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ABLE Voices Ep 72: Colin Farish
11 Plays10 months ago
We are inviting disabled artists and arts educators to be guests and guest hosts on ABLE Voices. Today's guest host is Rivky Grossman. Rivky’s musical career took off last year, with the writing and recording of her first Album-EP, Angel Sings the Blues. Raised in Brooklyn, New York, Rivky's music combines unique beat structure, a folksy blues style, and the influence of her Hassidic culture upbringing. Rivky's work has been compared to Jacques Brel, Laura Nyro, Billy Joel, Sara McLachlan, and early Regina Spektor. A self-taught musician, Rivky lives with Schizo-affective disorder, which, she says, plays like a fuzzy, backdrop hum in her day to day routine and ignites her creative spark. Today, Rivky will be speaking with Colin Farish.
Colin Farish is a multi-faceted musician who grew up in a world of sound and started playing the piano at age three. For him, “active listening reveals unfolding moments of silence and sound, playing with the dynamics between the two is my inspiration for creating music.” Colin is primarily a solo pianist and composer in the jazz and classical genres. He is also an accomplished acoustic guitarist and producer of world music and musical theater. Colin works in multiple genres, formats and styles, from soundtracks for award winning documentary films to original music for dance productions; from song-writing to live performances and recordings with Grammy winning musicians. He enjoys composing for both small and large ensembles, especially chamber jazz. His songwriting also embraces political satire, humor, and spiritual philosophy as elements of musical theater.
The ABLE Voices podcast is produced and edited by BIAAE Operations Coordinator, Daniel Martinez del Campo. The introduction music was written by Kai Levin and the ending song was written by Sebastian Batista. Kai and Sebastian are students in the Arts Education Programs at the Berklee Institute for Accessible Arts Education.
For more information about our programs visit us at https://college.berklee.edu/BIAAE
Follow us for more weekly updates at:
Instagram: @BIAAE
Facebook: https://www.facebook.com/BIAAE
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Transcript
Introduction to Able Voices Podcast
00:00:07
Speaker
Hello everyone and welcome to the Able Voices Podcast.
00:00:17
Speaker
I'm Dr. Rhoda Bernard, founding managing director of the Berklee Institute for Accessible Arts Education and the assistant chair of the Music Education Department at Berklee College of Music.
Guest Host Rivki Grossman
00:00:28
Speaker
And I am proud to present this podcast featuring disabled artists and arts educators.
00:00:34
Speaker
We are inviting artists with disabilities to be guest hosts for the Able Voices podcast.
00:00:39
Speaker
Today's guest host is Rivki Grossman.
00:00:42
Speaker
Rivki is a New York City based singer songwriter, recipient of the New York Arts Grant,
00:00:48
Speaker
has been nominated for the IMEA Awards and has been selected for the New York Musical Theater's top female finalists in 2022.
00:00:58
Speaker
Her song, Hear Me Honey, was produced by Grammy-winning Amy Lee of Evanescence.
00:01:05
Speaker
Rivki's music has appeared on PBS's Mysteries of Mental Illness.
00:01:10
Speaker
Her career jump-started composing for Off-Broadway, meeting her friend and cellist Brian Saunders, releasing their first album, inviting them to the Kennedy Center, and stages featuring Suzanne Vega.
00:01:24
Speaker
Other projects include co-creating a musical currently in development with playwright Vincent Grappelli.
00:01:30
Speaker
Rivki currently hosts Melody Left Behind, celebrating performers living with schizophrenia, psychosis,
00:01:38
Speaker
autism and those who experience the stage just a little differently, pushing the boundary to welcome more neurodiverse inclusion on mainstream music stages, which often doesn't exist for a unique artist.
00:01:55
Speaker
Hi there,
Meet Colin Farish
00:01:56
Speaker
everyone.
00:01:56
Speaker
Welcome to the Able Voices Podcast.
00:01:59
Speaker
I'm your guest host today, and my name is Rivki.
00:02:02
Speaker
My pronouns are she, they, I'm queer, non-binary, light-skinned with auburn short hair, beautifully flabby around my tummy and hips.
00:02:10
Speaker
And thank you so much for joining us as we continue to celebrate and spotlight disabled artists.
00:02:16
Speaker
I'm a disabled artist myself, and I'll be speaking with disabled artists
00:02:20
Speaker
And today on our segment, I'll be introducing you to Colin Farish.
00:02:24
Speaker
Colin Farish was born March 15th, 1961.
00:02:28
Speaker
From a very young age, Colin started imitating whatever he heard by playing the piano by ear.
00:02:33
Speaker
At age four, he began lessons with jazz pianist Fred Bergen.
00:02:37
Speaker
He was especially drawn to the music of Brazil.
00:02:39
Speaker
And from age four to nine, he performed up and down the coast of California and in the islands of Hawaii.
00:02:45
Speaker
both on solo piano and accompanying his father, Warren Douglas Dent, a talented baritone.
00:02:51
Speaker
Colin is primarily a solo pianist and composer in the jazz and classical genres.
00:02:57
Speaker
He is also an accomplished acoustic guitarist and producer of world music and musical theater.
00:03:02
Speaker
Colin works in multiple genres, formats, and styles, from soundtracks for award-winning documentary films to original music for dance productions, from songwriting to live performances and recordings with Grammy-winning musicians.
00:03:15
Speaker
He enjoys composing for both small and large ensembles, especially chamber jazz.
00:03:21
Speaker
His songwriting also embraces political satire, humor, and spiritual philosophy as elements of musical theater.
00:03:28
Speaker
In 2007, he was awarded an orchestral commission celebrating the Aga Khan's North American Visit, Coyote Jump from Canyon Records, won a Native American Music Award in 2012.
00:03:42
Speaker
Colin, hi, welcome to our show.
00:03:45
Speaker
We're so glad to have you.
00:03:46
Speaker
Oh, so happy to be here.
00:03:48
Speaker
Thank you.
00:03:49
Speaker
Yeah.
00:03:50
Speaker
So tell us a bit about how you got your start.
00:03:52
Speaker
How did you get to where you are today?
Colin's Early Musical Influences
00:03:56
Speaker
Of course.
00:03:56
Speaker
Well, first I will for our viewers describe myself as the 63 year old.
00:04:03
Speaker
I think I'm more pink than white, but kind of thinning and
00:04:08
Speaker
in relatively good shape from swimming, but definitely slowing down white male in Mill Valley, California.
00:04:17
Speaker
And yes, oh gosh, my start.
00:04:19
Speaker
My start was just, I felt so inspired by sound in general.
00:04:24
Speaker
And my mom used to tease me because my first language was onomatopoetic.
00:04:30
Speaker
Anything that made a sound, I would emulate.
00:04:34
Speaker
So when I peed, it was oh, oh, oh, oh.
00:04:41
Speaker
There was a lot of sound and sound was so intriguing and the birds and everything.
00:04:47
Speaker
So I, I've just loved living in a world of sound my whole life.
00:04:50
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And I I've loved how listening and extending and listening brings you into the world and into the, and brings the world into you in this very profound way.
00:05:04
Speaker
So sound and music have been a,
00:05:07
Speaker
continue to be a deep part of my life.
00:05:11
Speaker
Do you have any particular early musical influences that helped shape your music?
00:05:18
Speaker
Yeah, well, so I had a big... I mean, yeah, I saw something about you being inspired from Brazilian music, right?
00:05:25
Speaker
Yes, well, that was when I, I guess it was in maybe 1967, so I must have been six then, when Stan Getz did all the Jobim songs
00:05:37
Speaker
recordings.
00:05:38
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And that just blew my mind.
00:05:40
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That just gave me a swivel in my hips.
00:05:42
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And of course, all the adults in the 60s loved to hear it.
00:05:46
Speaker
And my dad would sing it.
00:05:49
Speaker
And everything from kind of the well-known Ipanema to Quiet Nights and Quiet Stars.
00:05:56
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And just that whole album was such a mind blower.
00:05:59
Speaker
But early on, it was like so many kids being imprinted by the
00:06:05
Speaker
the orchestral music from Disney's films.
00:06:09
Speaker
And then also, you know, I was right in the heyday of the Beatles.
00:06:14
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And so when I discovered the Beatles, I put, you know, when the White Album came out, I put their pictures above my head.
00:06:24
Speaker
I just loved listening to all the records.
00:06:26
Speaker
And I think the Monkees were kind of a gateway to the Beatles.
00:06:31
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I loved, they had the TV show back then.
00:06:34
Speaker
And then, of course, Cream.
00:06:39
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But it was Blood, Sweat, and Tears with the horn section, and then later Chicago.
00:06:43
Speaker
because I felt like those were pop art bands that incorporated horn sections and started to flesh it out more orchestrally.
00:06:53
Speaker
And those were especially intriguing to me.
00:06:55
Speaker
And that's also why I love the Beatles and all George Martin's production.
00:07:00
Speaker
Wow.
00:07:00
Speaker
You started so young too, right?
00:07:02
Speaker
Did you say like six years old and...
00:07:05
Speaker
You traveled like the coast of California and probably other places, I think, with your dad, right?
Challenges and Self-Directed Learning
00:07:11
Speaker
I did.
00:07:11
Speaker
My dad was such a great singer.
00:07:13
Speaker
And, you know, there was music in our household and they had parties.
00:07:18
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And that's where I met Fred Berg and my first piano key play.
00:07:21
Speaker
And so I would just sit or stand, I was short, next to the keyboard.
00:07:28
Speaker
And I was monkey see, monkey do.
00:07:30
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I just wanted to learn everything.
00:07:31
Speaker
And he was so generous and would slow things down.
00:07:34
Speaker
And he really got me from, I don't know, maybe
00:07:38
Speaker
from four and five were getting independence in my left hand.
00:07:43
Speaker
So I could do these kind of Austin auto figures or boogie woogie or whatever it was, and then play melodies in my right hand.
00:07:51
Speaker
So, you know, that, that,
00:07:54
Speaker
enabled me to, from a pretty young age, start to play some of the great music of the day that I love so much.
00:08:02
Speaker
Cole Porter that my dad would sing and then Gershwin, which was such a revelation.
00:08:08
Speaker
I mean, the first time I heard Rhapsody in Blue, I thought that was the most
00:08:11
Speaker
beautiful piece of music I'd ever heard.
00:08:14
Speaker
And so, but by then I was maybe 11 and then I, I worked, I went to the library and just listened to Rhapsody in Blue over and over again and would go home and try to pick things out on it.
00:08:26
Speaker
And, and I learned it by ear also with some help of music teachers, but that, that piece had been, you know, became such a part of my DNA.
00:08:38
Speaker
And then, of course, Richard Rogers, all his musicals and Slaughter on 10th Avenue.
00:08:44
Speaker
It was a very orchestral way of playing the piano.
00:08:47
Speaker
It was where you had a lot of stuff going on in both hands.
00:08:52
Speaker
And then I think one of my greatest epiphanies as a teenager, I must have been maybe 15,
00:08:58
Speaker
was the first time I heard Keith Jarrett.
00:09:01
Speaker
And he had so much freedom in his playing.
00:09:05
Speaker
And I felt like for the first time in my life, I recognized the potential to have that sort of musical freedom and spontaneity.
00:09:17
Speaker
And that set my compass that I'm still to this day really delving into.
00:09:26
Speaker
There's a really cool website, keithjarrett.org.
00:09:31
Speaker
A lot of people have posted great transcriptions that they've done of his spontaneous compositions.
00:09:38
Speaker
Yeah.
00:09:39
Speaker
And then also there's a great German transcriber, Huey Karcher, who's done a lot.
00:09:45
Speaker
And so there's almost like a support group of people that are great appreciators of Keith Jarrett's 40 years of recordings.
00:09:54
Speaker
And I still wake up in the morning.
00:09:58
Speaker
I'm so excited to go and try to learn and just drink in some more of these prodigious recordings
00:10:07
Speaker
performances of Keith's.
00:10:10
Speaker
That's incredible.
00:10:11
Speaker
I mean, I can hear the appreciation and the delight in your voice.
00:10:15
Speaker
And it's kind of incredible,
Spontaneity in Composition
00:10:17
Speaker
right?
00:10:17
Speaker
Like you started so young, and you had such a plethora of like musical knowledge.
00:10:24
Speaker
And you still have this kind of delight.
00:10:28
Speaker
And you, it's incredible.
00:10:33
Speaker
Yeah.
00:10:34
Speaker
It just sounds like, you know, you have such a wide knowledge of music from such a young age, even before you attended any arts education.
00:10:46
Speaker
Right.
00:10:46
Speaker
And then you went to school and then, right.
00:10:49
Speaker
Like took on even more.
00:10:51
Speaker
Right.
00:10:52
Speaker
It said that you, I read that you studied classical music at the Music Academy of the West in Santa Barbara.
00:11:01
Speaker
Right.
00:11:01
Speaker
Well, you know, it was, I had grown up with so much freedom in music and playing by ear that when I went to the more traditional ways of learning, I
00:11:13
Speaker
I used to joke with my friends, it felt like we were being classically chained.
00:11:18
Speaker
It felt like a reducing to...
00:11:25
Speaker
read the note on the page and play it.
00:11:27
Speaker
And then it was, of course, it was just a marvelous way to be able to play complex music with a lot of other people.
00:11:34
Speaker
But I felt- I've never heard that before.
00:11:36
Speaker
Instead of classically trained, you were classically chained.
00:11:41
Speaker
Anyway, sorry, go ahead.
00:11:43
Speaker
I broke out of my change.
00:11:44
Speaker
I felt like my whole life, I have really played more like a blind musician in the sense of just
00:11:53
Speaker
you know, it's such a hearing art that making it just so all about listening and also having the familiarity with playing the piano and other instruments and being able to just close my eyes and play and tune into the listening field or the space that we are all participating in, co-creating in together.
00:12:17
Speaker
And so I felt like I wasn't so interested in
00:12:22
Speaker
going down that very rigorous, which I have great appreciation for, path of classical training, classical chaining, because I felt like it was so much more inspiring and fulfilling for me to be together with other musicians that shared a similar passion for spontaneous composition and listening deeply,
00:12:51
Speaker
to letting things emerge from that listening space.
00:12:54
Speaker
Yeah.
00:12:55
Speaker
It sounds almost like that was a meditation in itself for you to have that freedom to play.
00:13:01
Speaker
What was your first album like?
00:13:04
Speaker
Like what genre?
00:13:07
Speaker
I was invited at 15 to play on, uh, Paul Cypress's album.
00:13:12
Speaker
He's a Czechoslovakian guitarist and classical guitarist.
00:13:16
Speaker
And so I, um, I, I was thrilled to, that was my first time to go in the studio and playing the piano.
00:13:24
Speaker
And I also just had got the poly Moog, which was the first polyphonic, uh, Moog synthesizer.
00:13:31
Speaker
So you could actually hit some, uh,
00:13:34
Speaker
chords, you know, tents and voicings.
00:13:36
Speaker
And so everybody was sort of really thrilled about that.
00:13:41
Speaker
But I really was the most keen on being able to contribute piano tracks to it.
00:13:47
Speaker
In the end, I think they only used the ball-emote tracks, but it was a big seller in Czechoslovakia back in 76.
00:13:55
Speaker
That's pretty cool.
00:13:57
Speaker
I mean, at 15, hey.
00:13:59
Speaker
I know, I know.
00:14:01
Speaker
But I was a little let down they didn't use my piano parts.
00:14:05
Speaker
But I think, you know, in retrospect, it was all about the guitarist.
00:14:11
Speaker
And I think he just wanted to show him off, which I understood.
00:14:16
Speaker
Right, right, right.
00:14:17
Speaker
So your first love is piano, even though you play a number of instruments, right?
00:14:24
Speaker
Yes, that was my first instrument I started playing really at three.
00:14:27
Speaker
My mom said before I could walk and I started picking melodies out on the piano.
00:14:33
Speaker
And that's a funny story too, because I couldn't get everything because I thought there were only white notes because my hands were small.
00:14:42
Speaker
And it wasn't until somebody showed me that there were actually black notes that that was my first big blow my mind epiphany.
00:14:51
Speaker
And, and then that made it possible to pick out more melodies.
00:14:55
Speaker
I mean, that's pretty cool.
00:14:56
Speaker
There are certain cultures that, you know, have particular, like don't even have right.
00:15:00
Speaker
Like particularly the black notes.
00:15:03
Speaker
I mean, I can't really think of it.
00:15:05
Speaker
Well, exactly the modal music in, in, you know, when I moved to India, when I went to India in 1979, that's right for a three year period.
00:15:16
Speaker
Right.
00:15:17
Speaker
And yes, total immersion.
00:15:19
Speaker
Yes, and learning Indian music, the sitar and the ragas and the talas.
00:15:25
Speaker
And I love that, too, because that was so spontaneous.
00:15:30
Speaker
It was like a little form went a long way, but it became a vehicle for great spontaneous music creating music.
00:15:42
Speaker
Specific for even times of day.
00:15:44
Speaker
So there was like Raugus for the morning and the afternoon and the evening.
00:15:47
Speaker
The very sophisticated, taller rhythms, you know, the first time I was really hearing, I heard take five from Dave Brubach back, so I knew there were some other time signatures, but not like sevens, thirteens, seventeens, you know, it's like not these like super sophisticated rhythms.
00:16:07
Speaker
unfurling rhythmic patterns.
00:16:10
Speaker
So I felt like really that my time in India, I did a lot of listening, you know, because, and then also started to plink around on the sitar.
00:16:21
Speaker
But it wasn't until later when I came back to California that did I really put more energy into learning the sitar from Ashwan Batish and from Ali Akbar Khan.
00:16:32
Speaker
Wow, wow.
00:16:33
Speaker
Do you think that maybe you took some of the
00:16:36
Speaker
that knowledge that you had from the sitar and applied it to the piano, like similarly to the way in which you played as a kid with those white piano notes, right?
00:16:45
Speaker
Like fast forward and like, look, there you were.
00:16:49
Speaker
Exactly.
00:16:50
Speaker
It's just inspiring just to broaden our musical horizons.
00:16:57
Speaker
You know, there's just, and I think that that is, was my, is my advice.
00:17:03
Speaker
Um,
00:17:03
Speaker
that I give to younger students and things is, you know, they say, well, what should I practice?
00:17:10
Speaker
I say, you just play what you love.
00:17:13
Speaker
If you really love something, you're going to practice and play it and learn it.
00:17:18
Speaker
You know, so it's like gravitate towards that, which you are most passionate about.
00:17:22
Speaker
You know, it's like music is such an enormous, out of grasp of the mind, enormous world of possibility.
00:17:31
Speaker
And so, you know, to be able to find,
00:17:35
Speaker
and express our own uniqueness of what we are the most fulfilled and inspired to do, it is really, I feel like the most meaningful.
00:17:46
Speaker
And this is where I think the classically chained world, you know, there is an inherent kind of destructive comparison that happens where, you know, like,
00:17:57
Speaker
And I participated in these, or music competitions where all these people are gonna play these etudes or concerti, and you're gonna compare and you're gonna say, that person's the best.
00:18:10
Speaker
So it's like we're trying to fit ourselves into this illustrious tradition of profound inspiration in music, but it's not for everybody.
00:18:22
Speaker
It's like some people can gravitate towards it just very naturally and have no problem.
Living with a Disability
00:18:30
Speaker
navigating that.
00:18:30
Speaker
Others, you know, this is where my disability, I have a CMT, which is one of the 43 MDA diseases.
00:18:39
Speaker
It's a peripheral neuropathy.
00:18:40
Speaker
It's a slow progressor, comes on at adolescence.
00:18:44
Speaker
But it definitely affects, for me, mainly my feet and where I wear leg braces and just have some
00:18:53
Speaker
referred pain, but it also can affect your hands and less so because I'm using my hands so much, but I have lost some muscle mass.
00:19:01
Speaker
And even back then, I realized that, you know, some of these
00:19:07
Speaker
really intensely complicated classical pieces were not the best for me to try to fit my hands to try to play them.
00:19:16
Speaker
It was better for me to be more of a composer and find and discover what fit my hands and my heart the most to express them.
00:19:31
Speaker
Yeah, you actually, yeah, you led me right into that, the question I was about to ask you, which you partly just answered.
00:19:38
Speaker
I was going to ask you, you know, how were your experiences and are your experiences with, as a person with a disability?
00:19:45
Speaker
And it sounds like it's kind of shaped your music as it progressed.
00:19:50
Speaker
Yeah.
00:19:51
Speaker
Yes, you know, I think that it was something we talked about when just in our
00:19:58
Speaker
pre-podcast conversation about how important it is to be so gentle and befriending of yourself at every stage of your life.
00:20:10
Speaker
Because, you know, there is such a, sadly, a common kind of self-judgment in
00:20:20
Speaker
And as I say, destructive comparison where we're comparing ourselves with others and then we put ourselves down, which is this diminishing and withdrawing and contracting.
00:20:32
Speaker
And that is so counterproductive to enjoying our life and to really having every possible moment that we're in this body on this earth as fulfilling and joyful as possible.
00:20:48
Speaker
And so often we...
00:20:50
Speaker
you know, we are really doing this to ourselves.
00:20:53
Speaker
I like that saying that really one of the arts of living is to quit seeing what's not there and to see what is really there, you know, and I, and for me with the disability, that has been the great blessing in disguise is that I felt like you found your strength in it as it has gotten progressively worse.
00:21:19
Speaker
Um,
00:21:20
Speaker
I feel like my interiority, my inner world has opened up and been more expansive.
00:21:28
Speaker
And I've felt this greater sense of not only compassion for myself, but compassion for everyone, because we're all in the same boat.
00:21:37
Speaker
Some of us might just have a
00:21:40
Speaker
our expiration date might be sooner than others for either physical or just our whole bodies.
00:21:48
Speaker
I love that saying.
00:21:48
Speaker
In fact, well, I put it in one of my songs that if it's possible to live each day as if it's our first full of wonder and our last full of gratitude.
00:22:02
Speaker
Yeah.
00:22:03
Speaker
So we're going to listen to a clip from one of your songs.
00:22:07
Speaker
Can you tell us a little bit about it?
00:22:10
Speaker
Sure.
00:22:11
Speaker
It was a concert, a solo piano concert I gave in Golden Gate Park in San Francisco in September.
00:22:19
Speaker
And, and yeah, it's a good segue.
00:22:23
Speaker
I'm trying to figure out what to entitle it, but I think I may just call it overflowing gratitude.
00:22:31
Speaker
So yeah.
00:22:32
Speaker
Yeah.
00:22:33
Speaker
I got to listen to a little bit of it.
00:22:35
Speaker
Oh my gosh.
00:22:36
Speaker
Oh, it's yeah.
00:22:38
Speaker
You can explain it, but I felt so calm after I listened to it.
00:22:44
Speaker
I felt like I was in a spiritually awakened space, but really peaceful.
00:22:49
Speaker
Thank you.
00:22:50
Speaker
It was such a beautiful day in Golden Gate Park, and the sun was out.
00:22:55
Speaker
It wasn't too cold.
00:22:57
Speaker
I never know about those gigs when they put a big piano out in the botanical garden, because if it's too cold, then you can still play, but everything gets really slow.
00:23:07
Speaker
Yes, yes, yes.
00:23:09
Speaker
But wow, what a treat to play there.
00:23:11
Speaker
It was really fun.
00:24:22
Speaker
Colin, are you currently working on any projects or has there been something especially meaningful for you recently?
00:24:29
Speaker
Yes.
00:24:29
Speaker
So during the flower piano,
00:24:33
Speaker
event concert event that lasted about 10 days, my dear Brazilian pianist friend, Jasnam Dias Singh, who's been nominated for a Grammy, he came down and we recorded some two piano recordings with a great Shakuhachi player and also a sax player.
00:24:51
Speaker
And so we, I have, um, two albums that I've done with him of my compositions in one solo one that, um,
00:25:01
Speaker
Some of, I'm not sure which ones yet, but some of them will be coming out on Mesa Blue Moon, that label, in 2025.
00:25:12
Speaker
And also I'll submit it to the Grammys for next year too.
00:25:17
Speaker
Oh, that's fantastic.
00:25:18
Speaker
I'll be sure to check that out.
00:25:20
Speaker
And finally, Colin, might you have some advice you'd like to share with some of our younger disabled artists out there who might just be starting out?
Advice for Young Disabled Artists
00:25:29
Speaker
I just think that it's so important to be kind and gentle to yourself and then really have self-care and compassion and realize what a beautiful being you are without doing or expressing anything.
00:25:46
Speaker
Just being is
00:25:49
Speaker
And then from this deep place of self-care and compassion for yourself, it radiates out for compassion for everyone else.
00:25:59
Speaker
And then from those moments, whether you're playing a one-stringed bouzouki or composing for symphony orchestra,
00:26:09
Speaker
It doesn't matter.
00:26:10
Speaker
It's going to be an expression of your joy and your life and your love.
00:26:15
Speaker
And that's what's the most important, to live a meaningful life.
00:26:20
Speaker
It's not trying to be something that you're not.
00:26:24
Speaker
You know, Colin, I feel like you're, you know, part musician, part spiritual philosopher and, you know, offering such beautiful advice from your experiences.
00:26:35
Speaker
And I feel it coming through and I so appreciate your wisdom and, you know, your knowledge through the years.
00:26:42
Speaker
Thank you.
00:26:45
Speaker
It's been such a pleasure having you on our show.
00:26:47
Speaker
And thank you so much for making the time today to speak with us.
00:26:51
Speaker
I think it's so wonderful what you're doing.
00:26:53
Speaker
And I really look forward to listening to the other podcasts and other artists that you're interviewing to.
00:27:01
Speaker
Indeed.
00:27:03
Speaker
And to follow more of Colin's, actually, I have the wrong one here.
Explore Colin's Music
00:27:07
Speaker
Colin, would you like to share where people can find more of your work?
00:27:11
Speaker
Sure.
00:27:12
Speaker
It's, it's just my name, www.colinfarish.com.
00:27:22
Speaker
Great.
00:27:23
Speaker
And thank you all for tuning into the Able Voices podcast.
00:27:27
Speaker
Please do join us next time to hear the latest on these wonderful up and coming artists living with disabilities who are currently making incredible change and impact right now in the creative industry.
00:27:39
Speaker
And here's to looking towards a future where disability and arts culture is simply just part of the norm.
00:27:46
Speaker
My name is Rivki and we'll see you next time.
00:27:58
Speaker
Able Voices is a production of the Berkeley Institute for Accessible Arts Education, led by me, Dr. Rhoda Bernard, the founding managing director.
00:28:07
Speaker
It is produced by Daniel Martinez del Campo.
00:28:10
Speaker
The intro music is by Kai Levin, and our closing song is by Sebastian Batista.
00:28:16
Speaker
Kai and Sebastian are students in the arts education programs at the Berkeley Institute for Accessible Arts Education.
00:28:23
Speaker
If you would like to learn more about our work, find us online at berkeley.edu slash B-I-A-A-E or email us at B-I-A-A-E at berkeley, that's L-E-E dot E-D-U.