How does your perspective change when you start looking at life one vintage at a time, divided into seasons? What does it look like when wine is so deeply connected to a region that it shapes work, landscape, community, and what a culture values most? Why is Languedoc becoming a popular choice for organic, biodynamic, and natural winemaking? What makes a “bon moment” and why is it worth taking seriously?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Steve Hoffman, who has written an award-winning memoir called A Season for That: Lost and Found in the Other Southern France.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Three of you are going to win a copy of Steve Hoffman's terrific new book, A Season for That: Lost and Found in the Other Southern France. To qualify, all you have to do is email me at [email protected] and let me know that you’ve posted a review of the podcast. I’ll choose three people randomly from those who contact me. Good luck!

Highlights

What was Steve’s favourite aperitif discovery in France?

How did a funny mispronunciation lead to an embarrassing introduction?

How did stuffed cuttlefish challenge Steve’s ideas about strong flavours and aromas in food?

How does the historical connection between wine and work show up in French culture today?

Why has the Languedoc remained in the shadow of Bordeaux and Burgundy, despite having the largest vineyard area in the world?

What surprised Steve the most about the process of blending wine?

Why does the latitude of a vineyard matter when learning about tasting wine?

How can you have the best experience while visiting the Languedoc?

Key Takeaways

How does your perspective change when you start looking at life one vintage at a time, divided into seasons?

You start thinking about the unfolding year as not months and days, but as seasons, and you look forward to the next season. And you participate fully, and then you let that season be done, and don't mourn it, because you know it's going to come around again. It forces you to be present in the moment, because it's not like, if I just wait long enough, things are going to get better.

What does it look like when wine is so deeply connected to a region that it shapes work, landscape, community, and what a culture values most?

In wine country, wine is not just a pleasant accompaniment to life; it literally forms everything. The vines themselves actually form the landscape and just becomes a part of everything. It's work, it's what creates revenue that the village can survive, but then it's also something that you have with almost every meal.

Why is Languedoc becoming a popular choice for organic, biodynamic, and natural winemaking?

It's still an affordable place to buy a hectare of vines, and so young winemakers can come in and they can afford to experiment with organic, natural or biodynamic winemaking. A lot of the chemicals to avoid spoilage - the Languedoc naturally doesn't have much of that.

What makes a “bon moment” and why is it worth taking seriously?

It's translated as a good moment, but in France, it has all kinds of other connotations. I think everybody who's listening will recognize one of those moments where you're sitting with people that you care about, where there's good wine and there's good food. That’s the centerpiece, that's the excuse to be together. But then the moment unfolds into something greater than itself.

About Steve Hoffman

Steve Hoffman is a Minnesota tax preparer and food writer. His writing has won multiple national awards, including the 2019 James Beard M.F.K. Fisher Distinguished Writing Award. He has been published in Food & Wine, The Washington Post, and The Minneapolis Star Tribune, among other publications. He shares one acre on Turtle Lake, in Shoreview, Minnesota, with his wife, Mary Jo, their elderly and entitled puggle, and roughly 80,000 honeybees.

To learn more, visit https://www.nataliemaclean.com/349.

How can you create a life you don’t need a vacation from? What can we learn from the French about slowing down, savoring meals, and making conversation the heart of gatherings? What’s it like living in the “other southern France”?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Steve Hoffman, who has written an award-winning memoir called A Season for That: Lost and Found in the Other Southern France.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Three of you are going to win a copy of Steve Hoffman's terrific new book, A Season for That: Lost and Found in the Other Southern France. To qualify, all you have to do is email me at [email protected] and let me know that you’ve posted a review of the podcast. I’ll choose three people randomly from those who contact me. Good luck!

Highlights

What do tax preparation and writing have in common?

What inspired Steve to write about the Languedoc, which he refers to as the other Southern France?

What were the major hurdles to getting A Season for That published?

How did Steve shift from an article to a book mindset?

What helped Steve find the balance between writing beautifully and the need to move the story forward?

What important lessons did Steve learn from his editor, respected cookbook author Francis Lam?

What was it like to move across the world with two young children?

Are there insights about French parenting and family life that Steve continues to apply?

How did Steve choose the specific village he wanted to live in?

How do vulnerability and curiosity help with cultural immersion?

Key Takeaways

Steve says that we’re often sold the idea that our lives are boring and that we need relief from our lives. He believes in leading a life that doesn't require evacuation. That your life itself, if you are careful about it and a little bit intentional about it, can be the thing that you want to dive into every day.

Steve mentions Thanksgiving as one of the very few occasions where he and his family commit to slowing down and making conversation around the table, and a great meal. There was something about the French willingness to let conversation be the point and a way of passing time that was really refreshing.

Steve settled in 2012 as a family for an extended fall semester in the Languedoc region, which he refers to as the other southern France, because it is, to some extent, the poor cousin of what most people think of as southern France, primarily Provence and the Côte d'Azur, the Riviera, which was extensively touristed and a lot of money got brought into that region. Peter Mayle, Princess Grace, and F. Scott Fitzgerald made it a wealthy playground. Languedoc is the portion of Mediterranean France to the west of the Rhone. So the Rhone divides the country in two, east of the Rhone is Provence, and the Riviera west of the Rhone is Languedoc and eventually Roussillon. He had the kinds of experiences he had because they weren't in the grips of a tourist haven.

About Steve Hoffman

Steve Hoffman is a Minnesota tax preparer and food writer. His writing has won multiple national awards, including the 2019 James Beard M.F.K. Fisher Distinguished Writing Award. He has been published in Food & Wine, The Washington Post, and The Minneapolis Star Tribune, among other publications. He shares one acre on Turtle Lake, in Shoreview, Minnesota, with his wife, Mary Jo, their elderly and entitled puggle, and roughly 80,000 honeybees.

To learn more, visit https://www.nataliemaclean.com/348.

How does music, even types you dislike, make wine more enjoyable? Can curated playlists in tasting rooms and wine bars influence how customers drink, eat, and experience wine? What happens when you stop overthinking wine and music and just enjoy?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Susan Lin, a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Highlights

How does a low-pitched, slow-tempo musical piece impact the perceived fruitiness of wine?

What does "timbre" mean in musical terms?

How do different musical characteristics influence the perception of wine's effervescence?

Did the participants’ music preferences correlate with their enjoyment of the wine?

What might surprise you about how the wines tasted in silence compared?

Why does the influence of sound on our perception tend to go unnoticed?

How are some winemakers using music in their wineries?

Are there retail applications for Susan’s research into the influence of music on the perception of wine?

What would be Susan's ideal live concert and wine pairing scenario?

What are some of the possibilities in the future for AI-generated music for wine experiences?

Is there an interest in similar research on the intersection between dance and wine perception?

What future research areas is Susan considering in terms of music and wine perception?

What three objects would Susan display in a museum representing her life and passions?

If Susan could share a wine with anyone outside the wine industry, who would it be and why?

How can you start being more intentional about exploring sensory experiences with wine and music?

Key Takeaways

How does music, even types you dislike, make wine more enjoyable?

Susan says that in her experiments, the wine that was consistently the worst, least balanced, was the wine tasted without music. Even if somebody said I really didn't like this music, it was a way better wine to them than without music. Even for the wine experts, the wines were much more palatable without music. I think that's why sound can be a very, very powerful thing.

Can curated playlists in tasting rooms and wine bars influence how customers drink, eat, and experience wine?

Susan has worked with tasting rooms and wine bars to curate their playlists in terms of the experiences that they want their customers to have. You want to have people be a little more relaxed in the morning, but then, you start amping it up for the evening. I put together a complete journey, that sort of sonic seasoning for different expressions of their wines, for big bold red versus for their light, youthful white wines.

What happens when you stop overthinking wine and music and just enjoy?

Susan says that with the melding of music and wine, there's still so much to learn. Keep trying things. Don't worry about whether it's right or wrong. Just enjoy the experience. Let everything come in sensorially and enjoy that and embrace again the mystery of things. We can't explain everything through data, and that's a good thing.

About Susan R. Lin

Susan R. Lin is a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. Susan’s MW research paper ‘Influences of Classical Music on the Sensory Perception of a Brut Non-Vintage Champagne’ and subsequent work on the interaction of music and wine have been featured in Decanter, Food & Wine, GuildSomm, and others. Each of Susan’s creations is rooted in academic research and inspired by a deep respect for the essence of wine and music.

To learn more, visit https://www.nataliemaclean.com/347.

Why might a symphony night pair just as well with your wine as a heavy metal ballad? What is “sonic seasoning” and how can music impact the way we experience the taste of wine? How are sensory experiences like music, taste, and atmosphere all connected?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Susan Lin, a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Highlights

What did Susan's grandfather teach her about fine beverages and hospitality?

How did playing piano in hotels as a child shape Susan's perspective on the holistic nature of our sensory experiences?

Is there a connection between Susan's backgrounds in tech, music, and wine?

When did Susan decide she wanted to dive deeper into the intersection between music and wine?

What makes a wine "musical"?

How do cross-modal correspondences impact wine tasting?

Why was Brut Non-Vintage Champagne Susan’s choice for her research paper?

What is "sonic seasoning" in the context of wine and music?

What was Susan's most memorable wine and music pairing event?

What might surprise you about the intersection between classical music and heavy metal?

How did Susan set up her experiment to observe how music affected participants' perceptions of the wine they were tasting?

Key Takeaways

Susan says she was always encouraging a Bach goth night at the symphony to bring people together. I like to say, whether my Brahms is your Metallica or vice versa, music can make such a difference in what you're feeling. Hence, if you got a glass of wine, what you're tasting in that glass, right? I've actually done a few experiments with heavy metal. People feel a lot of things, and there are ballads in metal. It's not just your typical really assertive sound all the time. It can be really soulful too and I noticed a lot of use of medieval melodies and folk songs in the ballads that are really nice. So not too far of a distance between Brahms and Metallica in that sense.

Susan explains that if you're listening to something that might add a little bit of pizzazz here or there to your wine, like seasoning can do. It's more of a fun term, not a scientific term. All classical composers experienced all the emotions and all the feelings that we all do and it comes through in their music. Maybe they can be feeling joyful or melancholy or longing or frustrated or upset, and everything in between. So the nature of the seasoning is that it can run in many, many different ways.

Susan observed during her performances how moods of the guests changed depending on what she played. Everything in the sensory world, all of our experiences, are really taken in holistically, right? It's not like, oh, we're just listening to this one thing and that's isolated. Oh, and we're tasting this one thing, we're smelling this one thing, and we're seeing something. It's all together. I knew that it was something special, and knew that it was something that I wanted to learn more about, or just somehow be a part of. And playing the piano in those situations actually was a great way for me to be a part of it.

About Susan R. Lin

Susan R. Lin is a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. Susan’s MW research paper ‘Influences of Classical Music on the Sensory Perception of a Brut Non-Vintage Champagne’ and subsequent work on the interaction of music and wine have been featured in Decanter, Food & Wine, GuildSomm, and others. Each of Susan’s creations is rooted in academic research and inspired by a deep respect for the essence of wine and music.

To learn more, visit https://www.nataliemaclean.com/346.

What turns a wine country visit into an incredibly memorable experience? What are the hidden perks of off-peak wine travel? How has digital media transformed the way people plan wine travel?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Amy Wislocki, editor-in-chief of Decanter, the world’s most prestigious wine magazine.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Two of you are going to win a copy of her terrific book, The Ultimate Wine Lover's Travel Guide. To qualify, all you have to do is email me at [email protected] and let me know that you’ve posted a review of the podcast.  I’ll choose two people randomly from those who contact me.

Highlights

What don’t many wine lovers realize about the wine-making history of the country of Georgia?

How important is authentic cultural immersion to wine travel?

Can wine tourism help preserve cultural heritage in regions recovering from political strife?

What’s the association between wineries and wildlife?

How and why are many wineries now catering to families?

What was Amy’s approach to balancing practical with sharing the romance of the locations in The Ultimate Wine Lover's Travel Guide?

What would Amy include in her perfect wine day itinerary?

How has COVID-19 impacted wine travel?

What are the advantages of travelling to wine regions outside of the peak seasons?

Is environmental consciousness changing wine tourism?

How has digital media transformed wine travel writing?

Has the rise of influencers changed the wine industry?

What would Amy add to a new edition of the book?

What should you be asking about wine travel?

How does Amy want readers to feel after reading The Ultimate Wine Lover's Travel Guide?

Which famous figures would Amy want to be able to share a bottle of wine with?

Key Takeaways

What turns a wine country visit into an incredibly memorable experience?

Amy advises to mix it up a bit and not cram too much into the day, because then that becomes too stressful. Probably a bit of planning will help to make it a perfect day. Often you need to book in advance. So maybe just two winery visits, one in the morning, one in the afternoon. Go somewhere for lunch where you can sit outside and just enjoy the beautiful views, get some fresh air. You might be able to hire a bicycle or go for a hike around the vineyards. See a beautiful village that has some nice culture, or architectural churches.

What are the hidden perks of off-peak wine travel?

Amy says the main thing is that the winemaker might have more time to spend with you. There must be certain times of the year that are really busy, not only in terms of tourists, but in terms of the winemaking. Also you have a higher chance of just being able to get into some of the most sought-after wineries. There might be some wineries that are just fully booked for ages.

How has digital media transformed the way people plan wine travel?

Amy observes that on social media, you can watch videos and reels of place which inspires people to do more research. So they might be sparked off by something they see on TikTok or Facebook or Instagram, and then they might go to Decanter.com, and read the whole article. So it’s all complementary.

About Amy Wislocki

Amy has more than 30 years' experience in publishing, and worked at a senior level for leading companies in the consumer, business-to-business and contract publishing arenas, before joining Decanter in October 2000 as Magazine Editor. As well as overseeing content planning and production for the print offering, she has also been involved in developing digital channels, Decanter.com and Decanter Premium.

To learn more, visit https://www.nataliemaclean.com/345.

Why does wine taste different when you’ve stood in the vineyard it came from? What's one myth about wine travel that Amy dispels? With Gen Z drinking less wine, how does a 50-year-old wine magazine stay relevant without alienating longtime readers?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Amy Wislocki, editor-in-chief of Decanter, the world’s most prestigious wine magazine.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Two of you are going to win a copy of her terrific book, The Ultimate Wine Lover's Travel Guide. To qualify, all you have to do is email me at [email protected] and let me know that you’ve posted a review of the podcast. I’ll choose two people randomly from those who contact me.

Highlights

What was it like to join Decanter magazine as a 27-year-old magazine editor?

How did Amy establish her credibility as a young editor?

What exciting incident marked one of her press trips to Chile?

Which aspects of wine writing are often misunderstood or undervalued?

How does Decanter balance engaging Gen Z readers without alienating their long-term readers?

Why has Decanter started reviewing low-alcohol wines?

What’s made Amy stay at Decanter for 25 years>

What's one myth about wine travel that Amy hopes this book dispels?

Why is the experience of tasting wine at the vineyard where it’s made so powerful?

What are some of Amy’s favourite essays in

Why did Amy include South Carolina, which has no vineyards, in her wine travel book?

Key Takeaways

As Amy observes, anybody who's visited a vineyard will understand that there's no substitute. You will have a different relationship with that wine for the rest of your life. The lucky thing is that wine growing areas are often the most beautiful areas of the world. You can see what type of soil it is like. The climate might be very near to the ocean, with the cooling breezes. So that side of it will really give you a better understanding of why that wine tastes like it does. You see the age of the vines. Also meeting the people behind the wine. It could be a small, family-owned winery, hearing the stories associated with the wine. Drinking them with the food of the place and in that environment, it's an irreplaceable experience.

Amy says the main thing is that it has to be an elitist thing, because I suppose wine in general has the elitist kind of associations. And I think it's just getting across that, you don't have to have tons of money and only drink the world's finest wines to enjoy wine travel. It's just becoming much more accessible to everyone, and in so many more regions and countries than it was.

Amy explains that it's many things: recognizing moderation as a trend. It's a tricky one to get right, and you don't want to be preaching to people. You don't want people who think I'm buying a wine magazine because I love wine. I don't want to be made to feel guilty for drinking wine. This is my refuge. But it's not about that. It's about recognizing a trend that even among wine lovers, people are trying to kind of think about how and when and where, where they're drinking, how much they're drinking. Obviously, there are some things that Gen Z will want to read about that our more traditional conservative readers might not all be so bothered about, like natural wines. It's all a balance, isn't it? And trying to give something to everybody.

About Amy Wislocki

Amy has more than 30 years' experience in publishing, and worked at a senior level for leading companies in the consumer, business-to-business and contract publishing arenas, before joining Decanter in October 2000 as Magazine Editor. As well as overseeing content planning and production for the print offering, she has also been involved in developing digital channels, Decanter.com and Decanter Premium.

To learn more, visit https://www.nataliemaclean.com/344.

What makes old Malbec vines planted in the 1920s so rare and valuable today? Why would a Canadian winemaker head to Mendoza, Argentina, to start a winery? What’s one of the biggest challenges holding back Canadian wine and how can consumers change that?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Ann Sperling & Peter Gamble.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Highlights

What makes Devotion different from other On Seven wines?

What inspired Peter to look beyond Canada to Argentina for winemaking?

How did he decide on the particular vineyard to purchase?

What is massal selection in viticulture?

How did Versado end up with such old vines, and how does this show up in the wine?

Are there aspects of Malbec that are similar to Pinot?

How have Ann and Peter revitalized the Leily Winery?

What are the differences and similarities between Leily and On Seven Chardonnays?

What would Ann and Peter like their legacies to be in the Canadian wine industry?

What are the greatest threats to the Canadian wine industry?

Which three figures in the wine industry would Peter invite to a dream dinner party?

Key Takeaways

In the 1905 to 1925 period in Argentina, winemakers at the time planted the greatest genetic diversity amongst the Malbec vines, because they were still learning about it. Their Versado vineyard reflects that time when genetic diversity was appreciated.

We visited a lot of wine regions in the world for the meetings, both fun and a necessity, and one of them was Mendoza and loved the climate - a really interesting climate from the point of view of creating flavors and grapes, and really liked the lifestyle as well. We essentially decided it'd be interesting to do something small there that also gives us a second harvest during New Year's. So we can practice twice as often. That was the driver, the potential quality there.

They’ve been talking about this for probably the 40 years that they've been making wine and and they want to figure out how to have lasting consumer engagement. They have a lot of devoted buyers, but they also know kind of the monopoly culture is that, well, if the wine you were looking for today isn't on the shelf, you can buy something else. Promoting the message of buying directly from the wineries, and if you want to try that wine that's made in Nova Scotia or BC, that you actually can order it and have it shipped to your home province. Those interprovincial trade barriers aren't real. There's lots of wine shipping that's taking place already. Just get on your computer like you do with so many other products that you buy and buy online.

About Ann Sperling & Peter Gamble

Often referred to as the “power couple” of the Canadian wine industry, Peter Gamble and Ann Sperling have long pursued the pinnacles of wine quality in Canadian vineyards and wineries. Following her upbringing on her family’s Okanagan Valley vineyard, Ann turned to the soil for the character and complexity of her wines. Acknowledged as a Canadian pioneer of organic and biodynamic viticulture, ‘terroir’ was at the centre of her philosophy and she is renowned for her head winemaking roles at Malivoire, Southbrook, and Sperling Vineyards. Peter, a lifetime wine industry professional, has worked alongside Canada’s most passionate winemakers to achieve greater heights with our finest appellation wines. Since 2000, Peter has provided expertise in ultra-premium winemaking operations, including: Stratus, Ravine, Benjamin Bridge and Lightfoot & Wolfville. With the purchase of a top-flight ancient Malbec planting in Mendoza, Argentina, in 2008, Ann and Peter broadened their winemaking activities, but Niagara remains their cherished home base. Current focus is on these Niagara projects: On Seven, Lailey and Stonebridge Vineyards and Dobbin Estate.

To learn more, visit https://www.nataliemaclean.com/343.

What were the key challenges and breakthroughs that shaped the BC and Ontario wine industries in the 1980s and 90s? What makes or breaks a new wine project, and why is finding the right vineyard often the most time-consuming step? What made Peter believe that Niagara-on-the-Lake could produce exceptional Chardonnay?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Ann Sperling & Peter Gamble.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Highlights

What was Ann’s best memory from growing up on the farm?

When did Ann and Peter know that they wanted to work in the wine industry?

How did Ann and Peter meet?

What was the first bottle of wine Ann and Peter shared?

How do Ann and Peter navigate their interwoven personal and professional lives?

How do they negotiate professional disagreements, and who chooses the wine for dinner?

What were the major challenges and opportunities in the BC and Ontario wine industry in the 1980s and 90s?

In the early days, how did Peter envision the future of Ontario wines?

What are some of the reasons certain vintages almost didn't make it into the bottle?

What do you look for when considering a new project?

What makes Ann and Peter different from the stereotypical flying winemakers?

What were the signs that Niagara-on-the-Lake could produce exceptional Chardonnay?

How has working on a small, focused vineyard impacted Ann and Peter’s winemaking choices?

Why must you suffer to make top-notch wines?

Key Takeaways

It was in the early 80s in BC and maybe slightly before that in Ontario, that estate wineries became a thing. Prior to that, that meant there were a few really large wineries, not really making estate or single vineyards. Vineyards were a source of bulk wine for the most part.

The hunt for the vineyard became a very important one. We looked at over 230 vineyards before we found one. I think everyone there was on the verge of giving up on this, thinking “Well, they're not really going to buy anything.” Because we'd get it to a certain stage, then we do soil analysis, and we weren't quite happy, or we talked to people who had made wine from the vineyard or something would come up, and we just wouldn't quite be where we wanted to be with the quality of the vineyard.

I often work on the basis of paradigms, where I'll take a look at a wine sold throughout the world and say, you know, I think this could be done really well in this area. You know what it is you might be able to accomplish within the parameters that you have - the obvious things, the terroir, the exposures to soils, the temperatures in general.

About Ann Sperling & Peter Gamble

Often referred to as the “power couple” of the Canadian wine industry, Peter Gamble and Ann Sperling have long pursued the pinnacles of wine quality in Canadian vineyards and wineries. Following her upbringing on her family’s Okanagan Valley vineyard, Ann turned to the soil for the character and complexity of her wines. Acknowledged as a Canadian pioneer of organic and biodynamic viticulture, ‘terroir’ was at the centre of her philosophy and she is renowned for her head winemaking roles at Malivoire, Southbrook, and Sperling Vineyards. Peter, a lifetime wine industry professional, has worked alongside Canada’s most passionate winemakers to achieve greater heights with our finest appellation wines. Since 2000, Peter has provided expertise in ultra-premium winemaking operations, including: Stratus, Ravine, Benjamin Bridge and Lightfoot & Wolfville. With the purchase of a top-flight ancient Malbec planting in Mendoza, Argentina, in 2008, Ann and Peter broadened their winemaking activities, but Niagara remains their cherished home base. Current focus is on these Niagara projects: On Seven, Lailey and Stonebridge Vineyards and Dobbin Estate.

To learn more, visit https://www.nataliemaclean.com/342.

Is a $400 wine really ten times better than a $40 one? Does the right glass really improve your wine and is it worth it when the size makes you look ridiculous? Why do wine labels matter and should the label’s look be part of every wine review?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Charles Jennings and Paul Keers, co-authors of the hilarious book I Bought It So I’ll Drink It.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Three of you are going to win a copy of their terrific book,, I Bought It So I’ll Drink It. To qualify, all you have to do is email me at [email protected] and let me know that you’ve posted a review of the podcast. I’ll choose three people randomly from those who contact me. Good luck!

You can find the wines we discussed here.

Highlights

Why do we feel guilty about window shopping when it comes to wine?

What's the worst wine gadget or gimmick Paul and Charles have encountered?

How did a 1947 Sauterne create a bond between Paul and a French wine seller?

What was their most triumphant wine deal discovery?

Are there elements that expensive wine delivers, that bargain wines can't?

Why are Charles and Paul suspicious of mixed cases of wine?

Has the quality and perception of box wines changed?

What's the strangest vessel Paul and Charles have drunk wine from?

What was it like drinking wine at 10 Downing Street and Lambeth Palace?

What was Queen Victoria's tipple like?

Why does Charles love drinking on his own?

Which current wine trends will we look back on as ridiculous?

Which wines would Charles and Paul now pair with their favourite childhood foods?

Who would Paul and Charles love to share a bottle of wine with?

Why should wine critics write about wine labels in their reviews?

Key Takeaways

Charles and Paul believe there is a greater experience to be gained from drinking better wine, but that the return for your money plateaus quickly. If you go up from a £10 wine to a £30 wine, you will really notice the difference and have a tremendously greater experience. But then if you multiply that by 10 and go from £40 to £400, the difference in quality isn't that great.

If I've got people around for dinner and I sit at the end of the table and everybody else has got normal wine glasses, I look like a complete plonker. And I'd love to sit there, “Oh, it's magnificent.” And they're going to think, what an idiot. So unfortunately, it doesn't get much use. It does enhance the taste of the Bordeaux, there's no doubt about it, but I'm so embarrassed sitting there drinking out of this thing the size of a melon that it really doesn't get much use.

Charles and Paul mention wine labels because they think that they are ignored by most wine writers, and they're terribly important for two reasons. Firstly, because they're about the only marketing that most bottles of wine have, because we go into shops and that's all we can see, the labels. And second, if you're setting a table for dinner, you've invested in the table, in the dishware, the cutlery, the glasses to set up this beautiful thing. Why would you put a bottle of wine on the table - however it tastes - if it looks terrible? Wine critics should always say what the label looks like and whether it would look good on the table.

About Charles Jennings & Paul Keers

Charles Jennings and Paul Keers are award-winning writers based in London, England. Charles and Paul co-authored the wine blog Sediment, described by New Statesman writer and Guardian literary critic Nick Lezard as “the finest wine blog available to humanity.” The blog became the basis for their book, I Bought It So I’ll Drink It. Book-Prize-winning novelist Julian Barnes called it “The funniest wine-book I’ve read in a long time. Not just laugh-aloud funny but snortingly, choke-on-your-cornflakes funny – up there with Kingsley Amis and Jay McInerney.” Their book won the prestigious André Simon Award.

To learn more, visit https://www.nataliemaclean.com/341.

How does using everyday metaphors make wine writing more relatable? How has the pressure to be an expert in everything turned simple pleasures into social competition? Does buying your own wine versus getting free samples make you a better wine writer?

In this episode of the Unreserved Wine Talk podcast, I'm chatting with Charles Jennings and Paul Keers, co-authors of the hilarious book I Bought It So I’ll Drink It.

You can find the wines we discussed at https://www.nataliemaclean.com/winepicks

Giveaway

Three of you are going to win a copy of their terrific book,, I Bought It So I’ll Drink It. To qualify, all you have to do is email me at [email protected] and let me know that you’ve posted a review of the podcast. I’ll choose three people randomly from those who contact me. Good luck!

You can find the wines we discussed here.

Highlights

How did Charles and Paul meet?

What was the first bottle of wine they shared, and how did they realize they had the same approach to bad wine?

What was it like to meet legendary wine critic Oz Clarke?

When did Paul and Charles discover their love for writing?

What were Charles and Paul's best and worst moments in their writing careers?

How did their Sediment blog create a stir with the PR people in the wine industry?

Where did the title “I Bought It So I’ll Drink It” come from?

Did buying their own wines give them a different perspective than other wine writers who are given promotional bottles?

How did the collaborative approach to writing I Bought It So I’ll Drink It work?

Which writers have influenced Charles and Paul’s writing?

Is the tension between wine snobbery and enjoyment unique to wine?

What was the most pretentious wine moment Paul and Charles witnessed?

How did Charles and Paul develop their distinctive vocabularies for describing wines?

Which overused wine descriptors do they find cringy?

What's changed about wine criticism or writing since they published their book?

Key Takeaways

Charles and Paul explain that they drew their descriptions from real life. There's a tendency in wine writing to use metaphors that you wouldn't necessarily experience. I mean, I've got a cat, but I really wouldn't use the term cat's pee in describing any wine. I don't know what cat's pee actually tastes like. Whereas if I talk about wine smelling of ink, well, people know what ink smells like, and it seemed more appropriate to use ink as an analogy.

The authors say that everybody has to be a bit of an expert about everything these days. It’s not just a question of, “Oh, we've been to France, we've gone to Italy, we've made it to the United States,” or something like that. It's how you did it, and where you stayed, and what you did, and what tours you went on, and it's so full of itself. Then it becomes a transaction when talking with friends.

As Charles and Paul think the fact that they did buy thei wine is quite fundamental to a difference between Sediment and other wine writing. They had to do the same thing, go out and buy it. Maybe that gave us a slightly different slant on wine buying and drinking as well.

About Charles Jennings & Paul Keers

Charles Jennings and Paul Keers are award-winning writers based in London, England. Charles and Paul co-authored the wine blog Sediment, described by New Statesman writer and Guardian literary critic Nick Lezard as “the finest wine blog available to humanity.” The blog became the basis for their book, I Bought It So I’ll Drink It. Book-Prize-winning novelist Julian Barnes called it “The funniest wine-book I’ve read in a long time. Not just laugh-aloud funny but snortingly, choke-on-your-cornflakes funny – up there with Kingsley Amis and Jay McInerney.” Their book won the prestigious André Simon Award.

To learn more, visit https://www.nataliemaclean.com/340.