Velvety Chocolate With a Silky Ruby Finish. Pair With Shellfish.
Ridiculous wine descriptors may reveal more about a bottle's price than its flavor.
The seventh edition of Robert Parker's Wine Buyers' Guide is 1,513 pages. It weighs 4.1 pounds, more than a magnum worth of wine, and even carries an oversized electronic price ($24.95 on the Kindle). The heft is due, in large part, to over-the-top descriptions of the world's wines. If you're in the market for an "indispensible" bottle, you might check out the 1998 Chateau La Lagune. More "inimitable"than "indispensible" is the 2006 Chateau Malescot St. Exupery, which contains "notes of graphite, black currant liqueur, incense, and camphor."
Graphite. Black currant. Incense. And camphor? It sounds like something out of a Bollywood take on Hansel and Gretel. Never mind that graphite contains no aromatics, or that incense could mean any of a dozen flavors. Can a simple Bordeaux let loose such a witches' brew of fragrant notions?
George Taber, the reporter who covered the Judgment of Paris tasting, in which California first beat France in a wine tête-à-tête, is skeptical. "Wine critics want to be Zeus on a mountaintop," he says, but there's little objective basis to their declarations. The economist Richard Quandt, riffing on Henry Frankfurt in a missive titled "On Wine Bullshit," is less delicate. He declares the wine industry "intrinsically bullshit prone," one that "therefore attracts bullshit artists." Quandt puzzles over the term "spicy earth," from Parker's glossary: "I could go into my backyard and sprinkle some cumin, cardamom, turmeric and fenugreek; but how would I know that those are the right choices, rather than coriander, chili powder, caraway seeds and cayenne?"
Of course Parker is not the only culprit—he's just the most famous; impossible descriptions plague many reviews. Take Antonio Galloni's physics-defying phrase: "The 2005 Brunello di Montalcino is a model of weightless finesse." The review continues by conjuring up "dark wild cherries, minerals, menthol and spices."
Since it sometimes seems as though wine tasting is a fixed game of bluffs (let my gravel pass, and I won't challenge your carob), I began to wonder if wine descriptors might not be correlated with something other than flavor: price. I decided to see if I could predict the price of a bottle based on the words in the review. "Wild nettle" sure sounds fancy, but is it preferentially used in conjunction with expensive wines?
Using descriptions of 3,000 bottles, ranging from $5 to $200 in price from an online aggregator of reviews, I first derived a weight for every word, based on the frequency with which it appeared on cheap versus expensive bottles. I then looked at the combination of words used for each bottle, and calculated the probability that the wine would fall into a given price range. The result was, essentially, a Bayesian classifier for wine. In the same way that a spam filter considers the combination of words in an e-mail to predict the legitimacy of the message, the classifier estimates the price of a bottle using its descriptors.
The analysis revealed, first off, that "cheap" and "expensive" words are used differently. Cheap words are more likely to be recycled, while words correlated with expensive wines tend to be in the tail of the distribution. That is, reviewers are more likely to create new vocabulary for top-end wines. The classifier also showed that it's possible to guess the price range of a wine based on the words in the review. From a more qualitative standpoint, there are three types of words more likely to be used for expensive wines:
- Darker words, such as intense, supple, velvety, and smoky
- Single flavors such as tobacco or chocolate versus fruity, good, clean, tasty, juicy for cheap wines
- Exclusive-sounding words in place of simple descriptors. For example, old, elegant, and cuvee rather than pleasing, refreshing, value,and enjoy
- Additionally, cheap wine is preferentially paired with chicken and pizza, while pricey wine goes with shellfish and pork
Armed with this information, we could, for example, create the most expensive-sounding review in the world: A velvety chocolate texture and enticingly layered, yet creamy, nose, this wine abounds with focused cassis and a silky ruby finish. Lush, elegant, and nuanced. Pair with pork and shellfish.
In defense of critics, one might argue that these correlations exist because expensive wines actually taste like focused cassis, where cheap wines are just juicy. But, along with Quandt and Taber, food scientists think that's doubtful. Recently, researchers have been smashing apart wines in mass spectrometers, looking for odorants like ethyl 2-methylbutanoate, which smells like apples. While they are finding minor differences between varietals, the similarities are more striking. Merlots contain slightly more earthy compounds than cabernets, but the two are otherwise indistinguishable. It's impossible, furthermore, to pick apart differentiating flavors of specific spices or flavors of earth in any wine. Granted, the human nose is more agile than a mass spectrometer, which only detects the mass and structure of molecules. It's unlikely, however, that experts have such precise senses that they can identify minute variations of tastes and odors that a sophisticated machine cannot observe at all.
Coco Krumme studies behavioral economics at the MIT Media Lab, and is a member of the American Association of Wine Economists.
Photograph of cork and bottles by Hemera/Thinkstock.