>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, 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," A PAINTER WHO EMBRACES THE MOMENT.

>> I WANT EVERYBODY TO KNOW THAT I LOVE EVERYONE.

I DON'T CARE WHERE YOU'RE FROM, WHAT YOU DO.

>> A DANCE THAT EXPLORES BLACK IDENTIFY.

A PERCUSSION WORLD PREMIER.

>> WHAT I CAME TO REALIZE IS THAT I SEPARATED MYSELF FROM MUSIC.

AND SO BEING BACK ON THE STAGE, I'M ACTUALLY RELEARNING HOW TO APPRECIATE WHAT IT IS I DO.

>> AND A LITTLE BIT OF SALTY FUN.

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

♪♪ ♪♪ ♪♪ >>> HI EVERYONE, WELCOME TO "BROAD & HIGH."

I'M YOUR HOST KATE QUICKEL.

ARTIST ALL AROUND THE WORLD HAVE BEEN USING THE PANDEMIC AS AN INSPIRATION FOR THEIR WORK.

AND THERE'S ONE WEST-AFRICAN ARTIST LIVING RIGHT HERE IN COLUMBUS WHO USES IMAGES OF THE CORONAVIRUS ITSELF TO EXPRESS HIS BELIEF THAT EVERY MOMENT OF LIFE IS TRULY SACRED.

HE'S AN ARTIST, A CURATOR AND MENTOR FOR YOUNG AFRICAN-AMERICAN ARTIST.

MEET TALLE BAMAZI.

♪♪ >>> MY NAME IS TALLE AND I'M FROM TOGO, WEST-AFRICA.

I GOT HERE IN 1995 FROM WEST-AFRICA.

I WAS INVITED TO HAVE A SHOW IN PHILADELPHIA.

AND SO I DECIDED TO GO TO SCHOOL AND LATER ONE WHEN TO NEW YORK ACADEMY, GRADUATE.

AND THEN, LATER ON I DECIDED TO COME TO OHIO, MY EX-WIFE AND I.

SO WE DECIDE TO SEARCH.

AND SO WHEN I SEARCH I FIND OUT THAT OHIO, ESPECIALLY COLUMBUS, THEY HAVE A MAJOR WORLD-RENOUNCED COLLECTORS.

AND I WAS LIKE WOW.

"SWEETHEART, THAT'S WHERE WE'RE GOING."

[ LAUGHTER ] ♪♪ I WAS VERY SURREALIST ALSO AT THAT TIME.

YOU KNOW, I KIND OF CHANGED IT AS I CAME OVER THERE, KIND OF FIND MY WAY.

I KIND OF MASTER ALL STYLES NOW.

SO ABSTRACT, SURREALISM, REALISM.

I CAN UNDERSTAND ALL CULTURES, YOU KNOW.

I CAN ANSWER ANY QUESTIONS ABOUT ANY STYLE.

MY ROLE IS TO DOCUMENT THE MOMENT.

AND THAT'S WHAT I'M DOING.

♪♪ YOU'VE SEEN THE SYMBOL FOR THE CORONAVIRUS.

I BEGAN TO INTRODUCE THEM.

THE FIRST ONE WAS THE OTHER ONE THERE, WHICH IS DEATH.

THERE IS NO ONE THAT WILL NOT DIE.

IF YOU'RE BORN, YOU'RE GOING TO DIE.

ANYTHING THAT'S BEING CREATED WILL INSPIRE.

IF YOU UNDERSTAND THAT RULE YOU WILL LIVE LONGER AND PEACEFUL.

♪♪ WHEN YOU LOOK AT THEM, AS DARK THEY ARE, THEY ARE BEAUTIFUL.

AS DARK THEY ARE, YOU SEE THE BEAUTY IN.

SO IN THIS MOMENT RIGHT NOW, I APPRECIATE IT.

EVERY SECOND THAT I LEAVE, FOR ME IS A GRATEFUL TIME.

SO I USE THAT WISELY.

I PRESENT LIFE WITH EGGS.

ANYTIME YOU SEE EGGS IN MY PAINTINGS, IT MEANS LIFE.

♪♪ IN A CALABASH IS ANOTHER CALABASH INSIDE BECAUSE THIS IS THE SYMBOL OF LIFE.

BECAUSE THAT THING FOR ME, THAT'S THE BEGINNING OF CONSCIENCE OF A HUMAN BEING.

ANYWHERE YOU GO YOU WILL SEE THE CALABASH.

IT'S JUST THE EFFECT OF AFRICA.

WE USE THAT DAILY JUST TO DRINK OUR WINE.

DAILY WE HAVE THAT.

THE QUEEN USED TO PUT HER JEWELS INSIDE.

YOU KNOW, IT'S A DIFFERENT WAY THAT THIS IS SERVED IN AFRICA.

IT'S BEAUTIFUL.

IT'S KIND OF, IT'S EARTHY.

IT'S BEAUTIFUL WHEN YOU LOOK AT IT.

♪♪ I'M A HUMAN.

AND AS LONG AS I LIVE, I WILL BE HUMAN.

I DON'T CARE WHO YOU ARE.

WHEN I MET YOU, WHEN I MET ANYONE, I WANT US TO HAVE AN EXPERIENCE OF HUMAN BEINGS.

WE DON'T HAVE THAT NO MORE.

WE LET THAT GO.

I WANT EVERYBODY TO KNOW THAT I LOVE EVERYONE.

I DON'T CARE WHERE YOU'RE FROM, WHAT YOU DO, BAD, GOOD, I LOVE YOU.

IF WE CAN LOVE EACH OTHER, WHAT ELSE CAN YOU GIVE SOMEONE BESIDES LOVE?

♪♪ >> TALLE BAMAZI HAD A RECENT SHOW AT OTTERBEIN UNIVERSITY MUSEUM AND GALLERY.

LOG ONTO COLUMBUSMAKESART.COM TO FIND MORE UPCOMING SHOWS.

OUR NEXT SEGMENT EXPLORES IDENTITY BY INFUSING HUMOR INTO DANCE.

MEET DOMINIC MOORE-DUNSON, A DANCER AND CHOREOGRAPHER WHO CREATED "THE BLACK CARD PROJECT" UP IN CLEVELAND.

IT ALL STARTED IT A LONGING TO PLAY ENGLISH SOCCER.

TAKE A LOOK.

>> IN SIXTH GRADE, SOUTH.

I'M SITTING WITH THE SEVEN OTHER BLACK BOYS IN MY GRADE AT MY TIME, AND WE'RE ALL SITTING AT THE SAME LUNCHROOM TABLE.

AND WE'RE TALKING ABOUT WHAT WE WANTED TO BE WHEN WE GROW UP.

AND ONE OF THEM SAYS, I WANT TO BE IN THE NBA.

I WANT TO PLAY LIKE LeBRON.

AND THE OTHER ONES WERE LIKE, I WANT TO BE IN THE NFL.

I WANT TO BE LIKE MICHAEL VICK.

IT WAS MY TURN TO SAY SOMETHING, I SAID, "WELL, I WANT TO DANCE IN PARIS, OR PLAY PROFESSIONAL SOCCER IN ENGLAND."

AND IT WAS A DEAFENING SILENCE OVER THE TABLE.

AND ONE OF MY FRIENDS LOOKS AT ME AND SAYS, "BRUH, THAT AIN'T BLACK."

AND ALL THE KIDS STARTED LAUGHING.

THERE'S THIS OVERARCHING FEELING THAT LIKE, IF I DON'T KNOW THIS ABOUT THE BLACK CULTURE, IF I DON'T KNOW THIS KIND OF MUSIC, I'M NOT BLACK ENOUGH.

IF I DON'T THIS KIND OF FOOD, I'M NOT BLACK ENOUGH.

YOU KNOW, SOMETIMES I FEEL LIKE I WAS SUPPOSED TO LEARN HOW TO BE BLACK SOMEWHERE.

AND -- BUT NOBODY -- THERE'S NO PROGRAM TO LEARN HOW TO BE BLACK.

AND I KIND OF SAT FOR A WHILE, AND I WAS LIKE, WHAT IF THERE WAS A SCHOOL?

WHAT IF THERE WAS A SCHOOL WHERE YOU LIKE -- SOMEONE LEARNED HOW TO BE BLACK?

AND THAT'S WHERE IT STARTED.

AND I WAS LIKE, WHAT IF THERE'S THIS KIND OF WEIRD, INTERESTING CHARACTER WHO'S KIND OF LIKE ME, BUT A DIFFERENT VERSION OF ME IN MY HEAD?

AND WHAT IF, YOU KNOW, HE KIND OF WENT THROUGH ALL THESE CLASSES AND IT KIND OF FELT LIKE A REALLY WEIRD VERSION OF "THE WIZARD OF OZ"?

BECAUSE YOU HAVE THIS SINGLE CHARACTER THAT RUNS INTO ALL THESE DIFFERENT CHARACTERS AND LEARNS ALL THIS STUFF.

SO IT'S KIND OF LIKE THE STRUCTURE THAT WE USED.

KEVIN PARKER, WHEN I ASKED HIM TO COLLABORATE ON THIS SHOW, I DIDN'T KNOW REALLY WHAT THE SHOW WAS YET.

I WAS TALKING TO HIM.

WE WENT OUT TO AN APPLEBEE'S AND WE SAT DOWN, AND I WAS LIKE, "SO I HAVE THIS IDEA.

I KIND OF WANT TO TALK TO YOU ABOUT WHAT IT MEANS TO BE BLACK."

AND STARTED JUST KIND OF JOKING AND LAUGHING ABOUT ALL OF THESE THINGS THAT WE KNEW ABOUT.

SO WE'RE AT FIRESTONE HIGH SCHOOL, WITH IS MY ALMA MATER.

I GRADUATED FROM FIRESTONE IN 2008.

IT'S HARD TO TALK ABOUT HOW IMPORTANT IT IS TO ME, BECAUSE THIS MOMENT IS FULL CIRCLE.

AT 14 YEARS OLD, I WAS LEARNING THE FOUNDATIONS OF WHAT IT MEANT TO BE A CREATOR.

AT THE SAME TIME, I WAS DEALING WITH ALL THESE INTERNAL STRUGGLES OF -- WELL, CAN I DANCE?

SHOULD I BE DANCING?

CAN I PLAY SOCCER?

SHOULD I BE PLAYING SOCCER?

BUT COMING INTO THIS PLACE WAS LIKE A VERY SAFE SPACE FOR ME TO EXPLORE WHO I REALLY, REALLY KNEW I WAS AS AN ARTIST AT A SUCH YOUNG AGE.

AND TO BE, YOU KNOW, 16 YEARS LATER BRINGING MY 90-MINUTE WORK, A VERY LARGE WORK FOR SOMEBODY AROUND MY AGE.

AND KNOWING THAT, WOW, JUST A COUPLE HUNDRED FEET THAT WAY WHILE I WAS ON STAGE, I STARTED THIS PROCESS.

>> I WOULD SAY I'VE NEVER REALLY SEEN A SHOW QUITE LIKE THIS.

THIS WAS COMPLETELY DIFFERENT.

THE FACT THAT IT ONLY HAD TWO PEOPLE IN IT DOING AN ENTIRE STORY WAS ENOUGH.

THAT SET IT ASIDE FROM MOST THINGS I'VE SEEN.

I GUESS I NEVER REALLY THOUGHT ABOUT A BLACK CARD, LIKE EVER HAVING A BLACK CARD.

AND REALIZING THAT, LIKE, IT IS A THING.

OH, THERE ARE THINGS I DON'T KNOW ABOUT THAT HAPPENED WITHIN MY COMMUNITY.

>> I WOULD SAY THE SLIGHT STEREOTYPICAL-NESS OF IT, IT WAS PRETTY FUNNY.

LIKE, THE LITTLE GANGSTER WALK AND THE STEREOTYPICAL CLOTHING.

IT WAS -- IT WAS PRETTY FUNNY.

>> THE PROBLEM WITH HUMOR IS IT'S ACTUALLY THE HARDEST THING TO DO ON STAGE.

BECAUSE YOU HAVE TO THINK ABOUT YOUR OWN BIASES AS WHAT YOU THINK IS FUNNY, VERSUS WHAT OTHER PEOPLE THINK IS FUNNY.

SO THAT'S ONE OF THE FIRST BARRIERS.

INSIDE OF THIS CONVERSATION, WE WANTED TO USE HUMOR BECAUSE WE WANTED TO PULL PEOPLE INTO OUR WORLD, AND MAKING PEOPLE LAUGH ALWAYS DOES THAT.

YOU WANT TO PULL PEOPLE INTO THE SHOW BEFORE YOU HIT 'EM WITH THE REALLY HARD TOPICS.

WE COULDN'T START THE SHOW WITH THE HISTORY SECTION, BECAUSE IT'S TOO RAW AND IT FEELS TOO CLOSE TO HOME.

SO YOU INVITE PEOPLE IN BY MAKING THINGS FUNNY, BY MAKING THEM FUN, PLAYING THEIR FAVORITE MUSIC.

ALL OF A SUDDEN, THEY'RE WILLING TO GO ON THE JOURNEY WITH YOU, NO MATTER WHERE YOU TAKE THEM.

AND WE REALIZED THAT'S WHAT WE NEEDED TO DO, BECAUSE I'VE SEEN A LOT OF MODERN DANCE SHOWS, AND OFTEN WE TALK ABOUT RACE.

THE PIECE IS VERY HEAVY AND A LOT OF TIMES YOU'LL SEE PEOPLE WHO WERE SITTING FORWARD START TO LEAN BACK AND DISENGAGE, BECAUSE IT FEELS LIKE TOO MUCH FOR THEM.

SO WE'RE LIKE, OKAY, WHAT IF WE DID THE OPPOSITE?

WHAT IF OVER TIME WE GOT THEM TO LEAN FORWARD AND THEN THEY WOULD STAY THERE.

SO IT'S ALSO TAKING THAT IDEA OF, LIKE, WE HAVE THESE CHARACTERS WHO ARE THESE STEREOTYPES.

BUT WHAT IF WE BROKE THE SOMETHING ABOUT THEM THAT CHANGED YOU A LITTLE BIT?

C.T.

PAIN, WHO'S THE THUG, HE DOESN'T THINK HE'S FUNNY.

HE'S VERY, VERY SERIOUS.

BUT AS YOU SAW IN THE SHOW TODAY, THE KIDS WILL LAUGH AS SOON AS THEY SEE HIM.

THE PART THAT WAS REALLY DIFFICULT, ACTUALLY, WAS MAKING SURE EVERY CHARACTER HAD INTEGRITY, AND IT WASN'T MY EMOTIONAL FEELINGS ABOUT THAT CHARACTER THAT CAME OUT.

BECAUSE ME AND KEVIN TALKED ABOUT, WE CAN'T BE HYPOCRITES.

WE CAN'T SAY THERE'S NO ONE WAY TO BE BLACK, AND THEN SAY WELL THE WAY THE THUG'S DOING IT IS WRONG.

♪♪ I KNEW I WANTED TO DO SOMETHING THAT HAD TO DO WITH BLACK HISTORY, BUT I DIDN'T KNOW WHAT.

SO I WAS JUST GOING THROUGH CLIPS AND THINGS LIKE THAT.

AND ONE DAY I HAD THIS DREAM THAT I WAS RUNNING.

AND I WAS JUST LIKE -- YOU KNOW, THERE'S A SLAVE MASTER RUNNING, THERE WAS A DOG HAPPENING, ALL THIS STUFF.

AND THEN I HAD ANOTHER DREAM ABOUT BEING IN THE JIM CROW SOUTH AND WHAT THAT FELT LIKE AND THEN I HAD ANOTHER DREAM, RIGHT AFTER THAT, THAT WAS LIKE THE '60s BLACK PANTHER MOVEMENT.

AND THEN ANOTHER DREAM THAT WAS KIND OF BEING THIS TRAYVON MARTIN, TAMIR RICE TYPE CHARACTER.

SO THE SECTION IS ACTUALLY LITERALLY A DREAM I HAD.

>> ALL YOU CAN REALLY HEAR IS WHIPPINGS AND GETTING HIT WITH BATONS AND ALL OF THAT.

AND I WOULD SAY THAT, THAT KIND OF IS REALLY REFLECTFUL ON OUR HISTORY.

I FEEL LIKE IT WAS -- THAT WAS PROBABLY THE PART THAT MADE IT MOST IMPACTFUL, WAS JUST THE WAY THEY'D DRAWN IN THE AUDIO WITH THE DANCING.

I WOULD SAY THAT ALL JUST CAME IN AND MADE IT SO POWERFUL.

>> I WOULD LOVE FOR THIS PIECE TO TOUR NATIONALLY.

TO TOUR TO ALL THESE LARGE CITIES, ESPECIALLY WHERE THERE'S A LARGE AFRICAN-AMERICAN POPULATION.

AND TO GET IN TO THE SCHOOLS, JUST LIKE WE DID HERE.

BUT ALSO -- THE SHOW IS ALSO BUILT FOR THE STUDENTS, BUT ALSO THEIR FAMILIES.

IT'S REALLY, REALLY IMPORTANT MOM, DAD, GRANDMA, GRANDPA, AUNTIE, UNCLE SEE THE SHOW.

BECAUSE WHAT I WOULD LOVE TO HAPPEN IS EVERYBODY GOES HOME THAT NIGHT AND THEN THEY TALK ABOUT IT.

THAT'S THE POINT, RIGHT?

THE MISSION OF THIS PROJECT IS TO CREATE CONVERSATION AROUND THE NARROW ASPECTS OF THE BLACK IDENTITY, AND THEN HOW THAT RELATES TO ECONOMIC DEVELOPMENT IN THE BLACK COMMUNITY.

>> THIS IS LIVING PROOF THAT YOU COULD LITERALLY DO WHATEVER YOU WANT TO DO.

AND EVEN THOUGH YOU MAY GET HIT, YOU MAY GET HURT, YOU MAY GET BRUNG DOWN A LITTLE, YOU'LL STILL BE YOU AND BE ABLE TO GO FORWARD TO WHEREVER YOU'RE TRYING TO ACHIEVE.

>> TODAY WAS THE FIRST PERFORMANCE WHERE -- I COULD SEE THE AUDIENCE A LITTLE BIT, BUT IT FELT LIKE 80-90% OF THE AUDIENCE WAS THE EXACT TARGET AUDIENCE THE SHOW IS FOR.

AND IT GAVE ME A SENSE OF LIKE, THIS IS WHY WE DID THIS.

♪♪ >> THIS IS A STORY OF A BIG IDEA THAT ACTUALLY DIDN'T GET DERAILED BY THE PANDEMIC.

IN MARCH, THE NEW ALBANY SYMPHONY ORCHESTRA HELD A WORLD PREMIER WITH LIVE STREAMING AND LIMITED IN-PERSON SEATING.

THE WORK WAS BY OHIO COMPOSER AND GUGGENHEIM FELLOW ADAM ROBERTS.

BUT THERE WAS ONE BIG SURPRISE.

LISTEN AS SOLOIST CAMERON LEACH SAYS HE HAD TO LEARN TO RECONNECT WITH THE ENERGY OF LIVE PERFORMANCE.

♪♪ >> LARGELY MY CAREER WAS ON HOLD.

♪♪ I STARTED OFF THE PANDEMIC DOING A LOT OF VIRTUAL CONCERTS FOR TWO MONTHS.

AND RIGHT AROUND MAY 2020, I REALIZED IT WAS JUST SO MUCH LOGISTICAL WORK TO RECORD EVERYTHING IN MY BASEMENT.

I INVESTED IN A LOT OF NEW GEAR, BUT I ESSENTIALLY DECIDED TO PRESS PAUSE ON MY SOLO CAREER.

♪♪ SO THAT'S WHY THIS GIG MEANS SO MUCH TO ME.

♪♪ >> WE ARE IN REHEARSAL FOR OUR CONCERT WITH CAMERON LEACH, OUR PERCUSSION SOLOIST, FEATURING A NEW COMMISSION BY ADAM ROBERTS.

♪♪ ♪♪ ♪♪ I THINK THE BIGGEST CHALLENGE FOR ALL ARTS ORGANIZATIONS IN OHIO HAS JUST BEEN THE CONSTANT CHANGING.

YOU KNOW, THE PROTOCOLS KEEP CHANGING, EVERY SINGLE DAY THERE'S SOMETHING DIFFERENT.

SO, YOU KNOW, SOMETHING THAT TAKES A YEAR TO PLAN, LIKE A CONCERT, THEY'RE HAVING TO FLIP A SWITCH AND REALLY GO WITH WHATEVER IS HAPPENING AT THE MOMENT.

♪♪ DEFINITELY THE REHEARSALS ARE SHORTER IN LENGTH, AND WE HAVE ABOUT HALF THE NUMBER OF MUSICIANS ON STAGE.

WE'RE ALL SOCIALLY DISTANCED -- SIX FEET APART.

WE HAVE PLEXIGLAS BARRIERS BETWEEN OUR WINDS AND BRASS PLAYERS.

WE'RE DOING TEMPERATURE CHECKS AND MAKING SURE THAT EVERYONE'S HEALTHY WHEN THEY GET HERE.

♪♪ ♪♪ >> WELL IT'S BEEN DIFFICULT, AS YOU KNOW.

A LOT OF THE MUSICIANS IN OUR INDUSTRY HAVE BEEN -- NOT BEEN ABLE TO PLAY OR MAKE THEIR ART.

BUT WE'VE BEEN LUCKY ENOUGH.

WE HAD TO CANCEL A CONCERT, SO WE'RE VERY HAPPY TO AT LEAST BE DOING THIS.

SOME WORKERS WERE FURLOUGHED AND NOT MAKING ANYTHING, AND THANKS TO THE BOARD AND HEATHER AND EVERYBODY, WE'RE ALIVE.

SO IT'S GOOD.

♪♪ ♪♪ >> FOR ME IT WAS REALLY THE PROJECT THAT I WAS WORKING ON DURING THE PANDEMIC.

IT WAS GOING TO BE MY BIG PREMIER, ONCE HOPEFULLY, YOU KNOW, KIND TO MARK THE END OF THE PANDEMIC IN A WAY.

NOT THAT WE'RE TOTALLY AT THE END, BUT A START TO MAKING MUSIC AGAIN LIKE THIS.

♪♪ ♪♪ SO IN SOME WAYS FOR ME IT'S BEEN PROBABLY MORE SEAMLESS THAN IT'S BEEN FOR MY PERFORMER COLLEAGUES, BECAUSE MY WORK HAPPENS AT THE DESK ANYWAY, AT HOME.

SO -- BUT IT WAS BEEN ANXIOUS IN THE SENSE OF, YOU KNOW, I INVESTED A LOT OF ENERGY AND TIME INTO WRITING THIS PRETTY BIG PIECE FOR EXAMPLE.

AND I DIDN'T KNOW, OF COURSE, FOR SURE IF IT WOULD HAPPEN.

SO WONDERING IF IT'D BE POSSIBLE, OR IF WE'D HAVE TO POSTPONE IT A YEAR, OR YEARS -- ♪♪ ♪♪ >> ONE THING I REALIZED AT THE FIRST REHEARSAL FOR THIS NEW CONCERTO, IT WAS REALLY A WORKSHOPPING EXPERIENCE, WITH THE ENSEMBLE, AND WITH LOUIS, AND WITH EVERYBODY INVOLVED.

BUT I DIDN'T FEEL ANY EMOTION ON STAGE, GOOD OR BAD.

AND WHAT I CAME TO REALIZE IS THAT I LARGELY SORT OF SEPARATED MYSELF FROM MUSIC THROUGHOUT THE PANDEMIC -- MENTALLY, YOU KNOW, AND PERSONALLY.

AND SO BEING BACK ON THE STAGE, I'M ACTUALLY RELEARNING HOW TO APPRECIATE WHAT IT IS I DO.

♪♪ ♪♪ >> I THINK MAYBE WE'VE ALL BEEN SLIGHTLY TRAUMATIZED BY THE PANDEMIC.

LIKE WE'RE ALL GONNA BE AT HOME FOREVER.

SO TO HAVE THIS BE A WAY THAT WE COULD COME OUT OF THE HOUSE AND START TO MAKE MUSIC TOGETHER AGAIN, THIS PIECE WILL FOREVER MEAN THIS TO ME.

♪♪ ♪♪ >> THE NEW ALBANY SYMPHONY WILL BE PERFORMING A SERIES OF CONCERTS AT ROSE RUN PARK THIS SUMMER.

SOME ARE TICKETED, BUT MANY ARE FREE TO THE PUBLIC.

LOG ON TO NEWALBANYSYMPHONY.COM FOR MORE INFORMATION.

WHEN WE THINK OF BUTTERY THREE-PART HARMONIES AND AN OLD-SCHOOL BAND THAT KNOWS HOW TO STRUM A SULTRY GUITAR RIFF, YOU KNOW WE'RE TALKING THE SALTY CARAMELS.

HERE'S ONE OF COLUMBUS'S FAVORITE BANDS IN A "BROAD & HIGH" PRESENTS SESSION WITH THEIR ORIGINAL SONG, "SAFE."

♪♪ ♪♪ ♪♪ ♪ THINK ABOUT ALL THOSE TAXI RIDES ♪ ♪ WHEN SOMEONE ELSE DRIVES YOU AROUND ♪ ♪ OR ALL THOSE TERRIBLE LONG AIRPLANE FLIGHTS ♪ ♪ THAT CAN MAKE YOU SICK FOR THE GROUND ♪ ♪ GET IN THE CAR DRUNK AFTER DARK ♪ ♪ AND IT'S SPEEDING YOU HOME YOU'RE AFRAID ♪ ♪ WONDERING WHO IS THIS MANIAC THAT I TRUST ♪ ♪ WITH MY LIFE IN THE NIGHT ♪ ♪ SO LATE SO LATE ♪ ♪ SO LATE SO LATE ♪ ♪ PASSENGER BUCKLE YOUR SEATBELT ♪ ♪ HERE COMES SOME TURBULENCE ♪ ♪ PASSENGER CAN YOU DEAL WITH DISASTER ♪ ♪ 'CAUSE YOU'RE THE ONE NEAR THE ENTRANCE ♪ ♪ TAKE ME TO MY DESTINATION ♪ ♪ BUT PLEASE GET ME THERE GET ME THERE ♪ ♪ SAFE SAFE SAFE SAFE ♪ ♪ SAFE SAFE SAFE SAFE ♪ ♪♪ ♪♪ ♪ THINK ABOUT ALL THOSE TAXI RIDES ♪ ♪ WHEN SOMEONE ELSE DRIVES YOU AROUND ♪ ♪ OR ALL THOSE TERRIBLE LONG AIRPLANE FLIGHTS ♪ ♪ THAT CAN MAKE YOU SICK FOR THE GROUND ♪ ♪ GET IN THE CAR DRUNK AFTER DARK ♪ ♪ AND IT'S SPEEDING YOU HOME YOU'RE AFRAID ♪ ♪ WONDERING WHO IS THIS MANIAC THAT I TRUST ♪ ♪ WITH MY LIFE IN THE NIGHT ♪ ♪ SO LATE SO LATE ♪ ♪ SO LATE SO LATE ♪ ♪ PASSENGER BUCKLE YOUR SEATBELT ♪ ♪ HERE COMES SOME TURBULENCE ♪ ♪ PASSENGER CAN YOU DEAL WITH DISASTER ♪ ♪ 'CAUSE YOU'RE THE ONE NEAR THE ENTRANCE ♪ ♪ TAKE ME TO MY DESTINATION ♪ ♪ BUT PLEASE GET ME THERE GET ME THERE ♪ ♪ SAFE SAFE SAFE SAFE ♪ ♪ SAFE SAFE SAFE SAFE ♪ ♪ SAFE SAFE ♪ SAFE SAFE SAFE SAFE ♪ ♪ SAFE SAFE SAFE SAFE ♪ ♪ SAFE SAFE SAFE SAFE ♪ ♪♪ ♪♪ ♪♪ [ LIGHT APPLAUSE ] >> 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 AT WOSU, I'M KATE QUICKEL.

THANKS FOR WATCHING.

♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ >> I AM E.J.

JONES AND I AM THE MAN WHO KNITS.

♪♪ I ONLY KNIT WITH NATURAL FIBERS.

PROBABLY CASHMERE AND CAMEL HAIR AND WOOL ARE MY FAVORITES.

I LOOK EVERYWHERE FOR YARN.

♪♪ ♪♪ WHEN I GO TO THE SALVATION ARMY, I AM LOOKING FOR THE LARGEST SWEATER THAT HAS THE MOST DESIGNER CHARACTER TO IT THAT IS CASHMERE.

HERE'S ONE.

GOT A BIG HOLE IN IT, BUT I CAN USE THAT.

I COULD NOT AFFORD YARN THAT I'M USED TO KNITTING FOR SWEATERS.

THEY WERE VERY -- THE YARN'S VERY EXPENSIVE AND I FOUND THAT IF YOU BUY A SWEATER AND YOU TAKE IT APART, YOU'VE GOT FOR THE MOST PART PRETTY GOOD YARN TO WORK WITH.

♪♪ ♪♪ I LEARNED HOW TO KNIT HATS FROM A SWEATER THAT I HAD FINISHED AND HAD EXTRA YARN.

SO I KNITTED A HAT.

I AM GOING TO PUT IT ON TO SEE IF YOU LIKE IT OR NOT.

WHAT DO YOU THINK?

ALL MADE FROM RECYCLED SWEATERS.

♪♪ >> CATCH COLUMBUS AT IT'S CREATIVE BEST ON "BROAD & HIGH."

THURSDAY NIGHTS AT 8:00 ON WOSU TV.

>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.

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