In the hybrid rat pack there’s Frank, aka Chelois, and then there’s his male other, his bromantic partner, Baco Noir, like a Dean in a cloud of night smoke, he is a smoking den, a gentlemen’s club, GQ magazine, male, deep, dark, rich, black as the night, black fruits, tobacco, a cigar aficionado, caramel on the tongue, a breezy baritone, deeply tinted in the glass. He has a lumberjack frame, and is an American bachelor filled with tannic muscle. He’s a scad. Pitch black he is. He is the right hand man, the go-to guy, the wing man, the mate, full on bro-sef, American Brother. …And here is Chambourcin as Sammy Davis Junior, adding complexity to the mix and always has notes of flint to light Baco’s cigar, with spice notes of anise, cloves, black pepper, and cinnamon, but with a muted or closed nose. Think of the spice trade! Think of slavery! Think of the network of the global trade routes, the wind currents, all that has happened so that he could exist as you taste him upon your tongue like so many words! And much like that singer he can carry a note longer than any other! And here is DeChaunac, single bottling, smooth and neutral, a Peter Lawford, balanced and cool, a settler of disputes among egos. Chancellor is the unpretentious funny man Joey Bishop. It’s the rat pack. It’s the birth of the Dream of Nationhood in a postcolonial setting, in post-WWII, post-fall-of-Berlin-Wall America. It’s about the death of opposition, the death of the Bordeauxian dialectic – of east and west bank bottling, that war between the sexes of just the paternalistic French Merlot and Cab Sauv or Franc. It’s the birth of plurality, at a truly local and global scale.