Mozart in the Jungle is an American comedy-drama web television series developed by Roman . Blair Tindall, oboist and writer of the book on which the series is based, also appears in a cameo. Much of the original music for the show (most. Mozart in the Jungle: Sex, Drugs, and Classical Music and millions of other books are available for instant access. view Kindle eBook | view Audible audiobook. Blair Tindall's Mozart in the jungle: sex, drugs, and classical music () is the kind of book that I (if not my imaginary bank manager)* am glad.
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You might know that site's Mozart in the Jungle gets its title from Blair Tindall's memoir, a book that reveals that classical musicians. Start by marking “Mozart in the Jungle: Sex, Drugs, and Classical Music” as Want to Read: 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. Mozart in the Jungle: Sex, Drugs and Classical Music and over 2 million other books are available for site Kindle. Mozart in the Jungle: Sex, Drugs, and Classical Music Paperback – 8 Jun Start reading Mozart in the Jungle: Sex, Drugs and Classical Music on your Kindle in.
Blair Tindall and I have several things in common. We are both women and both freelance journalists who have contributed, more or less frequently, to The New York Times. Pavarotti's rise and fall, and if you believe some of the press, a smear campaign on Mr. Pavarotti's glorious career. Tindall's, "Mozart in the Jungle," came out last month, and if you believe some of the press, it is all about how Ms.
How could I have allowed such an insular, incestuous business to rule me for a quarter century? Ethnographies are always specific to their time: Tindall argues against the kind of cloistered education she received.
Soon she is plunged into the fray of the New York scene. Sounds glamorous, eh? What could possibly go wrong? She describes the transition from the initial excitement, during a boom, to the decline of the 90s as ideals hit the rocks.
After the Golden Age of the s, Tindall notes the irony of the transition:. The culture boom was fizzling, yet the business of the arts were gaining momentum.
With an on-off relationship with the NY Phil, she schlepps around on out-of-town gigs with her friends. Getting a regular job in Aspects of love , she. I could read a magazine while playing my part simultaneously. Those without the gift passed the time in other ways, plugging in transistors, knitting, making lists, or doing crosswords.
One trumpeter studied maps. This puts in perspective the reported churlishness of the Berlin Phil towards S-S-Simon Rattle —at least they have secure jobs, playing different masterpieces every night with a highly sympathetic conductor.
Tindall notes adverse changes in the recording industry. On an increasingly rare film session she comments:. In the booth sat men who made money out of trying a new idea, succeeding or failing and then trying another. As the bows went up and down, I was reminded of a scene in Ben Hur in which galley slaves rowed without much idea of where they were headed. Indeed, she was missing out on a vibrant period for popular culture in New York—just as I would have, and indeed did, in London.
A full-time symphonic job evolves into monotony for many players. Orchestra musicians saw away like factory workers, repeating the same pieces year after year.
Once a player is employed in a desirable orchestra, career advancement is severely limited. Perfectionism and injuries wear musicians down. Nighttime and holiday work disconnect them from mainstream life. Players complain that they forfeit autonomy to an omnipotent conductor who works a third of their schedule, is paid as much as twenty musicians [ so little?! In a world where the livelihoods of the rank-and-file are so tenuous, Tindall attacks the grossly inflated fees of conductors, soloists, and management with detailed arguments see also here.
Reminding me of a survey of trusted professions in China, she cites a survey of job satisfaction of workers in a variety of industries,. I doubt if people go into hedge-fund management, or restaurant service, burdened by particularly high spiritual ideals. Even those aspiring to some other professions—like becoming a cook, or a teacher or nurse—are better armed with cautionary tales. I was tired of pretending I wanted this.
Tired of my hopeless reed-making. Sick of the same old excerpts. Sick of spending every cent trying to win a job that offered only a minimal salary. He wiped down the bar. I swallowed the burning whiskey and cleared my throat. He loved music though, playing a little guitar himself.
What was my instrument? Perhaps the more deviant behaviour that Tindall describes is prompted by the mismatch between ecstasy and drudge. For London since the s, the main drug of choice was alcohol—as well as the elephant in the room, beta-blockers. Tindall thinks that a student would be better off majoring in music at a liberal arts college, such as Oberlin, where she gets a broader education that will not close doors from other occupations than just music.
Passing a group of students outside of Juilliard, she ponders how only a few of these highly talented musicians will make it as soloists or conductors or even get regular orchestra jobs, while most end up scraping together a living out of temporary gigs or find themselves non-professional office jobs for which their narrow musical education will suffice.
She still plays the oboe and subs in orchestras, but with renewed vigour and enthusiasm as she no longer needs to do it to make ends meet. She ends the entertaining and informative book with some hopeful notions.
Although classical music has become peripheral to mainstream life and the number of Americans playing an instrument has shrunk to less than a half between and , classical music is not in decline: Perhaps, the situation has again changed since the book was published in Orchestras and music do continue to play an important resource for the communities.
Hopefully, they will be more accessible to more people. Jul 15, Kim rated it it was amazing. Every word is true. She nailed it to the wall. Of course, no civilian will believe it.
Tindall began playing the oboe, a difficult but hauntingly beautiful instrument when played well, almost by mistake.
When they were handing out instruments alphabetically by last name in band, by the time they got to T there was only a bassoon and oboe to chose from.
The oboe being smaller she chose that. Somewhat intimidated by her academically overachieving brother who went to Exeter and with poor grades not to mention a boyfriend who would be closer, she opted to attend NCSA a new founded in school devoted to teaching professional musicians and ballet dancers.
Regretfully, she focuses more on the unwanted sometimes sexual attentions of her teachers this was a time when sexual harassment was more than prevalent and teachers would use the subjectiveness of musical grading to get what they wanted and boys, not to mention drinking and drugs, than on the intricacies of the oboe.
As someone who has played the piano, organ and french horn, I have no knowledge of woodwinds and would have liked to learn more. But, nevermind. A test given on Saturdays? They were prepared for little else. When those affairs fell apart inevitably as they were married and everything was always supposed to be kept secret the jealous reactions would lead to her lack of employment.
Coupled with many of her friends and acquaintances dying from AIDS this was the early eighties and at one time the list of dead friends topped one hundred when she quit keeping track it was a discouraging time. Much of the book details the trials and tribulations of the orchestral world in general and orchestral musicians in specific.
Orchestras had proliferated during the sixties and seventies as federal grants provided the seed money, but soon it became apparent, especially during economic upturns and downswings, that paying musicians from revenue derived from ticket sales was often oxymoronic.
Another problem was too many musicians, often uneducated except for their instrument, were chasing too few gigs. Those privileged few who made it through the auditions to get a position in an orchestra were usually life-tenured so few positions ever opened up.
Positions that did pay well like those on Broadway could be mind-numbingly boring, playing the same music over and over and over again; some players could read a book while playing the music. As stages became larger and more front row seating was added to sell more tickets, orchestral pits became hellish holes, dark and removed from the performance and audience, almost an afterthought, as the music was piped out through speakers. For long-running shows she played for Les Miserables and Miss Saigon among others it was at least a dependable source of income, health and pension benefits.
Eventually, by her mid-thirties, Tindall realized she had to make a change having been unable to find a long-term relationship and becoming totally bored.
A job satisfaction study revealed that Orchestral musicians were near the bottom, scoring lower in job satisfaction and overall happiness than airline flight attendants, mental health treatment teams, beer salesmen, government economic analysts, and even federal prison guards. Only operating room nurses and semiconductor fabrication teams scored lower than these musicians….
I was in a narcissistic industry that was stuck in the nineteenth century. At that moment, I gave myself permission to escape. Their results were shocking: No reliable causal relationship was found between music education and academic performance except for spatial reasoning.
Creative thinking, verbal scores, and math grades were all unaffected by studying music. About the only common thread is the oboe. I liked it, but the movie is better.
Oct 08, Tina rated it really liked it. Trying to understand my concert pianist boyfriend's life better Blair Tindall wrote a terrific book about what it's really like to try to earn a living as a classical musician. This book answers just about every silly question I ever had about how that career really works.
Tindall didn't hold back on sharing intimate details even when they painted her in an unflattering light. This book is an amazing resource, and very well researched. Jul 25, Niall rated it liked it Shelves: Not quite what I was expecting - slightly less of the sex, drugs, and Chopin, and slightly more of the history and economics of the classical music scene in the US in the 20th century, but generally pretty engaging.
I'm always left wondering what those who know the author, and those who feature in such candid autobiographies make of the finished product. Sep 19, Carissa rated it really liked it. An easy and entertaining read. A must-read for female classical music professionals, as it discusses much of the situations in which we may find ourselves. Oct 03, Shoshana added it Shelves: I found this book intensely frustrating on many levels. On one hand, Tindall brings up many very important issues and history of the arts and of music in the U.
On the other hand, I think it is one perspective of a disillusioned oboist who seems to be blaming her unhappiness on anything she can find. As an oboe student music major making my way through college, I find the harsh realities of the industry quite depressing - no one wants to devote their life to the kind of frustrations Tindall de I found this book intensely frustrating on many levels.
As an oboe student music major making my way through college, I find the harsh realities of the industry quite depressing - no one wants to devote their life to the kind of frustrations Tindall describes in this book.
The shrinking need for musicians, the condemnation to badly-paying freelance jobs or overly repetitive broadway pits, does not sound at all inviting. What gets me, however, is not the facts and figures she puts together explaining why the life of a musician is doomed, but the way she demoralizes the entire industry and makes it out to seem like everything is steeped in drugs, sex, nepotism, and similar low moral standing. Much of what she seems to be thrown into as a young impressionable teenager was a choice - after her violinist boyfriend dumped her at 16, there was no reason she had to go to the male flute professor to insinuate a relationship.
She even says that she does this purposefully because of the rumors she has heard about him and past relationships with students. That was an intentional move on her part. This seems to continue throughout her life - she makes it sound as if as a young, unassuming girl, these relationships presented themselves and she went along with them, while she was the one presenting herself as available in the first place.
Also, I can vouch for the fact that not all music schools, and not all musicians are the way she describes. We are not anywhere near to all being completely crazy drug addicts who all hate our life and have sex with everyone in every orchestra we've ever been in.
This is so demeaning to the people in the profession who are respectable, happy people. In addition, she seems to have been almost thrust into becoming a musician, which she seems to blame on the North Carolina School for the Arts, more than the fact that it's just kind of how things happened.
I have friends who have gone through the high school program as people who have thought through their lives and decided to go into music - for these people, it is a valuable experience that puts them ahead of most people entering conservatories. I respect the fact that she has made a new life for herself and has learned how to be a part-time musician and, it seems, be much happier with her life as a whole.
I think it is important to realize that music isn't for everyone and her book does a good job of addressing that, albeit in an extremely blunt way. It is good for anyone going into music to question that this is what they really want to do and make sure that they are prepared for a difficult time getting started, and maybe not making it to the best orchestra job, especially not immediately.
One of the most frustrating points is that she seems to want to discourage young people from going into music entirely. I understand completely the value of knowing the risks involved, having a backup plan, thinking seriously about what you are doing. These people exist. Sometimes, things don't work out for them. I think most of us understand that. In middle and high school, I took oboe lessons from someone who was trying her hand in the freelancing world.
She was pretty fresh out of grad school after studying with pretty much the best teachers around and she was working around 3 jobs - one at a coffeeshop, among others and teaching your oboists like me. Also, she had planned on becoming a professional oboists since she was Her story pans out slightly like Blair's.
Without the intense cynicism and seemingly hatred of the world. She now continues to teach, play in orchestras in the area, and works in the archives for one of the best orchestras in the country. As far as I can tell, she really enjoys it. Letting go of dreams from childhood are undoubtably difficult, but do not have to be the end of the world and do not need to destroy you. Feb 16, Rama rated it really liked it Shelves: In this book, she delves into the lives of the musicians and powerful men and women who control the world of classical music.
Tindall spares no punches when she recalls her professional career full of hard-luck, pain, self-loathing, deceit, and total addiction to sex, drugs and alcohol. As a freelance musician, she was introduced to cocaine parties and group sex in the decrepit apartments in and around the New York City.
She quickly learnt how to make it to those gigs at recitals and orchestras in the Big Apple. In fact she was natural at this; since the age of sixteen, she was using marijuana and sleeping with her instructors in high school for good grades and special favors. When she played in New York, often she was drunk, hung-over and high on narcotics. The book is not simply a self-pitying memoir but also focuses on working musicians who struggle with low-paying jobs and financial insecurity.
The author takes to journalism when she failed in the classical music industry. Her resentment to a profession she loved so much did not offer anything but addiction to controlled substances. Her disappointment is understandable, but what was she expecting when she decided to sleep her way to make it to the top?
She hit the bottom like so many in the entertainment industry. There are stories of hard-luck girls who learnt their lessons the hard way; Tindall is neither the first, nor is the last.
There are too many books about drugs, sex and rock-N-roll music, but nobody is shedding tears about those parties.
Because it has been accepted as obvious choice in rock-N-roll music! But why is this problem for the lovers of classical music? Tindall is no ordinary drug-addict. She is a smart girl, she taught journalism at Stanford University and music at the University of California, Berkeley.
She also studied at Columbia University. Her biggest success was when her book was picked up by the site Studios for a television show with same title.
The story was well received by the critics and the site television viewers. Many reviewers on site. I like the spirit of this girl from Chapel Hill, North Carolina. Jan 22, Margot rated it it was amazing Shelves: This book articulated all the reasons why I decided not to follow a career as a classical musician. Perhaps a bit of a insiders book, but I think it would appeal to all. It provides a candid look behind the scenes of an industry many see as dull and stiff, when it is anything but.
Jul 10, Brianna Wing rated it really liked it. I wish I had read this book earlier in my life. It is a must for anyone even considering getting a music degree or heading into the field. I wasn't a big fan of this book. I was expecting something with a quicker plot but found entire chapters about the history of arts funding.
Jan 22, Vladimir rated it did not like it Shelves: If Blair Tindall's playing technique is anything like her writing style, then I am not at all surprised she didn't make it in the classical music world. Even if you are able to ignore or survive the awful writing, this is really a rather uninformative book. Sure, there are tidbits of interest here and there, but the generally gossipy tone and the fact that Tindall thinks we should be scandalized by the fact that classically trained musicians do weed and have sex is just immature and naive.
My fir If Blair Tindall's playing technique is anything like her writing style, then I am not at all surprised she didn't make it in the classical music world. My first thought upon finishing the book was this - whatever, blah. And it's the best summary I can think of. Also, this is a rare occasion when you can say that a TV show is better than its source material. Mar 28, Marcy Heller rated it it was ok. I'm not sure which was THE better decision: Shame on Blair and some of her colleagues, and what a darn shame any of us needed to know the seedy side of a few musicians' lives.
I grew up knowing many who succeeded in the world of music without the sex and drugs. They did it the old-fashioned way: There ought I'm not sure which was THE better decision: HBO did a series based on this book--strangely but the TV was better than the book so the author is somewhat vindicated. I've moved her book up one star. At this point in my life, I've read enough biographies to know that there is definitely some exaggeration especially in the ones promising scandal and salaciousness.
I assume the same of this one, but it was nonetheless very interesting. Having been exposed to classical music from a fairly young age Not all young people's concerts are terrible, Blair!
Some of them actually do accomplish their aim of establishing a lifelong love of classical. The fact that sexual liaisons would be good for securing jobs until they backfired and became the opposite is not surprising. The fact that the classical purists would look down on those who "sell out" and join Broadway pits in order to eat is not surprising. And the fact that musicians would suffer the kind of burnout described in this book rather than living amazing, glamourous lives is also not surprising.
I don't know if Tindall felt that a straight-up memoir would be too narcissistic damn, that's a hard word to type , or if her more recent journalistic background compels her to include more hard facts but she's punctuated the book every few chapters with kind of an overview of the American classical music industry and situation as a whole, including public opinions, government opinions, funding issues, economic realities, etc.
On one hand, excellent research, and as we follow Tindall's efforts to navigate it all, it's good to have a picture of just what it is she's actually dealing with in that respect.
Every marriage we see on the show is broken. Why make art that no one wants to pay for? And irrational people are at their funniest when they insist on continuing, and when — in order to continue — they must insist that doing so is the only reasonable thing to do. In this way, the show is a comic saga about art during our austerity, about the survival and suffering of the artistic vocation in the face of the endless and remorseless de-professionalization we are experiencing, as, year after year, it gets harder and harder to make a living doing the things you love.
And so, her picture of the music industry is of a cruel loveless world, in which sex is a way to get ahead, a way to get by, and a way to fight off desperate loneliness. Sometimes these love affairs were bad, and sometimes they were good: At the time, she was quite clear that their relationship was imperfect but basically nurturing and necessary.
As with most relationships that ran their course and ended, she looks back with enough distance to criticize, but no real anger or bitterness. Once she understood how the system worked, and found a way out, she got out.
They are lifers. Hailey Rutledge has a vocation, and so does Roderigo DeSouza: Music is everything. But this is perhaps why I found the second season much less pleasurable than the first: That person is trying to exploit you. But then again, as Tindall pointed out, who would want to watch the real thing?
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