If you ever wondered how Alecia Moore became Pink, look no further than her backside. That’s right, her rosy butt cheeks inspired the moniker, which came into existence when the singer was known at LaFace Records — home to Toni Braxton, TLC and OutKast — as the “token white girl” (her words). Now, nearly two decades after she released her debut solo album, “Can’t Take Me Home,” on the Atlanta-based label founded by Antonio “LA” Reid and Kenneth “Babyface” Edmonds, the name remains just as fitting as she continues to kick ass.

This all makes for an amusing location to her star on the Hollywood Walk of Fame, which sits adjacent to Jackie Chan and Dwayne “The Rock” Johnson in front of the Dolby Theater. She receives the honor on Feb. 5 with Ellen Degeneres and Kerri Kinney-Silver officiating. “I feel protected by strong boys,” says Pink, 39, to which this reporter feels obliged to note that as a solo star with don’t-mess-with-me songs like “Blow Me,” it’s not likely she’s ever needed a man to look out for her. “I like to pretend occasionally,” she chuckles.

Indeed, if there’s a superhero version of a pop star, it would be Pink, who has not only sold more than 60 million albums worldwide and won three Grammys (out of 20 nominations, including Best Pop Vocal Album this year for her seventh and latest release, “Beautiful Trauma”), but has also raked in average box office receipts of over $3.6 million per stop on her most recent tour, according to Pollstar. In March, she heads out on the road for three more months, two countries and 37 shows of an extended North American leg.

But not before the star dedication, which she describes as “really special.” Says Pink: “My whole family is coming out for it. It’s funny because I was looking at the list of names [of other star recipients] a little while ago and Boyz II Men is there — that’s who almost signed me to my first record contract almost 25 years ago. And it’s following people like Lucille Ball and Gene Autry and Fred Astaire. Oh, my God. So rad.”

Not that her journey to stardom has anything in common with those Old Hollywood icons. “I moved to Venice Beach when I was nineteen and I didn’t know anybody — or anything,” Pink says. “I came out here by myself and I used to go to Hollywood Boulevard to buy stripper heels. I just remember seeing all those stars and thinking: ‘God, I hope this happens for me.’ And here we are.”

But how did she — a former teen runaway, high school drop-out and homeless drug dealer — get here? “I started singing when I was nine,” Pink says of her early days in Doylestown, Pennsylvania. “I told my mom that if I didn’t get on ‘Star Search’ by then, I wasn’t going to be cute anymore and I would never be successful.” While reality TV wasn’t in the cards, she soon found other outlets for her creative energy. “I did talent shows, I started punk-rock bands, I sang in church, I did everything you could do musically, and I played all-ages clubs when I was thirteen,” she says. “I was also on a lot of drugs and a lot of my friends were overdosing around me — I sold drugs, I took drugs and I went to friends’ funerals, so I knew I had to get out.”

She even had her parents’ blessing, sort of. “My mom kicked me out when I was 15, then I dropped out of school. I felt grown at a very young age. They just couldn’t stop me — and they knew they wouldn’t be able to stop me — so they figured it would be better for our relationship if they supported me.”

Pink’s big break — or so she thought — would come a year later when she found the support of L.A. Reid, who signed her at 16 as part of the girl group R&B trio Choice in 1995. “We got shelved,” she recalls. “And it was left up to me to go solo or to stay on the shelf for the rest of my life, so I had to break two girls’ hearts.”

In one of her earliest lessons in music business 101, she soon learned the intricacies of contracts. “I had to be the one to decide to go solo and not L.A. Reid, my record company president, because that would be him interfering in a [pre-existing] contract,” says Pink. “He told me behind the scenes: ‘If you don’t go solo, I’m never going to support you — however, it has to be your idea.’ So that was the first tricky part. It took me a long time to figure out and was horrifying and I felt like I was a huge piece of shit. I threw up for a week thinking about these girls and what we had been through together and how unfair that was to them and just how absurd it all was. And I remember talking about it on the phone and he said: ‘Babe, when you pictured yourself as a little girl up on stage, did you picture yourself in a group or did you picture yourself ramming your f–ing stubborn-ass head through the world by yourself?’ And I was like: ‘That.’ And he was like: ‘Then, don’t waste the rest of your life because of guilt.’ ”

“And so I hit go — but once I hit go, everybody around me disappeared because nobody wants to get sued,” says Pink. “So I no longer have a record contract, I no longer have managers, and since they were paying for us to live [in Atlanta], I no longer had a place to live. I’m 17 years old and I’m homeless. What do I do? I know these guys in the Bronx who were writers/producers, so I’m going to move up there and sleep on their floor, I’m going to smoke weed and I’m going to write songs because when the dust settles, I want to put a record out.”

As these things often go, Pink happened to be in the right studio at the right time when, one night, a publishing executive took notice of her songwriting chops. Says Pink: “This publisher walked in and said: ‘What would it take to get you to sign a publishing deal?’ I’m broke at this point — I have like $20. And I go: ‘One million dollars!’ I was joking. And he goes: ‘OK, I’ll see you on Monday.’ I was like: ‘Huh? Shit, I should have said two!’ And right as I was signing, my managers [of Choice] that I haven’t seen in like six months walked in, and I said: ‘What the f–k are you guys doing here?’ And they go: ‘You never fired us. By the way, little girl, when you want to fire people, you have to put it in writing. So we’re taking this advance.’ And they took all my money.”

Such financial naivete continued to plague Pink as she started her career in earnest. In her typically self-deprecating way (Pink swears she’ll one day write a book called “Artist to Artist: How to Get F–ked”): “I renegotiated my record deal and LaFace Records happened to be across the street from my favorite mall. I really wanted this Bebe catsuit but it was like $300. And I told L.A.: ‘I’ll re-sign but I want that catsuit.’ So that’s what I re-signed for, basically. I didn’t do a great job but I didn’t care — I just wanted to put a record out. And so by the time I got my current manager, Roger Davies, we had a lot of renegotiating to do with the record company. He looked at the contract and he was like: ‘What the f–k did you do?’ I was like: ‘I don’t know but I got a catsuit!’ I mean, it’s ridiculous looking back on it now, but it got me from A to B.” (But Reid, for his part, only has fond memories of his former pop star protégé: “Alecia is arguably the smartest, most acrobatic, charismatic and superbly talented artist to ever hit the music scene,” he says, praising her “uncanny ability to remain relevant.”)

Pink credits Davies with helping to turn her career around, and not just financially. But before he agreed to work with her, Pink’s bank account was in the red. “I had been screwed, blued and tattooed by every person I came across,” she says of her early experiences in the industry. “I had sold 15 million records and I was penniless. It was a lot of lessons at a really young age, but I paid attention because I don’t like to make the same mistake twice. And then I found Roger when I was 21 right before ‘Get the Party Started’ came out. I had made that entire record on my own without the blessing of my record company.”

Fortunately, she sold Davies on her vision for sophomore album “Missundaztood.” “He was the manager of Cher and Tina Turner and Janet Jackson and I basically convinced him to take me on. I told him that I wanted to be a touring artist and that I wanted to be a f–king legend. And he was like: ‘OK, you f–king crazy little brat. Let’s do this!’ That was the first great decision I made.” For his part, says Davies: “I could immediately see that she had her own clear vision of who she wanted to be and where she wanted to go. That drive has kept her constantly working as he pushed herself physically and creatively to be the best. … Her fans know that she’s genuine and the real deal — you see it in her performances, you hear it in her lyrics and you feel it in her music.”

But perhaps her best decision was refusing to be pigeonholed creatively, and remaining true to herself rather than reinventing her image with the release of every album — this despite being “a child of Madonna,” as Pink says. “I just needed to be who I was at that moment. I need to be who I am. I need to be authentic and I’ve always been a kid who has been a lot of everything. I don’t think that you should just have to be one thing.”

Musically, that means her songs have run the gamut from R&B to punk-rock to pop and beyond. “I am an R&B singer,” she says. “I also am a gospel singer. I’m a punk-rock singer. And a pop singer. And a soul singer. All of that is me.” Attests Peter Edge, Chairman and CEO of RCA Records, of Pink’s trend-averse songcraft: “She’s an extraordinary artist who has the ability to defy any moment and to keep coming with great music.”

“I have been through many different phases in my life,” she adds. “I was a little girl that loved Debbie Gibson. Mary J. Blige was the first cassette I bought. I liked 2 Live Crew. I liked Green Day. I loved ‘Les Miserables’ and ‘Phantom of the Opera.’ I liked everything and I think my music reflects that. I was the [only white artist] at an all-black label at a time when Toni Braxton, TLC and that awesome Atlanta sound was happening, but I also loved Linda Perry and 4 Non-Blondes. I didn’t want to be stuck in a box because there’s nowhere to go. Also, if you want to blur lines, make people uncomfortable and question what they believe in just by looking at you, then you’ve got to take risks — you’ve got to be bold and go all out. On my last record I did a song called ‘You Get My Love’ that, to me, is the best soulful vocal I’ve ever done. When you listen to my singles, you get a certain idea of me: That I’m like this loud, man-hating, obnoxious, rock and roll, whatever. But if you go deeper and listen to the songwriting, then you realize it’s a little more complicated.”

As for the enduring appeal of her songs, Pink sums it up this way: “I write about the stuff I’m insecure about and the pain I’m feeling and how messy it is to manage a relationship and how f–king hard it is to relate to another human being.”

Pink has been married to BMX pro Carey Hart for 16 years (the couple have two children, Jameson Moon, 2 and Willow Sage, 7). Her other long-term, loyal partnership is with Davies. “He hasn’t taken on anyone else since, so I guess I’m a handful,” Pink cracks. “But, you know, he has his hands full. With his help and team, I have become a touring artist. I have achieved exactly what I wanted to achieve. Because I always knew what my strong points were. I don’t sell sex, I don’t sell perfume, I’m not the prettiest, I’m not the best. I’m f–king hard-looking and I have enough talent and I work on my f–king craft and I put my head down and I win. And I charge and I charge and I charge. And I don’t give up. So when I wasn’t selling records, I was still selling out arenas. I didn’t need to win any popularity contests; I wanted to be a f–king touring artist and I wanted to be great at what I did. And at almost 40 years old, I can say I’m great at what I do.”

Pink is actually looking forward to the upcoming milestone, despite the fact that the music business is the most youth-obsessed of all industries. (“Oh, I’m stoked,” she says. “All of my older female friends are like: ‘Dude, your forties are so rad.’ Alright! I’m in.”) But looking back on her career, does she have any regrets? “Oh, just outfits — but not that damn catsuit!” she jokes. “No, not really. I don’t subscribe to regret. I mean, my mom and I got into a huge fight right before she kicked me out. She slapped me across the face, and I pushed her down the stairs. That’s my one regret in life. I just think every stupid thing you do and every failure, every success, every decision — as cheesy as it sounds — is why you’re here. And it’s where you’re at. You either succeed or you learn and it’s all good. But some of those [past] looks? Maybe somebody could have loved me more and said: ‘Don’t do that.’ ”



P!nk stopped by The Ellen DeGeneres Show on Wednesday (Feb. 6) to announce that she has a new single and album on the way.

The single, titled “Walk Me Home,” is set to be released on Feb. 22, and fans can expect a new album, Hurts to Be Human, sometime in April.

After some gentle prodding from the talk show host, P!nk even treated the audience to an impromptu snippet of the new song, belting out the lyrics, “Walk me home in the dead of night/I can’t be alone with all that’s on my mind/Say you’ll stay with me tonight/Cause there is so much wrong going on outside,” a capella during the interview.

The pop star — who also received a star on the Hollywood Walk of Fame earlier this week — revealed during the appearance that she’s set to shoot the music video for “Walk Me Home” next week with Michael Gracey, director of The Greatest Showman. The collaboration is particularly fitting, considering that P!nk recorded her take on the song “A Million Dreams” for the hit movie musical’s 2017 covers album The Greatest Showman: Reimagined.

Hurts to Be Human will be P!nk’s eighth full-length studio album, a follow-up to the Grammy-nominated Beautiful Trauma.

Watch P!nk’s announcement, plus more of her chat with host Ellen DeGeneres, in the videos below.



P!NK‘s new album ‘Hurts 2B Human’ feat. “Walk Me Home” is coming this April!
Listen to her sing a preview on The Ellen Show.

Pre-save on Spotify or Pre-add on Apple Music HERE  and get the song upon release.


In the last 24 hours, P!nk revealed she has a new single and album on the way, recieved a star on the Hollywood Walk of Fame, and now she’s set to recieve a very special BRIT Award.

The BRIT Awards announced Wednesday (Feb. 6) that P!nk will recieve the Outstanding Contribution to Music Award at this year’s awards show, making her the first non-British artist to receive the prize.

P!nk is receiving the award in recognition of her chart-topping ­success that spans two decades in the U.K., with achievements like becoming one of the country’s best-selling female artists, receiving nine BRIT nominations total, and winning a BRIT Award for international female solo artist in 2003.

The pop artist is also set to go on a U.K. stadium tour this summer, with dates starting in June.

“I am so honored to be recognized with the Outstanding Contribution to Music Award at the 2019 BRITs!” P!nk said in a statement. “Since the beginning of my career the British fans have been some of the most fierce and loyal in the world. I am humbled to receive this honor and be in the company of an illustrious group of British icons!”

The upcoming awards show will close the show with a live performance by P!nk and also feature performances from some of the country’s biggest stars throughout the night. The 2019 BRIT Awards will be held Feb. 20 at the O2 arena in London.



The Hollywood Chamber of Commerce announced that singer and songwriter P!NK will be honored with a star on the Hollywood Walk of Fame on February 5. “We are thrilled to honor one of the world’s most popular entertainers P!NK!” said Ana Martinez, Producer of the Hollywood Walk of Fame. “She is a unique performer who leaves you in a state of joy and surprise at the same time.” “She mesmerizes the audience with her voice and her action-packed performances!” Martinez added. “Fans worldwide will join us in droves in Hollywood to see her honored on her special Walk of Fame day.” Walk of Famer Ellen DeGeneres and Kerri Kenney-Silver will help Rana Ghadban, President & CEO of the Hollywood Chamber of Commerce, to unveil the star. P!nk, born Alecia Moore in Doylestown, Pennsylvania, is one of the most beloved pop icons of the past two decades. Since her debut in 2000, P!NK has released seven studio albums. Her seventh studio album, Beautiful Trauma, is certified Platinum, debuted at No. 1 on Billboard’s 200 chart, marked a career high for first week sales and re-entered the chart at No. 2 months after release. Most recently, P!NK graced the cover of People Magazine’s The Beautiful Issue. 



Alecia Moore has been harboring a secret.

You probably know Moore as Pink, the pop star. As a class of people, pop stars are not generally accustomed to being able to keep secrets, and especially not Pink, who since 2000 has sold over 16 million albums, had 29 songs in the Billboard Top 40 and had her personal life plastered all over the tabloids. So the fact that Moore has been able to keep her secret so effectively for five years is probably a testament to how outlandish it sounds: Even if you heard it, you might not believe it.

Her secret is that she is a winemaker.

Five years ago, Moore and her husband, the former motocross racer Carey Hart, bought a 25-acre vineyard on a 250-acre property in Santa Barbara County’s Santa Ynez Valley, about 140 miles north of Los Angeles. They moved to the property, built a winery, and Moore took a five-year hiatus from releasing new music so that she could realize her longtime dream of making wine.

Her secret is that she is a winemaker.

Five years ago, Moore and her husband, the former motocross racer Carey Hart, bought a 25-acre vineyard on a 250-acre property in Santa Barbara County’s Santa Ynez Valley, about 140 miles north of Los Angeles. They moved to the property, built a winery, and Moore took a five-year hiatus from releasing new music so that she could realize her longtime dream of making wine.

Let’s be honest, it’s a lot for us to process, too. This is Pink. The woman who made a career singing about dating her high school teachers, about burning rubber and kissing ass, about being a nitty-gritty dirty little freak. Who named her son Jameson, after the whiskey. Who has a song called “Sober.”

Yes, that Pink. And now she’s asking us to square that identity with that of a vintner making edgy, herbal Cabernet Franc and skin-fermented Semillon. Will people take her seriously as a winemaker?

“I know it’s going to be hard,” Moore says about the Two Wolves release. “Serious wine people look at celebrity wine brands and have this preconceived notion.”

She gets it. That’s why she’s not attaching the name “Pink” to any of her wines. This isn’t Pink’s; this is Alecia Moore’s. She doesn’t want people to drink her wines because they like her music. She wants people to drink her wines because they’re good wines. “One has nothing to do with the other,” she insists.

I suggest that, at first, that might be difficult for some people to accept. She smiles. “I like having to prove myself.”

There’s an obvious follow-up question when you hear that Moore is making wine, and she is quick to provide a definitive answer. No, she is not making pink wine.

There is a Two Wolves rosé, but to describe it as “pink” would be a stretch of the imagination. It’s pale, almost to the point of total translucence, more like a blanc de noirs than like a rosé. “Can you tell I was concerned about making a pink wine?” she laughs, sitting at a table outside the Two Wolves cellar as she swirls a glass of the 2017 cuvee, made from Grenache, which smells like an Easter bouquet and tastes like underripe strawberries. The wine’s color almost matches her hair, which right now is dyed an electric hue of blonde.

“I really like that lighter style of rosé,” she continues, naming Scamandre, a wine from France’s Rhone Valley, as her favorite rosé in the world. A confused fly is hovering inside her giant Burgundy-style Zalto glass; carefully tilting it, Moore provides the insect with an escape route.

“If she made a rosé called ‘Pink,’ she could make 10 million cases a year and sell out and be sitting on a big pile of money,” says Chad Melville, a reputable Santa Barbara winemaker who has served as a mentor to Moore. “But that’s not what Alecia’s doing.”

Here’s what she says she is doing: pruning vines, picking grapes, bottling wines by hand. Taking wine courses through the Wine & Spirit Education Trust and UCLA Extension. Visiting wineries sheadmires around the world — Chateau Pontet-Canet, Clos Rougeard, Antica Terra. Asking lots of questions of Melville and other winemakers around Santa Barbara County. And yes, in her spare time she’s on the road performing the 128 shows of her 14-month-long Beautiful Trauma” tour.

When Moore’s publicist first told me a few months ago that she is a winemaker, I cynically accepted that as a euphemism. Surely she’s not really a winemaker, I figured. I’ve interviewed several other celebrities who own wine brands, and I know the drill: Celebrity puts down the money, enjoys the vineyard views, lets others do the work. At most, the star weighs in on the wine’s final blend.

Well, Moore does employ a team of experienced wine professionals at Two Wolves, like viticulturist Ben Merz and assistant winemaker Alison Thomson. But although I can’t attest to what she does day-to-day at the property, she claims to perform certain tasks — like picking grapes and working the sorting table — that few winery owners in California perform themselves. (Did nobody tell her that she can still call herself a winemaker even if she doesn’t pick the grapes?)

More than that, though, in spite of my best attempts at maintaining skepticism, Moore speaks about wine in a way that convinces me she’s serious. It would be one thing for her to name-drop obvious status-symbol wines — the Dom Perignons or Screaming Eagles or Chateau Latours of the world.

But Moore is into Clos Rougeard, an obsession of the hipster sommelier crowd. Over lunch, she opens a bottle of Benanti Pietramarina, a Sicilian wine from the obscure Carricante grape — a wine you have to know about.

Maybe what moves me the most about Moore’s wine sensibility is that I think I can tell that she’s nervous. I can sense that this — her vineyard, her wines, her standing in the local wine community — matters to her.

Today, Moore is driving me around the Two Wolves property in a Polaris off-road, pointing out the vines she replanted from Malbec to Cabernet Franc; her favorite block on the property, the tightly spaced Block 4; her preference for the C clone of Cabernet Sauvignon.

Lately, much of the buzz about Santa Barbara County wine has centered on Pinot Noir, but this warmer part of Santa Ynez is better suited to fuller-bodied Bordeaux and Rhone varieties. “The heat waves here can be gnarly,” Moore explains. “And we have really high pH here, so that’s something to contend with.”

This improbable journey began years ago at the bar of a Hilton hotel in Australia. “My aha wine was a Chateauneuf du Pape,” Moore says. She thought Chateauneuf du Pape was the name of the winery, not yet informed that it’s the name of a region in France’s southern Rhone Valley. When she found herself in Avignon later that year, she knocked on a woman’s door, asking if she knew where the Chateauneuf du Pape winery was. “Can you imagine?” she laughs now, amused by her younger self.

The naivete didn’t last long. “I’m a high school dropout, I never wanted to go to college,” Moore says, “but wine made me want to become the most devoted student.” She attended the Unified Wine & Grape Symposium, a technical trade conference in Sacramento. She and Hart rode motorcycles from Los Angeles to Napa so they could attend Alexandre Schmitt’s seminars on wine sensory perception.

“I’d be on tour, and it would be, ‘Goodnight, Sydney!’ and then I’d run backstage to take my WSET course, still in my leotard,” she says, referring to the Wine & Spirit Education Trust. (Pink’s largest fan base is in Australia.)

Moore fell hard for Cabernet Franc, which she calls “my heart.” The variety is often blended with Cabernet Sauvignon, whose bold, fruity flavors and full body can overpower the more delicate, herbal-toned Cab Franc. She tears up as she recalls spending time with the late Clos Rougeard owner Charly Foucault.

“To me, it’s beauty captured,” she says of the grape. “It’s always green, but it’s always a different shade of green,” rattling off jalapeño, peppermint, sage. Cabernet Sauvignon, she says, is “Faye Dunaway, beautiful, classic,” but “Cab Franc is Carol Burnett.”

The idea of making her own wine lodged in Moore’s brain early. She and Hart came close to buying vineyard property in Healdsburg 15 years ago; she’s glad they didn’t. “Our marriage wasn’t ready for it,” she says. “We didn’t have kids. We weren’t thinking about 50 years from now.” She and Hart have been married nearly 13 years, but have spoken publicly about the fact that they nearly divorced in 2008. Their daughter, Willow, is 7; Jameson is almost 2.

It was Hart who first scoped out the Santa Ynez vineyard in 2013. “I called Alecia up and said, ‘The property’s great. You’ll either love or hate the house,’” he recalls. (She hated it: “It’s like Venice Beach threw up in the valley.”)

When Moore finally arrived to see the property, she burst into tears. The answer was instantly yes.

Despite what her brash, salty public persona might suggest, Moore describes herself as a “California crystal lady,” the sort of person who holds monthly, women-only moon ceremonies. (“It’s about letting go,” she says.) She believes in destiny. She says she has lived on American Indian burial grounds before, and saw the vineyard’s adjacent American Indian reservation as a very good omen. “This place is my spirit animal,” she says.

The vineyard, she decided, would be called Two Wolves, for the Cherokee parable about the oppositional forces of good and evil inside every person.

From there it got scary. Moore had a vineyard; now she had to figure out what to do with it. The first year, 2014, she made some wine in the garage on the property. A local winemaker, Kira Malone, taught her how to measure sugar, alcohol and acidity — basic enology. “Here we were, running numbers, and I dropped out of high school before taking chemistry,” Moore says.

She cringes when talking about the crippling insecurity she felt upon her arrival in Santa Barbara — the conviction that the wine community would never accept her as a legitimate winemaker. “I can’t tell you how many times I’ve walked into a winery scared to death they wouldn’t take me seriously,” she says, “and ending up crying in the parking lot because they were so nice to me.” (She cries a lot, it turns out.)

Chad Melville met Moore at an Easter party. As they were saying grace before the meal, Moore leaned over to him and whispered: “Are you Chad Melville?” He nodded, and she went on: “I’m going to say something really inappropriate.” She proceeded, according to Melville, to describe how much she loved his wines, “how perfumed and delicate and nuanced” they were.

“I was like, ‘Who the eff is this?’” Melville says, recalling the meeting. “I realized the reason she thought it was inappropriate was because it felt like someone interrupting her at lunchtime to ask for her autograph.” He didn’t know her music; he’s more of a Grateful Dead fan.

A friendship formed, and Moore took to calling up Melville whenever she had a question about her winery or vineyard: a stuck fermentation, a decision about which clone of Cabernet Sauvignon to plant. “She had a couple bumps in the road and would break down and start crying,” Melville says. (Again, she cries a lot.)

Melville understood many of her roadblocks as rites of passage. The first time Moore pruned her vineyard, for instance, resulted in a massive sunburn. “I was like, ‘Alecia, you’re such a dumb ass, everyone knows you have to wear a hat!’” Melville says, rendering “dumb ass” with obvious affection.

Eventually, he convinced Moore that she needed to hire an experienced assistant winemaker. In 2015 Melville invited her to dinner with Alison Thomson, a former employee of his who currently works for JCR Vineyard and makes her own label, L.A. Lepiane. “I thought it was just dinner — I had no idea it was an interview,” Thomson says. But she aced it.

If Moore is the starry-eyed dreamer of Two Wolves, Thomson is the pragmatic rule enforcer. “Alison tells me what the options are,” Moore says. Her desire to make wine with as little intervention as possible — native, ambient-yeast fermentations; no filtration — can make Thomson nervous. Moore always pushes to pick Cabernet Franc on the early side, when the grapes taste most like green bell peppers, and then leave the grape stems in the fermentation, which amplifies those peppery notes. Such a strong embrace of herbal flavors and acidity raises red flags for Thomson, a classically trained winemaker who studied at UC Davis.

As we sit by the pond outside the Two Wolves winery, Moore swirls her large-bowled Zalto glass full of Cabernet Franc. She sniffs repeatedly, as if studying the wine with her nose. “I’m not afraid of a little funk,” she says.

“That’s why Alison gets nervous — because you’re reckless,” Hart says.

Thomson interjects, diplomatically. “I trust Alecia’s palate,” she says. “I know she’s looking for balanced wines that feel alive.”

Moore grins, looking back at me. “I know just enough about winemaking to be dangerous.”

Her earlier inclinations may have been too extreme, Moore concedes. “I realized I don’t want to make a ‘cute’ wine — an overly green wine, just to be hip,” she says.

The wine in our glasses — the 2015 Two Wolves Cab Franc, the first release — is not overly green, though devotees of ripe Napa Cabernet might find it anemic. To me it recalls Christmas, fresh evergreen mingled with sweet spice. Fruit, not herb, fills the wine’s core, a juicy explosion of raspberry. The tannins have the tactile grip of velvet.

If there’s an opposite of the extracted, bubblegum-pink rosé that the world expects of Pink, the Two Wolves Cabernet Franc is it. It’s edgy, it’s subtle, it’s a little weird. More than anything, it’s a wine that participates in a conversation, a response and homage to wines that Moore has loved. Moore may feel nervous about revealing Two Wolves to the world, but her wine speaks with confidence, plainly announcing a stylistic identity. The fans who flock to stadiums to see Pink perform “What About Us” might not like it. But other people, like me, might.

She’s anxious, sure. But Moore is no stranger to the process of making something that lays bare her soul, then gritting her teeth while she waits for the fallout. “When the cat’s out of the bag, the cat’s out of the bag,” she sighs. “I just really hope people can understand that the wine isn’t a gimmick.”

The secret era has come to an end. Now a whole new, unknown scary part begins. “It’s bittersweet,” Moore says. “The past five years have been a really fun secret life.”



The first batch of Two Wolves wines will be released on Nov. 15, primarily via the winery’s mailing list (www.twowolveswine.com). A small amount of wine will be in distribution only in California. Alecia Moore plans to distribute wine to other markets beginning in 2019. All wines are labeled with the Santa Barbara County AVA, although the estate is located in the county’s sub-AVA of Santa Ynez Valley.

Two Wolves Cabernet Sauvignon 2015 ($90, 14%): Only 30 cases were produced of this wine, which comes from the vineyard’s tightly spaced, low-yielding Block 4. The wine shows Moore’s penchant for herbal tones in Bordeaux varieties. A note of cedar accents the core of bright red fruit. It has heft and structure, though its tannins are tame enough that it would be enjoyable to drink now.

Two Wolves Petit Verdot 2015 ($60, 14.2%): The fullest-bodied wine of the lineup, this Petit Verdot is dense, inky and lush, with a silky mouthfeel. Its vivid flavors move from balsamic blueberries to anise, sage and lavender. Fans of typical California Cabernet might prefer this fruitier, more generous wine to the Two Wolves Cabernet Sauvignon.

Two Wolves Cabernet Franc 2015 ($60, 13.6%): A beautifully herb-doused rendition of the grape variety that Alecia Moore calls “my heart.” The impression of ripe, bright raspberry leads the wine, followed by Christmas-y flavors, a whiff of conifer mingled with warming spices like ginger, cinnamon and nutmeg. It’s a bold wine — not in weight but in style.

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