Tag Archives: Dave McIntyre

Winebits 343: Dave McIntyre, wine scores, and wine in the movies

Dave McIntyre

That’s Dave in the middle, and he should be smiling.

More than well deserved: Who knew the Wine Curmudgeon would know someone who had won the same award as a Mondavi? Or the legendary Konstantin Frank, without whom U.S. regional wine would not have been possible? But that’s my pal Dave McIntyre, who was given the Monteith Trophy over the weekend for his work as a wine writer. Dave has done much for the cause of wine, including co-founding Drink Local Wine with me when people thought we were crazy. So it’s more than time that the wine world recognized the effort Dave has made, not only for regional wine, but for wine drinkers everywhere. Dave will be in Dallas in a couple of weeks, and I have laid in some Texas wine that we will celebrate with. Congratulations, my friend. But couldn’t you have worn a tie for a big deal like this?

End the tyranny: Or so says Michael Woodsmall at the Grape Collective, calling for an end to the 100-point scoring system. “It should be duly noted that these scales don’t take actual wine’s nuanced characteristics into account; they merely assigned values to general traits. … Also, it is no longer the seventies and eighties.”  This sentiment is something the Wine Curmudgeon has long advocated, and Woodsmall makes an intelligent argument for the end of scores, even throwing in a little political theory to explain why the debate generates such controversy. This is a revolution, and the scoreists will defend the ancien regime until the bitter end.

Hollywood and wine: The Wine Curmudgeon, in discussing U.S. wine culture in the cheap wine book, talked about Hollywood’s complete indifference to wine for most of the 20th century, and how this indifference reflected American views of wine. So I was more than pleased to see an academic study of the subject, supporting my views. Raphael Schirmer of the University of Bordeaux, writing for the American Association of Wine Economists, has found that as wine has become more popular in the U.S., so has wine become more popular in film. This is not just about Francis Ford Coppola owning a major wine company or movies like “Sideways;” rather, it’s the idea that we drink wine as part of our everyday lives, and the movies that are made reflect this.

Even the Germans know who to call about sweet red wine

The Wine Curmudgeon, of course. There I am, on page 20 of the current issue of Meininger’s Wine Business International, a German-based trade magazine, quoted in a story discussing the popularity of sweet red wines. And how do we know this is a big deal? Because the magazine costs €20 – about US$25. I don’t waste my time being quoted in those cheap $5 and $10 magazines.

It’s an interesting story, though not quite as thorough as the piece I wrote for Beverage Media. It gives credit for the sweet wine movement in the U.S. to the regional wine business, and specifically to Texas’ Llano Estacado. I don’t know that Llano is the only regional winery that had something to do with this (St. James in Missouri, Oliver in Indiana and Duplin in North Carolina, among many others, come to mind), but it’s intriguing that a European publication recognizes the role of the regional business.

More, after the jump:

The backlash against cheap wine

cheap wine backlashThese should be the best days for cheap wine. The recession has focused the wine industry on wine that costs less than $10, and producers around the globe have been racing to put out as much inexpensive wine as possible. When a sparkling wine house like J does a $15 pinot gris, the world has definitely changed.

But a lot of people are not happy about this. The industry, despite its embrace of cheap wine, doesn’t really seem to have much affection for it. They’ll take the cash, much as they have always done with white zinfandel, but they really don’t want to be associated with it. Follow the business, and you’ll see news reports and interviews over and over about what really matters to them: When are consumers going to start buying wine that costs more than $15 again?

The wine media, even in the cyber-ether, has not been happy with the emphasis on cheap wine, either. Over the last several weeks, there have been a variety of posts and discussions about cheap wine’s popularity and that it’s not necessarily a good thing. The gist? That those of us who advocate cheap wine are missing the point, and that we care only about price and not about quality. Which is not necessarily the case.

The apparent catalysts for the cyber-bickering were the publication of George Taber’s new book, “Bargain Wines” and Brian Palmer’s rant on Slate that most wine was overpriced. Taber argues that cheap wine is better than ever, while Palmer takes that approach one step further: “There are plenty of reasons to go back to our 1990s habits, and to start using 15 bucks to buy four or five bottles instead of just one.”

The controversy, which included the eminent Jon Bonne in the San Francisco Chronicle, was nicely summed up by Evan Dawson at New York Cork Report, who noted that consumer perceptions of cheap wine are not necessarily the same as those of people who drink wine for a living. Which is exactly the point that almost everyone else missed.

The United States is not a wine drinking country. We are a soft drink country, and most of us don’t know anything about wine. What most of us do know is that wine is confusing and expensive and reserved for really special people who can talk funny about it. And anyone who loves wine who denies this is kidding themselves. I got a release the other day from a new wine club that said it would demystify and de-snobify wine — and then used the same foolish winespeak to describe how wonderful its wines were.

Given this, is it any wonder that most Americans buy wine strictly by price? Mark Bittman, the New York Times food writer and top-flight cookbook author, put this into perspective for me during an interview several years ago. Most people, he said, look at wine as an alcohol intake system. They drink wine because it makes them feel good. They really don’t care about the wine stuff. I see this every time I do a public event, and ask the audience if a $100 wine is 10 times better than a $10 wine. The audience, almost every time, offers a unanimous no. It doesn’t matter if they are right or wrong; it’s their perception that counts.

Which is the real problem, and one that the wine business — and those of us who write about wine — don’t address. We don’t do enough to make wine accessible. We don’t do enough to educate consumers. We want to be famous, and this goes for wine writers as well as winemakers. The dirty little secret of my business is that too many of us want to be Robert Parker, and that’s not going to happen by writing about Yellow Tail or Barefoot or by teaching consumers how to tell the difference between a $6 wine and a $10 wine.

My pal Dave McIntyre got to the heart of the matter with his post on the subject: People should not advocate for cheap wine, but for cheap wine that delivers value and quality. And an East Coast blogger, Pia Mara Finkell, wrote that the next great wine trend will not be about cheap, but about value, what she called finding diamonds in the rough.

Which, of course, is what I have always done here. That’s why the $10 Hall of Fame exists. That’s why I write 52 wines of the week every year, highlighting just those kinds of wine. The debate should not be about cheap wine, but about quality. Are there well-made cheap wines? Of course, just as there are well-made expensive wines. And are there poorly-made cheap wines? Indeed, just as there are poorly-made expensive wines. It’s no crime to make consumers aware of that.

In fact, our job should be to educate consumers about what constitutes quality, and how to tell the difference. And every time we give a point score and use words like licorice and toast, we’re doing just the opposite — and consumers reach for the wine that delivers the most alcohol for the buck.

Sadly, though, that may be a distinction that too many in the wine world don’t — or don’t want to — understand.

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