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♪♪

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>> PRODUCTION OF "BROAD & HIGH"

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IS FUNDED IN PART BY THE GREATER

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COLUMBUS ARTS COUNCIL.

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SUPPORTING ARTS, ADVANCING

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CULTURE AND CONNECTING THE

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COMMUNITY TO ARTISTS, EVENTS AND

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CLASSES AT COLUMBUSMAKESART.COM.

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>> FROM THESE CONTRIBUTING

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SPONSORS -- AND VIEWERS LIKE

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YOU.

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THANK YOU.

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>>> THIS TIME ON BROAD AND HIGH.

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EXPLORING THE PROMINENT ROLE

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WOMEN PLAYED IN THE HISTORY OF

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THE COLUMBUS SYMPHONY ORCHESTRA.

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LOCAL AUTHOR AND EDUCATOR

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CARLOTTA PENN HOPES YOUNG

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CHILDREN OF COLOR CAN SEE AND

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CELEBRATE THEMSELVES IN HER

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PICTURE BOOKS.

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AN ARTIST GET PHYSICAL, WITH HER

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ABSTRACT CANVASES.

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AND BEAUTIFUL HARMONIES FROM A

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PAIR OF BROTHERS WHO CALL

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THEMSELVES INGRAM STREET.

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THIS AND MORE RIGHT NOW ON

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“BROAD & HIGH.”

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♪♪

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♪♪

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>>> HI, I'M DAVID HOLM YOUR HOST

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FOR THIS EPISODE OF “BROAD &

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HIGH.”

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COLUMBUS WOMEN PLAYED A BIG ROLE

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IN THE COLUMBUS LITTLE

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ORCHESTRA, THAT WAS THE

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PREDECESSOR TO TODAY'S COLUMBUS

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SYMPHONY ORCHESTRA.

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HISTORIAN DOREEN UHAS SAUER

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SHOWS US HOW WOMEN ANSWERED THE

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CALL AND HELPED SAVE COLUMBUS'S

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SYMPHONY.

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♪♪

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♪♪

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>> I AM SO PRIVILEGED TO BE ABLE

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TO INTERVIEW THE TWO OF YOU

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BECAUSE, TODAY WE'RE TALKING

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ABOUT AN ORGANIZATION THAT SAVED

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AN ORGANIZATION.

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AND I'M WONDERING IF I COULD

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START WITH YOU SANDY, JUST TALK

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ABOUT WHAT THE ORGANIZATION IS

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WERE TALKING ABOUT --

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>> WELL WERE TALKING ABOUT THE

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WOMEN WHO WERE INVOLVED IN

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CREATING AND HAVE BEEN

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SUPPORTING THE COLUMBUS

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SYMPHONY.

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IT'S CURRENT NAME, FOR --

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SEVENTY YEARS.

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WHICH IS AN AMAZING THOUGHT,

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THAT HERE WE ARE AND WE'RE

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SITTING IN AN ARCHIVE THAT HAS

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REALLY DOCUMENTED WHAT HAPPENED

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FROM THE BEGINNING AND HOW IT

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HAS GROWN AND HOW MUCH ITS MEANT

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TO PEOPLE.

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>> THERESA, COULD YOU GIVE A

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LITTLE MORE DETAIL ABOUT THE

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BEGINNING AND THE IMPORTANCE OF

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IT.

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>> IT WAS FOUNDED PRETTY MUCH

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STANDARDLY BY CITY FATHERS

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AROUND 1941.

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AND IT WAS MORE OR LESS BIRTHED

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FULL GROWN.

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THEY STARTED IN AN ORCHESTRA

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WITH PROFESSIONAL MUSICIANS AND

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THEY HIRED A FIRST CLASS

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CONDUCTOR, IZLER SOLOMON.

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AND THEN IT GARNERED THE SUPPORT

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OF THE WOMEN'S ASSOCIATION OF

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THE PHILHARMONIC, THEY WERE

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KNOWN THEN.

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WHO WOULD TRY TO RAISE MONEY

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THROUGH VARIOUS MEANS AND

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SUPPORT THEM.

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>> I GUESS IN LOOKING THROUGH

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THE MANY SCRAPBOOKS THAT HAVE

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BEEN OUT, AND THIS IS JUST A

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FRACTION OF THEM.

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IT'S VERY EASY TO SEE THAT THERE

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ARE LUNCHEONS AND THERE ARE

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LOT'S OF PEOPLE WITH HATS AND

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GLOVES ON, THE REQUIRED FASHION

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MODE OF THE DAY.

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AND -- THAT SORT OF LED PERHAPS

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TO WHAT, SANDY, IT'S KIND OF IN

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FRONT OF YOU AND IT'S ABOUT

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USING HISTORIC THEMES AND

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FASHION SHOW.

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>> SO CLEARLY THERE HAVE BEEN A

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LOT OF FASHION SHOWS THAT WERE

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USED TO UNITE DIFFERENT SYMPHONY

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UNITS AND HAVE A PROGRAM THAT

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THEY ALL COULD ENJOY TOGETHER.

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AND CERTAINLY MUSIC WAS A PART

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OF THEM WITHOUT ANY QUESTION,

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AND IN FACT IN OUR PARTICULAR

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UNIT WE WOULD SPONSOR AN ANNUAL

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LUNCHEON.

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WHERE WE WOULD HAVE -- SOME OF

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THE SYMPHONY MEMBERS AND THEIR

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STUDENTS PLAY FOR US, BUT THEN

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THERE WOULD BE A FASHION SHOW.

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AND WE ALSO WOULD HAVE A SILENT

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AUCTION SO THAT WE COULD BE

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RAISING MONEY THAT WE COULD GIVE

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TO THE SYMPHONY.

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SO IT WAS ALWAYS SORT OF A

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COMBINATION, BUT THERE'VE BEEN

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SO MANY OTHER FUNDRAISING EVENTS

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THAT DIDN'T INVOLVE THE HATS AND

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GLOVES.

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♪♪

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♪♪

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THE LECTURES OF NOTE WERE

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SPONSORED BY THE WOMEN'S

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ASSOCIATION OF THE COLUMBUS

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SYMPHONY, AND WAS HELD IN THE

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OHIO THEATRE.

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AND THERE WAS A SERIES AND YOU

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COULD BUY A SEASON SUBSCRIPTION

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TO THEM. AND THEY WOULD BRING IN

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CELEBRITIES AND HAVE THEM TALK

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ABOUT ALL KINDS OF THINGS.

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I MEAN -- FOR EXAMPLE HERE IS

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RAY BOLGER TALKED ABOUT HIS

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WORLD.

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CELESTE HOLM, JUST ASK ME.

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BUT THEN ALSO HERE'S

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THOMAS HOVING, TALKING ABOUT THE

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TOMB OF TUTANKHAMUN, SO IT WAS A

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REAL VARIETY.

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>> A SMORGASBORD?

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>> YES, AND THEY WERE SELLOUTS.

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AND WE HAD LOTS OF OTHER WAYS

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THAT WOMEN COULD BE INVOLVED,

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BUT COULD INVOLVE THE REST OF

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THE COMMUNITY AS WELL.

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>> AND WE ALSO HAVE LIKE THIS

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LITTLE BOOKLET HERE.

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WHICH IS ABOUT THE CANTERBURY

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UNIT, WHAT CAN YOU TELL US ABOUT

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THE UNITS, AND THEIR

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ORGANIZATION.

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AND WHAT WOULD'VE BEEN THEIR

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RULE IN A SEASON OF THE

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ORCHESTRA, OR PRECEDING IT?

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>> WELL, I THINK THE UNITS WERE

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REALLY A WONDERFUL WAY FOR A

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VERY EXTENSIVE ORGANIZATION TO

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HAVE SOME SMALLER GROUPS THAT

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PLAYED A ROLE IN CARRYING OUT

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THE MISSION, OF THE WOMEN'S

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ASSOCIATION.

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>> AND I THINK THAT IN THAT

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SMALLER GROUP PEOPLE COULD COME

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UP WITH IDEAS, BUT THEY ALL THEN

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COULD JOIN THEIR IDEAS AND WORK

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TOGETHER ON ALL KINDS OF

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PROJECTS.

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FOR FUNDRAISING AND THE

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VOLUNTEERISM HAS BEEN EXTENSIVE

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THROUGH THE YEARS.

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>> THEY WERE SO ACTIVE THAT WHEN

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THE PHILHARMONIC DISBANDED THEY

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INSISTED ON STAYING TOGETHER.

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♪♪

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IN 1949, THEY WERE RUNNING A

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DEFICIT.

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THEY HAD NOT BEEN ABLE TO MAKE

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ENDS MEET -- SO AT THAT POINT

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THE CITY FATHERS GOT TOGETHER,

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THE BOARD MEMBERS AND SAID “WERE

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NOT GOING TO BE THROWING ANY

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MORE MONEY AT THIS, BUT WE WILL

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PAY YOUR DEBTS. AND YOU'LL HAVE

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TO DISBAND” THE WOMEN'S

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ASSOCIATION OF THE PHILHARMONICS

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SAID “OH NO, WE WON'T GO” AND SO

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THEY STAYED.

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AND FOR THE YEARS OF FORTY-NINE,

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FIFTY, AND EARLY FIFTY-ONE THEY

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WERE CONTINUING TO HAVE CARD

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PARTIES, FASHION SHOWS, ALL THE

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WAYS THAT THEY RAISED MONEY BUT

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THEY WERE DONATING IT TOWARDS

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SCHOLARSHIPS -- FOR MUSIC

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STUDENTS.

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THEN GEORGE HARDESTY AND THE

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GROUP OF THE ADMINISTRATION

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DECIDED THEY COULD SWING A SMALL

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ORCHESTRA.

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IT WASN'T GOING TO BE THE

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PHILHARMONIC.

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IT WASN'T GOING TO BE A

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PROFESSIONAL ORCHESTRA BUT IT

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WAS GOING TO BE A PROFESSIONAL

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ORCHESTRA --SO MUCH AS THEY

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WOULD BE UNION RATE MUSICIANS

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BUT THEY WOULDN'T BE -- HAVE

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FULL TIME SALARIES.

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SO THAT WAS HOW THE COLUMBUS

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LITTLE SYMPHONY WAS FORMED.

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AND THEN THERE HAD BEEN A GRANT

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FROM THE TELL, THAT WAS A LARGE

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SUM OF MONEY AROUND 1978, I

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THINK, AND THAT MADE THEM DECIDE

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TO BE ABLE TO HAVE MORE FULL

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TIMERS.

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FROM THAT POINT ON WE WERE A

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PROFESSIONAL ORCHESTRA AGAIN,

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AFTER A LAPSE OF MAYBE FORTY,

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FIFTY YEARS BUT BY THE TIME WE

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HAD REACHED THE YEAR

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2000 GRADUALLY AND INCREMENTALLY

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THE ORCHESTRA THAT HAD BEEN, HAD

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BEEN RECREATED AS THE FULL TIME

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PROFESSIONAL ORCHESTRA.

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>> ONE OF THE THINGS I NOTICED

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IN GOING THROUGH SCRAPBOOKS, AND

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I THINK I WAS ONLY FOUR PAGES

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INTO LOOKING WERE THE NUMBER OF

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WOMAN WHO WERE SO WELL KNOWN AND

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THEY ARE STILL WELL KNOWN.

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AND I'M THINKING YOU KNOW THERE

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WAS ELEANOR GELPY.

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THERE WAS MARY BISHOP, WHO LATER

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ACTUALLY SAVES THE OHIO THEATRE

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TO A GREAT EXTENT.

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NOT JUST SAVING THE ORCHESTRA

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NOW NOW, WE'RE TALKING ABOUT

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SAVING THE HOME.

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>> THE PHYSICAL THEATER.

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>> FOR AN ORCHESTRA >> YES.

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>> WHEN IT BECAME APPARENT THAT

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THE COLUMBUS SYMPHONY AT

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VETERANS MEMORIAL WASN'T GOING

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TO CONTINUE, BUT AT THE SAME

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TIME THE OHIO THEATRE WAS IN

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DANGER OF BEING RAISED.

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IT TOOK A LOT OF EFFORT, BUT IT

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TURNED OUT WITH A WONDERFUL

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OUTCOME THAT THE WOMEN AND MEN

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CAME TOGETHER AND REALLY WORKED

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HARD TO SAVE THE OHIO THEATRE.

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THERE WAS A BIG PUSH FROM THE

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WOMEN TO MAKE SURE THAT

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HAPPENED.

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>> AND LOOKING BACK AT ALL OF

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THIS.

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WHAT DO YOU THINK ARE THE

264
00:08:34,670 --> 00:08:37,300
LEGACIES OF ALL OF THIS HISTORY,

265
00:08:37,300 --> 00:08:39,330
AND THE IMPORTANCE OF THIS GROUP

266
00:08:39,330 --> 00:08:40,500
TO WHERE WE ARE TODAY, AND

267
00:08:40,500 --> 00:08:42,200
WHERE -- THE SYMPHONY HOPES TO

268
00:08:42,200 --> 00:08:45,330
BE IN THE FUTURE?

269
00:08:45,330 --> 00:08:47,100
>> I DO THINK THAT -- IN MANY

270
00:08:47,100 --> 00:08:49,070
WAYS THE COLUMBUS SYMPHONY MAY

271
00:08:49,070 --> 00:08:50,770
HAVE A UNIQUE ORIGIN STORY

272
00:08:50,770 --> 00:08:52,700
BECAUSE GENERALLY MOST OF THESE

273
00:08:52,700 --> 00:08:55,100
ORCHESTRAS WERE BEGUN BY CIVIC

274
00:08:55,100 --> 00:08:56,900
MINDED CITY LEADERS WHO WANTED

275
00:08:56,900 --> 00:08:59,930
TO HAVE THIS CULTURAL THING FOR

276
00:08:59,930 --> 00:09:01,630
THEIR COMMUNITY AND -- OFTEN IN

277
00:09:01,630 --> 00:09:06,900
THE WAY OF STATUS AND THIS

278
00:09:06,900 --> 00:09:09,030
ORCHESTRA WAS BEGUN BECAUSE

279
00:09:09,030 --> 00:09:10,570
WOMEN DUG THEIR HEELS IN.

280
00:09:10,570 --> 00:09:11,300
♪♪

281
00:09:11,300 --> 00:09:12,230
♪♪

282
00:09:12,230 --> 00:09:13,670
AND DECIDED NO.

283
00:09:13,670 --> 00:09:14,700
THE MEN HAVE FAILED, WE ARE

284
00:09:14,700 --> 00:09:16,170
GOING TO PICK IT UP.

285
00:09:16,170 --> 00:09:17,470
WE'RE GOING TO START SMALL, AND

286
00:09:17,470 --> 00:09:18,800
WE'RE GOING TO BUILD IT.

287
00:09:18,800 --> 00:09:20,100
THERE'S SOMETHING ABOUT WOMEN IN

288
00:09:20,100 --> 00:09:21,870
THAT DAY AND THERE'S A

289
00:09:21,870 --> 00:09:23,100
PERSISTENCE.

290
00:09:23,100 --> 00:09:24,930
>> TENACIOUS.

291
00:09:24,930 --> 00:09:26,430
>> YES, A TENACIOUS QUALITY OF,

292
00:09:26,430 --> 00:09:29,500
WE WANT THIS, NOT FOR THE

293
00:09:29,500 --> 00:09:30,430
ACCOLADES AND NOT FOR THE GLORY

294
00:09:30,430 --> 00:09:31,800
BUT FOR OUR CHILDREN.

295
00:09:31,800 --> 00:09:34,370
WE WANT THIS FOR A LEGACY.

296
00:09:34,370 --> 00:09:35,170
FOR OUR CITY.

297
00:09:35,170 --> 00:09:36,470
>> VERY WELL PUT.

298
00:09:36,470 --> 00:09:37,730
>> THE LEGACY REALLY IS EMBODIED

299
00:09:37,730 --> 00:09:40,730
IN ALL OF THIS.

300
00:09:40,730 --> 00:09:42,800
YOU KNOW MUSIC IS THE HEART OF

301
00:09:42,800 --> 00:09:46,330
SO MANY OF PEOPLE'S LIVES, AND

302
00:09:46,330 --> 00:09:50,470
NOW ITS REALLY COME TO MEAN SO

303
00:09:50,470 --> 00:09:52,070
MUCH FOR THE WHOLE COMMUNITY TO

304
00:09:52,070 --> 00:09:54,530
HAVE THE KIND OF VARIETY WE

305
00:09:54,530 --> 00:09:55,600
HAVE.

306
00:09:55,600 --> 00:09:58,530
WE HAVE YOUNG PEOPLES CONCERTS,

307
00:09:58,530 --> 00:10:01,300
WE HAVE CLASSICAL MUSIC SERIES,

308
00:10:01,300 --> 00:10:03,900
WE HAVE PICNIC AT THE POPS.

309
00:10:03,900 --> 00:10:06,670
AND IT'S A REAL COMMUNITY GEM.

310
00:10:06,670 --> 00:10:08,400
A COMMUNITY ASSET, AND WE ALL

311
00:10:08,400 --> 00:10:13,130
ARE THE BENEFICIARIES OF THE

312
00:10:13,130 --> 00:10:14,570
HISTORY THAT THESE WOMEN REALLY

313
00:10:14,570 --> 00:10:16,000
PROMOTED FROM THE BEGINNING.

314
00:10:16,000 --> 00:10:19,170
♪♪

315
00:10:19,170 --> 00:10:24,670
♪♪

316
00:10:24,670 --> 00:10:25,430
♪♪

317
00:10:25,430 --> 00:10:38,730
♪♪

318
00:10:38,730 --> 00:10:39,970
>>> COLUMBUS AUTHOR AND EDUCATOR

319
00:10:39,970 --> 00:10:41,970
CARLOTTA PENN WAS FRUSTRATED BY

320
00:10:41,970 --> 00:10:43,700
THE LACK OF DIVERSITY IN

321
00:10:43,700 --> 00:10:45,130
CHILDREN'S LITERATURE.

322
00:10:45,130 --> 00:10:46,570
SO, SHE DID SOMETHING ABOUT IT

323
00:10:46,570 --> 00:10:47,500
AND WROTE NOT ONE, BUT TWO BOOKS

324
00:10:47,500 --> 00:10:50,670
FOR KIDS.

325
00:10:50,670 --> 00:10:51,530
THE LATEST IS CALLED “THE TURTLE

326
00:10:51,530 --> 00:10:52,530
WITH AN AFRO.”

327
00:10:52,530 --> 00:10:53,530
AND IT ENCOURAGES YOUNG BLACK

328
00:10:53,530 --> 00:10:54,600
GIRLS TO LOVE AND EMBRACE THE

329
00:10:54,600 --> 00:10:56,570
VERSATILITY OF THEIR HAIR.

330
00:10:56,570 --> 00:11:00,870
HERE'S HERE STORY.

331
00:11:00,870 --> 00:11:05,300
♪♪

332
00:11:05,300 --> 00:11:07,900
>>> TURTLE WAS FRUSTRATED.

333
00:11:07,900 --> 00:11:09,330
IT WAS A BAD HAIR DAY.

334
00:11:09,330 --> 00:11:11,530
HER SPRINGY, SPRIGHTLY CURLS

335
00:11:11,530 --> 00:11:15,530
ABSOLUTLEY, POSITIVELY WOULD NOT

336
00:11:15,530 --> 00:11:17,700
STAY IN PLACE.

337
00:11:17,700 --> 00:11:19,200
I THINK IT'S VERY INTERESTING

338
00:11:19,200 --> 00:11:20,930
AND VERY TELLING WHEN I THINK

339
00:11:20,930 --> 00:11:22,300
ABOUT CULTURE AND BLACK CULTURE

340
00:11:22,300 --> 00:11:23,430
AND AFRICAN-AMERICAN CULTURE,

341
00:11:23,430 --> 00:11:24,200
AND THEN AFRICAN-AMERICAN

342
00:11:24,200 --> 00:11:26,300
WOMEN'S CULTURE.

343
00:11:26,300 --> 00:11:27,900
EVEN THOUGH AFRICAN-AMERICAN AND

344
00:11:27,900 --> 00:11:29,570
AFRICAN-AMERICAN WOMEN ARE

345
00:11:29,570 --> 00:11:30,670
DIVERSE.

346
00:11:30,670 --> 00:11:32,070
THERE ARE STILL SO MANY THINGS

347
00:11:32,070 --> 00:11:33,430
THAT TIE US TOGETHER AND ONE OF

348
00:11:33,430 --> 00:11:34,670
THOSE THINGS IS THE HAIR

349
00:11:34,670 --> 00:11:35,930
EXPERIENCE.

350
00:11:35,930 --> 00:11:38,530
THEY REFUSE TO OBEY THE BRUSH OR

351
00:11:38,530 --> 00:11:40,000
THE COMB.

352
00:11:40,000 --> 00:11:41,500
THEY DID NOT CARE HOW LOUD SHE

353
00:11:41,500 --> 00:11:50,230
SCREAMED, OR HOW SHE MOANED.

354
00:11:50,230 --> 00:11:53,230
THEY WERE FANTASTIC, FABULOUS,

355
00:11:53,230 --> 00:11:58,600
FROLICKING, AND FISTY.

356
00:11:58,600 --> 00:12:01,930
WHY, OH WHY? TURTLE ASKED.

357
00:12:01,930 --> 00:12:05,770
WON'T YOU JUST BE NICE TO ME?

358
00:12:05,770 --> 00:12:07,170
YOU KNOW, MY RELATIONSHIP WITH

359
00:12:07,170 --> 00:12:08,500
MY OWN HAIR IS A DAILY

360
00:12:08,500 --> 00:12:09,900
EXPERIENCE.

361
00:12:09,900 --> 00:12:11,500
AND I DON'T KNOW THAT IS NOT AN

362
00:12:11,500 --> 00:12:12,370
EXPERIENCE THAT IS HAD IN OTHER

363
00:12:12,370 --> 00:12:13,430
COMMUNITIES.

364
00:12:13,430 --> 00:12:14,630
BUT, I KNOW THE WAY WE TALK

365
00:12:14,630 --> 00:12:17,500
ABOUT OUR HAIR IS UNIQUE TO OUR

366
00:12:17,500 --> 00:12:19,570
COMMUNITY.

367
00:12:19,570 --> 00:12:23,430
AND SO, FOR ME THE STORY IS NOT

368
00:12:23,430 --> 00:12:25,100
ABOUT --

369
00:12:25,100 --> 00:12:25,830
IT'S NOT A CONVERSATION WITH

370
00:12:25,830 --> 00:12:27,570
MAINSTREAM ABOUT WHETHER OR NOT

371
00:12:27,570 --> 00:12:30,600
THE HAIR IS OKAY, WHICH I THINK

372
00:12:30,600 --> 00:12:32,130
HAS BEEN DONE IN BOOKS.

373
00:12:32,130 --> 00:12:32,800
WHERE I THINK “THE TURTLE WITH

374
00:12:32,800 --> 00:12:33,930
AN AFRO” IS DIFFERENT IS THAT

375
00:12:33,930 --> 00:12:36,630
IT'S MORE OF AN ETERNAL

376
00:12:36,630 --> 00:12:37,430
CONVERSATIONS WITH PEOPLE WHO

377
00:12:37,430 --> 00:12:38,330
HAVE CURLY HAIR WHO WE KNOW GET

378
00:12:38,330 --> 00:12:39,470
FRUSTRATED WITH IT.

379
00:12:39,470 --> 00:12:40,600
WE WANT OUR CURLY HAIR.

380
00:12:40,600 --> 00:12:41,970
YOU KNOW, IT'S NOT ABOUT ME

381
00:12:41,970 --> 00:12:43,500
WANTING MY HAIR TO BE STRAIGHT.

382
00:12:43,500 --> 00:12:44,830
I JUST WANT IT TO DO WHAT I WANT

383
00:12:44,830 --> 00:12:46,100
IT TO DO AND IT DOESN'T DO THE

384
00:12:46,100 --> 00:12:47,970
SAME THING EVERY DAY.

385
00:12:47,970 --> 00:12:49,730
OR, IT TAKES TIME.

386
00:12:49,730 --> 00:12:51,030
AND THAT'S FRUSTRATING.

387
00:12:51,030 --> 00:12:52,300
BUT, THOSE CRAZY CURLS HAD

388
00:12:52,300 --> 00:12:54,370
EXTRAVAGANT PLANS.

389
00:12:54,370 --> 00:12:55,370
TO DANCE, AND JUMP, AND BOUNCE

390
00:12:55,370 --> 00:12:58,830
ALL OVER HER HEAD.

391
00:12:58,830 --> 00:13:00,230
SHIMMY, SHIMMY, SHIMMY.

392
00:13:00,230 --> 00:13:02,270
SLIPE, SLIDE, TWIRL.

393
00:13:02,270 --> 00:13:04,130
SHAKE, SHAKE, SHAKE IT OUT.

394
00:13:04,130 --> 00:13:07,130
WHIRL, WHIRL, WHIRL.

395
00:13:07,130 --> 00:13:08,900
I LIKE WHEN STORIES, YOU KNOW,

396
00:13:08,900 --> 00:13:11,630
ARE POETRY AND ARE SONG.

397
00:13:11,630 --> 00:13:12,800
AND KIDS LOVE POETRY AND SONG.

398
00:13:12,800 --> 00:13:14,900
RAINBOW, BLUE SKY, OPEN UP

399
00:13:14,900 --> 00:13:18,770
YOUR --

400
00:13:18,770 --> 00:13:20,400
>> EYES.

401
00:13:20,400 --> 00:13:21,400
>> I WAS BORN AND RAISED IN

402
00:13:21,400 --> 00:13:23,130
COLUMBUS, OHIO.

403
00:13:23,130 --> 00:13:24,100
WE GREW UP ON THE EAST SIDE OF

404
00:13:24,100 --> 00:13:25,800
COLUMBUS.

405
00:13:25,800 --> 00:13:26,830
MY LOVE OF BOOKS STARTED WITH MY

406
00:13:26,830 --> 00:13:27,830
MOTHER.

407
00:13:27,830 --> 00:13:28,870
SHE READ A LOT TO US WHEN WE

408
00:13:28,870 --> 00:13:30,170
WERE YOUNGER.

409
00:13:30,170 --> 00:13:31,700
SO, JUST THE TYPICAL LIKE

410
00:13:31,700 --> 00:13:34,030
READING STORIES AT BED TIME.

411
00:13:34,030 --> 00:13:35,400
AND MY PARENTS WERE REALLY BIG

412
00:13:35,400 --> 00:13:36,270
ON INSTILLING IN US JUST THE

413
00:13:36,270 --> 00:13:38,970
BEAUTY OF BLACK CULTURE AND

414
00:13:38,970 --> 00:13:40,030
AFRICAN CULTURE.

415
00:13:40,030 --> 00:13:41,300
WHEN I GOT A LITTLE BIT OLDER IS

416
00:13:41,300 --> 00:13:42,630
WHEN I CAN REMEMBER BOOKS WITH

417
00:13:42,630 --> 00:13:45,400
BLACK CHRACTERS.

418
00:13:45,400 --> 00:13:46,330
>> TURTLE WATCHED THEM TWIST AND

419
00:13:46,330 --> 00:13:49,030
TURN, FULL OF SHIMMER AND SHINE.

420
00:13:49,030 --> 00:13:52,330
A THOUSAND WORKS OF ART SHE

421
00:13:52,330 --> 00:13:56,670
THOUGHT AND EACH ONE IS MINE.

422
00:13:56,670 --> 00:13:57,630
>> SO, TODAY I HAVE A HUSBAND

423
00:13:57,630 --> 00:13:59,200
AND TWO CHILDREN.

424
00:13:59,200 --> 00:14:00,100
AND I'M AN EDUCATOR AND A

425
00:14:00,100 --> 00:14:02,330
WRITER.

426
00:14:02,330 --> 00:14:03,700
I'VE GOT MY MASTERS DEGREE IN

427
00:14:03,700 --> 00:14:04,570
COMPARATIVE STUDIES WHERE I

428
00:14:04,570 --> 00:14:07,400
STUDIED AFRICAN-AMERICAN WOMEN

429
00:14:07,400 --> 00:14:09,600
AND THINKING ABOUT RACE AND THE

430
00:14:09,600 --> 00:14:12,700
INFLUENCE OF COLORISM IN

431
00:14:12,700 --> 00:14:15,130
AFIRCAN-AMERICAN WOMEN.

432
00:14:15,130 --> 00:14:16,200
AND I EVENTUALLY WENT ON TO GET

433
00:14:16,200 --> 00:14:17,270
MY DOCTORATE IN EDUCATION WHERE

434
00:14:17,270 --> 00:14:19,730
MY FOCUS WAS MULTICULTURAL AND

435
00:14:19,730 --> 00:14:22,430
EQUITY STUDIES.

436
00:14:22,430 --> 00:14:25,330
AND SO, WHAT I THINK THE

437
00:14:25,330 --> 00:14:26,270
THROUGHLINE THROUGH ALL OF THAT

438
00:14:26,270 --> 00:14:27,070
IS JUST THINKING ABOUT PEOPLE

439
00:14:27,070 --> 00:14:28,070
AND DIVERSITY IN OUR STORIES AND

440
00:14:28,070 --> 00:14:29,070
HOW THEY MATTER TO THE LIVES

441
00:14:29,070 --> 00:14:31,300
THAT WE LIVE.

442
00:14:31,300 --> 00:14:32,370
>> SHE WHIPPED HER HEAD AROUND

443
00:14:32,370 --> 00:14:33,130
AND AROUND.

444
00:14:33,130 --> 00:14:34,200
JUMPED BACK, FORTH, UP, AND

445
00:14:34,200 --> 00:14:37,030
DOWN.

446
00:14:37,030 --> 00:14:39,030
STYLING AND PROFILING WITH HER

447
00:14:39,030 --> 00:14:42,200
LOVELY LOCKS.

448
00:14:42,200 --> 00:14:45,970
TURTLE WAS READY TO ROCK.

449
00:14:45,970 --> 00:14:46,900
>> AND I'M NOT AN ARTIST.

450
00:14:46,900 --> 00:14:49,070
MY FATHER WAS AN ARTIST.

451
00:14:49,070 --> 00:14:50,130
MY BROTHER'S AN ARTIST.

452
00:14:50,130 --> 00:14:51,400
I DIDN'T GET THE ART GENE.

453
00:14:51,400 --> 00:14:52,770
IT WAS IMPORTANT FOR ME FOR THE

454
00:14:52,770 --> 00:14:54,770
ILLUSTRATOR TO BE A BLACK WOMAN.

455
00:14:54,770 --> 00:14:56,530
AND SO I FOUND HER ON INSTAGRAM.

456
00:14:56,530 --> 00:14:57,630
I WENT THROUGH AND FOUND SOME

457
00:14:57,630 --> 00:14:58,500
POSTS ABOUT BLACK WOMEN

458
00:14:58,500 --> 00:15:00,200
ILLUSTRATORS.

459
00:15:00,200 --> 00:15:01,900
WE BOTH TALKED ABOUT BEING

460
00:15:01,900 --> 00:15:05,430
SENSATIVE TO THE TOPIC OF HAIR

461
00:15:05,430 --> 00:15:08,100
AND THE IDEA OF THIS TURLE WAS

462
00:15:08,100 --> 00:15:09,570
HAVING A BAD HAIR DAY.

463
00:15:09,570 --> 00:15:10,300
HOW THAT COULD POTENTIALLY COULD

464
00:15:10,300 --> 00:15:12,500
COME OFF AS SEEING CURLY HAIR AS

465
00:15:12,500 --> 00:15:13,970
NEGATIVE.

466
00:15:13,970 --> 00:15:15,000
SO, REALLY BEING INTENTIONAL

467
00:15:15,000 --> 00:15:16,600
THROUGH THE STORY AND PICTURES

468
00:15:16,600 --> 00:15:18,330
TO CONVEY THAT IT'S NOT THE HAIR

469
00:15:18,330 --> 00:15:20,870
THAT WAS BAD.

470
00:15:20,870 --> 00:15:22,030
EVERYBODY HAS BAD HAIR DAYS.

471
00:15:22,030 --> 00:15:23,630
BUT, THIS IS A STORY ABOUT, YOU

472
00:15:23,630 --> 00:15:25,800
KNOW, A TURTLE THAT'S

473
00:15:25,800 --> 00:15:26,330
NEGOTIATING HER LOVE FOR HER

474
00:15:26,330 --> 00:15:27,830
HAIR.

475
00:15:27,830 --> 00:15:28,970
>> SO, JUST LIKE THAT TURTLE SAW

476
00:15:28,970 --> 00:15:30,200
THE LIGHT.

477
00:15:30,200 --> 00:15:31,230
HER CURLS WERE ABSOLUTELY,

478
00:15:31,230 --> 00:15:37,670
POSITIVELY DYNAMITE.

479
00:15:37,670 --> 00:15:38,700
>> WHEN THERE ARE TIMES WHEN I

480
00:15:38,700 --> 00:15:39,800
FEEL LIKE FRUSTRATIONS WITH JUST

481
00:15:39,800 --> 00:15:42,370
BEING AN INDEPENDENT PUBLISHER.

482
00:15:42,370 --> 00:15:43,470
AND, YOU KNOW, THE STRUGGLES OF

483
00:15:43,470 --> 00:15:44,430
KNOWING THAT I FEEL LIKE I HAVE

484
00:15:44,430 --> 00:15:45,470
A GOOD STORY AND I WANT THE

485
00:15:45,470 --> 00:15:48,070
EXPOSURE.

486
00:15:48,070 --> 00:15:49,330
YOU KNOW, YOU GET THOSE VOICES

487
00:15:49,330 --> 00:15:50,770
IN YOUR HEAD AND THEN I HEAR

488
00:15:50,770 --> 00:15:52,430
BACK FROM PEOPLE WHO ARE LIKE

489
00:15:52,430 --> 00:15:54,270
THIS STORY MATTERS.

490
00:15:54,270 --> 00:15:55,370
MY KIDS LIKE THIS STORY.

491
00:15:55,370 --> 00:15:56,700
IT'S IMPORTANT AND DRIVES YOU TO

492
00:15:56,700 --> 00:15:57,830
GO AHEAD AND KEEP PUTTING THOSE

493
00:15:57,830 --> 00:15:59,000
STORIES OUT THERE BECAUSE PEOPLE

494
00:15:59,000 --> 00:16:01,870
WANT THEM AND APPRECIATE THEM.

495
00:16:01,870 --> 00:16:02,970
AND THEIR LIVES ARE CHANGED BY

496
00:16:02,970 --> 00:16:04,370
STORIES.

497
00:16:04,370 --> 00:16:05,700
JUST LIKE MY LIFE WAS CHANGED BY

498
00:16:05,700 --> 00:16:07,200
STORIES.

499
00:16:07,200 --> 00:16:08,370
SO, IT MATTERS.

500
00:16:08,370 --> 00:16:10,230
♪♪

501
00:16:10,230 --> 00:16:11,370
>> FLOW, FIERCE, AND FLY FREE

502
00:16:11,370 --> 00:16:12,770
TURTLE SAID.

503
00:16:12,770 --> 00:16:14,730
AND LOOK AT THAT AFRO.

504
00:16:14,730 --> 00:16:16,230
A CROWN ON HER HEAD.

505
00:16:16,230 --> 00:16:18,930
♪♪

506
00:16:18,930 --> 00:16:29,670
♪♪

507
00:16:29,670 --> 00:16:31,070
>>> ARTIST SUSAN HANDAU'S

508
00:16:31,070 --> 00:16:32,430
CANVASES ARE OF A MINIMALISTIC

509
00:16:32,430 --> 00:16:34,030
NATURE.

510
00:16:34,030 --> 00:16:35,270
WITH COLOR AND TEXTURE, SHE

511
00:16:35,270 --> 00:16:36,700
CREATES ABSTRACT SHAPES

512
00:16:36,700 --> 00:16:39,330
SURROUNDED BY NEUTRAL HUES.

513
00:16:39,330 --> 00:16:40,430
WE HAD TO RENO, NEVADA FOR HER

514
00:16:40,430 --> 00:16:44,470
STORY.

515
00:16:44,470 --> 00:16:52,270
♪♪

516
00:16:52,270 --> 00:16:54,170
>>> MY NAME IS SUSAN HANDAU AND

517
00:16:54,170 --> 00:16:56,470
I'M AN ABSTRACT ARTIST.

518
00:16:56,470 --> 00:16:58,300
I WORK IN MIXED MEDIA.

519
00:16:58,300 --> 00:17:00,170
I DO ACRYLIC, OIL, SOMETIMES

520
00:17:00,170 --> 00:17:03,130
WAX.

521
00:17:03,130 --> 00:17:04,770
I PUT GYPSUM, MIX IT WIT GLUE

522
00:17:04,770 --> 00:17:06,970
FOR TEXTURE.

523
00:17:06,970 --> 00:17:09,370
AND SOMETIMES I CUT UP PAINTINGS

524
00:17:09,370 --> 00:17:14,670
AND SEW THEM BACK TOGETHER.

525
00:17:14,670 --> 00:17:16,170
I DO COLOR BLOCKING.

526
00:17:16,170 --> 00:17:18,470
IT'S JUST BLOCKS OF COLOR THAT

527
00:17:18,470 --> 00:17:20,530
ARE THATCHED AWAY.

528
00:17:20,530 --> 00:17:22,070
IT'S AN ORGANIC KIND OF SHAPE.

529
00:17:22,070 --> 00:17:23,730
IT'S NOT LIKE A SQUARE ANYMORE.

530
00:17:23,730 --> 00:17:26,170
I'VE BEEN CHIPPING AWAY AT IT,

531
00:17:26,170 --> 00:17:27,930
SCRATCHING AWAY AT IT.

532
00:17:27,930 --> 00:17:29,230
AND THEN I'LL DO THE BORDER OR

533
00:17:29,230 --> 00:17:29,970
THE BACKGROUND IN A NEUTRAL

534
00:17:29,970 --> 00:17:33,830
COLOR.

535
00:17:33,830 --> 00:17:34,870
CAN'T REALLY SAY WELL, THAT'S A

536
00:17:34,870 --> 00:17:36,270
TREE OR SOMETHING.

537
00:17:36,270 --> 00:17:40,070
OR, THAT'S LIKE EVEN LIKE A BOX

538
00:17:40,070 --> 00:17:40,970
OR SOMETHING.

539
00:17:40,970 --> 00:17:41,730
YOU KIND OF SAY OH, IT ALMOST

540
00:17:41,730 --> 00:17:42,570
LOOKS LIKE THIS, BUT NO IT'S

541
00:17:42,570 --> 00:17:44,100
NOT.

542
00:17:44,100 --> 00:17:55,130
♪♪

543
00:17:55,130 --> 00:17:56,630
WHEN I START A PAINTING, ALL I

544
00:17:56,630 --> 00:17:57,900
KNOW IS THAT I'M GOING TO DO

545
00:17:57,900 --> 00:17:59,970
COLOR BLOCKING.

546
00:17:59,970 --> 00:18:01,500
AND REALLY I DO A LAYER OF

547
00:18:01,500 --> 00:18:05,430
COLORS UPON COLORS.

548
00:18:05,430 --> 00:18:07,230
AND THEN I PUT THE GYPSUM IN.

549
00:18:07,230 --> 00:18:08,800
I CALL IT MUD.

550
00:18:08,800 --> 00:18:10,030
YOU KNOW, IT'S NOT REALLY MUD,

551
00:18:10,030 --> 00:18:11,170
BUT I JUST PUT THE MUD DOWN

552
00:18:11,170 --> 00:18:14,030
THERE TO BUILD THE TEXTURE UP.

553
00:18:14,030 --> 00:18:14,830
AND THEN YOU CAN SEE THAT IT

554
00:18:14,830 --> 00:18:17,970
CRACKS A LOT.

555
00:18:17,970 --> 00:18:19,530
IT DRIES AND THEN I START

556
00:18:19,530 --> 00:18:20,670
PUTTING DIFFENT COLOR ON THERE

557
00:18:20,670 --> 00:18:22,170
AND PUSH THE COLOR AROUND IN THE

558
00:18:22,170 --> 00:18:24,300
CRACKS.

559
00:18:24,300 --> 00:18:25,300
THEN I'LL PAINT ANOTHER COLOR

560
00:18:25,300 --> 00:18:26,470
OVER TOP OF IT AND THEN THE ONE

561
00:18:26,470 --> 00:18:28,170
COLOR WILL STAY IN THE CRACK AND

562
00:18:28,170 --> 00:18:30,470
THEN I REALLY SCRAPE IT.

563
00:18:30,470 --> 00:18:32,870
I START SCRAPING AND MARKING,

564
00:18:32,870 --> 00:18:33,500
IN.

565
00:18:33,500 --> 00:18:34,870
BECAUSE THEN YOU GET DIFFERENT

566
00:18:34,870 --> 00:18:37,130
LAYERS THAT POP OUT.

567
00:18:37,130 --> 00:18:44,470
♪♪

568
00:18:44,470 --> 00:18:46,700
SO, THAT'S MY CANVASES.

569
00:18:46,700 --> 00:18:47,500
SO, WITH MY PAPER THAT'S A WHOLE

570
00:18:47,500 --> 00:18:48,500
DIFFERENT STORY.

571
00:18:48,500 --> 00:18:49,430
WITH MY PAPER OUTPUT, A LITTLE

572
00:18:49,430 --> 00:18:50,470
TEXTURE ON THERE.

573
00:18:50,470 --> 00:18:51,430
AND THEN I'LL DO THE SAME KIND

574
00:18:51,430 --> 00:18:52,470
OF THING WITH THE PAINT, THE

575
00:18:52,470 --> 00:18:55,430
COLOR BLOCKING.

576
00:18:55,430 --> 00:18:56,930
AND THEN WHEN I GET IT JUST SO,

577
00:18:56,930 --> 00:18:58,500
JUST HOW I LIKE IT; THEN I CUT

578
00:18:58,500 --> 00:18:59,370
IT UP.

579
00:18:59,370 --> 00:19:00,870
I ACUTALLY CUT THE PAPER.

580
00:19:00,870 --> 00:19:01,630
AND THEN I SEW IT ON TO ANOTHER

581
00:19:01,630 --> 00:19:05,870
PIECE OF PAPER.

582
00:19:05,870 --> 00:19:07,230
THEN I'LL JUST SEE HOW IT GOES

583
00:19:07,230 --> 00:19:08,130
AND I DON'T REALLY EVER HAVE

584
00:19:08,130 --> 00:19:09,130
ANYTHING PLANNED.

585
00:19:09,130 --> 00:19:12,600
♪♪

586
00:19:12,600 --> 00:19:15,230
COLOR TO ME IS PRETTY IMPORTANT.

587
00:19:15,230 --> 00:19:16,200
WHEN I'M MIXING COLORS TO FIND

588
00:19:16,200 --> 00:19:17,800
AN UNUSUAL COLOR, BIZARRE COLOR

589
00:19:17,800 --> 00:19:19,830
COMBINATIONS, OR ONES THAT

590
00:19:19,830 --> 00:19:21,300
REALLY YOU DON'T EXPECT TO SEE

591
00:19:21,300 --> 00:19:25,570
TOGETHER.

592
00:19:25,570 --> 00:19:27,300
AND THEN OF COURSE SHAPE.

593
00:19:27,300 --> 00:19:28,370
I REALLY LIKE TO CUT AWAY AT AN

594
00:19:28,370 --> 00:19:30,830
IMAGE TO MAKE IT REALLY MORE

595
00:19:30,830 --> 00:19:34,770
ORGANIC.

596
00:19:34,770 --> 00:19:37,500
IF IT'S NOT RIGHT IN MY MIND, I

597
00:19:37,500 --> 00:19:40,800
CAN'T SHOW IT.

598
00:19:40,800 --> 00:19:41,670
JUST KEEP WORKING ON IT UNTIL

599
00:19:41,670 --> 00:19:43,030
ITS RIGHT FOR ME.

600
00:19:43,030 --> 00:19:44,400
EVEN THEN, AFTER A SHOW, IF A

601
00:19:44,400 --> 00:19:46,470
PAINTING DOESN'T FEEL RIGHT;

602
00:19:46,470 --> 00:19:47,500
I'LL CHANGE IT.

603
00:19:47,500 --> 00:19:48,970
I'LL PAINT OVER IT.

604
00:19:48,970 --> 00:19:49,630
I'VE PAINTED OVER SO MANY

605
00:19:49,630 --> 00:19:50,670
PAINTINGS.

606
00:19:50,670 --> 00:19:53,600
THIS ONE HERE BEHIND ME.

607
00:19:53,600 --> 00:19:54,500
THAT LIKE --

608
00:19:54,500 --> 00:19:55,770
THERE MIGHT BE TWO OR THREE

609
00:19:55,770 --> 00:20:00,400
PAINTINGS UNDER THAT ONE.

610
00:20:00,400 --> 00:20:01,400
I REALLY LIKE BEAUTIFUL THINGS

611
00:20:01,400 --> 00:20:05,100
AND THAT'S LIKE MY GOAL IS TO

612
00:20:05,100 --> 00:20:06,670
FOR MYSELF TO REALLY LIKE IT.

613
00:20:06,670 --> 00:20:08,100
THEN I'M SO PROUD OF IT BECAUSE

614
00:20:08,100 --> 00:20:11,530
I LOVE IT SO MUCH.

615
00:20:11,530 --> 00:20:12,870
WHEN SOMEBODY BUYS MY PAINTING

616
00:20:12,870 --> 00:20:14,330
I'M LIKE OH MY GOSH.

617
00:20:14,330 --> 00:20:17,770
THEY FEEL THE SAME WAY I FEEL.

618
00:20:17,770 --> 00:20:20,100
IT'S NOT THE MONEY THING.

619
00:20:20,100 --> 00:20:23,070
IT'S THE FACT THAT WOW, SOMEBODY

620
00:20:23,070 --> 00:20:24,130
REALLY LIKES WHAT I LIKE.

621
00:20:24,130 --> 00:20:25,800
THAT'S WHAT MAKES ME FEEL GOOD.

622
00:20:25,800 --> 00:20:29,770
IT'S ALWAYS BEEN THAT WAY.

623
00:20:29,770 --> 00:20:38,900
♪♪

624
00:20:38,900 --> 00:20:54,200
♪♪

625
00:20:54,200 --> 00:20:55,170
WOODY AND MINQUEL INGRAM GREW UP

626
00:20:55,170 --> 00:20:57,030
SINGING FOR SCHOOL TALENT SHOWS

627
00:20:57,030 --> 00:20:59,130
AND REGIONAL SHOWCASES.

628
00:20:59,130 --> 00:21:00,430
THEY'RE CONTINIUING THEIR MUSIC

629
00:21:00,430 --> 00:21:01,930
JOURNEY AS INGRAM STREET, A

630
00:21:01,930 --> 00:21:03,700
COLUMBUS BASED R&B BROTHER DUO

631
00:21:03,700 --> 00:21:05,630
DISHING OUT SMOOTH VOCALS AND

632
00:21:05,630 --> 00:21:07,600
CATCHY VERSES.

633
00:21:07,600 --> 00:21:08,600
JOINING THEM IS WIB SCHNEIDER ON

634
00:21:08,600 --> 00:21:09,870
GUITAR.

635
00:21:09,870 --> 00:21:11,270
ENJOY THE MUSIC OF INGRAM

636
00:21:11,270 --> 00:21:14,530
STREET.

637
00:21:14,530 --> 00:21:29,330
♪♪

638
00:21:29,330 --> 00:21:31,830
♪ BABY BEING WITH YOU IS

639
00:21:31,830 --> 00:21:33,830
BEAUTIFUL ♪

640
00:21:33,830 --> 00:21:37,670
♪ HOLDING YOU IS BEAUTIFUL ♪

641
00:21:37,670 --> 00:21:40,570
♪ IS THERE A POSSIBILITY FOR

642
00:21:40,570 --> 00:21:44,130
US ♪

643
00:21:44,130 --> 00:21:46,700
♪ BABY TOUCHING YOU IS

644
00:21:46,700 --> 00:21:48,800
BEAUTIFUL ♪

645
00:21:48,800 --> 00:21:51,830
♪ KISSING YOU IS BEAUTIFUL ♪

646
00:21:51,830 --> 00:21:55,400
♪ IS THERE A POSSIBLITY FOR

647
00:21:55,400 --> 00:21:59,770
LOVE ♪

648
00:21:59,770 --> 00:22:01,730
♪ IT'S BEEN SO HEAVY IN MY

649
00:22:01,730 --> 00:22:03,300
MIND ♪

650
00:22:03,300 --> 00:22:05,170
♪ CONSTANTLY PLAYING ALL THE

651
00:22:05,170 --> 00:22:07,130
TIME ♪

652
00:22:07,130 --> 00:22:11,730
♪ SO MANY EXPECTATIONS ♪

653
00:22:11,730 --> 00:22:16,100
♪ AND UNSEEN REVELATIONS ♪

654
00:22:16,100 --> 00:22:20,300
♪ ANCIENT ANTICIPATING ♪

655
00:22:20,300 --> 00:22:22,800
♪ OH YES I'VE BEEN HERE

656
00:22:22,800 --> 00:22:24,630
WAITING ♪

657
00:22:24,630 --> 00:22:25,470
♪ TO FIGURE OUT THIS LOVE ♪

658
00:22:25,470 --> 00:22:26,370
♪ AND DIFFERENCE GREW BETWEEN ME

659
00:22:26,370 --> 00:22:27,370
AND YOU ♪

660
00:22:27,370 --> 00:22:29,130
♪ BABY BEING WITH YOU IS

661
00:22:29,130 --> 00:22:31,200
BEAUTIFUL ♪

662
00:22:31,200 --> 00:22:36,070
♪ HOLDING YOU IS BEAUTIFUL ♪

663
00:22:36,070 --> 00:22:42,730
♪ IS THERE A POSSIBLITY FOR US ♪

664
00:22:42,730 --> 00:22:45,700
♪ BABY TOUCHING YOU IS

665
00:22:45,700 --> 00:22:46,700
BEAUTIFUL ♪

666
00:22:46,700 --> 00:22:48,900
♪ KISSING YOU IS BEAUTIFUL ♪

667
00:22:48,900 --> 00:22:52,930
♪ IS THERE A POSSIBILITY FOR

668
00:22:52,930 --> 00:22:58,630
LOVE♪

669
00:22:58,630 --> 00:23:00,730
♪ THIS IS A SIMPLE QUESTION ♪

670
00:23:00,730 --> 00:23:02,400
♪ THE ANSWER LEAVES NO

671
00:23:02,400 --> 00:23:04,970
GUESSING ♪

672
00:23:04,970 --> 00:23:07,030
♪ A LITTLE TREPIDATION ♪

673
00:23:07,030 --> 00:23:10,100
♪ MY HEART JUST NEEDS SOME

674
00:23:10,100 --> 00:23:12,070
CONFIRMATION ♪

675
00:23:12,070 --> 00:23:14,570
♪ I'LL FIND A TRILLION REASONS ♪

676
00:23:14,570 --> 00:23:17,070
♪ OUR LOVE WILL LAST FOR ALL

677
00:23:17,070 --> 00:23:18,330
SEASONS ♪

678
00:23:18,330 --> 00:23:20,870
♪ WINTER I'LL FALL FOR YOU ♪

679
00:23:20,870 --> 00:23:22,730
♪ THE WHOLE SPRING AND SUMMER

680
00:23:22,730 --> 00:23:24,470
THROUGH ♪

681
00:23:24,470 --> 00:23:26,930
♪ BABY BEING WITH YOU IS

682
00:23:26,930 --> 00:23:28,230
BEAUTIFUL ♪

683
00:23:28,230 --> 00:23:31,770
♪ HOLDING YOU IS BEAUTIFUL ♪

684
00:23:31,770 --> 00:23:35,200
♪ IS THERE A POSSIBILITY FOS

685
00:23:35,200 --> 00:23:38,870
US ♪

686
00:23:38,870 --> 00:23:41,430
♪ BABY TOUCHING YOU IS

687
00:23:41,430 --> 00:23:44,130
BEAUTIFUL ♪

688
00:23:44,130 --> 00:23:45,900
♪ KISSING YOU IS BEAUTIFUL ♪

689
00:23:45,900 --> 00:23:49,800
♪ IS THERE A POSSIBILITY FOR

690
00:23:49,800 --> 00:23:52,300
LOVE ♪

691
00:23:52,300 --> 00:24:01,870
♪♪

692
00:24:01,870 --> 00:24:07,600
♪♪

693
00:24:07,600 --> 00:24:15,100
♪ OOO ♪

694
00:24:15,100 --> 00:24:23,070
♪♪

695
00:24:23,070 --> 00:24:26,030
>> FROM THE MOMENT THAT WE MET,

696
00:24:26,030 --> 00:24:29,630
I'VE ONLY HAD EYES FOR YOU.

697
00:24:29,630 --> 00:24:30,530
I THINK ABOUT YOU MORNING AND

698
00:24:30,530 --> 00:24:33,330
NOON.

699
00:24:33,330 --> 00:24:36,670
AND EVERY SINGLE NIGHT.

700
00:24:36,670 --> 00:24:37,930
AND THE THOUGHTS THAT GO THROUGH

701
00:24:37,930 --> 00:24:42,170
MY MIND ABOUT ME AND YOU,

702
00:24:42,170 --> 00:24:43,730
THEY'RE BEAUTIFUL.

703
00:24:43,730 --> 00:24:45,430
SO, IF THERE'S A POSSIBILITY FOR

704
00:24:45,430 --> 00:24:48,970
ME AND YOU, CHECK THIS OUT.

705
00:24:48,970 --> 00:24:51,670
♪ BABY BEING WITH YOU IS

706
00:24:51,670 --> 00:24:53,100
BEAUTIFUL ♪

707
00:24:53,100 --> 00:24:55,370
(♪ BEING WITH YOU ♪) ♪ HOLDING

708
00:24:55,370 --> 00:24:57,670
YOU IS BEAUITFUL ♪

709
00:24:57,670 --> 00:24:58,630
>>> THANKS FOR BEING WITH US FOR

710
00:24:58,630 --> 00:25:00,270
THIS EDITION OF “BROAD & HIGH.”

711
00:25:00,270 --> 00:25:01,870
YOU CAN FIND ALL OF OUR STORIES

712
00:25:01,870 --> 00:25:03,900
ONLINE AT WOSU.ORG, AS WELL AS

713
00:25:03,900 --> 00:25:06,000
ON OUR FREE WOSU MOBILE APP.

714
00:25:06,000 --> 00:25:07,200
WE'LL BE BACK NEXT WEEK WITH

715
00:25:07,200 --> 00:25:08,830
MORE STORIES ABOUT COLUMBUS ARTS

716
00:25:08,830 --> 00:25:11,270
AND ARTISTS.

717
00:25:11,270 --> 00:25:14,300
♪ IS THERE A POSSIBILITY FOR

718
00:25:14,300 --> 00:25:17,400
LOVE ♪

719
00:25:17,400 --> 00:25:19,000
♪ BEEN HEAVY ON MY MIND LATELY ♪

720
00:25:19,000 --> 00:25:23,230
♪ BEEN SPINNING ♪

721
00:25:23,230 --> 00:25:25,930
♪ IT DRIVES ME CRAZY ♪

722
00:25:25,930 --> 00:25:28,070
♪ GOT TO KNOW WHAT YOU WANT TO

723
00:25:28,070 --> 00:25:32,500
DO ♪

724
00:25:32,500 --> 00:25:35,600
♪ YOU SO REAL THIS FEELING ♪

725
00:25:35,600 --> 00:25:38,030
♪ I BET THAT YOU ARE WILLING ♪

726
00:25:38,030 --> 00:25:43,500
♪ TO MAKE MY FANTASY COME TRUE ♪

727
00:25:43,500 --> 00:25:51,830
♪ YEAH ♪

728
00:25:51,830 --> 00:25:58,270
♪ OHH ♪

729
00:25:58,270 --> 00:25:59,800
♪ A POSSIBILITY FOR US ♪

730
00:25:59,800 --> 00:26:24,330
♪♪

731
00:26:24,330 --> 00:26:25,700
>> PRODUCTION OF

732
00:26:25,700 --> 00:26:27,170
"BROAD AND HIGH" IS FUNDED IN

733
00:26:27,170 --> 00:26:29,430
PART BY THE GREATER COLUMBUS

734
00:26:29,430 --> 00:26:30,370
ARTS COUNCIL.

735
00:26:30,370 --> 00:26:31,400
SUPPORTING ARTS, ADVANCING

736
00:26:31,400 --> 00:26:32,570
CULTURE AND CONNECTING THE

737
00:26:32,570 --> 00:26:34,930
COMMUNITY TO ARTISTS, EVENTS AND

738
00:26:34,930 --> 00:26:38,230
CLASSES AT COLUMBUSMAKESART.COM.

739
00:26:38,230 --> 00:26:39,330
>> FROM THESE CONTRIBUTING

740
00:26:39,330 --> 00:26:41,170
SPONSORS -- AND VIEWERS LIKE

741
00:26:41,170 --> 00:26:42,670
YOU.

742
00:26:42,670 --> 00:26:47,670
THANK YOU.