It’s an old saw by now: Sonoma County winemakers lament that when they’re on the road, promoting their wines, people ask them, “Where in Napa Valley is Sonoma?”
It would be funny, if it weren’t so sad. Readers of this blog obviously know all about Sonoma County, and how it has 11 different American Viticultural Areas. But my readers are a special breed. The fact is that the majority of wine drinkers in America and abroad don’t know enough about our geography. That’s not their fault, of course. Why should they? Instead, it’s the responsibility of the Sonomans to engage in an educational campaign to let people know that Sonoma is not in Napa Valley and has nothing to do with Napa Valley (except that the two areas are next door to each other).
Now, it turns out that the Sonoma County Vintners is doing just that. The Santa Rosa Press Democract wrote yesterday that a coalition of some 50 “local wine industry leaders” from Sonoma worked together last year to come up with a plan. I’m not privy to the details, but the article says the committee “selected three words to define the wine region’s character: genuine, independent and adventurous.”
Educational campaigns of the sort the Sonomans are attempting are very difficult. You have to un-do the incorrect perceptions people have, which experience teaches us is extraordinarily hard, and then replace them with correct perceptions. You have to communicate to millions of people, which in a huge country like the U.S. is almost impossible and also terribly expensive, so fractured are our communities and media. And if you roll in foreign markets, the job’s even more challenging. It can be made a little easier by narrowing your focus, so instead of trying to talk to everyone, you zoom in on a select audience; call it the “cable TV approach.” It sounds like the Sonomans are doing just that: they will target “’experience seekers’ who enjoy traveling and dining out,” in other words, people with money in their pocket to pay premium Sonoma prices.
I wonder about that “genuine, independent and adventurous” thing. It sounds to me like it came out of a committee. Yet the devil’s in the details. “Genuine” is good: it implies that Sonoma wine comes from a real place that’s ideal for fine wine production, and made by real, passionate people, all of which is true. “Independent” is a little murky. Independent of what–big corporations? That’s not strictly true; Sonoma is no more “independent” than anyplace else, as far as I can tell. “Independent” is a nice word, but what is the message the Sonomans hope to communicate? Then there’s “adventurous.” I can practically hear the discussion that led up to that: “Let’s be the maverick to Napa Valley’s mainstream.” Since they can’t be Napa Valley, they can be the scrappy alternative, the choice of wine lovers who don’t want to go the predictable route. This is a little risky, since there’s always a downside involved in adventures. After all, some adventures go horribly awry. But in general, “adventurous” works in advertising, especially with a younger demographic that’s into taking chances and exploring new things.
I hope the new marketing approach works. Sonoma County has had this identity problem for years, compounded by a certain tension between the sub-appellations (Dry Creek Valley, Russian River Valley, Alexander Valley, etc.), individual wineries and the Mothership. It’s been hard for all the parties to work together in harmony; in this, Sonoma’s been a little behind some of the other wine counties in California. It will take time, but I do believe the Sonomans can make it work. It’s hard selling a phony message, but in this case, the message is true: Sonoma really does produce some of the greatest wine in California. And it’s not in Napa Valley.
I’m unable to participate in Rusty Eddy’s class on Winery P.R. at U.C. Davis this year, because I have to be–no, make that want to be in Santa Barbara on Dec. 2, but I promised Rusty I’d give the class some promo, so here it is: It’s this Friday, from 10 a.m. – 4 p.m. You can sign up online here, for a cost of $190. Worth it!
Participants in the class, at which I’ve guest lectured for years, are winery P.R. people, or those who want to be. They’re looking, I suppose, for any additional insight in how to be better at their jobs. Four or five years ago, there was barely a mention of social media in the class. Instead, attendees wanted to know about stuff like how to prepare a press kit, write a press release, and how to pitch an article to a wine writer. They also wanted to know about the 100 point system and the more arcane aspects of wine criticism.
All of a sudden, around 2008, it began to shift. Suddenly, blogs, Twitter and Facebook were all the rage. It was as profound a paradigm shift as you could ask for.
I wonder what the students will want to know about this year. My own feeling–and that’s all it is, a feeling, because I have no empirical evidence to support it–is that the social media thing may have peaked when it comes to winery P.R. I just don’t sense the excitement, the breakthrough gee-whiz breathlessness that accompanied social media 2008-2010. In that little window of time, social media seemed to be the be-all and end-all of winery P.R. and marketing, the magic bullet that would overturn traditional forms of publicity and replace it with an online revolution in which anyone could participate, more or less for free. Heady stuff, for a winery on a budget.
Looking back now, during this winter of economic and social discontent, it’s hard to believe how naive everyone was. Did people really believe that social media could sell out a warehouse of SKUs, with a single keystroke? They did. But that’s what happens when you have stardust in your eyes: you don’t see things clearly.
Yes, there always were voices of reason arguing that social media was but a single arrow in the quiver, and possibly not even the one that went the furthest or sank the deepest. But those voices were all but drowned out by competing views that social media had changed everything, was destroying traditional P.R., and would reward those who hopped on its bandwagon while punishing everyone who stayed off.
Be honest now. Does anyone still make that claim?
I think a couple things combined to make social media less of a star than it purported to be. One was inherent in the concept itself: social media is merely a way for people to mass-communicate. That’s good, but what does it have to do with selling wine? Not much. People said social media would replace other sorts of sales techniques with peer-to-peer recommendations. Actually, that happened all too well. The peer-to-peer space is shared by an expanding universe of sources. A million peer-to-peer networks result in a million different wines being recommended, each for about 15 nanoseconds of fame.
Another reason the social media revolution failed was because of the Recession. Funny how an event that seemed historic at the time can be vaporized by another event that has truly Historic with-a-capital-H ramifications: namely, the collapse of the global economy. Maybe, just maybe social media could have been more helpful for wineries, if there hadn’t been a meltdown and people actually had the disposable income to buy wine. But that’s a hypothetical situation we can dispense with.
Everything feels like it’s in stasis these days. Black Friday and Cyber Monday aside, nobody’s buying, nobody’s spending, nobody’s hiring, nobody’s lending. If I were a young grad student wanting to move into winery P.R. and attending Rusty’s class, I think my first question to his guests (Sara Schneider from Sunset and Paul Mabray from VinTank) would be: Now that we’ve seen the limitations of social media for winery P.R., what traditional approaches do you believe will work? If I had to answer that question, I’d say that in addition to (not in place of) social media, a winery should have someone representing it who is ultra-skilled at captivating the media. That person might come from internal P.R. or external P.R., or it might be someone like Robert Mondavi, Gary Pisoni or Jayson Woodbridge, none of whom needed P.R. agents at all because they were such dynamic geniuses on their own. Of course, not everyone has that level of flash, which is why God invented public relations. As to the exact form of P.R. that works, impossible to say. It depends on the winery situation. If there were a formula, everyone would know it by now. Obviously, there isn’t.
Anyhow, like I wrote, I’ll be in beautiful Santa Barbara this week, reporting for Wine Enthusiast, doing a big blind tasting of local wines and, hopefully, coming up with interesting posts for my blog!
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.