1 00:00:00,000 --> 00:00:00,460 >> Announcer: PRODUCTION OF 2 00:00:00,460 --> 00:00:01,030 "BROAD & HIGH" IS FUNDED IN PART 3 00:00:01,030 --> 00:00:01,960 BY THE GREATER COLUMBUS ARTS 4 00:00:01,960 --> 00:00:03,960 COUNCIL. 5 00:00:03,960 --> 00:00:04,760 SUPPORTING ARTS, ADVANCING AND 6 00:00:04,760 --> 00:00:06,360 CONNECTING THE COMMUNITY TO 7 00:00:06,360 --> 00:00:07,330 ARTISTS, EVENTS AND CLASSES AT 8 00:00:07,330 --> 00:00:12,460 COLUMBUSMAKESART.COM. 9 00:00:12,460 --> 00:00:15,070 !!musiC@!!!musiC@! 10 00:00:15,070 --> 00:00:18,360 >> THIS TIME ON "BROAD & HIGH," 11 00:00:18,360 --> 00:00:19,260 EXPLORE THE RICH AND RECENT 12 00:00:19,260 --> 00:00:19,830 HISTORY OF VALENTINE'S DAY 13 00:00:19,830 --> 00:00:22,830 CARDS. 14 00:00:22,830 --> 00:00:23,170 SATISFY YOUR SWEET TOOTH WITH A 15 00:00:23,170 --> 00:00:25,660 VISIT TO MMELO CONFECTIONS, AND 16 00:00:25,660 --> 00:00:27,300 WE WILL VISIT THE FICTIONAL TOWN 17 00:00:27,300 --> 00:00:29,430 OF CHARLOTTESVILLE WHERE 18 00:00:29,430 --> 00:00:32,890 EVERYONE IS LOVED. 19 00:00:32,890 --> 00:00:33,890 THIS AND MORE RIGHT NOW ON 20 00:00:33,890 --> 00:00:38,330 "BROAD & HIGH." 21 00:00:38,330 --> 00:00:47,790 !!musiC@!!!musiC@! 22 00:00:47,790 --> 00:00:51,860 WELCOME TO "BROAD & HIGH." 23 00:00:51,860 --> 00:00:54,330 I AM YOUR HOST KATE QUICKEL, AND 24 00:00:54,330 --> 00:00:57,260 WILL YOU BE MY VALENTINE? 25 00:00:57,260 --> 00:00:58,500 THE TRADITION OF GIVING YOUR 26 00:00:58,500 --> 00:01:00,430 SWEETHEART A WRITTEN LOVE NOTE 27 00:01:00,430 --> 00:01:01,730 ON FEBRUARY 14th DATES BACK WAY 28 00:01:01,730 --> 00:01:02,360 BEFORE HALLMARK. 29 00:01:02,360 --> 00:01:03,630 IN FACT, THE OLDEST VALENTINE ON 30 00:01:03,630 --> 00:01:04,890 RECORD IS A POEM WRITTEN IN THE 31 00:01:04,890 --> 00:01:06,660 1400s. 32 00:01:06,660 --> 00:01:08,590 BUT THE MASS PRODUCED FACTORY 33 00:01:08,590 --> 00:01:10,230 MADE CARDS THAT WE ARE ALL 34 00:01:10,230 --> 00:01:11,030 FAMILIAR WITH TODAY HAVE A MUCH 35 00:01:11,030 --> 00:01:12,300 MORE RECENT PAST. 36 00:01:12,300 --> 00:01:12,960 THEY'VE ONLY BEEN AROUND SINCE 37 00:01:12,960 --> 00:01:14,960 THE 19TH CENTURY, WHEN THEY 38 00:01:14,960 --> 00:01:15,920 STARTED TO REPLACE ALL OF THOSE 39 00:01:15,920 --> 00:01:16,730 HANDMADE AND HAND WRITTEN LOVE 40 00:01:16,730 --> 00:01:18,690 NOTES. 41 00:01:18,690 --> 00:01:19,660 I RECENTLY MET WITH LOCAL 42 00:01:19,660 --> 00:01:21,500 COLLECTOR GEORGE JOHNSON IN 43 00:01:21,500 --> 00:01:22,560 LANCASTER TO TALK ABOUT HOW THIS 44 00:01:22,560 --> 00:01:23,920 TRADITION HAS EVOLVED THOUGH THE 45 00:01:23,920 --> 00:01:29,230 AGES. 46 00:01:29,230 --> 00:01:44,830 !!musiC@!!!musiC@! 47 00:01:44,830 --> 00:01:45,530 ALL RIGHT, GEORGE, YOU ARE A BIG 48 00:01:45,530 --> 00:01:48,560 OF A VALENTINE HISTORIAN IN A 49 00:01:48,560 --> 00:01:49,400 WAY, RIGHT? 50 00:01:49,400 --> 00:01:50,000 >> YES. 51 00:01:50,000 --> 00:01:50,360 >> SO TELL ME ABOUT YOUR 52 00:01:50,360 --> 00:01:50,660 COLLECTION, HOW DID YOU GET 53 00:01:50,660 --> 00:01:51,920 STARTED WITH THIS? 54 00:01:51,920 --> 00:01:53,300 >> I STARTED COLLECTING IN THE 55 00:01:53,300 --> 00:01:55,830 1970s, AND I REALLY ADMIRED THE 56 00:01:55,830 --> 00:01:57,300 ARTWORK AND HOW LOVELY THEY 57 00:01:57,300 --> 00:02:00,630 WERE. 58 00:02:00,630 --> 00:02:01,130 I STARTED COLLECTING WHAT 59 00:02:01,130 --> 00:02:02,560 COLLECTORS TODAY CALL FOLD DOWN 60 00:02:02,560 --> 00:02:04,000 VALENTINES THAT PULL DOWN AND 61 00:02:04,000 --> 00:02:05,920 OPEN UP. 62 00:02:05,920 --> 00:02:07,000 >> OH, COOL. 63 00:02:07,000 --> 00:02:09,100 >> BEAUTIFUL SCENES. 64 00:02:09,100 --> 00:02:09,820 >> YOU AREN'T JUST GOING TO THE 65 00:02:09,820 --> 00:02:10,730 DRUG STORE AND BUYING 66 00:02:10,730 --> 00:02:11,260 VALENTINES, HOW ARE YOU FINDING 67 00:02:11,260 --> 00:02:12,630 THESE? 68 00:02:12,630 --> 00:02:13,760 >> I WAS BUYING THEM AT ANTIQUE 69 00:02:13,760 --> 00:02:16,300 SHOWS AND ANTIQUE SHOPS, PLACES 70 00:02:16,300 --> 00:02:17,790 LIKE THAT. 71 00:02:17,790 --> 00:02:21,030 YOU KNOW, FLEA MARKETS. 72 00:02:21,030 --> 00:02:21,890 A LOT OF TIMES VALENTINES HAVE 73 00:02:21,890 --> 00:02:23,890 BEEN SAVED FOR MANY, MANY YEARS. 74 00:02:23,890 --> 00:02:25,070 I HAVE SEVERAL IN THE COLLECTION 75 00:02:25,070 --> 00:02:26,000 THAT ARE 200 YEARS OLD. 76 00:02:26,000 --> 00:02:27,170 >> WOW. 77 00:02:27,170 --> 00:02:30,530 >> AND STILL IN GOOD SHAPE. 78 00:02:30,530 --> 00:02:31,530 >> DO YOU HAVE ANY CONCEPT OF 79 00:02:31,530 --> 00:02:32,630 HOW MANY YOU HAVE COLLECTED, AND 80 00:02:32,630 --> 00:02:33,500 HOW YOUR COLLECTION HAS GROWN 81 00:02:33,500 --> 00:02:37,200 OVER THE YEARS? 82 00:02:37,200 --> 00:02:38,860 >> UMM, NOT REALLY. 83 00:02:38,860 --> 00:02:39,300 BUT THERE IS PROBABLY 84 00:02:39,300 --> 00:02:40,070 200-300 VALENTINES ON DISPLAY 85 00:02:40,070 --> 00:02:42,890 HERE. 86 00:02:42,890 --> 00:02:44,170 >> SO MUCH LOVE. 87 00:02:44,170 --> 00:02:44,560 IT'S KIND OF GREAT >> THAT'S 88 00:02:44,560 --> 00:02:49,460 RIGHT. 89 00:02:49,460 --> 00:02:51,760 THIS PARTICULAR ONE IS THE 90 00:02:51,760 --> 00:02:52,460 EARLIEST ONE THAT WE HAVE IN THE 91 00:02:52,460 --> 00:02:53,230 COLLECTION. 92 00:02:53,230 --> 00:02:55,170 SO THIS ONE IS ESSENTIALLY, YOU 93 00:02:55,170 --> 00:02:57,730 KNOW, 200 YEARS OLD. 94 00:02:57,730 --> 00:02:58,400 >> WOW. 95 00:02:58,400 --> 00:02:59,760 >> ON THE BACK THEN IS THE HAND 96 00:02:59,760 --> 00:03:02,730 WRITTEN. 97 00:03:02,730 --> 00:03:03,170 >> THAT IS HAND WRITTEN? 98 00:03:03,170 --> 00:03:03,590 >> POEM. 99 00:03:03,590 --> 00:03:04,400 >> OUR PENMANSHIP SKILLS HAVE 100 00:03:04,400 --> 00:03:06,890 GONE DOWN. 101 00:03:06,890 --> 00:03:07,590 I LIKE THIS "MANY WATERS CANNOT 102 00:03:07,590 --> 00:03:12,660 QUENCH LOVE." 103 00:03:12,660 --> 00:03:14,790 >> THIS ONE, IT DATES FROM THE 104 00:03:14,790 --> 00:03:17,130 1840s, AND IT HAS PERFORATED 105 00:03:17,130 --> 00:03:20,300 LACE ON IT. 106 00:03:20,300 --> 00:03:21,860 IT HAS SATIN IN THE CENTER. 107 00:03:21,860 --> 00:03:23,230 AND IT'S A VERY LOVELY CARD, BUT 108 00:03:23,230 --> 00:03:24,960 THE MOST INTERESTING PART, AT 109 00:03:24,960 --> 00:03:26,530 LEAST TO ME, IS THAT EACH OF 110 00:03:26,530 --> 00:03:30,000 THESE WREATHS -- MONDAY, 111 00:03:30,000 --> 00:03:30,590 TUESDAY, WEDNESDAY, THURSDAY, 112 00:03:30,590 --> 00:03:32,430 FRIDAY, SATURDAY -- AND EACH OF 113 00:03:32,430 --> 00:03:37,960 THESE WILL LIFT TO REVEAL -- 114 00:03:37,960 --> 00:03:38,630 >> A LITTLE MESSAGE. 115 00:03:38,630 --> 00:03:40,660 >> A LITTLE MESSAGE BEHIND IT. 116 00:03:40,660 --> 00:03:41,330 >> THAT'S SO CUTE! 117 00:03:41,330 --> 00:03:42,830 >> AND EVERY ONE -- EXCEPT 118 00:03:42,830 --> 00:03:43,560 SUNDAY, BECAUSE SUNDAY IS FOR 119 00:03:43,560 --> 00:03:44,630 CHURCH AND WE'RE NOT GOING TO DO 120 00:03:44,630 --> 00:03:47,400 ANY OF THAT HANKY-PANKY TYPE 121 00:03:47,400 --> 00:03:49,630 STUFF. 122 00:03:49,630 --> 00:03:50,860 [ LAUGHTER ] 123 00:03:50,860 --> 00:03:52,100 >> AND THESE LITTLE ENVELOPES -- 124 00:03:52,100 --> 00:03:53,460 >> EACH ONE OF THE SIX DAYS OF 125 00:03:53,460 --> 00:03:55,500 THE WEEK. 126 00:03:55,500 --> 00:03:57,400 >> WOW. 127 00:03:57,400 --> 00:03:58,860 >> HAS A LITTLE TINY ENVELOPE. 128 00:03:58,860 --> 00:04:01,920 >> THAT DOESN'T OPEN? 129 00:04:01,920 --> 00:04:03,460 >> AND IT OPENS. 130 00:04:03,460 --> 00:04:06,630 >> OH, STOP. 131 00:04:06,630 --> 00:04:09,130 >> AND INSIDE IS ANOTHER SMALL 132 00:04:09,130 --> 00:04:14,030 HANDWRITTEN MESSAGE. 133 00:04:14,030 --> 00:04:16,070 THIS ONE IS FROM THE 1870s, 134 00:04:16,070 --> 00:04:17,790 PROBABLY. 135 00:04:17,790 --> 00:04:18,960 AND IT'S GILDED, PERFORATED LACE 136 00:04:18,960 --> 00:04:21,830 PAPER. 137 00:04:21,830 --> 00:04:25,300 IT'S VERY UNUSUAL IN THE SENSE 138 00:04:25,300 --> 00:04:26,300 THAT THE BACK IS JUST AS 139 00:04:26,300 --> 00:04:27,660 DECORATED AS THE FRONT. 140 00:04:27,660 --> 00:04:27,920 >> OH MY GOSH, IT IS. 141 00:04:27,920 --> 00:04:28,300 >> WITH A -- THAT'S A SPUN GLASS 142 00:04:28,300 --> 00:04:28,630 MEDALLION IN IT. 143 00:04:28,630 --> 00:04:28,890 >> WHAT? 144 00:04:28,890 --> 00:04:29,500 THAT'S AMAZING. 145 00:04:29,500 --> 00:04:29,960 >> AND THIS IS THE HIDDEN 146 00:04:29,960 --> 00:04:31,030 PICTURE. 147 00:04:31,030 --> 00:04:33,130 TAKE THAT OTHER SIDE AND WE'LL 148 00:04:33,130 --> 00:04:34,830 OPEN IT UP. 149 00:04:34,830 --> 00:04:35,890 >> AND THERE'S THE LITTLE 150 00:04:35,890 --> 00:04:37,790 COUPLE. 151 00:04:37,790 --> 00:04:39,230 RUNNING AWAY TOGETHER. 152 00:04:39,230 --> 00:04:42,560 !!musiC@!!!musiC@! 153 00:04:42,560 --> 00:04:44,260 >> SO THIS IS A, WHAT THEY 154 00:04:44,260 --> 00:04:45,400 CALLED THE TRICK VALENTINE. 155 00:04:45,400 --> 00:04:48,000 SO WE'VE GOT A LITTLE SILK CORD 156 00:04:48,000 --> 00:04:49,960 WITH A LITTLE PIECE OF SILVER 157 00:04:49,960 --> 00:04:51,230 CARDBOARD ON IT. 158 00:04:51,230 --> 00:04:51,730 AND WHEN YOU PULL THE STRING IT 159 00:04:51,730 --> 00:04:53,460 WILL STOP INTO A 160 00:04:53,460 --> 00:04:58,460 THREE-DIMENSIONAL FORM WITH A 161 00:04:58,460 --> 00:05:00,890 LOVE NOTE AT THE TOP. 162 00:05:00,890 --> 00:05:01,760 >> THAT'S BEAUTIFUL. 163 00:05:01,760 --> 00:05:03,070 HOW ELABORATE. 164 00:05:03,070 --> 00:05:03,500 >> LET GO OF IT, AND IT LAYS 165 00:05:03,500 --> 00:05:04,690 FLAT. 166 00:05:04,690 --> 00:05:05,260 SO IT'LL GO THROUGH THE MAIL 167 00:05:05,260 --> 00:05:06,560 LIKE THAT. 168 00:05:06,560 --> 00:05:07,730 >> RIGHT. 169 00:05:07,730 --> 00:05:08,500 >> AND THEN SIMPLY PULLING THE 170 00:05:08,500 --> 00:05:09,070 STRING -- 171 00:05:09,070 --> 00:05:10,560 >> WHAT ERA IS THIS FROM? 172 00:05:10,560 --> 00:05:11,430 >> THIS AGAIN IS PROBABLY 1870s, 173 00:05:11,430 --> 00:05:13,760 MAYBE 1880s. 174 00:05:13,760 --> 00:05:14,730 >> WOW, SO INTRICATE. 175 00:05:14,730 --> 00:05:23,530 >> THE MAJORITY OF THE DISPLAY 176 00:05:23,530 --> 00:05:28,560 HERE RUNS FROM 1820 TO 1930s, 177 00:05:28,560 --> 00:05:30,500 '40s. 178 00:05:30,500 --> 00:05:31,690 BUT THERE'S A FEW WHERE YOUNGER 179 00:05:31,690 --> 00:05:33,730 KIDS WILL RECOGNIZE, TOO. 180 00:05:33,730 --> 00:05:47,690 !!musiC@!!!musiC@! 181 00:05:47,690 --> 00:05:48,500 >> EXPRESSIONS OF LOVE, THE 182 00:05:48,500 --> 00:05:49,360 VALENTINE COLLECTION OF GEORGE 183 00:05:49,360 --> 00:05:50,630 JOHNSON IS ON DISPLAY AT THE 184 00:05:50,630 --> 00:05:51,730 DECORATIVE ARTS CENTER AT 185 00:05:51,730 --> 00:05:55,200 LANCASTER THROUGH FEBRUARY 28th. 186 00:05:55,200 --> 00:05:56,070 VISIT THEM ONLINE AT 187 00:05:56,070 --> 00:05:59,230 DECARTSOHIO.ORG TO LEARN MORE. 188 00:05:59,230 --> 00:06:06,070 !!musiC@!!!musiC@! 189 00:06:06,070 --> 00:06:07,200 >>> AS WE JUST SAW, FOLKS SEND 190 00:06:07,200 --> 00:06:08,890 CARDS FOR VALENTINE'S DAY. 191 00:06:08,890 --> 00:06:10,070 SOME SEND FLOWERS. 192 00:06:10,070 --> 00:06:11,200 AND SOME SEND CANDY. 193 00:06:11,200 --> 00:06:12,890 WE MET UP WITH MICHELLE ALLEN AT 194 00:06:12,890 --> 00:06:14,230 HER NEW SHOP IN THE ARENA 195 00:06:14,230 --> 00:06:15,030 DISTRICT TO CHECK OUT HER TASTY 196 00:06:15,030 --> 00:06:17,500 CONFECTIONS THAT ARE SWEET TO 197 00:06:17,500 --> 00:06:22,590 RECEIVE ANY TIME OF THE YEAR. 198 00:06:22,590 --> 00:06:35,400 !!musiC@!!!musiC@! 199 00:06:35,400 --> 00:06:37,560 >> WE ARE IN MY NEW CAF…, MY 200 00:06:37,560 --> 00:06:39,730 CONFECTIONARY CAF…, MMELO 201 00:06:39,730 --> 00:06:42,920 BOUTIQUE CONFECTIONS. 202 00:06:42,920 --> 00:06:44,230 M-M-E-L-O, WHICH FUNNILY ENOUGH 203 00:06:44,230 --> 00:06:45,000 CAME OUT OF A SOUND THAT MY 204 00:06:45,000 --> 00:06:45,730 HUSBAND WOULD HEAR, BECAUSE I 205 00:06:45,730 --> 00:06:46,890 STARTED KIND OF DOING THIS IN 206 00:06:46,890 --> 00:06:48,300 SPAIN. 207 00:06:48,300 --> 00:06:49,100 AND MY HUSBAND -- PEOPLE WOULD 208 00:06:49,100 --> 00:06:50,300 TRY MY FOOD, AND PEOPLE WOULD GO 209 00:06:50,300 --> 00:06:51,230 "MMM." 210 00:06:51,230 --> 00:06:51,890 AND IT JUST KIND OF GREW OUT OF 211 00:06:51,890 --> 00:06:54,430 THAT SOUND. 212 00:06:54,430 --> 00:06:55,430 SO YEAH, THAT'S WHERE MMELO 213 00:06:55,430 --> 00:06:58,000 COMES FROM. 214 00:06:58,000 --> 00:06:58,590 YOU KNOW, MARSHMALLOWS HAVE 215 00:06:58,590 --> 00:06:59,860 REALLY FALLEN FROM GRACE. 216 00:06:59,860 --> 00:07:00,830 THEY WERE A CONFECTION FOR 217 00:07:00,830 --> 00:07:01,920 KINGS. 218 00:07:01,920 --> 00:07:03,860 AND THE REASON FOR THAT IS YOU 219 00:07:03,860 --> 00:07:07,530 CAN DO SO MANY THINGS WITH THE 220 00:07:07,530 --> 00:07:09,760 KNOW, YOU RAISE IT A FEW DEGREES 221 00:07:09,760 --> 00:07:10,830 AND YOU GET A SWEDISH 222 00:07:10,830 --> 00:07:12,070 MARSHMALLOW, WHICH IS A BIT 223 00:07:12,070 --> 00:07:13,200 RUBBERY. 224 00:07:13,200 --> 00:07:14,760 AND THAT'S HOW THEY LIKE IT. 225 00:07:14,760 --> 00:07:15,890 OR, YOU KNOW, YOU ADD A BIT OF 226 00:07:15,890 --> 00:07:16,690 EGG WHITE TO IT AND IT'S ALMOST 227 00:07:16,690 --> 00:07:19,630 LIKE A FOAM. 228 00:07:19,630 --> 00:07:22,070 THE FRENCH CALL THAT A GUIMAUVE. 229 00:07:22,070 --> 00:07:23,500 SO THAT'S ONE OF THE REASONS I'M 230 00:07:23,500 --> 00:07:25,130 KIND OF PUSHING THE VIRTUES OF 231 00:07:25,130 --> 00:07:32,760 MARSHMALLOWS. 232 00:07:32,760 --> 00:07:34,760 WE ARE ON THE CLOCK NOW. 233 00:07:34,760 --> 00:07:35,590 I GREW UP JUST OFF OF LIVINGSTON 234 00:07:35,590 --> 00:07:39,730 AVENUE AND THE SOUTH EAST SIDE, 235 00:07:39,730 --> 00:07:40,460 AND WENT TO OHIO STATE. 236 00:07:40,460 --> 00:07:41,300 AND WAS JUST CHOMPING AT THE BIT 237 00:07:41,300 --> 00:07:44,560 TO GET OUT OF TOWN. 238 00:07:44,560 --> 00:07:45,460 I TRAVELLED ALL OVER THE WORLD, 239 00:07:45,460 --> 00:07:46,460 AND A LOT OF THAT TRAVEL 240 00:07:46,460 --> 00:07:48,170 ACTUALLY ENDED UP FORMING THE 241 00:07:48,170 --> 00:07:53,130 RECIPES I DESIGN NOW. 242 00:07:53,130 --> 00:07:56,400 IN SEPTEMBER OF 2015, I QUICKLY 243 00:07:56,400 --> 00:08:07,960 CAME BACK TO THE UNITED STATES, 244 00:08:07,960 --> 00:08:09,230 INCORPORATED MMELO, CONTACTED A 245 00:08:09,230 --> 00:08:13,860 CONTACT THAT I HAD OVER AT 246 00:08:13,860 --> 00:08:15,300 EASTON. 247 00:08:15,300 --> 00:08:15,890 THEY GAVE ME THIS CR»ME DE LA 248 00:08:15,890 --> 00:08:16,200 CR»ME SPOT ON THE STRAND. 249 00:08:16,200 --> 00:08:16,830 I HAD LOUIS VITTON ACROSS THE 250 00:08:16,830 --> 00:08:17,170 STREET AND APPLE ONE SIDE AND 251 00:08:17,170 --> 00:08:17,730 MICHAEL KORS ON THE OTHER. 252 00:08:17,730 --> 00:08:18,130 IT WAS MAD. 253 00:08:18,130 --> 00:08:18,730 THAT WOULD NEVER IN A MILLION 254 00:08:18,730 --> 00:08:20,460 YEARS HAPPEN IN EUROPE. 255 00:08:20,460 --> 00:08:22,070 I WAS THERE FOR EIGHT WEEKS. 256 00:08:22,070 --> 00:08:23,070 BASED ON THE STRENGTH OF THAT, I 257 00:08:23,070 --> 00:08:25,030 GOT CORPORATE CLIENTS. 258 00:08:25,030 --> 00:08:26,300 I FOUND THE FUNDING FOR MY 259 00:08:26,300 --> 00:08:29,460 BUSINESS. 260 00:08:29,460 --> 00:08:30,460 I WOULD NEVER HAVE GOTTEN THIS 261 00:08:30,460 --> 00:08:31,690 FAR IN SPAIN. 262 00:08:31,690 --> 00:08:36,000 EVER. 263 00:08:36,000 --> 00:08:38,030 PART OF THE RESEARCH THAT I'VE 264 00:08:38,030 --> 00:08:40,530 DONE IN FOOD IS REALLY TRYING TO 265 00:08:40,530 --> 00:08:43,430 MAKE SURE THAT I AND MY TEAM 266 00:08:43,430 --> 00:08:45,170 REALLY UNDERSTAND WHY YOU MAKE 267 00:08:45,170 --> 00:08:47,200 THE INGREDIENT CHOICE THAT YOU 268 00:08:47,200 --> 00:08:51,430 MAKE AND HOW THAT BASICALLY 269 00:08:51,430 --> 00:08:53,460 INTERACTS WITH THE HUMAN BODY. 270 00:08:53,460 --> 00:08:55,400 THAT, IN ADDITION TO THE 271 00:08:55,400 --> 00:08:56,860 COMMITMENT TO USING AND 272 00:08:56,860 --> 00:08:59,000 DESIGNING ALL THE RECIPES AROUND 273 00:08:59,000 --> 00:09:03,590 REAL FOOD, WHOLE FOOD 274 00:09:03,590 --> 00:09:04,730 INGREDIENTS, NOT USING 275 00:09:04,730 --> 00:09:05,660 UBER-REFINED FLOURS, NOT USING 276 00:09:05,660 --> 00:09:06,400 UBER-REFINED SUGARS, NOT USING 277 00:09:06,400 --> 00:09:07,590 ARTIFICIAL FLAVORS OR 278 00:09:07,590 --> 00:09:10,030 SWEETENERS. 279 00:09:10,030 --> 00:09:12,960 ALL THAT SORT OF STUFF THAT WE 280 00:09:12,960 --> 00:09:13,890 NOW KNOW WE SHOULDN'T REALLY 281 00:09:13,890 --> 00:09:15,330 CONSUME. 282 00:09:15,330 --> 00:09:16,660 YOU KNOW, PEOPLE ASK ME ALL THE 283 00:09:16,660 --> 00:09:17,530 TIME -- CAN YOU DO A SUGAR-FREE 284 00:09:17,530 --> 00:09:20,430 TREAT? 285 00:09:20,430 --> 00:09:21,860 AND MY RESPONSE TO THAT IS, I 286 00:09:21,860 --> 00:09:22,960 WOULD LOVE TO, BUT THERE ISN'T A 287 00:09:22,960 --> 00:09:24,960 NATURAL WAY TO DO THAT. 288 00:09:24,960 --> 00:09:26,860 WE CAN DO LOW-GLYCEMIC, BUT WE 289 00:09:26,860 --> 00:09:30,530 CAN'T DO SUGAR FREE. 290 00:09:30,530 --> 00:09:31,500 I'M NOT TRYING TO SAY THAT MMELO 291 00:09:31,500 --> 00:09:32,530 IS HEALTH FOOD, BUT IT IS FOOD. 292 00:09:32,530 --> 00:09:34,860 IT IS NOT JUNK. 293 00:09:34,860 --> 00:09:35,360 IT IS NOT MADE WITH JUNKY 294 00:09:35,360 --> 00:09:38,360 INGREDIENTS. 295 00:09:38,360 --> 00:09:39,760 THERE'S THOUGHT BEHIND THE WAY 296 00:09:39,760 --> 00:09:40,360 THAT IT WAS BUILT AND 297 00:09:40,360 --> 00:09:44,330 CONSTRUCTED. 298 00:09:44,330 --> 00:09:45,130 A LOT OF PEOPLE HERE IN COLUMBUS 299 00:09:45,130 --> 00:09:46,130 HAVE DONE SOME AMAZING WORK IN 300 00:09:46,130 --> 00:09:48,000 TERMS OF CREATING THE FOOD 301 00:09:48,000 --> 00:09:49,300 LANDSCAPE HERE IN COLUMBUS. 302 00:09:49,300 --> 00:09:52,790 IT'S SO IMPRESSIVE, AND I'M SO 303 00:09:52,790 --> 00:09:54,660 PROUD OF MY HOMETOWN. 304 00:09:54,660 --> 00:09:56,130 AND I HOPE THAT MMELO CAN 305 00:09:56,130 --> 00:09:57,100 CONTRIBUTE TO THAT IN A REALLY 306 00:09:57,100 --> 00:10:04,690 POSITIVE WAY. 307 00:10:04,690 --> 00:10:07,100 !!musiC@!!!musiC@! 308 00:10:07,100 --> 00:10:08,400 >> FROM GOURMET MARSHMALLOWS TO 309 00:10:08,400 --> 00:10:10,170 HAND-MADE TEACAKES, YOU CAN FIND 310 00:10:10,170 --> 00:10:11,430 ALL MANNER OF SWEET TREATS AT 311 00:10:11,430 --> 00:10:12,590 THE STORE FRONT AT THE ARENA 312 00:10:12,590 --> 00:10:13,560 DISTRICT. 313 00:10:13,560 --> 00:10:18,070 AND CHECK THEM OUT ON INSTAGRAM. 314 00:10:18,070 --> 00:10:19,830 !!musiC@!!!musiC@! 315 00:10:19,830 --> 00:10:21,070 >> THIS NEXT STORY IS ABOUT 316 00:10:21,070 --> 00:10:24,630 FINDING LOVE AND ACCEPTANCE. 317 00:10:24,630 --> 00:10:25,730 WHEN CHARLOTTE MCGRAW WAS A 318 00:10:25,730 --> 00:10:27,200 TEENAGER, SHE WAS IN DESPERATE 319 00:10:27,200 --> 00:10:28,790 NEED OF LOVE AND GUIDANCE. 320 00:10:28,790 --> 00:10:29,530 INSTEAD SHE WAS 321 00:10:29,530 --> 00:10:30,590 INSTITUTIONALIZED. 322 00:10:30,590 --> 00:10:32,430 BUT NOW THROUGH HER ART SHE HAS 323 00:10:32,430 --> 00:10:34,530 CREATED THE KIND OF PLACE SHE 324 00:10:34,530 --> 00:10:35,130 CRAVED AS A CHILD. 325 00:10:35,130 --> 00:10:35,860 ONE WHERE EVERYONE IS WELCOME 326 00:10:35,860 --> 00:10:40,000 AND NO ONE IS TURNED AWAY. 327 00:10:40,000 --> 00:10:43,230 SHE CALLS IT CHARLOTTESVILLE. 328 00:10:43,230 --> 00:10:44,430 >> CODY USED TO ALWAYS TRY TO 329 00:10:44,430 --> 00:10:47,460 GET ME IN THE ART ROOM. 330 00:10:47,460 --> 00:10:49,200 AND I TOLD CODY, I SAID, "LOOK. 331 00:10:49,200 --> 00:10:50,860 I DON'T DO ART." 332 00:10:50,860 --> 00:10:52,960 HE SAID, "CHARLOTTE, YOU DON'T 333 00:10:52,960 --> 00:10:56,790 KNOW UNLESS YOU COME IN A TRY." 334 00:10:56,790 --> 00:10:58,130 AND I TOLD HIM, "NOPE, I DON'T 335 00:10:58,130 --> 00:10:59,920 DO ART!" 336 00:10:59,920 --> 00:11:04,300 SO HE KEPT BUGGING ME AND 337 00:11:04,300 --> 00:11:05,500 BUGGING ME AND BUGGING ME. 338 00:11:05,500 --> 00:11:06,690 SO I SAID, "OH GOD. 339 00:11:06,690 --> 00:11:07,230 LET ME GO IN HERE AND KEEP HIM 340 00:11:07,230 --> 00:11:14,300 QUIET." 341 00:11:14,300 --> 00:11:15,630 !!musiC@!!!musiC@! 342 00:11:15,630 --> 00:11:18,030 WELL, CHARLOTTESVILLE IS A 343 00:11:18,030 --> 00:11:18,920 LITTLE TOWN. 344 00:11:18,920 --> 00:11:28,560 WHERE MY CREATURES CAN COME. 345 00:11:28,560 --> 00:11:29,360 AND THEY'RE NOT LOOKED AT LIKE 346 00:11:29,360 --> 00:11:34,660 THEY HAVE A DISEASE. 347 00:11:34,660 --> 00:11:35,400 THEY'RE LOOKED AT LIKE THEY'RE 348 00:11:35,400 --> 00:11:36,300 HUMAN. 349 00:11:36,300 --> 00:11:36,630 AND EVERYONE IN CHARLOTTESVILLE 350 00:11:36,630 --> 00:11:41,460 IS LOVED. 351 00:11:41,460 --> 00:11:42,590 NO ONE GETS TURNED AWAY. 352 00:11:42,590 --> 00:11:44,690 NO ONE GETS MADE FUN OF. 353 00:11:44,690 --> 00:11:46,400 WE IN CHARLOTTESVILLE LOVE EACH 354 00:11:46,400 --> 00:11:50,460 OTHER. 355 00:11:50,460 --> 00:11:52,860 AND I HAPPEN TO BE THE MAYOR. 356 00:11:52,860 --> 00:11:54,830 >> WHEN SHE FIRST STARTED 357 00:11:54,830 --> 00:11:56,400 WORKING WITH US AND WE HAD THAT 358 00:11:56,400 --> 00:11:57,530 BACKDROP, IT WAS ONE OF THE 359 00:11:57,530 --> 00:11:58,030 FIRST CREATURES SHE DID. 360 00:11:58,030 --> 00:12:00,300 AND JUST SANG. 361 00:12:00,300 --> 00:12:02,070 IT JUST, IT WAS JUST WONDERFUL. 362 00:12:02,070 --> 00:12:02,860 IT HAD SO MUCH CHARACTER AND IT 363 00:12:02,860 --> 00:12:09,360 REALLY CONVEYED A LOT ABOUT WHO 364 00:12:09,360 --> 00:12:10,230 CHARLOTTE WAS AS A PERSON AND 365 00:12:10,230 --> 00:12:11,000 HER IDEA OF WHAT LIFE SHOULD 366 00:12:11,000 --> 00:12:14,890 LOOK LIKE. 367 00:12:14,890 --> 00:12:15,660 >> MY CREATURES SOMETIMES GO 368 00:12:15,660 --> 00:12:16,330 THROUGH THE SAME THINGS I'VE 369 00:12:16,330 --> 00:12:19,100 BEEN THROUGH. 370 00:12:19,100 --> 00:12:22,070 SO I UNDERSTAND HOW THEY FEEL. 371 00:12:22,070 --> 00:12:23,260 >> THEY COME TO CHARLOTTESVILLE. 372 00:12:23,260 --> 00:12:24,230 THEY'RE GIVEN A JOB AND THEY'RE 373 00:12:24,230 --> 00:12:25,030 AN INTEGRAL PART OF THE 374 00:12:25,030 --> 00:12:26,630 COMMUNITY. 375 00:12:26,630 --> 00:12:27,830 THEY'RE ACCEPTED. 376 00:12:27,830 --> 00:12:28,920 THEY'RE SEEN. 377 00:12:28,920 --> 00:12:32,030 THEY'RE LOVED. 378 00:12:32,030 --> 00:12:33,330 >> GENERALLY I DO COLLAGING, 379 00:12:33,330 --> 00:12:35,230 PAINTING. 380 00:12:35,230 --> 00:12:36,590 SOME DRAWING. 381 00:12:36,590 --> 00:12:38,170 >> I MEAN, A LOT OF HER IMAGES, 382 00:12:38,170 --> 00:12:40,430 THERE'S A CERTAIN SWEETNESS 383 00:12:40,430 --> 00:12:41,630 ABOUT THEM BUT SOME OF THEM ARE 384 00:12:41,630 --> 00:12:43,660 A LITTLE BIT. 385 00:12:43,660 --> 00:12:44,690 A LITTLE INTIMIDATING. 386 00:12:44,690 --> 00:12:45,630 >> CRAZY. 387 00:12:45,630 --> 00:12:50,790 [ LAUGHTER ] 388 00:12:50,790 --> 00:12:52,200 BECAUSE THEY LOOK AT MY ART AND 389 00:12:52,200 --> 00:12:56,860 THEY'RE LIKE, "WHERE DOES YOUR 390 00:12:56,860 --> 00:12:58,430 MIND GO?" 391 00:12:58,430 --> 00:13:00,230 AND I SAID, "I HAVE MY OWN 392 00:13:00,230 --> 00:13:02,030 LITTLE WORLD, YOU KNOW." 393 00:13:02,030 --> 00:13:03,500 AND THEY SAY, "WHAT MAKES YOU DO 394 00:13:03,500 --> 00:13:05,230 CREATURES?" 395 00:13:05,230 --> 00:13:05,760 I SAID, "BECAUSE I LOVE IT." 396 00:13:05,760 --> 00:13:17,130 I SAID, "THEY'RE MY OWN PEOPLE." 397 00:13:17,130 --> 00:13:21,300 I WAS IN AN INSTITUTION AND I 398 00:13:21,300 --> 00:13:22,030 WENT THERE WHEN I WAS 16 YEARS 399 00:13:22,030 --> 00:13:23,200 OLD. 400 00:13:23,200 --> 00:13:25,300 AND I DIDN'T GET OUT UNTIL I WAS 401 00:13:25,300 --> 00:13:27,500 ABOUT 27, 28 YEARS OLD. 402 00:13:27,500 --> 00:13:29,070 AND IT'S FOR PEOPLE THAT HAVE 403 00:13:29,070 --> 00:13:30,560 PHYSICAL AND MENTAL 404 00:13:30,560 --> 00:13:31,920 DISABILITIES. 405 00:13:31,920 --> 00:13:33,430 BUT IT WAS A ROUGH GO. 406 00:13:33,430 --> 00:13:34,500 YOU JUST NEVER KNOW WHAT YOU'RE 407 00:13:34,500 --> 00:13:45,690 GOING TO SEE WHEN YOU GO INTO 408 00:13:45,690 --> 00:13:48,590 ONE OF THESE PLACES. 409 00:13:48,590 --> 00:13:49,100 AND A LOT OF PEOPLE DON'T NEED 410 00:13:49,100 --> 00:13:53,920 TO BE THERE. 411 00:13:53,920 --> 00:13:56,920 I THINK WHAT IT IS, PEOPLE GET 412 00:13:56,920 --> 00:14:01,360 PUT IN THESE PLACES BECAUSE NO 413 00:14:01,360 --> 00:14:02,100 ONE WANTS TO TAKE THE TIME. 414 00:14:02,100 --> 00:14:04,500 IT'S NOT NECESSARILY THAT 415 00:14:04,500 --> 00:14:07,860 THERE'S SOMETHING WRONG WITH 416 00:14:07,860 --> 00:14:09,300 THEM. 417 00:14:09,300 --> 00:14:10,100 IT'S JUST THAT THEY NEED SOMEONE 418 00:14:10,100 --> 00:14:10,890 TO GUIDE THEM. 419 00:14:10,890 --> 00:14:14,760 AND WHEN I WENT IN THERE AT 16, 420 00:14:14,760 --> 00:14:15,690 I WAS JUST A HOT HEADED 421 00:14:15,690 --> 00:14:17,330 TEENAGER. 422 00:14:17,330 --> 00:14:22,690 AND I DIDN'T WANT TO LISTEN TO 423 00:14:22,690 --> 00:14:23,860 ANYONE. 424 00:14:23,860 --> 00:14:26,100 BUT I WAS LABELED. 425 00:14:26,100 --> 00:14:27,000 I HAD PROBLEMS AT HOME SO I 426 00:14:27,000 --> 00:14:27,860 REALLY DIDN'T HAVE ANYONE THAT I 427 00:14:27,860 --> 00:14:35,960 COULD GO TALK TO. 428 00:14:35,960 --> 00:14:38,630 MISSING A LOT OF LOVE FROM HOME. 429 00:14:38,630 --> 00:14:45,890 IT MAKES YOU DO THINGS THAT YOU 430 00:14:45,890 --> 00:14:46,630 NORMALLY WOULDN'T DO BECAUSE YOU 431 00:14:46,630 --> 00:14:47,590 DON'T HAVE THAT STABILIZATION AT 432 00:14:47,590 --> 00:14:50,760 HOME. 433 00:14:50,760 --> 00:14:53,890 I WORKED MY WAY OUT. 434 00:14:53,890 --> 00:14:56,690 I SHOWED THEM THAT I COULD 435 00:14:56,690 --> 00:14:58,560 SUCCEED IN SOCIETY AND THAT I 436 00:14:58,560 --> 00:15:01,500 WAS NOT INCAPABLE OF TAKING CARE 437 00:15:01,500 --> 00:15:16,360 OF MYSELF. 438 00:15:16,360 --> 00:15:17,360 RIGHT NOW I'M DOING A SERIES AND 439 00:15:17,360 --> 00:15:23,000 IT'S CALLED "POPO." 440 00:15:23,000 --> 00:15:24,660 AND I DON'T KNOW IF A LOT OF 441 00:15:24,660 --> 00:15:28,100 PEOPLE KNOW WHAT "POPO" IS. 442 00:15:28,100 --> 00:15:34,300 BUT IT'S THE POLICE. 443 00:15:34,300 --> 00:15:35,130 I DO CREATURES THAT ARE COMING 444 00:15:35,130 --> 00:15:38,830 TO JAIL. 445 00:15:38,830 --> 00:15:41,730 IT'S CALLED "CHARLOTTE'S 446 00:15:41,730 --> 00:15:45,920 CORRECTIONAL FITNESS CENTER." 447 00:15:45,920 --> 00:15:47,730 ONCE THEY LEAVE MY JAIL THEY 448 00:15:47,730 --> 00:15:53,100 HAVE LOST A LOT OF WEIGHT. 449 00:15:53,100 --> 00:15:54,130 AND THEY GO TELL THEY'RE 450 00:15:54,130 --> 00:15:54,890 FRIENDS, "IF YOU WANT TO LOSE 451 00:15:54,890 --> 00:15:57,760 WEIGHT. 452 00:15:57,760 --> 00:15:59,030 YOU KNOW, GO TO CHARLOTTE'S 453 00:15:59,030 --> 00:16:01,070 FITNESS CENTER. 454 00:16:01,070 --> 00:16:01,890 YOU'LL LOSE SOME WEIGHT GOING 455 00:16:01,890 --> 00:16:03,560 THERE." 456 00:16:03,560 --> 00:16:08,890 SO IT'S BASICALLY YOU COME TO MY 457 00:16:08,890 --> 00:16:10,100 JAIL, I'M GOING TO WORK YOU. 458 00:16:10,100 --> 00:16:11,400 AND YOU'RE NOT GOING TO GET A 459 00:16:11,400 --> 00:16:12,030 LOT TO EAT. 460 00:16:12,030 --> 00:16:16,590 [ LAUGHTER ] 461 00:16:16,590 --> 00:16:17,630 >> OKAY, SO WE'RE GOING TO HAVE 462 00:16:17,630 --> 00:16:17,960 THE POPO, WE'RE GOING TO HAVE 463 00:16:17,960 --> 00:16:18,730 THE SIGN THERE. 464 00:16:18,730 --> 00:16:19,760 >> IF IT WASN'T FOR DEBBIE AND 465 00:16:19,760 --> 00:16:22,130 KATE AND CODY. 466 00:16:22,130 --> 00:16:23,860 THIS WOULDN'T BE HAPPENING. 467 00:16:23,860 --> 00:16:29,000 SO I APPRECIATE ALL OF THEM. 468 00:16:29,000 --> 00:16:30,560 EVERYBODY THAT'S IN HERE, AND 469 00:16:30,560 --> 00:16:31,660 LIKE I SAID BEFORE, THEY'RE 470 00:16:31,660 --> 00:16:35,260 FAMILY. 471 00:16:35,260 --> 00:16:36,590 YOU KNOW, WE ALL LOOK OUT FOR 472 00:16:36,590 --> 00:16:38,000 EACH OTHER. 473 00:16:38,000 --> 00:16:40,260 SO, IT MAKES IT WORTH WHILE. 474 00:16:40,260 --> 00:16:45,560 !!musiC@!!!musiC@! 475 00:16:45,560 --> 00:16:47,630 >> YOU CAN SEE MORE OF 476 00:16:47,630 --> 00:16:50,830 CHARLOTTE'S WORK AT THE GOODWILL 477 00:16:50,830 --> 00:16:52,500 ART STUDIO AND GALLERY ON 478 00:16:52,500 --> 00:16:52,920 EDGEHILL ROAD IN GRANDVIEW. 479 00:16:52,920 --> 00:16:53,260 CHECK OUT THEIR FACEBOOK PAGE 480 00:16:53,260 --> 00:16:57,300 FOR DETAILS. 481 00:16:57,300 --> 00:16:58,030 LET'S GET BACK TO CANDY BECAUSE 482 00:16:58,030 --> 00:16:58,890 IT'S THE SOURCE OF INSPIRATION 483 00:16:58,890 --> 00:17:02,790 FOR OUR NEXT ARTIST. 484 00:17:02,790 --> 00:17:03,460 AT FIRST GLANCE HIS WORK MIGHT 485 00:17:03,460 --> 00:17:04,490 LEAVE YOU LONGING FOR CANDY 486 00:17:04,490 --> 00:17:06,490 NECKLACES OR A BAG OF SWEET 487 00:17:06,490 --> 00:17:07,960 TARTS. 488 00:17:07,960 --> 00:17:09,460 BUT A CLOSER LOOK WILL REVEAL A 489 00:17:09,460 --> 00:17:10,830 SLIGHTLY DARKER SIDE TO HIS 490 00:17:10,830 --> 00:17:16,330 COLORFUL ILLUSTRATIONS. 491 00:17:16,330 --> 00:17:17,000 >> WHEN I SIT DOWN AT A BLANK 492 00:17:17,000 --> 00:17:18,890 CANVAS OR A BLANK PIECE OF PAPER 493 00:17:18,890 --> 00:17:20,070 AND THE PROCESS THAT GOES 494 00:17:20,070 --> 00:17:22,630 THROUGH MY HEAD IS, I WANT TO 495 00:17:22,630 --> 00:17:23,400 TAKE WHATEVER HAPPENED IN THE 496 00:17:23,400 --> 00:17:24,560 DAY, GOOD OR BAD, AND TRANSLATE 497 00:17:24,560 --> 00:17:29,360 IT INTO MY WORLD. 498 00:17:29,360 --> 00:17:30,360 AND THEREFORE I FEEL LIKE I HAVE 499 00:17:30,360 --> 00:17:31,890 CONTROL IN SUCH A CHAOTIC WORLD. 500 00:17:31,890 --> 00:17:32,630 SOMEONE DESCRIBED IT AND I LOVE 501 00:17:32,630 --> 00:17:33,530 THE TERM. 502 00:17:33,530 --> 00:17:34,230 THEY SAID, HE CREATES SUGAR RUSH 503 00:17:34,230 --> 00:17:36,130 ART. 504 00:17:36,130 --> 00:17:37,070 I'M INSPIRED BY CARTOONS AND 505 00:17:37,070 --> 00:17:39,630 ACTUAL CANDY, THE COLORS IN 506 00:17:39,630 --> 00:17:40,890 CANDY. 507 00:17:40,890 --> 00:17:42,070 AND THE WHIMSY AND KIND OF 508 00:17:42,070 --> 00:17:43,360 CHILDLIKE FEEL THAT GOES ALONG 509 00:17:43,360 --> 00:17:45,690 WITH ALL THAT. 510 00:17:45,690 --> 00:17:46,400 BUT THERE'S ALSO A SLIGHT 511 00:17:46,400 --> 00:17:47,560 DARKNESS TO IT WITHIN THE 512 00:17:47,560 --> 00:17:51,860 COLORS, THE BRIGHT COLORS. 513 00:17:51,860 --> 00:17:56,200 LIKE, CANDY IS DELICIOUS AND 514 00:17:56,200 --> 00:17:57,590 GOOD, IT'S NOT REALLY GOOD FOR 515 00:17:57,590 --> 00:18:01,830 YOU TECHNICALLY. 516 00:18:01,830 --> 00:18:02,170 I GET A LOT OF MIXED REACTIONS 517 00:18:02,170 --> 00:18:02,630 WITH MY WORK. 518 00:18:02,630 --> 00:18:03,130 I'LL HAVE KIDS THAT JUST TOTALLY 519 00:18:03,130 --> 00:18:03,690 GET IT AND THEY'LL COME UP AND 520 00:18:03,690 --> 00:18:04,400 I'M THINKING THEY'RE JUST 521 00:18:04,400 --> 00:18:05,100 ATTRACTED TO THE COLORS WHICH 522 00:18:05,100 --> 00:18:05,590 MAY HAVE BROUGHT THEM TO IT AT 523 00:18:05,590 --> 00:18:06,260 FIRST. 524 00:18:06,260 --> 00:18:06,890 BUT THEY GET THE MONSTERS, THEY 525 00:18:06,890 --> 00:18:07,690 LOVE THE MONSTERS. 526 00:18:07,690 --> 00:18:09,170 IT'S FUNNY WITH ADULTS, SOME 527 00:18:09,170 --> 00:18:09,790 ADULTS DO GET IT, BUT THERE ARE 528 00:18:09,790 --> 00:18:10,400 SOME ADULTS WHO REFUSE TO SEE 529 00:18:10,400 --> 00:18:12,490 THE DARKNESS. 530 00:18:12,490 --> 00:18:13,260 THEY'LL SEE THE LIGHT COLORS AND 531 00:18:13,260 --> 00:18:14,200 THEY'LL SEE IT'S ADORABLE AND I 532 00:18:14,200 --> 00:18:16,100 ALMOST HAVE TO POINT OUT, "LOOK, 533 00:18:16,100 --> 00:18:19,200 IT'S NOT ALL SWEET." 534 00:18:19,200 --> 00:18:20,430 THAT CONFUSES THEM AT FIRST. 535 00:18:20,430 --> 00:18:21,460 THEY'LL BUY A PIECE AND 536 00:18:21,460 --> 00:18:22,200 SOMETIMES THEY'LL MESSAGE ME 537 00:18:22,200 --> 00:18:23,070 LATER AND SAY, "I DID NOT SEE 538 00:18:23,070 --> 00:18:24,530 THAT THERE WAS THIS DARKNESS 539 00:18:24,530 --> 00:18:26,360 HAPPENING OR THIS MONSTER THAT'S 540 00:18:26,360 --> 00:18:27,630 RIGHT IN THAT BACKGROUND." 541 00:18:27,630 --> 00:18:29,070 IT'S JUST A MATTER OF WHAT THEY 542 00:18:29,070 --> 00:18:30,630 EXPERIENCE FIRST. 543 00:18:30,630 --> 00:18:31,730 YOU HAVE THESE TALENTS, WHY NOT 544 00:18:31,730 --> 00:18:32,560 DRAW WHATEVER YOU WANT TO? 545 00:18:32,560 --> 00:18:33,330 I'M NOT REALLY WORRIED ABOUT 546 00:18:33,330 --> 00:18:33,920 WHAT PEOPLE ARE GOING TO THINK 547 00:18:33,920 --> 00:18:35,330 ABOUT IT. 548 00:18:35,330 --> 00:18:37,960 THERE'S ALWAYS JUST THE PERSONAL 549 00:18:37,960 --> 00:18:40,170 THING THAT'S GOING ON WITH ME 550 00:18:40,170 --> 00:18:41,530 THAT I'M JUST GETTING IT OUT. 551 00:18:41,530 --> 00:18:46,130 ALMOST LIKE, IT'S ALMOST LIKE 552 00:18:46,130 --> 00:18:47,100 THERAPY SORT OF. 553 00:18:47,100 --> 00:18:47,730 HOWEVER, PEOPLE WILL SEE IT AND 554 00:18:47,730 --> 00:18:49,920 THEY WILL TRANSLATE MESSAGES TO 555 00:18:49,920 --> 00:18:54,490 IT AND HOW THEY APPLY IT TO 556 00:18:54,490 --> 00:18:59,490 THEIR LIVES AND WHAT THEY'RE 557 00:18:59,490 --> 00:19:01,260 GOING THROUGH. 558 00:19:01,260 --> 00:19:02,300 AND I DON'T THINK IT'S WRONG 559 00:19:02,300 --> 00:19:02,590 INTERPRETATIONS. 560 00:19:02,590 --> 00:19:03,000 I THINK ALL OF THOSE 561 00:19:03,000 --> 00:19:03,690 INTERPRETATIONS ARE RIGHT. 562 00:19:03,690 --> 00:19:04,000 THAT'S ALMOST WHERE THE ART 563 00:19:04,000 --> 00:19:04,490 BECOMES SOMETHING NEW TO ME. 564 00:19:04,490 --> 00:19:04,830 AS FAR AS MY INSPIRATION WITH 565 00:19:04,830 --> 00:19:05,200 THE DARK SIDE OF THINGS AND THE 566 00:19:05,200 --> 00:19:05,860 LIGHTER SIDE OF THINGS IS, I 567 00:19:05,860 --> 00:19:06,490 FEEL LIFE IS JUST FULL OF THAT. 568 00:19:06,490 --> 00:19:08,230 THERE'S SO MUCH BEAUTY AND UGLY 569 00:19:08,230 --> 00:19:09,070 HAPPENING AT THE SAME EXACT 570 00:19:09,070 --> 00:19:09,830 TIME. 571 00:19:09,830 --> 00:19:10,660 SO I PUT THAT IN MY WORK. 572 00:19:10,660 --> 00:19:12,260 WHEN I FIRST STARTED THIS WHOLE 573 00:19:12,260 --> 00:19:15,300 ART THING I NEVER THOUGHT IT CAN 574 00:19:15,300 --> 00:19:16,260 ACTUALLY GET TO WHERE I'M AT 575 00:19:16,260 --> 00:19:17,260 NOW. 576 00:19:17,260 --> 00:19:18,920 I'VE HAD OPPORTUNITIES I NEVER 577 00:19:18,920 --> 00:19:20,460 THOUGHT WOULD BE POSSIBLE. 578 00:19:20,460 --> 00:19:21,630 I'VE HAD IT IN MUSEUMS, I'VE 579 00:19:21,630 --> 00:19:22,890 BEEN PUBLISHED IN MAGAZINES LIKE 580 00:19:22,890 --> 00:19:24,030 "THE NEW YORKER" AND I DON'T 581 00:19:24,030 --> 00:19:25,530 HAVE A SPECIFIC GOAL. 582 00:19:25,530 --> 00:19:26,730 JUST SEE WHERE IT GOES, I KIND 583 00:19:26,730 --> 00:19:27,890 OF LIKE THE ORGANIC BRANCHING OF 584 00:19:27,890 --> 00:19:29,460 IT. 585 00:19:29,460 --> 00:19:30,830 I JUST KIND OF LIKE SEEING WHERE 586 00:19:30,830 --> 00:19:32,200 IT TAKES ME. 587 00:19:32,200 --> 00:19:36,000 SORT OF A DESTINY THING I GUESS. 588 00:19:36,000 --> 00:19:45,660 !!musiC@!!!musiC@! 589 00:19:45,660 --> 00:19:46,560 !!musiC@!!!musiC@! 590 00:19:46,560 --> 00:19:46,960 >> THE COUPLE IN OUR FINAL STORY 591 00:19:46,960 --> 00:19:47,560 TODAY ENJOYED A LIFETIME OF 592 00:19:47,560 --> 00:19:50,790 COLLECTING GLASS ART. 593 00:19:50,790 --> 00:19:51,860 THAT IS, UNTIL THEY RETIRED AND 594 00:19:51,860 --> 00:19:53,360 DECIDED THEY WANTED TO START 595 00:19:53,360 --> 00:19:55,960 MAKING IT. 596 00:19:55,960 --> 00:20:02,960 !!musiC@!!!musiC@! 597 00:20:02,960 --> 00:20:04,860 >> I WOULD HOPE THAT SOMEONE 598 00:20:04,860 --> 00:20:06,760 COMING INTO THE STUDIO FOR THE 599 00:20:06,760 --> 00:20:07,960 FIRST TIME TO LOOK AND CHOOSING 600 00:20:07,960 --> 00:20:08,660 TO TAKE SOMETHING HOME FOR THEIR 601 00:20:08,660 --> 00:20:09,760 OWN WOULD BE FINDING SOME OF THE 602 00:20:09,760 --> 00:20:11,560 JOY THAT WE FIND IN MAKING THE 603 00:20:11,560 --> 00:20:13,530 GLASS. 604 00:20:13,530 --> 00:20:19,590 !!musiC@!!!musiC@! 605 00:20:19,590 --> 00:20:21,400 >> NEITHER OF US HAVE HAD ANY 606 00:20:21,400 --> 00:20:22,460 ART BACKGROUND BEFORE WE GOT 607 00:20:22,460 --> 00:20:24,860 INVOLVED IN BUILDING THE GLASS 608 00:20:24,860 --> 00:20:26,490 BLOWING STUDIO. 609 00:20:26,490 --> 00:20:28,960 I'M DICK MOIEL. 610 00:20:28,960 --> 00:20:29,400 I WAS IN THE MEDICAL FIELD AS A 611 00:20:29,400 --> 00:20:30,100 NEUROSURGEON. 612 00:20:30,100 --> 00:20:31,170 >> AND I'M KATHY POEPPEL. 613 00:20:31,170 --> 00:20:32,260 FOR THE LAST 25 YEARS I'VE BEEN 614 00:20:32,260 --> 00:20:34,920 MARRIED TO DICK MOIEL AND FOR 615 00:20:34,920 --> 00:20:35,860 THE LAST 20 YEARS WE'VE HAD A 616 00:20:35,860 --> 00:20:38,860 GLASS BLOWING STUDIO TOGETHER. 617 00:20:38,860 --> 00:20:42,360 !!musiC@!!!musiC@! 618 00:20:42,360 --> 00:20:43,660 BEFORE WE TOOK ON THIS VENTURE I 619 00:20:43,660 --> 00:20:48,130 WAS A PHYSICIAN ASSISTANT, AND 620 00:20:48,130 --> 00:20:48,860 BEFORE THAT AN OPERATING ROOM 621 00:20:48,860 --> 00:20:49,530 NURSE. 622 00:20:49,530 --> 00:20:51,170 SO DICK AND I WERE ACCUSTOMED TO 623 00:20:51,170 --> 00:20:53,130 SPENDING A LOT OF TIME TOGETHER 624 00:20:53,130 --> 00:20:55,230 AND WORKING TOGETHER. 625 00:20:55,230 --> 00:20:56,030 THE ROLES MAY HAVE CHANGED A 626 00:20:56,030 --> 00:20:56,660 LITTLE BIT ONCE WE GOT INTO THE 627 00:20:56,660 --> 00:20:59,530 GLASS BLOWING STUDIO. 628 00:20:59,530 --> 00:21:01,000 BUT THERE WAS STILL A DYNAMIC 629 00:21:01,000 --> 00:21:01,760 THAT SEEMED TO TRANSFER PRETTY 630 00:21:01,760 --> 00:21:03,100 WELL TO THIS SETTING. 631 00:21:03,100 --> 00:21:03,960 COULD YOU GET THE DOOR FOR ME? 632 00:21:03,960 --> 00:21:07,460 AND THEN I'M GOING TO GO PAST 633 00:21:07,460 --> 00:21:09,330 YOU TO COOL THE PIPE BEFORE I GO 634 00:21:09,330 --> 00:21:09,730 TO THE BENCH. 635 00:21:09,730 --> 00:21:10,100 >> OKAY. 636 00:21:10,100 --> 00:21:10,830 >> THE PROCESS OF GLASS BLOWING 637 00:21:10,830 --> 00:21:11,890 IS REALLY SEDUCTIVE AND 638 00:21:11,890 --> 00:21:15,100 ADDICTIVE APPARENTLY. 639 00:21:15,100 --> 00:21:17,230 SO WE JUST WANTED TO TRY IT AND 640 00:21:17,230 --> 00:21:19,430 DIDN'T HAVE THE TIME TO DO THAT 641 00:21:19,430 --> 00:21:25,260 BEFORE RETIREMENT. 642 00:21:25,260 --> 00:21:26,170 SO AFTER RETIREMENT WE STARTED 643 00:21:26,170 --> 00:21:26,660 TAKING CLASSES. 644 00:21:26,660 --> 00:21:27,200 DON'T YOU THINK WE TENDED TO BE 645 00:21:27,200 --> 00:21:27,890 THE OLDEST STUDENTS IN THE 646 00:21:27,890 --> 00:21:29,760 CLASS? 647 00:21:29,760 --> 00:21:32,230 >> I THINK WE'RE THE OLDEST AS 648 00:21:32,230 --> 00:21:34,130 THEY REFER TO US AS MA'AM AND 649 00:21:34,130 --> 00:21:35,070 SIR. 650 00:21:35,070 --> 00:21:35,790 BUT WE'VE LEARNED A LOT. 651 00:21:35,790 --> 00:21:42,560 !!musiC@!!!musiC@! 652 00:21:42,560 --> 00:21:43,690 THERE WAS AN ART CLASS COMMUNITY 653 00:21:43,690 --> 00:21:46,860 IN HOUSTON. 654 00:21:46,860 --> 00:21:47,560 WE MADE ATTEMPTS TO CHECK THE 655 00:21:47,560 --> 00:21:48,530 VARIOUS COLLEGES AND 656 00:21:48,530 --> 00:21:51,860 UNIVERSITIES. 657 00:21:51,860 --> 00:21:53,230 AND THERE WASN'T A PROGRAM SO WE 658 00:21:53,230 --> 00:21:55,690 DECIDED TO BUILD OUR OWN STUDIO 659 00:21:55,690 --> 00:21:56,630 I THINK WE'RE THE OLDEST AS THEY 660 00:21:56,630 --> 00:22:02,300 REFER TO US AS MA'AM AND SIR. 661 00:22:02,300 --> 00:22:03,560 BUT WE'VE LEARNED A LOT. 662 00:22:03,560 --> 00:22:06,400 !!musiC@!!!musiC@! 663 00:22:06,400 --> 00:22:07,430 THERE WAS AN ART CLASS COMMUNITY 664 00:22:07,430 --> 00:22:10,790 IN HOUSTON. 665 00:22:10,790 --> 00:22:11,630 WE MADE ATTEMPTS TO CHECK THE 666 00:22:11,630 --> 00:22:11,920 VARIOUS COLLEGES AND 667 00:22:11,920 --> 00:22:12,460 UNIVERSITIES. 668 00:22:12,460 --> 00:22:12,790 AND THERE WASN'T A PROGRAM SO WE 669 00:22:12,790 --> 00:22:13,200 DECIDED TO BUILD OUR OWN STUDIO. 670 00:22:13,200 --> 00:22:13,330 !!musiC@!!!musiC@! 671 00:22:13,330 --> 00:22:13,690 >> BEGINNING GLASS BLOWERS ALL 672 00:22:13,690 --> 00:22:13,960 HAVE THE SAME STYLE. 673 00:22:13,960 --> 00:22:14,300 IT'S THE GLASS BEING ITSELF. 674 00:22:14,300 --> 00:22:14,690 OVER TIME, WITH AN UNDERSTANDING 675 00:22:14,690 --> 00:22:15,030 OF HOW THE MATERIAL WORKS AND 676 00:22:15,030 --> 00:22:15,630 HOW IT HANDLES, THEN YOU CAN 677 00:22:15,630 --> 00:22:15,920 START TO ASK IT TO DO SOME 678 00:22:15,920 --> 00:22:16,260 THINGS WE'RE INTERESTED IN 679 00:22:16,260 --> 00:22:16,530 HAVING IT DO. 680 00:22:16,530 --> 00:22:17,000 BUT IT'S REALLY A RELATIONSHIP 681 00:22:17,000 --> 00:22:17,360 THAT CONTINUES TO GO ON WITH THE 682 00:22:17,360 --> 00:22:20,460 MATERIAL. 683 00:22:20,460 --> 00:22:21,500 THERE'S SOME BASIC STEPS FOR ALL 684 00:22:21,500 --> 00:22:23,460 BLOWN OBJECTS. 685 00:22:23,460 --> 00:22:24,690 GETTING ENOUGH GLASS ON THE END 686 00:22:24,690 --> 00:22:25,730 OF THE BLOWPIPE TO ACCOMPLISH 687 00:22:25,730 --> 00:22:27,830 THE PIECE. 688 00:22:27,830 --> 00:22:29,000 USUALLY TAKES UP THE MOST AMOUNT 689 00:22:29,000 --> 00:22:30,330 OF TIME BECAUSE THAT'S WHERE THE 690 00:22:30,330 --> 00:22:30,890 COLORING AND THE PATTERNING 691 00:22:30,890 --> 00:22:33,460 OCCURS. 692 00:22:33,460 --> 00:22:34,530 WE START OUT WITH THE SHAPE IDEA 693 00:22:34,530 --> 00:22:35,400 BUT IF THE FEEDBACK WE'RE 694 00:22:35,400 --> 00:22:37,330 GETTING FROM THE PIECE RUNS 695 00:22:37,330 --> 00:22:38,330 COUNTER TO THAT THEN WE MAKE 696 00:22:38,330 --> 00:22:40,730 ADJUSTMENTS DURING THE PROCESS. 697 00:22:40,730 --> 00:22:42,860 SO ONCE ALL OF THE PATTERN AND 698 00:22:42,860 --> 00:22:44,230 THE GLASS IS ON THE END OF THE 699 00:22:44,230 --> 00:22:47,000 BLOWPIPE THE GLASS IS BLOWN OUT, 700 00:22:47,000 --> 00:22:48,560 THE WALLS ARE THINNED, THE SHAPE 701 00:22:48,560 --> 00:22:49,730 IS REFINED AND THEN THE GLASS IS 702 00:22:49,730 --> 00:22:51,070 TRANSFERRED FROM THE BLOWPIPE TO 703 00:22:51,070 --> 00:22:54,560 ANOTHER STEEL ROD SO THAT THE 704 00:22:54,560 --> 00:22:56,030 RAW END THAT'S BROKEN OFF THE 705 00:22:56,030 --> 00:22:58,000 BLOWPIPE CAN BE SHAPED AND 706 00:22:58,000 --> 00:23:01,230 FORMED. 707 00:23:01,230 --> 00:23:02,130 AND WHEN THAT'S DONE THE GLASS 708 00:23:02,130 --> 00:23:03,790 IS PUT INTO AN ANNEALING OVEN 709 00:23:03,790 --> 00:23:05,230 WHERE IT IS COOLED AT A VERY 710 00:23:05,230 --> 00:23:05,920 PRESCRIBED RATE DEPENDING ON THE 711 00:23:05,920 --> 00:23:07,830 THICKNESS OF THE GLASS. 712 00:23:07,830 --> 00:23:08,760 TO RELIEVE THE STRESS IN THE 713 00:23:08,760 --> 00:23:11,460 GLASS. 714 00:23:11,460 --> 00:23:12,100 TO BRING IT DOWN TO ROOM 715 00:23:12,100 --> 00:23:13,170 TEMPERATURE. 716 00:23:13,170 --> 00:23:14,860 >> THE CHALLENGE HAS BEEN TO 717 00:23:14,860 --> 00:23:16,360 KNOW WHAT OUR LIMITATIONS. 718 00:23:16,360 --> 00:23:19,560 WE HAVE SMALLER SIZED EQUIPMENT 719 00:23:19,560 --> 00:23:21,230 SO WE'RE NOT GOING TO BE ABLE TO 720 00:23:21,230 --> 00:23:23,660 DO GIGANTIC PIECES. 721 00:23:23,660 --> 00:23:25,590 >> HOW DOES IT FEEL? 722 00:23:25,590 --> 00:23:26,830 >> IT FEELS GOOD. 723 00:23:26,830 --> 00:23:28,070 I'LL GO RIGHT TO THE GLORY HOLE 724 00:23:28,070 --> 00:23:29,530 THEN AS SOON AS YOU BREAK IT 725 00:23:29,530 --> 00:23:30,460 OFF. 726 00:23:30,460 --> 00:23:31,070 >> I THINK THE BIGGEST 727 00:23:31,070 --> 00:23:33,070 DIFFERENCE IS THAT THERE'S ROOM 728 00:23:33,070 --> 00:23:34,500 FOR PLAY AND EXPERIMENTATION 729 00:23:34,500 --> 00:23:35,690 HERE WHEREAS IN THE OPERATING 730 00:23:35,690 --> 00:23:36,400 ROOM THERE WAS NONE OF THAT AND 731 00:23:36,400 --> 00:23:40,230 THERE WAS A STRESS THAT'S HARD 732 00:23:40,230 --> 00:23:40,760 TO KIND OF DEFINE. 733 00:23:40,760 --> 00:23:41,560 BUT THAT'S SOMETHING THAT WE 734 00:23:41,560 --> 00:23:46,300 DON'T FEEL AT ALL HERE. 735 00:23:46,300 --> 00:23:53,300 BLOW AGAIN. 736 00:23:53,300 --> 00:23:58,260 >> WHEN WE'RE IN THE OPERATING 737 00:23:58,260 --> 00:23:58,830 ROOM, THE PATIENT'S ASLEEP. 738 00:23:58,830 --> 00:23:59,100 >> STOP. 739 00:23:59,100 --> 00:24:00,130 >> STOP. 740 00:24:00,130 --> 00:24:00,400 >> NICE. 741 00:24:00,400 --> 00:24:00,890 >> AND EVERYTHING THAT'S 742 00:24:00,890 --> 00:24:01,300 MOVEMENT IS MOVEMENT WITH THE 743 00:24:01,300 --> 00:24:02,260 HANDS. 744 00:24:02,260 --> 00:24:03,230 BUT HERE THE GLASS IS MOVING AND 745 00:24:03,230 --> 00:24:04,590 WE'RE GETTING UP AND REHEATING 746 00:24:04,590 --> 00:24:06,860 AND COOLING. 747 00:24:06,860 --> 00:24:08,560 SO IT'S THAT ASPECT. 748 00:24:08,560 --> 00:24:09,630 WE'RE NOT STABLE IN ONE POSITION 749 00:24:09,630 --> 00:24:11,130 FOR HOURS. 750 00:24:11,130 --> 00:24:14,860 >> GLASS BLOWING IS A TEAM 751 00:24:14,860 --> 00:24:20,660 EFFORT. 752 00:24:20,660 --> 00:24:21,000 [ GASP ] 753 00:24:21,000 --> 00:24:21,560 >> GOT IT. 754 00:24:21,560 --> 00:24:22,730 TORCH. 755 00:24:22,730 --> 00:24:23,460 >> BECAUSE IT'S SAFER TO DO WITH 756 00:24:23,460 --> 00:24:27,130 SOMEONE HELPING. 757 00:24:27,130 --> 00:24:28,530 BUT IT'S ALSO A COMMUNITY 758 00:24:28,530 --> 00:24:30,100 PROJECT AND PROCESS. 759 00:24:30,100 --> 00:24:33,170 AND THAT'S PART OF THE JOY OF 760 00:24:33,170 --> 00:24:33,730 WORKING WITH GLASS AND BLOWING 761 00:24:33,730 --> 00:24:35,170 GLASS. 762 00:24:35,170 --> 00:24:37,260 AND TO BE ABLE TO PARTNER WITH 763 00:24:37,260 --> 00:24:39,360 MY PARTNER IS REALLY SOMETHING 764 00:24:39,360 --> 00:24:41,200 THAT'S PRETTY SPECIAL. 765 00:24:41,200 --> 00:24:43,070 WE WOULDN'T GIVE THAT UP FOR 766 00:24:43,070 --> 00:24:44,430 ANYTHING. 767 00:24:44,430 --> 00:24:45,860 [ LAUGHTER ] 768 00:24:45,860 --> 00:24:50,760 TEAMWORK! 769 00:24:50,760 --> 00:24:51,360 >> THAT'S OUR SHOW. 770 00:24:51,360 --> 00:24:52,100 YOU CAN SEE ALL OF TODAY'S 771 00:24:52,100 --> 00:24:55,130 STORIES AT WOSU.ORG. 772 00:24:55,130 --> 00:24:55,960 AND OF COURSE BE SURE TO CHECK 773 00:24:55,960 --> 00:24:57,300 US OUT ON FACEBOOK, TWITTER AND 774 00:24:57,300 --> 00:24:59,200 INSTAGRAM. 775 00:24:59,200 --> 00:24:59,560 WE'RE CLOSING THE SHOW WITH A 776 00:24:59,560 --> 00:25:01,130 BALLAD BY LOCAL POP BAND 777 00:25:01,130 --> 00:25:02,860 TRUSLOW. 778 00:25:02,860 --> 00:25:04,130 THE TRACK IS CALLED "LOVER" AND 779 00:25:04,130 --> 00:25:04,790 IT CAN BE FOUND ON THEIR 780 00:25:04,790 --> 00:25:06,960 2014 ALBUM "HURRICANE." 781 00:25:06,960 --> 00:25:07,830 THANKS FOR WATCHING, WE'LL CATCH 782 00:25:07,830 --> 00:25:09,530 YOU BACK HERE NEXT WEEK ON BROAD 783 00:25:09,530 --> 00:25:12,460 AND HIGH. 784 00:25:12,460 --> 00:25:14,400 !!musiC@! YOU, YOU AND I 785 00:25:14,400 --> 00:25:18,070 IN THE SPELL OF THE NIGHT !!musiC@! 786 00:25:18,070 --> 00:25:19,660 !!musiC@! THE BUTTERFLIES 787 00:25:19,660 --> 00:25:21,530 THEY DREAM !!musiC@! 788 00:25:21,530 --> 00:25:22,860 !!musiC@! JUST TO FEEL 789 00:25:22,860 --> 00:25:24,960 WHAT WE'VE SEEN !!musiC@! 790 00:25:24,960 --> 00:25:28,690 !!musiC@! TO BE LOST IN THE BEAUTY OF 791 00:25:28,690 --> 00:25:33,590 LOVE !!musiC@! 792 00:25:33,590 --> 00:25:37,830 !!musiC@!!!musiC@! 793 00:25:37,830 --> 00:25:38,590 >> CARLA RISCH CHAFFIN. 794 00:25:38,590 --> 00:25:41,500 SCENIC DESIGN ARTIST. 795 00:25:41,500 --> 00:25:42,500 I LOVE MAKING A WHOLE NEW PLACE 796 00:25:42,500 --> 00:25:44,560 OUT OF BLANK CANVAS. 797 00:25:44,560 --> 00:25:45,560 I COLLABORATE WITH THE DIRECTOR 798 00:25:45,560 --> 00:25:47,330 AND THE DESIGNERS OF LIGHT, 799 00:25:47,330 --> 00:25:49,000 SOUND AND COSTUMES. 800 00:25:49,000 --> 00:25:50,500 RESEARCH AND CLEAR COMMUNICATION 801 00:25:50,500 --> 00:25:52,200 ARE MY BEST TOOLS. 802 00:25:52,200 --> 00:25:52,590 IT TAKES ME DAYS TO PAINT A 803 00:25:52,590 --> 00:25:56,330 BACKDROP. 804 00:25:56,330 --> 00:25:57,070 IT'S HARD AND JOYFUL WORK. 805 00:25:57,070 --> 00:25:57,920 I'VE TRAINED HORSES, I'VE DRAWN 806 00:25:57,920 --> 00:25:58,760 FLOWERS IN CHURCH. 807 00:25:58,760 --> 00:25:59,760 I'VE BEEN IN AN ALTERNATIVE ROCK 808 00:25:59,760 --> 00:26:01,200 BAND. 809 00:26:01,200 --> 00:26:02,200 THE PATH OF AN ARTIST IS NOT 810 00:26:02,200 --> 00:26:03,130 LINEAR AND COLUMBUS UNDERSTANDS 811 00:26:03,130 --> 00:26:05,230 THAT. 812 00:26:05,230 --> 00:26:06,100 I CAN EARN A LIVING HERE AND I 813 00:26:06,100 --> 00:26:07,890 GET TO EXPLORE IN A PLACE WHERE 814 00:26:07,890 --> 00:26:09,130 THE WORKS OF OTHER ARTISTS 815 00:26:09,130 --> 00:26:11,330 INSPIRE ME TOO. 816 00:26:11,330 --> 00:26:12,960 I AM CARLA RISCH CHAFFIN. 817 00:26:12,960 --> 00:26:14,300 SCENIC DESIGN IS MY ART. 818 00:26:14,300 --> 00:26:15,170 AND THERE'S NO PLACE I'D RATHER 819 00:26:15,170 --> 00:26:22,500 MAKE IT. 820 00:26:22,500 --> 00:26:31,830 !!musiC@!!!musiC@! 821 00:26:31,830 --> 00:26:32,890 >> Announcer: PRODUCTION OF 822 00:26:32,890 --> 00:26:33,960 "BROAD & HIGH" IS FUNDED IN PART 823 00:26:33,960 --> 00:26:34,560 BY THE GREATER COLUMBUS ARTS 824 00:26:34,560 --> 00:26:35,890 COUNCIL. 825 00:26:35,890 --> 00:26:37,130 SUPPORTING ARTS, ADVANCING AND 826 00:26:37,130 --> 00:26:39,560 CONNECTING THE COMMUNITY TO 827 00:26:39,560 --> 00:26:41,400 ARTISTS, EVENTS AND CLASSES AT 828 00:26:41,400 --> 00:26:46,400 COLUMBUSMAKESART.COM.