My old friend, Alan Goldfarb, who works in winery PR, asked for my views on the future of PR–what works, what doesn’t. Here’s what I emailed him. I’ll go into more detail later in this post:
I think PR is more important than ever to help a winery stand out from the competition. But it has to be good PR in order to be effective.
Otherwise, the winery is just throwing money away. The best PR firms identify the relevant media outlets, and then work to cultivate relationships with key people. A pitch that’s simply sent out in a blast email or mailing is a waste of time, in my opinion.
There’s no “one size fits all” when it comes to a pitch. A good PR agent knows her writers and editors. She crafts pitches individually and personally. Finally, a smart PR agent understands that writers often are looking for trend pieces, which are very popular with publishers these days. Instead of just pitching your client’s particular story (e.g., “used to be a belly dancer, now owns a winery”), try pitching a story on “The trend of nightclub entertainers, including belly dancers, standup comics and vocalists, to start up wineries.” That is much more likely to elicit a writer’s interest than one particular story.
[That's what I wrote.] PR, properly speaking, is simply the function of getting a writer’s or editor’s (and, via them, the public’s) attention for the publicist’s client. What the writer does, once you’ve attracted his notice, is beyond the publicist’s control, of course. But there are things a publicist can do to increase the chance that the writer will take the bait and actually write about the client.
In this market of increased competition from all over the world, not to mention downward pressure on prices and an increasingly volatile, unpredictable market due to the entrance of a brand new demographic, people under 30, wineries need more help than ever in getting people to notice them. Unless the winery has a captive audience (maybe they’re selling 90% through the tasting room and/or club), or if they’re exceptionally well known and in demand (Harlan), most wineries really do need to get out there and hustle.
When I say the best PR firms identify the relevant media outlets, and work to cultivate relationships with key people, I know whereof I speak. I’ve dealt with a lot of PR people for a long time. I’ve seen them come and go, and learned a few tricks of the trade, because it’s people like me whom the publicists practice their craft upon. When you’re on the receiving end of the pitch, you see how the pitchers do their thing.
If a publicist sends out a mass email, it has a deadening, boring effect. I don’t want to feel like the sender didn’t even know my name, like I’m just some digital bit in a faceless electronic mob. I want my publicists to know who I am, who I work for, what my needs are. I want them to want to help me do my job better, so I can help my editors do their jobs better. That’s what this thing is all about: we all have jobs, and we all should be trying to help those with whom we work do their jobs better.
A mass email tells me nothing. Besides, they’re usually so blandly written that they’re more like a lesson in how not to write a press release. Publicists try to inject a sense of excitement into a blast email, but it almost never works. Instead, it just feels phony-excited–like the publicist herself was bored with the assignment, and couldn’t even pretend to find anything interesting to say about it. Of course, that’s a dilemma for a publicist. What do they do when the client has an essentially boring story, and insists on telling it in a boring way? I don’t know. But a good publicist, it seems to me, must be like a good psychotherapist–be willing to tell the client when the message sucks, and how to improve it.
The trend thing I wrote about is real (although the specific example of the belly dancer is pretty silly). I could have substituted “professional athletes”, “rock and roll stars” or “movie stars.” Which do you think would make a more compelling story: Boz Scaggs has a winery, or “Rock stars, seeking life after the hits stop coming, turn to the wine business.” I might read the former, but if I saw a headline, with some familiar names, along the lines of the latter, I would definitely read it.
I, personally, don’t know how many rock stars (or athletes, or movie stars) are starting wineries, so when a publicist pitches a specific instance to me, I’ll reply, “If you can do your homework and come up with a list of six other rock stars [or athletes or movie stars] who also have started wineries in California, I’ll write the article.” That turns the story into a trend piece. Of course, the publicist has to do a little more work, but she’s basically guaranteed to get a story that will at least mention her client–which is better than no story at all.
It’s very hard these days to succeed in anything to do with the wine industry if you’re lazy.
One final consideration: Under other circumstances, I might have thought that PR is a dead science, like alchemy or midwifery, a practice that thrived once upon a time, but has now lost its rationale. There is something medieval about PR: the publicist as cloaked magician, in possession of mystic secrets that, with a dash of eye of the newt and a swift “hocus pocus,” can unlock the mysteries of political and economic success. Surely, in this age of the Internet and social media, there must be more modern ways of publicity.
But as it turns out, there aren’t. PR may someday be an anachronism, but today it remains a vital, if someone untransparent, way of doing business. The tools of PR have changed–the press kit is on the way out, replaced by electronic tools, for example–but the underlying concept remains the same: to persuade the public to pay attention to the client.
A lot of people have been asking me for advice lately. No, not advice on wines, advice on branding. As in, “How do we get consumers to understand and respect our brand?” The “brand” can be a particular winery, a type of wine or a wine region. Whatever it is, people seem to value my take on branding.
There are reasons for this. One is that I’ve been around for a while, and they think I must have figured out a thing or three in all these years. Which is correct; I have. I’m not a marketer or a P.R. expert or a salesman, but I have worked with marketers and P.R. experts and salespeople, and have some inkling about what they do, and how and why they do it. I see also how they do things wrong. So that gives me some insights into the fine art of marketing.
Critics also have their finger on the public’s pulse in a way that no one else in the industry does. The critic is in the fungible position of being the middleman between the consuming public and the industry; in fact, we’re the only middleman there is. The critic’s role is similar to the public defender’s, or the ombudsman’s at a newspaper. Someone has to represent the consumer, the average person who doesn’t have a voice, who may be getting ripped off, who needs help weeding through the conflicting and often phony messages she gets from the wine industry. That’s where we critics perform what is perhaps the most satisfactory and moral part of our job.
We critics have a feel for what people are feeling and thinking–what they’re going through, how they see things, their most fundamental sensations and thoughts. There’s a lot more to being a wine writer than merely being a wine “expert.” You need to have skills in psychology and sociology and even in politics, in order to effectively understand the marketplace.
That’s why being dialed into the news–political, economic, cultural, business, artistic, sports–helps a wine writer. Wine and its consumption don’t exist in a vacuum. They’re linked to everything else in the culture. When a giant wave moves through the culture–“Sideways,” for example–it doesn’t spring sui generis from someone’s brow (with due respect to Rex Pickett). No, it’s part of an irruption within the broader culture, the result of myriad forces, all converging at once, for complicated reasons; that Rex Pickett was the repository of these forces is almost random. The election of Barack Obama was an example of the convergence of powerful societal forces; so is the rise of the Tea Party. Steve Jobs has a genius for causing waves. Marketing people hope and pray that whatever thing they’re marketing will achieve such an irruption. Making a big wave is the wet dream of the marketing pro. But it’s very hard (no pun intended) to achieve.
The main reason people are asking for my advice is because they’re desperate. When times were flush, which they were pre-Recession, they didn’t need my advice, or anybody else’s, because their product, whatever it was, sold itself. Nowadays, nothing sells itself; everything has to be sold. That involves effort on the part of the seller, but a lot of these sellers aren’t used to selling. They don’t know how to put their shoulder to the wheel, or even where the wheel is. There’s a sense of flailing: hire a social media director, maybe that’ll do it! How about a label comb-over? Let’s cut the price and pray. Fire the old winemaker and hire a new one! Pick riper, plaster new oak-like flavors on! Bring on some pricey marketing consultant to tell us what to do! Sell the stuff off as bulk; at least that’ll make some money. And when none of that works, the ultimate Hail Mary: call Heimoff.
I don’t mean to mock these troubled people who are reaching out. I’ve always had a sense of how to market stuff. I don’t like the technical aspects of selling–I mean, actually having to go out and interact with people, some of whom you may not like, some of whom may be repellent. It’s discomfiting to try and convince someone to buy something they don’t really need. But I’m pretty good at the big picture. I like the creative part of marketing. For example, here’s what I told some sparkling wine people who came to me for advice. My idea for a T.V. commercial is based on the premise that a lot of men think sparkling wine is for sissies (you know, flutes, pinky extended), not “real men.”
We’re inside a sports bar. Big game on the overhead T.V., pounding rock and roll music from the stereo system. Place is packed with young, boistrous, laughing guys, like in those old Miller Lite and Bud commercials. Guy walks up to the bar, alone. Not bad looking, maybe a little nerdy, average “everyman.” Everybody else is chugging beer. Guy orders a glass of sparkling wine. Suddenly, total silence. Everybody looks at the guy. WTF? Who is this creep? Not one of us, that’s for sure. Then, out of nowhere, a beautiful woman, the most gorgeous, sexy lady you’ve ever seen, joins the guy. Guy says to the bartender, “Another sparkling wine for the lady.”
Message: the guy with the sparkling wine gets the date. The beer chuggers are total losers who go home alone.
To effectively brand something, you can’t just come up with a message that you like. It’s not about your opinion; what you think is bupkes. You have to get inside other people’s heads and understand where they’re coming from. The successful brands of the future will do exactly that.
I blogged last April that Gourmet magazine, which Condé Nast shut down in Oct., 2009, might spring back to life, not just as an online publication but even in some newsstand format.
Now, it’s actually happened. “Condé Nast has announced that it will indeed bring back Gourmet in print form,” says this article in the online zine, FishbowlNY.
It’s worth reading between the lines to see if we can infer any lessons to be learned in (a) why print publications die, (b) how they can continue online and (c) if they can actually pull a Lazarus and return to print form after they’re dead.
In my April blog, I wrote that, if Gourmet did return to print, it might do so as an advertiser-driven publication, one that straddled the tenuous border between “straight” journalism and what’s called, in the trade, an “advertorial.” So, I wrote, the new Gourmet “would be ‘Gourmet by Kraft.’ Could we expect to see recipes based on Oscar Mayer bologna, Oreo cookies and Philadelphia Cream Cheese?”
Such information as is available on the new Gourmet is scant, to say the least. What we know from the early reports is that the first issue is called Gourmet Quick Kitchen,
it will be 128 pages long, contain 81 “fast and easy recipes,” and will hit newsstands Sept. 7, at a cost of $11 — which seems pricey for a magazine.
But that’s about all Condé Nast has told the world. What we don’t know is whether the magazine really will be advertiser-driven, or whether it will be pure.
We also know, via the New York Times, that all of the recipes in Gourmet Quick Kitchen “were published in Gourmet before its demise,” and the first issue “has no paid advertisements…”. That’s pretty interesting, but before you come to any conclusions, the Times article also said that “future editions might” contain advertisers. You can only conclude that, when the Times reporter was given access to the Condé Nast P.R. person who broke the news, the P.R. person wouldn’t rule out the possibility of future advertising.
Knowing how advertising works, I suspect that potential advertisers are holding off for now, waiting to see if the new magazine actually sells.
What else is part of Condé Nast’s plans for Gourmet? The magazine “will see another iteration on the iPad and other tablets later this year with the launch of Gourmet Live,” reports min online. What is Gourmet Live? Condé Nast’s president and CEO announced it in an online press release last June 22. He called Gourmet Live “an entirely new digital content product” that will offer readers “articles, menus, photos, videos and more,” while bringing “monetization structures new to Condé Nast.” It’s not clear whether Gourmet Live will carry advertising. The company made a YouTube promo for it, but there’s no clue about advertising, or what those new “monetization structures” will be.
So it looks like Condé Nast is taking a multi-platform approach that incorporates print, newsstands, online, social media in all its aspects (there are also a Facebook and Twitter pages), and creating buzz through giving “insider” access to selected media, like the Times. Which is pretty much about all any publisher can do in these uncertain times.
Reaction, by the way, to the new Gourmet by old Gourmet Magazine fans has been less than enthusiastic. Here are some typical reader comments to the Times article:
Eleven dollars (plus tax) for a magazine? I would hope they wouldn’t have advertising at that price. You could almost buy a book for that.
Gourmet Quick! sounds like they’ve taken all of the quality out and left us with a Rachel Ray look alike.
I miss the old Gourmet…I’m not looking for quick recipes from Gourmet. I can find a 100 of the same thing on the shelf already.
Seems like cashing in on a well-loved name…Rerunning old recipes with new photos? I can go to Epicurious if I want to find old recipes.
It’s so sad to see a repackaging of old content and dare to say they are “bringing Gourmet back”.
Anyway (this is Steve again), it seems to me that Gourmet has a long, hard road ahead, and believe me, I wish them well. They’re one of the more conspicuous victims of the recession and the online revolution, but they’re hardly alone. It will be educational to watch Gourmet and see how they navigate the treacherous waters ahead.
I’ve always been skeptical when a high-end winery turns out a lower-priced line of ordinary wine it then tries to burnish with the halo effect of its own prestige.
This happened most famously, of course, with Mouton-Rothschild, whose Mouton-Cadet, an indifferent wine, patently trades on the Mouton sheen. In California the best known instance was at Robert Mondavi, and helped ultimately to cause the family to lose control to Constellation. Sometimes, upscale wineries that decide to play the low-price game do so under a different brand. Learning from the Mondavi debacle, they hide the visible connection between the original, prestigious parent brand and the cheap new bastard child.
What prompted these thoughts was a recent article in the online journal, Luxist. They interviewed Prince Robert of Luxembourg, the managing director of Domaine Clarence Dillon (DCD), which owns the Bordeaux chateaux Haut-Brion and La Mission Haut-Brion. DCD has launched a new brand, Clarendelle, which makes red, rosé and white wines from Bordeaux that retail here in the States for just north or south of $20. Production seems to be between 60,000-65,000 cases. The grapes are bought from producers throughout Bordeaux.
In the interview, the Luxist reporter was very flattering to her subject, the Prince. She told him, “It will be nice for customers to walk into a wine store and find $20 to $25 bottle of wine with a name on it like yours that represents quality. Who wouldn’t want to buy it?” The Prince did not demur, nor did the reporter press Prince Robert when, in response to her question of how Clarendelle is blended, he replied, “We are doing the same exercise we do when we make Chateau Haut-Brion every year,” as if there were qualitative parallels between Clarendelle and Haut-Brion, a Bordeaux First Growth. Nor did the reporter follow up when Prince Robert said his goal is “to create a super premium brand from Bordeaux that goes beyond the chateaux.” This suggests, to the average reader, that a negociant brand, made from leftover grapes in Bordeaux not good enough to go into top crus, can be as “super premium” as the wines from “chateaux,” a nonsensical statement on its face. Any Bordeaux producer can call himself a “chateau,” but most consumers will assume, quite mistakenly, that the word “chateau” applies only to the Lafites, Latours, Moutons and, yes, Haut-Brions of Bordeaux.
The Prince has been hitting the streets promoting Clarendelle. There’s a story in this Japanese magazine, “Lisa Your Family Magazine,” that calls Clarendelle “a trendy wine” (that’s what the link on Clarendelle’s website says). The Prince recently told the Chinese publication, Beijing Youth Daily (BYD), that “Clarendelle has incorporated the balance, elegance and spirit of Haut-Brion,” and in the course of that Q&A, the following howler occurred:
BYD: If you compare Clarendelle with other class-one wines from Bordeaux area like Mouton Cadet, how do you think Clarendelle differs from all other wines?
PRL: Please don’t make comparison between our wine and others…Clarendelle does have a very limited production…and it is super premium.”
Limited though the production may be, Clarendelle is sold in at least 18 countries, and is served in Conrad Hilton Hotels and on Swiss Air Lines.
Prince Robert also went to Moscow to promote Clarendelle. The article in Passport Moscow says “Clarendelle is a super premium class wine and is the new project of Prince Robert,” which words sound right out of Prince Robert’s mouth. Then the Prince is quoted as saying, “We trust, that connoisseurs of wine search for names which they trust and which represents alternatives to existing brands. Creating Clarendelle, the team of our wine makers aspires to find and make the best of the potential of Bordeaux terroir and from the from centuries of knowledge which this region possesses”. The typos and other mistakes are no doubt due to translation or language difficulties, but the underlying gibberish is clear.
Is Clarendelle wine any good? I haven’t had it, but my colleague, Wine Enthusiast’s European editor, Roger Voss, has. He scored it between 83 points and 87 points. He called the 2005 red “awkward [and] stalky” and said it left “bitterness” in the finish. But then, Roger is an accomplished wine taster, impossible to fool with associations with “chateaux,” and not likely to believe a wine is trendy because it says so in a magazine. Nor is Roger the type to describe Mouton-Cadet as a “class-one” wine.
Maybe I’m being too harsh on the Prince. A guy’s gotta do what he’s gotta do, especially these harsh days when First Growth Bordeaux is a hard sell to everyone except Asian billionaires. Still, it rubs me the wrong way when people like the Prince — who is basically a P.R. guy in an expensive suit — take advantage of the gullibility of naive people by telling them falsities, such as Clarendelle is like Haut-Brion because it’s made from the same grape varieties. Wide-eyed reporters in Moscow and Beijing actually believe that kind of thing. Then they write it up, and their even more credulous readers believe it, go and out seek the wine, tell their friends, and there you go: A trend is born. Clarendelle ends up being a “class-one” super-premium wine, even though it’s just another supermarket brand.
Are wealthy Chinese wine buyers “opening [Bordeaux] with their friends, rather than just using them as an investment,” as the Bordeaux Wine Council attested last week, or are “Speculators, not drinkers…likely to be the biggest Chinese buyers of Bordeaux,” as a Decanter survey, also released last week, just found?
The two statements can’t both be true.
I can understand why the Bordeaux Wine Council, a P.R. arm of the Bordeaux wine industry, would want to convince itself, and the world, that the Chinese are actually drinking their Bordeaux, and not using it like poker chips. [Disclosure: this blog has the honor of being on the Council’s blogroll, one of only nine to make the cut.] It doesn’t do Bordeaux’s image any good to be associated with rampant speculation.
The Council also is sensitive to the rather severe hit the Bordeaux market in China suffered earlier this month, when media around the world revealed that the “unprecedented speculation” is now giving rise to “fears of fraud…among the super-rich in China” concerning fake wine, as was reported, for instance, by The Telegraph.
The article reported unbelievably obtuse demand among China’s nouveau-rich for 2009 Bordeaux, and quoted a Hong Kong broker as saying people were “coming in with blank chequebooks saying, ‘Just tell me the number I need to write’.” That kind of blind madness naturally greatly increases “the opportunities for fraud,” the article said.
The proximate cause of the madness was (who else?) Parker’s pronouncement that “2009 may turn out to be the finest vintage I have tasted in 32 years of covering Bordeaux.” [Of course, if the '09s are duds, Parker can always say, "Well, I said may...".] If that sounds familiar, it’s because it uncannily resembles what he wrote of the 2005s: “One thing I am sure of after twenty-eight years of tasting Bordeaux wines every March is that 2005 can not be compared to any previous vintage in my experience.”
The Man does know how to turn a phrase! (And if anybody can come up with “greatest vintage ever” statements from Parker for other vintages, you win a free subscription to this blog.)
It’s obviously not in Bordeaux’s or in Parker’s interests for anyone to think the Chinese are just a bunch of fools buying up fake “Lafitte” from unscrupulous con men.
Fine wine must avoid the taint of fraud like an STD. Bordeaux has done a pretty good job keeping its hem out of the mud for centuries, but then, there’s never been a market as unsophisticated, gullible — and rich — as China. Although only about 14 million of its population of 1.3 billion currently buys wine, they do show an alarming naivete, and China’s potential down the road, as it gets richer, is clearly staggering. The Bordelais, with a centuries-old eye to emerging markets (Russia, Britain in the early 1800s, America in the 20th) know it. Mouton Cadet just opened their first wine bar in the southern Chinese city of Guangzhou, where they will pour, not only their plonkish basic Bordeaux (which my great colleague, Wine Enthusiast’s French editor Roger Voss, gives fairly dreadful reviews to), but d’Armailhac, Clerc Milon and, yes, Mouton itself. Never mind that falsely-labeled Mouton Cadet already has made its appearance in China. Can Mouton Rothschild be far behind?
Bordeaux and Parker are so intertwined, it’s almost like they co-brand each other. Parker essentially brought Bordeaux back from the dead with his 1982 declaration of the vintage, and France in turn returned the favor, with former President Jacques Chirac awarding him the Legion of Honor.
The Western world, where both Bordeaux and Parker made their reputations, is one of law, orderly commerce [usually] and a go-for-the-jugular Fourth Estate dedicated to fraud-busting. China is a whole other ballgame. If fake Bordeaux — and fake Rhône and California wines, which Parker also reviews — become a significant problem in China, that could mar everybody’s reputation. And you can bet it’s already happening. “California wineries also face a threat common to many industries in China — copycats,” reported this article from the San Jose Mercury News just two weeks ago. It quoted Wu Jianxin, owner of a Beijing wine club, as saying, “There are a lot of fakes and the government has one eye open and one eye closed…The fake wine industry will employ a lot of people.”
Wineries stand to lose more, in the way of reputation, than does Parker, whose personal integrity is undoubted. Still, the partnership between Parker and the Bordeaux wine trade in China now has a third seat at the table: crooks. How will they both handle it?
“It takes a lot more than good cooking to make a restaurant a success,” said the president of Emeril Lagasse’s corporation, in this Associated Press profile of the celebrity chef, who was basically bought out by Martha Stewart and now works for her Omnimedia empire (no disrespect intended. Everybody has a buyout price).
If any two people in the wine and food world understand the concept of branding, it’s Lagasse,TV’s most famous chef (what, you think it’s Rachel Ray?), and Stewart, the grande dame of lifestyle mavens. They’ve entered the pantheon of celebrities whose first names alone are instantly recognized by millions.
However cheesy you may think Emeril and Martha are, there’s no denying that both have been fabulously successful in their chosen careers. They have lessons to teach to two populations in particular whose thoughts tend to wander toward questions of branding: bloggers and wineries.
What Emeril and Martha understand — Steve Jobs, too — is that America is a brand-oriented consumer culture. People want and need to buy stuff, but they’re fundamentally insecure (especially in this awful economy), so they look for proven names they trust. That’s what famous brands depend on: America’s trust.
But trust isn’t forever, as Toyota is learning the hard way. If it was, Radio Shack would still make the most popular computers. Especially in turbulent times such as these, with the economy reshaping itself into who knows what, and the Internet shaking everything up, there are opportunities for wineries that are not yet brand names but would like to be. Every generation presents such chances, as Robert Mondavi understood in his bones. So what lessons do Martha and Emeril have to teach wannabe brands?
The first is that, in our American meritocracy, anyone can become branded. That doesn’t mean everyone can, or will. But if Emeril and Martha — two basically weird people — could, you can, too. They did it with a combination of chutzpah, talent in their skills (Martha personality, Emeril cooking), organizational talent and an innate understanding of P.R. that’s reflected in relentless self-promotion.
I started this post with the quote “It takes a lot more than good cooking to make a restaurant a success” for a reason. Lots of chefs cook well, but their restaurants will never be successes. And lots of people make good wine, but they will fail in the long run or even the medium-short. What then makes for success?
There’s also luck. Most people who have made it will tell you they were in the right place at the right time. But since luck is incapable of being managed, we can eliminate it from our playbook. Let’s look at this from a winery point of view. First of all, they have to be good at what they do, i.e. making wine. You’ll never build a successful winery if you’re turning out crap. This implies that you have to know the difference between “good” and “crap,” which isn’t so easy, to judge from what I taste out there.
It also helps to put a face on the winery. That’s another thing Robert Mondavi understood. Randall Grahm, too. Most successful wineries have a front man. It can be the winemaker (e.g., Bob Cabral at Williams Selyem) or the owner (Jess Jackson). The public likes faces; Kentucky Fried Chicken wouldn’t have made it without Colonel Sanders.
And the face needs to connect with the public. That’s a mysterious alchemy. Not everyone can connect. Hollywood directors can tell the difference between a face the camera loves, and one it doesn’t. Consumers can tell the difference between a face who cares about them, and one that’s just going through the motions. Colonel Sanders connects.
I mentioned Bob Cabral. He’s a great face for his winery. He’s interesting and friendly and funny. He connects in a human way. Granted, Williams Selyem was famous before Bob came onboard, which made his job easier; but he’s still a role model for itinerant winemakers who go on the road. Nothing cheesy or tacky about Bob Cabral. He can warm up an audience like a seasoned pol, and make them feel like he’s speaking personally to each and every one of them, heart to heart and mind to mind. Bloggers need this quality, too. The public will read blogs if they feel a face coming through, a real spirit behind the words. In the chaos and uncertainty that seem to be descending on American culture, people more than ever long for a personal connection with their leaders, and with the products they buy. Sarah Palin, too, understands this, even if it’s just about the only truth she does get.