MARIANI’S

 

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April 20, 2025                                                                                                                                       NEWSLETTER

 

 


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HAPPY EASTER

       

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THIS WEEK

                                Some of the Finest Seafood in America
                          Swim in Long Island Waters, But Finding Them
                                 in Markets and Restaurants Can Be Futile                           
                                                                    By John Mariani


NEW YORK CORNER
CHEZ FIFI

By John Mariani


HÔTEL ALLEMAGNE
CHAPTER  EIGHT

By John Mariani


NOTES FROM THE SPIRITS LOCKER
American Spirits Producers in a
Quandary over Trump's Tariffs

By John Mariani



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                                Some of the Finest Seafood in America
                          Swim in Long Island Waters, But Finding Them
                                 in Markets and Restaurants Can Be Futile
                                                By John Mariani



 

    Last Month New York Governor Kathy Hochul announced the launch of the Long Island Seafood Trail website, showing off the extraordinary array of seafood that runs along the South Shore from Bay Shore to Montauk (a North Shore guide is also planned). The Trail was created by CCE of Suffolk County’s Marine Program, in collaboration with the New York State Department of Agriculture and Markets (AGM), intended to reinvigorate the state’s aquaculture and wild-caught seafood industries and strengthen local food systems and “to showcase our outstanding small businesses, and attract more visitors to this incredible region.”

         The guide also highlights 20 official locations and other points of interest that sell and serve locally wild-caught, sustainably harvested fish and shellfish. It’s an admirable venture, one which identifies 36 species of fish––including bluefish, butterfish, eel, three types of flounder, hake, mahi-mahi, scup, puffer (left), wahoo, sea robin and more;  seven of shellfish, including bay scallops, whelk and blue mussels; and four of crustaceans, including lobster, Jonah crabs, rock crabs and blue crabs.

         There’s only one problem: The majority of those species rarely if ever show up in New York markets or restaurants. It is almost impossible to find tautog, thresher, mackerel, weakfish and most others on menus that list only the same half dozen varieties, including so-called “Maine lobster,” farm-raised salmon from the Pacific Northwest, farm-raised branzino from the Mediterranean and Dover sole from the North Sea. The shrimp in the shrimp cocktail in all likelihood comes in frozen from Thailand, while the blue crabmeat is packed in Maryland and the mahi mahi shipped in from Hawaii.

         This neglect of such wonderful seafood from Long Island, including swordfish caught just off Montauk and bluefish that come roaring through the Sound in season, is due not to a lack of supply but to a lack of demand among consumers.

       Not surprisingly then, the restaurants listed in the new Long Island guide follow suit, with repetitive offerings and menus that barely hint of the region’s bounty. The list of seafood at Captain Jack’s in Southampton includes fried calamari, crab-stuffed pretzels, fried flounder sandwich, shrimp and grits and codfish oreganata. Bell and Anchor in Sag Harbor serves Montauk pearl oysters and lobster, but the fish entrees are only pan-roasted Scottish salmon, bouillabaisse and flounder. Even the Inlet Seafood Restaurant in Montauk only offers local fluke, golden tilefish and big-eye tuna on its menu.

         All these and the rest of the guide’s recommended restaurants may well have seasonal or nightly specials, but why don’t they sell and serve the myriad species listed on the guide’s website?

         One might think that in New York’s high-priced seafood restaurants the situation would be different, but it’s really not. One might find skate or monkfish or eel or bay scallops on some menus but nothing like the bounty offered by local waters. When the Greek restaurant Estiatorio Milos (now with a dozen branches worldwide) opened in Manhattan twenty years ago, a wide array of the daily catch was arrayed on ice,  but they focused  on Mediterranean species, which was a whole new concept back then.

         The paragon of East Coast seafood restaurants is the Grand Central  Oyster Bar & restaurant, opened in 1913, whose broadside-size menu is printed several days a week depending on what’s available in the market, with 25 different species of seafood any day of the week, from all around the world. Thus, at the moment the offerings include Montauk big-eye tuna, clams from the Long Island Sound, swordfish, mahi mahi, monkfish, sea bass and more, though even those only hint at Long Island’s wealth of seafood.

         I hope, then, that the new Long Island Seafood Trail website will awaken a local pride among restaurateurs and markets to take full advantage of what’s in our water. Otherwise, its list of seafood species is a good reason to go out on a boat into the Sound or along the South coast for the springtime migration of striped bass, black bass, bluefish, porgy, weakfish, scup, hickory shad and tautog all ready to bite.

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NEW YORK CORNER


CHEZ FIFI

                                                                                                        140 East 74th Street

                                                                                                       No telephone number

By John Mariani
Photos  by Connor  Crowden

 

 

 

         New York’s current bistro boom was joined in January by a place that has, for reasons not entirely clear, turned into one of the biggest hits of the year.  It’s easy enough to understand why the new bistros Le Veau d’Or, Frenchette and Le Rock are so extremely popular––the owners, Riad Nasr and Lee Hanson, are the darlings of the food media and fashionistas––but Chez Fifi hasn’t that kind of pedigree: It is the latest production of the Miami-based We All Gotta Eat Group that runs nearby Sushi No, which, with 12 seats, is full every night. 

         Even on the Upper Est Side, the name Chez Fifi sounds a bit twee, but given its polished 1920s townhouse looks (previously the Italian restaurant Vivolo) and only 40 seats downstairs and 12 in the upstairs salon, one can understand how easily it fills up each evening, largely with people from the neighborhood, some of whom have already become weekly regulars.  Yet beyond its cozy refuge appeal for the locals, Chez Fifi has become the kind of place that those who can’t get in beg those who can to work a small miracle. There’s no telephone number to call.  It took me six weeks to get a mid-week table.

         It certainly is one the most handsome dining rooms in the area, with dark mahogany bathed in light from sconces and shaded overhanging lamps, with flowered half-curtains above the booths.  In such soigné places one might expect an icy reception, but instead a lovely young woman with a big smile greets you with unfeigned delight that you’ve arrived, and the waitstaff is every bit as friendly.  

         The restaurant’s website reads, “To ensure a comfortable dining experience, we ask that our guests present themselves at Chez Fifi with consideration to the ambiance of the space. Overly casual attire, such as athletic wear, pajamas, lounge wear, t-shirts, and baseball caps, is not permitted.”  If only the management kept to that requirement, for on the night I visited, along with a full cadre of well-dressed women in black outfits seemingly plucked from the racks of Madison Avenue boutiques like Morgane le Fay, Vuori  and Agnès b.,  and most men in jackets, there was also more than one eyesore sporting a hoodie and sweat pants, hunched over his table. The decibel level is, unfortunately, high.

         The tables are well set with linens, the stemware pings at the touch, and the complimentary bread and butter are as good as you’ll find in Manhattan. If, during the dinner, the tablecloth is spotted or soiled, a fresh napkin is immediately placed over it. There are  no salt and pepper shakers on the table, but none of the dishes I tasted needed them.

         I don’t know how sommelier Tira Johnson put together such an extraordinary wine list, but overnight it ranks with the most comprehensive in town––though very expensive, with only a handful of bottles under $120.

         Indeed, many people have commented on how expensive Chez Fifi is, especially  by comparison to other chic bistros like La Goulue and Orsay. I’m sorry to say that it is, especially when charging $162 for a Dover sole––at least $40 to $70 more than its competitors.

         But prices are in many cases not quite what they seem, because portions are generous and easy to share. Take, for instance, the half-chicken with frites and salad and a  bland foie gras sauce at a whopping $82; at La Goulue it’s $44; at Orsay, $34. Yet only a trencherman could devour it all, and a whole chicken at $160 could feed four, in which case each portion comes out to $40. A reasonably priced filet mignon au poivre for $69 is hefty, and a big slab of cȏte de boeuf is listed at “Market Price,” which may well come to $300 or more.

         Chef Zack Zeidman’s menu is not large by any means: A selection of charcuterie, four first courses and five main courses. The best of the appetizers is called txangurro, a Basque-style crispy deviled crab nicely seasoned (right). A salad of endive, dates, walnuts and  Fourme d'Ambert  cheese was pleasant, but the tartare de boeuf Classique was richly flavorful and seasoned with panache.

Omelettes as a main  course at dinner are not as frequent on Paris bistros menus as they once were, but Chez Fifi’s with mushrooms and Périgord truffles that somehow survived winter was not as buttery as I’d expected. And let’s face it, with just five main  courses on the menu, how many people are dying for an omelette at eight o’clock at night?

Among the main courses is a fine Montauk black bass in beurre blanc, served with cabbage.

There is a selection of cheeses at an eye-popping $38, but desserts are far more reasonable  at $14 for crème brûlée, chocolate mousse with Chantilly cream, and a delicious baba au rhum at $16.

Despite its noise––after nine PM is a quieter time to go––Chez Fifi oozes charm and, though it must be hell for them to balance reservations, a night here runs as smoothly and amiably as a neighborhood bistro should. And if you go with friends and share à la carte dishes, the high prices come into better focus.

Still, even with access, one can get quickly tired of a menu with so few dishes to choose among, when its direct competitors’ offerings are so much more expansive, enticing and less expensive.

Maybe the current buzz will die down at Chez Fifi, in which case it would a delight to drop in now and then for one’s favorite dish after visiting the Guggenheim or the newly opened Frick Museum. Right now, just getting in at all is a head-butting chore.

 

 

Open for dinner only.





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HÔTEL ALLEMAGNE
 
By  John Mariani






CHAPTER  EIGHT

 

         The next day, Sunday, Katie and David went to Mass at Notre Dame, spellbound by both the beauty of the cathedral and by the rolling way the hymns echoed through its vast interior. Katie was in awe of it all, while David felt deeply the peacefulness of the atmosphere, perfumed by billows of incense.
         Afterwards they stopped for a quick bite at a nearby café then began their Hemingway tour, guided by a map of locations Catherine had given them and by a copy of the author’s memoir of the 1920s in Paris named A Moveable Feast.
       Starting on the Île de la Cité and having already seen The Ritz, they crossed the Pont Neuf to the Left Bank where Hemingway lived with his first wife, Hadley, at a time when he said they were poor but very happy. Katie and David strolled through the Luxembourg Gardens (above) whose Palais held works by Monet, Manet and Cezanne whom Hemingway admired, and soon came upon the modest walk-up building on the rue Cardinal-Lemoine where Ernest and Hadley had rented their first apartment. Then it was up to Montparnasse, where they’d had lunch the day before, to see those brasseries Hemingway, John Dos Passos, William Faulkner, Pablo Picasso, Jean-Paul Sartre and Simone de Beauvoir frequented, like Lipp, La Cloiserie des Lilas
(right, Hemingway, with Hadley in the middle), Le Select and La Coupole, where they stopped for coffee and pastry.
    By the end of the afternoon, they felt suffused not only with the spirit of Hemingway but with the bohemian culture of what his friend Gertrude Stein called “the lost generation.”
    Katie said, “I guess the 1920s was a lot different from the Jazz Age back in New York, but it must have had the same vitality, and I suspect the bohemian life of Greenwich Village in the fifties tried to capture some of that, too.”
    David said, “I missed that by a few years, but I do remember a little of the scene in the Village in the seventies and the drug culture of the Lower East Side when I joined the force. It was uglier than you can imagine, Katie. You’d hear and feel the heroin needles crunch under your feet when you walked through the neighborhood. I hated going on assignment down there, mainly because even if you made a bust, nothing ever really changed. One dealer was replaced by five others the next week. Artsy, it was not, except for some of the grunge bands that were starting up back then.”
    “I never hung out there,” said Katie, “and by the time I was old enough to go, there was nothing left to see. Hip Hop was just starting up in the Bronx, which displaced the downtown music scene very quickly. Which is what New York always does.  Here everything seems to go on much the same. Montparnasse looks just the way Hemingway described it.”
    “Maybe, but don’t kid yourself. Most of the people around here are tourists, and 9/11 put a big hole in that.”
    “Which must really hurt the hotels, not to mention those three that got contaminated.”
    The couple had been so enthralled with what they’d seen that day that they’d hardly thought at all about the hotels, and Katie began to feel nothing significant would show up in the next few days and that she and David could continue sight-seeing.
    “I hope that infectious disease scientist we’re seeing tomorrow can at least tell us what kind of contamination occurred,” said Katie. “How did it get into the hotels and if there are any links among them.”
    “It’d better be real solid info for Alan to keep us here much longer. And if it’s anything like the Legionnaires Disease incident, it might take forever to find out the source.”
    “Ah, well,” said Katie, “as the French say, “‘Peigner la giraffe.’”
    “Meaning what?”
    “To comb the giraffe.”
    “Meaning what?”
    “Don’t kill yourself on something not likely to be of any use, like combing a giraffe.”
    “That’s one of the dumbest things I’ve ever heard.”

 

         Early the next morning Katie and David took a taxi to the Pasteur Institute (left), whose two buildings flanked the Rue du Dr. Roux. One was a stately old building of red brick with a date of 1900 on its façade and contained a museum that maintained Doctor Pasteur’s original laboratory; the other was a very modern six-story structure of glass, stone and steel where  most of the research was being conducted. Katie told the attendant that she had an eight o’clock appointment with Dr. Judith Baer, and, after a few minutes the two Americans were buzzed through a glass inner door where they were greeted by a woman in a white lab coat who seemed to be in her sixties or perhaps early seventies. She was fairly tall, slender, quite attractive and might have been a model or actress when she was young. She had dark hair with some streaks of gray, tied back in  a chignon. Her complexion was fair and largely free of wrinkles, with a small beauty mark above her lip. A pair of glasses hung from her neck. She was wearing a white lab coat.
         “You are the American woman I spoke to Friday?” she said in clipped English, without any hint of being happy to see them, suggesting this would not be a long interview.
         Katie introduced herself and David and repeated that she was a journalist and David was assisting her. They were looking into the story of what happened at the hotels.
         “All right,” said the physician, “we can go to my office,” then turned and briskly went left down a corridor to a small office devoid of any décor except a desk, three chairs, a computer and a filing cabinet. On the wall was Dr. Baer’s certificate of medicine, which she earned at the Sorbonne.
         Katie said, “Ah, the Sorbonne! I studied for a semester there in college.”
         Dr. Baer said only, “And how do you think I can help you?”
         Katie said, “Do you mind if I tape record our interview.”
         The woman only shrugged to indicate her assent.
         “I suppose the first thing I want to know is if they’ve identified what exactly the contamination was. Viral or bacterial.”
         “It was not bacterial,” said Dr. Baer, sounding as if the idea was naïve. “Had it been so, the effects would not have hit everyone so suddenly. Bacteria needs time to grow in the body, and different people would react over different time lengths, not all at once, like this.”
         “So, it’s viral, then?” asked David. Dr. Baer looked at him as if he asked something so obvious that it reflected on his intelligence.
         “Yes, of course,” she said. “If you have ever had the flu you know that it hits you suddenly.” She snapped her fingers. “Like that. You feel fine, then you feel terrible. Of course, it might take a day or two to develop, but once in the air many people will come down with the same symptoms within hours. That is the nature of a virus.” She looked at her watch.
         David continued. “So, you’re saying that the virus might have been in the hotel for at least a couple of days and that people who might have contracted it and checked out of the hotel would get the symptoms a day or two afterwards?”
         “Yes, I’m sure there are many people who left the hotel who are sick by now but did not connect it with the virus in the hotel. Those who had been staying there for a few days all got the symptoms at the same time. It’s not unusual. It happens in offices and schools all the time.”
         “But no one has yet died from the virus?” asked Katie.
       “Not so far. I understand there are some much more sick than others, the older ones and those with pre-existing conditions, but no, no deaths yet.”
         “Do you expect any?”
         “It does not seem to be a killer virus, if that’s what you mean. But it’s not one I have seen before, which is always a reason to worry.”  Another glance at her watch.
         “So, you don’t fear a pandemic in Paris?” asked Katie.
         “Not if it can be contained with the people who have been exposed. It’s possible all those they came in contact with could contract the virus, including the staff members who went home at night.”
         David asked, “Have the hospitals provided you with, what would you call them samples of the virus?”
         “Yes, I will be working on them today, myself and other doctors here at the Institute. We may know something within twenty-four hours.”
        David ventured, “Dr. Baer, I’m sure you’re very familiar with the so-called Legionnaires Disease incident that occurred some years ago in a Philadelphia hotel, that supposedly came through the air ducts.”
    “Of course. It turned out to be a form of atypical pneumonia. But that was a unique bacteria. The even named it legionnairosis. There were no symptoms for several days.”
        “So, there’s no possible connection.”
        Dr. Baer shook her head once and said, “N
ow, do you have any other questions, because I need to meet my colleagues about this issue in five minutes?”
         Katie realized the interview was over.
         “Just one more, Dr. Baer. Do you think there might have been a crime involved in this incident?”
         “In what way?”
         “That the virus was somehow deliberately introduced into the three hotels with some criminal intent?”
         “It is . . . possible, but I have no reason to believe that right now. It is out of the ordinary that three hotels separated from one another were all hit with the same malady, but until we know what it is, I cannot comment on that.”
         Then, rising deliberately from her chair and without extending her hand, Dr. Baer said, “Well, I don’t know if I’ve helped you or exactly what you are looking for, but if you want to call me tomorrow I shall tell you what we may find out about this virus.”
         Her last words had only the slightest tinge of cordiality, and Katie said she appreciated the time Dr. Baer had taken and that they would appreciate knowing anything more that the doctors might find out by the next day.”
After leaving the Institute Katie and David decided to walk awhile—they were already in Montparnasse—and talk over the interview.
        
“Well, she wasn’t exactly a fount of information,” said David.
        
“I swear to God,” said Katie, “she reminded me so much of some of the French professors I had when I was here at the Sorbonne. Totally lacking in any sense of humor, always ready to criticize a student for a lapse, never patting you on the back.”
        
“Well, I wasn’t expecting a pat on the back, but she might have been a little more forthcoming with details.”
        
“I think she’s just being tight-lipped because she doesn’t want to make a mistake talking to the press before anything’s been confirmed and passed by the Institute’s p.r. people. It has to be an official statement.”
        
“So, what do we do now?”
        
“We’ll always have Paris.”

 

 


©
John Mariani, 2024



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NOTES FROM THE SPIRITS LOCKER



American Spirits Producers in a
Quandary over Trump's Tariffs

By John Mariani



 




    With on again-off again Trump tariffs looming on wine and spirits, the situation is in constant flux, one that must be dealt with within the spirits industry whose U.S. producers are as vulnerable of those in Europe. To assess the situation at the moment I spoke with Ali Anderson, CEO of CraftCo., a portfolio of innovative, premium craft spirits brands produced in Holland, MI, who was recently appointed to the 2025-2026 Craft Advisory Council for the Distilled Spirits Council of the United States (DISCUS).

 

 

Before we speak about tariffs, can you explain the “three-tier system” of export, import, and distribution?    

 

 The three-tier system is a regulatory framework for alcohol distribution in the U.S., designed to prevent monopolies and encourage competition. The three main components are producers (craft distillers like us);  distributors (wholesalers) and retailers (bars, restaurants, liquor stores).  Distillers sell to licensed wholesalers (or to control state jurisdictions) who then sell to licensed retailers. This system is designed to ensure that alcohol is sold in a way that is regulated, taxed, and monitored for safety and legal consumption. The system is complex, but it helps maintain transparency and control over alcohol sales. 

 

So, if a bottle of whiskey costs the consumer $50, who within the system makes how much money? 

The exact margins can vary depending on Cost of Goods Sold (COGS), the state, the product, the tax structure and the relationships involved, but generally speaking, a distiller might sell a whiskey that retails at the shelf for $50 to a wholesaler for $25. The wholesaler may mark it up by about 25–30%, selling it to the retailer for around $32–$35. Their margin covers logistics, state compliance, warehousing, and their own sales force. The retailer then typically applies a markup of 30–50% depending on their market and overhead. That brings the final shelf price to $50, sometimes more in certain regions. So, while the consumer sees a $50 bottle at the shelf, the distiller’s revenue from that sale in this example is $25—and that amount needs to support every part of the production process. 

 

And what do restaurateurs pay? 

Restaurateurs generally pay wholesale prices per bottle to distributors, but they tend to price each pour based on the cost of the bottle and their target margins. The markup can vary greatly but, using the example above, if a restaurant pays $35 for a bottle and a standard 1.5 oz. pour costs them roughly $1.55, they might charge the consumer $8-10 per pour, which means that one bottle could bring in $135-$170 of revenue for the restaurant. That markup might seem high, but it helps cover staffing, glassware, and many of the costs and inherent risks of running a bar program.  

 

You advocate expansion of “direct to consumer” shipping access “to level the playing field with wine producers.” How can this be accomplished? 

A key priority for me as a member of DISCUS is highlighting how expanding direct-to-consumer (DTC) shipping for spirits is a meaningful step forward for the industry—especially for craft producers like us who are working hard to build strong, authentic relationships with our customers.  For the 3,000+ craft distillers in the U.S., DTC access creates a vital path to market that allows us to serve customers who can’t access our products locally, as well as test new releases or limited editions in a more agile way and to build loyalty and brand awareness, especially outside major distribution networks where the larger suppliers get most of the attention. This can be accomplished through state-level legislation that modernizes shipping laws to reflect today’s consumer expectations. People are already shopping online for everything from groceries to luxury goods, and spirits should be no different. With the right guardrails—like secure age verification and proper licensing—DTC shipping is not only feasible, it’s responsible. 

 

President Trump’s tariffs are based on his insistence that all the countries in the world are “ripping the U.S. off.” With respect to spirits, what does he mean specifically? 

I can’t speak to the specifics of the administration’s strategy, but I can share how these tariffs are affecting American craft distillers like us. We are an American small business producing uniquely American products, and we do it without the scale or pricing flexibility of global suppliers. When tariffs are imposed, whether in response to trade imbalances or broader geopolitical issues, craft distillers bear the brunt.
The spirits sector has long been a model of fair and reciprocal trade. For more than two decades, large and small distilleries across the U.S. thrived under zero-for-zero tariff agreements, allowing American-made craft spirits to compete globally and support American jobs including farmers, distillers, logistics and distribution professionals, bartenders, hospitality workers and the finance sector.
If there’s a concern about European producers undercutting American brands with lower-priced imports, that’s a conversation worth having. The bigger picture is about restoring fairness through mutual access. As tariffs rise, the impact is not limited to increased prices at the shelf. For American small businesses, tariffs stall growth, limit our global reach, and impact the entire value chain, from grain to glass. 

 

You say that “Craft distillers lack the volume and pricing flexibility to absorb tariffs, which can hinder growth opportunities.” Please explain how. 

For craft distillers, tariffs are more than just a headline: they’re a growth barrier. Unlike multinational spirits companies that produce at massive scale and can negotiate lower costs on everything from packaging to logistics, small producers operate with much thinner margins. We don’t have the same volume or pricing flexibility to absorb 25+% tariffs and remain competitive. We can’t raise prices overseas to cover the cost of a tariff, because doing so would price us out of the market, especially against global brands. We also can’t spread the cost across millions of cases like the big players do. A single export pallet for us might represent a meaningful portion of quarterly sales. A tariff on that shipment hits hard. Tariffs also limit whom we can do business with internationally because distributors and retailers abroad are less likely to take a chance on a small American brand when a tariff artificially inflates our price point compared to local or tariff-free options.
The result for us at CraftCo. is that we’ve been forced to abandon planned expansion to enter new markets, even though there is genuine demand for our products even beyond bourbon. That’s not just a lost sale—it’s a lost relationship, a missed opportunity to grow our brand, and a missed chance to support American agriculture and manufacturing. 

 

In your capacity as a member of the 2025-2026 Craft Advisory Council for the Distilled Spirits Council of the United States (DISCUS), what are your responsibilities and what do you think the current problems are within the industry? 

 

My role on the Craft Advisory Council is to represent the interests of small and independent distillers, advocating for policies that foster growth, innovation, and fair competition. Key issues include unfair tariffs, restrictions on direct-to-consumer sales, regulatory burdens, and the challenge of navigating the three-tier system. We also need more support for marketing and distribution, particularly for new brands entering the market, and better access to international markets. Key issues include:


Tax parity: As craft producers, we typically operate on thinner margins. Several states, including Michigan are exploring higher excise taxes on spirits, while also using

 tax reductions for beer and wine-based RTDs. This creates an unfair competitive landscape for craft distillers where lower-ABV spirits-based RTDs are hit with excessive tax burdens compared to our malt-based counterparts. I'm interested in working on tax parity to protect our ability to respond nimbly to consumer preferences and compete.

 

 

Tariffs: As I’ve said,  Unlike the large multinationals, we as craft distillers lack the volume and pricing flexibility to absorb these tariffs, making advocacy at the federal level crucial for our long-term success. At CraftCo., we have recently put on hold our first opportunity to expand into Canada with several of our brands, so now we'll need to navigate higher costs while fighting for shelf space against major producers discounting their products and flooding the US market to offset their export losses. These are the types of stories that our policy advocates at DISCUS can take to The Hill. 

DTC Shipping: For craft brands without the distribution muscle of the big guys, DTC access can mean the difference between thriving and stagnation. I see this in our own business every single day where we are missing opportunities to reach the consumers we've done a great job marketing to. Expanding e-commerce market access for spirits shipping is one of the biggest opportunities to level the playing field and one I'm personally very passionate about. 

 

Where do you see the opportunities? 

 

As consumers seek more authentic, artisanal products, small-batch spirits have seen increased demand. Authenticity really is crucial. Additionally, having a well-defined marketing strategy and a deep understanding of your target audience is essential. It's also important to be patient and remain faithful to your values, as building brand recognition and trust is a gradual process. 

The trend of premiumization is still on the rise, with consumers increasingly willing to “drink better, not more.” At CraftCo., we’ve embraced a commitment to peerless quality from the start.

 

What are you advising producers, exporters, and distributors to do to counter the new tariffs? 

 

First of all, I encourage everyone to engage with policymakers to advocate for tariff relief and promote the benefits of untangling distilled spirits products from wider trade disputes. One of the best ways to do this is through the Toasts Not Tariffs Coalition, which represents the entire three-tier chain of the U.S. beverage alcohol sector (producers, importers, wholesaler, and retailers) who stand united in opposition to U.S., EU, and UK, tariffs on beverage alcohol products. 

 

As you say, artisanal products are growing rapidly, but it also seems the market is now flooded, and there are not enough niche markets for all to survive. Do you see further increases in these new labels? 

 

We’ve definitely seen an explosion of innovation and storytelling in spirits over the past decade. Terms like “small batch,” “sherry-cask finished,” or “vintage-dated” have become common, regardless of supplier size, but this kind of creativity has also brought a lot of excitement to the whiskey category and consumers are more educated and curious than ever before. 

I think we’ll start to see a natural correction in the next two to three years. The barrier to entry has never been lower for new expressions, but the barrier to long-term success is rising because access to distribution, capital, and meaningful brand loyalty are becoming the 2, not just a clever finish or marketing spin.
    So yes, I hope we’ll continue to see new expressions, but I think the future favors fewer, better-executed entries - especially those that know who their consumer is and can build the relationship with purpose. 

 

What spirits by category are now the best sellers in the U.S. and is this changing? 

·         Whiskey (especially American whiskey, bourbon, and rye) remains a dominant category, with strong consumer interest in premium and aged varieties. 

·         Vodka is still popular, especially in the mainstream market, though craft vodka brands are beginning to gain more attention. 

·         Tequila is still a category with tremendous opportunity, with demand for high-quality, artisanal, additive-free products skyrocketing. 

 

New medical studies have reported that “no amount of alcohol” is safe from health concerns. How does the industry respond to that both publicly and privately? 

 

As an industry, we’ve responded by committing to education, transparency, and moderation messaging through the work of Responsibility.org. There is more emphasis on serving sizes, lower-ABV options, and clear labeling. There’s also growing investment in alcohol-free spirits and low-proof alternatives, which speaks to the industry’s willingness to meet consumers where they are, whether they choose to drink or not. 

 

Last week Trump paused tariffs on the EU but also said that bourbon would be exempt from being taxed. Why do you  think this occurred? Was there lobbying on part of bourbon distillers? Did DISCUS  play a role? 

 

We’re encouraged by the decision to exempt bourbon from the recent tariff threats., which signals recognition of the economic and cultural significance of American whiskey. While I can’t speak to the exact political calculus, persistent and well-organized advocacy initiatives by industry stakeholders, including organizations like DISCUS, have helped elevate the issue at the federal level and underscores the real-world consequences these trade disputes have on American producers. The pause gives the industry some breathing room and a chance to refocus on innovation rather than navigating costly measures.

 

 




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WE'D LIKE A DOZEN EVERYTHING BAGELS. . .
AND HOLD THE BAGELS

In South Korea, Trader Joe's popular Everything Bagel Seasoning is a prohibited item. Airports in the country. with signs specifically declaring the spice blend a forbidden import. Passengers whose bags contained the product have had their packages confiscated.  The reason is that the blend contains poppy seed, which in South Korea are classified as a narcotic due to their potential opiate content. While poppy seeds themselves don't contain opiates, the seeds can become contaminated with opium alkaloids during the harvesting process.

 







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 Any of John Mariani's books below may be ordered from amazon.com.



   The Hound in Heaven (21st Century Lion Books) is a  novella, and for anyone who loves dogs, Christmas, romance, inspiration, even the supernatural, I hope you'll find this to be a treasured  favorite. The  story concerns how, after a New England teacher, his wife and their two daughters adopt a stray puppy found in their barn in northern Maine, their lives seem full of promise. But when tragedy strikes, their wonderful dog Lazarus and the spirit of Christmas are the only things that may bring his master back from the edge of despair. 

WATCH THE VIDEO!

“What a huge surprise turn this story took! I was completely stunned! I truly enjoyed this book and its message.” – Actress Ali MacGraw

“He had me at Page One. The amount of heart, human insight, soul searching, and deft literary strength that John Mariani pours into this airtight novella is vertigo-inducing. Perhaps ‘wow’ would be the best comment.” – James Dalessandro, author of Bohemian Heart and 1906.


“John Mariani’s Hound in Heaven starts with a well-painted portrayal of an American family, along with the requisite dog. A surprise event flips the action of the novel and captures us for a voyage leading to a hopeful and heart-warming message. A page turning, one sitting read, it’s the perfect antidote for the winter and promotion of holiday celebration.” – Ann Pearlman, author of The Christmas Cookie Club and A Gift for my Sister.

“John Mariani’s concise, achingly beautiful novella pulls a literary rabbit out of a hat – a mash-up of the cosmic and the intimate, the tragic and the heart-warming – a Christmas tale for all ages, and all faiths. Read it to your children, read it to yourself… but read it. Early and often. Highly recommended.” – Jay Bonansinga, New York Times bestselling author of Pinkerton’s War, The Sinking of The Eastland, and The Walking Dead: The Road To Woodbury.

“Amazing things happen when you open your heart to an animal. The Hound in Heaven delivers a powerful story of healing that is forged in the spiritual relationship between a man and his best friend. The book brings a message of hope that can enrich our images of family, love, and loss.” – Dr. Barbara Royal, author of The Royal Treatment.




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The Encyclopedia of American Food and Drink by John F. Mariani (Bloomsbury USA, $35)

Modesty forbids me to praise my own new book, but let me proudly say that it is an extensive revision of the 4th edition that appeared more than a decade ago, before locavores, molecular cuisine, modernist cuisine, the Food Network and so much more, now included. Word origins have been completely updated, as have per capita consumption and production stats. Most important, for the first time since publication in the 1980s, the book includes more than 100 biographies of Americans who have changed the way we cook, eat and drink -- from Fannie Farmer and Julia Child to Robert Mondavi and Thomas Keller.


"This book is amazing! It has entries for everything from `abalone' to `zwieback,' plus more than 500 recipes for classic American dishes and drinks."--Devra First, The Boston Globe.

"Much needed in any kitchen library."--Bon Appetit.




Now in Paperback, too--How Italian Food Conquered the World (Palgrave Macmillan)  has won top prize  from the Gourmand World Cookbook Awards.  It is a rollicking history of the food culture of Italy and its ravenous embrace in the 21st century by the entire world. From ancient Rome to la dolce vita of post-war Italy, from Italian immigrant cooks to celebrity chefs, from pizzerias to high-class ristoranti, this chronicle of a culinary diaspora is as much about the world's changing tastes, prejudices,  and dietary fads as about our obsessions with culinary fashion and style.--John Mariani

"Eating Italian will never be the same after reading John Mariani's entertaining and savory gastronomical history of the cuisine of Italy and how it won over appetites worldwide. . . . This book is such a tasteful narrative that it will literally make you hungry for Italian food and arouse your appetite for gastronomical history."--Don Oldenburg, USA Today. 

"Italian restaurants--some good, some glitzy--far outnumber their French rivals.  Many of these establishments are zestfully described in How Italian Food Conquered the World, an entertaining and fact-filled chronicle by food-and-wine correspondent John F. Mariani."--Aram Bakshian Jr., Wall Street Journal.


"Mariani admirably dishes out the story of Italy’s remarkable global ascent to virtual culinary hegemony....Like a chef gladly divulging a cherished family recipe, Mariani’s book reveals the secret sauce about how Italy’s cuisine put gusto in gusto!"--David Lincoln Ross, thedailybeast.com

"Equal parts history, sociology, gastronomy, and just plain fun, How Italian Food Conquered the World tells the captivating and delicious story of the (let's face it) everybody's favorite cuisine with clarity, verve and more than one surprise."--Colman Andrews, editorial director of The Daily Meal.com.

"A fantastic and fascinating read, covering everything from the influence of Venice's spice trade to the impact of Italian immigrants in America and the evolution of alta cucina. This book will serve as a terrific resource to anyone interested in the real story of Italian food."--Mary Ann Esposito, host of PBS-TV's Ciao Italia.

"John Mariani has written the definitive history of how Italians won their way into our hearts, minds, and stomachs.  It's a story of pleasure over pomp and taste over technique."--Danny Meyer, owner of NYC restaurants Union Square Cafe,  The Modern, and Maialino.

                                                                             








              

MARIANI'S VIRTUAL GOURMET NEWSLETTER is published weekly.  Publisher: John Mariani. Editor: Walter Bagley. Contributing Writers: Christopher Mariani,  Misha Mariani, John A. Curtas, Gerry Dawes, Geoff Kalish. Contributing Photographer: Galina Dargery. Technical Advisor: Gerry McLoughlin.

 

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