Ep. 2217 Alberto Martinez-Interiano interviews Matteo Marenda of Sesta Di Sopra | Clubhouse Ambassadors’ Corner

All it is possible to change a job, to bank, to make wine. I always say that to make bank, to make wine is the same method. There are no differences. Our work, study, because you had to be informed about the new technology, discipline, honesty, of course, a little big of rapid. And which one, today? Which one would you say that it's a little more challenging? To being a banker or being a winemaker or a wine broker? To be a banker. Welcome to the special club house session of the Italian wine podcast. Listen in as members of the Italian wine community engage in fascinating conversations about contemporary wine topics. If you enjoyed the show, please consider donating through italian wine podcast dot com, and remember to subscribe and rate the Italian wine podcast wherever you get your pods. Hello, and welcome to clubhouse, the Ambassador's corner. My name is Karlaravagnolo. And today, I'm pleased to welcome Alberto Martinez in Terriane, and his guests, Mato, and Atore Marinda from Sestari, so welcome, everybody. Thank you. Thank you. So presenting today's host, Alberto holds the WSTT diploma. He is an Italian wine ambassador, wine educator, writer, and communicator based in Seattle. He teaches WSTT and wine scholar Gilled courses in both Seattle and Portland in Oregon. In addition, he also judges at international wine competitions, and his work has been featured in industry and trade publications such as Sum TV, Divintner projects and Italian One podcast. He's particularly fond of old Barolo, brunello, and old things sparkling. So, Alberto, please tell us how did you discover the ones of Sessa di Sopra, and why did you decide to invite Matawan at to hear with us today? Yeah. So, I actually discovered the wines successfully Sopra a couple of months ago in November. We were part of the Jitaskolastica in Montalcino as part of the Venvenuto Brunelo event. And, one of our last visits was a visit to Sothoie Sopra. And, I really fell in love with the wines and their story for for a couple of reasons. One is the wines are not only really delicious, and I believe there's a a great representation of that there are of this particular learn zone in Montalcino, but also is captivated by their story, really. They're a small artisanal family owned winery that is now in the process of transitioning leadership to a new generation. And, really, this is for me, it was a reminder that great wines are just not only about grapes, but also about the people and the stories behind them. Sounds great. So my last question is, what are the learning objectives that we should expect from this interview? One is just to brush up on Bernelo de Montagino. What makes it unique? And, specifically, a deep dive on this southeastern subsones of Mosalcino, specifically, it's a banjo in Colle in the Casamorro de La Matic. Also to learn about, as I mentioned before, about this, the dynamic process of sort of generational transition in a family owned winery, the balance of, tradition and modern modernity and innovation. And finally, just get inspired from the personal experience of, Eterre and Matel, their challenges, their successes in continuing with this winery legacy. I see you'd like to touch on a lot of different topics. So without any further ado, I'll pass them back to you and mute myself now so you can properly introduce your guests. Thank you. Thank you, Carla. And welcome again, Mateo, and Anthony. Thanks again for joining us. I hope you had a really good Christmas break, and we do appreciate you taking the time to speak with us. So just a quick brief introduction on on Sesame Sopra. They, as I mentioned, they're a family role winery located in this southeastern part of Montalcino, and the the winery was founded in nineteen eighty by a Turzpina and his wife and And now their grandson Matteo recently joined the winery and is looking to take it into the future. So, yeah, with that, I'd love to start just with a question for Matteo. For those of us who are not super familiar with the area, would you mind telling me this just more about where the winery is located. Yes. Of course, Alberto. By the way, thanks, thanks to you and, and, yeah, now I'm gonna tell you a little bit about our area. We are in the south part of, Montecino, exactly in the, so it's a little white road that goes from, And we are in the in the real south part of, montagena. So all the old exposition is, to the south part. And, talking, talking about the the south part in general, we have, a particular microclimate that, distinguish our data from the north area, or east or over stream. And, and, specifically, as my grandpa is suggesting me, specifically is, is the soil because on the top is very characterized by Galestro that I think in English, the the proper translation is, milestone that is very, is very, very good to get the water underneath. And then we have different layers, and at the bottom of the layer of, of, Galestrov, there's clay that, in some area can maintain the water underground underneath the plant. And so it is pretty good. Another important point of the area of of Sesta is that, we are facing the the sea. And so we are very, very influenced by the wind that are coming from, from the sea. And they are going through the whole, Dolbert Dodge and also reaching our vineyards. And this is, let's say, a very brief introduction about the area. Great. Thanks, Mateo. I think that there's a current perception that the Southern part of Montalcino, in general, is warmer and produces these more powerful concentrated wines. But from what I hear, the area of Sesta, it's a much cooler climate. Right? And probably the profiles of the wines are not the same as overall in the south. With your station? Facing south, of course, you can notice, let's say, a pattern between, all the wine are in the south exposition. So, yeah, you can feel the warm in the wine. But what I'm gonna say that talking about us, successfully, so better we are a little bit more elevated, but something that makes the wine, let's say a bit cooler is because of this wind that comes from, from the sea. And, so that there are some, temporary excursion that are very, very good for them to shine. So they do the per fumes, and all the characteristic of the wine. Great. Thanks. Perfect. So now moving on to just a little bit more on your backgrounds. So, actually, I understand that you are not originally from Montecino. You formally were a banker in Torino. We love to hear kind of how what led you to discover the this area, discover the property, and actually come up with a binary. Do you know I come from another job, and one of my best client both many years ago here winery. He invited me to come here to visit him and I saw this beautiful place. So I was very glad when on the journal for really the affairs and about a food that was free to buy in Montana in this area. Chester, you know, it is a geographic area. So we come here to see the propriety, the reason why are just a wood. We bought forty actors of wood because we want to come here for the holiday, for the weekend. We don't think at the time forty years ago to make wine, but to reveal it's very expensive to maintain the grain in the house. So we decided to make an activity just to balance the expenses. What do you do in this area? You make wine. One of my best friend, Andrea, who is, native in this area, said that that our area was very special to plan a one yard. So we upset that it's a suggestion and make the first one yard one after. Ma'am, we don't think to go on the market just to try this activity. Ma'am, we are very glad to go on the market in two thousand four. If our fur, Bruno, we are very lucky because ninety five by one spectator. At that time, our winery, a two other winery was at the peak of the rank for James Happening. Wow. Yeah. That's that's really inspiring. In terms of, yeah, I can believe there must have been a lot of work to take it from really just a wooden area to planting the vineyard and see, yeah, I come up with a winer in the wines. So a labor of love, and it's must have been really rewarding. Yes. So just to add something, to what my grandfather said when they bought the property in, nineteen eighty, they were not considering to make wine. Okay? They were just here for, yeah, for for holidays and then, step by step not only talking about the the the financial part, because, you know, the background of my grandpa is always there, but also the passion, started for him. And now nothing can stop him from coming to the vineyard or neither the age, neither the age. No. That's amazing. That's great. So, mateo, how about you? Tell us, do you grew up in the in the vineyards and the winery? How do you get in touch with the winery and at what point did you decide to wanted to join full time? So how about me? It's a nice a nice story. I mean, I I didn't, study for becoming a winemaker, but my my background is, easy enrollment because I'm, I'm actually born in Roman, and I grew up in, in Rome since my grandpa before moving here, let's say, the base of his job was, was in Rome, and I studied the corporate finance. Actually, I was also starting my career in, in corporate finance, but I don't know. That there was always a part of me that was, bounded the the to Sessa is Oprah and to Montaschino because I've spent, several, part of my summers around here. So I'm consciously working with my grandpa. And, step by step, I got very, very bonded to the area, to the job, and to the passion. So I I decided to come and help them because there's not only my, my grandpa, there's, here near me, but there's also my grandma. They are still in a very, very good shape, but, they need some help. And so I decided to change the direction of my career, and I wanted to come here, help them, and, grow the background about wine and try to learn from their experience, past experience, and, whatever they are transferring me, not only the knowledge, but also, you know, the value that, drove SESOPra where we are right now. And, yeah, I decided to to come here. Great. And is there an area that you're specializing in or you doing just a little bit of everything in the winery? Since we are a very small small winery, I'm doing everything. So from, the commercial part, to the winemaking process, commercial part. My grandpa is a genius. So I've learned, a lot of things from him, especially talking about, you know, storytelling, I mean, it's it's some knowledge that is, impossible to write, but, it's a real treasury to learn. Absolutely. No. That's great. So moving on a little bit in terms of the vineyard and Viticulture. One of the trends that we've seen in the last couple of years on the Latino, is that move towards more, like, sustainability and organic farming. Could you just tell us a little bit on where you guys are at and your organic practices that you're employing and any results out of that? So Alberto, I will ask you to repeat the question, please. But before that, my my grandpa wanted to Oh, to add some what's the the link, you know, the similarities between, working in, in a bank and working, in, in the vineyards. They know that, I am my first live I worked in a bank. He said, oh, it is possible to change a job, to bank, to make wine. I always say that, to make bank, to make wine is the same method. There are no differences. Our work, study because you had to be informed about the new technology, discipline, honesty, of course, a little big of lacking. And which one, after that? Which one would you say that it's a little more challenging? To be a banker or be a wine maker or a wine grower? To be a banker. Wow. Yeah. Different challenges, but, yeah, but a lot of the the same skill set and the same the same qualities that's needed for that. No. That's great to hear after that. Thank you. Thanks for sharing that. So, Mattel, yes, I was asking in terms of the the organic practices. What are you guys doing? And you see that, is there a trend that more and more wineries and what Latino are adopting? I'm just gonna tell you from my experience, okay, Organic has become, a new, a new trend, obviously. It's, sometimes it's very difficult to say when, when a winery is organic or not. And, sometimes it's pretty difficult to, to be organic. But, the philosophy about, about Sessa is over and what my grandparents, have told me is that, with an Azure, we must be organic because we want to to to respect the the the and future generation travel, obviously, and all the people that will come into our lens. And then, it's pretty difficult to to say about, I mean, about the trend in general. I know that there's some winery by their strategic point of view. They are leaving the organic because sometimes especially in the past and the past series is a bit diffused, but, we stick with our philosophy. Yeah. And in the past few years, what have been some of the biggest challenges you guys in the video? In anything that you've done differently to overcome them. So the past few years were, very, very challenging. I I have to admit that, there is a climate change in terms of, not only the warmth, but, sudden changes of, temperature. Okay? For example, four years ago, three years ago, talking about the harvest. So four harvests ago and three harvests ago, it was very, very hot. Okay? And, we high peak. The past two harvest, actually were a bit, talking about Montalchino. They were a bit a bit cooler, with a lot of rain, but a lot of rain. And it is where the organic part softwares a little bit. And but what what we have noticed is, is the sudden changes in temperature. For example, the, this year, what you have noticed that we, we didn't have a real summer until, July, okay, was pretty cool. The temperature, but then suddenly, the temperature raised to thirty eight degrees, no stop till mid augusta. And so the plant suffers this kind of changes. Okay? What we try always is to try to control the plant. Okay? For example, with something that, for sure, we have noticed that there were a lot of changing in in cultivation of, of the plant, especially in warmth, season. Based on all the different changes and the adoption of, organic agriculture, have you noticed significant changes in the quality of the grapes and as a result in the final wines? No. I mean, we didn't notice any be because, you know, every season, every harvest, have their own peculiarities. So it's difficult to say if, the grapes were worse or better. Okay? Of course, you you can directly see it. But, as every harvest, we try our best to adapt to the situation. So we we always try to get, to the best quality for our for our grapes. When we have to have a lower yield to to increase the quality, we we don't make excuses. Yeah. Okay. No. That makes sense. And especially, you know, I think that people anticipated that, kind of, there's warm and dry vintages are gonna continue in the next few few years. Right? So this is gonna become the new normal in a way from not only from Montana, but pretty much for for many, many wine growing areas. So it'll be interesting to see. Moving on now to, like, what happens in the cellar and your why making practices? You tell us a little bit more in terms of kind of what your, say, techniques you use at the winery, in terms of fermentation, use of wild yeast, cultural yeast, anything on that side? Terms of just winemaking in general. As you you were known since, you you came here to to visit us. The old winemaking process starts in, in the vineyard. So something that we we forgot to mention is that we have, right now, sixty hector, that should be around hundred and thirty acres of, of property. But out of this sixty actor, fifty six, as my grandpa was saying, is is forest. So we have only four actor, three of which in production, and that these, these four actor are divided in seven different little vineyards. This is one of the peculiarities of, of cesars. And everything starts from there because each vineyard has its own job in cesarsa, starting with the exposition, to the clones of, of the plant. They are all San Jose and, but also the the age of the plant, the influence she's allowed. We have some, youngest, the vineer from which we make the GT. Some twenty years old, the plants that from which we make that also. And our oldest plant, that we make the Borello until arriving, the the first one plant in nineteen eighty two from which we make the Borello Majistra. After making this brief introduction before starting the the one we can process we make all the the fermentation inside the stainless steel, and we separate each single vineyard also to check, for example, if the new vineyards got us a better product that we can use differently, obviously. That's a very, very nice thing to do because you're by your day changes and day changes a lot. So after the fermentation, so our colleague and melodic fermentation is made in the stainless steel. We make the IGT. That's our, let's say, basic wine, And as I was telling you, it's it's coming from our youngest vineyards. And the IGT stays inside the stainless steel for six months more is bottle, and then it goes to the market. While our grocery Montalino, ages four one year inside the French of Barrick and six months more inside the bottle. So it's it's called like, late release, Rosolimontalchino, talking about, our Bruno and Brunelo manjistra. We have decided to to use a larger barrel because of the quantity, we use different, capacity barrel, it's Labonne Oak. For the Brenlo, we use a thirty hectoider, it's Labonne Oak, while for, for the magistra Attenech toiler as Labonne Oak. The umbrella is for our one area for three years inside the lava and one year more inside the bottle. We have decided to put the rosso inside the barrique and, the brunello in the larger barrel, the barbec is is is French oak and are not, let's say, of a first user. We used the the barbec for several years. What we focus on, especially on, on that also also on the brunello, but with barbec, it's easier to, to make the batonage. The bottom edge for the barbec is, is more frequent. And, in fact, we aim with our rosso to have a little bit more of complexity inside, inside it. And then the six months for the rosso in the bottle and the one year more in the in the bottle for the Bruno law. For us, it's it's fundamental because, as you well know, the wine needs to to stabilize inside the inside the bottle. And for us, these are the least period that our wine must stay inside the bottles. I hope to have answer your question. Oh, no. Yeah. Absolutely. And it's really interesting to see that you guys the the approach that you have in terms of barrel aging. Right? You carefully select the which type of, you know, not only the size of the of the barrel, but also the age that goes for that also and for the Bruno and also for the Majistra. Yeah. The mistake. Yeah. Especially combining that with the seventy vineyards to manage, that must be a a lot of attention to detail. That for sure, I think a lot of the the banking background must be coming handy. One question that I forgot to ask in terms of the going back to the vineyard, I understand that the the Bruno Magista that vineyard is planted with the VBS eleven clone, right, which is the same used by by beyond this tell us what led to that decision and what are you guys looking for in terms of the final wine? As you will know, there are more than, one hundred clones for the San Jose. And, when my grandpa decided to plan the vineyard, there were fewer producer in nine that are of Montal Sheen and the period. And, he thought that, the BBS eleven clone was the the most proper one to to use to to plan the vineyard. Actually, our first vineyard that the Magista, as you, were well seeing because it, in our opinion, because then, you know, every producer have their own, their own idea about about the wine. It's what makes the wine so so different and likely. But in the idea of my of my grandpa, and I think, I got his idea. The BBS, eleven clone is, the perfect one to make the bonello in terms of, organoleptic characteristic to the, also, the to tell of the of the wine that is one of the, also, main characteristic for, for for the bonello. Okay. And that's a hundred percent of the the Majistra villager, right, as planted with GBS eleven, but some of that also goes to the to the Brunelo, the the bakery Brunelo. Correct? Exactly. Exactly. So in terms of kind of, there's might be a sort of personal question Everybody has sort of favorite vintages. And we talk about gray vintages, go okay vintages also in, in Montalcino. What would you say that it's yours in in Ettorris one? And and I don't know if there's any particular reason why. Okay. I will, leave the word to my grandpa. It will, answer to you in a more philosophical way. Let's say. So many many people who come here to taste our wine usually, they ask me, which is my best vintage. I always say the next. That's good. And any anyone or any particular year that was either memorable or something that you'll prefer? Just personally can otherwise came up. Of course, my answer is a joke, but, there are differences between one ear to another. But the people who like, the Bruno want to know every vintage. Because if we we go on the market, it's the best that is possible to have in this year in this area. So it is very hard to say which is, in my opinion, the best vintage. Usually, every vintage have easy stories and, remember us what we did to obtain this quality. Of course, we are help in our activity by a young technologist and, agronomist because no one can make the wine by yourself because otherwise, if you make the wine without to be advised, a confront with a professional, probably you are in the wrong way. The best way to have anologist, agronomist, to confront with them, it will decide together what we have to do to obtain the best quality. And, in addition to that, I will, answer more precisely to to your question, more or less. If you're asking me this question, I would say two thousand fourteen. Not because, it is considered the best vintage because it was not a good vintage, talking about weather wise. But, it was my first, first vintage that I, completely understood. And, so for me as this emotion point, point of view that that was in fourteen. And even if it's considered a weak vintage, I really, really, really, really love it. Oh, wow. That's good. And you must have been, like, still in high school or something. I'm pretty, pretty young. And twenty four p. Yeah. Yeah. Yeah. Yeah. But I mean, when the wine is released there, it was, two thousand nineteen. So You are ready. Okay. Okay. Yeah. Good. So that leads me to the, kind of, the topic of, vintage and the new, the process of assessing vintages in Montecino. The construction has been moving really fast with many innovations. One of them was this past year or, well, for for twenty twenty vintage. Kind of this new method, new approach of assessing the vintages moving away from the three, four, five star system into more of a qualitative one. Any thoughts from you guys in terms of how you see that overall for for the appalachian? So, yeah. The, Bernadimontension appellation is, is moving, really faster, and I really, really liked it. This year was presented to Bruno Forma. This new way of assessing the the the Vintages that in my opinion was really, really well explained. And, I hope the the the consortium will release the presentation because it's a very, very nice, paper to learn from. It's good to know all the data. So not not assessing only the the stars without having any background So this year for the twenty twenty that, the stars were given, from, a set of data from the past years, so talking about the climate, the diverse side inside of Montalchino because Montalchino is small, but, with a lot of varieties inside the inside the area, And so they took all all this data and put together to give some some stars. And, in my opinion, was, was really, really well done. Not only because it it gives the stars. Okay. But also because it, helps the final consumer, the final, wine critic to better understand the whole situation in Montalcino. Yeah. And I think the fact that it brought both, you know, quantitative data, I think there were some analysis of the season, the the growing season, the kind of meteorological and temperature analysis, as well as tastings from from many people inside and outside of Montalcino. Right? So that that combination should give either consumers or people in the trade a little more information about what to Another kind of topic that I wanted to check is, in terms of the subzoning. So we just spoke a lot about, Sesta and really, crew, and that this area, specific area in Montecino that makes some very, sort of distinct profile of the wines. Do you see that, for example, like in Campi Classicico where they're moving to an UGA sub zoning? Would you say that something would be useful, something like that for Montalcino, in terms of not only expressing the whole appylation, but then particular sub zones? It's a very, very complicated subject because it should be addressing the right way. Okay? Because the important thing is not to divide the Montal Chino, but is to keep it united and, let the people who visit Montal Chino who drink Montalchino, Renalo de Montalchino, also the Montalchino, you know, over the world, to better understand where that wine is coming from. Because as I was telling you before Montalchino is a very, very small area, but it's completely different kilometers by kilometers. So in in my opinion, subs are very, very important, but not to divide Montalchino, so to to say that there's a a better zone than the other. Because Paul Montalchino is really, really good with the trajectory or all around. But the the important thing is, maybe to make some sub zone starting from, Unelo, Bruno, so from all the data collected, divided the zone in some some way of a different climate, okay, different climate zone or maybe different, exposition just to have, another point of view when you are drinking, the wine coming from, water, my opinion, is that it's very, very important. I hope, that the consortium will talk about it. But, I will repeat myself not to divide, but, keeping it united just to explain a better way what Montal Chino is. No. I think I I agree with you. And I think that seems to be the trend in many other applications, not only, you know, outside of, like, France, for example, they got it really well put together, but also in Italy in terms of that getting that more specificity of sight. I agree. I think that that will be a a good move for both consumers and the trade to get a little more specific on what the different areas and what to expect from that from just the terroir of the different sub zones. So I like to touch base on a couple points moving on to kind of this generational translation that it's happening. So I I imagine the Matteo that the first, kind of, couple of years for you has been just a lot of absorbing and and learning from your grandpa and just getting really soaked in into the philosophy of the winery. But also, I imagine that you're bringing or you're thinking of some new ideas that it's, you know, kind of what's happening in the in the world. How do you say that that's and maybe that's a question for both of you. That sort of balance between tradition and then some innovation and modernity. And how will you guys handle it on a on a personal side? I think this is one of the most difficult question. Just because a generational transition is a a very, very difficult matter, but at the same time, very, very important. Luckily, me and my grandpa and my grandma, we have, a lot of generational fights because of the different point of, of you. I say likely, and so at least we don't agree on the same matter every time. It's important to to confront each other. It's very, very important to, to keep a tradition and, and innovation together because it's, important to learn from, from the tradition but to analyze the tradition with the with the new technology that we have right now. You need to keep up with the word that is changing, not only in the commercial parts or all this new platform and everything else, but also in the technology in the in the vineyard to cultivate the plant in a better way. So what we are trying to do is, specifically me start to to learn from, from my grandparents, and then, also them because they read a lot. They keep the sales updated from what's happening in, in the world. My grandpa knows very well what the AI is. So he knows, a lot of things. So learn from them the tradition and try to bring the tradition, to a tradition, two point zero. But, yeah, what's next for, for Sesta's obra is, right now, just to finish this, generation transitioning learning as much as possible from, from my grandparents. And, maybe what we would like to have in the future, yet innovate a little bit, so somebody out of the winery, increase a little bit of production, but not that much because we want to maintain our quality and stay in our niche. Well, that's that's great to hear. So it seems like it's more of a evolution. Right? As you said, so it's a smooth transition, and it's great to hear. And it seems that you guys are you and Yurampa and Yurama, are on the same page in terms of what's needed in the same philosophy and just how to do it. I think that's the next step. We are on the on the same page, but always confronting each other. That's the most important part. And my grandpa wanted to add something but about the tradition of the innovation. I remember when we started to grow the plant, we had helped by a old man his And, I remember that, one year for the first time many years ago, of course, we are looking to find the phenolic majority in the one year. And we do know that the the minority maturity, first of all, is to reduce the quantity of the bunch of grape before every plant. I remember I was in the one yard and cut some bunch of grape to reduce the quantity to find the phenomenal maturity. The old man who helped us was terrible. He Don't agree with activity to reduce the quantity to destroy some part of the production, but I tried to explain him that the activity was just to find the minority maturity, the most best quality. This is a little example how it is necessary to combinate the tradition and the innovation. You know, thanks. Thanks after that. Yes. Think that that it's good. Yeah. There are some some wineries who are really attached to tradition, and it's hard for them to kind of take the next steps. Yeah. It seems that you guys are quite aware of what you have, but then also open to new ideas and new innovations. Let's see it. That's great to hear. Yeah. In the meantime, I think we have a question from our friend, Andre, who's also a fan of, your wines. And, his question is, how big the production of Roso Jimontalcino is compared to Bruno. And, what's the, sort of, the great jig selection for it? If we're talking about Cestra is over. Our production of brunello is around four thousand bottle for the brunello, one thousand for the magistra. And, right now, we make, six to eight thousand bottle of Roso de Montalcino every year. And, regarding this election, we treat every single vineyard in the best way as possible. So also that the IGT one are treated as they were from from Bruno. So the yield in the vineyard will be very, very redacted to to get the best grip as possible. And then we adopt our philosophy in the vineyard. So we have these, two vineyards that actually are our our biggest one in the property that are meant for derosa. This vineyard could produce, without any problem, more or less, seventy eighty hectoliters per hectare, but we reduce way more the production of this vineyard to reach the phenyloid maturity in the best way as possible. And we do the same with Edge and, with the Bruno, What changes the most is from Marusto, and the Bruno is the clone and then the age. Just an example, to give out the Majistra and derosa. The Magistra is a forty two, almost forty three years old plant, while Dirozo is a twenty, twenty two years old plant. You can feel the differences. Yeah. I think we have answered the the question. I think you did. Yes. Yeah. And it's good to see you. Especially, it also seems like there's a a category that has taken more recognition, right, recently. So you guys treating it almost with the same tier as the other, as a brunelli and in the single vineyard. So great. Moving on to now branding. And one of the things was quite noticeable when I called my eye was the fact that your labels have this really cool logo. It seems like to be a, an etruscan symbol. Right? And there's a story behind it. Would you mind just telling what that is and how did I came about? Yeah. Yeah. Of course. Also also there, my, you know, buttons because when decided to put this symbol on the label. I was not born, I think. They wanted also this case to keep the tradition of the area. Tuscany was, the land of the etrusky. Etrusky was this ancient civilization that was, all over Italy, and also in Tuscany before the Romans. My grandparents found this symbol in in our property, and they, obviously, before putting on the label, they they have, Sarah. And the discovery for the Tuscant, the symbol was a symbol of the sun. The sun for all this ancient civilization was a divinity, symbol of life, but especially symbol of, luck. So since we are a little bit, superstitious, a little bit experimenting, we put it in our label, to wish you that, to our job and to whoever drinks, our wine. Nice story. And I assume that is that where do you still have that? The what you found? The the actual etruscan artifact? No. No. We found it. Who's can grave Wow. Impressive. Yeah. Oliver before us. Many, many years ago. Yeah. Nice. Yeah. That talks about just a long history of what you guys are, yeah, on top of their significant amount of history there. And we are getting to a close, but I had a a couple of just final questions. One, we have listeners from pretty much all over the world, and we love to see where where can we find your wines? I thought of Italy. You guys assume that they're distributed in many countries. Right? Yes. Our our idea about, our distribution is that we don't want to sell our wine only one, one country. So we explore the ninety five percent of our production all over the world, very little part, in Italy, and mostly, for us and, our friends, And then, we export the forty percent to the US, then, total of, thirty percent stays inside the Europe or Europe. And the remaining part goes around, every year differently between, Canada, Singapore, China, Japan, Australia. I'm pretty sure we could sell everything, one country, but our idea is to spread our wine so that, the people, then from all over the can come to our winery and to see what's behind the the win that we have just tried. Good. Thanks. So I have one final question before I hand it back to Karla. I think this may be for both, but probably for that today, in terms of if you could share some advice or some thoughts for any of our listeners who work in other fields, not really yet sort of winemaking, but they're considering or making the jump to becoming either a grower or winemaker. Any sort of thoughts advice and what to look for and what to do and not to do? I believe that, people who wanted to introduce themselves, in this activity, they have discovered before if they have attitude for this activity. Otherwise, it's the simple way for everyone to manage activity because it is necessary to put themselves in the natural and discover what we are inside of everyone. We are born to be international. So to discover if they have the attitude attitude to be able to dedicate a lot of time of this time in the activity, be honest, it was a little, a little said before, a little luck. Great. Thanks. Thank you again. Really great words. I appreciate that taking the time. Thank you, Ed. Thanks, mateo. It's been very informational, very inspiring. We could continue for a lot longer, but I think we're we're at time. But, yeah, I think that, pass it on to Carla for any final thoughts. I really appreciate it. Thank you. Yes. I really wanted to thank Hector for his advice. I really want to thank everybody. It's been incredible. It's been extremely interesting and insightful. And I think this is actually a wrap because we are running out of time. So thank you everybody for joining us today. Have a good one. Thank you so much for, to be with us, allow us to share with you our experience. Our pleasure for real. It's a wrap. Thank you. Bye, everyone. Listen to the Italian wine podcast wherever you get your podcast. We're on SoundCloud, Apple Podcasts, Spotify, HimalIFM, and more. Don't forget to subscribe and rate the show. If you enjoy listening, please consider donating through Italian wine podcast dot com. Any amount helps cover equipment, product and publication costs. Until next time.