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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: #121899 in Books
- Brand: Tindall, Blair
- Published on: 2006-06-08
- Original language: English
- Number of items: 1
- Dimensions: 8.06" h x .86" w x 6.20" l, .82 pounds
- Binding: Paperback
- 336 pages
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
82 of 84 people found the following review helpful.
candid, poignant, amusing, thought-provoking, a must-read.
By O. Howitt Hertz
About ten years ago, I watched a PBS nature program about a unique tribe of chimpanzees that besides eating plants, also hunts and eats monkeys. Monkey meat is rare and precious to the chimps. A chimp who manages to catch a monkey can't eat it all, and shares the meat with a few other chimps. The distribution of monkey meat always follows a distinct pattern. Meat is given to relatives, political supporters and sexually available young females. All the other chimps get none. This pattern sounded awfully familiar... what did it remind me of? Jobs in freelance classical music, of course!
The fact that Mozart in the Jungle provoked such passionate, articulate and conflicted reviews speaks volumes about its powerful effects on its readers. IMHO, the people who gave low ratings did so for questionable reasons (solipsism, hurt feelings, personal issues, denial, etc.), unrelated to the quality of Tindall's writing. Winning a couple of orchestra auditions straight out of Juilliard spared me from having to live in the vipers' pit of freelancing described in the book, but I saw enough to recognize it anyway. You can't make this stuff up. The narrative is captivating; I could hardly put the book down. Obviously, not all musicians live this way or have such extreme histories; you wouldn't want to read mine, for example, unless a soporific was indicated. This memoir is well worth reading; not necessarily for the juicy gossip, but for the human story and the larger issues it touches upon.
129 of 136 people found the following review helpful.
Great book, but the author is too charitable
By A+A
I attended both schools with Blair Tindall and witnessed much of what she described in this book. I can corroborate much that occured at both NCSA (North Carolina School of the Arts) and MSM (Manhattan School of Music). Her experience was not unique at all, but was the norm for students attending a performing arts high school (which also happened to have a college department where college students and teachers would prey on high school students, both female and male). My only criticism of this book is that she is actually TOO EASY on some of the teachers she mentions. Blair is actually quite charitable to them considering the appalling behavior we all endured on a day to day basis! She could have really raked them over the coals, but she chose to play nice, contrary to what some other reviewers have said. Blair must have suffered from having been a whistle-blower, but I applaud her bravery. It's also a really well-written book and I found it hard to put down.
61 of 65 people found the following review helpful.
About Blair
By Henri Renie
I want to make it clear for once and for all. Of the three oboe students of Mr. Robinson I remember, the least talented became a principal oboist of one of the top five orchestras. And Blair was by far the most talented of the three. Blair was that good. She was exceptional, golden, sparkling. She had star quality in spades. The next-best oboist I met has been with the Cleveland Orchestra for years. She was good enough to play in a top orchestra. She did not lack in musicality, tone quality, inspiration, personality or anything else. Chalk it up to misfortune or politics that she did not get such a position. Do not carp about her talent or try to minimize it. It is a great loss to music that she went on into other fields, but creative people may do that.
In that scene, many musicians were craven, most were desperate to get ahead no matter what, and there were no real moral standards at that time. One group was known to have had more or less of an orgy, which I believe made it into her book. The times were wild, free sex, drugs, alcohol. Not that everyone participated. And there was a tremendous amount of empty showing off, arrogance, egotism, manipulation, conspiracy, just about everything you could think of and then some. In many ways, New York in the 1980s was a reprehensible place.
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