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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. --This text refers to an out of print or unavailable edition of this title.
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 façade 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 --This text refers to an out of print or unavailable edition of this title.
A very honest and informative book about the difficulities and realities of having a career and professional music. Read morePublished 4 days ago by Buzz
Reading this book makes me glad I was a mediocre flute player at best! It's a real eye opener to the classical music world, much of it sad.Published 5 days ago by Lisa Z
I chose this book purely out of random intrigue because I myself dabble in classical music on the piano. Read morePublished 8 days ago by Darcy Gaulke
I first bought this book in hard copy and decided to read it again on a trip and decided to add it to my kindle. The book is trashy and scandalous but I love reading it.Published 14 days ago by J. Baker
As she was lamenting that she had no other skills besides oboe, I kept thinking she had written a very interesting book. Read morePublished 16 days ago by Cheryl Harris
I could almost give it a 5. The book is an interesting, realistic sounding autobiography about a life most of us imagine as more refined. Read morePublished 1 month ago by A. Lawyer
Watched three times in a row, will watch again. Can't wait for the next season.Published 1 month ago by Rhonda P