>>> PRODUCTION OF BROAD & HIGH CELEBRATING THE COMMUNITY TO COLUMBUS ARTISTS AND EXHIBITIONS AND CONTENT AND.

SO TWO UP TOP.

TWO UP TOP.

TWO UP TOP.

SO UP THE TOP THERE AND AT THE TOP OF THE HOUR, WE ARE READY.

>>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY -- THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT, AND CONNECTING THE COMMUNITY TO ARTISTS, 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 MEET A BUILDER AND CREATOR WHO ENJOYS A CHALLENGE.

HEAR FROM AN ARTIST WHO IS CREATING ART FROM BOTH RESILIENCE AND REBELLION.

AND EXPERIENCE A FLOW ART PERFORMANCE AND LISTEN TO SOME BEAUTIFUL VOCALS AND AMAZING MUSIC.

THIS AND MORE RIGHT NOW ON BROAD & HIGH.

WELCOME TO BROAD & HIGH.

I'M YOUR HOST KATE QUICKEL.

COLUMBUS WOODWORKER HANNAH PARKER GOT HER START BACK IN HIGH SCHOOL WHEN THE WOOD SHOP WAS THE CLASS THAT MADE THE MOST SENSE.

TODAY, HER PASSION FOR PERFECTION AND CLEAN DESIGNS ARE QUITE IMPRESSIVE.

WE VISITED HER HILLARD, OHIO, WORKSHOP AND LEARNED MORE ABOUT HER PROCESS AND THE DRIVING FORCE BEHIND HER WORK.

>> AS A KID, I WAS ALWAYS INTO BUILDING WITH LEGOS, AND I COULD LOOK AT A MAGAZINE AND BUILD THE MODEL IN THE MAGAZINE, BECAUSE I COULDN'T AFFORD, YOU KNOW, THE LEGO SET, BUT I HAD A TON OF HAND-ME-DOWN, AND SO I HAVE ALWAYS BEEN A BUILDER.

AND THEN WHEN I GOT INTO SCHOOL, I STRUGGLED A LOT WITH LIKE YOUR EVERYDAY CLASSES.

AND WE HAD A WOODSHOP IN HIGH SCHOOL.

IT IS LIKE THE ONE CLASS THAT I WAS LINE, YES!

THIS IS SO AWESOME.

SO I'M FINALLY CONNECTING TO SOMETHING.

BUT YOU KNOW, I STRUGGLED WITH MATH AND READING AND WRITING, AND SO I THOUGHT THAT THERE HAS TO BE SOMETHING THAT I CAN DO THAT'S LIKE AS A LIVING.

TYPICALLY, WHEN A HUMAN COMES TO ME WITH A PROBLEM USUALLY, IT IS A PROBLEM.

IT IS LIKE, I DON'T KNOW WHAT TO DO WITH THIS SPACE.

IT IS NOT UTILIZED PROPERLY.

HELP ME TO MAKE IT A FUNCTIONAL SPACE.

I THINK THAT IS FOR ME WHERE I CAN COME IN AND TAKE SOME OF MY KNOWLEDGE OF BUILDING AND BE LIKE, HEY, YOU KNOW, WE COULD THROW IN SOME DRAWERS HERE, OR YOU KNOW, WE COULD THROW IN SOME LIGHTS WITH CABINETRY OR READING NOOKS, AND A LOT OF THOSE COME FROM LISTENING TO THE CLIENT AND SOLVING THEIR PROBLEMS, AND THIS IS WHERE I GET A LOT OF MY CREATIVITY.

SO IT IS LIKE TAKING LEGOS TO A WHOLE NEW LEVEL, AND NOW YOU ARE BUILDING MY-SIZED LEGOS.

THERE'S A JOY THAT COMES WITH MAKING SOMETHING FROM YOUR HANDS.

I MEAN, YOU CAN STEP BACK AND AS STRESSFUL AS IT STARTS, BECAUSE KNOW IF THIS IS REALLY GOING TO WORK.

YOU ARE CONSTANTLY JUST THINKING, AM I GOING TO BE ABLE TO PULL THIS OFF, AND THEN IN THE END, WHEN YOU CREATE WHAT IT IS THAT YOUR CLIENT HAD IN THEIR MIND AND WHAT YOU HAD IN YOUR MIND AND YOU HAVE MADE IT WHOLE, IT IS JUST PRETTY AWESOME TO LOOK BACK AND SAY, YEAH, I MADE THAT.

WHY WOOD?

I THINK THAT FOR ME, IT WAS HONESTLY SOMETHING THAT MADE SENSE TO ME.

I MEAN, I COULD SEE THE BEAUTY IN THE WOOD EVERY TIME I'M LOOKING AT A PIECE OR, YOU KNOW, FOR ME I THINK WOOD IS SO MAGICAL.

LIKE, THERE'S TRUE BEAUTY IN IT, AND IT COMES FROM THE EARTH AND WE ARE ABLE TO MAKE IT INTO SOMETHING THAT WE CAN SHOWCASE IN OUR HOMES.

FOR ME, I WANT TO MAKE A PIECE THAT SOMEBODY'S GRANDKID IS GOING TO LOOK AT AND SAY THAT'S AWESOME.

THE ART OF MILLING, THAT ALONE COULD MAKE SOMEBODY WANT TO WORK WITH WOOD FOR THE REST OF THEIR LIFE.

I KNOW THAT EVERY SINGLE WOODWORKER HAS THIS PIECE OF WOOD THAT THEY ARE HOLDING ON TO, AND THEY ARE WAITING FOR THE SPECIAL WOOD, AND WHEN YOU ARE MILLING IT, AND YOU HAVE THE ROUGHED ON LOOK, BUT AS SOON AS YOU CLEAN ONE EDGE ON THE JOINER, AND YOU ARE LOOKING AT IT, YOU ARE LIKE, OKAY.

SO THE PROCESS OF TAKING IT FROM A ROUGH SAWN PIECE OF WOOD AND MAYBE TURNING IT INTO A KITCHEN TABLE.

ONE OF MY FIRST PIECES THAT I MADE WAS A DINING ROOM TABLE AND A BUILT-IN BENCH NOOK THAT WENT ALL OF THE WAY AROUND THE TABLE.

THIS WOMAN HAD SAVED THESE PIECES FROM A TREE THEY HAD CUT DOWN IN THEIR FRONT YARD.

WHEN THEY HAD FIRST MOVED INTO THE HOUSE, SHE LET HER SON NAME THE TREE.

SO, BOB WAS HIS NAME, AND HE UNFORTUNATELY WASN'T GOING TO MAKE IT.

SO THEY SAVED THIS LUMBER AND THEY GAVE ME ALL OF THIS MATERIAL AND IT WAS DRYING IN THEIR GARAGE FOR YEARS, AND I WAS ABLE TO MILL IT AND BUILD THEIR DINING ROOM TABLE AND BENCH.

FOR ME, THAT WAS MAGICAL.

I MEAN, FOR THEM TO BE ABLE TO TAKE SOMETHING THAT THEY LOVED SO MUCH THAT WAS A PHYSICAL PRESENCE TO THEN TURNING IT INTO SOMETHING THAT THEY AS A FAMILY COULD SIT AROUND FOR GENERATIONS AND TALK ABOUT THE TREE THAT USED TO BE OUT FRONT.

BELIEVE IT OR NOT, EACH PIECE OF WOOD HAS A DISTINCT SMELL TO IT.

YOU WILL CUT INTO A PIECE OF RED OAK, AND YOU WILL KNOW IT IS RED OAK.

FOR ME, I DON'T LIKE THE SMELL OF RED OAK, AND IT IS MY LEAST FAVORITE.

BUT IF YOU ARE CUTTING INTO A PIECE OF WALNUT, CHEF'S KISS.

IT IS AMAZING HOW ALL OF THE SENSES COME INTO PLAY -- SIGHT, SOUND, SMELL -- EVERYTHING.

WHEN YOU ARE IDENTIFYING LUMBER, AND THIS IS TO ME WHAT IS SO AMAZING TO BE BY THE END OF IT TO BE ABLE TO JOINT INTO A PIECE OF BOARD AND TURN IT OVER AND BE LIKE, YEP, THAT IS BEECH.

THERE IS BEAUTY IN EVERY SINGLE PIECE, AND SO TO MAKE THAT INTO SOMETHING THAT YOU ARE GOING TO SIT AT AND EAT AND HAVE A COMMUNITY TABLE AND JUST ENJOY IT.

EVERYTHING THAT GOES INTO BUILDING A CABINET OR A TABLE OR A SHELF, I'M TOUCHING EVERY PIECE OF THAT.

I'M HANDLING IT ALL DAY AND EVERY DAY.

I'M SANDING IT AND FINISHING IT.

SO TO SEE WHERE IT STARTS, AND MAYBE IT IS A BIG SHEET OF PLYWOOD, AND YOU ARE TAKING THAT AND THEN LOOKING AT THE WOOD AND THINKING, OKAY, WHAT DOOR DO I WANT TO LAY OUT IN THIS PIECE.

OR IF I AM BUILDING SOMETHING FROM SCRATCH, AND MILLING IT UP, WHAT PIECE DO I WANT WHERE AND HOW IS THAT MESH HOLE GOING TO LOOK OR THE LAYOUT GOING TO LOOK AFTER THIS?

IT IS PRETTY INSANE TO JUST HAVE THAT ABILITY TO CREATE SOMETHING WITH YOUR HANDS.

>> TO SEE MORE OF HER WORK CHECK OUT PARKERHOMECREATIONS.COM.

ARTIST SABRINA NELSON REFLECTS ON THE WORLD AROUND HER IN THE MEANINGFUL WORKS OF ART SHE CREATES.

IN OUR NEXT SEGMENT, WE HEAD TO DETROIT, MICHIGAN, TO GET AN INSIDE LOOK AT HER INSULATION "WHY YOU WANNA FLY BLACKBIRD."

>> I THINK THAT MY MEDICINE IS ART.

MY LANGUAGE IS ART.

I THINK THE TERM ARTIST MEANS TO BE RESPONSIBLE FOR WHAT'S HAPPENING IN THE WORLD, HOW YOU SEE IT, HOW YOU RECORD IT, HOW YOU MAKE THINGS THAT ARE A RESULT OF WHAT YOU ARE TRYING TO SAY.

WHETHER IT'S A QUESTION THAT YOU'RE ANSWERING OR A STORY THAT YOU ARE TRYING TO TELL, AND HERE IS SOMETHING THAT I NEED TO MAKE, BECAUSE IT IS JUST EMBEDDED IN ME, BECAUSE I HAVE TO MAKE SOMETHING.

DETROIT IS EMBEDDED IN WHO I AM.

I HAVE BEEN HERE ALL MY LIFE SINCE THE REBELLION IN 1967, AND THIS IS WHEN I WAS BORN.

AND SO, EVERYTHING AROUND ME BECOMES A PART OF THE STORY I'M TRYING TO TELL OR THE QUESTION THAT I'M TRYING TO ASK.

MY SUPERPOWER IS BEING ABLE TO VISUALLY COMMUNICATE ABOUT HOW I FEEL WHAT IS HAPPENING IN THE WORLD.

NINA SIMONE SAYS IF YOU ARE GOING TO BE AN ARTIST, IT IS YOUR DUTY TO REFLECT WHAT IS HAPPENING IN THE WORLD.

AND THE WORLD I LIVE IN FROM TIME I REMEMBER REMEMBERING, THERE IS ALWAYS TRAUMA, HURT AND PAIN.

I'M NOT ALWAYS TALKING ABOUT THAT, BUT YOU CAN'T IGNORE IT.

AND ON THIS DAY, I THINK ABOUT THE LIVES THAT ARE LOST THAT ARE CONSTANT BUT COMING AT ME THROUGH DIFFERENT MEDIUMS, AND SO I'M THINKING ABOUT HOMICIDES AND DEATHS OF YOUNG PEOPLE AND HOW I'M AFFECTED BY IT, BUT I'M TALKING ABOUT DEATH WHERE PEOPLE ARE NOT CONSIDERED PEOPLE, LIKE YOU DON'T MATTER, YOU ARE NOT IMPORTANT, SO I AM GOING TO TAKE YOUR LIFE.

I DON'T CARE HOW OLD YOU ARE OR WHO YOU BELONG TO.

AND WHEN THAT PERSON IS MISSING FROM OUR COMMUNITIES, NOT JUST THE BLOOD FAMILY IS AFFECTED, BUT WE ALL, WE SHOULD ALL BE CONCERNED.

YOU KNOW A LIFE IS A LIFE.

A HUMAN IS A HUMAN.

SO IN THIS WORK I AM TALKING ABOUT THAT PAIN.

THE NAME OF THE EXHIBITION IS "WHY YOU WANNA FLY BLACKBIRD."

I GOT IT FROM A NINA SIMONE SONG WHO TALKS TO BLACK WOMEN ABOUT HOW DARE YOU TRY TO BE HAPPY IN YOUR LIFE AND NOT EXPECT PAIN, BECAUSE PAIN IS GOING TO COME, AND YOU HAVE TO AND YOU HAVE TO LIVE, BUT PAIN IS GOING TO BE HERE.

I DIDN'T WANT THE COLORS TO BE SO SEDUCTIVE TO DRAW YOU IN AS PRETTY.

LIKE I DON'T LIKE THE IDEA OF MY WORK BEING PRETTY.

I WANT IT TO BE IMPACTFUL AND DEEPER THAN WHAT YOU SEE, AND I WANTED IT TO BE LARGE ENOUGH TO HAVE SOME GIRTH TO IT.

SO THESE PARTICULAR PIECES ARE VERY LARGE DRAWINGS, AND THEY ARE ALSO RELIQUARIES AND HOUSING THE BODIES THAT WE HAVE AND THE HOME, AND WHAT IS IT LIKE TO HAVE A NEST WITHOUT ANY EGGS IN IT.

THINK OF THE EMPTY NEST OF THE CHILDREN WHO NEVER RETURN.

I DON'T CARE HOW OLD THEY ARE, BUT THEY CAN NEVER RETURN.

SO I AM TALKING ABOUT THE DARKNESS IN THAT AND EXPRESSING IT WITH THE MOST ELOQUENCE THAT I CAN.

THE CAGES WILL REPRESENT EMPTY HOMES, AND THAT CAN BE THE HOME THEY LIVED IN, THE COMMUNITY THEY LIVED IN.

HOW YOU DEAL WITH THAT, WITH THAT WOUND THAT IS EMPTY, AND HOW WU TREAT THESE COMMUNITIES WITHOUT VALUE, AND HOW WE DEAL WITH THAT.

AND SO, YVONNE IS GOING TO HELP ME WITH THE DRESSES, BECAUSE I WANT THE DRESSES TO HANG FROM THE CEILINGS ABOVE THE PPATRONS' HEADS AND JUST ABOVE THE BIRD CAGES, AND SO I WANT TO MAKE THE DRESSES MADE OF JAPANESE RICE PAPER AND SHEER ENOUGH SO THAT THE BIRD CAGES CAN GO UNDERNEATH THEM, AND THE PATRONS CAN SEE THEM WITH THE LIGHTING, AND THEY CAN SEE WHAT IS IN MY HEAD AND IN MY HEART, AND I WANT THEM TO PAY ATTENTION TO IT WITH THE LIVES OF OTHERS AND IF YOU CAN DO SOMETHING ABOUT IT, WHY WOULDN'T YOU?

SO WHEN I AM LOOKING AT THE HOMICIDE RATES ACROSS THE COUNTRY, THEY ARE INCREDIBLY HIGH FOR AFRICAN-AMERICAN, INDIGENOUS AND ALSO LATIN AMERICAN CHILDREN.

SO, THIS IS ALL I CAN SAY AND DO IT ABOUT IT, I WANT SOMEONE TO KNOW THAT I CARE AND EVEN THOUGH THEY ARE NOT MY CHILDREN, I CARE THAT THEY ARE MISSING, THEY ARE GONE, AND THERE'S SOMEBODY WHO SHOULD THINK ABOUT DOING SOMETHING ABOUT IT.

THE MOTION OF MOVEMENT WHEN I AM MAKING THESE THINGS, AND LIKE WHEN I DID THE NAP HERE, AND THE MOTION OF DRAWING AND DRAWING AND DRAWING, AND YOU KNOW, THE OBSESSION OF MOVEMENT AND WHAT IT FEELS LIKE TO DO THAT.

THESE MOVEMENTS THAT WE DO OVER AND OVER BECOME VERY MUCH RITUAL, AND MAYBE THESE ARE ALL PRAYERS VISUALLY TO SAY, I'M SORRY THAT YOUR LIFE IS GONE, BUT I WANT TO SAY THAT YOU MISSED SOMETHING, THAT YOU WERE IMPORTANT.

EVERY ARTIST WANTS SOMEONE TO LOOK AT THEIR WORK FOR A LONG TIME.

I DID NOT WANT TO MAKE IT SO OBVIOUS AND OBTUSE TO WHERE IT IS LIKE THAT YOU CAN SEE THE PEOPLE GETTING KILLED.

BUT I THINK THAT THE WORK IN THE DRAWINGS AND SOME OF THE PAINTINGS THAT I AM USING CAN BE SEDUCTIVE.

SO I WANT TO MAKE SURE THAT PEOPLE WALK AWAY WITH KNOWING THAT I'M IN A WORLD, I AM AFFECTED BY IT, AND DON'T JUST LISTEN TO NEWS AND BE IN A WORLD THAT YOU DON'T TAKE PART OF WHAT IS HAPPENING, AND THINK ABOUT WHAT YOUR VOICE S AND WHAT YOUR SUPERPOWER IS, AND SEE WHAT YOU CAN DO TO HELP.

I WANT TO SAY SOMETHING THAT IS IMPORTANT.

I WANT TO LEAVE THIS WORLD WITH SOMETHING THAT SOMEONE HAS LEARNED FROM ME.

MY WORK MIGHT BE SENSUAL TO DRAW YOU IN, AND THEN IT IS GOING TO SLAP YOU A LITTLE BIT.

THAT IS WHAT I HOPE I SHOW.

>>> TO SEE MORE OF HER WORK, CHECK OUT SABRINANELSONART.COM.

>>> COOPER BAYT IS AN ARTIST WHO COMBINES FIRE SPINNING, JUGGLING AND DANCE IN HIS CRAFT.

IN THIS SEGMENT WE TRAVEL TO RENO, NEVADA, TO EXPERIENCE HOW HE CREATES DYNAMIC PERFORMANCES THAT WILL LEAVE YOU AMAZED.

>> I WOULD DESCRIBE FLOW ART AS FISHL ART MUCH LIKE DANCE THAT YOU ARE COMBINING MODERN DANCE WITH PROP MANIPULATION, AND SO IT IS ADDING THE EXTRA ELEMENT WHERE IT IS KIND OF AN EXTENSION OF THE BODY AND YOU ARE ABLE TO TELL A STORY AND CREATE SHAPE.

MY NAME IS COOPER BAYT, AND I'M FROM RENO, NEVADA.

I AM A FLOW ARTIST AND PROFESSIONAL FIRE SPINNER.

I WAS GIFTED A PAIR OF JUGGLING STICKS WHEN I WAS YOUNG AND I SPENT COUNTLESS HOURS AT THE PARK TRAINING ON THESE THINGS THAT I HAD NO IDEA WOULD TAKE OVER MY LIFE LATER ON.

AND A GROUP HAD A WORKSHOP WHEN I WAS 13 YEARS OLD AND I WAS ABLE TO FIRE SPIN FOR THE FIRST TIME WHEN I WAS 13.

MY GRANDMA WAS A PROFESSIONAL PHOTOGRAPHER, AND SHE ACTUALLY CAPTURED THAT FIRST TIME.

SHE INSTILLED A LOT OF THE FINE ARTS BACKGROUND IN ME TO BE DYNAMIC.

THE FIRST STEP TO CREATING OF A FIRE SHOW MAKES SURE THAT THE AREA IS SAFE IN CASE ANYTHING HAPPENS OR ANY DROPS THAT NOTHING WILL SPARK UP.

SECONDARY SETS SPACE WITH CANDLES, TORCHES ON THE GROUND TO CREATE THE STAGE EFFECT.

THIRD, ALMOST MOST IMPORTANTLY IS THAT I WILL HAVE A FIRE-SAFE BLANKET AND A SPOTTER RIGHT THERE FOR ME TO HELP ME PUT OUT MY PROPS IN ORDER FOR ME TO START THE NEXT ONE AND KEEP EVERYTHING IN A CALM, COLLECTIVE MANNER TO TELL ME IF I AM CATCHING ON FIRE OR IF ANYTHING GOES WRONG.

THERE ARE SPECIALIZED TOOLS.

A JUGGLING CLUB AND THE WAY YOU WOULD DO IT IS TO HAVE A JAR OR AMMO CONTAINER FULL OF WHITE GAS, KEROSINE OR LAMP OIL, AND THE WAY IT WORKS IS THIS WICK WOULD ABSORB LIKE A SPONGE, AND WHEN YOU DIP THE PROP INTO THE OIL, YOU ARE COUNTING AND MEASURING AMOUNT OF FUEL THAT YOU SOAK, AND YOU HOLD IT THERE AND LET THE EXCESS DRIP OUT, AND AT THE MOMENT, YOU ARE COLLECTING YOURSELF AND GETTING READY.

WHEN YOU ARE IGNITED, THAT POOF, THE INITIAL RUSH IS LIKE, OKAY, HERE WE GO.

EVERYTHING JUST STARTS TO FADE AWAY, AND YOU GET THAT INTERNAL RUSH OF THE FIRE AROUND YOUR BODY, THE SOUND OF IT WHOOSHING PAST YOUR HEAD.

IT IS AN AMAZING FEELING.

I LOVE THE INTERPRET LIKE HIP-HOP DANCE WITH SHAPES THAT ARE EXTENSIONS OF MY BODY WITH THE PROPS.

SO IT IS A MIX OF THE DANCE AND PROP MANIPULATION AND VERY MUCH INSPIRED BY HIP-HOP AND MODERN DANCE.

A LOT OF IT IS IMPROVISATIONAL WHEN IT IS A SOLO PERFORMANCE.

I ALSO CHOREOGRAPH AND WRITE SHOWS WITH MULTIPLE FIRE SPINNER, AND WE DO HAVE TO HIT COUNTS ON THE EIGHT COUNTS TO CREATE THE ILLUSION AND THE SHAPE THAT WE WANT THE AUDIENCE TO SEE.

WHAT I GET OUT OF FLOW ARTS, JUGGLING, FIRE SPINNING IS THE FACT THAT IT IS GOOD.

IT IS GOOD FOR MY MENTAL HEALTH.

IT IS NOT SO EASY TO TALK ABOUT MENTAL HEALTH, AND PEOPLE'S ANXIETY AND FEAR, AND I THINK THAT THIS HAS BEEN A MEANS THAT IS REALLY, REALLY SAVED ME IN A WAY TO BE ABLE TO DANCE LIKE NOBODY IS WATCHING.

YOU REALLY CAN GET INTO A MEDITATIVE SET, THE FLOW STATE THAT WE REFER TO.

IT IS MINDFULNESS, BECAUSE YOU CAN MOVE YOUR BODY IN A CERTAIN WAY THAT YOU ARE ABLE TO RELEASE, AND ABLE TO LET GO OF EVERYTHING ELSE AND TRAINED RELENTLESSLY TO GIVE YOU SOME KIND OF PURPOSE IN THIS CRAZY WORLD EVEN IF IT IS JUST AS SILLY AS LEARNING A NEW TRICK THAT NIGHT, BUT IT IS DOING THE PROBLEM SOLVING AND GOING THROUGH THE MOTIONS AND THE FAILURE IN ORDER TO PICK IT BACK UP AND START AGAIN.

THAT TRANSLATES INTO MY LIFE TENFOLD.

>>> FIND HIM ON INSTAGRAM AT COOPER BAYT.

>>> DONNA MOGAVERO IS A COLUMBUS MUSIC ICONMENT FOR MORE THAN 30 YEARS HER SIGNATURE SOFT AND SMOKY VOICE AND POIGNANT LYRICS HAVE THRILLED HER FANS.

HER SOUND IS A FUSION OF COUNTRY, FOLK, BLUES AND STRAIGHT UP ROCK 'N' ROLL.

WE WERE THRILLED TO HAVE HER IN THE STUDIO RECENTLY FOR A BROAD & HIGH PRESENTS SESSION.

LET'S TAKE A LISTEN.

♪♪ ♪♪ ♪ I HAVE A CHARM IN MY POCKET ♪ ♪ THAT MY HAND FITS AROUND ♪ ♪ WHEN THE SUN GOES DOWN ♪ ♪ THERE'S A MOON IN THE SKY ♪ ♪ I KNOW I KNOW I KNOW I KNOW ♪ ♪ WHO I AM ♪♪ ♪ ♪ I CAN WALK THROUGH THE DARK ♪ ♪ WITH A HOLE IN MY HEART ♪ ♪ AND WHEN THE MOON COMES OUT, IT MOVES AND IT MOVES AWAY FROM HERE ♪ ♪ HERE I AM HERE ♪ ♪ SITTING HALFWAY ACROSS THE ROOM ♪ ♪ DANCING IN A DIFFERENT SHADE OF BLUE ♪ ♪ AND I CAN SEE YOU BABY HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ I KEEP MY DISTANCE ♪ ♪ YEAH I KNOW MY BOUNDARIES ♪ ♪ I THINK IT IS SAFE ENOUGH ♪ ♪ I LEARNED MY LESSON ♪ ♪ BUT I FALL I FALL I FALL ♪ ♪ SOMETIMES ♪ ♪ I FEEL THE SKY COMING DOWN ♪ ♪ AND IT IS OUT OF CONTROL ♪ ♪ UNDER THE SPINNING LIGHT AND A CLOUD OF SMOKE ♪ ♪ IT TURNS IT TURNS IT TURNS ♪ ♪ ME ROUND ♪ ♪ HERE I AM DRIFTING HALFWAY ACROSS THE ROOM ♪ ♪ DANCING IN A DEEP LIGHT ♪ ♪ AND TWISTING AND TWIRLING IN SHADES OF BLUE ♪ ♪ I SEE YOU BABY ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪♪ ♪♪ ♪♪ ♪ I HAVE A PAPER THAT I THINK IT IS SAFE TO SAY ♪ ♪ IT IS SO BLACK AND IT IS SO WHITE ♪ ♪ AND IT IS A TURNING OF THE PAGES ♪ ♪ THE END THE END THE END ♪ ♪ IN SIGHT ♪ ♪ BUT I CAN SEE ♪ ♪ I CAN LEAN AND I DO I DO ♪ ♪ BLEED SOMETIMES ♪ ♪ AND HERE I AM SITTING HALFWAY ACROSS THE ROOM ♪ ♪ DANCING IN A BEAM IN A LIGHT ♪ ♪ TWISTING AND TWIRLING IN SHADES OF BLUE ♪ ♪ AND I CAN SEE YOU BABY ♪ ♪ HALFWAY ACROSS ♪ ♪ I SEE YOU BABY ♪ ♪ HALFWAY ACROSS ♪ ♪ I SEE YOU BABY ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ACROSS THE ROOM ♪ ♪ HALFWAY ♪♪ ♪ HALFWAY HALFWAY HALFWAY ♪ ♪ HALFWAY YEAH ♪♪ ♪♪ ♪♪ >>> TO HEAR MORE CHECK OUT DONNA MOGAVERO MUSIC.COM.

>>> WELL, THAT'S OUR SHOW, AND REMEMBER THAT YOU CAN FIND ALL OF OUR STORIES ON LINE AT WOSU.ORG AS WELL AS OUR YOU TUBE CHANNEL.

I'M KATE QUICKEL.

THANK YOU FOR WATCHING.

♪ EVERY TIME I SEE IT HAPPEN ♪ ♪ IT IS THE CROSSROADS IN THE SAND STILL LOOKING FOR DIRECTION ♪ ♪ THAT IN MY MIND ♪ ♪ I JUSTIFY AND IT ONLY MAKES THE DISTANCE GO FURTHER ♪ ♪ AND IT IS HARD TO FIND THE ROAD THAT GOES BACK ♪ ♪ EVEN THOUGH IT IS ALL FAMILIAR ♪ ♪ THE DUST WILL NEVER SETTLE ♪ ♪ I JUST CLOSE MY EYES ♪ ♪ STEP ASIDE ♪ ♪ BUT MAYBE A CHANGE OF SCENERY ♪♪ >>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY -- THE GREATER COLUMBUS ARTS COUNCIL, CELEBRATING EXPRESSION, FOSTERING TALENT AND CONNECTING THE COLUMBUS COMMUNITY TO -- MORE AT COLUMBUSMAKESART.COM.