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Episode 67: Disability and Music with Dean-Nash

Speaker 2 (0s): Yeah, no, it's my pleasure. Thank you. Thank you for having me, man. This is, this is really cool. I love the, I love the graphics that you have come up at the beginning of these as well, and they're really, they're really cool. It was awesome. 

Yeah. Well, that's a, that's a big, that's a big question. Hey, so I think, I dunno. I, I really, I get asked a lot sort of what leads, what led me to music and, you know, depending on the day, it kind of depends on the answer that I give. Right. Like it it's, I just sort of always loved it. Like I always loved the idea of, I was always singing. Like that was, that was always a thing for me. Hello, Patricia, but yeah, no, I've, I've always been, always been singing. 

And then I think once I started taking it seriously was when a lot of my friends were getting into, you know, they'll play in cricket and they'll play in football and they'll playing soccer. And for a little while, I would also try to play cricket and play football and play soccer. But, you know, after a while it just, it stopped being very viable for me. Like I was nowhere near as good at it. And so like, music was a thing that I could, you know, it was a, it was just something that made me feel capable and a way that I could, I suppose. 

Yeah, it was a, it was an outlet, I think, I think for me for a while, and then I just got like intoxicated with the idea of performing and then a little bit later on, it was more about the art of storytelling that really captivated me. And then I guess, yeah, having a disability influences my creative process in like a bunch of different ways, right? Like there's the technical aspect of it in which as a musician who only really has the, the movement in, in, in one hand and one finger that limits my playing a little bit. 

So I've had to be quite creative when it comes to how I approached playing and, and piano was pretty much all I got. Like, I can't pick up a guitar, not that there's anything wrong with the piano, but even then like chord shapings and stuff, you know, different. So I think that influences the type of music that I create, but I think on a lesser or not on a less lesser that's, I think in a different way as well, an aspect to disability that I think gets overlooked a little bit. 

Cause it's like an invisible side of it is, is the fatigue when it comes to physical disability, like the, the, the, so when it comes to like creating, I think, you know, I'm, I'm, I'm quiet, you know, my purse is on a slow and because of that, it's introspective and because it's slow ineffective, it gets, you know, I don't know. I think it gives me a, a really interesting perspective in tech on the things that I write, if that wasn't pure ramble-y 

Speaker 1 (5m 4s): Yeah, <inaudible> fine. Cheers. 

Speaker 2 (5m 35s): Oh yeah. Right. Influences are so varied. Honestly. They're incredibly incredibly varied. I, I am, I'm just, just a fan of music and just a real music node, you know? So I, I, you know, I adore artists, slack, Damien Ross is, is a big influence in terms of when it comes to lack, lyricists think Damien rice and John plaque to lyricist that I had my massively, you know, the, the way that, the way that when it comes to artists like John Mayer, the way that John Mayer will, you know, there's such a complexity to the arrangements of his music, but it's so understated that practically still feels acoustic now to how big the arrangement is. 

And I think that's incredible and the way that he manages to tie messages throughout songs, and really like tie tie an album together based on like one little tiny section of his life, there've been points in my life where like, I'll listen to a John Mayer album and be like, well, this, this, this song was me like his, his album room for squares. I heard that when I was in uni and I was like, and that, that is all about like growing into adulthood and transitions out of youth and, and trying to figure out what your place in the world is at still such a young and naive age. 

That's why I found that song at that point. And, and well, that album at that point, and I was like, wow. And then I think as John May has gotten older and I've gotten older, like the more stuff that he releases, the more I kind of resonate with, like that, that I'm a massive music nerd. I'm obsessed with musical theater and take a lot of influence on that as well. I suppose, you know, again, being a storyteller is first and foremost for me, and the way that people kind of connect emotion and melody is, is huge. 

Who could I collaborate with? That's so huge. There's so many, I think at the moment, just because of the first one that pops into my head and it might not necessarily, I might regret it. They might think of someone else later. Like, oh, I should've said that, but at the moment, all I can think of is Lin Manuel Miranda who are, you know, into the Heights and Hamilton and, and a slew of other incredible, incredible projects just to sit down and, and write and just kind of learn his process, I think would be one of the most valuable things ever. 

Yeah right. Oh, 

Speaker 1 (9m 28s): And I guess <inaudible> to <inaudible>. 

Speaker 2 (9m 48s): Yeah. So see, I, I kind of, I'm quite lucky in the sense that personally, my accessibility isn't that inhibited, I always play, I always play in groups. So I mean, if I was playing solo in places, I think carrying massive amounts of gear in and out of venues would be a hard slog. I remember I used to play these venues in, in Darlinghurst with giant staircases, leading into them and even carrying a little bit of gear. By the time I started playing the gig, I was like wrecked, you know, and that was a younger man's game. 

I don't even think I could do that anymore, but when it comes to accessibility and venues, I maybe the last few years I've been well last couple of years, I think I've been a little bit more conscious of that. And I am picky when it comes to my venues when I get a chance to be. And I, I try to, I try to go for more accessible venues. Like I just, I just don't like the idea of, of playing places where a huge group of, of friends and people who would like support my art that I'm entirely grateful for can actually come to the show. 

And I think, I think the industry has a lot to answer for when it comes to accessibility. I think the art sector, you know, is, is it's getting there, but I don't think it's always being particularly mindful of that. And so it is, it is remarkably difficult to find accessible arts venues. And it shouldn't be that that shouldn't be a thing. So as much as I can, I try to find accessible venues to be playing in. 

Speaker 1 (11m 30s): Oh, showing shit, no way you put two. 

Speaker 2 (12m 1s): Yeah, no, absolutely. Absolutely. I think, yeah, I think it's really important as creators to be, to be, you know, replanted down and paving paving the way I think it's, I think it's really important, you know, to be, you know, standing, standing in line with, you know, just because I can, I can, you know, struggle to, to, to get my gear into, into an accessible and to an inaccessible venue and I can still play the show. 

You know, I know that that it's a moral gray area. Right. Like I will. Yeah. Thank you. Yeah. I dunno. I, I just feel like that if, if you don't draw attention to something, then, then you're not, you know, as important to be part of the fight, you know, I think that's, I think that's it. I think we identify well, society is built on the things that we, that we see the art that we digest, whether it be on stage or whether it be on film and at the moment, for the most part, what we see is a very narrow view of, of society on those stages and in those films. 

And so I think if you, you know, if as, as a creator, you're, you're trying to, to, to, if you're standing up for a particular message now, you know, you're, you're shedding light to it. If you're, if you're seen as, as performing a certain way and only performing in a certain way and drawing attention to a problem, then the problem is, you know, hopefully going to be fixed. But if you, if you ignore, if you ignore an issue, you know? Yeah. 

Yeah. That's a good, that's a good question. Look, I think, I think there are, I mean, there's obviously differences between between music and acting, but I think the important thing is that what's similar between them. I've I've, you know, people have always sort of said to me that like, oh, you know, which do you prefer, like you refer music or do you prefer acting or like, which comes first. So what do you love more? And the answer is like equally. I like it equally because I hope I didn't just step on your next question by the way, but it's it's because it all comes from the same place. 

It's all, it's all the, it's all storytelling, you know, that's what it is. It's it's storytelling. And I think, I think for me, storytelling and advocacy absolutely go hand in hand because what is advocacy, but sharing our stories and sharing our stories authentically. And so I think that's, I think that's it. I think that's how we do it, man. I think we just tell our stories. 

Speaker 1 (15m 35s): <inaudible>

Speaker 2 (16m 60s): Yeah, yeah, no, that's it. I think, I mean, I'm pretty lucky all things considered, not because I didn't when I was younger, but because I had never seen, you know, I'd never seen, I'd never seen a person with a disability in, you know, gainfully employed as an actor, like in, in, in film or in theater. And so I just didn't see it as an avenue for myself and I kind of stumbled into it a little bit later. 

And then once I realized that it's not always about, it's really nice when opportunities exist, but when they don't exist, like you, you can, you can forge them. You know, you can, you can stop that fight if there's no door, you know, make a door, a bulge one down. If you have to, I think like that's, that's sort of where we're at. So hopefully you said earlier the next generational generation after don't don't have to as as much 

Speaker 1 (17m 57s): <inaudible>. Well, Joe. 

Speaker 2 (18m 25s): Yeah, exactly, exactly. That's good. That's good. I'm going to have to use that. That's Absolutely. Of course. Of course I wouldn't. I wouldn't dream of not that's. Yeah, that's fantastic. 

But you're spot on that's that's it Yeah. So I, I, I recently releasing recently released a, a six track EPE, like a mini album, which is streaming everywhere. 

So anywhere that you get your music from, whether it be Spotify or apple music or YouTube, or, you know, Deezer or iHeart radio, any of them, you can find it there by just searching the Nash. The AP is called in the autumn. I nearly forgot the name of my own album. There that's awkward, but the album is called in the autumn binding Nash. It's streaming everywhere. I would love it. Love it. If you would, if you'd give it a listen, I'm also, I'm also working at the moment. Well, I had the immense pleasure of being a writer on a musical theater project called the breaths in between by 11 o'clock theater. 

And they're on Instagram, in which 10 writers from diverse backgrounds, whether they be LGBT to our class, whether they be people of color, whether they be disabled, you know, it was, it was all these diverse writers in a room. And we, we wrote this amazing musical, well, there's all these amazing songs. And the show is now being cast and, and a showing in Melbourne, hopefully fingers crossed COVID willing in November. So it's just a beautiful piece of work with a beautiful cost and a beautiful creative team. 

And so, yeah, 11 o'clock theater is them and yeah, they are, they are definitely worth the follow. They are wonderful. 

Speaker 1 (20m 56s): <inaudible> to <inaudible>. 

Speaker 2 (21m 7s): Yeah, absolutely. I will. I will definitely do that. I will. I'll shoot you a message with, with all the information and we'll definitely keep chatting about it. 

Speaker 1 (21m 23s): <inaudible> and in June I learn 

Speaker 4 (21m 54s): From the GoPro. Can we just get a clap in there? I'm tramped about you the other night for the first time. And while You were dancing you kitchen, like we always used to do justice knew He was <inaudible> money. 

He's probably not as funny, but he makes you laugh all the same in yours. He was smiling. I was having senior. Well, he was just CEO. 

Well, no, <inaudible> how you now How's your dog. How's your family these days. They still give me <inaudible> happy. 

See you smiling and happy. Happy. See you smiling. <inaudible> I am truly happy. 

Truly happy memory. 

Speaker 1 (25m 22s): They now for <inaudible> <inaudible> <inaudible> 

Speaker 2 (25m 43s): It was, Oh, you've got, what are you playing though? It's it was, yeah, it was a pleasure. It's an absolute pleasure to be here. Thank you so much to bring him on. It's just good to have a chat. You know, it's been, it's been so long, so it was good to, good to chat about this. 

Speaker 1 (26m 9s): <inaudible> <inaudible> to you when you yeah, absolutely. 

I'll spread the word. Oh yeah. <inaudible> <inaudible> <inaudible> <inaudible> <inaudible> Y <inaudible>. 


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