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Mozart in the Jungle: Sex, Drugs, and Classical Music, by Blair Tindall
Download PDF Mozart in the Jungle: Sex, Drugs, and Classical Music, by Blair Tindall
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In the tradition of Anthony Bourdain’s Kitchen Confidential and Gelsey Kirkland’s Dancing on My Grave, Mozart in the Jungle delves into the lives of the musicians and conductors who inhabit the insular world of classical music. In a book that inspired the Amazon Original series starring Gael Garc�a Bernal and Malcolm McDowell, oboist Blair Tindall recounts her decades-long professional career as a classical musician—from the recitals and Broadway orchestra performances to the secret life of musicians who survive hand to mouth in the backbiting New York classical music scene, where musicians trade sexual favors for plum jobs and assignments in orchestras across the city. Tindall and her fellow journeymen musicians often play drunk, high, or hopelessly hungover, live in decrepit apartments, and perform in hazardous conditions— working-class musicians who schlep across the city between low-paying gigs, without health-care benefits or retirement plans, a stark contrast to the rarefied experiences of overpaid classical musician superstars. An incisive, no-holds-barred account, Mozart in the Jungle is the first true, behind-the-scenes look at what goes on backstage and in the Broadway pit.
- Sales Rank: #151658 in eBooks
- Published on: 2007-12-01
- Released on: 2007-12-01
- Format: Kindle eBook
From Publishers Weekly
By age 16, the author of this alternately piquant and morose memoir was dealing marijuana, bedding her instructors at a performing arts high school and studying the oboe. Later, her blossoming career as a freelance musician in New York introduced her to a classical music demimonde of cocaine parties and group sex that had her wondering why she "got hired for so many of my gigs in bed." But the vivace of the chapters on her bohemian salad days subsides to a largo as she heads toward 40 and the sex and drugs recede along with dreams of stardom; the reality of a future in Broadway orchestra pits (where she reads magazines as she plays to stave off boredom) sets in. Tindall escaped to journalism, but her resentment of an industry that "squeezed me dry of spontaneity" and turns other musicians into hollow-eyed "galley slaves" is raw. She mounts a biting critique of the conservatories that churn out thousands of graduates each year to pursue a handful of jobs, the superstar conductors and soloists who lord it over orchestral peons and a fine arts establishment she depicts as bloated and ripe for downsizing. Tindall's bitterness over what might still strike many readers as a pretty great career is a bit overdone, but she offers a fresh, highly readable and caustic perspective on an overglamorized world. Photos. Agent, James Fitzgerald. (July)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The New Yorker
For the author, an oboist and journalist, a certain Upper West Side apartment building, long popular with musicians, is a metaphor for classical music in America today: a Beaux-Arts fa�ade masking an increasingly decrepit infrastructure. Tindall's book, her first, is hardly free of false notes. Paragraphs full of dire predictions and alarming statistics jibe a little too conveniently with her tales of professional disappointment and sexual promiscuity. As Tindall sleeps her way to the bottom, we learn more than we probably need to about the sex lives of some more or less prominent American musicians. But Tindall's central complaint—that the classical-music world has created a crisis by training too many musicians and supporting a culture of exorbitant pay for a few fortunate stars—is difficult to refute.
Copyright � 2005 The New Yorker
Review
"A disturbing, fact-filled portrait of American musical life that is both humorous and human." -- Composer William Bolcom, 1988 Pulitzer Prize for music
"Blair Tindall blows the lid off the world of classical music… a must-read for anyone concerned about the arts." -- Dale Maharidge, 1990 Pulitzer Prize for nonfiction
"Mozart in the Jungle is a remarkably candid and courageous book." -- Margot Livesay, author of Banishing Verona
"Mozart in the Jungle is funny, startling, heartbreaking, informative, and utterly absorbing. Blair Tindall writes like an angel." -- Lee Smith, author of The Last Girls
"No book before this has so accurately captured the harrowing life of the free-lance artist." -- William Moriarity, former president, Local 802 American Federation of Musicians
Most helpful customer reviews
18 of 18 people found the following review helpful.
Should be required reading for all performance majors!
By Irene P
This book ought to be required reading for all performance majors as well as the parents who push them. Sexual and psychological abuse is terrible in music programs. Although there is much less tolerance these days for teachers who get caught with their pants down, the psychological abuse rages on. I'm not sure people who weren't in this environment could possibly understand it. The book mirrored my experience as a young violinist- I got tons of positive re-enforcement for my playing ability, but not for anything else. I truly believed for a long time that my only talent was music. On top of that, teachers, conductors, and family told me it would be a travesty- a waste of my God given talent- to not pursue music. No one talked about the nearly impossible odds of success. It really does a number on your head, as evidenced by Tindall's reporting. Add to it the sexual abuse by teachers, and well…no surprise what happens: drugs and sexual promiscuity. Inflated ego and a crushingly low self esteem in the same person.
Tindall doesn't play the victim in the book, and I'm not even sure if she would describe her teen experiences as sexual abuse (she doesn't in the book, but- for the record, being required to touch your teacher and being forced to touch him IS sexual abuse…). She also doesn't get too much into how teachers and conductors systematically psychologically abuse young musicians. Had she made the abuse she (and tons of young musicians) suffered more explicit in the book, readers could have sympathized with some of her self-destructive behaviors. I think she tries not to come off as playing the victim, but the flip side is that some readers forget that she was victimized. To be honest, there's probably another book in there and I hope she writes it.
*as an aside to all the Amazon reviewers who criticized her for complaining about working on Broadway- you get out an instrument and sheet music for Les Mis, play it every night for three hours year after year after year. Then you can critique. I wanted to shoot myself after just three shows.
24 of 25 people found the following review helpful.
True to life
By J. Eric Swanson
Because this a mix of autobiography and socioeconomic commentary, some readers may discount the book's discussion points if they don't find the author's experience relevant. I had the opposite experience; the personal narrative resonated deeply for me and the social analysis struck me as brilliantly apt.
I found this book to be a breath of fresh air. I was a full scholarship recipient at Manhattan School of Music in '79-80 and later worked as a young musician in the New York scene in the early '80's. Everything I read about studying and working as a musician was very familiar. Moreover, the discussion of how musical pedagogy and professionalism has devolved is uniquely astute.
I found the author's recap of the narrow conservatory vibe refreshingly apt. The pathetic joke of the single "humanities" class we performance majors were forced to take, to make us "well rounded" is still bittersweet. The drinking, drugs, emotional instability, grit, poverty, politics, and incestuousness of the conservatory and working musical scene are also all very true to my experience.
That was a fleeting, surreal, and somewhat magical moment, in NYNY in the early-mid '80's. That scene is gone, now. But what a great snapshot!
Those critics who decry the author as someone writing "from the bottom" of the musical strata are sadly out of touch with the realities of "making it" as a player. The author was clearly a talented, skilled, strong, working musician. She was successful. That's one of the book's strong points; being "really good" or even being a "working pro" isn't enough. Most great players practice every day for hours, have the best educations, play their butts off, and still scuffle until they are too old to do it anymore. This is the hidden reality of professional musicianship.
Yes, that is truly what it was like, there and then. I was not a beautiful female, like the author, so some of the networking opportunities she used weren't available to me, but the rest of it rings very, very true.
Like the author, though, I had as much success in that scene as suited me. I feel very lucky to have found another way to make a living that I prefer. I still play, for fun now, and still practice every day; it remains an important part of my life.
I would recommend this book to any and all music students who are considering a conservatory as their next educational step. This is a great, great, piece of writing about a virtually hidden world. Bravo!
5 of 5 people found the following review helpful.
whoa....
By former michigander....
This was a blast from MY past. Trained as a classical oboist at about the same time as the author....well, some of the book was greatly amusing, some of it was a trip down memory lane...actually a lot of it was that. It was disturbing and kind of like a huge flashback for me. Very honest and insightful look at the real world of performing. I remember being the guest at a symphony ladies' tea and having them gush all over me..."oh, it must be so much fun to just play music all day long". Gush gush gush.....I was probably making less than a third of what they paid their maids,AND I carried a monster size bottle of pepto in my bag which I would swig right from the bottle, trying to calm the nerves caused by trying to please a real S.O.B. of a conductor. Interesting life to be sure.
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