Tag Archives: Punch

Wine & Politics — Strange Bedfellows or Drinking Buddies?

A few days after Christmas, the South African Twitter account @WineMag decided to resurrect the ghost of controversies past by revisiting Jon Bonné’s provocative article Why Is the Wine World So Un-Woke?.

By Neeta Lind - IMG_0416, CC BY 2.0,

Written in the aftermath of Anthony Bourdain’s suicide last summer, Bonné wondered why we didn’t have more writers who embraced Bourdain’s willingness to “tear down the false romanticism” around wine. Instead, wine writers seem to actively avoid covering sensitive topics or the industry’s unsavory elements.

Food, and food writing, may be guilty of its share of glossing-over, of preening and celebrity and the lionizing of malcontent, egoist chefs—not even at the Batali-Friedman-Besh level, but more subtly. It’s no different with tech, where Steve Jobs’ iconic status could overshadow the fact he wasn’t a terribly nice person. But when it comes to whistling past its problems, wine asks those other industries to hold its beer. Jon Bonné, PUNCH magazine, July 18th, 2018

Bonné certainly garnered a lot of attention (and interesting comments) when his post was originally published. But then, like many things in our ADD-driven culture, it faded from the conversation. At least it did until the December 27th tweet from @WineMag. That piqued the interest of Master of Wine Tim Atkins who retweeted it on his feed.

Then Whoa Nelly!

While I’ll comment on a few things below, I can’t possibly do justice summarizing all the many excellent points and divergent opinions in the thread, as well as the many side threads, that sprung up from Atkins tweet. Instead, I’ll encourage you to take a trip down the rabbit hole to read the insightful comments from Atkins, Artisan Swiss, Felicity Carter (the Editor-in-Chief of Meininger’s Wine Business International), Master of Wines John Atkinson and Elizabeth Gabay, Petri Pellinen as well as Bonné himself.

While Bonné’s original post wasn’t explicitly about wine & politics, several of the threads converged on the question about how “political” should we expect wine writers to be. Things took a particularly charged turn when Maureen Downey, probably the wine world’s foremost expert on wine fraud, shared her stark disagreement that politics and wine should ever mix.

This set off another cascade of replies and threads–including one where I finally poked my head. My tweet came in response to Felicity Carter’s comment that wondered if American and European folks were looking at Bonné’s article from different angles.

Why Go Red or Blue When You Can Go Rosé?

As I learned later, through a series of tweets by Jon Bonné, my political views and Maureen Downey’s are very different. I’m a moderate who disdains tribalism that puts people into red/blue, liberal/conservative camps. I personally don’t believe that any ideology has a monopoly on good ideas (or bad ones) which is why we should listen to each other and compromise.

While the vitriol of Downey’s political posts disheartened me, they still don’t sway my overall respect for her work. I feel it would be foolish to shun her expertize or boycott her company just because our beliefs outside of wine are so different.

But I fear that such a public outing of personal politics (even if they’re made in a public forum) would cause others to rethink their esteem of Downey. And that disheartens me just as much as Downey’s politics.

Simply put, I don’t want to lose the “safe space” of a wine community. I love that people from diverse backgrounds and beliefs can set aside their differences and share a common joy. Losing this sense of community is exactly what we’re risking when wine writers dive too much into politics.

Exceptions not Expectations

However, I don’t believe that the world of wine needs to avoid politics completely. I do somewhat agree with Bonné yearning for a Bourdain-type figure in wine. We do need writers who aren’t afraid of poking sacred cows or exposing the ugly side of the industry.

But I think those people, like Bourdain, are rare breeds. I shared this sentiment in a further reply on Carter’s thread.

It would benefit no one if wine writers were judged by how “woke” they were and how actively they covered political topics. Not everyone has the skills set (or tact) to tackle those issues in ways that move the conversation forward instead of disintegrating into pontification and invectives.

Those that have those skills should be valued and encouraged to write when they’re inspired. But for the vast many who don’t, their dabbling into political tussles is more apt to produce a landscape of replacing facts with opinions and emotionally charged slurs of SJW, liberals, right-wingers or conservatives slung about.

And where does that help? It certainly doesn’t help enhance the appreciation of wine. Nor would it edify anyone’s understanding of sensitive political issues.

Maybe We Need More Esther Mobleys Rather Than Anthony Bourdains?

If you want an example of a wine writer that has the skills and tact to write effectively about politically charged issues go check out Esther Mobley of the San Francisco Chronicle. Over the years, she has tackled some thorny subjects like the role of immigrant labor in sustaining the California wine industry and gender issues.

While you might be able to infer Mobley’s politics by her topic choices, you would be hard-pressed to peg her exact personal views down. That is because her work rarely speaks to her opinion. Instead, the scalpel she uses to cut deep into her topics speaks loudly enough for her. Sure, she’s not as blunt as Bourdain was in calling out perceived ills. But her thoughtful approach moves these delicate conversations forward.

That makes her far more effective as a wine writer than a wannabe Bourdain being a bull in the china shop.

If there were more Esther Mobleys writing about wine, I wouldn’t feel as cringey about the thought of wine writers being political. But just like Anthony Bourdain, Esther Mobley is a rare breed as well.

Not many can fill those shoes. I know I can’t. Which is why I’ll continue to keep my two Twitter accounts separate.

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Yeah, I’d Like To Know If I’m Drinking a Racist’s Wine

Photo by Walterince. Uploaded to Wikimedia Commons under CC-BY-3.0

So I can stop drinking it.

But here’s a thought that haunts me often when I open a bottle — How do I know?

It’s not like the back label is going to have a notice that this Nebbiolo “… pairs well with nativism and racial segregation.”

Outside of personally knowing the producer, a consumer’s only access behind the curtain is via the eyes and ears of wine writers and journalists. However, as Jon Bonné notes in his recent article for PUNCH, Why Is the Wine World So Un-Woke? many folks in the wine industry are oft too willing to gloss over the gross and loathsome side of the industry as well as the people who populate it.

Oh, Fulvio…

Photo by http://www.provincia.modena.it/. Uploaded to Wikimedia Commons under CC-BY-SA-3.0

By the way, the amount of news article and blog posts covering the Bressan incident that just talked about his racist attack on a “black cabinet member” was equally disturbing. She has a name–Cécile Kyenge.

In particular, Bonné cites the example of Italian winemaker Fulvio Bressan who went on a racist Facebook tirade against Cécile Kyenge, a black female member of the Italian cabinet, calling her and other African-Italians monkeys and gorillas.

In response, critics and writers questioned whether they should continue reviewing Bressan’s wines. Along similar lines, restaurant critics are grappling with the dilemma of how to handle reviews of restaurants owned by men who have been accused of horrendous behavior in the fall out of the #MeToo Movement.

I say review them. But give me the dreadful details.

Every review of Bressan’s Schioppettino or Verudzzo should have a link to the screenshot of his attack on Kyenge as well as his response which consumers can use to evaluate how they feel about supporting his winery.

 

But “Gotcha Journalism” is of No Benefit Either

The opposite of glossing over and overlooking the ills of the industry is not to start going on a righteous rampage to root out all the folks behaving badly. This is especially troublesome if the righteous rampagers are just trying to score clicks and indulge their inner-National Enquirer.

Nor should we necessarily let one comment (which may have been taken out of context) write the entire chapter. The benefit of the doubt is not just for the benefit of the accused but for everyone’s benefit as well to get the full breadth of the story.

While I appreciate Maya Angelou’s famous quote “When someone shows you who they are, believe them the first time.”, I don’t think we should ever disregard humanity’s capacity to change and grow.

But when people associated with a winery reveal this unsavory side to their character, it should be noted and publicized just as much as a systematic problem in the winery with cork taint would be.

Oh, Come On! It’s Just Wine!

I get this sentiment. I really do.

Living in a time that seems to get progressively more crazy with each passing day, it can be wonderful to escape into a world that is both simple in its pleasures and stimulating in its possibilities. With the pull of a cork, you can drown out the droning about tariffs and scandals, Brexit and borders.

When you look at a map of the vineyards of Burgundy while sipping a glass of Meursault, no one cares who you voted for. Sometimes at the family table, all you need is a good bottle of Cabernet to muse over. Suddenly, your relatives who were just at your throat moments prior about politics are now waxing poetically about that one trip they took to Napa many years ago. The way that wine can bring people together and push out the noise is truly beautiful and a much-needed refuge in this day and age.

I’m not advocating that we need to shutter that safe haven. But I am saying that when the troublesome history and values of the people behind our favorite bottles come to light that we recognize them for what they are–the wolf that is at the door to that safe haven.

Sure, we can ignore its howling and blissfully down another bottle. Eventually, though, we are going to have to step outside and that wolf–with its sharp teeth that have caused others so much pain–will still be there. Just because we haven’t been bitten ourselves doesn’t mean that our wound isn’t forthcoming.

First they came for the Socialists, and I did not speak out—
Because I was not a Socialist.

Then they came for the Trade Unionists, and I did not speak out—
Because I was not a Trade Unionist.

Then they came for the Jews, and I did not speak out—
Because I was not a Jew.

Then they came for me—and there was no one left to speak for me.

Martin Niemöller (1892–1984)

The Consequences of Not Caring Also Means Shittier Wine

When we stop caring about who makes our wine, then we stop caring about a vital component and distinction that makes wine (and particularly great wine) unique–its story. From the cradle to the grave, the story of a bottle of wine starts in the vineyard and is molded by hundreds of hands–each leaving an indelible print.

The decisions that were made to hand harvest the grapes and which clusters to harvest went into the story of this wine.

As wine geeks, we obsess over terroir and often only ascribe physical and natural influences to it–the soil, the climate, etc. But those physical hands are just as much a part of the nature of terroir and, in many ways, the part of the story that is most tangible to our own experiences with the wine.

When we have a bottle of wine, it is like a gift of the grower and the winemaker. It is a gift that they’ve nurtured and tended to for years. A gift that we willingly accept to put on our table, share with our family and take into our bodies.

Who we accept that gift from matters.

When we stop caring about the story, about the who, then we stop carrying about the context behind the wine’s creation which feeds into the corporatization and commodification of wine (another point that Bonné makes in his article). If there is no story and wine is just “booze” then it really doesn’t matter how the wine got on our table–whether by people or machine, mega-purple or manipulation.

This is how we get to the point where 5 large companies control around 60% of the US wine market.

This is how we get to the point where consumers walk into their local supermarket and find hundreds of wines made by these same handfuls of large companies–limiting our ability as consumers to have true choices in what we buy.

This is how we get to the point where people talk of the small family winery as if it is a myth while the real family wineries are out there busting their butts in the vineyard and cellar struggling to sustain themselves in an industry that has a lot of cards stacked against them.

What About the Racist/Misogynist/Whatever Small Winery?

Like Fulvio Bressan?

It’s true that these are the folks most likely to get caught up airing dirty laundry on Facebook and Twitter compared to the slick corporate PR wineries. There is no magical ethos surrounding small family wineries that sets them apart in character from large corporate entities.

But what does set them apart is that the veneer of truth is much easier to see with these smaller wineries–even if that truth underneath is ugly. Undoubtedly these bad apples will be exposed but removing them makes the entire bushel more healthy and appealing to dig through.

When people start caring about who makes their wine and the type of people they are, the entire industry has to step up their game–both in the quality of their wines and in the quality of their character.

To paraphrase the apocryphal Gandhi quote:

We should drink the wine that reflects the world we want to see.

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Wine Geek Notes 3/5/18 — Zinfandel, World of Syrah and Washington Wine

Photo by schnaars. Uploaded to Wikimedia Commons under CC-BY-SA-2.0

Here is what I’m reading today in the world of wine.

Interesting Tweets and Weblinks

The Week in Zinfandel (2/26/18) by Tom Lee (@NWTomLee)

This is a frequent series by Lee on the Zinfandel Chronicles that highlights reviews and articles that discuss Zin. He was gracious enough to include my recent review of the 2014 Two Vintner’s Zinfandel in his recent round-up but I was most excited to explore several of the other links he posted. Below were two of my favorites.

Have We Taken the “Less Is More” Wine Aesthetic Too Far? by Jon Bonné (@jbonne) for Punch (@punch_drink)

With Bonné being one of the big proponents for lighter, lower alcohol wines (pretty much the anti-thesis of “Parkerized”), this was not an essay I expected to read from him. But he does make a lot of great points about the value of diversity as he bemoans the lack of interest in what he terms “Ferdinand wines”–big wines that have beauty even at high alcohol levels–such as California Zinfandel, Amarone, Brunello di Montalcino, Châteauneuf-du-Pape and Priorat.

Heart of Zinfandel: Sonoma’s Dry Creek Valley (Paywall) by Stephen Brook (@StephenPBrook) for Decanter (@Decanter)

As I described in my post Zin-ful Thoughts, my opinions of Zinfandel are evolving and I’m eagerly looking for new areas to explore. Brook gives a nice overview of Dry Creek Zins and has me particularly intrigued by the offerings of Joel Peterson’s Once & Future from the Tedeschi Vineyard, Fritz Underground Winery and Passalacqua’s PQZ.

Cayuse manages to be weird in both taste and marketing. Though, IMO, their Cailloux and En Chamberlain Syrahs–with their boring orange labels–are the best.


World of Syrah Kick-off at Celebrate Walla Walla by Bean Fairbanks of Wine Beer Washington (@winebeerWA)

Part 1 of a series from the World of Syrah presentation given by writer Patrick Comiskey (@patcisco) and Master Sommelier/Master of Wine Doug Frost (@winedogboy). Nice overview of the distinction between the regions where Syrah is used as the primary grape versus more of a blending variety but my favorite quote is the one Bean highlights from Comiskey “The Syrah taste needs to be weird NOT the marketing”.

The beauty of Syrah, especially from the Rocks District in Oregon, is the funky weirdness. But gimmicky marketing is just….gimmicky marketing. If the wine can’t stand out on its own without the gimmicks than that should be a red flag.

Taste Washington Wine Month Links

March is Taste Washington Wine Month which at SpitBucket means that I’ll be nose deep in studying more about the history of the vineyards, wineries and people that make the Washington wine industry so exciting.

The women of wine are taking their rightful place (Jan 2015) by David LeClaire (@SeattleUncorked) for Seattle Dining (@SeattleDINING1)

March is also Women’s History Month and I loved this article from LeClaire highlighting kick-ass women who are not only winemakers (like Kay Simon of Chinook and Cheryl Barber-Jones of Chateau Ste. Michelle) but also sommeliers, writers (Braiden Rex-Johnson of Northwest Wining and Dining), chefs, and educators (Joan Davenport of WSU and DavenLore Winery).

Purple Gold: The influence of Husky alums can be tasted throughout the Northwest wine industry (December 2012) by David Volk for the Columns alumni magazine of the University of Washington.

I stumbled across this link while researching for the The Mastery of Bob Betz post. Every Apple Cup, I want to do a tasting of Husky wines vs Coug wines but, while it is easy to find wines made by WSU grads, until I came across this link I didn’t have an easy resource for wines with UW connections.

Washington’s great vineyards: Upland Vineyard (August 2013) by Andy Perdue (@GreatNWWine) for Great Northwest Wine.

Inspired by Peter Blecha’s essay on the history of Associated Vintners that I highlighted in my 3/3/18 Geek Notes, I wanted to research more about the role that William B. Bridgman played in the history of Washington wine.

That research brought me to Perdue’s article on the history of Upland Vineyard that Bridgman first planted in 1917 with Vitis vinifera varieties like Zinfandel and Sauvignon blanc. Today the vineyard is owned by the Newhouse family who continue to farm old blocks of Cabernet Sauvignon, Chenin blanc, Merlot and Riesling that were planted in the 1970s. There is also a block of old vine Black Muscat that the date of planting is not quite known but it is possible that these vines are approaching the century mark.

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