We had our moment back and forth, but I’m kinda over it. Like if you go to the 40/40 Club you’re not allowed to play Diplomat music,” the Harlem rapper alleged when he spoke with MTV News on Wednesday. There is no question, most artists associated with Jay Z’s Roc-A-Fella Records proposed–especially during the labels heyday in the early aughts when he, Dame Dash and Kareem “Biggs” Burke ran the label together. On Drake’s “Pound Cake,” Jigga took a moment to remind listeners of his golden touch and included Cam’ron and industry executive Lyor Cohen in his list of benefactors. “I’ve done made more millionaires than the lotto did,” he started before finishing. “Lyor made millions, Cam made millions.” Cam’ron doesn’t completely disagree with Jay, but on “Come and Talk To Me,” a track off of his newly released Ghetto Heaven Vol. 1 mixtape , Killa makes it clear that he earned his first seven-figures before Jay came into the picture. “We made each other millions, that was my reply/ Had a mil before I met him baby, that ain’t no lie,” he raps over a classic 1990’s Jodeci beat. “The way he worded what he worded, it made it seem like he made people money who already kinda had money,” Cam clarified, saying he simply wanted to clear the air on “Come and Talk to Me.” “I knew Jay when he didn’t have a million dollars, so I like to see his progression; I like to see the hustle. I’m happy to see somebody from the urban community that could go out and make a half-a-billion dollars.” Even when some viewed the original Jay lyric as a slight, Cam refuses to take the bait, but still he wonders why Hov is still bothered by Cam, Jim Jones, Juelz Santana and Freekey Zekey, who have made a number of rap favorites as the Diplomats. “It’s ridiculous. I got DJs who DJ in there, who are my people and you can’t play no Diplomat music in there. Will we irk you that much,” Cam says of the supposed ban in Hov’s string of 40/40 Club. “That’s the thing that make me be like, ‘Wow.’ Because I don’t care, I like it, because if I had $500,000 million nothing can make me mad.
This Canadian folk singer, who died in 2010, is the mother of musicians Rufus Wainwright and Martha Wainwright. Lian Luson, the director of “Leonard Cohen: I’m Your Man,” put together this documentary using home movie footage, family interviews, and concert footage. It includes interviews with Jimmy Fallon, Emmylou Harris, and Norah Jones. Imagine “Magical Mystery Tour Revisited” (UK 2012) all these years later! When released in 1967, the film had mostly negative reviews. How does a look at this film 46 years later affect one’s perceptions of it, and the times in which it was released? For those old enough to remember this controversy, as well as fans of the band, be sure to catch this film. It includes interviews with the remaining Beatles along with Peter Fonda, Terry Gilliam, Martin Scorsese, and others. It screens at the Mission Theater at 1624 NW Glisan on Wed, Oct. 16 at 7:00 pm. Also on Oct. 16, but at 8:00 pm, is Hitchcock’s “The Farmer’s Wife” (UK, 1928), the story of a widowed farmer who is trying to find a new wife with the help of his housekeeper. It has comical elements, but is shot as a thriller. The musical accompaniment is by Reed Wallsmith with Battle Hymns and Gardens. Like the other “Hitchcock 9,” costs are $15 for general admission or $10 for Silver Screen Club members.
What Is Classical Music’s Women Problem?
I don’t know why these numbers are like this in a generation that has reached gender parity among world-renowned soloists (certainly in the case of pianists and violinists), orchestral players (excepting such outfits as the Vienna Philharmonic ) and, I’d hazard a guess, among chamber musicians, music educators and church musicians as well. Granted, there are very few classical music journalists around anyway. But along with the audience, we are the ones perhaps best positioned to push back against the entrenched sexism in our field. A huge part of our task is to take measure of the classical music world, not just catalog whose high C’s ring the truest. As Alex Ross posted in a follow-up: “It would be more constructive for every male participant in this discussion to examine himself, his record, his biases, spoken or unspoken … Silent neglect can do just as much damage as open contempt.” And as New York’s Justin Davidson wrote yesterday, “Mantovani’s and Temirkanov’s comments should be embarrassing not just to them, but to all of us who listen to, perform, promote, and write about classical music.” I am very glad indeed to hear colleagues whose work I respect and admire so tremendously speak up. What I would add is this: I would like to hear the women in our community speak up as well, without fear of embarrassment, contempt or retribution. We find ourselves at a critical juncture, especially in terms of public perception of our field. (Want mass culture to think that we are irrelevant dinosaurs? We’re more than halfway there. When our community lags behind government , business , education and the military , that perception starts to have a tiny ring of truth.) Helpfully, one of our British colleagues another woman! named Jessica Duchen, who writes for The Independent in London, has amassed a heartening list of about 100 prominent and up-and-coming female conductors.) I used to think that creating models of female agency and self-direction via day-to-day and year-to-year work was enough: Fine art should be enough to stand for itself.