Many young people today dream of running away from home and joining a big city orchestra. They see star players like Joshua Bell and Lang Lang and imagine the classical music world is one of utmost sophistication. There is a hushed elegance to those concert halls. The debonair men in tuxedos, the women sparkling in thousand-dollar gowns. But pull back the curtain and the shocking reality is one of vicious infighting, wanton sexuality and widespread drug abuse.
This is the disturbing portrait that the new docudrama Mozart in the Jungle has revealed and many in the business are outraged. They’re not outraged at the promiscuity or the marijuana addiction. No, they’re angry because the truth about classical music has finally made national headlines.
Cultural critics have long been distracted by the loud noise of rap and heavy metal. Both impart harsh lessons to our children. Often, there is a direct connection to Satanism with these millionaire leftist performers. But critics have clearly dropped the ball when it comes to classical music. There are far too many questions that these musicians and their promoters must answer before any concerned parent continues to patronize such a murky and dangerous world.
European Indulgence for American Audiences
Interestingly enough, much classical music was written in Old Europe and is evocative of the Dark Ages. In that time, people fetishized the pomp and circumstance of royal nobility, which also happens to be the very thing that religious pilgrims rejected when they escaped to the New World to create the United States of America. The royal class has always been culturally indulgent. They never espoused the humility of Christ, but rather celebrated alcohol-drenched bacchanals with prostitutes. Many of the men were cross-dressers and their nations evolved naturally into paternalistic socialist states in our current age.
Another facet of the big city orchestra rarely mentioned is that they are not profitable enterprises. Most are perpetually bankrupt and depend on government handouts to survive. They are the antithesis of our national capitalism. In Mozart in the Jungle, the one wealthy patron keeping the concert company afloat (Edward Biben) is caricatured as a cartoonish villain. Yet it is his generosity and business acumen that is the true savior here. This critic finds it rather un-American to depict the job creator class with such slanderous intent and this is something that the producers need to rethink for future episodes.
Elsewhere in Mozart, we see rampant marijuana abuse. One of the members is an actual drug dealer (Dee Dee, played by the inimitably adorable John Miller). According to sources, this role was toned down in the editing room because of the police record of one of those funding the show. Whatever the case, it’s clear that cellists, oboists, pianists, etc. depend on a dizzying cocktail of drugs to keep their cacophony racing ahead. In fact, classical music has always mimicked the high of the speed freak. It can move too fast, too intensely for a mind more accustomed to the relevant and realistic tones of country music.
A Rhythm of Nihilism Over Faith
Listening to this genre is an isolating experience. Classical has always attracted the outsider types, the angry urban intellectual pining away his hours in a loft apartment full of ratty novels and unwashed wine glasses (depicted here by the likes of anarchist icon, Malcolm McDowell, and hipster heartthrob, Bradford Sharpe). He sits alone, ruminating on all the supposed injustices of the world. Or else, the aficionado fantasizes about Napoleon’s court and twirling about in a pompously embroidered waistcoat. These are fans with delicate sensibilities, those who listen to NPR and donate to Greenpeace. Yet no one writes classical music today. It’s a dead art. In essence, these fans are living out long past glory days. They’re not embracing the realities of our times. They’re fabulists and fakers. Again, this is in direct conflict with the reassuring patriotism of country music.
Particular outrage should be directed at the star of this program, Illuminati juggernaut Gall Garcia Bernal. This lasciviously lugubrious imp flits from one scene to the next, brutalizing the English language and flashing his long lashes at the ladies. He is trim and compact, delicate and dark, like a Heath Bar. One imagines his sweaty chest, the sculpted abs, the sharp human scent of his dirty shirts, the scruff of his beard scraping down a woman’s tender skin, his long mane of black hair, the little knotted tails he wears in later episodes, those hungry eyes ravishing you from head to toe, searching, invading, caressing your body as you resists those urgent, rising Latin charms. Does the series really need Bernal’s flagrantly pornographic subplot? Is such exotic content truly appropriate for American audiences?
Many women will take great offense at how girls are depicted on Mozart in the Jungle. Of note, Bernadette Peters, Hailey (Lola Kirke) and Cynthia (Saffron Burrows) portray females as sex-crazed predators willing to do anything to advance their careers. No attention is paid to nurturing a husband, childbearing or even marriage. No, these gals are far too busy promoting their egos to care about fundamental family values. Maybe that’s intentional. Maybe the producers decided to salt Mozart with subliminal messages of radical feminism. It is sad to see media executives fund such offensive lifestyle choices, particularly in an election year when our very best men need all the support they can get.
Ray of Hope for Family Viewers
Debra Monk may be the only thing keeping the show going for viewers like me. She is the moral center this rogue band of hedonists so desperately needs. She is strong willed and brilliant but with a true heart of gold. One wishes she had free rein to impose her high ethical standards on these leftist socialist freaks. Debra could surely whip the orchestra into shape and turn this cast of dirty-haired hipsters into the sort of classy primetime ensemble we’d expect to see on a real television network, but to do this Mozart would almost certainly need to be updated with more appealing music.
Setting the series in Nashville, in the heart of the country music scene, may be the best option. There is incredible potential here to make this show a genuine hit. The base elements need to be retooled. The soundtrack needs to be current. The drugs and hardcore sex need to go. But the basic premise of this show really does present an opportunity to explore the beautiful message of patriotism and faith in American music and celebrate all that the heartland has to offer! Hopefully, the three men behind the curtain of Mozart in the Jungle will come to realize they have a responsibility to do just that.