How to Start Reviewing Rums – Part 3

 7 Responses »
Mar 052015
 

Part 3

 

Part 3 – Sampling, and the review itself

In the first part of this series I discussed figuring out how to get your head around what to write, and followed that up in Part 2 with some general remarks on how to deal with your actual website postings. Today I continue in a similar vein about tasting, scoring and the conceptuals of a review.

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When I taste I scribble my initial notes immediately; then I have to retaste, usually with other rums in play as controls or comparators, then score.  Then I have to turn the whole thing into a coherent essay, including research, background and photographs. The re-edits can sometimes take days. Then, and only then, do I post on this site.

Some pointers that work for me and which I’d recommend – the list is not entirely for more casual bloggers, but who’s to say what’s useful and what’s not? As always, find your own method with which you’re comfortable.

1. I’m not going to go in depth on how to nose and taste, hold the glass, dip your beak, etc.  The subject has been covered by many others before, and you’ll find a way that works for you. However, a good glass, not a tumbler, is recommended.  I used to needle my friend Curt of ATW about pinching his daughter’s Barbie glass collection, but there’s no question that a good tasting glass is part of a reviewer’s arsenal for really getting into a rum’s profile.  Sure you can use a whisky glass, plastic cup or tumbler, but remember: you’re a reviewer, not a backyard boozer gunnin’ ‘em down over the grill. It almost presupposes a slightly more structured approach to assessing a spirit.

2. Train yourself to know how to identify what you are tasting and smelling. (Practice in the kitchen, on the spouse’s spices, in open air markets, anywhere there’s a plethora of aromas to tease out of the air).  Pay attention to your nose, because that’s where most of the taste comes from.

3. Sample blind if you can, and in conjunction with other rums that are your personal baselines for the type.  In other words, have three or four glasses in front of you, but with different rums in them, including the current subject, and sample them together  without knowing which is which. The point is to be as democratic and unbiased as possible. I usually ensure that the comparators – all previously reviewed and scored – are of similar styles, or ages. Because the first time you try a really top-tier highly-aged rum costing upwards of two hundred bucks, your enthusiasm can really cloud your judgement, and you may be tempted to give it a free pass just because it is what it is, if no controls are in place to temper your exuberance.

4. Do the occasional vertical tasting of an entire distillery’s line, if you can get them (and afford them); or try horizontally, as with taking five ten year olds and run them past each other.  You don’t necessarily have to write about it – it does increase your experience and relative understanding, though, and there’s nothing at all bad about that.

5. Have or develop a taste memory for rums of similar types and your scoring for them, so you can assess the current sample against such previous reviews.  (Henrik from Denmark told me that he has a mental map of a control group of rums which he knows extremely well, and he uses those as reference points to do his scoring).

6. Learn and practice how to write quick notes (this works well in a public environment like shops or festivals, or perhaps your friends’ pads), and how to score on the fly, even if a little potted (be comforted, it gets easier).

7. Every review should have, at a minimum, a description of the rum (name, type, age if known, country of origin, producing outfit, and proofage); words relating to colour, possibly viscosity (“legs”); nose, taste (with and without water added) and finish.  Anything after that is an optional extra – stuff such as if it has been added to, filtered, how it makes a cocktail, company bio, what other rums it reminded you of; comparisons, price, source (pot still, column still, cane juice, molasses) and so on.

8. As noted before, whether you write in clipped sentences, brief notes, stream-of-consciousness or lengthy prose is up to you.

9. Have a score sheet. This would list the things you feel need to be evaluated: nose, taste and finish are the three most common.  Some add (and score) presentation, balance and/or overall enjoyment.  (My sheet has additional space for comments and the notes on the actuality of what I’m sampling…as well as what I’m thinking while I do it. Every now and then I go back through my old notes, but I’m odd that way).

10.   Score appropriately and consistently. Scoring is always an issue – many use a system which starts at fifty and goes to a hundred; others use a four star, or five-bottle or ten point system.  Mind, I started with the naive idea I could avoid scoring altogether and let the narrative speak for the product.  Yeah…but no. It’s really not a good idea to leave scores out. Sometimes that’s all people come to a review to see.

11. Jot down key words that occur as you try the latest subject.  Try and isolate specific aromas and tastes, the way it feels on the tongue, or when you slug it down.  How it changes as it sits for a while, after you add water, or an ice cube. Feel free to be as metaphoric as you wish – language should be pushed around a bit. Good writing in reviews is, I think, an undervalued art form, no matter how some people complain about excessive verbiage. (It’s also a personal belief of mine, unshared by many, that a review should say something about the author and his/her perspective on life, even express a philosophy, which is why I write the way I do).

The easiest reviews to write, the ones that just flow without seeming effort, are the ones you are most enthused about, whether for superlative rums or really bad ones.  This is because both your emotions and intellect are engaged and this makes for a better writing experience.  I’ve always found the hardest reviews to be the ones that relate a rum that is mid range…nothing special.  Only practice can take you beyond that hump, because most rums will indeed fall into this section of the bell-curve.

12. Do not be afraid to call a dog when you find one. Tasting is a subjective thing, true. You tend to get a sense for the good or great rums, and as time goes on your personal palate will likely bend you to one profile more than others, something which should also be noted up front (I have a thing for Demeraras and higher-proofed rums, for example, and the RumProject has made no secret of its utter conviction that un-messed-with rums that are in the mid-age sweet-spot range are the only ones anyone should be drinking). But you will find bad ones too.  We all do.

When you’re reviewing something from a new outfit you really want to succeed, tasting a rum about which everyone else in the blogosphere spouts ecstatic hosannas and encomiums; when you’re writing about some aged and rare and expensive dream-rum, even a so-called “exemplar of the style” — then if you disagree and dislike it, it absolutely does not means that you have to go with the flow, or even waffle around with weasel-words.

If you can take the time to describe why you love a rum, then the opposite holds true as well; you show respect to both the consumers and the makers when you can clearly explain why you think some well-advertised, supposedly well-made product, isn’t what it claims to be. Do not do the humble, self-deprecating cop-out of stating a dislike for a rum with the short comment about this being nothing more than an opinion, and “I’m-an-amateur-and-I-write-for-amateurs” – as if this somehow says all there needs to be said; if you have an opinion for good or ill, you must be able to argue your case.  An uninformed opinion is worthless, and people who do more than just look at scores do actually want to know why you feel this way).

Last note:

For four different styles of writing, compare the brutally minimalist ethic of Serge Valentin on WhiskyFun; the informative memoranda of Dave Russell on RumGallery; the utterly consistent verbiage and brevity of the RumHowler; and Barrel Aged Mind’s Deep Field of research. There’s a niche for everyone, depending on style. No one way will ever be correct, or please everyone.

Tomorrow: Which rums to start with

How to Start Reviewing Rums – Part 2

 1 Response »
Mar 042015
 

Part 2

Part 2 – The Website, writing and your postings

Yesterday I wrote about getting the mental philosophy of what you’re doing straight, sort of like getting your battle preparations right. In this part, I speak to your website, your writing and the attitude towards interacting with the world.

In no particular order of importance, then:

1. Hardly needs to be said, but design your website for the long term, and organize your space neatly.  This is one of those elementary things that is often and surprisingly overlooked. Maximize useful space at the left and right with widgets, links, categories or what have you. Trust me, it’s hard to do this when you have a hundred posts or pages that need to be reorganized. And think about it – as a reader, don’t you want to easily locate the information you’re after?

2. Modern media influences content: I write for large screens, not ipods. If you think your target audience is the latter, shorter, crisper reviews are more likely your thing. My friend Henrik remarked to me “Consider using a platform that supplies smartphone or tablet apps for better mobile experiences.  That is the sole reason I chose Blogspot, which has an app that reformats the writing for mobile screens.”

3. Font should be large enough to be readable immediately, and pleasing to the eye (at the very least your own, since it’s yours). The same goes for color schemes, graphics overlays, backgrounds, and so on. Try not to put yourself in a situation where your site layout becomes a nuisance. That will just piss off or scare off readers, or, worse, makes your site seem unserious. On the other hand, be reasonable about it too, since you cannot possibly please everyone (this site was once impatiently accused of being “too busy”, for example).

4. If you must have ads on your site, keep them low-key and discreet. Speaking purely for myself, I don’t often visit “noisy” sites that have pop ups, graphics, gifs all over the place. They dilute my focus and detract from what I want to know, which is the rum itself..

5. Have more than just two or three reviews to start with.  A site populated with many reviews will be more interesting than  just a few.  I had twenty to start, and added three a week for the first few months through a blizzard of writing. Even this, in my rearview-mirror opinion, was too little. However, if you are just doing this to chronicle a personal journey and add notes and reviews and remarks as you experience them, then of course a more meandering path with less quantity is perfectly okay. Alternatively, go live with what you have but don’t advertise it, and get feedback from trusted sources, correct your inconsistencies and adjust as required.

6. Take decent pictures of the products you review.  Seriously, poor photography palls my overall enjoyment of a review (though crap writing irritates me more).  Take pride in what you do. No, you do not come off as One of the Lads by taking low-res, poorly composed, off-kilter, badly-lit photographs.  Because you’re not one of the lads: you’re holding yourself out to be something of an expert, someone whose opinion is worth reading – a poor picture does you no favours. It’s all about perception. Happily, it’s not really difficult to do.

7. Copyright everything.  You might think this is trivial, it’s free publicity when someone cribs your stuff — it’s really not. Without such protection, anyone can use the product of your mind and pass it off as his own without you being able to say or do anything about it. If you don’t care, then this is a moot point.

8. Do not let naysayers get you down.  There are always people who utterly disagree, pretend their opinions are the Lord’s Own Gospel, want to take you down a peg, leave a negative comment, or show off how much more than you they know.  They exist, they like doing it, so you must accept that and move on.  You’re in the public domain, and therefore fair game. Myself, I moderate comments on my site (my friend Curt on ATW does not).  My attitude is, if you don’t like, or disagree with, something that’s been written, comment courteously, without condescension and snarkiness, and don’t be patronizing…or don’t comment at all. Alternatively, you can use your own site to rebut and insult me (as one person already does, but in his defense, he despises everyone who doesn’t see the world his way, equally).

9. So, keep it civil, and refrain from constant negativity – in your responses, but also in your actual writing.  There are some bloggers in other liquor spheres that relish taking the low road, are big, brutish, oafish and in your face (one whisky blogger used so much profanity and was so abusive, it utterly appalled me, and I never went there again). I don’t see much percentage in this myself.  It’s shock therapy, it’s off-putting, and it alienates more thoughtful readers. And it’s those readers that engage with you, comment articulately and keep your interest from flagging.

10.  Know your field. Write about everything on the subject that catches your fancy.  Distilleries, wish lists, yuck-lists, thoughts on controversial topics, how-tos, tips&tricks…have a sense of the larger world around your passion. I have no particular interest in amarii, but Josh Miller’s excellent four-part series on the subject was fascinating and I was glad that he, a rum reviewer, took the time to take a left turn. The same goes for Steve James’s series on St. Lucia Rums and the ur-text of Marco’s work on Guyanese distilleries.

11. If you take a picture from the web, or a quote, attribute it properly.  Ask first if you can, it’s a simple courtesy – I’ve gotten caught out with this a few times, which is why I take my own photos, and put website links to quotes used.

12. Take the long view. Do not get upset by a lack of site visits.  It takes time to build an audience, even more for rums, which have nowhere near the extensive and rabid fanbase of whiskies (though it does have one self-annointed, self-appointed High Priest). Again, this goes to commercialism inherent or absent from your site, and your constant, occasional or indifferent promotion through social media. (See also Part 5, keeping things going)

Tomorrow – Sampling and the review itself

 

How to Start Reviewing Rums – Part 1

 9 Responses »
Mar 032015
 

Introduction

There are a lot of people who write engagingly and have an interest in rum, and some of them, not unnaturally, want to start their own website regarding matters of the cane. Some want to review rums; others want to blog about cocktails; in other cases the new bloggers address themselves to spirits in general.  After a while, hits go up, production goes up, and the site takes off.  And then, in some cases, it slides into a moribund state of somnolescence.

It’s because I wish we had more rummies out there that I decided to put together some thoughts on what it actually means to set up and contribute to a review site.  Because fair is fair, it’s always great to have new blood constantly providing their input – but I would like to have longevity as well.

See, it’s hard to stay the course for more than a few years. It’s easy to get sidetracked, and life has a way of getting in your way: it just…happens. So the interest is sometimes just lost, the new baby is born, the job gets more intense, the attacks too depressing, the expenditure too high, the site-hits too few. But you can always recognize the consistent long timers and know their websites, because not only do they turn up on every search you have, but they frequently blogroll each other.  Somehow they’ve achieved balance and harmony…zen you might say.

Anyway, the points here strike me as reasonable recommendations for those who are thinking of starting their own rum reviewing site.  It’s long, so I’ve broken it out into five parts. Feel free to comment on your own ideas, from your own experiences.

 

Part 1

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1. Have a sense of how you want to write – clearly, concisely, briefly, starkly…or perhaps something more lengthy.  The briefer you are, the more frequently you will almost be expected to write.  Also, what do you want to write?  Just tasting notes, or something more? Opinion, price, star rating, distillery info…get this straight in your head first.

2. Understand why you are starting the journey.  Do you do this for love, to share your journey, for money, for freebies and the personal back bar, for street cred, to educate fellow rum lovers, to get a job, to round out a profession, to enhance your bartending skills…or simply because you enjoy writing and rum equally?  I know examples of all of these types. Be honest with yourself about why you started, because that impacts on both your writing style and your longevity. And your personal life, surprising as this may sound.

3. Be clear in your writing about your intentions, and, by extension, be honest when you write.  Your remarks will be valuable to others seeking assistance and clarity, but they will also want to know when you’re stating a fact, or expressing an opinion.

4. All impressions to the contrary, this is not a cheap hobby or pastime (and it’s my personal belief this eventually sinks a lot of potential bloggers who begin with such great hopes and intentions).  In spite of what you may think, store owners and distributors will not immediately rush in joyous exuberance to your house in order to ply you with samples, and your friends and family usually won’t provide you with the really top tier stuff. So it will cost you money.  If you are coming at this from the perspective that you’ll get free bottles to amend your purse and expand your home bar, that you will be invited on junkets to tour distilleries and attend tastings on someone else’s coin, well, you could be…eventually (or if you actively and aggressively engage with industry).  But you won’t get as many as you think unless you really write a lot and well.  So if you’re committed, you’ll be spending quite a bit of your own money at the inception in order to populate your site with reviews that hopefully others will find irresistible. My own recommendation would be to start small and see if you can keep it up (and to see if the spouse objects). Don’t go spending hundreds of dollars or Euros or whatever, on top-tier rums just because you can (see also part 4, regarding where to start).

5. Following from that, establish your personal policy towards free commercial samples early on and stick to it. This is always and only a matter of objectivity and perceived conflict of interest.  It’s human nature to distrust of positive reviews written about a company-supplied sample. At end, it comes down to whether you, in all honesty, feel you can write objectively about a rum – especially something that sucks – when presented to you for nothing by an industry rep (I do not speak of friends or family). Some of my friends see this as a way of defraying the inevitable expenses, others adamantly defend their objectivity, and this is fine – it’s their writing, not mine. I simply feel that if you do accept an industry sample (or the guy who runs your local liquor shop), then just be honest and state it in your review.

6. And you really should have a scoring system from the beginning (whether you publish the score or not).  There are quite a few different methods out there.  Pick one that you think you can work with for a long time, and start from your very first review (though I would also suggest sampling ten or twenty rums, then scoring them against each other first, just to see how the system works). This is more important than you think, because people really pay attention to scores and will ask questions; also, you can band your reviews together in ranges, as the body of work grows. (See also Part 3 where I go into scoring a bit more).

7. Don’t stop.  Build a rhythm and stick to it.  I’m not entirely sold on today’s blogworld where if nothing gets posted for three days, the site dies…on the other hand I do believe in regular updates.  The RumHowler can do three a week, the FatRumPirate is going great guns, and I try to do one a week, but no matter what, just keep ‘em coming.  And after you pass fifty, then a hundred, then even more, don’t get bored or discouraged, just keep on doing it (if you must take a break, as many of us do, put up a note saying ‘Out of Office’ for the faithful readers).  This has implications for the development of your personal style, your persistence, and your longevity – if you can’t keep up the programme you’ve set for yourself (whatever that might be), then maybe how you write has to be adjusted.

8. My personal taste is for adding information on the maker as part of the overall review.  Obviously this makes for a longer essay and gets redundant when you’ve reviewed several products by the same outfit.  If you are a master of the short form, then this method won’t fly. For myself, it adds to my knowledge and, I feel, that of the reader.  If you decide to go this way, ensure you state outright where your info is sketchy (especially when several sources are contradictory, as often happens)

Tomorrow – Part 2

Liquor Privatization in Alberta

 1 Response »
Apr 012013
 

First published in 2011 on Liqorature

I complain and moan a lot about the lack of choice in Alberta’s shelves when it comes to rum, but truth to tell, we get quite a bit more than other provinces around this country, except maybe BC.

Most provinces’ liquor sales in Canada are still under Government control. This is the legacy of the well-meaning, though utterly unrealistic, efforts of elected officials to implement Prohibition – yes, Canada had Prohibition – in 1918 and even before. Unlike the US, Canada came to its senses faster (you migh say they sobered up, ha ha), and most of the legislation across the country was repealed within six years.  However, in the ’20s and ’30’s very powerful provincial liquor control boards were set up across the country, and liquor sales were, and remain for the most part, tightly regulated. This developed over time into a crazy situation whereby the provincial governments ran most of the liquor shops, and the irony of a body responsible for regulation and enforcement running a for-profit business it is supposed to monitor requires no further elaboration.

Alberta, under its powerful premier Ralph Klein, did away with this in 1993, and privatized liquor sales. In practice, there is still some Government control: the Federal Excise tax and sales taxes add to prices, the Alberta Gaming and Liquor Commission approves all wholesale imports of liquors (into privately held warehouses) and then collects on subsequent sales to retailers: taxes, bottle fees plus a flat markup (thereby getting revenue from all points of the value chain).  But in the main, the objective of introducing competition (however imperfect) to the Alberta market has worked.

But how well?

Before we go there, spare a moment to consider what the act of privatization actually meant in practical terms in 1993. To research this, I spoke to a number of native Calgarians (yes, there are still a few around, but they are on the endangered species list), and they all concur on the basics: there was always and only a limited selection of spirits, and particularly wines; opening hours were limited, and God forbid that any opened on a Sunday; prices were the same province-wide, no matter where one went.  There were 208 ALCB stores in the entire province, with another 65 private retailers; and the purchasing process for any kind of bulk (say, for a wedding), was a torturous process requiring the usual forms in multiplicate. Simply stated, it was all limited and a pain, and Hobson’s choice from start to finish.

Fast forward 17 years.  According to the AGLC (the successor agency to the ALCB), there are now 1220 retail liquor stores in the province (up from the 208+65 noted earlier); another 488 off-sales establishments, like hotels, manufacturers or others, down from 530 hotel-only off sales places before, and 94 general merchandise liquor stores now where none had previously existed. Sales of spirits are up 48%, Beer by 52%, Wines by 109% coolers and ciders by 319%.  Revenue to the Government (unspecified but presumed by me to be on direct taxes and levies plus the revenue from the flat markup) climbed from $404.8 million to $716 million.  In 1993 there were 2,200 varying products available…there are 16,328 in 2010.

[prohibitioncanada.jpg]
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I wouldn’t sound the hosannahs and encomiums too loudly, however.  The figures sound rosy, but they really aren’t that great from a Government perspective.Consider: the revenue numbers climbed 76.8%, but this disregards inflation; if inflation adjusted numbers are considered, the revenue increase has actually climbed a much more modest 29.9%  And this, while the population of Alberta increased from 2,574,890 to 3,786,398…a jump of nearly 50%.  So direct revenue per unit of population has actually decreased. On the other hand, all those newly established liquor stores pay taxes (sales and corporate), and this in all likelihood makes up for the difference, if not actually a bit more: and they provide employment (a climb from 1300 to 4000), and so fuelled an additional purchasing pool.  The flip side is that wages have decreased as jobs went non-union and capitalism went to work. It sounds a bit like the Red Queen’s Race, doesn’t it?

It’s been suggested that increased availability of alcohol in the province would fuel more alcohol related crimes and societal costs, but I came across an examination of this issue (it was done in the late ’90s when a white paper examined the possibility of privatizing Ontario’s system) that implies a rather smaller impact: in the years after privatization, Edmonton experienced a 24% rise in liquor offenses (many having to do with minors possessing alcohol) but a 42% decrease in traffic offenses (you can’t be more surprised than I). And the Calgary police noted that the increase in liquor store related crimes between 1993 and 1995 was offset by the larger number of retail stores opening, so that the risk per store actually decreased, especially when population growth in those years was factored in.  As for increased availability leading to increased consumption, some stats imply the reverse, and there are too few studies linking such availability with increased health burdens on the province. That said, a January 2011 article arguing against the matter in New Brunswick stated that based on a recent University of Victoria study,  there was a 27.5% increase in alcohol related deaths per 1000 population, for every new liquor store opened in BC. And another study comparing the Ontario LCBO and the prices in BC said flat out that not only were the prices comparable, but private stores had a larger price bump over the last five years than the (cheek-by-jowl) Government operated retail stores.

Speaking for Alberta, it seems that the increase in the amount of retail stores roughly parallels the population jump, as do the sales of spirits and beer; I could make a case that the relative affluence of the province has fueled the rise in purchases of wine which greater choice and stocks, as well as better marketing by the stores, have assisted.  I am curious how ciders and coolers have gone up by 319%, though, given that no other category went down in compensation, which suggests it’s carved out a niche all its own…maybe among the young who lack the palates for wine or the cash for good spirits. Looking at the above numbers, on balance I’d have to say that the effects have been largely positive: overall, I have not been able to locate any studies or statistics that say categorically that there have been increased societal costs or social burdens in Alberta (I apologize in advance to families or individuals who have been deleteriously affected by the impacts of alcohol, who of course would not share this sentiment) and alcohol-related crime seems to be on par with the levels before privatization on a per capita basis.  The amount of problem drinkers as a proportion of the population is about the same. The increased taxes and employment and knock on effects of people with jobs spending money and paying taxes is positive.

But statistics can be made to say many things, and at end the debate won’t be solved in this essay.  As the New Brunswick discussion makes clear, it’s a societal issue, dominated by high passions on both sides, and it is as much a philosophical matter as social one. I’m not entirely convinced, but it may be a zero sum game when all factors are taken into account.

I’ll close with this comment.  In the last two years I’ve travelled through The Yukon, NWT, Alberta (hey, I live here), BC, Saskatchewan, Manitoba and Ontario, by road (it’s a relaxation and photo-hobby thing for me).  In no other province have I seen the breadth and variety of products as I have in my home turf.  Alberta is the cheapest of them all in terms of pricing (Appleton 30 year old costs $300 and rubs shoulders with over seventy other rums in the various stores around here, while in Ontario it costs $550 and rather shamefacedly sits with three other “premium” rums – Zaya 12 was one – and another fifteen bottom tier standards like Lamb’s and Bacardo and Captain Morgan). The Yukon is a bit like Ontario, and the other prairie provinces are in between.

And, Alberta boasts liquor stores of nationwide reputation: it’s a running gag on Liquorature that I don’t like whisky, but even I must concede that Willow Park and Kensington Wine Market (Chip, jump in any time with your Edmonton nominations) are famous and maybe the best in Western Canada, stock unbelievably fine products and ranges of whiskies to make a maritimer and an occasional lonesome Scot weep with envy; and the wide selections have permitted myself and two others in this province to begin a labour of love in reviewing spirits.  In no other province has this been the case, to this extent.

Numbers, dollars, stats and revenue may be debated to the end of time, fierce battles will be fought with teetotallers, religious figures, liberals, conservatives and madmen, and maybe nothing will ever be resolved or proven one way or the other. But in terms of intangibles, I’d have to say that privatization with sufficient regulation is a pretty good thing and works for me in Calgary. Usually, it’s unbridled, unchecked, reckless capitalism and over-intrusive Government intervention that’s the problem. Here in Alberta, we may have found a happy median.

Update, November 2017

CTV News posted an article relating to a court case in Quebec which mentioned a poll that overwhelmingly favoured an abolition of provincial alcohol monopolies and briefly covered some of the concepts addressed here.  I disagreed fundamentally with the simplistic idea that Quebec would suddenly lose billions in revenue, because it ignored the ancillary businesses, employment, payroll and tax revenue that would be generated. I’ll be following this issue with interest in 2018

References:
Population stats
http://www.trueknowledge.com/q/population_of_alberta_2010
http://www.servicealberta.gov.ab.ca/pdf/vs/2002Population.pdf
Prohibition
http://en.wikipedia.org/wiki/Prohibition_in_Canada
http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&ArticleId=A0006515
The statistics issued by AGLC
http://www.aglc.ca/pdf/quickfacts/quickfacts_liquor.pdf
Consumer Price Index (alcohol)
http://www40.statcan.gc.ca/l01/cst01/econ163j-eng.htm
Crime, the debate on privatization and other stats
http://www.ontla.on.ca/library/repository/mon/1000/10267288.htm Late ’90s Ontario study
http://telegraphjournal.canadaeast.com/rss/article/1371123 “The Alberta Experience” NB argument for
http://www.nupge.ca/content/3990/privatizing-nb-liquor-sobering-second-thought NB argument against
http://communications.uvic.ca/releases/release.php?display=release&id=1193 University of Victoria Study
http://www.consumer.ca/pdfs/060314_cac_alcohol_study.pdf BC stats on privatization (2006)
Some additional reading subsequent to the original article’s publishing in 2011, related to the debate on Quebec’s SAQ and its potential privatization:
Montreal Gazette – anti privatization opinion 2015
Montreal Gazette – pro-privatization opinion 2015

Film vs Digital

 No Responses »
Mar 132013
 

Later this year (2010), a milestone in photographic history will be reached: the last produced roll of kodachrome print film and ektachrome slide film – Kodak’s famous workhorse of pro-photographers for three-quarters of a century – will be developed in the last lab still to process its demanding Ex chemistry (for those who are interested, it’s Dwayne’s Photo Service, in Parsons, Kansas).  Appropriately enough, that last roll will be shot by veteran National Geographic photographer Steve McCurry, who made that famous “Afghan Girl” photo.

Some herald it as a final nail in digital’s ascendancy over film.  As an enthusiastic amateur, it started me thinking: when indulging one’s predilection for photography, which is better, film or digital?  (I love these ridiculous what-ifs..they are so uselessly entertaining).

Let’s run through the pros and cons, and I’ll give my opinions at the end.

Pro Digital:

– Can anything beat the instant feedback of reviewing what you thought you shot after taking it?  No more messing arounbd with notes on shutter spped, aperture, filters or special film after the fact.  No missing the moment.  You shoot, you look (“chimping your shot” – isn’t that a great phrase?) you correct, shoot again.  There’s a reason amateurs are getting better – they can make corrections on the fly.

— Practically zero running costs once you buy your camera.  No more film or development costs.  These days, you can even dispense with the computer and edit your work in camera before you output directly to the printer.

— No loss due to accidentally opening the back or not rewinding your film properly.  I’m not saying I ever had that happen to em, but once film did stick in my camera and I had an interesting time trying to get it out without losing it.  No such issues afflict digital shooters

— No more investment in darkroom equipment or being at the mercy of the dropout Walmart technician who is using a big-ass automatic developer without a clue as to what it does or how it affects the final print.  If you know what you are doing with Gimp, Photoshop, Elements or Picasa, you can duplicate real pro effects with very little effort.

— Archive, storage and metadata. We use computers for all digital media, and we can get all our EXIF metadata stored alongside with our pictures in a way that makes retrieval a breeze. Workflow management is quite simply, easier. Add that to the fact you can still print your work for archiving, or simply upload it, burn it or store it, and you should have access as long as our techological age lasts. And instead of being limited to 36 exposures, my current card takes 1300+ 12mp JPEG pictures (about a quarter of that if I add RAW).

My all time favourite walkabout film camera…the light, flawless FM3a

— DSLRs are so good nowadays that the quality of lenses in the limiting factor in determining picture quality, not the sensor or the camera itself. Point and shoots are also getting good real fast, and while I don’t use them, I fully appreciate their utility.

— No problems running through airport x-ray scanners and having your film fogged

Pro-film

— Dynamic range of film is better.  Just take a look at this kodachrome shot of Picadilly circus done in the late forties (taken from Wikipedia).

File:London , Kodachrome by Chalmers Butterfield edit.jpg

— Older (film) cameras are entirely independent of power sources, and if you doubt me, feel free to review Nikon’s earlier F-series, all of which are brutally hewn blocks of metal with which you could brain an elephant, and entirely manual.

Nikon F2AS with MB1 motor drive. A big, ugly, heavy brick of a camera – mine still performs like a champ

 

Your experience and judgement count when using mastodons such as these, so what you gain in independence you lose in gratification of instant feedback. DSLRs have battery packs that make you feel you just added half a kilo to your camera bag, and you cannot function without them, but they are not required on film bodies, where for a generation they were screw-on optional attachments.

— Noise in film is prettier and more artisitc than digital noise. It’s better called grittiness, and is worlds removed from the rainbow speckled hues of digital crap that messes up long exposures or high-ISO pictures. I’ve heard that there are actually programs around that will alter a digital image to add the grain back in.

— Here’s the thing.  Film cameras are film cameras until the end of time.  I have a Nikon F2, F3, F4 and F5 (you can pick them up for a song nowadays and may even be good investments long term quite aside from the enjoyment of using them) and they work like swiss watches.  Their all metal construction and titanium shutters defy today’s use ’em and toss ’em mentality.  I’m an unabashed Nikon fan sure, but I started with a Canon A-1 and I tell you, that thing cranked film through for two decades without a single problem. Today’s crop of digital camera will not only be obsolete inside of a decade, but are actually decreasing in value…I bought a Nikon D40x the other day for under a hundred bucks, while my F2 from 1972 may actually be going *up* in value.

— You can scan film negatives or transparencies, and always have the maximum resolution of the scanner – in other words, your digital picture shot at 12mp will remain that way forever, but your 35mm negative can always be scanned at the maximum resolutuion of the technology today. Strictly speaking, 35mm film grain is about the same resolution as a 24mp JPEG, so all along film has been at resolutions which digital cameras areonly now approaching….and for a fraction of the cost.

— Film cameras were finger driven, not menu driven (the F5 excepted).  Instead of poking around with ten different menus and submenus and options, you just had to fiddle with two, maybe three knobs, all while peeking through the viewfinder.  And let me tell you, full frame film camera viewfinders are huge and bright in comparison to the smaller ones on today’s digitals rather tepid offerings.  I won’t even discuss point-and-shoots.

***

If I had a choice, I’d like to use film but have the instant feedback of digital.  I like the feeling of a precision mechanical instrument that does what it is supposed to do with no fuss, no bother and no friggin’ around. The D2x I use most often fits well in my hands, but for tactile delight and a sense that the camer is doing what it is engineered (superbly) to do, the F5 and F3 remain my favourites (and my god, the AF on the F5 is staggeringly fast). For any kind of indoor work, I’d say digital is probably better for assessing flash work, but then, I’m not very good at it, so maybe that’s just me.

In the end, it all boils down to your feeling as an artist if you are even remotely serious about photography. Do you do better work with digital in “post” or are you simply a perfectionist of the film world (there may be a generational divide here which I am not addressing – it’s my opinion that younger people are happier with digital because they are more comfortable around the core digital technology). I love film, but concede that digital does offer more flexibility, consistently better-exposed work, and, often, faster on-the-fly shooting. I do in fact do some post-processing work to punch up colours and contrast – mostly in Picasa or GIMP, since my demands are slight and the programs are free –  but I stand in awe of what people achieve with true pro-level digital image manipulation.

Be that as it may, there’s no “right” answer. What is a fact is that your equipment does not matter, and neither does your megapixel count.  At the end of the day, the best camera in the world is the one that you have on you, and nothing beats your imagination and skill when it comes to making a truly stunning picture.  All your camera and technology do is enable what your mind has already decided.

Very much like how a cheap piece of crap rum can enable the best conversation of your life. Or the best…well, you know what I mean.

The Labelling of Rums

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Sep 012010
 

(First posted on Liquorature, September 2010)

Rum connoisseurs and aficionados must occasionally weep with envy when they see the myriad regulations and hoops that whisky makers have to jump through when labelling their product. That sounds utterly counterintuitive, unless you’re trying to get a handle on what rum actually is – perhaps, like obscenity or time, you can’t define it, but you know it when you see it (or is that the Matrix…?).

I think that the advantage whiskies have over rums in this regard, is the geographic nature of production: whisky is so markedly identified with just a few countries (Scotland, Ireland, the USA, Canada and a few others) that it seems almost homogeneous. Scotland in particular is fierce about what defines and denotes a “Scotch” whisky. I don’t necessarily agree with the philosophy of such harsh and narrow rulings, but the interesting thing about the concept of such rigorous definition and labelling is that as Scotland lobbies for and tightens international regulations regarding terms like “Scotch” or “single malt”, the world follows suit.  And in this way uniformity of production methodology, terminology and understanding is disseminated across the globe, irrespective of whether we are discussing a Yamazaki 12 year old, an Amrut Fusion, or Glenora Distillery’s Glen Breton Rare Label (or any of the Last Hippie’s objects of unseemly adoration from the Highlands or Islay).

Consider this: to be considered a Scotch whisky and be labelled as such, a whisky must not only conform to certain production methods (much to the distress of Loch Lomond), but make clear statements of age; where it has been matured within the five whisky-producing regions of Scotland; where it has been distilled; whether it is a single malt scotch whisky, single grain scotch whisky, blended malt scotch whisky, blended grain scotch whisky or blended scotch whisky; it is not allowed to call itself or label itself in this fashion unless it toes the line on the behind-the-scenes rules governing what each item means; and so on. They don’t mess around, those Scots, do they?

But look: tequila is quite as demanding in its own way – you can’t label the drink a tequila unless it is made from the blue agave plant grown in specific geographical regions of Mexico.  Doesn’t matter whether you import the stuff to Pago-pago and harvest, distill it and bottle it there.  If the plant don’t come from certain Mexican states, it ain’t a real tequila.  Try labelling it as such and you could be slapped with a lawsuit in labba time (Mexico has claimed the international right to the word “tequila”). There are other examples in the tippling world: the use of the word Sherry is limited to a small geographic location in Spain; Champagne is identified with France (and a relatively tiny part of it, at that).  Unlike Panama hats which are not made in Panama, or catgut which is not from a cat, or how the Canary Islands are not named after birds, most liquors now have international trade regulations backing up their claims to be this or that, with the notable exception of vodka, though in recent years movements in eastern Europe are trending to standardization of this also.

Contrast that with the harum-scarum, make-stuff-up-as-you-go-along, practically unregulated mish-mash of how one can label a bottle of rum. Bar certain (inconsistent) national standards, there is no global requirement worldwide for any rum maker, be he from Austria, the Caribbean, South America, Thailand, Australia or otherwise, to make an age statement, to note the source materials or to discuss the additives.  Neither is there the inference that if something is said to be a rum, that consistent manufacturing methods are automatically in force.  Local (national) regulations dominate the manufacture and labelling of all rums around the world, and there is no overarching structure knitting together all the variations. About the only nomenclature regarding rums that is nominally accepted by all – makers and consumers alike – is that rum originates from sugar cane.  That’s it. Even that is not adhered to, since Czechoslovakia has spirits labelled rum but made from sugar beet; and rum-verschnitt of Germany tastes like rum but is only rectified spirit blended with water and imported rum…and the percentage of true rum in the blend can be as low as 5%.

It’s this kind of lack on the international level which makes rums so widespread and so tricky to pin down.  One can argue that it leads to ten times more innovation and variety than the rather staid whiskies of the world, but not surprisingly, it more often has led to all kinds of confusion and arguments.  A good example of this is the matter of additives.  The Zaya 12 year old for example has been attacked for misrepresenting itself as a “straight” rum, when in fact many believe it is a spiced variant – which the maker is under no obligation to disclose (whether a rum states on the label it is spiced or not is a marketing thing, not a regulatory requirement).  Then there’s the matter of its origin: when Diageo took over in 2008 and moved production to Trinidad, it still produced the 12 year old and labelled it “Trinidad Production” on the bottle – yet what did that mean, since Trinidad obviously had not been producing it for twelve years yet?  Did it refer to raw stock from Guatemala bottled in T&T, or stock matured in T&T, or both…what?  Another rum with a similar issue is Stroh which is made in Austria.  Nowhere on the bottle – any bottle that I have seen, at any rate – is there anything that says what the source stock is, what’s been added, or how old it is. Its harsh taste has led me to remark only half-jokingly that it may not be a rum at all (it might be another example of the German variety).  Clearer labelling would eliminate such frustrating inconsistencies. But that would require a standard and somebody to own the word “rum”, or at the very least, some of its variants like “Demerara rum” or “navy rum”. I can’t see that happening.

Part of the problem is the sheer spread of rum manufacturing.  Whisky is primarily made the UK, Ireland, Japan, Canada and the USA and these countries have moved together (to some extent) in their definitions of the product, with Scotland as ever taking the lead; but a brief catalogue of rums encompasses almost the entire tropical belt and then some.  Every Caribbean island has its own; it’s made in South America, India, Malaysia, Thailand, Australia, Europe, Africa, Europe and the United States.  Hell, even Canada makes it from stock imported from the West Indies. And while many countries have their own legislation defining the product, by no means is this consistent, as the following paragraphs make clear.

1. There is no standard for materials of origin: yes, rum is mostly derived from sugar cane, but there is sugar cane juice (from the first pressing) which composes the French agricoles and Brazilian cachaça; the molasses by-product of dark sugar production; sugar cane syrup; rectified alcohol as in Europe; and as noted above, sugar beets.  Hardly a model of standardization.  The Scots must be laughing into their sporrans at this craziness.

2. There is no internationally agreed-upon standard production method. My reference to Loch Lomond above referred to its problems meeting the new definitions of Scotch whisky production: Scotch can, since 2009, only be made from pot stills, while LL uses a variation which is more properly termed a columnar still. Rum suffers from no such restrictions.  You can make it from an alembic if you so desire, and it’s all the same to the label if it is made from a pot or columnar still, or even just mixed from pre-existing ingredients.

3. There is no agreed-on definition of minimum strength (below which, for instance, it would be classified as a liquor, not a rum): local regulations define rum as a minimum of 38-54% ABV in Brazil, 40% in Chile, the US and Canada, and 50% in Columbia. The ageing the primary spirit must undergo prior to being recognized as rum also varies: it’s a minimum of eight months in Mexico, one year in the Dominican Republic and two years in Venezuela and Peru. The definition of anejo, aged, matured, XO or reserve is also the subject of hot debate around the world, with exactly zero consistency.  Now granted, the West Indies has been unable to come up with a single voice on political affairs for over half a century, but surely if they can put together a cricket team they can sort out the difference between an aged and an extra old rum?  Just within de Islands? (I’m not holding my breath here).

4. As if all this is not bad enough, there are the variations on types of rum recognized by the various countries within their borders:  white, light; gold, amber, medium;  dark, black, heavy; overproof; matured, aged, anejo, reserve; flavoured, spiced…and this is just variations among the US, Canada, Barbados, Brazil, Mexico and Peru.  None of these gradations are exactly equivalent, so what’s a guy to do aside from read reams of reviews and turgid essays like this one?

5. Lastly, there is very little consistency on what the additives are, or even can be: it’s hardly ever mentioned. Pusser’s makes a big deal that nothing is added to its Navy Rum recipe, and so does Doorly’s; the Kraken makes no mention of any additive at all, yet it’s clear that caramel has been added to give it that characteristic opaque tint and spiced taste; and I’ve already mentioned the acerbic discourse on the Zaya 12 year old. We simply do not know whether a given rum has had caramel (or anything else for that matter) added for colouring or taste or not: whether the vanilla note we have comes from the oaken ageing, or a drop or two of ersatz extract provided by a smart distillery chemist.  And in such uncertainties, anyone can blend anything and add anything and call it rum.

This has implications beyond mere naming and consistency and my personal snottiness regarding what the hell a bottle of rum contains; definitions are the heart of free trade agreements, where common and agreed-to definitions are key to tariffs and duties (or exclusions therefrom).  Too, a common and shared agreement on what a rum is makes everything else not meeting the definition *not* a rum, and subject to differing regulatory regimes, differing import or export duties. It would stop such imposter spirits from marketing themselves as such. And lastly, it would preserve the right of sovereign countries to impose different legal requirements on local production.  It would, in short, assert quality control.

Now in recent years matters have started to change somewhat.  For example, the emergence of premium sipping rums has placed a new emphasis on accurate labelling (unregulated thus far, but still….): things like age statements, a personal bugbear of mine; or blends versus single barrels versus single years’ productions; and the statement “Product of” carries some real meaning now. But it is still a matter carried this far by major distillers and makers of the top end rums.  They have a vested interest in branding and differentiating their product to give it that cachet of exclusivity (conferred by the Scotch Whiskey Association via their rigorous standards, and copied, not initiated, by rum makers, much to my displeasure).

For example, Bruichladdich, ever ahead of the curve, were quite clear in their Renegade Rum line: this rum is made from stock from this country, and is that old, and was bottled in that year.  El Dorado out of Guyana did the same thing with their ground-breaking 15-year-old, so does Appleton in Jamaica and several others…but too many rums still lack this basic device of conformity.  Now certainly this sounds like I’m making a case for strangling the very variety that makes rum such a fascinating drink, but surely some basic standards can be agreed to? Without some kind of standardization, rum will always be disparagingly viewed as a tropical drink, suitable for the odd rum punch, black cake or cocktail, in spite of the sterling efforts of master blenders in the top distilleries to change the perception.

My personal feeling is that if rum ever wants to be taken seriously (and I can just see Maltmonster snickering into his rum-barrel-aged scotch as he reads this), it has to get its act together vis-a-vis its definitions, production and labelling.  Not everyone has time to do research online (even today with wi-fi, i-phones or blackberries) to see what it is they are getting. Not everyone has the same definitions and there will always be smaller operations seeking to push the very outside of the envelope of what a given spirit is or how it’s made (like Compass Box did in the whisky world).  And for trade between countries, it’s almost a requirement internationally.

But the fact is that amid all this confusion, rum can never aspire to the very top tier of the liquor world if that aura of respectability is missing, if quality control is not there, and nobody can agree on even what the hell a rum actually is. That would require that methods of production, ageing, and statements of additives and quality on the labelling are more rigorously defined. And enforced.

Notes

  • I am indebted to an older article written by Professor Norman Girvan on the Association of Caribbean States website, which I drew on in the notes on national regulations and confusion of standards.
  • April 2021 Update: many of the issues mentioned here have slowly been addressed in the last decade: colour is no longer seen as a way to classify or rum (though labelling them that way continues); battles over Geographical Indicators show how nations are slowly beginning to see the added value of their own national brands; and more informative labels are considered standard now, for any rum company seeking to be taken seriously.

Classifying Rum

 2 Responses »
Feb 132010
 

(First posted on Liquorature, February 2010.  Lightly edited December 2014, August 2015, July 2017 and March 2022 – however,  the article is now dated and should be regarded as a backgrounder to how classifications were regarded in 2009-2010, not now. Issues of classification remain thorny and are hotly contested: the issue requires another pass, even if only to sum up the developments).

In my wasted youth, those with more discerning palates often confused my rather simple mind with their scientific analyses of their spirits, making sober statements about bouquet, oiliness, finish, colour, nose, mouthfeel, texture, blah blah blah. I was always confuddled. Smoke? Peaty taste? Waddat?

So here I’ll take the time to talk a bit about what distinguishes the rums from each other. Note that this is not a tasting test runthrough. It’s simply a way to distinguish different rums, and gain some insight as to the properties that make them what they are.  Not surprisingly, my own experience factors in there as well, since I’ve been drinking the stuff for a very long time. Full disclosure: wines are not part of the discussion, since no true rummie will admit to tasting the wussy drink, which in any case requires a more finely tuned, subtle palate than most Real Men possess (which is why they are rummies and not winos).

***

Perhaps a result of its association with the Caribbean, seafaring, slavery and piracy, there has always been that vaguely odious cachet of disrepute hanging over rums, which in my opinion, is undeserved. The schnozz of a rum taster must be every bit as attuned to subtle hints of flavour and texture as the snoot of a whisky lover or the trumpet of a somelier. Rums, after all, in spite of their less lofty reputations, display all the variety, colours and methods of distillation as their unfairly favoured Scottish bretheren or French cousins.

Several differing methods of distinguishing rums exist. Country, colour, strength, additives and , of course, age.  My research suggests that many categories overlap each other, which adds nothing to the clarity of the rankings.

Originally, all rums were dark and fairly unrefined (there’s a reason the Bajans referred to it as “Kill-Divil”). However, a contest held by the Spanish to improve refining methods in the 1800s led to the creation of a process that produced a better quality, more golden rum (the winner went on to found Bacardi). The colour of rum – clear (white, or silver), gold (light brown) or dark (also known as Navy) is not entirely a function of the length of distillation (as some would like to infer), but more of the distillation process and ingredients added, and their ratios to each other.

Rum is traditionally made from cane juice or molasses (which itself is a by-product of boiled cane juice), yeast and water: the shorter the fermentation period, the lighter the rum (referring in this case to colour), the longer, the darker. After the distillation process is complete, rum is aged in barrels made of various materials – like oak – which impact the flavour of the final product – I’m unclear at what point further additives like fruit are brought into the mix. While rum may be clear before going into the aging process, colour is added by both the barrel itself, and the inclusion of caramel – white rum is an exception, since no caramel is brought in, and any colour added by the barrel is removed by straining. I should also mention  “aguardiente de cana” (“burning water”) which is a kind of coarse South American cane-hooch infused with anise, and agricoles, which are primarily French island rums distilled from cane juice, and which may be aged or not.

Based purely on the criteria of colour, rums can be categorized as follows

— Dark or Navy Rums – one of the major divisions of rum, with long ageing time and strong flavour. Aged in oak barrels, hence the colouring (plus more molasses and caramel involved). Commonly used in cooking. Much of the molasses flavour is retained.  Often made in a pot-still or simpler columnar distillation unit, like cognac or some scotch.

— Gold Rum – intermediate, and aged to a particular colour, but this does not tell you anything about the age or flavour.  Aged in wooden barrels, and are more complex in flavour than light rums. Usually aged a few months or years

— Light Rum – clearer in colour, and a less ‘heavy’ flavour.  Subdivided into ‘silver’ and ‘light’  taste, though only a matter of degree except to the delicately long-snooted. Little or no ageing.

On the other hand, other designations exist:

— Overproof rums are often referred to as having a strength greater than around 50%. There’s an overlap with Premium rums here, since many premiums are also overproofs. These days, the term is pretty flexible, since the original meaning meant anything over 100 proof, which was (at that time) 57.1% ABV. See article on proofs here if you’re interested.

For what it’s worth I have, after some years’ experience with rums that are made for sipping yet bottled at around 55-60% (and which cannot be classed as overpfoofs), decided to make some personal changes to how strength is denominate

  • Standard strength for me is 40-50%
  • Full Proof is a strength of 51% to 70%
  • Overproof is anything over 70%
  • I kind of stay away from rums under 40% which can be termed Underproofs

— Flavoured rums, which have deliberate inclusions to add the taste of citrus or mango or anything else. Juan Santos makes a coffee infused rum which isn’t bad.

— Spiced Rums, which normally bring up the caramel or nutmeg to the level where it overpowers any subtlety gained from the barrel or from ageing. Labels usually indicate this is the case.

— Premium Rums are those which for one reason or another are supposedly above average: in age, in taste, in distillation methodology, or in exclusivity and availability (therefore mostly age, since any fool can make a rum in 24 hours, while it takes slightly more expertise to fashion something for 25 years…and age develops the complexity of flavour, making it deeper and more intense).

— Ultra-premiums are are not just above average, but marketed as being the cream of the crop – presentation, age and price are all usually very good (or at least sold to us as being that way). Age is still seen as the primary marker of this type.

Strictly speaking, colour tells me very little about the quality of a rum, since I’ve had some decent gold and dark ones whose colour gave no hint as to how good it was. Whites are for mixing, Flavoured are for cocktails, and I’ll drink Spiced ones like Lamb’s or Captain Morgan, but only with a chaser, since they are not made for sipping. Mixing additives only improves such drinks. Since I was at a penny-grubbing stage in my life for a long time, I logically drank only the cheapest, and since the cheapest also demanded you cut them with something, it’s no surprise that coke or pepsi were (and to some extent remain) my chasers of choice.

We can therefore stratify rums with level of flavour

— Light or silver – under-proof, and/or clear rums

— Medium (or Gold, or Amber) – ths covers most rums I’ve ever tasted

— Full-Bodied – these tend to be darker, but the designation is more a marker of intensity of flavour

— Aromatic – Malibu is a good example of this, but any spiced or flavoured rum qualifies

…see what I mean about confusion? There’s lots of overlap here

Anyway, so does this assist in categorizing rums? Not entirely.

Rums are made in many countries, and not surprisingly, almost all are tropical (I have heard it’s something to do with sugar cane not growing well in winter-prone climates). The best known are, of course, Caribbean, and as a loyal West Indian myself, I sniff disparagingly at the offerings of other parts of the world, even as I happily indulge myself in tasting them. A non-exhaustive list of rum producing states includes the USA, Canada, the French West Indies, Barbados, Anguilla, Antigua, Cuba, Dominica, Trinidad, Jamaica, Guyana, Guatemala, Honduras, Brazil, Fiji, Hawaii, Finland (Finland??), India, Indonesia, Malaysia, Mauritius, Reunion, Australia and some European countries. Europe acts mostly as a blender of rums, not as a maker of origin, which would therefore explain what Bruichladdich’s Renegade brand does. Some 1500+ rums are said to be in existence. I honestly believe that to be a low number.

Rums have supposedly notable geographical styles and nuance. If one defines rum as either light in colour, or dark, then they roughly follow divisions introduced by country of origin: Spanish speaking countries such as Cuba, Puerto Rico and Latin America, produce primarily light rum; English colonies like Barbados, Guiana or Jamaica, mostly the dark.  This is an extremely broad rule of thumb, so be careful in applying it.

Barbados is known for semi-light rums, with soft, almost smoky flavors. Cuba and Puerto Rico, the largest producer of rum, produce very light, dry, opulent rums. Trinidad and the Virgin Islands tend to produce medium to medium-light mellow rums. From Guyana comes the very dark, medium-bodied but rich tasting Demeraran rum made by adding spices and fruits to the distillation process. Jamaican and Martinique rums, made with molasses, are usually full-bodied, sumptuous and pungently flavored. Java distills a rum called Batavia Arak, an aromatic rum made with molasses and red rice, which is then shipped to The Netherlands for further aging and which I have never yet seen or tasted. Haitian rums, made from cane juice and double distilled in pot stills, are appreciated for their smooth and delicate flavor. Thus far (2010), I’ve not had enough non-Caribbean rums to make a determination whether they are on a class above, below or on-level with my favourites. The Bundie from Autralia was not particularly prepossessing for example, but I have to have a more serious retest to write my review.

The distinctive characteristics that make up a rum’s taste depend on factors such as the sugar cane’s quality and origin and whether it was made from molasses or directly from cane juice. Most rum is made from the former, which contains minerals and other trace elements that contribute to the final flavor. Rums made directly from cane juice, primarily those from Haiti, Guadeloupe and Martinique, have a vegetal, clear, clean aspect. The yeast type and fermentation speed, as well as the kind of still, also tell. Light-bodied rums are produced in sophisticated multi-column distillation units and have a more delicate rum flavor. Heavy-bodied rums are produced on simpler multi-column distillation units or by means of traditional pot stills. Distillation temperature also matters—the higher the temperature, the lighter the body and more neutral the taste.

Finally, perhaps the most important factor determining quality is the length and type of aging. Rum develops more complexity in small charred oak barrels. Aging in casks also adds a tawny color, although some producers mix in caramel tints. Rum aged for a year or less in stainless steel is clear and has little flavour. The best rums I have ever tasted have all been aged for more than 20 years old, and in oak.

Having said all of the above, I cannot in all honesty state that I apply these categories or criteria to every rum I taste. It’s still a very subjective sort of thing. Burn, finish, body, taste and flavour, strength…they all have their place.  I have a sweet tooth, so that counts (if they ever made a white-toblerone-flavoured rum, I do believe I might die a happy alcoholic).  I do, however, like to know about the provenance of the rums I sample, and something about how they are made, and what their colours or tastes denote. It is in an effort to put my reviews on a more consistent base, and to answer questions of the curious like Clint, that I did the background work on this post.

Update August 2015

Having been at this for more than five years now, I have come to the conclusion that there are two, and only two, primary markers of how rums should be classified in the first pass – whether it is from molasses or cane juice, and the type of still that it is made on (I’m on the fence about fermentation timing and wild vs cultured yeast).  Subsequent gradations cane be age, colour, what type of columnar still, and maybe strength and Broomes’s “styles”.  The debate is heating up in social media, so it’ll be interesting to see where this leads in the years to come.

Update July 2017

A good summary of the proposed classification systems is here.  For what it’s worth, I have participated in many of the discussions regarding the Seale-Gargano method and translated the Rumaniacs version which the article from Distilledsunshine draws on, from the original French language article written by Cyril of DuRhum.

Update March 2022

The Taiwanese Renaissance Rum Distillery’s master blender Olivier Caen tried to make a case for ABV and the distillery being the characteristics of a rum that would allow unambiguous classification, and I posted a clear dissent in the FB comments.

 

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