Thursday, July 16, 2015

EPHEMERA: Sommeliers and Drag Queens


I have to laugh when I see wine writers pontificating about sommeliers. They haven’t a clue about what it’s like to be a working sommelier, except for the few that may have actually done the job. But let’s be truthful, sommeliers spend just as much time demeaning wine writers. Only they deserve it. No one ever approaches a wine writer and asks, “What does Raj Parr think of that wine you just gave 98 points?” But every sommelier has heard, after recommending a wine, “What score did it get?” It’s as if when your doctor recommends you begin to take Cialis, you ask, “If I take it, how many pascals will my dick register on the Vickers test?” Who cares? I’m just trying to make you happy. “How hard does it have to be?” is the equivalent of “How many points do you need?” It just needs to fit with the main course. Or, in the wine’s case, with the meal.

No two sommeliers have the same job. I had one job as a sommelier for nineteen years, and it was a very different job than the sommelier’s job at Spago or Valentino or French Laundry. The jobs are the same in that you buy wine, compile a wine list, work the floor, take care of inventory, all of that. But every restaurant is different, with its own set of boundaries and rules, and more than likely a crazy owner, or a crazy chef, or both. Not to mention the eternal war between the waiters and the sommelier, a war similar to that between the Elvish and the Orcs. Waiters, of course, are Orcs, goblins who serve the Dark Powers. Sommeliers are Elvish impersonators. In Vegas, they can perform marriages.

The definition of sommelier is very elastic. In my experience the past twenty years, most of the people who say they are sommeliers are actually assistant managers, door lockers and schedule makers, who happen to know more about wine than the majority of their customers. (Oh, I mean “guests”—hookers have customers, restaurants have guests. Though, for both, it’s always the tips that matter.) They’re no more sommeliers than drag queens are women. But they got the strut down.

A drag queen has his balls tied, a sommelier, his hands. He (or she—there are so many remarkable women in the profession, many of the best sommeliers are women, but I’m using “he” as my preferred pronoun because I used to be one. A sommelier. Not a he. I’m still a he, though, grammatically, my participle is dangling a lot more.) rarely gets to set prices (though he takes the heat for them). He often has a very strict budget, and usually works for a boss that pays the wine bills very slowly (no slower pay than restaurants)—which doesn’t endear you to wineries, especially the best ones. So earning your salary as a sommelier is quite the juggling act, but a different juggling act for every sommelier. Are sommelier’s roles changing, as wine writers stupidly ask? Yeah, like very fucking week.

When I see articles about “the changing role of sommeliers,” or “sommeliers are a vanishing species,” or “what makes a great sommelier,” I read them and wonder at the emptiness of the prose, and the mindlessness of the authors. And here’s why:

If there’s a job stupider than Wine Writer, it’s Sommelier. Though I mean that in a good way.

There’s endless babble on wine blogs and in the press about “the changing roles of wine writers” and “wine writers are a vanishing species” and “what makes a great wine writer.” Sound familiar? Those are equally emptyheaded as the sommelier articles. In fact, they’re the same articles. Devoid of insight or original thought. And, ultimately, who cares about wine writers and sommeliers? Well, I’ll tell you who cares about wine writers and sommeliers. Wine writers and sommeliers. And that’s about it.

The glorification of sommeliers is laughable. No one should spend even three paragraphs talking about them (though I just have). And no one should glorify them either. Of all the occupations to glamorize, or revere, sommelier isn’t in the top 100. It’s a service job. It’s simple. It’s not that hard to do. It does no measurable good in the true sense of the word. You know a lot about an esoteric subject; you’re the resident restaurant Trekkie. Yes, it’s a cool job, one that somehow has an aura of importance that it hasn’t earned. But it’s completely unworthy of the attention it seems to get in the press and online. A sommelier’s role isn’t changing, the job isn’t endangered, nor is there any such thing as a great sommelier. Except in the sense that, more importantly, a fine restaurant is always looking for a "great" dishwasher. It needs him more than it needs a "great" sommelier.

Though in this new millennium, the dishwasher’s job may just be changing.


Monday, July 13, 2015

Excerpts from Parker's "The Emperor's Diaries"--Part Two


Editor's Note: The Emperor’s Diaries were only recently unearthed by an unemployed wine critic who found them in Antonio Galloni’s underwear drawer, right next to the 100 Point Lube (“100 Point Lube—Slip One In So They Hardly Notice!”). After a painstaking translation from Robert Parker’s native tongue, Hedonia, a few passages were provided to HoseMaster of Wine™ for publication before The Emperor’s Diaries are released in full to the public just in time for the James Beard Awards. The diaries are expected to handily win the Beard Award for "Best Book for Gluttons," ending the consecutive win streak held by Mario Batali. We are proud to be the exclusive outlet for excerpts from The Emperor’s Diaries. The diaries were authenticated by Maureen Downey, who noted, “The diaries are real, but as for the Lube, well, it’s a bit slippery.”

April 1983

I’m in Bordeaux to taste the ’82’s en primeur. I’m not sure I get the hang of this barrel tasting thing. They all kind of taste the same. Big, black and nasty, like Pam Grier. I wouldn’t put it past the French for them to actually be all the same. Like Jerry Lewis movies. You’d think that it would be harder for me to rate them when they all taste the same, but, actually it’s a lot easier. How can anyone say you’re wrong? They’ll never get to taste the same barrel, and even if they did, they won’t know what they’re tasting either. It’s very empowering. Of course, I already know the First Growths will get the highest scores, but I’ll be looking for those underrated wines, the ones that are a lot cheaper, but made at least one barrel as good as a First Growth.

I may have to tweak my 100 Point Scale for barrel tastings, though. I don’t mind putting a single integer on a bottled wine, but it seems presumptuous to be so precise for a barrel tasting. Especially since I have no idea what I’m doing. So if I decide I’m going to give the wine 95, and I’m definitely going to give a bunch of high numbers or why be here, I’ll just put (93-97). What makes it work, I think, are the parentheses. Gives it dignity. Indicates I deliberated long and hard over that barrel sample, when nothing could be further from the truth. It’s just that quotation marks are glib. “93-97”? Like I’m quoting somebody else, maybe. They’re almost sarcastic. Parentheses are whispers, secret code between me and my 57 subscribers, information I wouldn’t give to just anybody. Yeah, that’s cool. Plus, I’m awarding four scores instead of just one. Wish I’d thought of that seven years ago.

May 1983

I am so sick of Bordeaux, I could crap Peppercorn. What a nightmare tasting en primeur. Nothing but a bunch of stuffy old Brits sipping, spitting and proclaiming. It’s like the Royal Shakespeare Company performing “All’s Swill that Ends Swill.” Everybody pretty much ignored me the entire time. The only reason I even managed to taste the First Growths was because I shouted, “Look! Peter O’Toole!” and the old queens took off running.

I’m also beginning to think that a lot of the barrel samples I tasted had been doctored. Which might explain why there was a case of empty Caymus Special Selection bottles behind the Mouton barrel. Oh, maybe I’m just being paranoid. What possible motivation could there be for the Chateaux to manipulate their barrels? They don’t sell futures that much anymore anyway. Only the dribble that the English purchase as futures. Americans don’t buy Bordeaux futures. They’d have better luck trying to sell futures to the Chinese! Yeah, like that will ever happen. More likely we’ll elect a black man to be President before the Chinese ever give a Great Wall of Shit about Bordeaux.

I also overheard a lot of rumbling from the old sots that ’82 seemed like a below average vintage. I was thinking the same thing. They’re all kinda sweet and chewy. But I’m also thinking most Americans really like sweet and chewy, so I should give the wines high scores. And not just high scores, I should rave about the vintage in general. That’ll make people notice me. I know how to rave. How about this kind of quote:

“1982 is the greatest vintage in my experience.”

That sounds great. Though it’s a lot like saying, “Godzilla is the biggest dinosaur in my experience.” Ah, the best hype is the hype that’s the truth about lying. So I’ll stick my neck out and publish high scores for the ’82 Bordeaux. I’ll be the only one.

June 1983

It worked!  Oh, man, I’m a genius. Every major wine retailer in the country is taking out full page ads selling futures of 1982 Bordeaux, and guess who they’re quoting? I’ll give you a clue. It’s not the cast of “Cats.” Andrew Lloyd Webber isn’t the only untalented Brit whose work is about being a pussy, try the whole British wine trade. Those ads are quoting Robert Parker, Jr. (I added the “Jr.” part a while ago because it seems cool, like Sammy Davis, or Martin Luther King, or Mints.) My ratings and quotes are billboarded all over the place!

“The ’82 Margaux is legendary, and should rival the ’59! (96-100)”*

“Wise buyers will be lining up to purchase the brilliant ’82 Cheval Blanc, the greatest wine from this estate since the ’47! (96-100)”*

“Serious wine collectors will want a case of ’82 Lynch-Bages, a tour-de-force that surpasses even the legendary 1870, which was only released to the wine club. (92-96)”*
*Robert Parker, Jr.

My phone has been ringing off the hook with people who want to subscribe. I may have to hire someone to work in my office just to keep track of all the samples I’m receiving. Someone I can trust, and who knows about wine. Come to think of it, I met a guy who might be perfect. German guy, what was his name. Rodenstock! Hardy Rodenstock. I think I’ll give him a call.

Thursday, July 9, 2015

EPHEMERA: The HoseMaster of Wine™ Interview


A few months ago I received an email from Linda Murphy, who humbly says she "used to be someone in the wine business" (this to someone who has never been anyone at all in the wine business), asking if I’d agree to an interview for publication in Vineyard and Winery Management magazine. Naturally, I was flattered. Most of my interviews are conducted in either a prospective employer’s office, or handcuffs.

Linda asked me if I preferred a phone interview, or email. I’m a writer, well, self-proclaimed writer anyway, so I preferred email. Linda sent me a list of questions, and I answered them. I wonder that people have any interest in me, or my life. It’s the HoseMaster that generates curiosity, and I’m not him.

I wonder that anyone cares about Ron Washam. I’m a huge disappointment in person—there are a lot of people who will testify to that. I’m willdy uncomfortable with my tiny bit of wine business fame, and yet proud of it. But I know that people expect me to be a lot like the HoseMaster in person, and I’m not. I don’t perform comedy, I write comedy. Those are two very different pursuits. I’m much funnier on paper than in real life. And I care as much about writing as I care about wine, maybe more, after having spent many years studying both. But I feel a pressure to be funny with people who meet me and are fans, or even critics, of my blog, which makes me contemplative and recalcitrant in person. I don’t want to be the HoseMaster on a daily basis. Would you? So, yes, a disappointment.

The editor of Vineyard and Winery Management, Tina Caputo, seems to be a fan of my work. I’ve never met Tina, but I hope to one day. Not because she’s a fan, but because I know her work and admire it. The most recent encounter I had with Linda Murphy my brilliant interviewer, was in the parking lot of our local indepently-owned grocery store in Healdsburg, Big John’s. I was getting into my car with bags full of groceries when a woman asked me if I was Ron. I said I was, and Linda introduced herself and said kind things about my blog. I really need to get rid of my California vanity license plates. Mine say “HOSMSTR.” I’ve had those plates almost thirty years. Maybe it’s time to let them go.

All this to get to the link to the interview. Warning—there are also photos. You may want your children to leave the room.

The HoseMaster of Wine™ Comes Clean.

Monday, July 6, 2015

Le Flash in Le Pan

Le Pan in the Ass

Hello,

Le Pan is the only wine magazine that answers the questions to which real wine connoisseurs need answers. Is my private jet a good place to store my First Growths? How does cabin pressure affect Champagne—does it make it just like fine wine sales in China? Flat? Should Grand Cru Burgundy smell like where I stable my polo ponies? Or worse, where I house my sweatshop employees? How do I know auction bottles are genuine, and not fake like the Cartier watches my factory slaves make? Do stupid Americans actually buy Yao Ming’s Cabernet?


There's a new wine rag in town, Le Pan. After you read this letter from the publisher, a Master of Wine, no less, you'll want to subscribe. Or commit suicide. I'll probably do both. To read the rest of the publisher's letter, head directly to Tim Atkin M.W., the only M.W. not on Le Pan's masthead, I think. And feel free to respond over at Tim's, or leave your response here inside a fortune cookie.

TIM ATKIN, M.W.

Thursday, July 2, 2015

EPHEMERA: Wine Blogging--Just Another Kind of Sad and Lonely Exhibitionism


I was a judge in two wine competitions in June, the California State Fair Wine Competition and the San Francisco International Wine Competition. That explains why I was absent for so much of June. Well, that and apathy.

I spend a lot of time wondering why I do what I do now, considering where I've been, and considering the big wine picture. It seems to be out of some sort of need for attention. Which is pathetic. Writing HoseMaster of Wine™ was originally a way for me to see if I could still write satire. But after five years and more than 400 pieces I think I’ve answered that question. No fucking way. However, I have received an awful lot of attention, much of it negative, and, like the flasher in a battered trenchcoat who lives for the reactions, I keep waving my weenie around hoping for applause for my limp apparatus. Maybe wine blogging is just another kind of sad and lonely exhibitionism.

The nominees for the Poodles were announced (the winners having just been announced) and I ill-advisedly perused many of the nominees. Ouch. I don’t know who the judges were, but theirs must have a terrible task, the equivalent of judging the annual Nathan’s Hot Dog Eating Contest and having to drink the hot dog water afterward. Yet this year I felt some compassion for the nominees. Most must have felt gratified to have been nominated. I lobbied hard not to be nominated, I hate meaningless awards, which is another kind of pathetic. I didn't vote for the Poodles, but I certainly hoped that Chris Kassel would win for Best Writing on a Wine Blog (he didn’t, but he won for Best Blog Post of the Year, ironically, for a post that had nothing really to do with wine, but with Robin Williams' suicide--Morgue and Mindy) because he’s smarter and funnier than I am, and comedy is so much harder to write than tepid wine prose. That said, I’m sure Chris doesn’t give a crap that he won. I never did.

I ask myself all the time, what am I trying to prove by writing HoseMaster of Wine™? I don’t know the answer. Maybe I’m not trying to prove anything. But it feels to me like I am. Only I don’t know what. If anything, it’s to prove that I love wine. Not particular wines, not the romance of wine, just wine. And like any great love, I can’t explain why. I can only say I know my life would have been empty without it. That my love for wine is what led me to everything good about my life. So I feel protective of it, and I dislike those who merely use it, those who talk about it thoughtlessly, those who pretend to love wine, pretend to know more about wine than they actually do, but are merely using wine to benefit themselves. And they are legion.

I’ve always hated the pretentiousness that surrounds wine. Smart people can be pretentious, which is shameful. And stupid people can be pretentious, which is laughable. Wine writing these days seems guilty of being both shameful and laughable. Not all of it, not every single instance, not every single writer, but far too much. On the cosmic scale of being human, knowing a lot about wine barely ranks above being good at pinball. The endless debates that surround wine elevate trivia to heights equalled only by TMZ and pledging sororities. Yet chat rooms and blogs are filled with the kinds of wine frauds that would make Rudy Kurniawan proud, and only because wine is deemed important. I love wine, but I’d never, in the grand scheme of things, attribute it much importance.

In 2014 I judged in six wine competitions. This year I’ve judged two, and I’m probably done for the year. I know why I attend competitions. For the simple joy of being around a bunch of interesting wine folks, many, if not all, of whom know more about wine than I. It’s kind of like attending Bible Study, only everybody’s nuts and drinks too much. So just like Bible Study. Judging reminds me over and over again how endlessly fascinating wine is, and how it unfailingly outmatches us, humbles our feeble senses of smell and taste. Wine isn’t about those senses, though in a strictly objective sense it is. Wine is really about camaraderie, congeniality and laughter, the simple joy of intemperance. Or it’s supposed to be. Too often that is missing from wine judging, and from wine writing.

Truthfully, it’s also flattering to be asked to judge a prestigious wine competition. Not getting asked to return can be disheartening, a kick in the old grape nuts, but when you’re the HoseMaster, well, you never expect to be invited to the cool parties in the first place. Satirists never are. Getting invited even once is pretty cool, makes me feel accepted and appreciated. So, again, we’re back to pathetic.

Pardon my little rambling essay. EPHEMERA has always been about sitting in front of the fucking blinking cursor and just expressing what’s been running through my twisted mind. I do wonder why I do this. I don’t need to; it isn’t keeping a roof over my head. It isn’t a path to fame and reputation—not the way I do it anyway. It’s not even very good, not a repository of wit or insight that the world will some day honor and read. It seems to be some sick way of caring about wine, some way to repay what I owe to wine. As if that were possible.