And Then Some

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Absent

Sorry, everyone, for you not hearing a PEEP from me/us in the last few weeks. I did something dumb, which I thought at the time was GOOD, which was, to take on a freelance project for a wonderful designer friend of mine. See, I still struggle with this new(er) identity of  “I’m in the wine business,” and so should spend my time working on sharing more about us in this blog. I still feel the tug of my “previous life,” which was as a brand writer, and boy was it a helluva lot easier then, having a Creative Director directing you in all your (or my) writing work…anyway…it was a 2000 word article meant for a global innovation group publication of a design intelligence company out of the UK whose focus is on retail and hospitality. My piece is about branded spaces and the power of story. Here’s the first paragraph:

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Was reading a Curious George story from the late 1950s to our young son the other day. In one of the scenes is an image of a reporter carrying one of those old-time cameras, the boxy ones with the big flash on top, looked like she was looking down on it to take the picture instead of holding it to her eye. You know what I’m talking about? Anyway, I soon put our little guy to napping and came downstairs thinking of that camera, about how in many of my favorite children’s books I share with Sam there are a good many dated items like the telephone in the big green room, or this box camera, or horse-drawn wagons, etc; in essence, objects from the past that my son might never come to know because they are no longer relevant to our cultural landscape.

Alone with my cup of coffee, Scott across the table finishing up Hugh Johnson, A Life Uncorked (look for a book report soon – I’ll try to get Scott to expand on his thoughts for this one), I began to think about something I had read recently in the March WS, about an idea from the past that I wonder if more and more people might never come to know, or even worse, to dismiss: the farm-to-wine connection.

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While watching the Academy Awards the other night I started thinking (what an incredibly boring show, even with Alec and Steve, so what else to do?): How are films made? Besides the obvious of a great script and dialogue and scenery and costumes, lighting, etc., and of course the greatly talented actors and directors who bring it all to light, at the end, it all gets pieced together after numerous takes. Get the line wrong? Take 2. Get it wrong again? Take 3. And so on, and so on, take after take until it’s just right. Then, it’s edited down, soundtrack and whatever else applied, and there you go. Oh, if it could be so in the wine industry.

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I can’t believe all my sweat to get some posts set up for you, my dear Readers, before we left on a little get-away fell through. They were supposed to be tie-overs until I returned, and to make up a little for not keeping The Little House On the Hilltop Project on schedule since I was away (I had hoped to find an internet cafe with computer availability in Hanalei, Kauai – my little search turned up nada). Turns out there are bugs in WordPress that I did NOT know about. Argh.

Scott’s Book Report post JUST BELOW THIS ONE on Jonathan Nossiter’s Liquid Memory is one of these “lost posts,” and there’s one more coming. I still owe you an TLHOTH Project update, and it’s coming, too; today was our first day back and little Sam has some big I-need-Mama thing going on, so, please hang tight, because there IS some news to share.

Mahalo, dear Readers.

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