>> PRODUCTION OF "BROAD & HIGH" IS FUNDED BY THE GREATER ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, CONCERTS, PUBLIC ART AND MORE AT COLUMBUSMAKESART.COM.

FROM THESE CONTRIBUTING SPONSORS, AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON "BROAD & HIGH," MEET TWO ARTISTS WHO ARE CREATIVE AND LIFE PARTNERS.

AN ARTIST CELEBRATES HER HERITAGE IN MULTIPLE MEDIUMS.

LEARN ABOUT A SINGER WHOSE CAREER TOOK HER ACROSS THE GLOBE.

AND HERE THE MAJESTIC SOUNDS OF BAG PIPE MUSIC.

THIS AND MORE RIGHT NOW ON "BROAD & HIGH.

>> WELCOME TO "BROAD & HIGH."

I'M YOUR HOST KATE QUICKEL.

AS EDUCATORS, ARTISTS AND PARTNERS, THE CREATIVE ENDEAVORS OF DANI AND SHEILAH ReSTACK BOTH CONVERGE AND DIVERGE.

DANI GRAVITATING TOWARDS MOVING IMAGES AND MICRO NARRATIVES WHILE ILAH FOCUSES ON HER BACKGROUND.

THEIR PARTNERSHIP WORKS BY ILLUSTRATING POSSIBILITIES IN OUR DEEPLY FLAWED WORLD.

WE MET WITH DANI AND SHEILAH IN THEIR SHARED AND SEPARATE CREATIVE SPACES TO TALK ABOUT THEIR PROCESS AND ONGOING WORK.

>> THE WAY I ENTERED INTO ART MAKING WAS THROUGH PHOTOGRAPHY.

I FEEL LIKE THAT HAS ALWAYS BEEN A MEDIUM THAT I'M LIKE REALLY COMPELLED TOWARDS AND ALSO DEEPLY FRUSTRATED BY, YOU KNOW, BOTH OF THOSE THINGS.

SO I LOVE THIS POWER TO, LIKE, WIELD TRUTH, YOU KNOW, OR KIND OF BE A DOCUMENT THAT HAS A CERTAIN KIND OF ICALITY TO IT.

BUT I ALSO RESIST THAT AND WANT TO MAKE STORIES OR NARRATIVES HAVE A PHYSICAL EXPRESSION ON THE PHOTO PAPER INTO THAT MEDIUM IN SOME WAY THAT CAN REFLECT MY, LIKE, FEMINIST OR EMBODIED OR QUEER OR SOMETHING OUTSIDE OF THE TWO- DIMENSIONAL DECISIVE MOMENT OF SOMETHING BRESSON OR SOMETHING LIKE THAT.

THERE'S SOMETHING SIMILAR TO DANI IN ALL OF THE THINGS OF LIFE GET CYCLED INTO OR PULLED INTO THE MAKING OF THE WORK AND INFLUENCE IT IN VERY DIRECT WAYS.

IT IS A WAY OF, LIKE, PROCESSING OR TRANSFORMING THAT EXPERIENCE INTO SOMETHING ELSE THAT I THINK ULTIMATELY YOU WANT TO SHARE WITH OTHERS.

>> AND WE ALWAYS TAKE ON TOPICS OF THE CURRENT, YOU KNOW.

AT ONE POINT I WAS GRAPPLING WITH MY JEWISH IDENTITY.

CURRENTLY I'M RECKONING WITH MY PLACE IN THIS FAMILY AND WHERE I HAVE PATTERNS OF FLIGHT.

I DON'T REALLY DO FLIGHT.

IGHT.

IT'S FLIGHT.

>> AND WHAT DOES IT MEAN TO STAY AND WHAT DOES IT MEAN TO HAVE, YOU KNOW, I'M IN LOVE WITH THESE KIDS, BUT WHAT HAPPENS WHEN YOU DON'T WANT TO BE AROUND SOMEONE AND HOW THEY NEED YOU TO BE THERE?

SO I'M MAKING DRAWINGS OF THE GIRLS.

I OFTEN USE PHOTOGRAPHS.

I'M NOT TRAINED IN DRAWING.

I DON'T KNOW HOW TO DO AN ANATOMICALLY CORRECT FIGURE OR FACE.

AND I DON'T REALLY CARE, BUT SOMETIMES I WANT SKY'S FACE, ROSE'S FACE, SHEILAH'S FACE, MY FATHER'S FACE.

SO I TAKE A PHOTO AND PUT IT IN AS A COLLAGE.

>> YOU STARTED WORKING COLLABORATIVELY IN 2015 OR SOMETHING LIKE THAT.

THAT'S KIND OF AN INTERESTING WAY INTO THE COLLABORATION, BECAUSE - - >> IT STARTED ON PAPER AND STARTED WITH LANGUAGE.

>> YEAH.

I WAS ASKING DANI TO PRINT ME A PHRASE THAT WAS LIKE STRANGELY ORDINARY, THIS DEVOTION.

AND I JUST WANTED A WHOLE BUNCH OF THEM PRINTED, LIKE A WHOLE BUNCH, THE KIND OF REPETITION OF THAT PHRASE BUT ALSO THE OFFERING OF THAT SURFACE AS LIKE A PLACE TO MAKE A NOTE OR PUT A DRAWING OR MARK TIME OR, YEAH, CREATE A DOCUMENT, I GUESS.

BUT DANI LIKE --WHILE YOU WERE HELPING ME, LIKE, HAD THIS IDEA OF WHAT THAT PHRASE MEANT.

>> TO YOU AND TO ME.

I STARTED QUESTIONING STRANGELY ORDINARY DEVOTION.

NOW, WHAT I THOUGHT IT MEANT IS THAT HER DEVOTION TO ROSE, I THOUGHT IT WAS ABOUT HER DEVOTION AND TO ME TO BE DEVOTED TO A CHILD WAS NOT ORDINARY.

I FOUND IT EXTRAORDINARY.

SO THAT WAS, LIKE, I STARTED ASKING MYSELF WHAT AM I DEVOTED TO?

DOESN'T REALLY MATTER.

WE STARTED WORKING WITH THAT.

THAT BECAME THE TITLE OF OUR FIRST FILM IN OUR TRILOGY.

>> STRANGELY ORDINARY, THIS DEVOTION, COME COYOTE, FUTURE FROM INSIDE.

AND THE WHOLE UMBRELLA OF THE TRILOGY IS FERAL DOMESTIC.

>> YEAH.

USING THE DOMESTIC SPACE AS SOMETHING THAT CAN BE KIND OF TURNED WILD OR LIKE -- >> -- AS MUCH IS POSSIBLE BECAUSE WE HAVE TO GO GET OUR CAR FIXED OR WHAT NOT.

>> YEAH.

>> LIKE WHAT CAN WE INTRODUCE TO THE FAMILY THAT KEEPS US FROM GETTING TOO DOMESTICATED.

>> I FEEL LIKE THE DOMESTIC GETS OVER LOOKED.

IT'S SORT OF A FORECLOSED SPACE IN SOME WAYS.

WE WERE A LITTLE BIT TRAPPED IN IT IN THE BEGINNING, LIKE, BECAUSE ROSE WAS SO YOUNG.

LIKE, WE WOULD HAVE TO HAVE A BABYSITTER.

THERE'S A WHOLE BUNCH OF SCENES THAT ARE BECAUSE THIS IS THE SPACE THAT WE'RE IN.

[ INDISCERNIBLE ] >> WE HAVE TO USE THE KITCHEN.

WE'RE GOING TO SHOOT IN THE BACK YARD BECAUSE WE CAN'T GO OUT.

>> YEAH.

JUST LIKE CERTAIN REALITIES.

>> THINGS FALL INTO PLACE LIKE THAT.

I MEAN, EVERYTHING MAKES EACH OTHER.

IT KIND OF TRACKED TIME WITH ROSE BEING --I MET HER WHEN SHE WAS 5.

SHE'S 15 NOW.

OH YEAH, AND BECAUSE SHE'S 15 NOW, WE'RE TRYING TO DEAL WITH TEENAGE GIRL IN THIS SOCIETY, IN OUR SOCIAL MEDIA MESS.

THAT'S WHAT STOVE PIPE TO THE SUN ADDRESSES.

>> I DO BELIEVE WE ARE SORT OF LIKE A PATRIARCHY OR WHATEVER.

WE'RE INUNDATED WITH A CERTAIN MESSAGE OR A CERTAIN WAY OF TELLING IT.

MOST OF THE MOVIES WE WOULD WATCH AT THE THEATER HAVE A CLEAR NARRATIVE ARC, RISING ACTION, CLIMAX.

WE GET IT.

IT'S FUN.

WE LOVE TO ESCAPE INTO THESE OTHER WORLDS PROVIDED.

BUT PART OF WHAT YOU CAN OFFER IN ART MAKING IS OTHER WAYS.

WHAT DOES IT MEAN TO MAKE A FRAGMENTED NARRATIVE?

WHAT DOES IT MEAN TO HAVE TO CONSTRUCT SENSE YOURSELF AS A VIEWER OR NOT BE TOTALLY SURE?

YOU KNOW WHAT I MEAN?

THESE ARE ALL REALLY PRODUCTIVE QUESTIONS.

IT'S OFFERING STORY, WHICH IS LIKE WHAT YOU CRAVE AND WHAT WE BOTH ARE LIKE INVESTED IN BUT IN A WAY THAT IS LIKE NOT SO LEGIBLE, YOU KNOW.

>> AND YOU'RE GOING TO HAVE TO WORK.

WE'RE NOT GOING TO PUT IT ON A SILVER PLATTER.

I OFTEN WOULD MAKE A VOICEOVER, FOR INSTANCE, BECAUSE I WANT YOU TO UNDERSTAND AND THEN YOU DON'T HAVE TO THINK.

SO THAT ONE GETS SCRATCHED.

YOU KNOW WHAT I MEAN?

>> I THINK PART OF WHAT MAKES WORKING TOGETHER SO INTERESTING IS THAT, LIKE, I HAVE ONE IDEA ABOUT SOMETHING AND, LIKE, SHE HAS SOMETHING TOTALLY DIFFERENT, YOU KNOW.

SO, AGAIN, IT'S THAT SORT OF -- THERE'S LIKE A PRODUCTIVE DISSONANCE OF DEALING WITH SOMETHING THAT IS NOT YOURSELF, YOU KNOW?

AND THERE'S JUST THAT ENERGY COMING IN, CAN LIKE SHIFT THINGS IN A WAY.

THAT'S WHAT I LOVE ABOUT DANI'S WAY OF MAKING WORK AND HER WAY IN THE WORLD, WHICH IS SHE'S VERY, LIKE, UNAFRAID.

WE FIGHT ABOUT THIS, BECAUSE DANI HAS, LIKE, A DIRECTNESS AND I HAVE KIND OF AN OBSCURITY OR I'M INTERESTED IN HOW THINGS CAN ACCUMULATE AND REVEAL SOMETHING.

EVEN IN WRITING THE DREAMS, I'M LIKE REWRITING THEM ONE ON TOP OF THE OTHER, ONE ON TOP OF THE OTHER.

DANI'S LIKE, WHY DON'T YOU JUST WRITE THEM OUT?

THESE ARE GOOD QUESTIONS, BUT IT'S ALSO LIKE THAT'S PART OF THE WAY IN WHICH I MAKE SENSE OF THE WORLD.

IT'S OKAY WITH ME IF IT TAKES A WHILE OR IF YOU HAVE TO THINK ABOUT IT AS A FORMAL EXPERIENCE AND THEN, LIKE, IT SEEPS INTO YOU LIKE A WORD OR A SHAPE OR SOMETHING ELSE.

>> THERE WAS A LOT OF DOUBT FOR MANY YEARS ABOUT BEING AN ARTIST.

LIKE, I'M IN HERE HAVING THIS TIME OF MY LIFE, AND THERE'S PEOPLE THAT COULDN'T HAVE THIS.

WHAT BUSINESS AM I?

I SHOULD BE WORKING ON BEHALF OF OTHERS, YOU KNOW, NOT CONTRIBUTING.

AND THEN I CAME TO UNDERSTAND THROUGH OTHER PEOPLE'S ART THAT ART FEEDS ME.

I THOUGHT I'M NOT AS SELF-INDULGENT AS I'M AFRAID I'M BEING.

I'M TRYING TO MAKE WORK THAT IS TRUE TO MYSELF AND SOMETHING LARGER THAN MYSELF AND THAT WHEN THE WORK IS PERSONAL AND CONCERNED WITH FORM, TO MAKE SURE IT'S LARGER THAN MYSELF, BECAUSE IT IS LARGER.

LIKE, WE ARE OF ONE ANOTHER.

I'M NOT GOING TO MAKE MY ART AND SAY, OH, UNIVERSAL.

YEAH, I'M NOT GOING TO DO THAT.

BUT WHAT I'M GOING TO DO IS MAKE IT FORMALLY COMPLEX IN ORDER TO MAKE SURE IT'S NOT ABOUT NAVEL GAZING.

THAT IS FORMAL.

I'M CONCERNED WITH WHAT IS FORM, WHAT IS CONTENT AND HOW CAN WE READ THEM.

I HAVE A LOT OF CONTENT THAT I DON'T KNOW HOW TO MAKE FORMALLY.

COLLABORATION, ACTUALLY, IS A WAY TO EXPAND OUT FROM MY UNDERSTANDINGS.

>> MORE ABOUT DANI'S WORK CAN BE FOUND AT DANIReSTACK.COM.

>> FIND SHEILAH ON SIGN AT SHEILAHWILSONReSTACK.

COM.

> >> IN THIS SEGMENT WE TRAVEL TO CARSON CITY, NEVADA, TO MEET ARTIST JACKIE PIAS CARLIN.

BORN IN HAWAII, SHE USES VARIOUS MEDIUMS TO CELEBRATE WHERE SHE CAME FROM.

HERE'S HER STORY.

>> I GO TO SLEEP ASKING TO SEE VISIONS SO I CAN PAINT THEM.

WHEN IMAGES COME, THAT MEANS THERE'S SOMETHING COMING OUT OF IT THAT MEANS IT'S MEANT TO COME OUT.

>> MY NAME IS JACKIE PIAS CARLIN.

I'M AN ARTIST BASED IN CARSON CITY, NEVADA.

I'M ORIGINALLY FROM MAUI, HAWAII.

I'M AN ECLECTIC ARTIST.

I DON'T STAY WITH THE SAME MEDIUM.

I USUALLY GO WITH THE FLOW.

I USE DIFFERENT METHODS OF ART DEPENDING ON THE SUBJECT MATTER.

SOMETIMES WHEN I LOOK AT A SUBJECT MATTER, I THINK THAT'S A BEAUTIFUL WATER IT COLOR.

I'LL DO THAT.

I LOVE THE WATERCOLORS BECAUSE YOU CAN'T CONTROL IT.

WATERCOLOR IS VERY FORGIVING.

IF YOU START LIGHT AND LAYER ON, YOU CAN WORK OUT WHAT YOU DON'T LIKE AS YOU DO THE LAYERS IN WATERCOLOR.

PAINTING WITH SILK IS DIFFERENT THAN PAINTING ON CANVAS.

THE SILK HAS TO BE STRETCHED ON STRETCHER BARS.

AND THE STRETCHER BARS ARE SIZED TO FIT THE PIECE OF FABRIC THAT YOU'RE WORKING ON.

THE SILK IS THEN STRETCHED ON THE BARS AND EITHER HAND DRAWN FREELY OR FOLLOWING A TEMPLATE.

I USE A RESIST TO KEEP ALL THE COLORS IN THE SECTIONS WHERE I WANT THEM TO BE.

AND THE RESIST GOES ON, THEN IT DRIES, AND THEN I PAINT THEM.

I PAINT THE SECTIONS WHERE I WANT THE COLORS TO GO.

AFTER THE PAINTING IS DONE, IT'S DRIED.

AND THEN IT GOES THROUGH A SERIES OF STEAMING, WHICH TAKES ABOUT TWO TO FOUR HOURS TO SET THE COLORS AND THEN RINSED OVER AND OVER AGAIN TO GET THE EXCESS DYES OUT.

>> I'VE ALWAYS WANTED TO GO INTO THE ABSTRACTION.

WOODBLOCKING IS VERY TIME CONSUMING.

EACH COLOR ON A WOODBLOCK IS DETERMINED BY THE CARVING ON THE WOODBLOCK.

THIS IS PASTE THAT I MAKE MYSELF WITH WATER AND RICE FLOUR.

THIS ADHERES THE INK TO THE PAPER.

I LOVE WHEN I TAKE THE PAPER OFF THE BLOCK AND SEE THE PRINT.

FOR SOME REASON OR OTHER, I HAVE NOT STOPPED CREATING.

I TURNED TO WRITING BECAUSE I'VE ALWAYS WROTE.

AND THAT'S WHEN I WENT BACK TO COLLEGE AND THEN WROTE AND PUBLISHED MY MEMOIR.

THIS IS A STORY OF ME GROWING UP IN A FILIPINO SUGAR PLANTATION VILLAGE ON THE ISLAND OF MAUI WHEN SUGAR WAS KING.

THE SUGAR INDUSTRY CLOSED DOWN SEVERAL YEARS AGO, BUT THIS HAS BECOME A HISTORICAL BACKGROUND OF MY LIFE AS A FILIPINO YOUNGSTER GROWING UP AMONGST THE REST OF THE FILIPINOS THAT MIGRATED FROM THE PHILIPPINES TO WORK IN THE SUGAR PLANTATION INDUSTRY.

>> I HAVE 40-PLUS YEARS OF EXPERIENCE AS AN ARTIST IN DIFFERENT MEDIUMS.

IT IS THE TIME OF MY LIFE WHERE I SHOULD MAKE A LITTLE BIT OF A DIFFERENCE.

I MEAN, I HAVE GEORGIA O'KEEFE HERE.

SHE'S 90 YEARS OLD IN THAT PHOTO.

I KEEP HER THERE TO REMIND ME I HAVE MUCH MORE TO PUT OUT.

>> TO LEARN MORE FIND HER ONLINE AT JACKIEPIASCARLIN.COM.

>> NOW, WE TAKE A TRIP TO VIRGINIA TO MEET THE SINGER QUEEN ESTER MARROW.

DISCOVERED BY DUKE ELLINGTON AT 22 YEARS OLD, MARROW HAS HAD AN ILLUSTRIOUS CAREER THAT HAS TAKEN HER ACROSS THE GLOBE.

>> IT'S MY PLEASURE TO INTRODUCE ESTHER MARROW!

[ APPLAUSE ] >> I PLAYED FOR THE POPE THREE TIMES, INVITED TO THE VATICAN TWICE.

I SANG FOR THREE PRESIDENTS.

WHEN I THINK BACK AND LOOK OVER MY LIFE, THE ROADS THAT I'VE TRAVELED, THE PEOPLE THAT I'VE MET, IT'S JUST AWESOME.

>> WHEN I LEFT HERE TO GO TO NEW YORK BECAUSE I WAS TIRED OF MY SURROUNDINGS, I WAS TIRED OF THE --OF THE SEGREGATION, THE PREJUDICE.

AND IT WAS VERY THICK BACK DURING THAT TIME.

I MEAN, EVERYWHERE YOU TURNED, THERE WAS SOMEONE SAYING NASTY THINGS OR TREATING YOU DIFFERENT.

I HAD MY FILL OF IT.

>> HERE I AM IN THE BIG CITY.

IT WAS A DIFFERENT FEELING.

IT WAS A LITTLE SCARY BUT IT WAS EXCITING ALSO AT THE SAME TIME.

I GOT MYSELF A JOB, AND I WAS ON MY WAY.

>> I'M WORKING ON A JOB IN THE GARMENT DISTRICT AND I'M SINGING HAPPY BIRTHDAY.

ONE OF THE BOSSES SAID TO ME, I'VE GOT A LADY I WANT YOU TO MEET.

YOU KNOW, SHE'S VERY INTERESTING.

I WANT YOU TO MEET HER.

I SAID OKAY.

SO I WENT TO MEET HER, SANG "HOW GREAT THOU ART. "

SHE LOOKED AT ME VERY SERIOUSLY AND SAID, HOW WOULD YOU LIKE TO BE IN SHOW BUSINESS?

SHE SAYS, I WANT YOU TO QUIT YOUR JOB, AND I WANT YOU TO COME HERE EVERY DAY LIKE YOU'RE GOING TO WORK, AND I WANT YOU TO BUILD A REPERTOIRE.

WE WILL FIND A IANIST AND GET SOME WORK.

THE ONLY SINGING I HAD DONE HAD BEEN IN CHURCH.

IT NEVER CROSSED MY MIND THAT I COULD BE SINGING PROFESSIONALLY.

>> NORMA HAD A FRIEND THAT KNEW DUKE ELLINGTON.

SHE SAID DUKE WAS GETTING READY TO DO A BIG SHOW IN SAN FRANCISCO AND HE WAS LOOKING FOR A SINGER.

A WEEK AND A HALF LATER WE GET A PHONE CALL FROM DUKE.

HE WANTS ME TO COME TO SAN FRANCISCO BECAUSE HE'S DOING A CONCERT.

I MET DUKE ELLINGTON, FIRST OF ALL, IN LAKE TAHOE, BECAUSE HE WANTED ME TO MEET HIM THERE.

HE HAD A GIG, AND HE WANTED ME TO SING "SOLITUDE," WHICH I KNEW.

I'M SAYING TO MYSELF, WHY AM I DOING THIS?

I THOUGHT WE WERE DOING THE CONCERT.

HE WAS PREPARING ME FOR AN AUDIENCE FOR THE BIG SHOW, YOU KNOW, BECAUSE I HAD NEVER SUNG IN PUBLIC LIKE THIS.

AND WHEN WE GET TO SAN FRANCISCO, I WAS LIKE, WHOA, THIS CHURCH, GRACE CATHEDRAL THAT SITS ON TOP OF NOB HILL, IS GORGEOUS.

AND I'M SINGING "COME SUNDAY.

TELL ME IT'S TRUE, YES, YES TELL ME IT'S TRUE >> AND THE SUN IS BEAMING THROUGH THESE STAINED GLASS WINDOWS.

IT WAS JUST SO UNREAL.

I FELT LIKE I WAS IN HEAVEN.

THAT WAS ONE OF THE EATEST EXPERIENCES I'VE EVER HAD.

THEN WHEN DUKE ON TOP OF THAT ASKED ME, HOW WOULD YOU LIKE TO FINISH THE MIDWEST TOUR WITH ME, I WAS IN SEVENTH HEAVEN.

>> AFTER WORKING WITH DUKE, NOW I'M WORKING IN AND AROUND NEW YORK.

ONE NIGHT WORKING AT BRODY'S, A FRIEND OF MINE CAME IN.

SHE SAYS TO ME, YOU KNOW, THEY'RE LOOKING FOR AUNTIE EM DOWN AT MAJESTIC THEATER.

I SAID, REALLY?

SHE SAID, YEAH.

I SAID, WHAT DO I DO TO GO DOWN THERE?

JUST GO DOWN THERE AND AUDITION.

I GOT THE PART.

[ LAUGHTER ] >> IT WENT OVER, AND I DID THAT FOR ABOUT FIVE YEARS, I THINK.

COME ON, GET ON DOWN, GET ON DOWN THE ROAD >> MET THIS GUY FROM GERMANY, AND HE WAS LOOKING FOR A GOSPEL GROUP.

PEOPLE WERE OFF THE CHAIN, JUMPING UP AND JUST ACTING WILD.

THE EUROPEAN AUDIENCE, THEY APPRECIATE THE MUSIC, THEY LOVE IT.

THEY LOVE YOU.

I HEAR BABIES CRY I WATCH THEM GROW >> LOOKING BACK FROM 19 TO WHERE I AM NOW, LITTLE GIRL FROM NEWPORT NEWS, VIRGINIA, SINGING FOR ALL THESE PEOPLE, IT'S JUST AWESOME.

I NEVER DREAMED OF IT.

TO SEE YOUR NAME UP THERE ON THE MARQUEE, I'M SO THANKFUL THAT I COULD BE A PART OF SHOW BUSINESS AND LEAVE A MARK.

WHAT A WONDERFUL WORLD [ APPLAUSE ] >> THANK YOU!

THANK YOU!

GOD BLESS YOU!

WHOO!

>> TO HEAR MORE, YOU CAN FIND HER ON INSTAGRAM AT QUEEN ESTER MARROW.

>> BRODY ALEXANDER FIRST HEARD THE BAGPIPES DURING AN HONOR FLIGHT CEREMONY AND WAS HOOKED.

HE STARTED TO PLAY AT 7 YEARS OLD AND THIS YEAR WILL PLAY INTERNATIONALLY IN THE WORLD CHAMPIONSHIP OF BAGPIPES.

TAKE A LISTEN TO THE JOYFUL SOUNDS OF HIS BAGPIPES.

>> TO HEAR MORE YOU CAN FIND HIM ON INSTAGRAM AT BRODY THE BAGPIPER.

>> THAT'S OUR SHOW.

REMEMBER, YOU CAN FIND ALL OF OR STORIES ONLINE AT WOSU.

ORG AS WELL AS OUR YOUTUBE CHANNEL.

I'M KATE QUICKEL.

THANKS FOR WATCHING.

>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.COM.