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Exploring CRŪ: A Wine Tasting Guide in Madera and Fresno
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By Dean Kirkland
Published 5 months ago on
August 9, 2024
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Discover the passion and craftsmanship behind CRŪ Winery's award-winning wines. From the cool coastal vineyards of the Central Coast to their dedicated winemaking team, this story uncorks the rich flavors and exclusive experiences that make CRŪ a standout in the wine world. (GV Wire/Dean Kirkland)

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Madera’s wine scene is like a well-kept secret — it’s not as flashy as Napa or Sonoma, but it’s got a charm all its own.

Dean Kirkland Portrait

Dean Kirkland

The Wines of Fresno

Madera offers a unique environment that lends itself to a variety of grape varieties. The region’s warm climate and rich soils make it ideal for growing robust reds and crisp whites.

As Rebecca Gilbert, the Senior Director of Marketing and Communications at CRŪ Winery, puts it, “Madera may not be the first place people think of for wine, but it’s a region where tradition meets innovation, and the wines are as diverse as the people who make them.”

One of the standout features of Madera wineries is their emphasis on family-owned operations. Many of these wineries have been passed down through generations, with winemaking techniques honed over the years like a finely tuned engine. The sense of community here is palpable; it’s not uncommon to find the winemaker pouring your tasting flight or the vineyard owner tending the vines.

“It’s this personal touch that sets Madera apart and makes each visit a unique experience,” says Tamara Rutten, the Tasting Room Manager at CRŪ.

Aerial view of CRŪ Winery in Madera, CA (GV Wire/Dean Kirkland)

CRŪ Winery began with a love for the Madera area and a desire to share their wines with the local community. “Our founders are from this area, and they wanted to create a winery within the Madera and Fresno area to share the wines they were producing from throughout California with their friends,” Rebecca explains.

CRŪ Winery

20146 Rd. 21, Madera, CA 93637

Open Daily, 11 a.m.-5  p.m.

Phone: (559) 673-6372

Reservations: exploretock.com

Website: cruwinery.com

This passion has grown into a well-respected winery with a wide distribution, sharing the distinct flavors of the Central Coast across the state, the country, and even a few international markets. Despite their growth, CRŪ remains grounded in its roots, focusing on the Central Coast and working with vineyards and growers from the Santa Cruz Mountains to the Santa Maria Valley to craft their wines. This dedication to quality and community is a hallmark of the Madera wine experience.

The Art of Wine Tasting: More Than Just a Swirl and Spit

Let’s get one thing straight: wine tasting isn’t just about getting a buzz while pretending to know what tannins are. It’s a nuanced experience that engages all your senses. Here’s a quick rundown on how to taste wine like a pro:

  1. Sight:

    Before you even take a sip, take a good look at the wine. The color can tell you a lot about what you’re about to taste. For instance, a deep, inky red might suggest a full-bodied wine, while a pale straw color could indicate a light and crisp white. Melissa Smith, the Production Manager and Cellar Master at CRŪ, advises, “Tilt your glass at a 45-degree angle and hold it against a white background to get the best view. Look at the hue and clarity, and note any sediment.”

  2. Smell:

    Stick your nose in the glass and take a deep whiff. The aroma, or “nose,” is where you’ll catch the wine’s bouquet. Swirl the wine to aerate it and release its volatile compounds, which helps intensify the aromas. Close your eyes and imagine walking through a produce aisle—fruits, flowers, and spices are all fair game here. At CRŪ, for example, you might pick up notes of citrus, green tea, or even toasted marshmallow, depending on the wine.

    Melissa Smith (left) and Rebecca Gilbert (right) enjoy a toast at CRŪ Winery. (GV Wire/Dean Kirkland)
  3. Taste:

    Now for the fun part. Take a small sip and let the wine coat your palate. Pay attention to the flavors and how they evolve. Are you tasting ripe berries, a hint of oak, or maybe even a touch of minerality? The taste can also tell you about the wine’s structure—its acidity, tannins, and body. A well-balanced wine will have all these elements in harmony, like a perfectly tuned orchestra.

  4. Touch (Mouthfeel):

    This is where you consider the wine’s texture. Is it silky, gritty, or somewhere in between? The mouthfeel can give you clues about the wine’s age and how it was made. For instance, a creamy mouthfeel might indicate a wine that underwent malolactic fermentation, a process that converts sharp malic acid into softer lactic acid, much like milk.

  5. Finish:

    Finally, consider the finish, or aftertaste. Does the flavor linger, or does it disappear quickly? A long, complex finish is often a sign of a high-quality wine.

The Technical Side: From Vineyard to Bottle

Making wine is like restoring a classic car; it requires precision, patience, and a little bit of love. At CRŪ Winery, they take their grapes from some of California’s most prestigious regions, including the Santa Lucia Highlands and Paso Robles. These grapes are then meticulously crafted into wine through a process that blends tradition with modern technology.

The Vineyard

CRŪ sources grapes from various regions, each bringing its own unique characteristics to the table. The Santa Lucia Highlands, for example, benefit from a cool coastal influence, which results in wines with bright acidity and complex flavors. Meanwhile, Paso Robles offers a warmer climate and diverse soils, ideal for producing bold, full-bodied reds.

Harvesting and Sorting

Once the grapes reach optimal ripeness, they’re harvested — often in the cool, early morning hours to preserve their freshness. The grapes are then sorted to remove any that don’t make the cut. This meticulous selection process ensures that only the best fruit goes into the wine.

Fermentation

Next up is fermentation, where the grape juice is transformed into wine. Depending on the type of wine being made, CRŪ might use stainless steel tanks or oak barrels for fermentation. Stainless steel is often used for white wines to maintain their crisp, clean character, while oak barrels can add layers of complexity to reds.

Aging

Aging is where the magic happens. For red wines, CRŪ employs a mix of new and neutral oak barrels. New oak imparts flavors like vanilla, spice, and sometimes a hint of smokiness. Neutral oak, on the other hand, allows the wine to breathe and develop without overpowering its natural flavors. The aging process can last anywhere from a few months to several years, depending on the desired style.

Cellar master Melissa Smith walking through the barrel storage room at CRŪ Winery.  (GV Wire/Dean Kirkland)

Bottling

Once the wine has aged to perfection, it’s time for bottling. This process involves carefully transferring the wine from barrels or tanks into bottles, all while minimizing exposure to oxygen. The bottles are then sealed, labeled, and left to rest before they’re ready to hit the market.

CRŪ Winery: A Snapshot

CRŪ Winery might be based in Madera, but its influence extends far beyond the Central Valley. With a tasting room in Monterey and distribution across the country, CRŪ offers a range of wines that showcase the best of California’s Central Coast. Whether you’re into the bright, citrusy notes of their Chardonnay or the rich, berry-laden profile of their Pinot Noir, there’s something for everyone.

Their Monterey tasting room, located in the picturesque Santa Lucia Highlands, provides a cool coastal escape where visitors can enjoy tastings in a serene setting. Meanwhile, the Madera location offers a more intimate experience, complete with behind-the-scenes tours and exclusive tastings. As Tamara Rutten, the Tasting Room Manager, describes, “We love giving guests a closer look at our winemaking process. It’s like offering a VIP pass to a garage full of vintage cars—each bottle has a unique story, and every tasting is a journey through the terroir and craftsmanship that define our wines.”

Tamara Rutten, CRŪ Winery Tasting Room Manager. (GV Wire / Dean Kirkland)

The CRŪ Madera Wine Experience

Madera may not have the star power of Napa or the glitz of Sonoma, but it is rich in history, passion, and, most importantly, excellent wine. The region’s emphasis on family-owned wineries and a hands-on approach to winemaking creates a welcoming atmosphere where visitors can truly connect with the people behind the wines. From the technical aspects of winemaking to the simple pleasure of tasting, Madera offers an experience that is both educational and enjoyable.

At CRŪ, this experience is elevated by the knowledge and passion of the staff. Whether you’re chatting with Rebecca Gilbert about the winery’s origins and mission or getting technical insights from Melissa Smith in the cellar, there’s a sense of pride and dedication that permeates every aspect of the winery. This commitment to quality and community is a hallmark of CRŪ and a defining feature of the broader Madera wine scene.

Enjoying a glass of Sierra Madre Vineyard Pinot Noir at CRŪ Winery’s scenic patio, where every sip captures the essence of the Central Coast. (GV Wire / Dean Kirkland)

So, the next time you’re planning a wine adventure, consider a detour to Madera. It’s a place where you can enjoy world-class wines without the pretension, and where every winery has a story worth hearing. And if you find yourself at CRŪ Winery, take your time, savor each sip, and maybe even chat with the winemaker. As Tamara Rutten suggests, “Every visit is an opportunity to discover something new and exciting, whether it’s a unique wine pairing or an insider tip on the best local vineyards.” Cheers to the journey and the hidden gems of Madera’s wine country!

About the Author

GV Wire Producer Dean Kirkland is the founder and director of Gas and Gears, an independent film production company that has produced numerous television series and feature films, including the award-winning documentary “Racing Through The Forest” (2014).

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Over the past decade, the dance group Shen Yun Performing Arts has made money at a staggering rate. The group had $60 million in 2015. It had $144 million by 2019. And by the end of last year, tax records show, it had more than a quarter-billion dollars, stockpiling wealth at a pace that would be extraordinary for any company, let alone a nonprofit dance group from Orange County, New York. Operated by Falun Gong, the persecuted Chinese religious movement, Shen Yun’s success flows in part from its ability to pack venues worldwide — while exploiting young, low-paid performers with little regard for their health or well-being. But it also is a token of the power that Falun Gong’s founder, Li Hongzhi, has wielded over his followers. In the name of fighting communism, and obeying Li’s mystical teachings, they have created a global network to glorify him and enrich his movement. Under Li’s direct leadership, Shen Yun has become a repository of vast wealth for Falun Gong, often accumulating money at the expense of its loyal adherents, a New York Times investigation has found. It has raked in funds through ticket sales — nearly $39 million in 2023 alone — but also by using religious fealty to command the free labor of its followers. It has received tens of millions of dollars more in ways that may have crossed legal or ethical lines, the Times found. In one case, Shen Yun and a school that trains its dancers received $16 million from The Epoch Times, a newspaper run by Falun Gong followers, during a period when federal prosecutors said the publication’s accounts were inflated in a money-laundering conspiracy. Shen Yun and a network of satellite organizations added more wealth by skirting rules to tap tens of millions of dollars in COVID-19 pandemic-era relief money. And three former Shen Yun performers told the Times that they were used to ferry large amounts of cash into the United States, a possible attempt to circumvent laws about reporting U.S. currency transactions. Shen Yun has kept its own costs down by wringing countless volunteer hours, and sometimes personal savings, from followers of Li, who has suggested he created the universe and instructed believers that Shen Yun performances can save people from a coming apocalypse by exposing them to his teachings. Eager to heed Li, the followers have borne most of the financial burden for staging hundreds of Shen Yun shows around the world, including paying out of their own pockets to book venues, print flyers, buy advertising and sell tickets — even going into debt to cover upfront costs. “They all think — including me before — we all think it is an important part of the path to godhood,” said Simone Gao, a former practitioner and Falun Gong media personality. “If you devote time, energy and money to this cause, the reward is incomparable to what you get in this world.” It was not clear why Shen Yun has amassed so much money, or why nearly all of its assets — $249 million in 2023 — were kept in cash and other liquid instruments. Experts said it was unusual for a nonprofit not to invest such sums unless they were needed for significant short-term expenses, which Shen Yun has not seemed to have incurred. Shen Yun’s representatives declined to answer questions about its finances. In the past, Li has said large sums of money were needed to battle the Chinese Communist Party, which has banned the movement and repressed its followers since the 1990s. “For over 25 years, Falun Gong practitioners have struggled to peacefully resist persecution from the largest totalitarian regime on earth, and Shen Yun is a key part of that effort,” a Shen Yun spokesperson, Ying Chen, said in a statement to the Times. “Your attempts to brand Shen Yun as a grand moneymaking scheme are shocking and deeply offensive.” Chen accused the Times of making “gross distortions or blatant factual errors,” but she declined to elaborate. As Shen Yun has amassed wealth, its supporters have purchased real estate for Li’s movement, including Falun Gong’s 400-acre headquarters, known as Dragon Springs, which is about 60 miles northwest of New York City. They have also subsidized the lifestyle of Li, now in his early 70s, and his wife, Li Rui, a top manager in Shen Yun. One follower gave the movement her life savings before dying of cancer, virtually penniless. In recent years, Li and his aides have found yet another way to make money through Shen Yun. They have created companies that market products directly to Falun Gong followers, such as a Tang Elegance necklace with a spessartite garnet for $3,850, Heavenly Phoenix earrings for $925, a $35 ornament of the Shen Yun tour bus and Shen Yun-branded athleisure clothing. Practitioners have been told they should purchase the most up-to-date Falun Gong clothing for public events, including a reversible blue-and-yellow jacket for $120. Business records show that Li personally started an online video platform that charges $199.99 a year for a subscription to watch Shen Yun performances. His associates also created another video platform, Gan Jing World, which was accused by YouTube in a lawsuit this month of stealing content. The platform has not filed a response to the suit. Practitioners were urged to subscribe to help “Master” — as Li is known — save more souls, emails show. Many did just that, former followers said. “People gave up their life’s savings, and this happened so often,” said Rob Gray, a former practitioner in London who spent 15 years working on Falun Gong projects. “There’s a constant theme now to fleece practitioners, to take money. Where is this profit going to?” A Winning Strategy From the start, Shen Yun has pursued a winning strategy for reaping huge profits: It has gotten other people to shoulder the costs of putting on its shows. Although the group has a stated mission of reviving traditional Chinese culture while “providing audiences everywhere with an experience of beauty,” it does not routinely pay for the billboards, television ads or flyers depicting Shen Yun’s dancers leaping through the air that are ubiquitous in cities around the world. Nor does it generally cover the costs of venues, ticket sales, or hotels and meals for performers. That burden has fallen on a network of smaller satellite organizations that Li and his aides have encouraged followers to form around the world. Known as presenters, the organizations were incorporated as nonprofits in the United States, operating in Atlanta, Los Angeles, Philadelphia and other cities. The nonprofits are staffed by practitioners who work as unpaid volunteers and have agreed to “bear the responsibility for all costs incurred” and be liable for losses, claims “and expenses of every kind and description” related to staging Shen Yun shows in their areas, according to a contract reviewed by the Times. Every year, the groups collectively spend millions of dollars and keep only enough in ticket sales to cover their expenses, sending every penny of profit back to Shen Yun. In 2018, a satellite organization in Georgia, the Falun Dafa Association of Atlanta, spent $1,621,011 on advertising, hotel rooms, food, transportation, venue fees and other expenses, tax records show. The group earned $2,077,507, mostly from seven Shen Yun performances in Atlanta. The Atlanta nonprofit kept $1,621,011 and sent the remaining money — $456,496 — to Shen Yun. If a satellite organization should spend more money than it earns, it still sends money to Shen Yun — and it falls on the people who run the groups to make up the difference. At the Indiana Falun Dafa Association, local followers made loans to the satellite organization for a decade. In 2018, eight of them lent a combined $375,000 without any loan agreements and at zero percent interest, tax filings show. One of the lenders, the group’s president, handed over $130,000 on his own. The satellite organization paid Shen Yun $169,233.39 to put on three shows that February, records show, but did not make enough to repay the loans. They appear to have been settled only years later, using government grants. Inside the local organizations, practitioners can feel immense pressure to deliver for Li, who has taught that success in selling Shen Yun tickets is an indicator of how devoted they are to his teachings. He has also urged followers to advertise only in “well-to-do” areas and to set high prices for Falun Gong dance shows. “Getting things for nothing,” Li said, “wouldn’t conform to this dimension’s principles.” Before shows in the San Francisco area, followers would gather on Saturday nights to study Li’s writings and share how many Shen Yun tickets they had sold, according to a former practitioner who asked to be identified only by her last name, Wang. Selling as many tickets as possible was seen as a way to accumulate more virtue, she said. And in London in March 2023, a note of panic crept into an “urgent” email sent by a practitioner named Sharon Xu to other followers in the area. She was seeking their help with leafleting, she wrote, because the show was approaching and thousands of tickets were still unsold. “We are at a crucial stage in Shen Yun promotion,” she wrote. “Thousands of predestined people whom Master wants to save have yet to connect with us, and there are only literally days remaining this year.” ‘All Her Money Is Gone’ For all the time and money that the operators of the satellite organizations provided, some gave much more to the movement — and to Li himself. In 2006, one of Shen Yun’s first performers began traveling from his home in Maryland to Falun Gong’s headquarters along with his sister, also a performer, and their mother, a devoted practitioner. Soon, they all moved to Dragon Springs, known among followers as the mountain, to focus on dancing. The man, whom the Times is identifying by his first name, Liang, and his sister eventually left Shen Yun and moved away. But their mother remained on the mountain, working unpaid for years as a top aide to the Li couple and as a bookkeeper for the dance group. She left the area only rarely, such as for Liang’s wedding in 2014, he would later write in an email to friends. That same year, she and her husband sold the house they had owned in Maryland since the 1980s for $485,000, records show. Soon after, she began spending money for Shen Yun, her family would later learn. After Li Hongzhi remarked that Shen Yun’s orchestra should use only the best pianos, Liang’s mother arranged for the purchase of $260,000 in premium models, according to another email her son sent and other records reviewed by the Times. Other gifts and donations followed, including thousands of dollars in payments for Wi-Fi hot spots and domain names and monthly payments for the Lis’ cellphone bills to Verizon, according to the records, Liang’s emails and people familiar with the events. Li Hongzhi teaches that diligently practicing his meditation exercises and reading his texts keeps the body healthy by purging the bad karma that causes illness. So Liang’s mother did not see a doctor when she began losing weight and becoming increasingly haggard around 2018. By the fall of 2019, she was 66 years old and down to 70 pounds. Shocked at her appearance during a video call, her family finally persuaded her to get medical care. The diagnosis was dire: kidney cancer that had spread through her body, leaving her with small odds of survival and tens of thousands of dollars in expected medical costs. She told Liang and his sister that she would not be able to pay for any of it. “My mom revealed that all her money is gone, donated to the mountain,” Liang emailed his friends on Oct. 15, 2019. “Hundreds of thousands of dollars.” As their mother was slipping away, Liang and his sister got another shock. An employee in the Shen Yun office accidentally mailed them a statement for their mother’s credit card, which showed charges from Saks Fifth Avenue and other shops. They reviewed more statements and discovered that her accounts had been used to buy tens of thousands of dollars in luxury items, apparently for the Li couple. The statements showed a $13,029.70 charge from the Watch Gallery in London and $10,000 for virgin wool suits and other clothing from Hugo Boss. They showed $2,045.31 in purchases at the luxury retailer Hermès in Austria and another $1,091.99 at the jewelry house Van Cleef & Arpels in Switzerland. They showed thousands more spent on seafood and custom billiard cues — Li Hongzhi is an avid pool player — and assorted charges from high-end brands including Ferragamo and Tiffany & Co. Li Rui appeared to have personally used his mother’s credit card, Liang wrote to his friends in an email. Many of the charges were made in 2018 and 2019, as Liang’s mother’s health was failing, records show. Within weeks of seeing a doctor, Liang’s mother was dead. Afterward, a portion of the money was repaid to her family, people familiar with the events said, although the source of the repayment was not clear. Shen Yun’s spokesperson, Chen, said the Times’ account of these events was “inaccurate and misleading in numerous respects.” She said the details were subject to a confidentiality agreement, which she called “a carefully negotiated resolution of a misunderstanding.” The experience left Liang convinced that the movement was preying on people like his mother, who gave willingly in hopes of receiving a heavenly reward. “For the first time in my life, I’m seeing things as how they truly are,” he wrote in one of his emails. “I’m not going to let this happen to anyone that I care about ever again.” Envelopes of Cash To track the flow of money into Shen Yun, the Times reviewed more than 15 years’ worth of tax filings for the main nonprofit and dozens of its satellite organizations. Reporters also examined hundreds of pages of internal Shen Yun-related records and communications and interviewed people with knowledge of the organization’s financial dealings, including some who were directly involved in organizing shows. The dance group and a school that trains its performers received about $16 million from The Epoch Times, the right-leaning news organization founded by followers of Li’s, during a period when federal prosecutors said the news outlet’s accounts were inflated by the proceeds of a money-laundering scheme. Prosecutors charged The Epoch Times’ chief financial officer, Bill Guan, and an employee in Vietnam with conspiracy to launder at least $67 million using cryptocurrency in a scheme that involved identity theft and prepaid bank cards. Guan has pleaded not guilty. The Epoch Times has said in public statements that it would cooperate with the investigation and that Guan had been suspended. It has also said that the accusations against Guan run counter to the publisher’s standards and to the principles of Falun Gong. Shen Yun’s supporters found another source of income when the pandemic hit in 2020, causing venues to close and putting a strain on the performing arts industry. They did it in part by exploiting a loophole in a federal pandemic relief program launched to keep struggling arts programs afloat. The program was designed to award no more than $10 million in grant funding either to any one group or up to five “affiliated” organizations, with rules that were meant to ensure no single entity got a disproportionate share of the aid. Shen Yun’s satellite nonprofits were all run by ardent followers of Li’s, many of whom had staged Shen Yun shows in their cities and sent money back to the dance group for years. But on paper, none of the groups shared board members or were formally related to Shen Yun or to one another, and so they were allowed to tap the federal well without limitation, the Times found. In all, at least 25 of the satellite groups applied to the so-called Shuttered Venue Operations Grant program and received a combined $48 million, records show. Shen Yun, despite not performing for most of 2020 and 2021, reported a surge in assets in those years of $50 million. Meredith Lynsey Schade, a theatrical producer who worked with other applicants that sometimes struggled to get aid, called Shen Yun’s approach unethical. “There are so many organizations that went under because they couldn’t pass the threshold,” she said. “Instead, one organization is hoarding all of this money.” And then there were the practitioners who sneaked wads of cash into the United States at the dance group’s direction. Three former Shen Yun performers told the Times that they ferried money through customs without disclosing it. Their accounts bore some similarities to a 2009 incident in which a practitioner was charged by federal prosecutors with smuggling more than $100,000 in cash, some wrapped in tinfoil, through customs at Kennedy International Airport. (A lawyer for Falun Gong later persuaded prosecutors to drop the case.) In 2015, the night before flying back to New York from Barcelona, Spain, the performers were each handed a white envelope stuffed with $100 bills. They were instructed to keep it in their carry-on bags but to separate it. One performer, then a teenager, recalled getting $10,000 — the maximum a person can carry in without reporting it under laws meant to combat money laundering and other crimes. The performer put some of the money in a diary and recalled feeling like a character in a spy movie. “They said it was very important money,” said the performer, who spoke on condition of anonymity. A manager instructed: “Don’t let other people know that you have this.” Sun Zan, another performer who carried cash, said he had to surrender his envelope to Shen Yun staff on the bus after the flight. One performer was chastised for leaving the money in a bag that could not be reached right away, he said. Sun did not think much of the episode because he had often been paid in cash for dancing, he said, although there was one key difference. The envelope he brought home from Barcelona held about half of what he earned from Shen Yun in an entire year. — This article originally appeared in The New York Times. By Michael Rothfeld and Nicole Hong c. 2024 The New York Times Company 
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