{"id":3325,"date":"2023-06-21T15:06:13","date_gmt":"2023-06-21T13:06:13","guid":{"rendered":"https:\/\/www.mapamundimusica.com\/?p=3325"},"modified":"2023-06-23T14:47:49","modified_gmt":"2023-06-23T12:47:49","slug":"june-23-5-years-talk-with-daniel-rosenberg-mm-record-label-open-calls-60","status":"publish","type":"post","link":"https:\/\/www.mapamundimusica.com\/en\/newsletter\/june-23-5-years-talk-with-daniel-rosenberg-mm-record-label-open-calls-60\/","title":{"rendered":"June 23. 5 years! Talk with Daniel Rosenberg, MM record label, open calls… #60"},"content":{"rendered":"

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Summary\u00a0\ud83d\udc47<\/strong><\/span>\u00a0<\/span><\/h2>\n
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Editorial: 5 years\u00a05\ufe0f\u20e3\u00a0of this monthly window to the community, a deeper vision, other worlds inside our world<\/span><\/p>\n

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Talk with Daniel Rosenberg, about the purpose of his work and a relevant issue in the field of world music<\/span><\/p>\n

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New record label:\u00a0Mapamundi M\u00fasica Records\u00a0\ud83e\udd73<\/span><\/p>\n

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Brief news from the\u00a0media, charts and sister projects<\/span><\/p>\n

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More updates on the\u00a0European Folk Day: map and events database, ready!\u00a0<\/span><\/p>\n<\/div>\n

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Open calls\u00a0and more news from professional events\u00a0\ud83d\udcbc Two French proposals and some reflections<\/span><\/p>\n

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Reminder:\u00a0Mapamundi M\u00fasica, in charge of the Spanish participation as partnering country in the Czech Music Crossroads – Vig\u00fcela, Xurxo Fernandes and Xabi Aburruzaga<\/span>
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\nmy agenda for the next months\u00a0<\/span><\/p>\n<\/div>\n

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Meet me at\u00a0\u2708\ufe0f<\/span><\/div>\n
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\u27a1\ufe0f This is the link for subscription<\/a><\/strong><\/span><\/div>\n
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Dear friend, <\/strong>how are you?<\/strong><\/div>\n
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I am well and also full of very diverse emotions. This is the 60th edition of this newsletter and 5 years since I started this initiative.\u00a0Here is the first edition<\/a>. At that time Sherezade was with me. I have already explained that the pandemic made me unable to keep her as an employee. I have not recovered her. She found another job and is doing well. Although we are still in regular contact and she collaborates with me on some occasions. I think that all that took away a part of innocence and brought a part of temperance and experience.I know that during these 5 years I have learned a lot. My world is now much bigger and I feel that I perceive deeper and deeper layers of reality. Maybe it happens to everyone as time goes by. I feel that it happens to me thanks to being exposed to so many human realities.<\/p>\n

Regarding this topic of layers, lately I have been reflecting on all the content that the musics I work with contain, on the relationship between the aesthetic pleasure they produce and the whole load of history and worldviews that go with them. Approaching these musics confronts you with an unfathomable universe that can give you vertigo…\u00a0The other day I was at the presentation of the concert season of an important public organization of reference in Spain, dedicated above all to classical music, with some nods to other types (mainly jazz and flamenco). I couldn’t help but think that their world was smaller. The other day at the gym, a classic rock playlist was playing on the background music system\u00a0and Cream’s\u00a0Sunshine Of Your Love<\/em>, a song that I love, was included. I posted about that on my Instagram and tagged the gym. They responded by thanking me for the mention and saying that you had to hear “everything”. Holy cow. That “everything” means current Anglo pop hits, urban Latin music and, rarely, an hits of the rock of some decades ago.\u00a0The truth is, I don’t know if anything has changed in the past five years regarding all of this. I don’t believe we are better off. Further down, I talk about the European Folk Day. It relates to this reflection.<\/p>\n

I also reflect a lot lately on how there are other worlds outside of the one we tend to see in our realm of world music.\u00a0In fact, taking action to address this situation fueled the creation of the Transglobal World Music Chart (if you’re not familiar with it, visit\u00a0the website<\/a>) already in 2015.\u00a0This is a topic I discussed with Dan\u00a0Rosenberg recently when we met in Madrid for Silent Tears’ performance. Below you’ll find the conversation with him.\u00a0I was lucky to spend a couple of moments with him and I made him a little interview just before the concert.<\/p>\n

A couple of weeks ago, a contact from another continent was asking on Facebook for professional opinions on showcases. Obviously the issue of the barrier of access to artists without an organization behind them that can cover the costs of travelling to play for free is a very clear problem of showcase festivals. This situation is obvious for artists like the Kurds, many minorities in China, such as the Uighurs or\u00a0many minorities from republics of the Russian Federation. And, of course, countries without structures such as culture export offices or an industry with an international vision. For instance, what happens in Paraguay regarding music? I wondered about this with my friend Fernando Mart\u00ednez, the director of the radio show\u00a0Tr\u00e1fico de Tarareos<\/a>, a few days ago.<\/p>\n

This topic of the support to the artists from the showcases festivals briefly came up in the conversation with Peter Dimitrov regarding the new showcase associated with the Bulgarian festival A To Jazz. That edition is\u00a0here<\/a>. It also came up in the conversation with Andrea del Favero regarding the new showcase associated with the Italian festival Folkest. That edition is\u00a0here<\/a>. By the way, the Folkest is taking place now and the showcase will happens next week, between 30th of June and 2nd of July.\u00a0I want to send a warm greeting to Piero Cremaschi! I hope it is a great success!\u00a0Both of these showcases provide financial support to artists. In fact, many of them do. These two are part of\u00a0Upbeat Platform<\/a>, which is co-funded by the European Union. Other showcase or mixed festivals, such as Fira-B or the Fira Mediterr\u00e0nia de Manresa, that are not part of this platform,\u00a0also provide significant support to artists.<\/p>\n

This issue touches me very closely now that I work with Ali Do\u011fan G\u00f6n\u00fclta\u015f shoulder to shoulder because\u00a0there isn’t an organization beyond myself that supports him to do something like going to perform in\u00a0a showcase festival that would not give any support for the expenses.\u00a0The organizations that could provide support to me as a Spanish company would only do so for Spanish artists, not for someone with a Turkish passport.<\/p>\n

I wonder, how many Ali’s are there in the world, capable of conveying something so profound and beautiful, to whom providence will not lead to finding someone who helps them transcend their borders? Last week I\u00a0discovered that Dan Rosenberg also asks himself these kinds of questions. I loved it.\u00a0I know there are many more of us.<\/p>\n<\/div>\n

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I feel very blessed. Last week, the day before the concert, we met for dinner. In the photo, from left to right, we have Kiko Helguera, journalist from Radio 3-RNE, and his partner Tina, the Czech-Canadian singer and songwriter Lenka Lichtenberg, Juan Antonio V\u00e1zquez, myself, and Daniel Rosenberg.\u00a0Such moments are precious.<\/strong><\/p>\n

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But another issue to consider, maybe not so obvious, that happens even in environments with more advantages\u00a0is the fact that artists who do have such support, they have to fit the criteria, be from the social circle or be somehow aligned with the goals of that entity that gives the support. This sometimes favors artists who are well positioned in their own territory\u00a0but who perhaps now are not the most interesting (neither in commercial nor in artistic terms) to occupy a space as limited as the one that is being given in the showcases festivals for the international circuit.<\/p>\n

I am extending myself so much in this editorial that, either I stop or I make an article itself with these reflections. Well, I choose the first option. I’ll conclude here and without further ado, I’ll proceed with the conversation with Dan. I hope you find it as interesting as I do.<\/p>\n<\/div>\n

Remember: if you have any news of interest for our community, let me know. Thank you very much for your attention.<\/strong><\/div>\n
Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82<\/strong><\/div>\n
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AND NOW THE FLOOR IS FOR:\u00a0 <\/span><\/strong>DANIEL ROSENBERG<\/span><\/strong><\/h1>\n

While you read, listen to the album Silent Tears, produced by Dan, here<\/a>\u00a0<\/strong><\/span>\ud83c\udfa7<\/span><\/p>\n

<\/strong><\/span>I usually include the person’s name followed by the entity they represent or work for. In Dan’s case, his name alone is sufficient. It’s challenging to define him with just one concept or brand attached to his name.<\/strong><\/p>\n

On his website there is a phrase that is specially enlightening:<\/p>\n

“One thing that often frustrated me though, was that I was heading to the far corners of the earth, and reporting about music that very few readers and listeners had access to.\u00a0After each radio show, I’d get lots of calls and emails asking, “How do I get a recording of that song you played on the show?” I would have to explain that ordering a copy through the mail from the artist who lived in a village 8000 miles away wasn’t very realistic. So, I approached a number of record labels about releasing CDs from artists I met on my travels<\/em>.”<\/p>\n

I think this will give us a good understanding of the following.\u00a0According to\u00a0his own website<\/a>, he is a “Producer \/ Arts Journalist \/ Publicist-Media Relations”.<\/strong><\/p>\n

He has been the compiler of many “Rough Guides<\/a>,” the compilation series published by World Music Network. He has been involved in radio for decades, and currently hosts the program “Cafe International<\/a>“. He has developed concepts and brought together the resources and the people for projects like\u00a0Yiddish Glory, the Lost Songs of World War II<\/a>\u00a0and\u00a0Silent Tears, the Last Yiddish Tango<\/a>.<\/p>\n

Dan has\u00a0his own website<\/a>, that you can visit to learn more.<\/p>\n

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Mapamundi M\u00fasica: What is the purpose of you when doing all these things related to music?<\/strong><\/p>\n

Dan Rosenberg:\u00a0<\/strong>Oh, we have an open-ended question. And it’s a good question. You know a lot of the projects I’m involved with are in Jewish music although not all of them are. And someone asked me recently like \u201chow did you become so interested in Jewish music to do projects like this\u201d. And I said, well, you know, ironically, it’s not what you would think that I saw some Jewish concert when I was a child… I\u2019ve been more motivated by people like Oumou Sangare and Calypso Rose, Fatoumata Diawara\u2026 who would see a problem in the world and want to bring attention to it through their art. And Calypso Rose did an amazing song about how women who worked as domestic servants were underpaid and essentially modern slaves in some countries. Or Oumou Sangare about women’s rights in Mali. And also, Fatoumata Diawara. And I found that so inspiring because in a way when artists can shine a light on a problem it brings that problem to attention and maybe some change can come of it. And in Trinidad the minimum wage was raised after Calypso Rose’s song which to me is like incredible: you are bringing attention through your music and now people are in less poverty at least.<\/p>\n\n\n\n
The song\u00a0No Madame<\/em>\u00a0was originally included in the album by Calypso Rose released in 1971,\u00a0<\/span>Calypso Queen of the World<\/a><\/strong><\/em>. I haven’t found that version. She included the song again in the album of 2016\u00a0<\/span>Far From Home<\/a><\/em><\/span>. This song created a public conversation that\u00a0led her home country’s government to create legislation supporting rights for domestic workers.<\/span>