#WeekInPictures: Tonys, late calls and legendary pours
From MoMA to Terminal C and a Rioja time capsule, here’s what caught our eye in drinks this week. The post #WeekInPictures: Tonys, late calls and legendary pours appeared first on The Drinks Business.
From MoMA to Terminal C and a Rioja time capsule, here’s what caught our eye in drinks this week.
Broadway stars toasted their Tony wins at the official after party with Dewar’s Scotch Whisky at New York’s Museum of Modern Art. Nicole Scherzinger celebrated her first Tony with Cynthia Erivo, while Danielle Brooks and Kara Young brought the dance floor to life. Guests sipped signature cocktails like the Dewar’s Boulevardier amid the museum’s iconic art.
Zoe Saldaña stars in Grey Goose’s new global campaign, Grey Goose Hôtel, promoting the art of slowing down. In the first film, Last-ish Call, she crafts a final cocktail after hours. Her personal serve, the Le Zoé Spritz, will feature in ongoing content and activations throughout the summer.
Travellers at Delta’s revamped Terminal C were treated to a surprise: actor Ian Somerhalder pouring Brother’s Bond Bourbon at the bar. The US$4 billion renovation now includes upgraded experiences, New York flavours and, apparently, vampire bartenders.
It was called the Dirty Dozen, but this was no pulp plot. Twelve vintages spanning classic, dour, and hot years of Imperial Gran Reserva from CVNE, spanning 2018 to 1947, were poured as an act of familial archaeology. “Our future is in our past,” said Victor Urrutia, fifth-generation custodian, seated beside a crooked, blue-tinted bottle of ‘47, still alive. “We don’t decant. These wines were decanted already, in barrel.”
From the vinous, upright leather of 2018 to the guttural, Bovril-lined lyricism of 1968, each wine was a defiance of expectation, a challenge to Bordeaux benchmarks and fickle trends. The 1980, “a shit year,” Victor muttered with the throwaway charm of someone raised to understate, tasted chicory-dark, of black Wine Gums, alert, “like something from Pommard,” he mused.
And the 1947-harvested during Franco’s long chill, bottled thirteen years later, was simply luminous. Juicy, lifted, faintly haunting, the wine persisted like a half-remembered hymn. “We’re not trying to make wines that age,” Urrutia said, leaning back. “We’re trying to make good wines. Some of them happen to get old.”
Dewar’s and Broadway at MoMA
Broadway stars toasted their Tony wins at the official after party with Dewar’s Scotch Whisky at New York’s Museum of Modern Art. Nicole Scherzinger celebrated her first Tony with Cynthia Erivo, while Danielle Brooks and Kara Young brought the dance floor to life. Guests sipped signature cocktails like the Dewar’s Boulevardier amid the museum’s iconic art.
Zoe Saldaña for Grey Goose Hôtel
Zoe Saldaña stars in Grey Goose’s new global campaign, Grey Goose Hôtel, promoting the art of slowing down. In the first film, Last-ish Call, she crafts a final cocktail after hours. Her personal serve, the Le Zoé Spritz, will feature in ongoing content and activations throughout the summer.
Ian Somerhalder at LGA
Travellers at Delta’s revamped Terminal C were treated to a surprise: actor Ian Somerhalder pouring Brother’s Bond Bourbon at the bar. The US$4 billion renovation now includes upgraded experiences, New York flavours and, apparently, vampire bartenders.
The Dirty Dozen
It was called the Dirty Dozen, but this was no pulp plot. Twelve vintages spanning classic, dour, and hot years of Imperial Gran Reserva from CVNE, spanning 2018 to 1947, were poured as an act of familial archaeology. “Our future is in our past,” said Victor Urrutia, fifth-generation custodian, seated beside a crooked, blue-tinted bottle of ‘47, still alive. “We don’t decant. These wines were decanted already, in barrel.”
From the vinous, upright leather of 2018 to the guttural, Bovril-lined lyricism of 1968, each wine was a defiance of expectation, a challenge to Bordeaux benchmarks and fickle trends. The 1980, “a shit year,” Victor muttered with the throwaway charm of someone raised to understate, tasted chicory-dark, of black Wine Gums, alert, “like something from Pommard,” he mused.
And the 1947-harvested during Franco’s long chill, bottled thirteen years later, was simply luminous. Juicy, lifted, faintly haunting, the wine persisted like a half-remembered hymn. “We’re not trying to make wines that age,” Urrutia said, leaning back. “We’re trying to make good wines. Some of them happen to get old.” 
