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If there’s a “new wine style,” what is it?

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“A shift in the consumer base,” fueled by “a new wave of innovation in global wine styles”: that’s what Rabobank, one of the the nation’s biggest lenders to wineries, is talking about, in their latest report on the wine industry.

And when Rabobank talks, wineries listen. Every winery in the country—certainly every winery I know in California—is obsessed with predicting the future, for if there is indeed “a new wave…in global wine styles,” wineries want to know about it. What is this “new wave”? What is the shift going to consist of? Most importantly, what new “wine styles” are consumers going to be looking for?

To begin to understand the future, it’s necessary to know the past, for nothing happens without lots of things that have already happened making it happen. So let’s take a look at the past, to see if it helps us comprehend the future.

We know what “wine styles” the consumer likes now, for the consumer votes with his wallet. You might loosely call it “Californian.” People like ripe, fruity wines, red and white. They like varietal wines (notwithstanding this current gaga about red blends). And, here in America, they like wines from California.

But it hasn’t always been so. The last time there was a true “shift in wine styles” was more than a generation ago. That’s when Americans started drinking more dry wine than sweet (those silly Sauternes and Rhine wines). It’s also when they decided that varietal wines were more upscale. Since California led the nation in the production of dry varietal wines, it’s no wonder that consumers gravitated toward California wine.

Let’s go further back in history. Before the era I just described (some call it the boutique winery era), America had been mired, for another 30 or 40 years, in that sweet wine era (if they drank wine at all, which not many did). Prohibition was, of course, the dead hand that had interrupted the country’s vinous progression. So what was happening before that? Again, not many people drank wine—but those who did drank good wine, from Europe and from California. It may not have had varietal names, but in many cases it was made from proper vitis vinifera varieties.

So we’re had three distinct eras since the 19th century: one, when a few Americans drank good wine; a second, when more Americans drank bad wine; and a third, the current, when lots of Americans are drinking good wine again, mostly from California, but in reality from all over the world. So if we’re in for a global shift in wine styles, what could it be?

Well, first, the timing is right: America seems to change its preferences every 30 o4 40 years, so, if you date the current era to the boutiques of the 1960s, we’re ripe for a change, maybe even a little overdue. If things do change, then today’s preference—remember, it’s for ripe, fruity wines from California—will have to change to something else. But what could that be?

We’re not going back to a liking for sweet wines, believe me (although a great off-dry Riesling, a sweet late harvest white wine or a red Port are earthly delights!). Therefore, consumer preference is likely to remain with dry wines. What, then, about fruitiness? I can’t see that changing either, for at least three reasons: one, fruitiness is an ingrained taste: not only humans like fruitiness, but birds and animals, too. Two, the world palate has shifted away from lean, angular wines to riper, rounder wines, and no matter how many articles get written about the low alcohol fad, that’s not going to change. Third, if we are indeed in a time of global warming (as indeed the Bordelais themselves believe, and as seems to be an increasingly credible belief in Napa Valley), then it will be awfully hard to produce wines of the type of old-style Bordeaux, when alcohol levels barely exceeded 12 percent, tannins were gigantic, and the wines took decades to come around.

So what options do we have? Precious few. Dry, fruity wines are what seems likely to remain. Of course, we could turn away from wine altogether: America could become a cocktail drinking country, a beer drinking country, or—heaven forbid!—a dry country. But none of those options is likely. Wine has been at the center of western culture for millennia; it’s now becoming so in Asian culture; wine is not going anywhere.

So the Rabobank prediction has to be taken with a certain latitude. There won’t be any major “new wave of innovation on wine style.” That’s bank-study language: the people who write this stuff have to come up with sexy sound bites in order to make headlines. What’s more likely is that the trend of the last three-plus centuries will continue. The world’s love of noble varieties—Pinot Noir, Cabernet Sauvignon, Merlot, Chardonnay, Sauvignon Blanc, Riesling, Syrah—will continue, despite short-term shifts, every few decades, in the particulars. A few oddballs will succeed at the margins—Muscat is the classic example—but they don’t have staying power. The major varieties Americans love won’t change. Zinfandel will go in and out of style, as the press dictates—but the great producers always will be in demand among the cognoscenti. Beyond that, I just can’t see any huge new intrusions of other varieties.

It looks to me like, far from Rabobank’s prediction of “a new wave of innovation in global wine styles,” we’re looking at a continuation of what is. What will determine who makes it, and who doesn’t, isn’t so much a question of style, as of marketing, communications, consistency, value, consumer engagement, distribution, success in direct-to-consumer, sales expertise—in other words, the fundamentals of good business practice. There is, indeed, “a new wave of innovation,” but it’s not a stylistic one, it’s innovation in the way wineries interact with, and respect, the consumer.


Pssst: Wanna buy a restaurant reservation?

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Ever get frustrated about not being able to get a restaurant reservation when you actually want one?

Happens to me a fair amount. My go-to restos tend to be in Oakland, since that’s where I live: Ozumo, Pican, Bocanova, Lungomare, among others. But so popular are these places that you really need to make your reservations far in advance—unless you’re willing to dine before 6 or after 9, which for the most part I am not. I like eating dinner at the normal hours of 7-8 p.m., but so does everyone else: hence, the difficulty. (The problem is worse in San Francisco. Try getting a 7:30 table at Boulevard. Good luck!)

Of course, I can always go to a non-reservation restaurant. We have some nice ones in my neighborhood: Boot & Shoe Service, the new Captain & Corset, and Hawker Fare. But that presents its own problems, namely, lines! I pretty much have a firm policy of not standing in line waiting for a table to open up.

Dining should be a pleasant experience; we should be able to eat where and when we want to. But that’s not reality. So some entrepreneurial types have discovered a new way to make money in the San Francisco Bay Area: they get reservations at in-demand restaurants, and then sell them online.

I first heard about this practice a while ago, when I read this article about reservationhop.com, a startup that makes reservations at San Francisco’s most popular restaurants and then sells them back to the public ‘for as little as $5’”, according to the S.F. Chronicle. But reservationhop is hardly the only new business trying its hand at the reservation-selling game. Table8 also is doing it: when I went to their website yesterday, they were selling reservations for such ultrachic places as Acquerello, Foreign Cinema, Waterbar, The Slanted Door and, yes, Boulevard (for up to $25 a shot!). The online S.F. site, Eater, quotes Table8’s founders as claiming “their offering actually levels the playing field for ‘normal’ people, allowing them the chance to get into a hot restaurant without advance planning.” That is true, I suppose; but you have to be a fairly well-to-do “normal person” to be able to afford to eat at one of these places plus pay a double-digit fee! (I don’t suppose you have to factor the reservation fee into the tip, do you?)

As you’d expect in a contentious town like San Francisco, there’s been some blowback against the reservation sellers that’s reminiscent of the complaints about Uber and Airbnb. One person who’s not so happy with the situation is a restaurant owner himself: Ryan Cole, whose Stones Throw is on Russian Hill. “I feel sick to my stomach to think that restaurants of such high pedigree and prestige would agree to participate in something so fundamentally against the principles of hospitality,” he wrote recently, in an open letter published in the Chronicle’s Inside Scoop online edition. He likened it to the old practice of slipping the doorman a $100 bill and skipping the wait for your table.” (Actually, it’s also rather the way StubHub works.) Ryan feels there’s something vaguely immoral about selling reservations. “Just because you can charge the premium doesn’t mean you should.”

I myself am neutral on all this. “It is what it is,” goes the current slogan, and besides, even if reservation selling is a horrible degradation of traditional restauranting, it’s here to stay. People want to be able to eat at top restaurants at their preferred times, and if they have to pay an extra $25 for the privilege, so be it! (I just hope they don’t make up for it by skimping on the wine.) But I personally won’t indulge in any of it. For every nice restaurant that’s next to impossible to book a table, there are dozens that aren’t. Let’s not forget that.


Goodbye to the era of the Big Critic

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We entered it as stealthily as we seem to be exiting it: the era of the Big Critic, which began, roughly speaking, around 1980 with the rise of Wine Spectator and its cadre of writers, and then really burst into prominence with the emergence of The Wine Advocate and its owner, Robert M. Parker.

That was 34 years ago—three and a half decades in which America gradually got used to the idea of a handful of (mostly white male) wine critics who were the Promethean equivalent of the faces on Mount Rushmore:

Rushmore

Stupendous, larger-than-life names, known to everybody who cared about wine, legends in their own time, whose opinions could elevate a winery to heavenly heights, or crush it mercilessly.

For thirty-four years this lopsided culture presided. It changed the face of the wine industry, especially in California but even in France, and its influence shaped the evolution of everything from winemaking style to marketing and even the kinds of foods we eat. That this handful of Big Critics was anointed to almost holy status was not their own fault, or their plan, and perhaps not even their desire: uneasy lies the head that wears the crown, which is why the description you heard most often of the personality of the Big Critics was “humble,” as if people were surprised they weren’t the height of arrogance. The Big Critics were aware of the incongruity of themselves being accorded all this power, and seemed almost embarrassed by it.

So, it was not their own fault. Whose, then? Maybe “fault” is the wrong word; there was nothing wrong with this crazy new system, it just happened. Like Athena springing full-blown from the head of Zeus,

 

Athena

the Big Critic was forged into being by the Zeitgeist of a Boomer nation suddenly all grown up and responsible for itself. America found herself in thrall to this handful of super-beings, half-man, half-deity–big fish in a small pond, perhaps, but no less awesome for that.

And yet there always seemed something “faulty” about it, didn’t there? One heard, from the recesses of the wine community, sounds of concern that “it’s come to this,” that such a handful of men could cause entire segments of the business to sway or topple. It was heard in whispers, over drinks at the bar: “I can’t believe the influence he has,” although nobody seemed truly to mind too much because, after all, almost everyone stood to gain from the phenomenon: producers, for whom a high score would be a bonanza; merchants, who needed no longer to form their own judgments but could simply shelf-talk someone else’s; other critics, who could gaze up at Rushmore and fantasize “There might be I, someday…”…

We will look back at these 34 years someday as a sort of fever-haze we went through, a national delirium. Someday, someone will ask her grandfather, “Is it really true your generation wouldn’t buy a wine unless a Big Critic told you to?” and Grandpa will smile ruefully and admit that, Yes, that’s the way it was, but you have to understand the times, the context…We were a young wine-drinking country, we needed help and guidance, we didn’t realize at the time how slavish the whole thing was, and besides, everybody else was doing it, we were all in it together, how could we have known it was only a fever-dream?

Why do I say the 34 years is over? Well, maybe it’s not. It could turn out to be 36 years, or 41 years, but by 2025 I can’t see the Big Critic thing remaining in any form, except memory, or perhaps in the mind of someone who fancies himself a Big Critic but isn’t really. The death knell came, of course, with the rise of the Internet and social media, which formed the basis for what is called “citizen journalism,” a lofty-sounding phrase that means, simply, that anybody can write anything and launch it into the universe, forever, with a keystroke. This is “publishing,” of a sort; it is words on a page (or screen), read by people who are interested in such things. And, occasionally, it does rise to the rigorous standards according to which modern journalism has been practiced for 100 years.

But the very universality of the Internet has proven to be the undoing of the era of the Big Critic. It’s not an either-or situation—I mean, we can have 1,000 citizen journalist wine bloggers co-existing with an aging cadre of Big Critics for a certain amount of time. But it’s an unwieldy tension; it can’t go on for much longer, because it’s inherently unbalanced: 5 or 6 Big Critics on one side of the seesaw, 1,000 and counting citizen journalists on the other side, there is no longer equilibrium, the center cannot hold. Somebody wins in such an unequal contest. The Big Critics lose, or fall off the seesaw; the citizen journalists are the victors.

And that changes everything. America changed when the populace that was not originally given the right to vote by the Founders—women, slaves, non-landowners, 18 year olds—eventually obtained that right. That tectonic shift in the weight of the voting population radically impacted the course of our country’s history: we became more “democratic” (with a small “d”), a nation in which—in theory—everyone’s voice was counted as equal. (Whether it really worked that way or not is another story…)

I for one will not regret the passing of the torch. The era of the Big Critic was fun, it was interesting, I personally benefited from it, but everything must pass. Life marches on and stops for nothing. “Eras” happen more frequently these days than they used to, and they last for a shorter time, too. The Paleozoic Era lasted for hundreds of millions of years; the Victorian Era for 64 years; we now measure eras in months (the current time has been referred to as the Era of the Selfie). It may be that future eras will be measured in microseconds.

If the Big Critic is gone (or going) then of course we are now entering the era of the Small Critic. When anyone can be a critic then everyone can be a critic: the ultimate democratization of wine criticism results in claims like this:

New app can turn even the most clueless of wine drinkers into an instant connoisseur.

From clueless to connoisseur in an instant. Welcome to the Internet! Whether this is a good thing or a bad thing, I don’t know. But it does seem to be related to everything else in the world that’s falling apart.


In the future, everyplace will be “the next Napa” for 15 minutes

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It’s a slow news day, it’s been a long week, so you’ll have to cut me some slack here with this rather tongue-in-cheek post that actually does contain a kernel of observational sanity. An online news site, Uncover California, has a story today that claims Many people believe the promising wine region of the Valle de Guadalupe in Baja California, Mexico, has the potential to become ‘the next Napa Valley’…”.

I did a quick Google search on “the next Napa” and it resulted in 9,170 hits. The first was called “5 Reasons why Lodi, California is the Next Napa Valley.”

Another is headlined “Texas Hill Country: The Next Napa?” (I like the way it hedges its bets with that strategic little question mark, rather like the fig leaf that Renaissance painters used to discretely place over Adam’s private parts.)

Then there’s good ole Fox News, which doesn’t exactly call New Mexico, Virginia and Ohio “the next Napa” but but implies they could be: “Look out Napa: 5 up and coming wine regions.” (Hey Rupert Murdoch, tell your writers not to forget the proper use of the hyphen.)

Finally, “Is the North Fork the Next Napa Valley?” asks Hamptons, an online zine.

Some of this is crass promotional over-zeal. Some of it may actually be believed by the people claiming it. But it’s an interesting angle on the hold that Napa Valley has on our collective imagination.

That there currently is only one Napa Valley is indisputable, the way there is only one Pope or one World Series champ. But speculation over who the next one will be is one of the delights of the media, and especially of headline writers, a breed unto themselves whose role in formulating the template of the day has never been properly analyzed. (My favorite headline of all time goes all the way back to 1975: FORD TO CITY: DROP DEAD.” That would be President Gerald Ford and New York City, respectively.)

Sorry to end the fun, kids, but there won’t be a “next Napa Valley.” The time is gone when an American wine region can leap to the top of the charts and fire everybody up. That train left the station in the 1990s and isn’t coming back. The public is too smart to fall again for such an anointing by the media, especially the wine media, whom it doesn’t much trust these days.

Have a great weekend!


A reader comment prompts me to again address the California bashers

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It is fairly common, in the anecdote-sphere (a universe parallel to the blogosphere), for knowledgeable people to say that superpremium California wine is nearly impossible to sell back East, or even east of the Rockies.

According to this take, nobody in America likes California wine anymore, except, possibly, Californians—and even they (or so it’s claimed) are having second thoughts. The culprit? According to the anecdote-spinners, it’s due to the “imbalance” of California wine, an accusation that usually includes alcohol levels, fruity extraction and oak.

The latest expression of this theory comes via a regular reader and valued commenter on my blog. I don’t know if he wants me to name him, so I won’t, but here’s part of what he wrote yesterday, on my “I weigh in on Jamie Goode” post. I will quote him in some detail, because his points are powerfully expressed, and, as I say, one often hears similar views expressed.

“Last Winter [he wrote], I counted the glass pours at three Michelin 1* restaurants while in Chicago, all of whom carry some California wines.  The breakdown for 54 total glass pours was 39 European, 9 Southern Hemisphere and 6 Domestic (of which some were Oregon, Washington and Midwestern).  That is marginalization [of California], and if the Lords and Ladies of Napashire dare not speak of it with wine writers or their neighbors and let the unsold cases quietly pile up in American Canyon awaiting the longed for Chinese buyer, you can damn well bet that it is coming up in conversations with their accountants.”

I’ll quote more of his comment in a minute. First, let me weigh in that my commenter is absolutely correct that Napa Valley winemakers and owners do not speak of their cases “piling up in American Canyon,” presumably at one of the wine storage warehouses along Highway 29. At least, they don’t speak of it to me. So my commenter is right about that. And although I have no certain knowledge that such is the case, the anecdote-sphere also contains numerous allegations that it is indeed the case: that is, cases and cases of unsold triple-digit Cabernet piling up someplace.

My commenter also wrote: there are a lot of good, well balanced and not excessive California wines that are probably being unfairly excluded from restaurants and wine bars.  Unfortunately, these exceptions that prove the rule are suffering for the sins of the last two decades of excesses in both winemaking style and hubris that came to define California and Napa Valley.”

The reason I’ve long been in such disagreement with the anti-California (and anti-Napa Valley) bashers is because, due to my recent job, I had the opportunity to taste so much great, interesting California wine. And while it’s true that there’s a lot of crapola out there, you can say the same thing about every wine country and wine region in the world. Let us not throw the baby out with the bathwater! I simply have tasted too many wonderful California wines to not realize that our state makes incredible wines; and I often pitied the bashers for not being able to taste all the good stuff I was privileged to try.

So my commenter also is correct when he states that the “good, well balanced” California wines are “unfairly excluded” from the conversation. But whose fault is that? And when did we arrive at this weird, bizarre situation where so many influential and apparently knowledgeable people—Americans all!—are so down on California wine?

It’s quite unprecedented for a large chunk of a wine-producing country’s cognoscenti to hate their own country’s wine. I can’t think of anything similar, in the long history of winemaking in Europe. If anything, the French (and, to a lesser extent, the Germans and Italians and Spanish) have been positively chauvinistic about their wines, as well they should have been; they were proud of what their nations contributed. I, too, am immensely proud of California’s contributions to the world wine scene. So, from an historical persepctive, does the situation here in the U.S.—with so much self-loathing–say something about California wine? Or does it say more about the people bashing it? “The question,” as Jesse Jackson, playing himself on Saturday Night Live, once said, “is moot.”


I weigh in on Jamie Goode’s post on “natural wine”

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As reluctant as I am to enter the minefield of any discussion about “natural wine,” I’m going to do so, because I have views on the topic, and because Jamie Goode just won a Wine Bloggers Award and if he can opine on the subject, so can I!

Jamie supported natural wine rather obliquely the other day on his blog. He didn’t quite come out and praise natural wine in multi-faceted specifics so much as give a face smack to another writer, Bruce Palling, who it seems had the temerity to criticize natural wine. Palling called the product of natural winemaking techniques “undrinkable rubbish,” a characterization Jamie took issue with, and he (Palling) also said wine writers have “a tendency…to try and keep their head down for a quiet life and never actually articulate how much of it [i.e., natural wine] they believe to be undrinkable…”.

Jamie shot that statement down, too, although it’s funny that in his article he manages to avoid any definition of “natural wine”; in fact at one point he writes, “Forget the discussions about the term ‘natural’ because that’s a sideshow.” I don’t see how defining the term to which we’re referring is “a sideshow” because, after all, if we don’t know what we’re talking about, then we shouldn’t be talking about it, should we? But for Jamie, the importance of defining the term “natural wine” is insignificant, compared to the “truly great” nature of “some natural wines”; people who don’t “get” these wines don’t have “the energy or inclination” to try them because they’re “slightly smug,” which is what he accuses Palling of being.

Well, talk about “slightly smug”! I do agree with Palling on the “head down for a quiet life” thing: there are certain topics most wine writers approach with trepidation, because these topics are complicated, controversial and ill-defined; they thus are the source of major risks (to one’s reputation; to one’s mental state; who wants to be attacked on the twittersphere over such perilous issues?). “Natural wines” is such a topic; there are others for which the philosophy “Life’s too short” apply. What is natural wine? What is sustainably-made wine? What is biodynamic wine, organic wine, green wine? I now have some knowledge of what “sustainable” means due to my job, because Jackson Family Wines is committed to sustainability and so I have caused myself to study it more closely.

But “natural wine”? I have no more idea what it really is than does Jamie. I do admit to having a sense that the whole concept is slightly muddled; there can be a cultish aspect to it, as there can about anything arcane, in which a few people believe passionately and the rest of us worry that we may be missing out on something vital. But in this case I’m not really worried. My attitude toward natural wine is the same as my attitude toward religion: You’re free to believe anything you want, as long as you don’t try to make me believe it.

Besides, I part ways with Jamie when he implies that the only “vital, dynamic stream of fine wine that is really exciting” these days is coming from the natural wine camp. That is just not true. It reminds me of the old saying “to go native,” which came from British colonial officials, living in conquered places like India, who under the influence of local conditions take on the sympathetic airs of natives, gradually losing their British ways. Or perhaps “Stockholm syndrome” is more apt: hang out long enough with radicals and you might eventually find yourself rather liking them, enough so that their beliefs start to make sense.

Anyhow, I don’t trust the claims of “minimal chemical and technological intervention” made on behalf of natural wine. No winemaker I’ve ever met claims to be in favor of “maximum” chemical and technological intervention. They all talk about hands-off approaches. It’s the first thing a winemaker says when you ask about their winemaking philosophy. But if natural wine consists of, in part, the following: no commercial yeast, no adjustment for acidity, no added sulfites, no fining or filtration (which can lead to instability), can it be any wonder that, every now and then, one runs across natural wines that taste (in Palling’s words) “like putrid apple cider, stale sherry or just as bad – characterless, bland and acidic.” We’ve all had “natural” wines out there that are that bad; one hesitates to mention names (another reason to keep one’s head down in such politically-charged waters is to avoid personal antagonisms), but I could name multiple critics and somms who agree with what I just wrote (and will name names off the record), even if they’re not ready to say so publicly.

So I’m not advocating making natural wines illegal or anything like that. I am saying that sometimes in this modern world, ideology can capture even the most well-meaning wine critic in its grip; and ideology is never a good thing, is it, because it insists that one way, and one way only, is the approved way, and everything else is false. As Palling writes, referring to the D-Day invasion of Europe that spelled the doom of Hitler’s Nazis in World War II, “it personally pains me when anyone tries to force their opinions or taste onto me or anyone else. That, after all, is what thousands of people laid down their lives to prevent, on those beaches in Normandy, precisely 70 years ago.”

 


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