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Mozart in the Jungle: Sex, Drugs, and Classical Music Paperback – June 8, 2006

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Product Details

  • Paperback: 336 pages
  • Publisher: Grove Press; Reprint edition (June 8, 2006)
  • Language: English
  • ISBN-10: 0802142532
  • ISBN-13: 978-0802142535
  • Product Dimensions: 1 x 5.5 x 8 inches
  • Shipping Weight: 12 ounces (View shipping rates and policies)
  • Average Customer Review: 3.4 out of 5 stars  See all reviews (105 customer reviews)
  • Amazon Best Sellers Rank: #11,897 in Books (See Top 100 in Books)

Editorial Reviews

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. --This text refers to an out of print or unavailable edition of this title.

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 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.

More About the Author

Blair Tindall

Blair Tindall enjoys a unique career as musician, storyteller, and multifaceted performer. A Grammy-nominated oboist, Tindall burst on the literary scene in 2005 with her controversial memoir, Mozart in the Jungle: Sex, Drugs, and Classical Music (Grove/Atlantic Press). The book has now been published in six languages, was recently named by the Times of London as one of the best six books ever written about music, and was cited among the top five arts stories of the year by National Public Radio. The New Republic lauded her work as "the smartest and most constructive take on the situation" of classical music today, while Entertainment Weekly's featured book review described it as "a hoity-toity version of VH1's Behind the Music." It is currently optioned by actor Jason Schwartzman for a television series.

As a musician, Tindall has played principal oboe with the New York Philharmonic, Orpheus Chamber Orchestra, and San Francisco Symphony; she presented her critically-acclaimed Carnegie Recital Hall solo debut recital in 1991 and has appeared as soloist with the San Francisco Contemporary Music Players. With skills in classical, pop, contemporary, and jazz styles, she has played the Blue Note Jazz Club with Rolling Stones drummer Charlie Watts, recorded the famous "Gentlemen Prefer Hanes" pantyhose jingle, served as contracted oboist for the Broadway productions of Les Miserables and Miss Saigon and was singled out for her solo performance by CD Review magazine on the motion picture soundtrack of Spike Lee's Malcolm X.

While seeing the world as a touring musician, Tindall developed surprising interests outside the rarified air of concert halls. She has petted sharks 100 feet underwater as a certified scuba divemaster, is NRA pistol-certified, earned a technician-class amateur radio license, and has climbed 90-foot trees with her oboe as part of the National Geographic film, Branching Out. Her thirst for communication led to Tindall to a full scholarship at Stanford University in 1999, where she earned a journalism degree, later teaching at Stanford, the University of California-Berkeley, and Mills College while continuing her musical work. After her thesis on the Vietnamese press appeared in Harvard's Nieman Reports, Tindall wrote as staff business reporter for the Hearst San Francisco Examiner, and went on to write features for The New York Times, Wall Street Journal, Agence France-Presse, and Sierra magazine.

The recipient of fellowships at The MacDowell Colony, Kimmel Harding Nelson Center for the Arts and the Ucross Foundation, Tindall is completing her first work of fiction, Greenwashed. She recently returned from Bali, Indonesia, after shooting the pilot for her travel television series, Music To My Ears: Trekking the World Music Beat With Blair Tindall. She has also created and performed a one-woman show, Symphony for the Devil in Los Angeles at the 24th Street Theater, and also appears as a motivational speaker on college campuses and corporate seminars with her signature program, Flair for Genius. She has been a voting member of the National Academy of Recording Arts and Sciences (GRAMMY) since 1997.

Tindall has played under conductors Leonard Bernstein, James Levine, Simon Rattle, Rafael Kubelik, Klaus Tennstedt, Zubin Mehta, Michael Tilson Thomas, Marin Alsop, John Nelson, Witold Lutoslawski, Julius Rudel, David Robertson, Joanne Faletta, Giuseppe Sinopoli, Pierre Boulez, Charles Dutoit, Erich Leinsdorf, Kurt Masur, Jeffrey Kahane, Robert Shaw, Leonard Slatkin, Zdenek Macal, Blanche Honneger Moyse, Pierre Boulez, Christoph von Dohnanyi, Lukas Foss, Hugh Wolff, and many others.

Customer Reviews

The author jumps around a bit chronologically, making the book a bit uneven.
Erich Beyrent
Tindall details music's place in American lives with great respect and a clear understanding of the world outside the classical bubble.
Ed Uyeshima
I'm sorry that she never realized that a lot of people (not just musicians!)

Most Helpful Customer Reviews

73 of 77 people found the following review helpful By E. Weed on March 4, 2006
Format: Hardcover Verified Purchase
As I write this, there are some 54 other reviews of this book on Amazon, some quite supportive, some vitriolic, some in-between. Ms. Tindall has clearly touched a nerve (or two) in a number of us, no doubt reflecting the importance of classical music to many of us, but also reflecting the disappointment of the realities of career-making in the field for a fair number of us that make the attempt.

I went to music school in the 70's (a few years before Tindal), but gave it up, professionally, not long thereafter. In a word, there were too many talented players, and too few jobs. But I've stayed involved with it since, and some of my closest friends are (or were) musicians.

Tindall seems to have been among that too-large group of players who were very, very good, but not so outstanding as to knock down all doors in her way. As a result, she had a tough experience. She made mistakes. She let professional relationships become personal and sexual, quickly. She engaged in a certain amount of "self-medicating" (mainly with alcohol, as far as I could tell). It took her a long time to realize that she had to pull out of a self-destructive spiral.

But then she did it, and lived to write about it. It's a very human story, and I'm glad she had the courage to tell it.

A real resonance in this book, for me, and I think for a number of others, was how deeply one can dig oneself into the notion that "I must live as an artist/bohemian," in almost complete ignorance of there being many other potentially-satisfying worlds out there. Certainly for me, giving up on the idea of living life as a musician involved many sleepless nights. Then, trying to take on the world of suits and ties and commutes downtown was like learning to live in a foreign country.
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39 of 43 people found the following review helpful By A+A on November 11, 2006
Format: Paperback Verified Purchase
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.
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20 of 21 people found the following review helpful By Joseph Klement on March 10, 2009
Format: Paperback
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.
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174 of 218 people found the following review helpful By Joseph L. Robinson on July 11, 2005
Format: Hardcover
As her teacher for eight years and in honorable fashion, I opened all the correct career doors for oboist Blair Tindall. Her self-incriminating little book reveals that she might have passed through them successfully if she had spent more time sober in the practice room and less time stoned in the bedroom.
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72 of 89 people found the following review helpful By Chris B on August 20, 2005
Format: Hardcover
This is a very dichotomous book. It's really bizarre to read a book about classical music that's been marketed primarily on its sex appeal that includes a chapter that kind of bemoans the tendency of classical labels to hype its artists based on, you guessed it, sex appeal.

I found that I was fascinated by her explanations of the classical music scene, the finances and ins and outs of Broadway v. the classical world and the very strange dichotomies inherent in a society that praises cultural awareness without doing much to support it. For that, I'm glad I read this book and would recommend it to other people.

I also really liked her descriptions of the music, the moments when she'd briefly explain the creation of a symphony or the mood of a movement that made it much more comprehensible. I loved reading about her tours and her performances. Her descriptions of pre-performance jitters were vivid and intimately familiar for me. It was a joy to find that she was able to find the words that had eluded me for so long.

But then we'd come crashing back into the autobiographical details and I'd wonder if I hadn't read this book already. But it had been about piano players and bar keepers and restaurant owners and movie stars and small town actors and cooks and clerics and a cavalcade of other extras. The only difference between this book and others stems from the fact that almost everything she talks about takes place in the world of classical music, a realm that has a cachet completely different from rock and roll or Broadway or Hollywood. There is this expectation that the orchestra is somehow presented to us without interpersonal drama or hanky panky behind the scenes, which is what initially makes this book so appealing. Sex in the percussion section?
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