records otherwise received releases in mono. The original stereo mixes were consulted many years later for compilation albums.
 * "True Love Ways" (written by Buddy Holly),
 * "Moondreams" (written by Norman Petty),
 * "Raining in My Heart" (written by Felice and Boudleaux Bryant) and
 * "It Doesn't Matter Anymore" (written by Paul Anka).

Holly ended his association with Petty in December 1958. His band members kept Petty as their manager and split from Holly. The split was amicable and based on logistics: Holly had decided to settle permanently in New York, where the business and publishing offices were, and the Crickets preferred not to leave their home state.

Winter Dance Party tour and death (1959)

Holly vacationed with his wife in Lubbock and visited Jennings's radio station in December 1958. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (electric bass), Tommy Allsup (guitar), and Carl Bunch (drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days prior to a meeting scheduled at the headquarters of the General Artists Corporation, which organized the tour. They then traveled by train to Chicago to join the rest of the band.

The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created logistical problems, as the distance between venues had not been considered when scheduling performances. Adding to the problem, the unheated tour buses twice broke down in freezing weather, with dire consequences. Holly's drummer, Carl Bunch, was hospitalized for frostbite to his toes (sustained while aboard the bus), so Holly decided to seek other transportation. On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa. Holly's idea was to depart following the show at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, via Fargo, North Dakota, allowing them time to rest and launder their clothes and avoid a rigorous bus journey. Immediately after the Clear Lake show (which ended just before midnight), Allsup agreed to flip a coin for the seat with Ritchie Valens. Valens called heads; when he won, he reportedly said, "That's the first time I've ever won anything in my life." Allsup later opened a restaurant/bar in Fort Worth, Texas, called Heads Up Saloon. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had influenza and complained that the tour bus was too cold and uncomfortable for a man of his size.

The pilot, Roger Peterson, took off in inclement weather, even though he was not certified to fly by instruments only. Buddy's brother Larry Holley said, "I got the full report from the Civil Aeronautics – it took me a year to get it, but I got it – and they had installed a new Sperry gyroscope in the airplane. The Sperry works different than any other gyro. One of them, the background moves and the plane stays like this [stationary], and in the other one the background stays steady and the plane moves, it works just backwards. He [the pilot] could have been reading this backwards... they were going down, they thought they were still climbing."

Shortly after 1:00 a.m. on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed when the aircraft crashed into a cornfield five miles northwest of Clear Lake shortly after takeoff. The three musicians, who were ejected from the fuselage upon impact, sustained severe head and chest injuries. Holly was 22 years old.

The report did not mention a gun belonging to Holly that was found by a farmer two months after the crash. Newspaper accounts of the gun discovery fueled rumors among fans that the pilot was somehow shot, causing the crash. Another curious finding at the crash was that Richardson's body was discovered nearly 40 ft away from the crash while the others were found in or near the wreckage. However, an autopsy done at the request of Richardson's son in 2007 found no evidence to support the rumors. Dr. Bill Bass, a forensic anthropologist at the University of Tennessee, stated that "There was no indication of foul play," and that Richardson "died immediately."

Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock. The service was officiated by Ben D. Johnson, who had presided at the Hollys' wedding just months earlier. The pallbearers were Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis. Some sources say that Phil Everly, one half of The Everly Brothers, was also pallbearer, but Everly said that he attended the funeral but was not a pallbearer. Waylon Jennings was unable to attend because of his commitment to the still-touring Winter Dance Party. Holly's body was interred in the City of Lubbock Cemetery, in the eastern part of the city. Holly's headstone carries the correct spelling of his surname (Holley) and a carving of his Fender Stratocaster guitar.

Santiago watched the first reports of Holly's death on television. The following day, she suffered a miscarriage. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, in the months following the accident, some government authorities implemented a policy against announcing victims' names until after families are informed. Santiago did not attend the funeral and has never visited the gravesite. She later told the Avalanche-Journal, "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."

Personal life
Holly married María Elena Santiago, a New York record company receptionist, on August 15, 1958 at Tabernacle Baptist Church in his hometown of Lubbock, Texas. In 1959, Santiago was pregnant with their first child, but suffered a miscarriage immediately after Holly's death. They had only been married for six months.

Peggy Sue Gerron was the inspiration behind Holly's hit song "Peggy Sue". Holly and Gerron had a flirtatious relationship, and Gerron had known Holly since her schooldays when she was dating drummer Jerry Allison. Gerron married Allison on July 22, 1958. The two newlywed couples had a shared honeymoon in Acapulco, Mexico.

Holly's own marriage to Santiago was distant and tense, and the couple were supposedly headed for divorce. In late 1958, Holly had also encouraged Gerron to divorce Allison over his drunkenly behaviour, but she declined. The act of divorce went against her Catholic beliefs (however, Gerron eventually did divorce Allison in 1965). In December 1958, Holly recorded a demo of one of his last songs "Peggy Sue Got Married"—about Gerron and Allison's marriage.

Image and style
Holly's singing style was characterized by his vocal hiccups and his alternation between his regular voice and falsetto. Holly's "stuttering vocals" were complemented by his percussive guitar playing, solos, stops, bent notes, and rhythm and blues chord progressions. He often strummed downstrokes that were accompanied by Allison's percussion.

Holly bought his first Fender Stratocaster, which became his signature guitar, at Harrod Music in Lubbock. His innovative playing style was characterized by its blending of chunky rhythm and high string lead work. Holly played his first 1954 Stratocaster until it was stolen during a tour stop in Michigan in 1957. To replace it, he purchased a 1957 model before a show in Detroit. Holly owned four or five Stratocasters during his career.

At the beginning of their music careers, Holly and his group wore business suits. When they met the Everly Brothers, Don Everly took the band to Phil's Men's Shop in New York City and introduced them to Ivy League clothes. The brothers advised Holly to replace his old-fashioned glasses with horn-rimmed glasses, which had been popularized by Steve Allen. Holly bought a pair of glasses made in Mexico from Lubbock optometrist Dr. J. Davis Armistead. Teenagers in the United States started to request this style of glasses, which were later popularly known as "Buddy Holly glasses."

The wreckage was strewn across 100 yards of snow-covered ground. While his other belongings were recovered immediately, there was no record of his signature glasses being found. They were presumed lost until, in March 1980, they were discovered in a Cerro Gordo County courthouse storage area by Sheriff Gerald Allen. They had been found in the spring of 1959, after the snow had melted, and had been given to the sheriff's office. They were placed in an envelope dated April 7, 1959, along with the Big Bopper's watch, a lighter, two pairs of dice and part of another watch, and misplaced when the county moved courthouses. The glasses frames were returned to Santiago a year later, after a legal contest over them with his parents. They are now on display at the Buddy Holly Center in Lubbock, Texas.

Legacy

Buddy Holly left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes demonstrating songs intended for other artists. The last known recordings, made in Holly's apartment in late 1958, were his last six original songs. In June 1959, Coral Records overdubbed two of them with backing vocals by the Ray Charles Singers and studio musicians in an attempt to simulate the established Crickets sound. The finished tracks became the first posthumous Holly single, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was successful enough to warrant an album drawing upon the other Holly demos, using the same studio personnel, in January 1960. All six songs were included in The Buddy Holly Story, Vol. 2 (1960).

The demand for Holly records was so great, and Holly had recorded so prolifically, that his record label was able to release new Holly albums and singles for the next 10 years. Norman Petty produced most of these new editions, drawing upon unreleased studio masters, alternate takes, audition tapes, and even amateur recordings (some dating back to 1954 with low-fidelity vocals). The final "new" Buddy Holly album, Giant, was released in 1969; the single chosen from the album was "Love Is Strange." Encyclopædia Britannica stated that Holly "produced some of the most distinctive and influential work in rock music." AllMusic defined him as "the single most influential creative force in early rock and roll." Rolling Stone ranked him number 13 on its list of "100 Greatest Artists." The Telegraph called him a "pioneer and a revolutionary [...] a multidimensional talent [...] (who) co-wrote and performed (songs that) remain as fresh and potent today." In 2023, Rolling Stone ranked Holly at number 74 on its list of the 200 Greatest Singers of All Time.

The Rock and Roll Hall of Fame included Holly among its first class in 1986. On its entry, the Hall of Fame remarked upon the large quantity of material he produced during his short musical career, and said it "made a major and lasting impact on popular music." It called him an "innovator" for writing his own material, his experimentation with double tracking and the use of orchestration; he is also said to have "pioneered and popularized the now-standard" use of two guitars, bass, and drums by rock bands. The Songwriters Hall of Fame also inducted Holly in 1986, and said his contributions "changed the face of Rock 'n' Roll." Holly developed in collaboration with Petty techniques of overdubbing and reverb, while he used innovative instrumentation later implemented by other artists. Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.

In 1980, Grant Speed sculpted a statue of Holly playing his Fender guitar. This statue is the centerpiece of Lubbock's Walk of Fame, which honors notable people who contributed to Lubbock's musical history. Other memorials to Buddy Holly include a street named in his honor and the Buddy Holly Center, which contains a museum of Holly memorabilia and fine arts gallery. The center is located on Crickets Avenue, one street east of Buddy Holly Avenue, in a building that previously housed the Fort Worth and Denver South Plains Railway Depot. In 2010, the statue was taken down for refurbishment, and construction of a new Walk of Fame began.

In 1997, the National Academy of Recording Arts and Sciences gave Holly the Lifetime Achievement Award. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. On what would have been his 75th birthday, a star bearing Holly's name was placed on the Hollywood Walk of Fame.

Groundbreaking was held on April 20, 2017, for the construction of a new performing arts center in Lubbock, the Buddy Holly Hall of Performing Arts and Sciences, a downtown $153 million project expected to be completed in 2020. Thus far, the private group, the Lubbock Entertainment and Performing Arts Association, has raised or received pledges in the amount of $93 million to underwrite the project.

According to a June 2019 article in The New York Times Magazine, "virtually all" of Holly's masters were lost in the 2008 Universal fire. This is disputed by Chad Kassem of Analogue Productions, who claims to have used the master tapes of Holly's first two albums in Analogue Productions reissues of these albums on LP and SACD in 2017.

The Beatles
John Lennon and Paul McCartney saw Holly for the first time when he appeared on Sunday Night at the London Palladium. The two had recently met and begun their musical association. They studied Holly's records, learned his performance style and lyricism, and based their act around his persona. Inspired by Holly's insect-themed Crickets, they chose to name their band "the Beatles". Lennon and McCartney later cited Holly as one of their main influences.

Lennon's band the Quarrymen covered "That'll Be the Day" in their first recording session, in 1958. During breaks in the Beatles' first appearance on The Ed Sullivan Show, on February 9, 1964, Lennon asked CBS coordinator Vince Calandra about Holly's performances; Calandra said Lennon and McCartney repeatedly expressed their appreciation of Holly. The Beatles recorded a close cover of Holly's version of "Words of Love", which was released on their 1964 album Beatles for Sale (in the US, in June 1965 on Beatles VI). During the January 1969 recording sessions for their album Let It Be, the Beatles played a slow, impromptu version of "Mailman, Bring Me No More Blues" – which Holly popularized but did not write – with Lennon mimicking Holly's vocal style. Lennon recorded a cover version of "Peggy Sue" on his 1975 album Rock 'n' Roll. McCartney owns the publishing rights to Holly's song catalog.

Bob Dylan
On January 31, 1959, two nights before Holly's death, 17-year-old Bob Dylan attended Holly's performance in Duluth. Dylan referred to this in his acceptance speech when he received the Grammy Award for Album of the Year for Time Out of Mind in 1998: "... when I was sixteen or seventeen years old, I went to see Buddy Holly play at Duluth National Guard Armory and I was three feet away from him ... and he looked at me. And I just have some sort of feeling that he was ... with us all the time we were making this record in some kind of way."

The Rolling Stones
Mick Jagger saw Holly performing live in Woolwich, London, during a tour of the UK; Jagger particularly remembered Holly's performance of "Not Fade Away" – a song that also inspired Keith Richards, who modeled his early guitar playing on the track. The Rolling Stones had a hit version of the song in 1964. Richards later said, "[Holly] passed it on via the Beatles and via [the Rolling Stones] ... He's in everybody."

Steve Marriott
From a young age, Steve Marriott was a huge fan of Holly and would mimic his hero by wearing large-rimmed spectacles with the lenses removed. Marriott wrote his first song, called "Shelia My Dear", after his aunt Shelia to whom he was close. Those who heard the song said it was played at a jaunty pace in the style of Holly and his bandmates also nicknamed him 'Buddy'. Marriott also recorded a version of Kenny Lynch's song "Give Her My Regards" b/w "Imaginary Love", the B-side written by Marriott, and released as a 45-rpm in 1963 on Decca, inspired by Buddy Holly and the Crickets. His band, Humble Pie released a cover version of "Heartbeat" on their 1969 album Town and Country.

Don McLean
Don McLean's popular 1971 ballad "American Pie" was inspired by Holly's death and the day of the plane crash. The song's lyric, which calls the incident "The Day the Music Died", became popularly associated with the crash. McLean's album American Pie is dedicated to Holly. In 2015, McLean wrote, "Buddy Holly would have the same stature musically whether he would have lived or died, because of his accomplishments ... By the time he was 22 years old, he had recorded some 50 tracks, most of which he had written himself ... in my view and the view of many others, a hit ... Buddy Holly and the Crickets were the template for all the rock bands that followed."

Eric Clapton
The Chirping Crickets was the first album Eric Clapton ever bought; he later saw Holly on Sunday Night at the London Palladium. In his autobiography, Clapton recounted the first time he saw Holly and his Fender, saying, "I thought I'd died and gone to heaven ... it was like seeing an instrument from outer space and I said to myself: 'That's the future – that's what I want. In 1969, his supergroup Blind Faith released a cover version of Holly's "Well All Right" featuring Steve Winwood on vocals.

Bobby Vee
The launch of Bobby Vee's successful musical career resulted from Holly's death; Vee was selected to replace Holly on the tour that continued after the plane crash. Holly's profound influence on Vee's singing style can be heard in the songs "Rubber Ball" – the B-side of which was a cover of Holly's "Everyday" – and "Run to Him."

The Hollies
The name of the British rock band the Hollies is often claimed as a tribute to Holly; according to the band, they admired Holly, but their name was mainly inspired by sprigs of holly in evidence around Christmas 1962.

Phil Ochs
In 1970, protest folk singer Phil Ochs released his sarcastic Greatest Hits (1970) album, and eventually, his live album Gunfight at Carnegie Hall (1974). During his concert at Carnegie Hall on March 27, 1970, Phil Ochs performed his "Buddy Holly Medley" comprising Holly's songs "Not Fade Away", "I'm Gonna Love You Too", "Think It Over", "Oh, Boy!", "Everyday", and "It's So Easy". Before performing the medley, Ochs announced to the audience, "We're going to do a medley of songs of one of the greatest musicians that ever lived, a man who died prematurely, a man who had a big influence on me ... Before I became a protest and folk singer, I had memorized many other things before Pete Seeger, before Bob Dylan, before the Weavers, before anything you might have ever heard in New York City, and this is Buddy Holly."

Elton John
Elton John was musically influenced by Holly. At age 13, although he did not require them, John started wearing horn-rimmed glasses to imitate Holly.

Elvis Costello
During the height of punk, Elvis Costello resembled Holly. He wore his stylized glasses and dressed like him. Bob Dylan on Costello, from his 2022 book The Philosophy of Modern Song, "Elvis Costello and the Attractions were a better band than any of their contemporaries. Light years better. Elvis himself was a unique figure. Horn-rimmed glasses, quirky, pigeon-toed and intense. The only singer-guitarist in the band. You couldn’t say that he didn’t remind you of Buddy Holly. The Buddy stereotype. At least on the surface. Elvis had Harold Lloyd in his DNA as well. At the point of ‘Pump It Up’, he obviously had been listening to Springsteen too much. But he also had a heavy dose of 'Subterranean Homesick Blues'."

Bruce Springsteen
In an August 24, 1978, interview with Rolling Stone, Bruce Springsteen told Dave Marsh, "I play Buddy Holly every night before I go on; that keeps me honest."

Grateful Dead
The Grateful Dead performed the song "Not Fade Away" in concerts.

Richard Barone
In 2016, Richard Barone released his album Sorrows & Promises: Greenwich Village in the 1960s, paying tribute to the new wave of singer-songwriters in the Village during that pivotal, post-Holly era. The album opens with Barone's version of "Learning the Game", one of the final songs written and recorded by Holly at his home in Greenwich Village, a week before his death.

Film
Holly's life story inspired a Hollywood biographical film, The Buddy Holly Story (1978); its lead actor Gary Busey received a nomination for the Academy Award for Best Actor for his portrayal of Holly. The film was widely criticized by the rock press, and by Holly's friends and family, for its inaccuracies. This led Paul McCartney (whose MPL Communications by then controlled the publishing rights to Buddy Holly's song catalog) to produce and host his own documentary about Holly in 1985, titled The Real Buddy Holly Story. This video includes interviews with Keith Richards, Phil and Don Everly, Sonny Curtis, Jerry Allison, Holly's family, and McCartney, among others.

In 1987, musician Marshall Crenshaw portrayed Buddy Holly in the movie La Bamba, which depicts him performing at the Surf Ballroom and boarding the fatal airplane with Ritchie Valens and the Big Bopper. Crenshaw's version of "Crying, Waiting, Hoping" is featured on the La Bamba original motion picture soundtrack.

Holly's follow up to the hit song "Peggy Sue" is featured in the 1986 Francis Ford Coppola film Peggy Sue Got Married, in which a 43-year-old mother and housewife facing divorce played by Kathleen Turner is thrust back in time and given the chance to change the course of her life.

Steve Buscemi appeared as Holly in a brief cameo as a 1950s-themed restaurant employee in Quentin Tarantino's 1994 film Pulp Fiction, in which he takes Mia Wallace and Vincent Vega's orders (portrayed respectively by Uma Thurman and John Travolta).

In 1998, the post-apocalyptic film Six-String Samurai depicted Holly as a guitar-playing samurai traveling to Las Vegas to become the new king of Nevada after the death of Elvis Presley.

Television
Holly was depicted in a 1989 episode of the science-fiction television program Quantum Leap titled "How the Tess Was Won"; Holly's identity is only revealed at the end of the episode. Dr. Sam Beckett (Scott Bakula) influences Buddy Holly to change his lyrics from "piggy, suey" to "Peggy Sue", setting up Holly's future hit song.

In the animated series The Venture Bros., it is implied that the elderly villains Dragoon and Red Mantle are actually Richardson and Buddy Holly, who were recruited into the supervillain organization the Guild of Calamitous Intent on the night of their supposed deaths.

The TV documentaries Without Walls: Not Fade Away (aired on Channel Four in 1996), and Buddy Holly: Rave On (aired on BBC Four in 2017). An upcoming documentary The Day the Music Died/American Pie explores the story behind the Don McLean song.

Music

 * Buddy: The Buddy Holly Story, a jukebox musical depicting Holly's life, opened in 1989.
 * In 1961, Mike Berry recorded "Tribute to Buddy Holly."
 * In 1980, The Clash referenced Holly in their song "If Music Could Talk" from the Sandinista! album.
 * In 1985, the German punk band Die Ärzte composed a song centering on Buddy Holly's glasses, titled "Buddy Holly's Brille."
 * In 1994, Weezer's first top 40 single in the US was titled "Buddy Holly."
 * In 2006, country band the Dixie Chicks mention Buddy Holly in their song "Lubbock or Leave It." Lead singer Natalie Maines and Holly share a hometown of Lubbock, Texas.

The Crickets

 * The "Chirping" Crickets (1957)

Solo

 * Buddy Holly (1958)
 * That'll Be the Day (1958)

title: Buddy Holly


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Brewing

Brewing is the production of beer by steeping a starch source (commonly cereal grains, the most popular of which is barley) in water and fermenting the resulting sweet liquid with yeast. It may be done in a brewery by a commercial brewer, at home by a homebrewer, or communally. Brewing has taken place since around the 6th millennium BC, and archaeological evidence suggests that emerging civilizations, including ancient Egypt, China, and Mesopotamia, brewed beer. Since the nineteenth century the brewing industry has been part of most western economies.

The basic ingredients of beer are water and a fermentable starch source such as malted barley. Most beer is fermented with a brewer's yeast and flavoured with hops. Less widely used starch sources include millet, sorghum and cassava. Secondary sources (adjuncts), such as maize (corn), rice, or sugar, may also be used, sometimes to reduce cost, or to add a feature, such as adding wheat to aid in retaining the foamy head of the beer. The most common starch source is ground cereal or "grist" - the proportion of the starch or cereal ingredients in a beer recipe may be called grist, grain bill, or simply mash ingredients.

Steps in the brewing process include malting, milling, mashing, lautering, boiling, fermenting, conditioning, filtering, and packaging. There are three main fermentation methods: warm, cool and spontaneous. Fermentation may take place in an open or closed fermenting vessel; a secondary fermentation may also occur in the cask or bottle. There are several additional brewing methods, such as Burtonisation, double dropping, and Yorkshire Square, as well as post-fermentation treatment such as filtering, and barrel-ageing.

History
Brewing has taken place since around the 6th millennium BC, and archaeological evidence suggests emerging civilizations including China, ancient Egypt, and Mesopotamia brewed beer. Descriptions of various beer recipes can be found in cuneiform (the oldest known writing) from ancient Mesopotamia. In Mesopotamia the brewer's craft was the only profession which derived social sanction and divine protection from female deities/goddesses, specifically: Ninkasi, who covered the production of beer, Siris, who was used in a metonymic way to refer to beer, and Siduri, who covered the enjoyment of beer. In pre-industrial times, and in developing countries, women are frequently the main brewers.

As almost any cereal containing certain sugars can undergo spontaneous fermentation due to wild yeasts in the air, it is possible that beer-like beverages were independently developed throughout the world soon after a tribe or culture had domesticated cereal. Chemical tests of ancient pottery jars reveal that beer was produced as far back as about 7,000 years ago in what is today Iran. This discovery reveals one of the earliest known uses of fermentation and is the earliest evidence of brewing to date. In Mesopotamia, the oldest evidence of beer is believed to be a 6,000-year-old Sumerian tablet depicting people drinking a beverage through reed straws from a communal bowl. A 3900-year-old Sumerian poem honouring Ninkasi, the patron goddess of brewing, contains the oldest surviving beer recipe, describing the production of beer from barley via bread. The invention of bread and beer has been argued to be responsible for humanity's ability to develop technology and build civilization. The earliest chemically confirmed barley beer to date was discovered at Godin Tepe in the central Zagros Mountains of Iran, where fragments of a jug, at least 5,000 years old was found to be coated with beerstone, a by-product of the brewing process. Beer may have been known in Neolithic Europe as far back as 5,000 years ago, and was mainly brewed on a domestic scale.

Ale produced before the Industrial Revolution continued to be made and sold on a domestic scale, although by the 7th century AD beer was also being produced and sold by European monasteries. During the Industrial Revolution, the production of beer moved from artisanal manufacture to industrial manufacture, and domestic manufacture ceased to be significant by the end of the 19th century. The development of hydrometers and thermometers changed brewing by allowing the brewer more control of the process, and greater knowledge of the results. Today, the brewing industry is a global business, consisting of several dominant multinational companies and many thousands of smaller producers ranging from brewpubs to regional breweries. More than 133 billion litres (35 billion gallons) are sold per year—producing total global revenues of $294.5 billion (£147.7 billion) in 2006.

Ingredients

The basic ingredients of beer are water; a starch source, such as malted barley, able to be fermented (converted into alcohol); a brewer's yeast to produce the fermentation; and a flavouring, such as hops, to offset the sweetness of the malt. A mixture of starch sources may be used, with a secondary saccharide, such as maize (corn), rice, or sugar, these often being termed adjuncts, especially when used as a lower-cost substitute for malted barley. Less widely used starch sources include millet, sorghum, and cassava root in Africa, potato in Brazil, and agave in Mexico, among others. The most common starch source is ground cereal or "grist" - the proportion of the starch or cereal ingredients in a beer recipe may be called grist, grain bill, or simply mash ingredients.

Beer is composed mostly of water. Regions have water with different mineral components; as a result, different regions were originally better suited to making certain types of beer, thus giving them a regional character. For example, Dublin has hard water well suited to making stout, such as Guinness; while Pilsen has soft water well suited to making pale lager, such as Pilsner Urquell. The waters of Burton in England contain gypsum, which benefits making pale ale to such a degree that brewers of pale ales will add gypsum to the local water in a process known as Burtonisation.
 * Water

 * Starch source

The starch source in a beer provides the fermentable material and is a key determinant of the strength and flavour of the beer. The most common starch source used in beer is malted grain. Grain is malted by soaking it in water, allowing it to begin germination, and then drying the partially germinated grain in a kiln. Malting grain produces enzymes that will allow conversion from starches in the grain into fermentable sugars during the mash process. Different roasting times and temperatures are used to produce different colours of malt from the same grain. Darker malts will produce darker beers.

Nearly all beer includes barley malt as the majority of the starch. This is because of its fibrous husk, which is important not only in the sparging stage of brewing (in which water is washed over the mashed barley grains to form the wort) but also as a rich source of amylase, a digestive enzyme that facilitates conversion of starch into sugars. Other malted and unmalted grains (including wheat, rice, oats, and rye, and, less frequently, maize (corn) and sorghum) may be used. In recent years, a few brewers have produced gluten-free beer made with sorghum with no barley malt for people who cannot digest gluten-containing grains like wheat, barley, and rye.

 * Hops

Hops are the female flower clusters or seed cones of the hop vine Humulus lupulus, which are used as a flavouring and preservative agent in nearly all beer made today. Hops had been used for medicinal and food flavouring purposes since Roman times; by the 7th century in Carolingian monasteries in what is now Germany, beer was being made with hops, though it isn't until the thirteenth century that widespread cultivation of hops for use in beer is recorded. Before the thirteenth century, beer was flavoured with plants such as yarrow, wild rosemary, and bog myrtle, and other ingredients such as juniper berries, aniseed and ginger, which would be combined into a mixture known as gruit and used as hops are now used; between the thirteenth and the sixteenth century, during which hops took over as the dominant flavouring, beer flavoured with gruit was known as ale, while beer flavoured with hops was known as beer. Some beers today, such as Fraoch by the Scottish Heather Ales company and Cervoise Lancelot by the French Brasserie-Lancelot company, use plants other than hops for flavouring.

Hops contain several characteristics that brewers desire in beer: they contribute a bitterness that balances the sweetness of the malt; they provide floral, citrus, and herbal aromas and flavours; they have an antibiotic effect that favours the activity of brewer's yeast over less desirable microorganisms; and they aid in "head retention", the length of time that the foam on top of the beer (the beer head) will last. The preservative in hops comes from the lupulin glands which contain soft resins with alpha and beta acids. Though much studied, the preservative nature of the soft resins is not yet fully understood, though it has been observed that unless stored at a cool temperature, the preservative nature will decrease. Brewing is the sole major commercial use of hops.

 * Yeast

Yeast is the microorganism that is responsible for fermentation in beer. Yeast metabolises the sugars extracted from grains, which produces alcohol and carbon dioxide, and thereby turns wort into beer. In addition to fermenting the beer, yeast influences the character and flavour. The dominant types of yeast used to make beer are Saccharomyces cerevisiae, known as ale yeast, and Saccharomyces pastorianus, known as lager yeast; Brettanomyces ferments lambics, and Torulaspora delbrueckii ferments Bavarian weissbier. Before the role of yeast in fermentation was understood, fermentation involved wild or airborne yeasts, and a few styles such as lambics still use this method today. Emil Christian Hansen, a Danish biochemist employed by the Carlsberg Laboratory, developed pure yeast cultures which were introduced into the Carlsberg brewery in 1883, and pure yeast strains are now the main fermenting source used worldwide.

 * Clarifying agent

Some brewers add one or more clarifying agents to beer, which typically precipitate (collect as a solid) out of the beer along with protein solids and are found only in trace amounts in the finished product. This process makes the beer appear bright and clean, rather than the cloudy appearance of ethnic and older styles of beer such as wheat beers.

Examples of clarifying agents include isinglass, obtained from swim bladders of fish; Irish moss, a seaweed; kappa carrageenan, from the seaweed kappaphycus; polyclar (a commercial brand of clarifier); and gelatin. If a beer is marked "suitable for Vegans", it was generally clarified either with seaweed or with artificial agents, although the "Fast Cask" method invented by Marston's in 2009 may provide another method.

Brewing process
There are several steps in the brewing process, which may include malting, mashing, lautering, boiling, fermenting, conditioning, filtering, and packaging. The brewing equipment needed to make beer has grown more sophisticated over time, and now covers most aspects of the brewing process.

Malting is the process where barley grain is made ready for brewing. Malting is broken down into three steps in order to help to release the starches in the barley. First, during steeping, the grain is added to a vat with water and allowed to soak for approximately 40 hours. During germination, the grain is spread out on the floor of the germination room for around 5 days. The final part of malting is kilning when the malt goes through a very high temperature drying in a kiln; with gradual temperature increase over several hours. When kilning is complete, the grains are now termed malt, and they will be milled or crushed to break apart the kernels and expose the cotyledon, which contains the majority of the carbohydrates and sugars; this makes it easier to extract the sugars during mashing.

Mashing converts the starches released during the malting stage into sugars that can be fermented. The milled grain is mixed with hot water in a large vessel known as a mash tun. In this vessel, the grain and water are mixed together to create a cereal mash. During the mash, naturally occurring enzymes present in the malt convert the starches (long chain carbohydrates) in the grain into smaller molecules or simple sugars (mono-, di-, and tri-saccharides). This "conversion" is called saccharification which occurs between the temperatures 60 –. The result of the mashing process is a sugar-rich liquid or "wort", which is then strained through the bottom of the mash tun in a process known as lautering. Prior to lautering, the mash temperature may be raised to about 75 – (known as a mashout) to free up more starch and reduce mash viscosity. Additional water may be sprinkled on the grains to extract additional sugars (a process known as sparging).

The wort is moved into a large tank known as a "copper" or kettle where it is boiled with hops and sometimes other ingredients such as herbs or sugars. This stage is where many chemical reactions take place, and where important decisions about the flavour, colour, and aroma of the beer are made. The boiling process serves to terminate enzymatic processes, precipitate proteins, isomerize hop resins, and concentrate and sterilize the wort. Hops add flavour, aroma and bitterness to the beer. At the end of the boil, the hopped wort settles to clarify in a vessel called a "whirlpool", where the more solid particles in the wort are separated out.

After the whirlpool, the wort is drawn away from the compacted hop trub, and rapidly cooled via a heat exchanger to a temperature where yeast can be added. A variety of heat exchanger designs are used in breweries, with the most common a plate-style. Water or glycol run in channels in the opposite direction of the wort, causing a rapid drop in temperature. It is very important to quickly cool the wort to a level where yeast can be added safely as yeast is unable to grow in very high temperatures, and will start to die in temperatures above 60 °C. After the wort goes through the heat exchanger, the cooled wort goes into a fermentation tank. A type of yeast is selected and added, or "pitched", to the fermentation tank. When the yeast is added to the wort, the fermenting process begins, where the sugars turn into alcohol, carbon dioxide and other components. When the fermentation is complete the brewer may rack the beer into a new tank, called a conditioning tank. Conditioning of the beer is the process in which the beer ages, the flavour becomes smoother, and flavours that are unwanted dissipate. After conditioning for a week to several months, the beer may be filtered and force carbonated for bottling, or fined in the cask.

Mashing

Mashing is the process of combining a mix of milled grain (typically malted barley with supplementary grains such as corn, sorghum, rye or wheat), known as the "grist" or "grain bill", and water, known as "liquor", and heating this mixture in a vessel called a "mash tun". Mashing is a form of steeping, and defines the act of brewing, such as with making tea, sake, and soy sauce. Technically, wine, cider and mead are not brewed but rather vinified, as there is no steeping process involving solids. Mashing allows the enzymes in the malt to break down the starch in the grain into sugars, typically maltose to create a malty liquid called wort. There are two main methods – infusion mashing, in which the grains are heated in one vessel; and decoction mashing, in which a proportion of the grains are boiled and then returned to the mash, raising the temperature. Mashing involves pauses at certain temperatures (notably 45 - 62 -), and takes place in a "mash tun" – an insulated brewing vessel with a false bottom. The end product of mashing is called a "mash".

Mashing usually takes 1 to 2 hours, and during this time the various temperature rests activate different enzymes depending upon the type of malt being used, its modification level, and the intention of the brewer. The activity of these enzymes convert the starches of the grains to dextrins and then to fermentable sugars such as maltose. A mash rest from 49 - 55 C activates various proteases, which break down proteins that might otherwise cause the beer to be hazy. This rest is generally used only with undermodified (i.e. undermalted) malts which are decreasingly popular in Germany and the Czech Republic, or non-malted grains such as corn and rice, which are widely used in North American beers. A mash rest at 60 °C activates β-glucanase, which breaks down gummy β-glucans in the mash, making the sugars flow out more freely later in the process. In the modern mashing process, commercial fungal based β-glucanase may be added as a supplement. Finally, a mash rest temperature of 65 - 71 C is used to convert the starches in the malt to sugar, which is then usable by the yeast later in the brewing process. Doing the latter rest at the lower end of the range favours β-amylase enzymes, producing more low-order sugars like maltotriose, maltose, and glucose which are more fermentable by the yeast. This in turn creates a beer lower in body and higher in alcohol. A rest closer to the higher end of the range favours α-amylase enzymes, creating more higher-order sugars and dextrins which are less fermentable by the yeast, so a fuller-bodied beer with less alcohol is the result. Duration and pH variances also affect the sugar composition of the resulting wort.

Lautering

Lautering is the separation of the wort (the liquid containing the sugar extracted during mashing) from the grains. This is done either in a mash tun outfitted with a false bottom, in a lauter tun, or in a mash filter. Most separation processes have two stages: first wort run-off, during which the extract is separated in an undiluted state from the spent grains, and sparging, in which extract which remains with the grains is rinsed off with hot water. The lauter tun is a tank with holes in the bottom small enough to hold back the large bits of grist and hulls (the ground or milled cereal). The bed of grist that settles on it is the actual filter. Some lauter tuns have provision for rotating rakes or knives to cut into the bed of grist to maintain good flow. The knives can be turned so they push the grain, a feature used to drive the spent grain out of the vessel. The mash filter is a plate-and-frame filter. The empty frames contain the mash, including the spent grains, and have a capacity of around one hectoliter. The plates contain a support structure for the filter cloth. The plates, frames, and filter cloths are arranged in a carrier frame like so: frame, cloth, plate, cloth, with plates at each end of the structure. Newer mash filters have bladders that can press the liquid out of the grains between spargings. The grain does not act like a filtration medium in a mash filter.

Boiling
After mashing, the beer wort is boiled with hops (and other flavourings if used) in a large tank known as a "copper" or brew kettle – though historically the mash vessel was used and is still in some small breweries. The boiling process is where chemical reactions take place, including sterilization of the wort to remove unwanted bacteria, releasing of hop flavours, bitterness and aroma compounds through isomerization, stopping of enzymatic processes, precipitation of proteins, and concentration of the wort. Finally, the vapours produced during the boil volatilise off-flavours, including dimethyl sulfide precursors. The boil is conducted so that it is even and intense – a continuous "rolling boil". The boil on average lasts between 45 and 90 minutes, depending on its intensity, the hop addition schedule, and volume of water the brewer expects to evaporate. At the end of the boil, solid particles in the hopped wort are separated out, usually in a vessel called a "whirlpool".

Brew kettle or copper

Copper is the traditional material for the boiling vessel for two main reasons: firstly because copper transfers heat quickly and evenly; secondly because the bubbles produced during boiling, which could act as an insulator against the heat, do not cling to the surface of copper, so the wort is heated in a consistent manner. The simplest boil kettles are direct-fired, with a burner underneath. These can produce a vigorous and favourable boil, but are also apt to scorch the wort where the flame touches the kettle, causing caramelisation and making cleanup difficult. Most breweries use a steam-fired kettle, which uses steam jackets in the kettle to boil the wort. Breweries usually have a boiling unit either inside or outside of the kettle, usually a tall, thin cylinder with vertical tubes, called a calandria, through which wort is pumped.

Whirlpool
At the end of the boil, solid particles in the hopped wort are separated out, usually in a vessel called a "whirlpool" or "settling tank". The whirlpool was devised by Henry Ranulph Hudston while working for the Molson Brewery in 1960 to utilise the so-called tea leaf paradox to force the denser solids known as "trub" (coagulated proteins, vegetable matter from hops) into a cone in the centre of the whirlpool tank. Whirlpool systems vary: smaller breweries tend to use the brew kettle, larger breweries use a separate tank, and design will differ, with tank floors either flat, sloped, conical or with a cup in the centre. The principle in all is that by swirling the wort the centripetal force will push the trub into a cone at the centre of the bottom of the tank, where it can be easily removed.

Hopback
A hopback is a traditional additional chamber that acts as a sieve or filter by using whole hops to clear debris (or "trub") from the unfermented (or "green") wort, as the whirlpool does, and also to increase hop aroma in the finished beer. It is a chamber between the brewing kettle and wort chiller. Hops are added to the chamber, the hot wort from the kettle is run through it, and then immediately cooled in the wort chiller before entering the fermentation chamber. Hopbacks utilizing a sealed chamber facilitate maximum retention of volatile hop aroma compounds that would normally be driven off when the hops contact the hot wort. While a hopback has a similar filtering effect as a whirlpool, it operates differently: a whirlpool uses centrifugal forces, a hopback uses a layer of whole hops to act as a filter bed. Furthermore, while a whirlpool is useful only for the removal of pelleted hops (as flowers do not tend to separate as easily), in general hopbacks are used only for the removal of whole flower hops (as the particles left by pellets tend to make it through the hopback). The hopback has mainly been substituted in modern breweries by the whirlpool.

Wort cooling
After the whirlpool, the wort must be brought down to fermentation temperatures 20 - 26 C before yeast is added. In modern breweries this is achieved through a plate heat exchanger. A plate heat exchanger has sereral ridged plates, which form two separate paths. The wort is pumped into the heat exchanger, and goes through every other gap between the plates. The cooling medium, usually water from a cold liquor tank, goes through the other gaps. The ridges in the plates ensure turbulent flow. A good heat exchanger can drop 95 °C wort to 20 °C while warming the cooling medium from about 10 °C to 80 °C. The last few plates often use a cooling medium which can be cooled to below the freezing point, which allows a finer control over the wort-out temperature, and also enables cooling to around 10 °C. After cooling, oxygen is often dissolved into the wort to revitalize the yeast and aid its reproduction.

While boiling, it is useful to recover some of the energy used to boil the wort. On its way out of the brewery, the steam created during the boil is passed over a coil through which unheated water flows. By adjusting the rate of flow, the output temperature of the water can be controlled. This is also often done using a plate heat exchanger. The water is then stored for later use in the next mash, in equipment cleaning, or wherever necessary. Another common method of energy recovery takes place during the wort cooling. When cold water is used to cool the wort in a heat exchanger, the water is significantly warmed. In an efficient brewery, cold water is passed through the heat exchanger at a rate set to maximize the water's temperature upon exiting. This now-hot water is then stored in a hot water tank.

Fermenting

Fermentation takes place in fermentation vessels which come in various forms, from enormous cylindroconical vessels, through open stone vessels, to wooden vats. After the wort is cooled and aerated – usually with sterile air – yeast is added to it, and it begins to ferment. It is during this stage that sugars won from the malt are converted into alcohol and carbon dioxide, and the product can be called beer for the first time.

Most breweries today use cylindroconical vessels, or CCVs, which have a conical bottom and a cylindrical top. The cone's angle is typically around 60°, an angle that will allow the yeast to flow towards the cone's apex, but is not so steep as to take up too much vertical space. CCVs can handle both fermenting and conditioning in the same tank. At the end of fermentation, the yeast and other solids which have fallen to the cone's apex can be simply flushed out of a port at the apex. Open fermentation vessels are also used, often for show in brewpubs, and in Europe in wheat beer fermentation. These vessels have no tops, which makes harvesting top-fermenting yeasts very easy. The open tops of the vessels make the risk of infection greater, but with proper cleaning procedures and careful protocol about who enters fermentation chambers, the risk can be well controlled. Fermentation tanks are typically made of stainless steel. If they are simple cylindrical tanks with beveled ends, they are arranged vertically, as opposed to conditioning tanks which are usually laid out horizontally. Only a very few breweries still use wooden vats for fermentation as wood is difficult to keep clean and infection-free and must be repitched more or less yearly.

Fermentation methods

There are three main fermentation methods, warm, cool, and wild or spontaneous. Fermentation may take place in open or closed vessels. There may be a secondary fermentation which can take place in the brewery, in the cask or in the bottle.

Brewing yeasts are traditionally classed as "top-cropping" (or "top-fermenting") and "bottom-cropping" (or "bottom-fermenting"); the yeasts classed as top-fermenting are generally used in warm fermentations, where they ferment quickly, and the yeasts classed as bottom-fermenting are used in cooler fermentations where they ferment more slowly. Yeast were termed top or bottom cropping, because the yeast was collected from the top or bottom of the fermenting wort to be reused for the next brew. This terminology is somewhat inappropriate in the modern era; after the widespread application of brewing mycology it was discovered that the two separate collecting methods involved two different yeast species that favoured different temperature regimes, namely Saccharomyces cerevisiae in top-cropping at warmer temperatures and Saccharomyces pastorianus in bottom-cropping at cooler temperatures. As brewing methods changed in the 20th century, cylindro-conical fermenting vessels became the norm and the collection of yeast for both Saccharomyces species is done from the bottom of the fermenter. Thus the method of collection no longer implies a species association. There are a few remaining breweries who collect yeast in the top-cropping method, such as Samuel Smiths brewery in Yorkshire, Marstons in Staffordshire and several German hefeweizen producers.

For both types, yeast is fully distributed through the beer while it is fermenting, and both equally flocculate (clump together and precipitate to the bottom of the vessel) when fermentation is finished. By no means do all top-cropping yeasts demonstrate this behaviour, but it features strongly in many English yeasts that may also exhibit chain forming (the failure of budded cells to break from the mother cell), which is in the technical sense different from true flocculation. The most common top-cropping brewer's yeast, Saccharomyces cerevisiae, is the same species as the common baking yeast. However, baking and brewing yeasts typically belong to different strains, cultivated to favour different characteristics: baking yeast strains are more aggressive, in order to carbonate dough in the shortest amount of time; brewing yeast strains act slower, but tend to tolerate higher alcohol concentrations (normally 12–15% abv is the maximum, though under special treatment some ethanol-tolerant strains can be coaxed up to around 20%). Modern quantitative genomics has revealed the complexity of Saccharomyces species to the extent that yeasts involved in beer and wine production commonly involve hybrids of so-called pure species. As such, the yeasts involved in what has been typically called top-cropping or top-fermenting ale may be both Saccharomyces cerevisiae and complex hybrids of Saccharomyces cerevisiae and Saccharomyces kudriavzevii. Three notable ales, Chimay, Orval and Westmalle, are fermented with these hybrid strains, which are identical to wine yeasts from Switzerland.

Warm fermentation
In general, yeasts such as Saccharomyces cerevisiae are fermented at warm temperatures between 15 and 20 C, occasionally as high as 24 °C, while the yeast used by Brasserie Dupont for saison ferments even higher at 29 to 35 C. They generally form a foam on the surface of the fermenting beer, which is called barm, as during the fermentation process its hydrophobic surface causes the flocs to adhere to CO2 and rise; because of this, they are often referred to as "top-cropping" or "top-fermenting" – though this distinction is less clear in modern brewing with the use of cylindro-conical tanks. Generally, warm-fermented beers, which are usually termed ale, are ready to drink within three weeks after the beginning of fermentation, although some brewers will condition or mature them for several months.

Cool fermentation
When a beer has been brewed using a cool fermentation of around 10 °C, compared to typical warm fermentation temperatures of 18 °C, then stored (or lagered) for typically several weeks (or months) at temperatures close to freezing point, it is termed a "lager". During the lagering or storage phase several flavour components developed during fermentation dissipate, resulting in a "cleaner" flavour. Though it is the slow, cool fermentation and cold conditioning (or lagering) that defines the character of lager, the main technical difference is with the yeast generally used, which is Saccharomyces pastorianus. Technical differences include the ability of lager yeast to metabolize melibiose, and the tendency to settle at the bottom of the fermenter (though ale yeasts can also become bottom settling by selection); though these technical differences are not considered by scientists to be influential in the character or flavour of the finished beer, brewers feel otherwise - sometimes cultivating their own yeast strains which may suit their brewing equipment or for a particular purpose, such as brewing beers with a high abv. Brewers in Bavaria had for centuries been selecting cold-fermenting yeasts by storing ("lagern") their beers in cold alpine caves. The process of natural selection meant that the wild yeasts that were most cold tolerant would be the ones that would remain actively fermenting in the beer that was stored in the caves. A sample of these Bavarian yeasts was sent from the Spaten brewery in Munich to the Carlsberg brewery in Copenhagen in 1845 who began brewing with it. In 1883 Emile Hansen completed a study on pure yeast culture isolation and the pure strain obtained from Spaten went into industrial production in 1884 as Carlsberg yeast No 1. Another specialized pure yeast production plant was installed at the Heineken Brewery in Rotterdam the following year and together they began the supply of pure cultured yeast to brewers across Europe. This yeast strain was originally classified as Saccharomyces carlsbergensis, a now defunct species name which has been superseded by the currently accepted taxonomic classification Saccharomyces pastorianus.

Spontaneous fermentation
Lambic beers are historically brewed in Brussels and the nearby Pajottenland region of Belgium without any yeast inoculation. The wort is cooled in open vats (called "coolships"), where the yeasts and microbiota present in the brewery (such as Brettanomyces) are allowed to settle to create a spontaneous fermentation, and are then conditioned or matured in oak barrels for typically one to three years.

Conditioning

After an initial or primary fermentation, beer is conditioned, matured or aged, in one of several ways, which can take from 2 to 4 weeks, several months, or several years, depending on the brewer's intention for the beer. The beer is usually transferred into a second container, so that it is no longer exposed to the dead yeast and other debris (also known as "trub") that have settled to the bottom of the primary fermenter. This prevents the formation of unwanted flavours and harmful compounds such as acetaldehyde.

Kräusening (pronounced ) is a conditioning method in which fermenting wort is added to the finished beer. The active yeast will restart fermentation in the finished beer, and so introduce fresh carbon dioxide; the conditioning tank will be then sealed so that the carbon dioxide is dissolved into the beer producing a lively "condition" or level of carbonation. The kräusening method may also be used to condition bottled beer.
 * Kräusening

Lagers are stored at cellar temperature or below for 1–6 months while still on the yeast. The process of storing, or conditioning, or maturing, or aging a beer at a low temperature for a long period is called "lagering", and while it is associated with lagers, the process may also be done with ales, with the same result – that of cleaning up various chemicals, acids and compounds.
 * Lagering

During secondary fermentation, most of the remaining yeast will settle to the bottom of the second fermenter, yielding a less hazy product.
 * Secondary fermentation

Some beers undergo an additional fermentation in the bottle giving natural carbonation. This may be a second and/or third fermentation. They are bottled with a viable yeast population in suspension. If there is no residual fermentable sugar left, sugar or wort or both may be added in a process known as priming. The resulting fermentation generates CO2 that is trapped in the bottle, remaining in solution and providing natural carbonation. Bottle-conditioned beers may be either filled unfiltered direct from the fermentation or conditioning tank, or filtered and then reseeded with yeast.
 * Bottle fermentation

 * Cask conditioning

Cask ale (or cask-conditioned beer) is unfiltered, unpasteurised beer that is conditioned by a secondary fermentation in a metal, plastic or wooden cask. It is dispensed from the cask by being either poured from a tap by gravity, or pumped up from a cellar via a beer engine (hand pump). Sometimes a cask breather is used to keep the beer fresh by allowing carbon dioxide to replace oxygen as the beer is drawn off the cask. Until 2018, the Campaign for Real Ale (CAMRA) defined real ale as beer "served without the use of extraneous carbon dioxide", which would disallow the use of a cask breather, a policy which was reversed in April 2018 to allow beer served with the use of cask breathers to meet its definition of real ale.

 * Barrel-ageing

Barrel-ageing (US: Barrel aging) is the process of ageing beer in wooden barrels to achieve a variety of effects in the final product. Sour beers such as lambics are fully fermented in wood, while other beers are aged in barrels which were previously used for maturing wines or spirits. In 2016 "Craft Beer and Brewing" wrote: "Barrel-aged beers are so trendy that nearly every taphouse and beer store has a section of them.

Filtering

Filtering stabilises the flavour of beer, holding it at a point acceptable to the brewer, and preventing further development from the yeast, which under poor conditions can release negative components and flavours. Filtering also removes haze, clearing the beer, and so giving it a "polished shine and brilliance". Beer with a clear appearance has been commercially desirable for brewers since the development of glass vessels for storing and drinking beer, along with the commercial success of pale lager, which - due to the lagering process in which haze and particles settle to the bottom of the tank and so the beer "drops bright" (clears) - has a natural bright appearance and shine.

There are several forms of filters; they may be in the form of sheets or "candles", or they may be a fine powder such as diatomaceous earth (also called kieselguhr), which is added to the beer to form a filtration bed which allows liquid to pass, but holds onto suspended particles such as yeast. Filters range from rough filters that remove much of the yeast and any solids (e.g., hops, grain particles) left in the beer, to filters tight enough to strain colour and body from the beer. Filtration ratings are divided into rough, fine, and sterile. Rough filtration leaves some cloudiness in the beer, but it is noticeably clearer than unfiltered beer. Fine filtration removes almost all cloudiness. Sterile filtration removes almost all microorganisms.

These filters use sheets that allow only particles smaller than a given size to pass through. The sheets are placed into a filtering frame, sanitized (with boiling water, for example) and then used to filter the beer. The sheets can be flushed if the filter becomes blocked. The sheets are usually disposable and are replaced between filtration sessions. Often the sheets contain powdered filtration media to aid in filtration.
 * Sheet (pad) filters

Pre-made filters have two sides. One with loose holes, and the other with tight holes. Flow goes from the side with loose holes to the side with the tight holes, with the intent that large particles get stuck in the large holes while leaving enough room around the particles and filter medium for smaller particles to go through and get stuck in tighter holes.

Sheets are sold in nominal ratings, and typically 90% of particles larger than the nominal rating are caught by the sheet.
 * Kieselguhr filters

Filters that use a powder medium are considerably more complicated to operate, but can filter much more beer before regeneration. Common media include diatomaceous earth and perlite.

By-products

Brewing by-products are "spent grain" and the sediment (or "dregs") from the filtration process which may be dried and resold as "brewers dried yeast" for poultry feed, or made into yeast extract which is used in brands such as Vegemite and Marmite. The process of turning the yeast sediment into edible yeast extract was discovered by German scientist Justus von Liebig.

Brewer's spent grain (also called spent grain, brewer's grain or draff) is the main by-product of the brewing process; it consists of the residue of malt and grain which remains in the lauter tun after the lautering process. It consists primarily of grain husks, pericarp, and fragments of endosperm. As it mainly consists of carbohydrates and proteins, and is readily consumed by animals, spent grain is used in animal feed. Spent grains can also be used as fertilizer, whole grains in bread, as well as in the production of flour and biogas. Spent grain is also an ideal medium for growing mushrooms, such as shiitake, and some breweries are already either growing their own mushrooms or supplying spent grain to mushroom farms. Spent grains can be used in the production of red bricks, to improve the open porosity and reduce thermal conductivity of the ceramic mass.

Brewing industry
The brewing industry is a global business, consisting of several dominant multinational companies and many thousands of other producers known as microbreweries or regional breweries or craft breweries depending on size, region, and marketing preference. More than 133 e9L are sold per year—producing total global revenues of $294.5 billion (£147.7 billion) as of 2006. SABMiller became the largest brewing company in the world when it acquired Royal Grolsch, brewer of Dutch premium beer brand Grolsch. InBev was the second-largest beer-producing company in the world and Anheuser-Busch held the third spot, but after the acquisition of Anheuser-Busch by InBev, the new Anheuser-Busch InBev company is currently the largest brewer in the world.

Brewing at home is subject to regulation and prohibition in many countries. Restrictions on homebrewing were lifted in the UK in 1963, Australia followed suit in 1972, and the US in 1978, though individual states were allowed to pass their own laws limiting production.

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title: Brewing