Sabrina Carnevale’s Post

Sometimes Music Reflects Society, Sometimes It Leads It! Socially driven music can be a powerful way to raise awareness and effect change in diverse, troubling issues, including Democracy, Discrimination, Climate, Mental Health, Bullying, Substance Abuse, Anti-Semitism, Equality, Homelessness, Veterans, Suicide,Terrorism, Gun Control, Women’s Productive Rights, Food and Clean Water Insecurity, Cancer and other illnesses, Animal Rights Advocacy, Environmental Justice, Oceans, LGBTQ+ rights, etc. Each of these social impact initiatives comprises a large, passionate community which includes music fans who are energized when descriptive, compelling music speaks loudly (emotionally) to them. Visceral reaction to music with a purpose can also be harnessed to influence the zeitgeist, and can be particularly effective in persuading political collaborative action and circumventing the inaction of obstructionists to the progress that the majority of us desire. Music has always been a powerful tool for social change and has proven its ability to inspire action on important issues. Today more than ever, we need non-partisan socially poignant music that moves us viscerally and implores us to join in a call-to-action. Where is this music and how do we activate it? We implore musicians, fans, brands supportive of positive social causes, as well as political entities at all levels - starting with local campaigns - to return focus on socially poignant music (metaphorical, entertaining, thought-provoking) in addition to customary themes. Let's use this universal language of music as a strategy against divisiveness while fostering collaboration towards positive change: #Music4APurpose Please sign this petition if you believe in the power of music as an instrument for positive change and want to join our proactive consortium of music creators, fans, social impact causes and supportive brands. Local emerging songwriters and music artists are encouraged to Contact Socially Driven Music with their wishlists of established music peers and causes and local politicians with whom they'd like to collaborate on furthering issues important to them. We'll get to work connecting you and ensuring that your political representatives are hearing you when you let us know who they are! https://chng.it/t2Yvzpbk9f

New Post: Live Music Experts Weigh In on DOJ’s Live Nation Suit: ‘We Have an Industry to Save’ - https://lnkd.in/gx2hRTvw - Live music experts are anticipating the antitrust lawsuit brought by the U.S. Department of Justice against Live Nation to take years to resolve, given the wide scope of the claims against the concert giant and the various stakeholders in the live music ecosystem.   Related Live Nation Hit With DOJ Antitrust Lawsuit: ‘It’s Time to Break It Up’ 05/23/2024 “It is going to take a couple of years, at least,” Lee Hepner, senior counsel of anti-monopoly group the American Economic Liberties Project, said at the NIVA 2024 conference in New Orleans on Tuesday (June 4). The conference is put on by the National Independent Venue Association, which formed in 2020 to secure federal funding from the government during the pandemic. The upside, for Hepner and other speakers on the panel called Ticket Tyranny: The Unseen Grip of Market Dominance, is the “massive potential in restructuring the industry.” Ant Taylor, founder and CEO of ticketing competitor Lyte, agreed on Tuesday saying, “Given how big the scope is, it is going to be challenging to see it through… What excites me about this moment is the opportunity we have as an ecosystem to look — not just at Live Nation — but to look at the way we do business together and the conditions in which Live Nation has thrived.”  Specifically, Taylor added, “What’s the business model of ticketing and why, for 40 years, has there been so little innovation around it?”  Ticketmaster has been a dominate force in the ticketing business for decades — its 2010 merger with Live Nation only strengthened its position in the U.S. market. The DOJ lawsuit claims that Live Nation-Ticketmaster has “unlawfully maintained monopolies in several concert promotions and primary ticketing markets and engaged in other exclusionary conduct affecting live concert venues, including arenas and amphitheaters.” A major concern for the DOJ and the group of 30 states that jointly filed the suit on May 23 is Live Nation’s “flywheel model,” which the DOJ describes as a “self-reinforcing business model that captures fees and revenue from concert fans and sponsorship, uses that revenue to lock up artists to exclusive promotion deals, and then uses its powerful cache of live content to sign venues into long term exclusive ticketing deals, thereby starting the cycle all over again.”  Unlike the consent decree that Live Nation has been under since the merger, which was designed to prevent the company from abusing its position, Kevin Erickson, director of Was

I love Frances McDormand's powerful “Inclusion Rider” speech. Her call for equality in the film industry resonates deeply and can be applied to music as well. Women composers are vastly underrepresented in concert programming and recordings, a disparity we need to address. The Annenberg Inclusion Initiative provides crucial statistics on the prevalence and portrayal of female characters in film, and here are a few that stand out: ➡️ Of the top 100 films in 2023, only 44 featured a female lead or co-lead ➡️ Across 17 years, only 6% of film directors were women ➡️ Of the 100 top-grossing films, 47 didn’t feature a single Black woman or girl speaking on screen ➡️ Very few LGBTQ, Indigenous, disabled, or Middle Eastern females are represented in film These alarming stats have parallels in the music industry, where similar disparities exist. An inclusion rider for women musicians could look like this: Representation in Performances and Recordings: ♦️ A commitment to include a minimum percentage of works by women composers in concert programs and recordings. ♦️ Ensuring that women musicians are fairly represented in all ensembles and bands, both as soloists and members. Commissioning New Works: ♦️ Allocating a portion of the budget for commissioning new works specifically from women composers. ♦️ Supporting emerging women composers through mentorship and development programs. Educational and Outreach Programs: ♦️ Developing educational programs and workshops that focus on the contributions of women in music. ♦️ Partnering with schools and community organisations to promote music education and opportunities for young women. Workplace Equality: ♦️ Establishing policies that support a safe and inclusive work environment, free from harassment and discrimination. ♦️ Providing equal opportunities for career advancement and professional development for women musicians. Monitoring and Reporting: ♦️ Setting up mechanisms to regularly review and report on the progress of gender diversity and inclusion initiatives. ♦️ Ensuring transparency in the implementation of the inclusion rider and sharing outcomes with stakeholders. Many organisations are already taking these steps, but overall, we could be doing much better. At Mirabilis Collective, we are committed to addressing this disparity in the music industry. By commissioning and performing works by women composers, we aim to amplify their voices and ensure their contributions are recognised and celebrated. __________________ I'm privileged to be the Artistic Director of Mirabilis Collective. We bring together women musicians from multiple generations to create inspiring and innovative performances. Our concerts are unique musical experiences that celebrate female artists.

As some of you may know, I started Disabled Music Fans Collective as "DisabledSOS" (pronounced disabled-sauce) in 2018, while still in high school. At the time, I was very much engrossed in 5 Seconds of Summer's fanbase, and noticed a repeating pattern: a lack of representation for their disabled fans. And though I am very grateful for everything 5SOS and their fans (special shoutout to their teams at Creative Artists Agency and 17artists) have done for this cause, it goes far beyond their reach. Ableism is an issue that needs to be addressed within the music industry as a whole. Thus, I decided to make the transition to Disabled Music Fans Collective. This title more accurately reflects how online spaces are important to the disabled community and how we can work together to ensure music is more accessible. That, and... I don't have to explain what it means anymore, haha. With this, I present to you the official branding for DMFC. My dear friend Allison Thompson has been hard at work on this, and I am so grateful for the time and care she put into the designs and making sure they met accessibility guidelines. It's far more impressive than anything I could do on my own. There's so much yet to come, and I am incredibly excited. Let's do this. Interested in getting involved? Send me a DM or email at [email protected]! #MusicIndustry #MusicBusiness #DisabilityAdvocacy #Activism #SocialImpact #Fandoms [Click on the photo to see alt text.]

Calling All Music Industry Champions and Organisations Supporting Women! The Females About Music collective started from me (Javina) and two fellow students. Creating a safe space for women to help each other in our musical careers. Whilst studying at the Academy of Contemporary Music (ACM) in Birmingham. It is our mission to empower women in music composition and disrupt gender inequality within the industry. Our Project: Not Just a One Hit Wonder Is a project idea which I came up with from being, in both professional fields, of the Music industry and advocacy for women. We want to utilise the talents of our female artists and production teams to create impactful music for campaigns, advertisements, short films, and social media initiatives. Do you stand against violence against women and girls (VAWG)? Are you an organisation committed to diversity and inclusion? If so, we want to collaborate! What We're Offering: * High-Quality, Original Music: Our collective boasts a diverse range of talented composers ready to bring your vision to life. * Sustainable Job Opportunities: We create long-term opportunities for female composers within the music industry. * Increased Visibility for Your Cause: Leverage the power of music to amplify your message and reach a wider audience. What We're Looking For: * The Opportunity to Pitch (April 1st - 25th): We'd love to present our music and discuss how it can elevate your upcoming campaigns. (Please note, there is no obligation to commit after the pitch) * Long-Term Collaboration: A chance to submit music for future projects on a regular basis. (Optional) * Performance Opportunities: We'd be thrilled to showcase our talent and raise awareness at your events. (Music, photography, presentations) (Optional) This project is part of a Master's module at ACM, fostering collaboration and preparing us to make a real impact in the industry. Ready to Champion Women in Music? Learn more about our project: Full Presentation: https://lnkd.in/e3CGmt3z Let's connect! [email protected] or alternatively [email protected] #NotJustAOneHitWonder #WomenInMusic #ACM #DiversityInMusic P.S. We are particularly interested in organisations working to combat violence against women and girls.

This review identified the contribution that First Nations’ music, arts and creative practices can make to the social emotional wellbeing of Queer First Nations Peoples https://lnkd.in/g2q4n65s

To further amplify queer voices, here are several FREE resources on queer theory in the context of music therapy. These resources encompass journal articles that delve into working with LGBTQIA+ individuals, as well as personal narratives from music therapists who identify as queer. Explore the journal articles listed below! Lesbian, Gay Bisexual, Transgender, and Questioning: Best Practices in Music Therapy (Music Therapy Perspectives, Volume 30, Issue 2, 2012, Pages 158–166) Queering the Curriculum: Why Music Therapy and Other Creative Arts Therapy Trainings Need Queer Theory (Voices, Vol. 19 No. 3 (2019): Special Issue on Queering Music Therapy) “It's Like Mixing Paint”: Songwriting Gender Diversity and Alternative Gender Cultures with Young People as an ‘After-queer’ Methodology (Voices, Vol. 19 No. 3 (2019): Special Issue on Queering Music Therapy) Sounding the Authentic Self: Artistic Expressions of a Queer Music Therapist (Voices, Vol. 19 No. 3 (2019): Special Issue on Queering Music Therapy) Paid/Account needed - Perspectives on Queer Music Therapy: A Qualitative Analysis of Music Therapists' Reactions to Radically Inclusive Practice (Journal of MT, Volume 54, Issue 4, Winter 2017) #pridemonth #lqbtqpride #musictherapy #queervoices #granitestatemusictherapy #mtresources #june #journalofmusictherapy #musictherapyperspectives #voices

New Post: Latin Artists Fuel Dramatic Growth of Spain’s Live Scene - https://lnkd.in/g8ZpZccT - Thirty-three shows by Latin artists — including Christian Nodal, Camilo, Emilia, Nicki Nicole and Eladio Carrión — are set to take place at the WiZink Center arena in Madrid this year, out of a total of 97 planned concerts. That’s triple the number of shows by Latin artists who performed at the venue in 2019. Nearby, at Santiago Bernabéu Stadium, which will soon reopen after a three-plus-year renovation, Mexican star Luis Miguel will be the first artist to play two back-to-back shows at the venue when he headlines in July. The numbers provide a glimpse of Spain’s shifting musical tastes and exploding touring market. According to the country’s Association of Musical Promoters, 2022 ticket revenue reached a record gross of 459 million euros ($492 million); the 2023 Primavera Sound festival in Barcelona drew 500,000 fans over two weekends, according to the concert promoters association. For touring in Spain, the pandemic also demarcated a distinct before and after, with Spanish-speaking acts coming from Latin America and the United States now touring in Spain more than English-speaking acts. “We could, perhaps, consider Rosalía as a precursor since she introduced and popularized internationally style that had not yet fully taken off in Spain and is now incredibly popular and growing day by day,” WiZink Center director Paz Aparicio says. Related Spain’s Music Market Is Booming As It Welcomes Latin Talent From Around The Globe 03/08/2024 Rosalía’s global appeal helped catalyze the shift, along with listeners who are now more open to music in a variety of styles beyond Spain’s long-dominant traditional pop. And Latin music’s growth in the United States — where the genre’s revenue has surpassed $1 billion with a 24% growth that outpaced the overall market, according to IFPI — has also bolstered demand overseas. “The U.S. is the country with the greatest strength and influence in the development of cultural and commercial phenomena. In fact, Spain and Europe have always looked more toward what has come from there. It has always been our main reference,” explains Alfonso Santiago, CEO of Last Tour, which promotes festivals such as Bilbao BBK Live and BIME Live. “I believe that the high number of Latinos in the U.S. is key, the fact that music in Spanish is occupying more and more space there every day is very important.” Today, Spain’s Latin touring scene is very eclectic, making the country a key market for new Latin artists. “In the past, very little Latin was produced in Spain, and programming more alternative artists was very

As we celebrate Women's Month, we spent a few minutes writing about African female artists and how they are putting Africa on global music charts, in collaboration with Spotify. Artists like award-winning Tems, Simi, Nikita Kering, Makhadzi, Yemi Alade, Asa, Kamo Mphela, Fave, Zahara, Teni, Waje, Ria Sean and many more, have not only gained global recognition by leveraging local and international collaborations, and performed on global stages, they have also amassed huge streaming numbers. It is important to continuously cast the spotlight on women and their works. Read the full essay here: https://lnkd.in/dJb2H5AQ

NEARLY ONE-FIFTH OF MUSICIANS FROM GLOBAL MAJORITY BACKGROUNDS SAID THEY COULDN’T SEE THEMSELVES IN THE MUSIC INDUSTRY IN 5 YEARS TIME We cannot let that happen. It’s time to address bullying and harassment in the UK music industry. Black Lives in Music (BLiM) are launching their #YourSafetyYourSay survey on Bullying and Harassment in the music industry. https://lnkd.in/ee_qgPxz BLiM is an organisation set up to address racial inequality in the music industry and create opportunities for Black, Asian and ethnically diverse musicians and professionals. BLiM will use the anonymous survey to collect real-world data. This will inform legislation and the work of the new Creative Industries Independent Standards Authority (CIISA) and the wider music industry. It will also be used to support BLiM’s forthcoming Anti-Racist Code of Conduct and reporting tool, which will work towards eradicating discrimination, bullying and harassment throughout the music ecosystem. Roberto Neri, CEO of The Ivors Academy, said “There is no place for bullying, harassment and discrimination in music. No one in the industry should be abusing their positions and no victims should be silenced through NDAs or fearful of the implications of speaking out. It is time that freelancers are not left vulnerable and isolated. Black Lives in Music’s research is a powerful way to give voice and drive the change that we need. I encourage everyone in music to complete the survey and take us one step closer to a fair and just industry." Complete the survey in full now. https://lnkd.in/ee_qgPxz Your answers can help us shape the music industry for the better. #YourSafetyYourSay #shareyourstory #saferspacesnow #musicindustrymatters #equality #socialjustice #diversityandinclusion #inclusionmatters #changetheworld #musicindustry #musicindustrynews