May 2, 2003
The farmers who continued distilling ("by the light of the
moon") their own produce for their own use during the late 18th and early
19th centuries were simply dealing with an unworkable situation as best they
could. The authorities, of course, took a dim view of
moonshining. The Frederick County sheriff's department mounted a series of
raids on stills nestled in the mountains between Thurmont and Foxville. One
of those sites, known as Blue Blazes, was set near Harman's Creek, five
miles west of Thurmont. The Frederick Post reported that Blue Blazes Still
was "one of the largest and best equipped in Frederick County" It was a
"steamer"
There is not a trace left of the original moonshine
distillery, of course, but in 1970 the Park Service built a
mountain distillery
exhibit on the site, with a working model of a much smaller still.
That is, it WAS a working model. The Park Service doesn't actually fire it
up anymore, but they used to until around 1989.
The notorious excise tax of 1791 that brought about the
Whiskey Rebellion really only lasted for eleven years.
The small distillery operated in Perryopolis by Israel
Shreve was basically the same kind of distillery as this one, only set up
indoors in a stone building. It's likely that the family still that
Abraham Overholt's father operated at their West Overton farm was also
similar in size and style. Shreve's distillery was associated with his
grist mill, and provided distilling services for a fee. Overholt's began
that way, but around 1810 son Abraham transformed the operation into one
that focused on wholesaling the whiskey itself as an end product. The new
trend among commercial distillers was to redefine the grain farmer as a
vendor, rather than as a customer. Instead of paying to have his grain
made into whiskey, the farmer could now take his grain to the distillery
or mill and get cash for it. This was a win-win situation that continued
even after the excise tax no longer existed.
Individual farm distilleries like this one might have
vanished altogether then, except for three factors...
(1) Of course there were always (and still are)
some subsistence farmers whose products serve their immediate family or
can be used for limited trade with bartering partners. However, since
subsistence farmers normally cherish their independence from the general
community, their distilling equipment and methods didn't have a great deal
of effect upon American whiskey distilling as a whole.
(2) Another distilling trend that was gaining favor
involved companies that would purchase farmers' distilled product directly
and then vat them all together, adjusting as needed to compensate for
differences in strength and quality. This is exactly the way such other
agricultural organizations as dairy or fruit cooperatives worked and still
do. In such cases, of course, the individual farmers retained and operated
their small stills, selling only their end product to the distillery.
(3) The tax-free status of whiskeymaking ended with
the onset of the Civil War, and has never returned since then. Once the
excise taxes were returned to the equation, the cost advantages of illicit
production make moonshining profitable. It was really this period between
the Civil War and the beginning of prohibition in the 1920s from which we
get most of our popular images about the hillbilly moonshiners. Once the
production of alcohol was outlawed altogether, the bootleg still of the
'20s and '30s was a much different affair, typically far larger and
operated by far less reputable distillers than had been the case earlier.
Nevertheless, there were stealth advantages in the type of small, easily
set up and taken down operation the old-style farm still provided. Thus,
many of the old pot stills and worms we find in museums, including the
still here at Catoctin and the one displayed at Shreve's, are really old
moonshiners' equipment that might have been still in use in the 1960s.
Click here and
we'll visit the 1790s distillery operated in Pennsylvania by Israel
Shreve...
.
|
![]() |
|
Story and original photography copyright © 2003 by John F. Lipman. All rights reserved. |