Terroir Is Boring, And Other Gems From Austrian Winemaker Christian Tschida

In a hypercommercialized world where even natural wine, once culty, is now fetishized to death on social media (guilty!), people like Austrian winemaker Christian Tschida are refreshing. Christian doesn’t take in harvest interns; doesn’t use Instagram; doesn’t put cute cartoons on (most of) his labels; with few exceptions doesn’t particularly like to attend natural wine fairs; and somehow is maybe the only producer in the “Brutal” collective who is allowed to put his name on the front label. He’s somehow both gruff and nice at the same time, giving the impression that, while he’s actually a very considerate person, he’s not out to impress anyone with politeness.

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This past summer, a small group of us who are fans of Christian’s wines, and wanted to better understand them, visited Christian at his home in Austria’s Burgenland region. I was accompanied by Valentina and Misiska of the natural wine salon Humbuk Bratislava, and Ed, aka the Winestache. It was a gorgeous, warm day. We didn’t go into the cellar or vineyards, just hung out in the backyard, with the stark white walls of the house lending an oddly Mediterranean atmosphere, and drank wine and talked.

“I want to make wines the way I want to drink, but also wines that age, and that I can think about,” is how Christian speaks of his winemaking. He wants to achieve a lot with his wines; they should be drinkable, but also age-worthy and meditative. Christian’s father was a third-generation winemaker in Burgenland, and founded an association that promoted organic wine growing. Ten years ago, Christian started making wines under his own label, working to assert a unique style. He has always done skin contact with the whites, he told us, and since 2010 he has bottled his “experimental” wines separately. Echoing what many winemakers working with skin contact whites have told me, Christian explained that maceration can be tricky and has to be closely watched in terms of picking at the right time and leaving skins on for just long enough, especially since Christian uses no sulfites.

The estate is around 10 hectares, all organic, and vines are trellised in a “double planting” system, with two rows of vines alongside each other, which Christian says improves the acidity and lets the roots go deeper. (Christian’s UK importer, Newcomer Wines, has some helpful information about his work in the vineyards.) Christian picks grapes for acidity, especially the Muscats, of which he has a few different kinds (“You have to avoid the stupid Muscat taste, you know what I mean?”).  Read more

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Some Sneak Peeks (Or Peaks?) Of Terre Magazine Issue 1

Here’s how tired I am: I nearly wrote “sneak peaks.”

I’m exhausted! It’s the middle of harvest here in the Loire Valley, where I am working for the wonderful Mosse family in Anjou. (More on that soon.) While traveling all summer, I’ve managed to put together an entire magazine. There are some really complex, in-depth features in Terre Magazine Issue 1, which is now for sale on our website. Here’s a few of just the tiniest glimpses at what’s between the covers:

  • Deirdre Heekin of Vermont’s La Garagista delivers profound thoughts about hybrid grapes, with her signature prose style
  • One of Italy’s most prominent natural wine consultants, who is also making his own first vintage, is profiled
  • A first-person “day in the life” of one of the U.S.’s most exciting natural wine bars
  • The “beyond Pinot Noir” movement in Oregon
  • Cheesemaking and why terroir is a marketing scheme
  • How one Long Island winery made its first pét-nat

That’s only part of what’s in Issue 1. And you should see the artwork. We’ve collaborated with super talented painters, photographers, and illustrators around the world, and our designer is currently putting the finishing touches on the layout, all of which has happened via my talented artistic co-founders, Erika DaSilva and Katie June Burton.

If you haven’t already purchased your copy of Terre, grab it on our site. Copies are limited, and no content will be posted online. Potential stockists, if you have questions, please reach out to us at terremag@gmail.com. We’re planning some launch parties in NYC and Oregon for November–stay tuned! Follow us on Instagram or Facebook, or sign up for our newsletter

Can’t wait to share Terre Magazine with you all, so so soon . . .

And now, back to bottling some Chenin Blanc. (It’s a rainy day, so it’s cellar work time here . . .)

What Does One Drink During A Heat Wave In Paris?

The answer: anything and everything. Lots of water, cold cold beer, and soooo much vin de soif.

Paris, and most of Europe, is just emerging from a terrible heatwave. This past week, an energy-zapping, torturous, four-day cloud of brutally strong sunshine and 37 degree Celsius temperatures made the entire city into a greenhouse. My brain felt cooked. I tried to get work done, but it was really difficult to sit still and concentrate.

That said, I did have an article come out on Monday, ruminating on the phenomenon of “hipster celebrity natural winemaking,” in this case with the launch of Action Bronson’s wine, made in collaboration with a French grower and micronégociant Patrick Bouju. Read the story for Sprudge Wine, here

Other than that, I spent the week working on Terre Magazine; we’re assigning stories to writers around the world, plotting the corresponding artwork, and delving into the massive task of layout design. It’s interesting working with Erika and Katie across the sea, but actually it’s not so hard to communicate. We have some really compelling and unique stories in the works, and I’ll be editing throughout July and August. (For those interested in writing, see these pitching guidelines.)

Due to the heat, I really had no choice but to drink quite a bit this week. Here’s what I’ve gotten into (some of these are from the previous week; my liver’s not THAT hardcore):

Collaborative Septime x Vouette et Sorbée Champagne 

Not your average house wine! The restaurant Septime partnered up with biodynamic Champagne grower Vouette et Sorbée to make a killer special cuvée; it’s effectively the producer’s signature Fidéle blanc de noirs, made from Pinot Noir grown on Kimmeridgian soils in the Aube, but in this case élevage and tirage go a bit longer, according to the woman working at Septime Cave, where I purchased it. The juice is from vintage 2014; disgorgement was in December 2016. All of the V&S wines are rich in texture, vinous, and deeply mineral, and this one is no exception; it had notes of bitter almond, tree barks, and preserved lemons.

Cidrerie du Vulcain, cuvée “Trois Pepins”

I am smitten by the Swiss ciders from garagiste Jacques Perritaz, a former biologist who works with nearly-extinct heritage apple varieties, “remnants of a bygone polyculture,” as written on the Becky Wasserman site. This cuvée blends apples with quince and pear; it’s only 5 percent alcohol and refreshing without being sweet, loaded with mouth-puckering acidity and complex flavors; a perfect drink for aperitif at the charming caves-a-vins La Buvette in the 11ème.

Cancelli “Vini Rabasco” bianco
Trebbiano from a small estate in Abruzzo, niente chimica added, showing the true potential of this grape; the wine has luscious mouthfeel and a healthy dose of salinity layered with good concentration of fruit. Truly a pleasant wine to drink with small plates at La Buvette. I’d drunk the red several times in the U.S. but I actually think this one is more interesting. Not a wine to age, but wonderful for enjoying in a casual setting, and fantastic with pâté.

Etienne Courtois, Romorantin, 2011

If any of you out there have money and want to plant vines in a cool climate wine region, please please find a pépinière (vine gardener, essentially) who has Romorantin and grow it! It’s one of my favorite varieties on the planet, a mouth-puckering combination of lemon drops, white peaches, and stony minerality, and only about 60ha are left in the Loire Valley. The barrel-fermented and -aged Romorantin of Etienne Courtois is one of my favorite wines; it could age for another few years but right now it’s drinking marvelously and it tamed my thirst perfectly the other night at Aux Des Amis.

Luici Tecce, Taurasi, 2011

A bold, ripe Taurasi on a sweltering summer night? Might seem counterintuitive, but I’d been invited by a friend to hang out at a newish spot selling Italian natural wines called Vino Nostrum in the 11ème, and when the owners told us they had only one bottle left of this extremely limited-production, culty Taurasi… we obviously had to buy it and open it on the spot. The DOCG appellation of Taurasi features the Aglianico grape grown on volcanic soils about 500m above sea level, and the wines receive extensive aging in barrel (minimum of three years prior to release, at least one year in wood). Luigi Tecce, who is considered something of a wizard in the region, inherited the family estate in the late 90s when his father passed away; it has 5ha of vines, including some that are over 80 years old. Licorice, smoked meats, tobacco, and ripe raspberries made this a contemplative, complex wine.

La Ferme de Sept Lunes, Viognier/Roussanne, 2015

Rhone whites are under-appreciated. True, they can be flabby and sweet-tasting, but in the hands of certain producers, the unique white varieties of this region really do shine through. La Ferme de Sept Lunes, in Saint Joseph, came onto my radar during a salon I attended a few months back, called Découvertes en Vallée du Rhone. I drank this Voignier/Roussanne blend at La Buvette, and it was the perfect balance of ripe fruit and fresh acidity. In true biodynamic fashion, the estate is polycultural, working with grains and stonefruits. You can purchase their apricot, pear, and grape juices at La Buvette right alongside their wines.

How To Pitch Any Magazine, But Especially How To Pitch Terre

Now that I’m the new editor of a print publication, I am fielding pitches, and I think it’s time to share some guidelines as to how that’s done. Because I’m getting a lot of these kinds of pitches from writers:

“Hey! I’m happy to write about something related to cider in California. Here’s a story I did a few months back about cider. Let me know!”

“Hello, I would love to write for Terre. Please take a look at my website, where I blog about wine and food, and see if anything interests you. Thanks!”

“How about a piece looking at the rise of natural wines in restaurants across the U.S.?”

The writers sending these pitches might be very talented, but there’s not much for me to work with here. Writers, you should not make your editor think of a story for you; it is up to you to figure out what the editorial approach of a magazine is (and yes, we don’t have an issue out yet, but we did explain our approach via text and video on our Kickstarter, which raised almost $17K, thanks to many of you who supported it, and I also have a lot of published articles on this site which indicate my interests and views) and propose articles that might fit based on that.

A good pitch should provide a glimpse of what the article itself will look like. It can begin with a colorful lede; for example, you might offer a few details of a person or place that peak an editor’s interest. This also helps to show your writing style; the rest of a pitch will be somewhat more technical and practical. You’ll want to outline the 5 W’s of journalism: who, what, where, why and when…

And regarding “why,” the pitch should address the timeliness or significance of the story you’re pitching. In the case of Terre, we are not really looking for “trend pieces,” such as “5 Restaurants Serving Natural Wine To Try Now.” This would be more the territory of a website looking for clicks.

Being a boutique print magazine, we want articles with a lot of substance and energy, and we are looking for in-depth, colorfully written medium-form stories, in the 1500-2000 word range. For this kind of feature, I would love to see pitches that promise a story which will move from the specific (“this winemaker has an interesting vineyard because X”) to the general (“this vineyard is an example of how indigenous grapes respond to climate change, which applies to broader questions like X”), as much as possible. I realize this is difficult to do, but I think it’s important to do more than simply profile an interesting producer; we need to make connections to the bigger picture.

As well, a good pitch should address the following:

  • why are you the writer to take on this story?
  • how will you do this differently than anyone else?

This could be answered in a number of ways, and it will be specific to the publication. For example, if you are writing a memoir about working on a vineyard, I as an editor would like to know what literary skills you have, because memoir is a genre that really depends on beautiful, talented authorship. If, however, you simply want to pitch an interview with a renowned winemaker who is difficult to access, you could offer your prowess as a reporter or perhaps your language skills (maybe the winemaker only speaks Croatian, and you do?), and your knowledge of wine in that region.

Also, it’s great to pitch several ideas at once, so an editor can see your general range of thinking, and also, you might get more than one assignment! Every pitch should begin with a proposed headline. It won’t be the final headline, but it does help to frame the pitch.

So, a few more tips here, and also a review of the points above:

  • give your pitch a headline
  • use a colorful lead
  • pitch something you’re passionate or curious about that you think fits the publication
  • explain why you’re the person to write this
  • offer a sense of your approach and what you envision as the approximate word count
  • explain why this story should be written now, and why for this publication
  • check back, and make sure you’ve at least tried to address the who/what/where/why/when of this story…
  • and finally, but this is also the most important: pitch stories, not topics–i.e. look for something that’s actually happening, or a new phenomenon, or a person who is remarkable right now, and construct a narrative around that

Was this useful at all? I really hope it was, and that it helps those of you who are writers, whether you’re pitching Terre or someplace else.

And in case you’re a writer, and you’re wondering: yes, Terre will pay contributors. Send pitches to terremag@gmail.com, and soon! Many assignments have already gone out.

Want to keep up with our progress at Terre Magazine? We have a newsletter, which will send out very occasional updates; sign up here. Cheers from Paris, where we’re slogging through a brutal heat wave; I’ve taken refuge at a friend’s apartment to work until I’m brave enough to venture back out for a glass of wine.

 

 

 

Terre Magazine Featured In Edible Brooklyn

I’m still so high off the incredible excursion earlier this month in Georgia. Stay tuned for my full story on the country’s wine and food culture soon on Vice MUNCHIES, and in the meantime I’ve put up some detailed tasting notes on this blog.

But this month has continued to be a gem, because the Terre Magazine fundraiser on Kickstarter has not only taken off successfully, but it has already reached its funding goal, and we are beyond thrilled. We knew there would be support for our project, but we didn’t anticipate that we’d reach our initial target in under two weeks, and then continue to raise money beyond that. Wine retailers around the country have pre-ordered copies in bulk, and people as far away as South Africa are ordering copies to be delivered to their homes. Working on the editorial calendar now, and I’m personally so excited about the articles and artwork we’ll be putting out.

I could not do any of this without my incredibly talented and brilliant co-founders, Katie June Burton and Erika DaSilva. Their artistic perspectives balance out my journalistic approach, and I have to say, it feels really good to say that Terre is a women-run publication. 

To learn more about who we are, what Terre is, and what it means that we are women-run, check out the recent feature on our magazine by local writer Alicia Kennedy in Edible Brooklyn. You can still support the project on Kickstarter (link HERE) until June 8th; the more funds we have, the more we can offer our contributors in terms of compensation, plus we’ll be able to hold launch events to support our retail partners.

We are really looking forward to sharing Terre with you, and already the process has been so creatively fulfilling and challenging in all the right ways. We have a newsletter via Tiny Letter where you can sign up for occasional updates from Terre, and we’re also on Instagram.

Cheers to you all for your early support of this endeavor! Bon weekend!

Notes On The Natural Wine Revolution In Georgia

There is so much happening in the natural wine scene in Georgia, it’s impossible to recount it all here, but I’m going to share some of my tasting notes. Briefly, if you’re not familiar with Georgian wines: the country has been making wine continuously for about 8000 years, and there are shards of qvevri (the clay amphorae vessels, used to ferment wine underground, beloved for their neutral effects on the wine and natural temperature control) dating back to the 6th millennium BC.

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During Soviet times, winemaking was both industrialized and policed, as it was throughout the Soviet Union (I’ve written about this in the case of Hungary). Only four out of Georgia’s 525 known grape varieties were permitted–Rkatsiteli, Mstvane, Tsolikouri, and Saperavi–and winemakers who defied the boundaries were thrown in prison.

Fortunately, despite 70 years of Soviet rule, the Georgians managed to keep their winemaking culture alive, and both qvevri production and grape biodiversity have survived, although many varieties are certainly at risk of extinction now. Hopefully, the natural wine revolution that’s happening there in full force can assist in propagating some of these varieties, and not just for the sake of science–there are some really delicious wines made from extremely unique, heritage varieties in Georgia.

There’s really nothing out there quite like Georgian wines; they have entirely unique flavor profiles. The whites are typically made with skin contact, lending them tannic structure and texture, and the reds can be powerful, especially the teinturier (red-fleshed) variety Saperavi, which produces inky dark wine. And it’s important to note that these wines are best when experienced with the country’s incredible cuisines, which vary from region to region (and by household, where family recipes are passed down over generations), but generally feature lots of sautéed vegetables, the flaky warm cheese bread khachapuri, rich and tender roasted meat dishes, lamb stews, and fresh fish, all served family style.

I am not an expert on Georgian wines; the writer Alice Feiring’s book For the Love of Wine is an essential primer on the country’s natural wine revolution, told with Alice’s unparalleled narrative skill, and the MW Lisa Granik is another great resource. But I’ll share some tasting notes here for those who want to learn, and seek out Georgian wines. Many of these wines were tasted at the winemakers’ homes/cellars, while others were tasted at the fantastic natural wine event Zero Compromise, organized by John Wurdeman of Pheasant’s Tears and held in Tbilisi. For American wine buyers looking to find these wines, I recommend reaching out to the New York-based importer Chris Terrell and to Blue Danube.

ARCHIL GUNIAVA

In the Imereti region of Western Georgia, Archil makes a wide range of whites, some with no skin contact, others with about 15 percent of skin contact (traditional in that region, according to him) and reds, all in qvevri. He began bottling his wines about 7 years ago, although winemaking goes back many generations in the family; his vineyards are in rich clay soil, on a slope. We tasted in Archil’s cellar. I really enjoyed his 2015 Krakhuna, which sees 4 months of 15 percent skin contact before racking to another qvevri for elevage (most of Archil’s wines follow this approach). There was a nice fruitiness to the wine, and soft tannins; I found all of Archil’s whites to be very drinkable, with wonderful texture. I was also a huge fan of a blend made from Otskanuri Sapere (red grape) and Tsoulikouri (white grape); we tasted ’16 from qvevri and ’15 in bottle and the latter was exceptional, with notes of fresh ripe cherries and fresh acidity. Archil’s daughter Nino also makes excellent wines; we tried her first vintage of a beautiful, dark orange blend of two white grapes.

GOGITA MAKARIDZE

 

Gogita is Archil’s neighbor, so he works with many of the same grapes and blends. I loved his Aladasturi, a light, perfumed red wine, ringing in at about 10 percent alcohol, redolent of crushed roses, tasting of blackberries. Georgian glou glou! That’s his Tsitska (white grape) pictured; he makes it without any skin contact and it’s very approachable.

RAMAZ NIKOLADZE

Ramaz’s vineyard in Imereti is a special place, less than half a hectare. He has not cultivated it in 15 years–no tilling, no weeding, absolutely no chemicals–and it is a beautiful, wild thing, filled with medicinal plants, the rich clay soils so alive. Tsistska and Tsoulikouri, both white grapes, are planted here.

Ramaz’s father-in-law was making the “I am Didimi” wines, but now that he’s quite elderly Ramaz makes them; we tasted a few of these. The Aladasturi grape appeared again, and again it was wonderfully light and pretty, with notes of crushed roses on the nose, and fresh cherries on the palate (that was a 2016 wine). We also tasted Ramaz’s wines, of which I was most impressed by his 2016 qvevri sample of Tsolikouri, made with 3 months of skin contact; it was richly textured and perfectly tannic, just a great example of this style of wine. I also loved the 2015 Tsitska-Tsolikouri blend (a fairly traditional blend in Imereti); made with whole cluster grapes fermented on the skins for several months, it was dark orange, and tasted powerfully of citrus and stonefruits, with medium-plus tannins that lingered on my tongue in a way that the best food wines tend to.

MANDILI & IAGO’S WINE

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In Georgia, gender roles are still fairly traditional: men make the wine and deal with public/business affairs, while women cook and care for the home and children. But in winemaking, at least, this is changing.

The first commercially available wine made by Georgian women was the “Mandili,” a skin contact Mtsvane made by Marina Kurtanidze (who is married to the well-known winemaker Iago Bitarishvili), along with her friend Tea Melanashvili, using purchased fruit. I tasted it at their winery/home, and it was incredible: perfect balance of stonefruits, acidity, and tannin.

Iago makes wine only from the high-acid white grape Chinuri, one with skin contact and one without, in qvevri that are centuries old. I liked his skin contact one better; it was saline with nice, soft tannins, and had a beautiful bright orange color. (Upon returning from Georgia, I drank this wine here in New York, at Four Horsemen, and again found it extremely pleasant and balanced.)

ZAZA GAGUA & KATI NINIDZE

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Another example of women taking up their own winemaking projects. At the home of Zaza Gagua and Kati Ninidze, in the M’artville Gorge of Western Georgia, we are shown first to Kati’s newly planted vineyards, and to the space she is building out as her wine cellar. She beams with pride as her husband explains with a shrug, “She said she wanted her own space to make wine, so.”

Zaza and Kati make very different wines. It may be a cliché to simply say that one is masculine and one is feminine, but they do express their own voices. They have a unique and rare grape in their area called Ojaleshi, which Kati uses in two wines—one is made from a white variant of the grape, and she calls it “Naked Wine.” On the label, two nude women’s bodies are depicted; one is in full splendor, a goddess, free and unencumbered, and self-loving, while the other is literally in a cage. As we tasted the wine—not made in qvevri, but instead produced in stainless steel, a more modern approach—Kati explained that women in Georgia were often taught to hide themselves, and be prudent, but she was for self-expression, and thought women should be able to show their bodies if they felt like it. Kati also poured for us her fresh and fruity rosé, made of Orberluri Ojaleshi. “Somm crack juice,” is the very accurate tasting note that one woman from Minneapolis gave for Kati’s wines. Her husband’s wines featured the somewhat more common white grapes Tsolikouri and Krakhuna, made in qvevri with skin contact, and two robust and sultry red wines. Their two distinct styles compliment each other.

ZERO COMPROMISE TASTING

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We attended the second iteration of Zero Compromise, spread out across three locations in Tbilisi, featuring natural winemakers from around the country. It was a fantastic event, and if you’re thinking to go to Georgia for wine purposes, I would definitely suggest timing your trip to coincide with this event. Why is it called “Zero Compromise?” As John Wurdeman put it: “If you’re going to do anything, do it all the way, give it your full heart. The heart has to be vulnerable in order to always be full.”

Some of the “usual suspects” like Pheasant’s Tears and Okro’s were present, as well as somewhat newer labels, including Niki Antadze in Kakheti, whose wines I first tasted (and loved) at La Dive in France earlier this year; and there were some upstarts like Niki’s partner, a French woman from the Jura named Laura Seibel, who has two delicious bottlings. From another upstart winemaker, Mariam Iosebidze–pictured above–I loved the first vintage Tavkveri (a pretty and light red grape, kind of like a Poulsard). Tavkveri is a wonderful, lively grape in every case I’ve tried.

One of the most interesting wines for me was a 35-variety field blend of heritage grapes from Kortavebis Marani. I found this light red enticing, beautiful and difficult to describe; the flavors were very complex and nuanced.

PHEASANT’S TEARS 

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For some time now, the Pheasant’s Tears label from John Wurdeman and Gela Patavishlivi in Kakheti have been all I knew of Georgian wines. John, an American artist who fell in love with Georgia while there making paintings, and became a winemaker, has been very instrumental in getting the word out about Georgia’s natural wine movement, through travels and wine fairs. I got to taste through the Pheasant’s Tears line-up at the vineyard in Kakheti, while trying some dishes from the restaurant they are opening there, Crazy Pomegranate. John’s wife Keti is the chef, and the menu is highly vegetable-centric (John himself is vegetarian), although there were some beautiful meat dishes, too.

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Of the Pheasant’s Tears wines, the most exciting to me were: the Vardisperi Rkatsiteli, made from a rare (less than 2 hectares in all Georgia exist) pink-skinned variety of Rkatsiteli; it was light and savory and very pretty; the Poliphonia, a field blend of hundreds of grapes, which like the 35-grape wine shown above I found immensely complex and difficult to describe concretely, but full of flavor; and the Saperavi from Tibaani in Kakheti, with intense, sapid black fruits, lithe tannins, and lively acidity. I have always loved the Rkatsiteli, and it was showing beautifully–fresh and soft, energetic, tannic. All wines tasted were 2016.

Later that night, at John’s other restaurant in town, we tasted the first Pheasant’s Tears vintage of Saperavi, from 2007. The bottle we opened was incredibly reduced and basically undrinkable. But then we found a batch of the ’08 Saperavi; I blind tasted a few people on it and they immediately guessed the variety and vintage. It was stunning–still not very mature, powerful and structured but rounder with age, and incredibly drinkable given the age. These wines can age. These wines, seemingly, can do anything–go with any food, any situation. I cannot wait to return to Georgia and explore more.

Meet Terre Mag This Weekend At #FOODBOOKFAIR2017

It’s been many months in the works–and it all started at that damn wine bar, Wildair, where I keep going back, again and again, unable to resist the funky wines, the fried shrimp dish, the raucous tattooed kitchen staff.

The hostess, as well, was incredibly friendly, and as I showed up more and more regularly, she always blessed our glasses with a much welcomed splash of Les Capriades pét-nat as we waited for our seats. Over time, I got to know her: Erika, an artist; I discovered her Instagram and fell deeply, madly in love with her wine- and food-themed gouache paintings. 

Finally, I got up the courage to blurt out, as she was ushering me to my seat one night: “I’m obsessed with your work. We have to collaborate!” Being modest, she blushed and adjusted her eyeglasses. Then she said, “Sure! Give me a call,” and filled my glass. We worked together for this article about natural wine on the Lower East Side for Food Republic, but we knew there could be something bigger. We began scheming, planning, brainstorming over coffee, grain bowls, and of course, wine.

Months later, Erika and I found our third counterpart, a talented food photographer and pop-up chef named Katie (she took the fantastic photo you see here, as well as most of the shots on our Instagram/Kickstarter) and we formed Terre Mag: an indie print mag about natural wines and heritage foods. 

This coming weekend, we will be representing Terre Mag at the Food Book Fair, taking place on Saturday and Sunday 12-4pm both days, at the Ace Hotel in Manhattan. For $5, you can pass through and meet tons of indie food mags like us. We’ll be giving away beautiful wine tote bags, printed with one of Erika’s original paintings, to a select handful (if you mention you saw my blog post, you’ll totally get a bag). Honestly, it’s a fun event–I’ve gone several years in a row–and a great place to meet people. So, get the F off Tinder, and go to Food Book Fair to flirt with some cool people who love to eat and drink well!

And more importantly, we need some early support for our Kickstarter! Check it out here. We have less than a month to raise $10K to get this biannual magazine going. Please go check out the Kickstarter and if you can, at least pre-order your copy of Terre Mag, and spread the word on social media (you can start by following our Instagram). Shout everywhere and anywhere about Terre Mag; your help is much appreciated.

Thank you so much!

Over and out, your fellow lover of sincere, wild, delicious terroir.