Two articles struck me this week, in publications that, you might say, are diametrically opposed to each other: The New York Times and Playboy. While the topics are different, I hope to be able to draw a connection between them, as concerns our current wine culture.
The Times article was about a fashion designer, Isabella Blow, whose glory years were the 1970s-1990s, and who now is the subject of a retrospective in London. Isabella was certainly a couture eccentric: the author, Andrew O’Hagan, describes her wearing “giant mink antlers” and “a sneering mouth so red with lipstick that it was like an open wound.” (Blow is Lady Gaga‘s spiritual grandmother.) She had a “phantasmagoric sense of fashion [and] beauty” that O’Hagan says is missing today, when too many people are mere “imitators” of fashion, “publicity scavengers…who think it’s merely about fame or attention.”
Other style setters whom O’Hagan admires are the famously infamous writer Quentin Crisp, Anna Piaggi, who wrote for Vogue, and the recluse Edith Bouvier Beale, Jackie Kennedy’s cousin, who lived and died alone in a falling down mansion filled with garbage, even as she dressed as outrageously as anyone in the Hamptons.
O’Hagan’s point isn’t necessarily a new one: celebrate style. Be yourself, and unafraid to show the world who are are. He quotes another of his muses, Elsie de Wolfe: “Only those are unwise who have never dared to be fools.” When I read that, I immediately thought of those California vintners who are daring to march to a different beat from today’s consumer favorites. Not for them another oaky Cabernet Sauvignon or Chardonnay. No, they want to split off from the crowd and explore niches that interest them. I think of someone like Marimar Torres. True, she makes great Pinot and Chardonnay, and could easily get by with only them, but instead she pops out of the envelope with such interesting blends as her Chardonnay-Albariño and Syrah-Tempranillo. There’s Cambiata, whose Tannat is at the top of the list in California, even though most consumers wouldn’t know Tannat if it walked up to them and punched them in the nose. Or ONX’s Reckoning, which daringly combines Syrah, Petite Sirah, Zinfandel, Tempranillo and Grenache in a wholesome way. These are wines of a certain eccentricity, perhaps not for everyone: but they are wines of beauty and artistry.
The Playboy article, Talkin’ ‘Bout Your Generation, is funny and trenchant. The writer skewers every generation born during the 20th century (including mine, the Baby Boomers) right through Generation Z (born after 2000). You have to smile as you read his descriptions. Here’s a snippet from “Generation Y, AKA The Millennials”: “They’ve earned the nickname the Me Me Me Generation for a reason: They’re three times more likely than Boomers to have narcissistic personality disorder. Materialism and a lofty sense of entitlement–minus the means to realize their caviar dreams–have contributed to breathtaking delusions of grandeur. Generation Y is arguably the most medicated on record, their hazy state and sedentary social-media lifestyle contributing to a rise of obesity and its BFF, diabetes.” As for their obsession with social media: “Millennials who tried to quit social media showed the same symptoms as drug addicts in withdrawal.” Ouch.
I’ve tried to live my life in a way where I didn’t much care what anybody thought of me. And I like people who feel the same way. People of style are generally people of honesty and integrity. You can’t have integrity if you follow the herd, because having integrity takes guts. You have to be willing to take risks, to split off from the mainstream and explore new, and sometimes unpopular, dimensions. When I was in grad school, I’d take BART (the San Francisco subway) to S.F. State, outbound from downtown, and look at the mobs of people on the platform across from me, heading to the office towers of downtown. They all looked the same, dressed in severe business attire (men and women; we called it Financial District drag), with their little leather attaché cases and bored faces. I didn’t scorn them so much as feel sorry for them. They were just doing what they thought they were supposed to do–what everyone else was doing–what they hoped would bring them money and happiness.
Perhaps as a child of the Sixties I tend to romanticize the outlaw view, that people who “celebrate diversity” (to use that phrase) contribute more to humanity’s spectrum and upward spiral than those who remain confined within narrow limits. (I think of Steve Jobs in that respect, a hippie if ever there was one.) My sense of style tends to conform to O’Hagan’s; as he writes, “the true eccentric gives us more mystery, more wonder about being human, a new side to beauty…”. Wine is like that, too. There aren’t very many eccentrically mysterious wines being produced today in California, because most proprietors are too concerned with the bottom line to take risks. But I sense that may be changing. As for those Millennial social media addicts, I suppose the ultimate risk would be a Digital Sabbath: put the smart phone down and connect with the real world.
I’m off to Seattle today to celebrate Thanksgiving with my “northern” family. I’ll try to post something every day this week. Meanwhile, here’s wishing you a happy, healthy and safe Thanksgiving!
The vintages 2003-2007 were fantastic ones for Laetitia, and while quality seems to have leveled off lately (could it be the cool summers in an already cool region, Arroyo Grande Valley, so that the wine aren’t as voluptuous?), the wines remain compelling. So I was not surprised to read this article, in The Drinks Business, which describes a tasting of California Pinot Noir, hosted by Karen MacNeil at the Rudd Center in St. Helena, in which Laetitia outclassed everyone else.
Karen’s panel tasted 126 Pinots; of these, 18 wineries made the final cut, and they certainly represent the pick of the litter in California: Brewer-Clifton, Au Bon Climat, Samsara, Martinelli, Joseph Swan, Williams Selyem, Kosta Browne, Failla, Littorai, Foursight, Peay, Scribe, Pisoni, ROAR, Siduri, Sanford and Paul Lato, in addition to top-ranked Laetitia. (Doesn’t this list make your mouth water?) Karen is certainly correct when she observes, “In the last 10 years, the quality [of Pinot Noir] has skyrocketed faster than any other variety.”
Karen also is correct in noting the vast geographic spectrum in California in which great Pinot Noir is produced: a stretch of 500 miles, from Anderson Valley all the way down the coast to the Santa Rita Hills. That’s pretty remarkable, in a world where most wine regions are maybe 20 or 30 miles across. You can attribute California’s success to the fact that the entire coast, despite being chopped up into the political subdivisions of counties, is essentially one vast terroir in which similarities of climate (always more important than soil in California) are far greater than differences.
I’d like to add some wineries to Karen’s list of “sensational” producers: Flowers, W.H. Smith, Bonaccorsi, Merry Edwards, Golden Eye, Talley, Tantara, Lynmar, Marimar Estate, Bjornstad, Hartford Court, Foxen, Longoria, Ojai, Sea Smoke, Babcock, Morgan, Testarossa, Rochioli, De Loach, Dutton-Goldfield, Paul Hobbs, Byron, Cambria, MacPhail, Gary Farrell for starters. The problem with trying to come up with a classification of great Pinot Noir wineries in California is that every month there seem to be a few more.
As for regions, I couldn’t pick any of California’s Pinot Noir appellations as being better than the others. They’re different. Santa Lucia Highlands Pinots are big, tannic and juicy; Carneros is more delicate. Santa Rita Hills Pinots are fabulously delicious and spicy, while the far Sonoma Coast’s brim with fresh acidity and wildland ferality.
Speaking of Pinot Noir, the schedule is out for 2014’s Kapalua Wine & Food Festival, at 32 years the nation’s oldest. It runs from June 12-15, at the beautiful Ritz-Carlton, on Maui. You may recall I headed up last year’s panel on Pritchard Hill. This year, we have something just as exciting: top wineries and wines from the Santa Lucia Highlands. Tickets go on sale starting Feb. 15. This is not an inexpensive festival to go to, but believe me, if you haven’t been, it’s worth every penny. And not just for the wine: those late nights by the pool are memorable.
I’ve tasted only about 700 wine for Wine Enthusiast from the 2012 vintage (the number should eventually rise to several thousand), but based on what’s come in so far, this is going to be a hugely successful year for Cabernet Sauvignon, Chardonnay and Pinot Noir.
Most of the better red wines have yet to be released. But a few early Pinots show the vast promise of the vintage. Santa Arcangeli made a 2012 Split Rail Vineyard, from the Santa Cruz Mountains, that knocked my sox off, while early ‘12s from Siduri, Reaper, Orfila, The Gardener and Patz & Hall all scored above 90 points. I would expect that, in two years or so when we’ll have the lion’s share of top coastal Pinots in, there will be lots of 95-and-above scores, and maybe–who knows?–some perfect 100s.
Very little 2012 Cabernet has come my way yet, mostly under-$20 stuff, but even this grouping, which can be so mediocre, has lots of scores in the 86-88 point range, with wines showing plenty of vigor and good fruit. Cabernet in tnis price range is frequently disappointing, with thin flavors, so when you get a bunch of nice ones, it bodes well for what’s yet to come. So 2012 could really be a blockbuster Cabernet year.
The 2012 Chardonnays, however, are now pouring in. I would characterize them overall as elegant, well-structured wines. What they may lack in opulence they more than make up for in balance and class. I have a feeling, though I can’t prove it, that vintners are dialing back on ripeness and/or oakiness, in favor of acidity and freshness. A Foxen 2012 Chardonnay, from the Tinaquaic Vineyard of the Santa Maria Valley, typifies this lively style, combining richness with minerality and tartness and alcohol well under 14%. Even unoaked Chardonnays, such as Marimar Torres’ Acero bottling, are so delicious that they don’t really need any oak. So, again, 2012 should prove to be a fantastic Chardonnay year.
It’s not just the Big Three–Chardonnay, Cabernet and Pinot Noir–that show such promise in 2012. A handful of Sauvignon Blancs that have come in (Ehlers Estate, Atalon, Matanzas Creek, Cosa Obra, Capture, Rochioli, B Cellars, El Roy, Longmeadow Ranch) show the ripeness and acidity that variety needs, without any of that annoyingly unripe, cat pee pyrazine junk. And Viognier, which is probably the most difficult white variety of all to get right in California (not too green, not too flabby and sweet), shows real promise, as indicated by bottlings from Pride Mountain, Qupe, Kobler and Nagy. The wines are racy and balanced. I could say the same thing about rarer whites, such as Bailiwick’s Vermentino, Birichino’s Malvasia Bianca, Grüners from Zocker and Von Strasser, white blends such as Vina Robles’ White4, Roussanne (Truchard), Albariño (Longoria, La Marea and Tangent), and dry Gewurztraminers (Gundlach Bundschu, Claiborne & Chruchill)–all these are 90 points or higher, exciting to drink, mouthwatering, ultra-versatile with food. And finally, rosé. Up to now, it’s never been my favorite California wine (too flabby and sweet)–but 2012 could change my mind. The few I’ve had so far (Lynmar, Chiarello Family, Ousterhout, Gary Farrell, Demetria)–wow. Dry, crisp, delicate and fruity, just what a rosé should be.
So here’s to many more magnificent 2012s to come. It will be the best vintage in many years, at least since 2007–and all the early signs are that 2013 could exceed it.
Thanks to Massimo di Constanzo for being my tour guide yesterday in Coombsville. This is Napa Valley’s hinterlands, a sleepy region of little homes and twisting country lanes that would be easy to get lost in. I’ll have much more to say about Coombsville in my upcoming story in Wine Enthusiast, but for now I just want to comment on the feeling I get when I visit a place that just reeks of terroir.
Terroir: there it is, that awful word again. I’m both a believer in it, and a scoffer of many of our official appellations that claim to have terroir but in reality don’t. But there are indeed places that look like they have terroir. Coombsville is one. So is Ballard Canyon, down in Santa Barbara County. So is Mount Harlan, where Calera does their thing. Edna Valley oozes a sense of terroir. So what do I mean by “places that look like they have terroir”?
For one thing, they’re fairly small in area. You can eyeball the entire appellation (pretty much so, anyway) from one point of elevation. Even if you can’t see the whole thing in one swoop, you can see the appellation’s unity on a topo map. For instance, this image of Coombsville
shows clearly how the region is so delineated: tucked into a crescent-shaped bowl beneath the Vacas that descends from rolling foothills down to the Napa River, where the flatlands of Napa City take over. Doesn’t that look like “a place”? It’s not sprawling, like Paso Robles. Nor does it even have much of the east-west spectrum of, say, Oakville. It looks like It has a unity of climate, soils and exposures, which is why you’d expect to find a similarity between wines of the same variety or blend. And you do. And that’s what I call regional terroir.
I’ve been lucky in having tour guides like Massimo help me all my career. When I first visited the Santa Rita Hills, it was Greg Brewer who took me all around. Andy Beckstoffer once gave me the royal tour of Rutherford, an experience I’ve never forgotten. Greg Melanson was kind enough to helicopter me (twice) over Pritchard Hill, an experience beyond praise; being 900 feet up in altitude is absolutely the best way to get the lay of the land. Michael Terrien once shepherded me around the Napa side of Carneros; walking that land showed me that the area is more complicated than I’d thought.
There’s a symbiosis between the wine writer, on the one hand, and the people he writes about, on the other. We need them, as much as they need us. Ultimately, our interests don’t necessarily coincide, but, there’s a mutual respectfulness–in the best of cases, anyhow. I’ve met a few vintners and growers in my time who were models of incorrigibility. But not too many, fortunately; this is a pretty well-behaved field to work in.
To Napa today to explore the Coombsville region, where I’ve been only 2 or 3 times before. Although I’m armed with some pretty good directions, there’s an insecure part of me that always fears getting lost on these wine trips. Especially when it’s raining, as it will be today in Napa. Anyway, I’ve been tasting the wines from most of the producers from Coombsville lately and must say I’m impressed. I had only a vague notion of what that southeastern tip of Napa Valley is capable of. Now, I have a little more–which I hope will be augmented by today’s trip. I’ve always said, you can’t really appreciate terroir without walking it. I also love topo maps that show where the local weather influences come from (in Coombsville’s case, San Pablo Bay), but also how the lay of the land (in Coombsville’s case, the southern spur of the Vacas) helps shelter it from the winds of Carneros. Interesting stuff.
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Met up yesterday in San Francisco with two fine winemakers, Fintan Du Fresne, from Chamisal in the Edna Valley, and Michael Beaulac, who presides over Pine Ridge, in Napa Valley. A pleasure to taste through some of their latest releases, and also to learn a little more about their hopes and aspirations. I mentioned to Fintan that I don’t have a good understanding of the ageability of Edna Valley Pinot Noirs, so we’re going to try and get together a vertical of some of the wines from down there. Naturally, being with Fintan, the subject of screwtops came up, and I told him what a total non-issue it is for me. However, I understand that consumers remain puzzled. We writers are working on educating them, but it takes time.
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Thursday, I think, is Beaujolais Nouveau day, if I’m not mistaken. I haven’t had one in years, but I used to go to Kermit Lynch’s big parking lot party in Berkeley every Nov. 21, where he’d serve up vast quantities of that purple, slightly fizzy stuff, and serve it with what may be the best food to drink it with: grilled sausages. Here in California, Montevina used to make a Zinfandel Neuvo, using the carbonic maceration method, which was pretty much the closest to Beaujolais Nouveau we’ve ever had. (Am I forgetting someone else? I’m sure a faithful reader will remind me if I am.) That Montevina was a wine I loved! But alas, it didn’t seem too popular with the mass consumer market, and to the best of my knowledge Montevina discontinued it. Too bad; nice wine, and you could chill it. Yesterday, Fintan asked me what’s new in California wine, from my perspective. My immediate reaction: Two great vintages in a row (2012-2013) after two, and possibly three (counting 2009) difficult ones. But I added, also, that I find California to be in a very conservative mindset, vis a vis the wine industry. Not much innovation, like that Zinfandel Nuevo of long ago. I thnk the Recession scared the daylights out of producers, and when a producer is frightened, he’s loathe to try new things, instead doubling down on tried-and-true products.
If you’re in California–stay dry! But we need the rain.
If you’ve been wondering just exactly what changes are afoot at the San Francisco Chronicle’s Food & Wine section, you won’t be any the wiser for reading this scoop Q&A with the paper’s managing editor, Audrey Cooper, which appeared late last week in San Francisco magazine’s online edition.
The news that the paper’s “Stand-Alone Food Section Faces Demise” hit the Bay Area like a lightning bolt last week when it was reported in the New York Times. The local Eater website picked up on it and headlined their article, “San Francisco Chronicle to Shut Down Its Food Section.”
Kudos to Audrey for giving the interview to San Francisco Magazine, even if her responses raised more questions than they answered. After all, we can’t really hold it against her if she, herself, doesn’t know what’s going to happen. I suspect that the Hearst Corporation, which owns the Chron, will have the final say in the eventual outcome.
What this story speaks to are two things: One, the ongoing evolution of print publications, with all their travails as they lose younger readers and advertisers; and the Bay Area’s absolute, unflinching need for a print publication of record that will deal intelligently and analytically with our food and wine culture.
Dealing with the latter point first: If you’ve ever been to San Francisco, its suburbs and nearby wine country, you know that the pleasures of eating and drinking are near and dear to our hearts. We tend to over-glamorize the expensive restaurants, like Meadowood, La Folie and Commis, but if they were all that the Bay Area had to lean on, our food culture would collapse. No, the truth is that it rests on a solid foundation of affordable, ethnic-based cuisine, ranging from Korean and Ethiopian to Vietnamese and Afghan, and probably a hundred others. Where do you think the city’s top chefs eat when all is said and done? They head over to some noodle joint.
So whatever happens at the Chron, Audrey (and her employers) understand full well that the paper’s readers expect continued coverage of the restaurant scene. That means the chief restaurant reviewer, Michael Bauer, isn’t going anywhere, and neither is Paolo Lucchesi, who writes the gossipy The Scoop (and whom I’ve invited to be on this blog numerous times, but he always turns me down. Come on, Paolo!).
And what of Jon Bonné and his wine reporting? Northern Californians recognize Jon as one of the most important and compelling voices in wine journalism and reviewing. I don’t always agree with his conclusions, but I read him avidly. In the Q&A with Audrey, the reporter didn’t ask anything about the wine section (I wish she had), but I can’t see anything bad happening to it or to Jon. There would be an uproar in San Francisco if the Chron diminished its wine coverage.
So this gets us back to the former point I made: that the story speaks to the ongoing evolution of print journalism. While Audrey’s answers were notable for non-specificity, she did mention advertisers twice, but in ways that are potentially troubling. For instance, she said that whatever changes are made, they will hopefully be “better for readers and for advertisers.” Of course, the meaning of the word “better” is different for those two groups, whose interests don’t necessarily coincide, and may sometimes collide (although the most important goal both advertisers and readers share is the Chron’s continued existence.) Along these lines, Audrey also said that before management makes any final decisions, there will be “a lot of…reader feedback [and] advertiser feedback.”
Here’s my advice to Audrey and senior management at the Chronicle. Let Jon be Jon, let Paolo be Paolo, let Michael be Michael. Shield them with all the power you can from feeling the pressures of advertising. This isn’t always easy for an editor, who, after all, reports to a publisher responsible for a bottom line; but it’s necessary in order for a paper to maintain its editorial integrity, and thus the trust of its readership. As for the Chronicle generating more revenue, I don’t know how to make that happen, but messing with the Food & Wine Section can’t possibly help. What corporations in America always should keep in mind is that cutbacks are double-edged swords: Yes, by eliminating staff and certain expenses you can save a little money. But you have to ask yourself what else you’re losing in the process. You don’t want to throw out the baby with the bathwater, so to speak.