>> PRODUCTION OF BROAD & HIGH IS FUNDED IN PARTNER GREATER COLUMBUS ARTS COUNCIL.

CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, PUBLIC ART, AND MORE AT COLUMBUSMAKESART.

COM.

FROM THESE CONTRIBUTING SPONSORS, AND VIEWERS LIKE YOU.

THANK YOU.

>> THIS TIME ON BROAD & HIGH, WE ENCOUNTER BEAUTY IN THE NATURE INSPIRED CREATIONS OF MIKELLE HICKMAN-ROMINE.

COLLAGE ART THAT MAKES US REFLECT ON THE WAY LIFE REFLECTS OUR TRUE NATURE.

GET THE INSIDE SCOOP ON THE PBS PARODY, LOST & FOUND IN CLEVELAND.

AND FIND COOL SOUNDS IN INDIE ROCK BAND UNSEEN KEYS.

THIS AND MORE RIGHT NOW ON BROAD & HIGH.

WELCOME TO BROAD & HIGH, I'M YOUR HOST, KATE QUICKEL.

MIKELLE HICKMAN-ROMINE IS AN ARTIST WHOSE PALETTE IS TINY GLASS BEADS.

WITH PAINSTAKING DETAIL, SHE RE- CREATES SOME OF MOTHER NATURE'S MOST OVERLOOKED CREATURES.

THE BROAD & HIGH TEAM MET UP WITH MIKELLE IN HER HOME STUDIO TO TALK ABOUT HER PROCESS, WHILE OVERLOOKING HER BACKYARD, A PLACE SHE FINDS MUCH OF HER INSPIRATION.

>> I'M A BEAD WEAVER.

SO THAT MEANS I SEW LITTLE TINY BEAD SEEDS TOGETHER TO MAKE BEADED GLASS FABRIC.

AND THEN I MAKE JEWELRY OUT OF THOSE PIECES OF FABRIC.

WHEN I WAS A LITTLE GIRL, I PLAYED WITH ALL MY DRESSY GREAT GRANDMOTHER'S MID-CENTURY COSTUME JEWELRY AND LOVED IT.

AS I GOT OLDER, AND I LOVED JEWELRY, AS MY GREAT GRANDMOTHER, SO I LEARNED HOW TO MAKE IT.

AND SO I WAS MAKING EARRINGS, A LITTLE BIT OF THIS, A LITTLE BIT OF THAT, AND STARTED READING CRAFT MAGAZINES.

ONE OF THEM IS CALLED THE JOURNAL WAS VERY POPULAR THEN, AND THEY DID A FEATURE ON A WOMAN WHO USES THE TECHNIQUE THAT I'M USING NOW TO MAKE HATS, HANDBAGS, AND THESE HUGE BEADED NECKLACES, AND THEY WERE CRAZY.

THIS WAS VERY INTERESTING.

SO SHE HAD A TUTORIAL IN THE BACK OF THE MAGAZINE FOR HOW TO MAKE A FLAT WEAVE.

I PICKED IT UP AND TRIED IT.

IMMEDIATELY I WAS LIKE OH, YES, YES.

SO I GOT REALLY FASCINATED WITH THE TECHNIQUE.

THEN EVENTUALLY LEARNED TO MAKE SOME COMPONENTS THAT ARE REVERSE ENGINEERED FROM ANTIQUE COMPONENTS, AND STARTED DEVELOPING MY OWN LINE OF JEWELRY.

AND THEN AS TIME GOES ON, I START PUSHING IT TO SEE HOW FAR IT CAN GO, MAKING FLOWERS, MAKING FALL JEWELRY, MAKING SOME STUFF LIKE THAT, DIMENSIONAL.

AND THEN EVENTUALLY IT BECOMES THE PROBLEM OF HOW DO YOU MAKE JEWELRY THAT DOESN'T SPEND MOST OF ITS LIFE IN A BOX OR DRAWER?

AND THAT MEANS THAT IT WOULD HAVE TO BE A SUCCESSFUL OBJECT, AS WELL AS A SUCCESSFUL PIECE OF JEWELRY.

HOW DO YOU HARNESS THOSE THINGS?

THERE'S A COMPONENT OF MEANING TO IT THAT'S NECESSARY.

THERE'S A NARRATIVE IN A STORY THAT'S IMPORTANT.

AND SO I STARTED CONSIDERING -- I WANTED TO DO SOMETHING THAT WAS ABOUT MY HOME, SO I STARTED LOOKING AT THE BUTTERFLIES IN OHIO, AND HOW I COULD DEPICT THEM AND THEIR HABITAT AND MAKE THIS VERY COOL, LIFE SIZE AND STUFF.

ONE OF THE THINGS THAT'S VERY INTERESTING ABOUT TRYING TO GET THIS DONE, I GET THESE, YOU KNOW, EYE PATTERNS DOWN, WHATEVER.

AND THEN TRYING TO FIGURE OUT HOW TO DO THIS WITHOUT GETTING TOO LITERAL BECAUSE TOO LITERAL, IT DOESN'T LOOK NATURAL.

SO WHEN TO BACK OFF AND BECOME MORE IMPRESSIONISTIC ABOUT HOW TO GET A GOOD RENDERING.

BUT ALSO TRY TO HIT THAT VALUE THING, SO WHILE YOU WERE WEARING IT, SOMEBODY MIGHT HAVE THAT MOMENT OF DO YOU HAVE A BUG ON YOU?

WHAT I'M USUALLY DOING IS REFERENCE THE PHOTOGRAPHS WITH THESE BUTTERFLIES.

I WILL USUALLY CHOOSE ONE PARTICULARLY WITH THE SPECIFIC BECAUSE THEY ARE A WIDE VARIATION IN MARKINGS AND NATURE, AND I'M LIKE OH, I'M GOING TO DO THIS ONE MARKINGS, IT'S USUALLY FOR THE POSITIONS.

SO IT'S LIKE OH, HIS WINGS ARE SPREAD JUST ENOUGH, SO YOU CAN SEE HIS UNDERWING.

THEN I MAKE A DRAWING THAT IS MEASURED TO SCALE, AND THEN I'M ROUGHLY DRAWING THE MARKINGS AND STUFF.

THEN I START MAKING A PATTERN.

FIRST ONE IS USUALLY AWFUL.

BUT IT GIVES ME A PLACE TO START.

SO I WILL GO OVER AND OVER AGAIN UNTIL I HAVE IT REFINED TO SOMETHING THAT I WAS LIKE OKAY, THIS MARKING IS RIGHT, YOU KNOW, THE ONES THAT HAVE PROTECTIVE EYE MARKING SHAPE, WHATEVER.

THEY HAVE TO KIND OF LOOK LIKE THEY'RE LOOKING AT YOU.

SO TRYING TO GET THAT RIGHT, AND SOMETIMES I'LL HAVE TO DO TINY STUDIES OF JUST THAT SECTION UNTIL IT'S PRETTY CORRECT.

THEN ONCE I GET AN UPPER WING PATTERN, I REPLICATE IT REAL QUICK, SO I HAVE BOTH WINGS, THEN I HAVE TO DO THAT LOWER WING PATTERN.

I THINK I MADE 19 DIFFERENT ITERATIONS, BEFORE I FIGURED OUT HOW TO GET IT DONE.

THIS ONE, THE FINISH IS WHAT MAKES IT.

BUT THE COLOR, IF YOU LET IT FINISH, SPEAKS FOR ITSELF.

IT'S VERY HYPERREAL.

BUT WHEN YOU'RE LOOKING AT THIS KIND OF ORANGE, BLUSH, BEIGE COLOR SCHEME, THAT IS ACTUALLY WHAT THE MAUVE LOOKS LIKE.

SO, YOU KNOW, ALSO WHEN YOU HOLD THINGS UP TO THE LIGHT, AND THE LIGHT COMES THROUGH THEM, THAT CHANGES A LOT.

IT'S ONE OF THE PLEASURES OF WORKING WITH GLASS.

IT IS A LIVING MATERIAL THAT TAKES A LOT OF DIFFERENT ASPECTS OF THE LIGHT AND USES THEM.

I GET TO HAVE A LOT OF CONVERSATIONS WITH PEOPLE ABOUT THE WONDER OF THE PLACE WE ARE.

YOU DON'T HAVE TO TRAVEL THE WHOLE WORLD TO SEE WONDERS.

THEY'RE VERY UNDERNEATH OUR FEET.

THEN IT BECOMES A CONVERSATION ABOUT PLANT THE NATIVE PLANTS, LIKE FIGURE OUT HOW TO CULTIVATE, EVEN IN OUR HUMAN SPACES, A PLACE WHERE WE GET TO SHARE OUR WORLD WITH THESE THINGS THAT BELONG HERE AND THEY'RE AWESOME.

>> TO SEE MORE OF HER WORK, CHECK OUT MIKELLE.

NET.

ANGELICA CONTRERAS GREW UP SPLIT BETWEEN TWO CULTURALS.

SHE'S GRATEFUL FOR IT AND PROUD TO BE PART OF BOTH.

FOR HER, ART HAS BEEN A CONSTANT AND CONSISTENT PRESENCE IN HER LIFE.

AND WHEN SEARCHING FOR A THEME FOR HER ART, ANGELICA TURNED INWARD.

SHE STARTED CREATING PAINTINGS THAT REPRESENTED WHAT THAT EXPERIENCE OF GROWING UP IN A BI-CULTURAL HOUSEHOLD WAS LIKE.

>> I AM WORKING ON -- AND I'M CURRENTLY GIVING SOME WORKSHOPS FOR CHILDREN AND YOUTH, SO THEY CAN LEARN THIS CRAFT.

I REALLY ENJOY GIVING THESE WORKSHOPS FOR KIDS.

I FIND IT VERY LIBERATING, THE WAY THEY CREATE THEIR OWN ART.

BRINGS ME BACK TO WHEN I WAS A KID, AND I LIKE SHARING THE TRADITIONS OF MY COUNTRY WITH THEM.

I'M ORIGINALLY FROM CALIFORNIA, BUT I GREW UP IN GUADALAJARA, MEXICO.

I'VE BEEN HERE LIVING IN MADISON FOR THE LAST EIGHT YEARS.

I GREW UP IN A BI-CULTURAL HOUSEHOLD.

I HAVE A MEXICAN HERITAGE FROM MY MOM'S SIDE, AND MY DAD WAS MEXICAN-AMERICAN.

I KIND OF REMEMBER LIVING IN BASICALLY TWO CULTURES.

A LOT OF WHAT I'VE BEEN DOING HERE IN MADISON TALKINGS ABOUT THAT EXPERIENCE, OF WHAT IT'S LIKE TO LIVE IN TWO CULTURES, AND HOW OUR IDENTITY SHAPES THROUGH THAT.

IDENTITIES MADE OUT OF LAYERS.

I STARTED COLLECTING PAPER WHEN I WAS VERY YOUNG.

I USED TO COLLECT THEM JUST A LOT OF THINGS.

SO I STARTED DEVELOPING THAT WHEN I WAS VERY YOUNG.

IN FACT, I HAVE ONE THAT'S REALLY OLD, THAT WHEN I WAS ABOUT SIX OR SEVEN YEARS OLD THAT I KEPT, NOT THINKING THAT THE MEDIUM I WAS GOING TO USE WAS GOING TO BE COLLAGE.

BUT SOMEHOW THAT HAPPENED BECAUSE I STARTED COLLECTING SCRAPS OF PAPER.

I GUESS I MADE A CONNECTION I COULD USE IT IN MY ARTWORK.

BUT NOW I KIND OF LOOK FOR VERY SPECIFIC THINGS THAT MIGHT HAVE A SYMBOLIC MEANING TO THEM.

I HAVE A LOT OF, WE CALL IT THAT ARE USED IN SCHOOLS, THAT ARE ABOUT A SPECIFIC TOPIC.

THERE'S THOUSANDS OF THEM, SO I REALLY LIKE THOSE GRAPHICS, AND I LIKE TO INCORPORATE THOSE.

ALSO FROM TRAVELING AND JUST WALKING AROUND THE STREETS OF THESE BIG CITIES THAT I FOUND IT INTERESTING TO SEE THEIR WALLS AND HOW THESE WALLS WERE LAYERED WITH EITHER GRAFFITI, PUBLICITY, AND JUST ANY OTHER THING.

THEY WERE KIND OF FREE FOR ALL THAT PEOPLE WOULD JUST ADD AND ADD MORE THINGS, SOMETIMES WITH TIME, THEY WOULD COME DOWN.

SO IT WAS KIND OF, IN SPANISH, CADAVER THAT WAS WORK THAT WAS MADE OUT OF JUST PEOPLE LAYERING THINGS.

BUT I FOUND THAT VERY INTERESTING.

AND WHEN I CAME TO MADISON, THINKING ABOUT HOW IDENTITY IS DEVELOPED AND HOW LIVING IN TWO CULTURES OR THREE CULTURES, HOW THAT IS SHAPED.

I THINK THAT COLLAGE AND LAYERING WILL INCORPORATE INTO MY WORK.

THE NAME OF THIS PIECE, THIS PAINTING IS INSPIRED IN ONE OF THE FAMOUS PORTRAITS OF THE TWINS.

ALTHOUGH THEY WERE TWINS, THEY WERE VERY DIFFERENT.

I'VE SEEN THAT WHEN I TALK WITH MY STUDENTS.

I THINK THAT THEY'RE MORE OPEN TO SHARE WHERE THEY COME FROM.

INSTEAD OF JUST ASSIMILATING AND HIDING.

IT TALKS ABOUT BEING A CARETAKER, AND WHAT PEOPLE GO THROUGH AND ALL THE THINGS THAT THEY'RE RESPONSIBLE FOR.

SOMETIMES PEOPLE DON'T REALIZE IT.

THE TASK OF HAVING TO CARE FOR OTHERS AND HOW SOMETIMES IT'S NOT SEEN.

THIS PIECE IS GOING TO BE CALLED --THIS PARTICULAR PIECE TALKS ABOUT THE ISSUES RIGHT NOW IN MEXICO.

IN GENERAL OF DISAPPEARANCE OF PEOPLE, WHETHER THERE'S WOMEN, MEN, CHILDREN, AND VERY ALARMING RATES.

SOME OF THE FIGURES ARE FROM THE NEWS.

BANNERS, POSTERS OF PEOPLE THAT WRITE, LIKE DON'T FORGET ME, I'M MISSING.

WHAT MOTIVATES ME TO CREATE ART IS WE TEND TO JUST SEE PEOPLE OR THINGS JUST FROM THE OUTSIDE, LIKE THE FIRST IMPRESSION.

WE DON'T STOP AND SEE COMMONALITIES.

>> TO LEARN MORE, FIND HER ONLINE AT ANGELICACONTRERAS.

NET.

> >> IF YOU'RE A BIG FAN OF ANTIQUES ROADSHOW LIKE MY HUSBAND, YOU MIGHT ALREADY KNOW ABOUT THE FILM, "LOST & FOUND IN CLEVELAND. "

NEXT, WE HEAR FROM THE FILM MAKERS BEHIND THIS INDIE COMEDY AS THEY SHARE THEIR INSPIRATION AND SOME SURPRISES ALONG THE WAY.

>> CLEVELAND, THE BEST LOCATION IN THE NATION.

>> I WAS ORIGINALLY AN ACTOR THAT MOVED FROM NEW YORK TO L. A. , AND I MET MARISA, MY COHORT, THE OTHER HALF OF FILMS.

SHE SAID SHE HAD THIS IDEA ABOUT ANTIQUES ROADSHOW, AND WANTING TO DO A FILM THAT WAS BASED ON THAT, BUT SHE WAS FROM L. A. , AND SHE DIDN'T WANT TO HAVE A PLACE THERE.

I SAID WELL, I'M FROM CLEVELAND, AND SHE SAID WELL, THAT SOUNDS HYSTERICAL.

I SAID HEY, DON'T KNOCK CLEVELAND.

YOU'VE NEVER BEEN THERE.

YOU DON'T KNOW WHAT IT'S LIKE.

THEN THAT KIND OF SET US ON THIS JOURNEY.

>> I GREW UP WATCHING ANTIQUES ROADSHOW.

I MEAN, IT'S WHAT I WATCHED WITH MY DAD.

IT WAS OUR MONDAY NIGHT THING.

I JUST LOVED THESE REAL PEOPLE COMING IN WITH THEIR OBJECTS, TELLING THEIR PERSONAL STORIES.

>> WE FILMED ALL OVER THE CLEVELAND AREA, A LOT OF ICONIC PLACES LIKE THE WESTSIDE MARKET, THE NATIONAL SLAVIK VILLAGE.

WE WERE AT THE HISTORICAL SOCIETY.

WE FILMED IN CANTON, WHICH ACTUALLY IS A BIG PART OF THE GENESIS OF THE IDEAS AS WELL.

I WENT TO THE WILLIAM MCKINNEY PRESIDENTIAL LIBRARY AND MUSEUM WITH MY MOM.

THEY ALSO HAVE AN EXHIBIT ABOUT THE WIZARD OF OZ.

IT SAID THE WIZARD OF OZ WAS ABOUT THE AMERICAN DREAM DURING THE ADMINISTRATION.

IT HAD TIES TO NORTHEAST OHIO.

DOROTHY WAS THE COMMON MAN, TIN MAN, THE FACTORY WORKER, SCARECROW, THE FARMERS.

THE GOLD STANDARD WAS THE YELLOW BRICK ROAD.

THAT MCKINLEY WAS THE WIZARD.

THE GUY MIND THE CURTAIN, MARCUS HANNAH, A CLEVELAND POLITICIAN, HIS CAMPAIGN MANAGER.

HE MAY HAVE BEEN PULLING THE STRINGS ON A PUBLIC PRESIDENT.

SO WE SAID WHAT IF WE DID OUR MODERN TAKE ON WIZARD OF OZ?

INSTEAD OF DOROTHY AND SCARECROW AND TIN MAN, IT WOULD BE A LITTLE BOY AND THE MAIL CARRIER AND A RETIRED STEEL PLANT WORKER?

THEY WOULD HAVE THESE OBJECTS THAT WERE THEIR PRIZED POSSESSIONS IN THEIR LIVES.

THEY WOULD SAY THE SAME THING PROFESSOR MARVEL SAYS TO SCARECROW AND TIN MAN, WHICH IS THE ANSWER TO YOUR SELF-WORTH LIES WITHIN.

>> VERY IMPORTANT PIECE OF ART.

>> YOU NERVOUS?

ME TOO.

>> THERE'S A LOT OF EASTER EGGS IN THE FILM.

THERE'S EVEN, YOU KNOW, SOME OF THEM WERE ACCIDENTAL.

DENNIS PLAYS THE MAIL CARRIER, AND WE ACTUALLY GOT HIM 48 HOURS BEFORE FILMING.

BUT THE FIRST DAY HE SHOWS UP, WE'RE FILMING AT THE WESTSIDE MARKET, WE'RE AT THE BUTCHER STAND, AND WE'RE FILMING.

WE SEE THERE'S A STICKER, GO TRIBE ON THE STALL.

IT'S IN FRAME RIGHT BENEATH HIM.

WE'RE LIKE WHAT?

HOW IS THAT POSSIBLE?

>> KEITH, WHO IS LIVING NOW IN HOLLYWOOD, AND SAYS I'M WRITING, AND I'M PRODUCING A FILM CALLED "LOST & FOUND IN CLEVELAND. "

I SAID SIGN ME UP.

I WANT YOU TO DO THE SEQUENCE WITH DENNIS.

I WANT YOU TO STORY BOARD IT.

WE'LL HAVE THE COMPOSER WHO WORKED ON LA LA LAND.

>> THE LUXURY OF THE ENSEMBLE, YOU GET TO HAVE SOME OF YOUR FAVORITE PEOPLE PLAY.

JOHN LOVITT, FOR EXAMPLE, IS DOING HIS INCREDIBLE JIMMY STEWART AS THE MAYOR OF CLEVELAND IN OUR FILM.

WILD IS DOING A PHENOMENAL JOB AS A HUNTING VALLEY SOCIALITE.

>> WE PICKED UP THE MOST EXQUISITE PIECE IN TUNISIA.

>> HER DELIVERY IS IMPECCABLE.

SO WE REALLY JUST CONCENTRATED ON OKAY, WHOSE VOICE DO WE HEAR IN THIS ROLE?

AND TRULY, OUR FILM IS A MODEST BUDGET.

SO WE HAD TO BE NIMBLE.

WE HAD TO HAVE A SCRIPT THAT ACTORS WOULD WANT TO COME TO CLEVELAND TO FILM IN JANUARY.

AND WE EXPLAINED THIS IS A LOVE LETTER TO NORTHEAST OHIO.

THIS IS A LOVE LETTER TO THE AMERICAN DREAM.

THIS IS A LOVE LETTER FOR PEOPLE WHO ARE CURIOUS, WHO ARE HUNGRY TO RETURN TO THE THEATERS WITH THEIR FAMILIES.

>> I THINK WE JUST WANTED TO DO TRADITIONAL STORY TELLING.

IT WAS THE KIND OF STORY TELLING THAT IT FELT LIKE HOLLYWOOD HAD VEERED AWAY FROM.

HOLLYWOOD UNDERSTOOD THE CONCEPT OF AN ENSEMBLE.

THERE'S AN UNDERESTIMATION, I THINK OF AUDIENCES.

THERE HAS BEEN AN UNDERESTIMATION OF THE FILM.

>> IT'S SUBMISSION OF OURS TO HAVE CLEVELANDERS BELIEVE IN THEMSELVES THAT THE GOAL OF THE FILM WAS TO HAVE, YOU KNOW, THE NATION LOOK UPON CLEVELAND AS WE DO.

>> WE HAD A VERY GOOD MENTOR WHO WAS A DIRECTOR, WHO SAID 95% OF YOUR JOB AS A DIRECTOR IS HR.

HIRE THE RIGHT PEOPLE, THEN TRUST THEM TO DO WHAT YOU HIRED THEM TO DO.

WHEN WE TELL JUNE, HEY, THIS IS THE SCENE, AND SHE ALREADY KNOWS SHE IS BRINGING HER OWN PERSONAL HISTORY TO THAT ROLE, AND WE ROLL AND WE'RE ALL CRYING WHEN SHE'S PUTTING ON LIPSTICK.

THAT'S A TESTAMENT TO OBVIOUSLY A MASTER CLASS AND THESE VETERAN ACTORS.

WHEN JUNE AND STACEY, THE FIRST ONES TO COME ON BOARD, IT THEN MAKES OTHER ACTOR WANT TO COME ON BOARD BECAUSE THEY KNOW THE CALIBER AND THE BAR YOU'RE SETTING OF WHAT THE ACTING AND THE SCRIPT ARE.

>> THIS FILM IS GOING TO HAVE A LIFE BEYOND ITS THEATRICAL RELIEF.

WE WANT PEOPLE GOING AND DOING TOURS AROUND THE CITY, TRYING TO FIND THE LOCATIONS FOR THE FILM.

I THINK IT'S GOING TO ADD TO THE LOCAL ECONOMY FOR YEARS TO COME, AND WE ARE REALLY GRATEFUL TO HAVE THAT PART OF OUR LEGACY.

>> THE FILM'S WEBSITE IS LOSTANDFOUNDINCLEVELAND.

COM.

TO SEE ANTIQUES ROADSHOW ON THIS PBS STATION, VISIT OUR TV SCHEDULE AT WOSU.

ORG.

> >> UNSEEN KEYS CREATES A DRIVING HARD SOUND WITH A SIDE OF ECLECTIC PROSE.

TAKE A LISTEN TO A RECENT SESSION IN THE BROAD & HIGH PRESENTS STUDIO OF THEIR UNIQUE SOUND.

[ MUSIC ] WHY DO WE ALL GET OLDER?

MY OLD LIFE SOUNDS BETTER.

HOLD ON, LET'S GO, SHOW THE WORLD YOUR COLORS.

I KNOW, WE DON'T NEED ANOTHER VENDETTA.

I'M JUST TRYNA FORGET YA.

MY LUNGS FILL WITH YOUR DESIRE.

MY LAST BREATH IS YOURS FOREVER.

EVEN SIX FEET UNDER I WON'T EVER FIND ANOTHER.

HOLD ON, LET'S GO, SHOW THE WORLD YOUR COLORS.

I KNOW, WE DON'T, NEED ANOTHER VENDETTA.

I'M JUST TRYNA FORGET YA.

DON'T NEED ANOTHER VENDETTA.

I'M JUST TRYNA FORGET YA.

DON'T NEED ANOTHER VENDETTA.

IT'S TOO LATE, WE'RE TOO YOUNG, OUR SONG'S BEEN SUNG.

IT'S NOT FAIR, WE'RE NOT DONE, WE DON'T HAVE TO RUN.

IT'S TOO LATE, WE'RE TOO YOUNG, OUR SONG'S BEEN SUNG.

IT'S NOT FAIR, WE'RE NOT DONE, WE DON'T HAVE TO RUN.

.

IT'S TOO LATE, WE'RE TOO YOUNG, OUR SONG'S BEEN SUNG.

IT'S NOT FAIR, WE'RE NOT DONE, WE'RE TIRED OF CHASING THE SUN!

CHASING THE SUN!

HOLD ON, LET'S GO, SHOW THE WORLD YOUR COLORS.

I KNOW, WE DON'T NEED ANOTHER VENDETTA.

I'M JUST TRYNA FORGET YA!

>> TO HEAR MORE, YOU CAN FIND HIM ON INSTAGRAM AT UNSEEN KEYS.

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.

THE HAVOC THAT I'VE WREAKED WITH WHISKEY ON MY TONGUE.

THERE'S NOTHING LEFT TO SEEK.

THE BATTLE IS ONE ON ONE.

I BARGAIN WITH THE DEVIL.

I BARTER FOR SOME HOPE.

WHETHER AN ANGEL OR A REBEL, I'M STILL HANGING BY THE ROPE.

THEY'LL CALL IT AS THEY SEE IT, THEY'LL SEE IT AS IT WAS.

SHADOWS TELL A SECRET, BUT JUST ONE SECRET IS NOT ENOUGH.

NEVER ENOUGH.

THE TOWERS AND THE MOON, THE SEARING OF THE SUN, THE COLD BLUE SUMMER SKIES, MY HELL HAS JUST BEGUN.

NOBODY EVER WARNED ME, I'LL HAVE NO SENSE OF PEACE.

IT'S JUST ME AND THE DEVIL, AND HE'S GOT ME IN HIS TEETH.

I'M GIVING UP, I'M GIVING UP, I'M GIVING UP, I'M LETTING GO, I'M GIVING UP, I'M GIVING UP, I'M GIVING UP, NOT GOING HOME.

IN THE SILENCE I CAN HEAR, THE ECHO OF MY THOUGHTS.

THERE'S NOTHING LEFT, BUT FEAR, NO PATH LEFT TO CROSS.

I BARGAIN WITH THE DEVIL, I BARTER FOR SOME HOPE.

AND I CRY OUT FOR FORGIVENESS, BUT ON EVERY WORD I CHOKE.

THEY'LL CALL IT AS THEY SEE IT, THEY'LL SEE IT AS IT WAS, THE SHADOWS TELL A SECRET, BUT JUST ONE SECRET IS NOT ENOUGH.

NEVER ENOUGH.

THE TOWERS AND THE MOON, THE SEARING OF THE SUN.

THE COLD BLUE SUMMER SKIES, MY HELL HAS JUST BEGUN >> PRODUCTION OF BROAD & HIGH IN PART BY GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTER TALENT, AND CONNECTING THE COMMUNITY TO COLUMBUS ARTISTS, PERFORMANCES, EXHIBITIONS, CONCERTS, OTHER PARTS AND MORE AT