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The score as shortcut

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Richard Hemming MW had a provocative posting last week on Jancis’s Purple Pages. The header says it all: Excoriating Scoring. It was in fact a commentary, fairly scathing at times albeit with some fine and amusing phrases, on “nonsensical rating systems masquerading as obdurate fact,” and compared the writers of such scoring systems to “a doomed army… marching blithely onward with…deluded confidence…”.

Ouch! That sounds like something 1WineDude might have written seven years ago. Wait a minute, he did.

Bashing point scores in 2008 was already jumping the shark, but it could at least be understood in the context of blogging being a young sport, and bloggers who couldn’t get paid were perhaps understandably eager to upset a few Big Critic apple carts and vie for the majors. I got it then; I get it now; it’s the way things go.

But at this point in the history of wine writing and reviewing, do we really have to bash this, that or the other rating system? I mean, we’re all in this together; why be partisan about it? We can all get along if we just try, because each system, each approach has its pluses and minuses.

Richard Hemming MW himself concedes that scores do possess a certain usefulness. Good thing, since apparently he uses a 20-point system. I can trust that I’ll like whatever I score above 17 more than anything I score below 16,” he says. I actually said almost the same thing last Wednesday, when I was holding a tasting for young sommeliers on the beautiful Maya Riviera. One of them asked if my personal taste comes into play when I score a wine. “No,” I said. But, I added, “it’s much more likely that I would want to drink a wine I give 95 to than one I give 84.”

Nobody ever said that point scores are the perfect solution for anything. Like democracy itself, they’re messy—but as Richard Hemming MW writes, “there is simply no better alternative” to the point system. I myself have long been uneasy with point scores, as I am about many things, but I have become reconciled to the fact that the world is not a neat place in which all the pieces of the puzzle fit tidily together. This is a frenzied globe we inhabit. We do our best with the muddle in which we find ourselves. That includes ways to taste, review, write and talk about wine. A part of me wishes I had been born in the mid-1800s, in England, into the cadre of British dons who gloried in the Golden Age of Bordeaux and wrote about it in prose that may strike some as purple, but that nonetheless outshines in literacy anything you’re likely to find today. Alas, my fate, for better or worse, was to be born a Baby Boomer, riding the crest of the wave that brought wine from an infinitesimal and rather obscure element in America to the behemoth it is today, with somms the new rock stars and companies from airlines to newspaper conglomerates peddling their wine clubs. Part of that crest was the 100-point system, a bit of flotsam Baby Boomers, reared on school exams, understood in their bones. Maybe you had to be there, thirty years ago and more, to appreciate how radical and revolutionary, how wonderful and beautiful those scores were to those of us who subscribed to Parker, or, as I did, to Wine Spectator when it was still a tabloid published in San Francisco. Maybe I am just wistful for the lost days of youth, gazing through the misty veil of nostalgia at a past that will never be again. Still, it was really something.

I suppose there is a legitimate school of thought that says all things must pass; what worked 30 years ago does not work today. But, really, is that true? You can argue for or against anything, but it does help to understand History before brandishing contempt for things whose roots go deep into time. Parker’s invention of the 100-point system was actually designed to help budding wine drinkers—a noble goal, and one that demonstrably succeeded. He did not wish to dominate wine drinkers, or to cater to “our collective human desperation to impose order on things” (Richard Hemming MW), as if there were something wrong with the human desire to make sense out of chaos.

At any rate, it’s my belief that people—consumers—want visual, not just written, guidance concerning the things they spend their money on. Here in San Francisco our movie reviewer uses The Little Man

the_little_man

who may or may not be jumping out of his seat. The Chron’s restaurant reviewer, Michael Bauer, uses stars (including half stars), as does, of course, Michelin. A score, even a 100-point score, is nothing more than a visual icon, plain and simple. Scores may be shortcuts, but we all like to take the quicker route sometimes, don’t we?


Crying all the way to the bank

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What are we to make of the winemakers quoted in Karen MacNeil’s latest column in The Somm Journal?

Asked by Karen their views on the word “cult” to describe their wines, the sextet unites in condemning a term they all say they loathe.

Bill Harlan says the word “implies blind followers who lack discernment.” For Doug Shafer, “It’s a manufactured term…I don’t understand what it means.” Dan Kosta calls it “lazy,” Celia Welch “something that simply has investment value,” while Sir Peter Michael dismisses it as “the so-called ‘cult’ status of a wine.” Ann Colgin cracks an uneasy joke: “I was born in Waco, Texas, why is why I’ve always hated the term ‘cult.’” (She refers, of course, to the infamous 1993 siege of the Branch Davidians.)

It may well be that these winemakers and winery owners are made uncomfortable by a term now so widespread that its use instantly telegraphs almost all that an English-speaking wine person needs to know about a “cult” wine: that it is red; that it is probably a Bordeaux-style wine from Napa Valley (Kosta Browne and Peter Michael excepted, but most of them are); that it is produced in small quantities; that it has achieved very high ratings from two, or three, or four top critics; that it is ultra-expensive and—as Ms. Welch implied—that it often is resold (via the Internet and auction houses) to amass sizable profit to the original purchaser. Indeed, as Karen herself, in her article, notes, “now…the term has been stitched into common wine language.”

My sympathies for the sextet, then. “I feel your pain,” as Bill Clinton, using that very phrase, famously said in a figure of speech in 1992 when responding to a critic of his AIDS policy.

So too is there a bit of figurative speaking when the sextet bemoans this most common and useful descriptor of their wines. They mean it, I guess—albeit with qualifications of which they may be unaware. So too there is a bit of disingenuousness. Harlan Estate’s fans may not “lack discernment,” but “blind followers” is a not inaccurate way of describing their lust, which most of us feel is inspired by high scores and the desire to show off, as much as by an appreciation of the wine itself. Dan Kosta’s “lazy” simply affirms that many layers of meaning—all of them accurate—are wrapped up in that single adjective, “cult”; there’s nothing “so-called” about it. As for the “investment value” part, well, that’s why people call it flipping.

The sextet has done well, extraordinarily well, with their wines, but it’s not as if their rare, exalted status happened ipso facto—by itself, with no external causation. The proprietors and their marketing advisors worked exceeding fine to manufacture exactly the desirability that is one of the layers of meaning of the word “cult.” I can speak only of my own personal experience, of course, but consider that:

Ms. Colgin pours her wines by appointment, in the Versailles luxe of her Pritchard Hill mansion. Mr. Harlan similarly tastes by appointment; he once requested that I taste BOND and Harlan Estate in separate places, a few minutes’ drive apart, in order, I suppose, to better appreciate their ambience. Sir Peter has been on endless magazine covers—with the honorific “Sir” conjuring up associations of English royalty and wealth (exactly as it is supposed to, and what is more cultish than the Royal Family of Great Britain?)—while Dan Kosta benefited from his “lazy” characterization to the tune of his share of the $40 million when Kosta Browne was sold, in 2009. So let’s not feel too sorry for these cult wine proprietors.

Look, I love their wines. Used to give ‘em high scores at Wine Enthusiast. I appreciate how hard it is to make them—how much effort goes into every aspect of growing and vinifying. I’m not even particularly bothered by the prices: crazy as they are, the market determines that. And some of these proprietors, the ones I know—perhaps all of them–are wonderful people. I’m just sayin’ that the “woe is me” croc tears aren’t credible. These guys are crying all the way to the bank.


What makes a wine region classic? What does it say about 100-point wines?

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If you were a wine critic, do you think you could give 100 points to a wine you tasted double-blind?

Let’s assume that your educated palate determined it was a very, very good wine. You might taste it and think, “Wow, this is really great,” and then consider giving it a perfect score. But then, not having the slightest idea what it was, you might hedge your bet and give it, say, 96 points. You could, of course, give it 100, but my hunch is that you’d second-guess yourself enough so that you wouldn’t. Psychology plays a bigger role in these decisions than you might think—or that critics want you to know!

On the other hand, say you weren’t tasting the wine blind. Say you knew it was 2009 Latour. You know Latour’s history and reputation, you know it’s one of the most ageworthy wines in the world, you know, in short, that this wine in front of you is absolutely classic, from a classic vintage. Now, is that enough information to make you more comfortable about giving it 100 points?

I should think so, and so, apparently, does Jim Laube, who wrote a very good column in the July 31, 2015 issue of Wine Spectator about what makes any particular winery “great” in the eyes of critics and wine historians. (Sorry, if you’re not a Wine Spectator subscriber, you can’t read the entire column.) Along these lines, he mentions La Tache specifically by name, and more generically, he mentions Bordeaux, Burgundy, the Rhone and Sauternes in France, and Napa Valley Cabernet Sauvignon, as possessing the “pedigree” needed to be a classic—that is, to be worthy of getting 100 points.

Now, if you’re in Paso Robles or the Sierra Foothills or someplace that doesn’t have the impressive history of these classic regions, you probably wonder how long it will take for your region to be considered classic, and thus worthy of consistently producing 100 point wines, at least in a great vintage. This is an excellent question, and of course Jim Laube is the perfect person to raise it, since he’s the dean of California wine critics and a very thoughtful man. He rightfully speculates that newer regions might someday enter this pantheon of the classics, as well he should: it would be intellectually disingenuous to say that the pantheon is closed, that no poseur can ever enter the top rank because it’s been shut for years.

What’s so fascinating about this topic is that it calls into question the validity of the 100-point system. If you posit that only certain regions are even capable of achieving 100 points, then you’re basically an ideologue; and we mere mortals, who read the reviews of these famous critics, have to wonder if they’re really tasting everything blind. Now, Jim Laube is honest enough to suggest that more information than merely the taste of the wine is needed in order to “identify the best wines.” “A wine requires some credentials in order to be measured among the elite.”

Let me repeat that. Jim said “A wine requires some credentials in order to be measured among the elite.” This means that double-blind tasting can never result in a super-high score because the taster is, by definition, ignorant of its credentials.

Would it trouble you to say that I agree with Jim? He has to tread a careful line here, because Wine Spectator claims, in their Buying Guide, that “Wines are always tasted blind.” But they do offer the caveat that this is not double-blind: they taste “in flights organized by varietal, appellation or region…and the vintage.”

That’s quite a lot of important information. If you know that you’re tasting white Burgundy from a great vintage, you have to allow for the possibility of a very high score. Can it score 100 points? Well, does the taster know if it’s Grand Cru or Premier Cru or some vlillage wine? The critic has to make this kind of judgment based not so much on the individual wine, IMHO, but on his track record, and on the acceptance of the market.

This conversation about point scores and perceptions is more necessary than ever. Am I refuting the 100-point system? No. But I am calling into question the circumstances under which it is utilized. I think there’s a place for it. But I also think that we need far more transparency about how these tastings are conducted, in order for them to be credible. I don’t mind an open tasting when critics let us know they were excited as hell, and so their enthusiasm might be biased. But I do mind it when critics put on the fig leaf of “blind tasting” when they actually know a lot more about the wines than they lead us to believe.

Have a great weekend!


“The 100-point system is irrelevant”? Umm, sorry, no it’s not

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Haha, people have been saying the 100-point system is irrelevant for at least 100 years. Well, maybe the last 10 years. And now comes this blog from the Napa Valley Wine Academy that makes it official.

Well, who or what is the Napa Valley Wine Academy? They call themselves (on their website) “America’s premier wine school” and say they are an “approved program provider” for the WSET. So they must know what they’re talking about, right?

Here are their reasons why the 100-point system is “irrelevant”, according to the author, Jonathan Cristaldi:

  • “Parker’s influence continues to wain” [sic; he meant “wane,” but what’s a little spelling error now and then?)
  • no other critic’s influence is as important as Parker’s [true, dat]
  • people “don’t just buy when a wine garners big points” [well, nobody ever said points were the only criterion by which people make buying decisions]
  • and besides, WSET seekers “will have the power to raise a collective voice that is louder than any one critic.”

I need to break this last point down. Do you suppose that there ever will be a “collective voice” of sommeliers? I don’t. Put ten somms in a room and you’ll have more smackdowns than a mixed martial arts bout. These people seldom agree on anything, unless it’s that Burgundy is the best red wine and Riesling is the best white wine. So how, exactly, will this “collective voice” operate?

  • “the future of wine ratings is a future of recommendations, not points or scores…”

Proof? There is none. “If wishes were horses, beggars would ride,” the old nursery rhyme tells us. Merely wishing that individual critics will fade away, in favor of crowd-sourced opinions spread via social media, is the biggest wish-fantasy around. When Cristaldi tells us that “Friends and confidants will replace the lone wine critic,” he has absolutely no proof; no evidence supports it, except anecdotally; and even if the Baby Boomer critics, like Parker, are retiring or dying off, there is no reason to think that their places will not be taken by Millennials who just might be the future Parkers and Tanzers and Gallonis and Laubes and Wongs and, yes, Heimoffs. (Certainly, you know as well as I do that there are ambitious bloggers who ardently wish that were the case!)

So do I think the 100-point system will still be around in the future? Yes. It will, because schools still grade test scores on the 100-point system and Americans “get it” and know in their bones the difference between 87 points and 90 points. Will there be other graphic systems around (puffs, stars, and the like)? Sure. Will there be long-form wine writing that relies on the informative impact of words, rather than graphic signifiers? Yes. All of the above will make for a robust wine-reviewing scene.

Honestly, I continue to fail to understand why some people get so worked up over the 100-point system. It’s like a mania, the wine-reviewing equivalent of Obama birtherism. People: calm down. There are so many more important things to get upset about.

Where I will end this post is to re-quote Cristaldi’s quote from Jon Bonné, the former wine critic for the San Francisco Chronicle. Jon said (according to Cristaldi), “The 100-point system is flawed.” Well, breaking news! Thank you, Jon, for pointing that out.

Of course the 100-point system is not perfect. What system is? But the 100-point system has educated more people, sold more wine and benefited more wineries than anything else ever invented. That’s pretty cool, and like the old saying goes, if it ain’t broke, don’t fix it.


An appreciation of rosé and a call for changing the rules of wine criticism

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It was hot in Oakland yesterday—the city of Pittsburg, in the Delta, hit 93 degrees—and I was doing a lot of running around, so when I got home, around 5 p.m., I was thirsty. I happened to have a bottle of a rosé in the fridge (not Jackson Family), and it looked mighty welcoming, so I popped the cork, poured myself a glass, and sipped.

Rose

Ahhh.

The label doesn’t say what the blend is, but it’s Provençal. I think there’s some Grenache in there, maybe Cinsaut and almost definitely Syrah, but it doesn’t really matter. We make too much of the varieties in these blended wines. The winemaker isn’t trying to do some cookbook sort of thing, according to some theory, but to craft the best wine she can. But we’re addicted to knowing the blend, so there’s pressure on proprietors to put it on the bottle. In a way, I admire this particular winery for resisting that impulse. They’re telling us, “Don’t focus on the grape varieties, focus on the wine.”

Rosé is red-hot (no pun intended). It’s always been around, of course, but it’s never been this popular. I wonder why. Summer’s coming, of course, and rosé hits that sweet spot of being midway between a white wine and a red wine. When I was on the road last week in New England, I was surprised by how many people I met who told me that they don’t care for (red or white: pick one), but love the other one. I, myself, can’t imagine ever being in that dilemma. But if you are, I’d think a rosé would be the best of both worlds.

How do the critics treat rosé? Not very respectfully. There’s a tendency among them to view it as a simple, inexpensive wine, made from press juice, without complexity. That can be the case, but not always. The wine I’m drinking now—the rosé from my fridge—is quite a complicated thing. It’s bone dry, with wonderful acidity, and the fruit (strawberries barely turned pink, orange zest, pink grapefruit) has a herbaceousness that reminds me of fresh thyme and white or pink peppercorns. Were I reviewing it, I’d probably give it 89 or 90 points, but I’m pretty sure that most other critics would score it lower than that, maybe around 87 or 88.

Why is it that certain wines never seem to rise above a certain score? Sauvignon Blanc is another. I’ve wrestled with that question for a long time, and still can’t really answer it. Since I’m “guilty” of the same thing myself, I can’t accuse other critics of any sort of impropriety. I think what it comes down to is that Sauvignon Blanc and rosé (to mention just two California wines) traditionally never got very high scores, and so critics don’t want to go out on a limb and give them 95s or 97s. After all, they have their reputations to protect. And yet, why shouldn’t a great rosé get 97 points?

Parker says his highest ratings are for ageable wines, so I guess he’s off the hook. The vast majority of rosés aren’t ageable. But one could argue that, within the context of rosé-ness, there are rosés that approach perfection, so why wouldn’t you give a perfect rosé a perfect score? Because to give a wonderful Provençal wine 100 points—the same as Petrus or Verité—would seem a little odd.

But why? Ageability aside, we’re talking about perfection within the context of what the wine is—the sandbox it plays in—and it seems to me to be unfair to say, “This is a perfect rosé” and give it 94 points, and “This is a perfect Cabernet” and give it 100 points.

Well, here I am, realizing stuff after I’ve retired as a wine critic! But if I had to do it all over again, I’d be more generous with my 100s. Break the rules, if you will, redefine them. Wine criticism has turned rather baroque, if you ask me: mannered, adhering to a strict canon, rather rigid. It needs to be shook up—intelligently. Not smashed, not taken over idiotically, but systematically redefined in a way that’s fairer than it has been, when only certain regions or varieties could star. That has got to change.


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