A farewell to our Half Access founder and an intro to our newest Board of Director members dedicated to the cause of making live music accessible.
Half Access is so excited to announce that we’re hosting a virtual summer panel series this year!! From The Crowd To The Stage: A Look At Accessibility In The Music Industry will take place the last Saturday of June, July, and August at 11am PST and cover a wide range of issues. This conversation is especially important for us to have as COVID-19 restrictions begin to lift and we see concerts coming back in the late summer and early fall. It’s crucial to keep accessibility to live music venues at the front of our minds to make sure everyone can safely enjoy their first show back.
In comparison to smaller clubs and theaters, arenas are often leading the way when it comes to accessibility. It’s often easier to find detailed accessibility information on their websites, and accessible seating options are almost always available at the point of purchase. Arenas also do a better job of accommodating as many disabilities as possible. That being said, arena accessibility is not without its flaws.
Photo by Micala Renee Austin
Our whole mission at Half Access is about informing people. We want accessibility and awareness across the country (read: whole world), and we understand that it starts at the individual level. Any charitable cause begins when someone starts informing others of injustices or needs, and all those individuals come together to make a positive change. This is the same mentality of La Dispute, a band known for their charitable work and dedication to equal rights and accessibility for everyone. Half Access has had the pleasure of working with the band throughout 2019, so we asked them a few questions about their beginnings in supporting nonprofits and their advice on how to contribute, especially within the music scene.
Josh Rosenberg, 24, graduated from UMass Lowell in spring 2017 with a bachelor’s of music in music business. This year marks the first year he has been able to work only in the festival and live music industry, specializing in accessibility, without any side jobs. He’s worked at about 20 different festivals, some just once and some each year over the past four years.