Writer David Darlington makes the case, perhaps unwittingly, for how hard it is to explain why alcohol levels are higher in Russian River Valley Pinot Noir than they used to be, in his article, “Accounting for Taste,” in the April issue of Wine & Spirits. (Sorry, I can’t find a link online.)
After first positing that today’s wines are, in fact, higher in alcohol than, say, twenty years ago—an unarguable statement—David makes his position immediately known, calling “so many so monstrous.” At one point, he even calls them “dangerous.”
Now these are awfully harsh words: surprisingly so, coming from the guy who wrote what is possibly the best book on Zinfandel ever, “Angels’ Visits.” But let us grant that Pinot Noir is not Zinfandel.
After having slammed so many Pinots, David at least has the reportorial curiosity to ask why alcohol levels have risen. He phrases his question thusly: “Are the winemakers responsible, or is it attributable to something beyond their control?”
And then cannot answer the question. Which is, of course, beyond his own control, for the fact of the matter is, there is no one answer why alcohol levels have increased. David certainly did his homework, interviewing multiple winemakers in an effort to find out why. Here are ten causes they suggested to him:
- vertical shoot positioning, as opposed to the California sprawl of old
- the market
- consumer preferences
- climate change/global warming
- Dijon clones
- longer hangtime
- super strains of yeast
- younger vines
- warmer fermentations
Well, that’s pretty much the whole nine yards! By article’s end, the reader’s impression can only be confusion. Why are alcohol levels higher now than they used to be? Who knows? Pick a reason—pick any reason—pick them all! But what does any of it have to do with Russian River Pinot Noir being “monstrous”? Well, with that remark, David at least is honest, if hyperbolic, about his bias.
The winery that David holds up for particular praise is Small Vines. I personally can attest to the quality of their Pinot Noirs: I gave them eight 90-points-or-higher scores over the years, and since I left, Virginie Boone has given them another four. With all this talk of low alcohol, I was curious to know what Small Vines’ levels have been. Google brought me to The Prince of Pinot; this article shows that alcohol levels in Small Vines Pinot Noirs varied between 13.2% and 14.5%, with seven of the 15 wines The Prince reviewed above 14%. This is not particularly low, and is in league with most of the Pinot Noirs I reviewed from coastal California, which were anywhere between 13.8% and 14.5%.
I’m glad David quoted the great Merry Edwards, who reduced the low-alcohol movement in Pinot Noir to incoherence. “The fashion norm is shifting now,” she told him; “people are listening to Raj Parr (the In Pursuit of Balance ringleader), and French marketing has convinced people that you should pay a lot of money for wines that are light and watery. I’m on the opposite side—we’re not in France, we’re in California”
Light and watery! You go grrl! When one has been in the arena as long as Merry (she’s been making wine since 1974), one sees “fashion” come and go with merry-go-round (excuse the pun) regularity—and one learns not to succumb to it.
It can be hard to resist fashion, if all you want to do is appeal to the latest trend. But winemakers who are dedicated to their art are not slaves to fashion. They stay the course; they know that style goes in and out, but that true quality in winemaking, as exemplified by Merry Edwards, remains undeterred by these perturbations in the critical aether.
Brother Laube comes out swinging against In Pursuit of Balance, in the Sept. 30 issue of Wine Spectator. (Sorry, no link. The Spectator has one of the best firewalls in the business. No subscribe, no read.) I’d been wondering how long it would take him. After all, Jim is famous for giving high scores to ripe, plush wines that can be high in alcohol—which is exactly what IPOB is against. You might even say that IPOB is the anti-Laube (and anti-Parker) establishment. So Jim had to declare himself sooner or later. He’s a nice, modest man who doesn’t pick fights, but even shy folks fight back, if attacked enough.
This isn’t to say that Jim is merely defending his own reputation. For there is something fundamentally irrational about IPOB. Jim implies this when he says that IPOB “admittedly [is] unable to collectively arrive at a definition of balance,” which is true enough: Ask around, and you’ll find that the majority of wine critics, sommeliers and merchants believe that the rationale of IPOB is for wines to be under 14% alcohol by volume. But I’ve heard co-founder Raj Parr say, at an IPOB event, that that’s not at all what IPOB is about. So what is it? IPOB’s Manifesto defines “balance” in rather boilerplate language. It doesn’t say anything about alcohol levels, only that alcohol should “coexist” alongside fruit, acidity and structure “in a manner such that should any one aspect overwhelm or be diminished, then the fundamental nature of the wine would be changed.” But there’s something tautological about that statement, not to mention deeply subjective. Which leads back to the question, What is IPOB really about?
Well, publicity, for sure. There’s some real marketing genius at work with IPOB, which in the few short years of its existence has become something of an insurrectionist force rather like, well, another 4-letter acronym group: ISIS. I Googled “In Pursuit of Balance” and came up with 155,000 hits, but that doesn’t even begin to measure the impact IPOB has had in sommelier circles from San Francisco to New York and beyond. IPOB has, in effect, gone viral.
Jim also referenced the “contentious relationship [that] has developed between somms and producers,” and I’m glad he did, for his voice carries weight. His message—to somms—is that if they don’t put certain wines on their lists just because of “a number” (alcohol percent), they do a disservice to their customers, who may prefer those kinds of wines. Somms, of course, are famous for not liking wine magazines and wine reviewers, who are threats to their existence: If all you need is a famous critic’s score, then somms would be out of a job. So joining forces with IPOB is, for a somm, a way of fighting back against a media elite they never much cared for anyway.
Be that as it may, this is not a quarrel among equals. For Wine Spectator’s senior columnist—one of the most powerful wine critics in America, if not the world—to throw down the gantlet to IPOB is a significant gesture. Jim has presented his case cogently and respectfully, and mostly without snark. (Well, “dim somms” wasn’t his invention, it was Helen Turley’s.) I think In Pursuit of Balance must reply to the rather serious charge that it fundamentally doesn’t know what it’s talking about.
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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.
I’ve been watching developments for the last few months concerning these new .wine and .vin Internet domain names. Not closely, just sort of casually. I knew there was some controversy about them, but I wanted to keep an open mind, and besides, who has the time nowadays to research every complicated issue of social, economic or technological policy?
So it was that yesterday’s big article (by my old friend Chris Rauber) in the San Francisco Business Times really grabbed my attention.
“Noted wine regions, including Napa and Sonoma, protest new .wine Internet domain names,” the headline screamed. In addition to the Napa Valley Vintners and Sonoma County Vintners, those opposed to the proposed domain names include the Paso Robles Wine Country Alliance, the Santa Barbara County Vintners’ Association and—in other states—the Willamette Valley Wineries Association, the Walla Walla Wine Alliance, and even the Long Island Wine Council.
Pretty impressive lineup. These are power players. I know the California regional associations quite well from my many years of rubbing elbows with them; with the power of their member wineries behind them, they possess clout. And they’ve been joined in their opposition by some powerful Congressional representatives: Mike Thompson (one of the senior Democrats in the House) and Anna Eshoo.
I can’t remember a time when so many regional associations joined forces publicly in opposition (or in support of, for that matter) a pending issue. So I figured I ought to look a little more deeply into what’s going on.
At first blush it makes sense to carve out .wine and/or .vin domain names. We all know the Internet is running out of domains and has been for years.
This is why ICANN, the corporation in charge of domain names, added additional ones to the more familiar .com, .org, .gov, .edu and .net—because “the internet—or .com at least—is running out of space. So many names on .com are taken that people and businesses have to struggle to find a suitable one.”
Enter .wine and .vin.
Two years ago, ICANN, in response to the problem, announced it would accept applications for additional domain names. It got nearly 2,000, many of them contested. ICANN decided to auction off the non-trademarked domain names to the highest bidders; the first auction was a year ago, and brought in over $9 million, through the sale of such domains as .club, .college and .luxury.
So what’s the problem with .wine and/or .vin? After all, even the U.S. government approves of the auction plan, which, after all, is an expression of classic free market principles. Last March, an agency of the Commerce Department declared that “ICANN is uniquely positioned…to develop the transition plan” toward a new set of domain names. Although the department urged ICANN “to convene global stakeholders to develop a proposal” for the transition—an encouragement to compromise and conciliation—the wine associations aren’t buying it.
Rauber writes: They “contend that ICANN’s plan includes ‘non-existent to grossly insufficient safeguards from illegitimate companies’ hijacking their names, histories and legacies. They claim ‘unscrupulous’ bidders could grab web names such as napavalley.wine or wallawalla.wine and in effect hold them hostage.” A spokesman for the Napa Valley Vintners told Rauber, “[H]is organization fears the proposal would ‘provide a new playground for nefarious actors to poach the place names of famous wine regions around the world.’”
These are serious and legitimate concerns. Nobody wants to see a situation wherein some for-profit wine company buys the rights to, say, “napacabernet.wine”, thus misrepresenting itself and its association with venerable Napa Valley. Napa “has had our name ripped off” before, the Napa Vintners spokesman said (most of us remember when and by whom that was!) and isn’t about to let it happen again.
You’d think that ICANN and other legal entities could address the concerns of those opposed by building in rights and protections for stakeholders, and that’s exactly what ICANN has proposed to do. They’ve created a “Legal Rights Objections (LRO)” mechanism by which disputes can be resolved when someone objects to “a third party’s application for a new TLD [top-level domain].” Negotiation is more or less normal operating procedure in our era of contention and litigiousness, but the wine region associations remain unconvinced, and certainly they have a point when they fear they’ll be forced to spend a whole lot of money, either on lawyers or on buying back the rights to names they want.
This is a sticky one, and I have to admit I’m not sure which side I come down on. What do you think? Should .wine and .vin be up for sale to the highest bidder?
We’ve seen it plenty of times before: “the next big wine variety” is just around the corner. But it usually turned out there wasn’t anything around the corner, except another corner.
Remember Sangiovese? In the late 1980s-early 1990s everybody swore it was the next big red wine. Cabernet Sauvignon, they said, was all well and good, but… And then there was poor Merlot, which had gone through its own “next big thing” earlier, but the pundits eventually decreed that it wasn’t good after all to achieve “next big status.” Thus, Sangiovese.
Why do we need “a next big thing” anyhow? We don’t, in reality, but “reality” needs to take account of the people in the wine industry who profit from a “next big thing” mentality. Those would be the so-called tastemakers: sommeliers and MWs, of course, who play an increasingly big role in the culture; wine writers (some of them), who have the journalist’s addiction to breaking “news”; and merchants, to some extent, who hope to capitalize on a “next big thing” by stocking their shelves with it before their competitors can.
Every few months, somebody discovers a “next big thing” and now, it’s the turn of the drinks business, a very good online journal that makes for must-reading every day. Their writers now tell us that “A native Armenian red and a white variety from the Peloponnese could be ‘the next big things in wine…’.”
Why would the authors have chosen two obscure varieties for stardom? Well, the white grape—Rabigato—because it’s “a high-quality and high-acid, age-worthy grape,” and the red– Alfrocheiro Preto—“for its ability to retain acidity, even in hotter climates.”
Understand, I haven’t had either of those wines. They do sound good and savory and, given the authors’ use of the word “lighter” to describe them, it sounds like they’re fairly moderate in alcohol. But “global potential,” as one of the writers asserts?
Several problems, at least in the U.S. (keep in mind that the drinks business is a British publication). For one, there is no Rabigato or Alfrocheiro Preto planted here (if there is, there can’t be more than a few acres). That means if either wine hits the jackpot, it’s going to have to be through an import. And imports have a hard time cracking the glass ceiling in this country. A few have made it (I’m thinking of Terlato’s Santa Margharita Pinot Grigio), but those usually benefited from big companies with large distribution networks. As far as I know, no large wine company is going to gamble on Rabigato or Alfrocheiro Preto. Why not? Because wine companies exist to make money, not lose it. They prefer to leave the risk-taking to smaller companies, and then, if things look good, they rush in and join the party.
So will small wineries do Rabigato or Alfrocheiro Preto? I doubt it. They have enough on their hands without having the headache of convincing people to buy and drink something they’ve never heard of and can’t even pronounce.
The truth is, America is a conservative country when it comes to wine preferences. People stick with what they know; their capacity to change is limited. Gatekeepers are more adventurous by nature, but there’s a limit to how much influence they actually possess among the public. Wine gatekeepers are like inside-the-beltway Washington pols: they live in a bubble that most people don’t really care about.
They call it “the gig economy,” a “growing tribe of independent contractors and freelancers who are hoping to transform hardship into opportunity on the sidelines of the nation’s traditional 9-to-5 economy,” in the words of a recent New York Times story.
The article reported on people in their 20s and 30s who, unable to land “real” jobs in this post-Recession economy, opt for the freelance life. Not only writers, but lawyers, website developers and many others, they exist from gig to gig, working out of their homes, or from wi-fi enabled coffeeshops, enjoying the freedom their unemployed lives give them–but worried also about paying the bills, much less saving anything for their retirement.
From the perspective of journalism, including wine writing, the gig economy should worry consumers who want solid, honest reporting. You can argue that a reporter who doesn’t actually work for anyone is all the more independent, because she doesn’t have to be concerned with how her publisher, editors, company CEO or advertisers feel. Instead, she can fearlessly investigate and report the news, and offer opinions (e.g. wine reviews) that are fiercely objective.
True. But there’s a risk in going the independent path. Several risks, actually. They include:
1. Not having the solid bench of staff a reporter needs to do the job properly. An old-fashioned newspaper had copy editors, fact checkers, librarians, ombudsmen and others who, working alongside the reporter, can ensure the greatest depth and credibility to her stories.
2. Working a consistent beat. Print reporters generally specialized: you had the police guy, the City Council guy, the science writer, the sports guy, the style writer, and so on. Specializing meant that the writer could get really knowledgeable about his field, getting to know the major personalities and thus offering a value-added perspective. In the new gig economy, it’s hard to get a job that’s consistent, and so the writer is forced to write about whatever he can get paid for at that moment (or whatever wine is coming in, willy nilly). It’s a scattershot way of reporting.
I don’t mean to suggest that wine writers in the gig economy can’t be good. They can. But it’s going to be increasingly hard for them to make a living, because wages in the gig economy just aren’t very high. That’s the whole point of a gig economy: it provides cheap labor to employers, who not only don’t have to pay well, but also don’t have to shell out benefits. And as low as the pay is, it can be even lower when the number of job applicants exceeds the number of job opportunities–as it the case with wine writing today.
What is all means for the future of wine writing is obscure. But it is very hard to escape the suspicion, or dread, that wine writing’s glory days are coming to an end. Not tomorrow. Not in five years. But in twenty? Unless there’s some kind of major shift in the paradigm–and I don’t know anyone who thinks well-paid wine writers are coming back.