I do usually try not to bite people in supermarkets, but, you know, sometimes one just can't help oneself.

I firmly believe that you can tell the difference between good and bad wine by the font on the label. 'Believe', in this context, as there is absolutely no empirical evidence in favour of it. Certainly, no good wine could ever use Helvetica. The quiet achievers use something like Palatino, while any kind of Gothic font is oh so classy!

I quite like the idea of a title being something that you're aware of throughout the entire process of composition, but this is very rarely the case for me. Quite often I find myself in a position days ahead of needing to deliver the work, still desperately trying to come up with something that reflects my understanding of the music. At worst, this results in pretentious neologisms that take twenty minutes to adequately explain. I was all for neologisms before I learned that, yes, people do ask!

That reminds me of Cardhu, Oban, Bowmore, Laphroaig and Talisker which are all works by the Belgian composer Luc Brewaeys, and yes, they are supposed to reflect the character of each whisky.

An early example of this kind of title was of course Rachmaninov's The Bells.

It's not beyond the bounds of possibility.  A good wine is presumably more profitable, hence the producers can presumably afford better designers...