Graham Casey’s Post

2024: A year of massive moves, creative flair, and, yes, a few stumbles along the way. We’ll appraise the following: - Music Industry - Film and Television Industry - Theatre and Performing Arts - Content Creators - Fashion Industry - Comedy - Tourism and Cultural Events Additionally, we will assess the contributions of the *Office of the Entertainment Ambassador* and the *Office of the Peace Ambassador*. As we deep dive today, we’ll explore this crucial question: Which sectors rose to the occasion, and which… well… dropped the mic?

New article up for my blog: highlighting the general public’s rise in what can only be described as- ‘Musical Snobbery’- give it a read here!

"____ need community, too." This is becoming a major theme for us. In this case, we are talking about musicians and music-adjacent creative folks. Writing, producing, performing, selling, distribution... all these activities can take place in solitude. But what if they didn't have to? What if you had access to other creative folks and their best ideas? That's what will happen inside The CMPND NC (The Compound) in Winston-Salem. Learn more about how they came to be and their vision for artists and those that work with them. https://hubs.ly/Q02kbNbc0 #coworkingspace #winstonsalem #musicians #indiemusic

Today, we came together to recognise the importance of checking in with each other – from staff to students, in workshops, collaborative projects, bump-outs, bump-ins, musical theatre tunes, and movement classes. We started the day with a staff morning tea and wrapped it up with a cupcake drop to our hard-working students, reminding everyone how vital it is to ask the question, RUOK? In the creative industries, storytelling is at our core. It’s not just about telling the story, but asking the right questions to ensure those stories are told with depth, understanding, and authenticity. Let's keep the conversation going – in our classroom, in our rehearsals, and on our stages. Learn more: https://ruok.org.au/

Today a client specified how much he is not going to consider a #reach of less than XX. On the order of hundreds of thousands of views, to be clear. It made me smile to think about how much this metric, reach, has changed in my lifetime. I thought back to the time when, in Naples, the #theatre show I was in had registered a sound flop. We used to spy, before going on stage, the empty stalls from backstage. There must have been no more than a dozen people sitting in the seats. A cosmic emptiness. And I remember the importance of the lesson that the director imparted to us defensively to our dismay: "You act even for a single spectator". Indeed, the shortage of audience members will require a double effort on our part, to fill the empty space. In fact, we went on stage. An inhuman effort. But I gave something more than the other performances. Today I get paid to reach millions of views. Millions. Yet that lesson has not left me. I know this because the same lines I am writing now will only be read by a handful of people. I have learned over time not to be ashamed of it but, rather, to anchor myself in the thought that even just one person might hear what I have to say. And that is never little. It should never be taken for granted. We may live in the attention economy, but going in for one person is a mindset that could keep us all afloat these days. Knowing how to value, beyond the number, the individual. And to the gift he gives us of his #listening. 

1. Imagine belting out Whitney Houston's greatest hits while embodying her electrifying stage presence in What If? the innovative musical theatre experience. 2. Dive deep into the lives and stories of iconic singers as you step into their shoes and perform their legendary songs like a seasoned pro. 3. In this production, participants become the stars of the show, weaving together a tapestry of musical biographies that will leave audiences in awe. 4. From Beyoncé's fierce empowerment anthems to Freddie Mercury's rock opera brilliance, What If? offers a stage for you to channel the essence of your favorite music legends. 5. Unleash your inner diva or rockstar as you bring to life the captivating narratives and timeless tunes that have shaped the musical landscape. 6. Get ready to sing, dance, and shine like never before in What If?, where the spotlight is on you to dazzle and enchant with the magic of musical storytelling.

If you are in Connecticut, please come experience the incredible work of this wonderful cast and creative team in our “reappropriated” version of Rodgers and Hammerstein’s SOUTH PACIFIC at Goodspeed Opera. Performances through August 11. “Between the disposables and the treasurables lies a range of works, middling to excellent, that can still be powerful despite certain problems. Often the problems arise from ways of looking at race and gender that, however progressive in their day, do not meet contemporary expectations. Who, if anyone, has the right perspective to address such works most authentically? A good answer might start with artists who represent the group that’s objectionably depicted (or gratuitously ignored) in the show itself. And though I’m not a proponent of narrow identity matching, which can shrink a capacious story to a hall of mirrors with just one person inside, I’ve seen several examples recently in which the story is instead expanded. This happens when directors and performers from the communities in question thoughtfully reappropriate material that was once appropriated from them. The “South Pacific” now playing (through Aug. 11) at Goodspeed Musicals in East Haddam, Conn., goes even further, casting a Black actor, Cameron Loyal, as Cable. Everything lands differently without changing a line. The reaction of the white Seabees to the Black officer, no less than his to them, lights up the entire racial structure of the show. Cable’s connection to and abandonment of Liat elevate and enlarge that story. As the Rodgers and Hammerstein catalog makes plain — see also “The King and I” and “Flower Drum Song” — appropriation was a goal, not a sin, in those postwar years, when finding commonalities among peoples seemed paramount. Even now, I’d argue, appropriation can be a good thing, when done with sensitivity to honor rather than commodify diverse cultural expressions.” - NYTimes

In today's #MusicalMinute, the rhythm is steady, ideas evolve and recycle, with occasional surprises. Time keeps marching forward, presenting chances to discover new perspectives and enhance understanding. What do you think? https://lnkd.in/ep6RYbf2

Regular listeners will know that these #MusicalMinutes follow a 5-day cycle. This structure ensures that when I compile the AudioReel at the end of the month, the transitions are smooth and pleasing. Whether you listen to these tracks sequentially or in cycles, both approaches showcase the progression of an idea. https://lnkd.in/eiECAAGV

Love this post from a great guy and a good friend Mostafa Zaghloul. This story is incredibly relevant to the recruitment and job market today. The "Joshua Bell Experiment" is a powerful reminder that talent, no matter how extraordinary, can go unnoticed if it's not in the right environment. In today's competitive market, it’s more important than ever for professionals to seek opportunities where their skills are valued and appreciated. As recruiters, it's our responsibility to help individuals find the roles and organizations that truly recognize their potential. Don't let your talent be lost in the wrong place—make sure you're in the right one! Awesome post!