>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ART, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

>> FROM THESE CONTRIBUTING SPONSORS -- AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON "BROAD & HIGH," WE TALK WITH TWO LOCAL FILMMAKERS TO FIND OUT WHAT DRIVES THEIR PASSION.

A PHOTOGRAPHER WHO WAS ONE OF THE MINDS BEHIND THE BLACK IS BEAUTIFUL MOVEMENT.

AND WE HEAD BACK INTO THE KITCHEN FOR ANOTHER INSTALLMENT OF "KATE'S QUICK BITES."

THIS AND MORE RIGHT NOW ON "BROAD & HIGH."

>> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST, KATE QUICKEL.

FILMMAKERS JOSHUA CLARK AND MIKE KASH ARE THE CREATIVE FORCE BEHIND A UNIQUE PRODUCTION COMPANY HERE IN COLUMBUS.

THEY HAVE A TRUE PASSION FOR STORYTELLING AND DO IT WITH A UNIQUE PERSPECTIVE.

WE TALKED WITH THEM TO LEARN MORE ABOUT HOW AND WHY THEY DO IT.

>> WHEN I WAS YOUNGER, I KIND OF -- I DIDN'T WALK THE RIGHT PATH.

I WALKED THE PATH OF VIOLENCE, I TELL PEOPLE, FOR A LONG TIME, I DIDN'T ALWAYS DO THE RIGHT THING.

FROM THE SOUTH SIDE, THERE ARE PLENTY OF OPPORTUNITIES TO NOT TO DO THE RIGHT THING.

BUT I WAS FORTUNATE ENOUGH, I WAS PRETTY GOOD AT FOOTBALL, AT THE OPPORTUNITY TO GO TO THE UNIVERSITY OF DAYTON AND PLAY COLLEGIATE FOOTBALL FOR THEM, AND THAT KIND OF CHANGED THE TRAJECTORY OF MY ENTIRE EXISTENCE BECAUSE IT OPENED ME UP TO DIFFERENT THINGS.

I WENT THROUGH -- IT WASN'T A ROUGH DIVORCE, YOU KNOW, WE DIDN'T HAVE KIDS OR ANYTHING LIKE THAT, BUT IT WAS VERY ROUGH FOR ME EMOTIONALLY.

TOOK A LOT OUT OF ME.

I WENT THROUGH A MENTAL HEALTH CRISIS OF MY OWN.

FOR THE FIRST TIME IN MY LIFE I HAD TO SEEK OUT THERAPY, WHICH IS SOMETHING YOU DON'T DO FROM IF TO SOUTH SIDE, BUT IN THAT PROCESS OF SEEKING THERAPY, I HAD AN IDEA I WANTED TO MAKE A DOCUMENTARY ABOUT MEN IN MY FAMILY, AND HOW WE USE MOTORCYCLE RIDING AS A COPING MECHANISM.

THAT WAS MY FIRST PROJECT.

KASH WAS WITH ME ON THAT.

AND IT WAS EMOTIONALLY DRAINING.

I DIDN'T REALIZE WHAT WAS GOING TO HAPPEN.

WE SHOT FOR FOUR OR FIVE DAYS, TALKED TO THE MEN IN MY FAMILY.

YOU THREW A CAMERA IN THEIR FACE AND EVERYONE WANTED TO TALK ABOUT THINGS WE DIDN'T TALK ABOUT IN YEARS.

>> WHENEVER THERE'S OVERLOAD, TOO MUCH PRESSURE, TOO MUCH EVERYTHING, I GET ON MY BIKE AND I THINK IT THROUGH.

>> WHEN I DID THE PROJECT WITH JOSH, I REALLY ENJOYED KIND OF DOING SOMETHING OUTSIDE OF MYSELF.

I REALLY ENJOYED BEING AROUND OTHER PEOPLE AND HEARING THEIR STORIES AND TRAVELING AROUND AND JUST GETTING CAUGHT UP WITH OTHER PEOPLE'S SORT OF LIFE.

IT'S FASCINATING.

IT'S LIKE EVERYBODY HAS A FASCINATING LIFE IF YOU SPEND ENOUGH TIME WITH THEM.

>> I WAS SITTING IN THE BACK ROW, SITTING NEXT TO HIS COUSIN, STORIES ABOUT, YOU KNOW, GIANT MAN, TATTOOED FROM HEAD TO TOE, JUST BALLING HIS EYES OUT.

WHILE HE WAS WATCHING HIMSELF CRY ON THE SCREEN AS WELL, BECAUSE HIS DAD IN THE FRONT, WATCHING IT, TOO, GETTING EMOTIONAL, AND JUST WATCHING THE TWO OF THEM KIND OF LIKE FALL APART WATCHING IT WAS JUST PRETTY INTENSE AND BEAUTIFUL TO SEE.

>> WE ARE TRYING AS HARD AS WE CAN TO PUT THINGS OUT THERE THAT SPEAK TO PEOPLE ON A UNIVERSAL LEVEL TO HOPEFULLY RISE THE ELEVATION OF FILM MAKING IN COLUMBUS NOT JUST FOR OURSELVES BUT OUR CONTEMPORARIES AS WELL.

A LOT OF OUR STORIES FOCUS ON TWO THINGS.

I LIKE TO SHOW THE HEALING PROCESS OR PEOPLE TRYING TO HEAL, KIND OF SHOWCASE PEOPLE THAT THEY SHOULD DO THESE THINGS IN THEIR OWN LIFE, AND THEN REALLY SHOWING PEOPLE'S PASSION, BECAUSE I THINK IF YOU SEE OTHERS' PASSION OR WHAT THEY'RE FOLLOWING, IT CAN INVOKE SOMETHING INTO YOU AND TRY TO FIND MORE ALIGNMENT WITH WHAT YOU'RE TRYING TO DO IN YOUR PARTICULAR PLACE IN YOUR UNIVERSE.

AND THEN REALITY IS, YOU HAVE TO LOOK AT IT, IS IT FINANCIALLY VIABLE?

CAN I GET THE FUNDING TO MAKE THIS THING, AT LEAST THE PREPRODUCTION OR PARTS OF THE INITIAL, YOU KNOW, AT LEAST 25% OF THE PRODUCTION?

BECAUSE YOU HAVE TO DO THAT.

AND THIRDLY, YOU HAVE TO SAY, YOU KNOW, EVERYONE TELLS YOU, GOOD LORD, ONCE YOU SAY YOU'RE A FILMMAKER, EVERYBODY'S GOT THE GREATEST IDEA IN THE WORLD, AND THEY'RE NOT, AND NO OFFENSE TO EVERYBODY, BUT IT HAS TO HAVE A UNIVERSAL APPEAL.

I TAKE ON TOO MANY.

SO A LOT OF TIMES I GO TO KASH AND HE'S, LIKE, YOU'RE ON YOUR OWN.

WHEN HE TELLS ME I'M ON MY OWN, I'M, LIKE, ALL RIGHT, WE'RE NOT DOING THIS ONE.

>> SO, THERE ARE MOMENTS WHEN YOU'RE FILMING THAT ARE, LIKE, REALLY SPECIAL MOMENT WHENCE YOU REALLY CAPTURE SOMETHING AND IT FEELS REALLY GOOD.

YOU KNOW IT WHEN IT'S HAPPENING.

YOU'RE REALLY EXCITED ABOUT IT.

AT THE SAME TIME YOU'RE HOLDING THE CAMERA, YOU GOT TO KEEP IT COOL.

EDITING HAPPENS, LIKE, CONSTANTLY, LIKE, OVER AND OVER AND OVER AGAIN, WHERE, LIKE, YOU'RE PUTTING -- YOU KNOW, YOU'RE TWEAKING THINGS A LITTLE BIT HERE AND THERE, AND THEN EACH TWEAK, LIKE, WHEN YOU GET IT RIGHT, YOU'RE, LIKE, MAN, THERE IT IS.

ALL RIGHT.

LET'S KEEP GOING.

AND THEN SOMETIMES THAT GOES AWAY TOO.

IT'S, LIKE, PERFECT, BUT THEN YOU WATCH IT FROM FIVE MINUTES BEFORE AND YOU GET TO THAT SPOT AND YOU'RE, LIKE, WOW, THAT WORKED, WATCHING IT OVER AND OVER AGAIN FOR TEN SECONDS, BUT IT DIDN'T WORK IN THE WHOLE FIVE MINUTES.

NEED TO CHANGE IT AGAIN AND YOU KEEP GOING AND GOING AND GOING AND GOING.

BUT THAT PROCESS FOR ME NEVER GETS OLD.

I HAVE TO PUT A JOKE IN THERE.

LIKE, I HAVE TO.

THIS LAST ONE WE DID, IT'S PRETTY, LIKE, STRAIGHT -- IT'S PRETTY STRAIGHTFORWARD, LIKE, KIDS, YOU KNOW, THE PROGRAM, YOU KNOW, THEN I JUST THROW IN A LITTLE JOKE.

THEY'RE, LIKE, OH, THAT'S GOING TO LOOK CORNY IN THERE.

EVERYBODY'S LIKE, NO.

THE MUSIC BREAKS, THE JOKE HAPPENS, THE MUSIC JUST KICKS BACK IN, YOU KNOW.

IT THROWS YOU OUT BUT IT'S, LIKE, I CAN'T HELP BUT THROW A JOKE IN THERE SOMEWHERE.

AT THE END OF THE JEREMY ONE WAS A GOOD VERSION OF THAT WHERE, YOU KNOW, HIS DOG KICKED SOME DIRT UP ON HIM AND HE SAID SOMETHING NASTY.

YEAH.

THAT'S THE BEST THING IN THE WORLD IS WHEN YOU MAKE SOMEBODY LAUGH.

MY FAVORITE THING, AND IT DOESN'T MATTER, THE CROWD DOESN'T EVEN LAUGH, BUT THERE'S, LIKE, SOMEBODY UPSTAIRS, SOMEBODY OVER THERE, SOMEBODY OVER THERE THAT GETS THE JOKE, IT COULD BE, LIKE, THREE PEOPLE, AND I'M, LIKE, YES.

>> ALL THAT KIND OF COLLAPSE AROUND MY DIVORCE AND BUILDING MYSELF UP, I TRIED TO BUILD MYSELF INTO A VERY DIFFERENT KIND OF MAN THAN I'D EVER BEEN.

I TRIED TO REALLY EVALUATE WHAT I WAS TRYING TO BE.

THAT LED ME TO MEDITATION AND A LOT OF TIME IN THE FOREST.

I SPENT A TON OF TIME IN THE FOREST.

THAT'S WHATEVER UNIVERSE, GOD, POWER, WHATEVER YOU WANT TO CALL IT, SPEAKS TO ME THERE.

IN THAT PROCESS, I KIND OF KNEW THAT I HAVE A UNIQUE SET OF SKILLS FROM ALL MY TIME IN BUSINESS, IN THE POLITICAL ARENA, NOW BEING IN THE ARTISTIC WORRELL AND BEING ABLE TO COALESCE ALL THOSE THINGS INTO MAKING SOMETHING BEAUTIFUL THAT ALLOWS INDIVIDUALS TO HAVE A VOICE.

AND I WON'T DO ANY PROJECT.

I'VE BEEN APPROACHED TO DO STUFF.

THAT'S NOT WHAT I DO.

IT DOESN'T BRING LIGHT INTO THIS WORLD.

IT'S NOT THE MOTIVATION THAT I KNOW THAT ACTUALLY IS GOING TO BRING PEOPLE TO A HIGHER PLANE TO EVALUATE THEMSELVES AND MAKE THEM BETTER.

I DON'T WANT TO DO ANYTHING BEYOND THAT.

I REALLY DON'T THINK THAT'S MUCH.

IF WE MAKE IT HERE AND I BECOME SOME MULTIBILLIONAIRE, MILLIONAIRE, WHATEVER THE CASE MIGHT BE, I'LL LIVE ON THE SOUTH SIDE.

I MIGHT GET SOMEPLACE NICE, BUT I AIN'T NEVER LEAVING THE SOUTH SIDE.

>> TO SEE WHAT THEY'RE UP TO NEXT, FIND THEM ONLINE AT GYMFEA.COM.

>>> WITH HIS CAMERA, PHOTOGRAPHER AND ACTIVIST BATTLEGROUND STATE BATTLEGROUND STATE CHRONICLED BLACK LIFE AND CULTURE ACROSS SEVEN DECADES.

HE CAPTURED SOME OF THE GREAT ICONS OF THE 1960s AND '70s BUT WAS MOSTLY UNKNOWN UNTIL RECENTLY.

NEXT, WE VISIT AN EXHIBIT OF HIS WORK IN NEW YORK CITY THAT INCLUDES 40 STUDIO PORTRAITS AS WELL AS IMAGES TAKEN OF THE ARTISTIC COMMUNITY IN HARLEM IN THE 50s AND 1960s.

>> KWAME BRATHWAITE WAS BORN TO PARENT WHO IS CAME FROM BARBADOS, AND THEN THEY MOVED HERE TO BROOKLYN AND UP TO THE BRONX.

THEY WERE VERY INTENT UPON GIVING THEIR CHILDREN THE EXPERIENCE OF THE CITY.

THEY WOULD TAKE THEIR CHILDREN TO MUSEUMS, LISTEN TO CONCERTS, AND THAT REALLY COMES THROUGH IN HOW HE PROCEEDED WITH HIS ADULT LIFE.

WHAT BROUGHT KWAME TO THE POINT WHERE HE WAS GOING TO BECOME A PHOTOGRAPHER WAS THE EMMETT TILL PHOTOGRAPHS FROM THE 1950s, WHICH REALLY HAD AN INCREDIBLE EFFECT ON KWAME BRATHWAITE TO THE POINT WHERE HE DEDICATED THE REST OF HIS LIFE TO SOCIAL COMMENTARY.

KWAME HAD CONNECTIONS WITH MARCUS' IDEAS.

HE WAS A SOCIAL ACTIVIST WHO DIED IN THE 1940s.

MARCUS GARVEY WAS VERY INTENT ON THE IDEA OF ECONOMIC INDEPENDENCE IN THE BLACK COMMUNITY.

KWAME FOUNDED AJAS.

IT STANDS FOR AFRICAN JAZZ AND ART SOCIETY.

AND AJASS WAS DEVELOPED AFTER.

IT STANDS FOR AFRICAN JAZZ AND ART SOCIETY TI STUDIOS BECAUSE THIS WAS WHEN THE MUSIC GROUP CAME IN.

AND OUT OF THAT CAME THE MODEL.

IT CHALLENGED EVERYTHING ABOUT THE IDEA OF WHITE BEAUTY.

IN THE 1960s, IF YOU WEREN'T TALL AND SKINNY AND WHITE, YOU WEREN'T BEAUTIFUL.

SO, THEY BEGAN TO LOOK AT WELL, WHAT IS BLACK BEAUTY?

BLACK BEAUTY HAS NOTHING TO DO WITH ANY OF THOSE STANDARDS.

IT ALSO GAVE THEM AN OPPORTUNITY TO LOOK BACK AT THEIR AFRICAN HERITAGE AND BE INTO DESIGN AND MAKE THEIR OWN DRESSES, SOMETHING THAT WAS NEW BECAUSE THERE WERE NO MAJOR MANUFACTURERS IN THE UNITED STATES THAT WERE DOING THAT AT THE TIME.

THAT REALLY COMES THROUGH IN THIS EXHIBITION.

YOU CAN SEE PHOTOGRAPHS OF THE MODELS WEARING THEIR DESIGNED DRESSES.

WHENEVER THEY BEGAN PROTESTING IN FRONT OF THE STORE, THE STORE WAS BROUGHT UP BY TWO WHITE MEN, AND THE WAY THEY WERE BEING SOLD, PARISIAN, IT LOOKS GREAT ON WHITE WOMEN AND BLACK WOMEN WERE WEARING THEM AS WELL.

A NUMBER OF THE MODELS THOUGHT, WELL, THAT'S NOT WHO THEY ARE, SO THEY BEGAN TO WEAR THEIR HAIR NATURALLY.

KWAME, HIS BROTHER-IN-LAW, THEY RECOGNIZED ALL THIS.

THIS WAS A TIME FOR SELF-EXPRESSION AND TO THE TWO OF THEM THAT MEANT FORMING AJASS, FORMING THE MODELS AS A WAY TO GIVE THE WOMEN A POOL IN WHICH TO PUT THEMSELVES FORWARD IN TERMS OF THINKING THAT BLACK IS BEAUTIFUL.

AND THAT'S CARRIED ON NOW.

THAT BEGAN IN THE '60s AND WE STILL SEE IT HERE TODAY.

>> IN MENTIONING THESE THREE BEAUTIFUL HUGE PHOTOGRAPHS BEHIND ME, I WAS TOLD THE STORY BY KWAME JR. THAT HIS FATHER ALWAYS WANTED TO SEE THOSE PHOTOGRAPHS LARGE.

AND HE DIDN'T HAVE THE TECHNOLOGY AT THAT POINT TO DO THAT.

BUT NOW KWAME JUNIOR HAS BEEN ABLE TO DO THAT AND BLOW THEM UP, WHICH REALLY HITS US ALL THE MINUTE WE SEE THAT.

KWAME WALKED INTO A BAR AT ONE POINT, AND HE SAW SOMEBODY TAKING PHOTOGRAPHS IN THE DARK, AND HE QUESTIONED, HOW DO YOU DO THAT?

I WANT TO DO THAT.

BUT THEN HE BEGAN TO TURN TO COLOR FILM BECAUSE WITH THE BLACK AND WHITE FILM IT WAS VERY HARD TO CALIBRATE THE DIFFERENT HUES OF BLACK SKIN.

HE LOOKED AT THE "K" IN THE BLACK IS BEAUTIFUL POSTER.

THERE WAS A PICTURE OF KWAME'S WIFE AND HER DAUGHTER.

I'VE ALWAYS SAID THAT PHOTOGRAPHY IS TWO THINGS.

PHOTOGRAPHY CAN BE BEAUTIFUL, BUT PHOTOGRAPHY IS PRODUCTIONIST.

KWAME'S DOCUMENTED A VERY IMPORTANT PERIOD OF HISTORY IN HARLEM AND WOMEN'S CLOTHING, HAIR, EVERYTHING THAT HAS TO DO WITH BLACK EXPRESSION.

THESE ARE GOING TO LIVE ON AS VERY IMPORTANT DOCUMENTS AND ALSO VERY WONDERFUL PHOTOGRAPHS.

>> TO MORE OF HIS WORK AND UPCOMING EXHIBITIONS, CHECK OUT KWAMEBRATHWAITE.COM.

AND TO FIND OUT MORE ABOUT THE NEW YORK HISTORICAL SOCIETY MUSEUM AND LIBRARY, FIND THEM AT NYHISTORY.ORG.

>>> IN OUR NEXT INSTALLMENT OF "KATE'S QUICK BITES'S", WE STEP BACK INTO THE KITCHEN AND TALK WITH A DIRECTOR OF A GALLERY THAT SHOWCASES THE TALENT OF OHIO ARTISTS AND LEARN HOW TO MAKE ONE OF HER FAMILY'S FAVORITE RECIPES.

>>> WITH ME IN THE KITCHEN TODAY IS CAT SHERIDAN FROM THE OHIO ARTS COUNCIL RIFFE GALLERY.

THANKS FOR BEING HERE.

>> THANKS FOR HAVING ME.

I'M REALLY EXCITED.

>> ME TOO.

I CAN'T WAIT TO GET STARTED.

TELL ME ABOUT WHAT WE'RE GOING TO MAKE AND THE HISTORY BEHIND IT.

>> MY DAD IS A WONDERFUL COOK, AND OCCASIONALLY HE'LL BUY HIMSELF TREATS.

BACK IN THE '70s, HE BOUGHT HIMSELF THE MOOSE WOOD COOKBOOK.

>> I LOVE IT.

>> WHICH HOUSES ONE OF OUR FAMILY'S VERY, VERY, VERY FAVORITE RECIPES.

>> TELL ME ABOUT IT.

>> IT'S POPOVERS.

IT'S A REALLY SIMPLE RECIPE.

>> RIGHT.

>> BUT SOMEHOW IT GOT INTO OUR TRADITIONS IN THE HOLIDAYS, SO THIS IS WHAT WE'RE GOING TO DO TODAY.

>> I'M SO EXCITED TO BE A PART OF THIS FAMILY TRADITION.

TELL ME WHAT WE NEED TO GET STARTED.

>> TODAY YOU'RE GOING TO NEED FOUR EGGS, ONE CUP UNBLEACHED FLOUR, ONE CUP OF MILK, A HALF TEASPOON SALT, AND FOUR TABLE SPOONS OF BUTTER.

>> WHAT'S THE FIRST STEP FOR THE POPOVERS?

>> WE HAVE THAT PREHEATED OF ON THE 375, AND NOW WE'RE GOING TO POP OUR MUFFIN TIN.

YOU DON'T HAVE TO HAVE A POPOVER TIN.

>> I THOUGHT YOU DID.

>> IF YOU WANT TO BE SUPER SWANKY, YOU CAN.

>> IF YOU HAVE ONE.

>> RIGHT.

>> STANDARD MUFFIN TIN.

>> IT WORKS PERFECTLY.

>> WE PUT IT IN THE PREHEATED OVEREN.

>> WE ARE.

>> OKAY.

I'LL DO THAT.

HERE IT GOES.

YOUR MUFFIN TIN IS HEATED UP IN THE PREHEATED OVEN.

WHAT'S NEXT?

>> WE SHOULD PROBABLY WARM UP THAT BUTTER.

WE HAVE TO GET IT NICE AND MELTY SO IT GOES INTO THE TIN AND GETS -- LIKE, EVERYTHING HAPPENS REALLY QUICK WITH POPOVERS.

>> OKAY.

GREAT.

WHILE THE BUTTER MELTS, WE MIX THE BATTER.

>> THE WETS FIRST, MILK AND EGGS.

>> THEY SHOULD BE ROOM TEMP?

>> HOT TIP.

IF YOU WANT A REALLY GOOD POPOVER, EVERYTHING SHOULD BE ROOM TEMPERATURE.

THAT WAY IT DOESN'T HAVE TO DO EXTRA WORK TO WARM IT UP.

>> NO EXTRA WORK.

>> NOPE.

>> THESE ARE SIMPLE INGREDIENTS UP AT HOME.

YOU CAN MAKE THEM WHENEVER YOU WANT.

>> MOST PEOPLE HAVE THESE INGREDIENTS.

>> YEAH.

>> IF YOU DON'T, LIKE, YOU HAVE TO GET ONE.

>> RIGHT.

SO, NOT EVERYTHING.

MILK AND EGGS.

WETS FIRST.

>> YEP.

AND TRULY, LIKE, YOU HAVE -- YOU CAN JUST USE A FORK.

NO SPECIAL -- NOTHING SPECIAL.

UNTIL IT HAS A CONSISTENT COLOR.

>> MM-HMM.

YOU KIND OF SLOWLY PUT THE FLOUR IN?

>> I DO.

I DO.

YOU DON'T WANT IT TO BE SUPER LUMPY, RIGHT?

>> MM-HMM.

>> MAYBE YOU CAN HELP ME.

>> OH, YEAH.

>> TWO OF US.

>> I DON'T WANT YOU TO DO ALL THE WORK.

I'M JUST GOING TO SPRINKLE WHILE YOU WHISK.

>> AND YOU WANT IT TO BE REALLY INCORPORATED AND SMOOTH.

>> SHOULD I ADD THE SALT?

>> YEAH.

>> DON'T HAVE TO WAIT.

THAT'S THE SALT.

>> ALL RIGHT.

WE'RE THERE.

>> OKAY.

LET'S GET OUR PAN OUT OF THE OVEN.

HOT, NO DOUBT.

OKAY.

YOU START SPOONING.

>> CLOSE THE OVEN DOOR REAL QUICK.

>> I COME THROUGH WITH THE BRUSH.

>> MM-HMM.

>> OKAY.

TEAMWORK.

JUST GET IT KIND OF UP ON THE SIDE?

>> MM-HMM.

IT'S GREAT.

YOU'RE DOING GREAT.

>> THAT SIZZLE.

HOT BUTTER.

>> AND HERE YOU SAY IT MAKES IT PERFECT.

>> LOOK AT THAT.

JUST THE RIGHT AMOUNT.

>> YEP.

OKAY.

>> THE BRUSHING.

LOOK AT THIS, YOU'RE ALREADY STARTING WITH SCOOPING.

YOU'RE USING LIKE A QUARTER CUP MEASURE TO POUR IT IN.

>> YEP.

>> HATCHWAY, TWO THIRDS?

>> MM-HMM.

GO FOR IT.

IF YOU HAVE TO GO BACK THROUGH, YOU KNOW.

>> YEAH.

OKAY.

I'LL BE READY TO GO BACK IN THE OVEN.

>> ALMOST.

SO CLOSE.

SO CLOSE.

>> THE BUTTER HELPS THEM RELEASE BUT I IMAGINE MIXING WITH THE BATTER.

>> AND DELICIOUS.

>> WHILE THOSE ARE IN THE OVEN, WHY DON'T YOU TELL ME ABOUT THE RIFFE GALLERY AND WHAT KIND OF ART PEOPLE CAN EXPECT TO SEE THERE.

>> OOF.

AMAZING ART.

THE RIFFE GALLERY HAS FOUR EXHIBITIONS A YEAR, AND THEY VARY, SO WHEN THEY'RE CURATED EXHIBITIONS YOU'RE LOOKING AT ABOUT, YOU KNOW, 10 TO 16 ARTISTS IN A SHOW THAT ARE FROM ALL OVER THE STATE.

SO AS A PART OF THE OHIO ARTS COUNCIL, ONE OF OUR REALLY IMPORTANT PILLARS IS SHOWING OFF THE IMMENSE TALENT THAT RESIDES IN THE STATE, AND THAT'S EASY TO DO.

WE HAVE A TON OF INCREDIBLY TALENTED ARTISTS.

SO THE OTHER PIECE THAT'S REALLY EXCITING IS WHEN THESE CURATORS PUT THESE SHOWS TOGETHER, THEY'RE TRYING TO MAKE SURE THAT THEY HAVE DEPTH AND BREADTH AS WELL, SO GEOGRAPHIC DIVERSITY AS WELL AS LAYERING ON THOSE OTHER WONDERFUL INTERSECTIONS OF DIVERSITY, ALSO DIVERSITY OF WORK, SO CONCEPTUALLY AS WELL AS MATERIALS AND APPROACH.

SO YOU'RE GOING TO SEE ALL DIFFERENT KINDS OF THINGS.

>> THAT'S INCREDIBLE.

WHAT GREAT RESOURCE IN COLUMBUS BUT REPRESENTING THE ENTIRE STATE.

>> INDEED.

AND IT'S ALWAYS FREE.

THAT'S THE OTHER THING.

>> OH.

>> WE ARE ON HIGH STREET, STREET LEVEL, YOU CAN WALK RIGHT IN, ON A BUS LINE, SUPER ACCESSIBLE.

COME IN, ALWAYS FREE AND WELCOMING.

>> WONDERFUL.

ARE THERE ANY OTHER OPPORTUNITIES PEOPLE MIGHT BE EXPERIENCE WHEN THEY COME INTO THE GALLERY?

>> YES.

WE HAVE PROGRAMMING THAT COINCIDES WITH EVERY EXHIBITION.

>> OH, GREAT.

>> SO FOR EVERY EXHIBITION, WE HAVE AT LEAST FIVE ARTIST TALKS ALWAYS FREE.

WE ALSO RECORD THEM SO IF YOU MISS IT, YOU CAN CATCH UP.

>> NICE.

>> WE HAVE FRIENDS AND FAMILY WORKSHOPS WITH EVERY EXHIBITION.

THOSE ARE ALWAYS FREE.

TYPICALLY WE ASK FOR PEOPLE TO SIGN UP SO WE KNOW HOW MUCH STUFF TO GET.

AND CREATIVE WRITING WORKSHOPS.

IT IS POETRY THAT USES ART AS THE JUMPING OFF.

IT'S, LIKE, DESCRIBING THE ART.

SO WE GO IN WITH THAT AS A SPRINGBOARD, AND IT'S JUST A REALLY GREAT WAY TO ELASTICIZE THE MIND AND BUILD THOSE SKILLS OF TALKING ABOUT ART AND LIFE AND WHAT HAVE YOU.

THAT'S THE THING ABOUT ART.

ART IS AT ITS VERY CORE COMMUNICATION, RIGHT.

SO THEN YOU TACK ON WRITING TO THAT, AND IT'S JUST, LIKE, THE MANA IS STRONG.

>> I LOVE IT.

ELASTICIZE THE MIND.

I LOVE THAT.

WHAT A GREAT CONCEPT.

OKAY.

SO IT SMELLS AMAZING IN HERE, AND I THINK IT'S TIME TO STAKE THEM OUT OF THE OVEN.

>> LET'S DO IT.

>> OKAY.

>> OH, THEY LOOK SO GOOD.

>> THEY'RE GORGEOUS.

COME ON.

HOLY MOLY.

A VERY IMPORTANT STEP.

>> WE POP THE POPOVERS AND LET THE STEAM OUT.

>> THEY'RE GORGEOUS.

SO, WHAT'S YOUR FAVORITE WAY TO EAT THEM?

>> GOSH, SO GET THE JAMS AND THE JELLIES AND YOU CHOOSE THEM.

I BROUGHT A FEW, BUT I THINK WE TOOK A LOOK AT THEM AND I THINK WE MADE A CHOICE WE'RE GOING TO >> OKAY.

SO, THIS IS A SPECIAL FAMILY RECIPE TO YOU.

TELL ME A LITTLE MORE ABOUT WHY THIS MATTERS.

>> SO, YOU KNOW, MY DAD BECAME THE GREAT COOK THAT HE IS BECAUSE HE BELIEVED AND STILL BELIEVES THAT EVERYBODY DESERVES LUXURY AND EVERYONE CAN HAVE LUXURY THROUGH COOKING.

LIKE, YOU DON'T HAVE TO BE RICH TO HAVE LUXURIOUS, DELIGHTFUL FOOD.

AND THIS IS THE WAY THAT HE WOULD SHOW US HIS LOVE.

AND ALL FOUR OF US KIDS HAVE CARRIED THAT FORWARD.

ALL OF US ARE REALLY GREAT COOKS IN OUR OWN RIGHT.

SO IT'S JUST A LOVELY REMINDER THAT EACH OF US, EVERY HUMAN DESERVES THAT LUXURY AND LOVE, AND WE CAN GIVE IT TO OURSELF AND TO OUR LOVED ONES.

>> I THINK THAT'S A BEAUTIFUL SENTIMENT, AND I'M SO GLAD YOUR DAD SHARED IT WITH YOU AND THAT YOU'RE SHARING IT WITH US.

SO, IS THERE A METHOD?

JUST SORT OF -- >> GRAB WHAT YOU WANT.

>> FRESH, HOT POPOVER.

>> GRAB A SPOON AND GET IN THERE AND THEN JUST KIND OF -- I LIKE TO -- >> THAT NATURAL LITTLE POPOVER CAVITY.

MIX IT UP.

OKAY.

>> AND THEN YOU EAT IT.

>> TAKE A BITE.

>> EAT IT.

>> GOING TO GET CLASSY.

>> I'M TOTALLY USING MY HANDS.

I'M GOING TO USE MY HANDS ANYWAY.

IS IT RIDICULOUS AND DELIGHTFUL?

>> THAT CRISPY SHELL.

AND IT IS LIKE AN EGGY CUSTARD INSIDE AND THAT LITTLE SWEET APRICOT.

YOU COULD DO ANYTHING.

YOU COULD PUT ANYTHING IN THERE.

THAT'S LUXURY AND LOVE RIGHT THERE.

THIS IS TRULY SPECIAL, CAT.

>> THANK YOU FOR HAVING ME.

>> WONDERFUL.

SO GREAT.

THANK YOU.

>> TO FIND OUT MORE ABOUT THE RIFFE GALLERY, FIND THEM ON FACEBOOK AT RIFFE GALLERY OR ONLINE AT RIFFEGALLERY.ORG.

>>> WELL, THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE, I'M KATE QUICKEL.

THANKS FOR WATCHING.

TIME GOES BY DOESN'T MEAN ANYTHING I FORCE A SMILE WHILE YOU TELL ME LIES DRINK MY BEER THINK BACK ON BETTER TIMES FEELS LIKE I LOST CONTROL OF WHO I USED TO BE PICK UP THE BROKEN PIECES AND SEND THEM OUT TO SEA GIVE ME THAT OLD SOUL AND LET ME REST IN PEACE WINTERS LAST SO LONG BUT YOU KNOW I DON'T MIND NOW THAT MY FIRE IS GONE I PREFER TO STAY INSIDE >>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, SUPPORTING ART, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS, EVENTS, AND CLASSES AT COLUMBUSMAKESART.COM.