Broad and High

S9 E6 | FULL EPISODE

Traditional Mexican Cartonería, Local Dance Lessons

Leticia Vazquez-Smith shares her knowledge of the making of a traditional Mexican artifact. A dance school not only educates, but also brings joy and confidence to its students. Artist Terrance Osborne helps create culture in his work, and music from Earwig.

AIRED: December 09, 2021 | 0:26:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> PRODUCTION OF "BROAD & HIGH"

IS FUNDED IN PART BY THE GREATER

COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING

CULTURE, AND CONNECTING THE

COMMUNITY TO ARTISTS, EVENTS,

AND CLASSES AT COLUMBUSARTS.COM.

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>>> THIS TIME ON "BROAD & HIGH."

WE VISIT THE DAY OF THE DEAD

COLUMBUS CELEBRATION.

AND EXPERIENCE THE MAKING OF A

TRADITIONAL MEXICAN ARTIFACT.

WE LEARN ABOUT A DANCE SCHOOL

THAT NOT ONLY EDUCATED, BUT ALSO

BRINGS JOY AND CONFIDENCE TO ITS

STUDENTS.

A NEW ORLEANS ARTIST TELLS US

HOW HE HELPS CREATE CULTURE IN

HIS WORK.

AND WE LISTEN TO A HIT SONG THAT

IS A COLLABORATION BETWEEN A

LOCAL BAND AND A COLUMBUS BASED

SINGER/SONGWRITER.

THIS AND MORE AT "BROAD & HIGH."

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>> WELCOME TO "BROAD & HIGH"I

AM YOUR HOST, KATE QUICKEL.

TODAY WE ARE HERE ARE AT GREEN

LAWN CEMETERY.

THE LOCATION OF THE DAY OF THE

DEAD COLUMBUS CELEBRATION.

CARTONERIA IS A TRADITIONAL

MEXICAN ARTFORM.

WHERE PAPER MACHE LIKE

TECHNIQUES ARE USED TO CREATE

DECORATIVE ARTIFACTS FOR

CULTURAL CELEBRATIONS.

LETICIA VAZQUEZ-SMITH IS A

CULTURAL AMBASSADOR AND

CRAFTSWOMAN.

COMMITTED TO STUDYING THE ART OF

CARTONERIA.

SHE HOPES BY LEARNING AND

SHARING HER KNOWLEDGE OF THE

ART, SHE'LL SPREAD THE BEAUTY OF

MEXICAN ARTS AND CULTURE TO

COLUMBUS.

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>> HI, WE ARE HERE AT THE DAY OF

THE DEAD COLUMBUS FESTIVAL.

DON'T YOU LIKE THESE?

LOOK AT THESE.

WE HAVE THE CARTONERIA THAT WE

HAVE BEEN MAKING IN THE

COMMUNITY.

IT'S SO COOL.

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>> THE MOST IMPORTANT THING IS

TO REMEMBER THE PEOPLE THAT HAVE

PASSED.

YOUR FRIENDS, YOUR FAMILY.

AND WE THINK THAT BY REMEMBERING

WE KEEP THEM ALIVE.

IT'S NOTHING CREEPY.

I THINK IT'S A CELEBRATION OF

LIFE.

AND YOU CAN CELEBRATE WITH FOOD,

WITH FLOWERS, DANCING, MUSIC.

THAT'S WHY WE HAVE -- IT'S A

PARTY.

IT'S A BIG PARTY.

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>> WHILE I WAS DOING DAY OF THE

DEAD, PEOPLE WERE INTERESTED IN

KNOWING MORE ABOUT DIFFERENT

CRAFTS.

EVERYBODY THAT THINKS ABOUT DAY

OF THE DEAD, THINKS ABOUT THE

SKULL.

RIGHT?

AND THEN THE SKELETON.

THE BIGGEST SKULLS, THEY'RE MADE

OF CERAMIC, SUGAR.

BUT CARTONERIA IS THE MAIN ONE.

CARTONERIA WHICH PEOPLE CALL

PAPER MACHE.

THE PAPER MACHE TECHNIQUE IS

LIKE YOU HAVE GLUE.

ACTUAL GLUE AND PAPER AND YOU

BOIL THE PAPER AND YOU MIX IN

THE BLENDER.

IT'S LIKE A DIFFERENT PROCESS.

CARTONERIA IS BY LAYER BY LAYER.

THE GLUE IS NATURAL GLUE, MADE

WITH FLOUR.

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IN THE BEGINNING CARTONERIA WAS

VERY EPHEMERAL.

LIKE IT WAS SOMETHING YOU WERE

GOING TO BUY -- SAY A PIÑATA, TO

BREAK.

IT'S SUPPOSE TO BE LIKE A SHORT

TIME.

I THINK IT'S LIKE A LIFE.

RIGHT?

IT'S EPHEMERAL.

YOU DON'T KEEP THIS PIECE

FOREVER.

SO YOU USE IT AND KIDS PLAY WITH

DIFFERENT PIECES AND THAT'S THE

BEAUTY.

I JUST THINK THAT'S THE BEAUTY.

THE ONE ARTIST THAT I REALLY

LIKE IS CARMEN CABALLERO.

SHE WAS THE ONE THAT SOLD MANY,

MANY PIECES TO DIEGO RIVERA HE

ACTUALLY FOUND HER AT THE

STREETS.

BY THE MARKETS.

I USE TO THINK THAT'S THE KIND

OF ARTS AND CRAFTS THAT I ADMIRE

THE MOST.

ANY LITTLE PIECE THAT YOU FIND,

REALLY WHEN YOU PICK IT UP AND

TOUCH IT -- YOU WILL FEEL THE

HANDS OF THE PARTICULAR PERSON

THAT MADE THAT PARTICULAR PIECE.

NOTHING IS PERFECT, RIGHT?

WE HAVE ONE EYE BIGGER THAN THE

OTHER ONE AND EVERYTHING IS LIKE

IMPERFECT.

AND I THINK THAT'S WHAT I AM IN

LOVE WITH.

SO YOU HAVE YOUR PAPER.

YOU HAVE YOUR ENGRUDO.

ENGRUDO IS MADE WITH FLOUR,

WATER AND LITTLE BIT OF VINEGAR.

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YOU GO AND RIP YOUR PAPER AND

YOU WILL TRY TO DO IT IN SMALL

PIECES.

NEVER USE THE SCISSORS, BECAUSE

YOU WILL HAVE ALL THESE FIBERS.

THAT WHEN DOING YOUR PIECE ARE

GOING TO BE CONNECTED.

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BECAUSE I LIKE COOKING SO MUCH

AND --

FOR CARTONERIA I HAVE TO COOK,

BUT I HAVE TO MIX AND IT'S LIKE

I AM DANCING AND COOKING AND

EVERYTHING TOGETHER.

SO IT'S JUST LIKE A PERFECT

ACTIVITY FOR ME.

TO BE AN ARTESANO IN MEXICO

CITY, BEFORE IT WAS VERY HARD.

YOU HAVE TO BE IN THE FAMILY OF

THE ARTISAN.

OTHERWISE YOU COULDN'T LIKE

CERTIFIED AS AN ARTISAN.

SO THESE DAYS YOU CAN TAKE SO

MANY CLASSES AND PROVE YOU KNOW

HOW TO MAKE IT.

I WENT TO MEXICO CITY AND I TOOK

A LOT OF CLASSES THERE AND THEN

I CAME BACK AND I GOT A GRANT

ACTUALLY FROM THE GCAC.

AND I WAS ABLE TO TAKE ANOTHER

ROLL OF A CLASSES WITH PEOPLE

THAT ARE --

I LEARNED THE PAPER HAS THESE

FIBERS.

IT'S NOT LIKE, OH I PUT THIS

OVER THE TOP AND YOU KNOW --

NO, IT HAS A WAY.

IT'S ALMOST LIKE A PUZZLE.

BEING PART OF THOSE GROUPS IT

MEANS A LOT.

LIKE ME AS A MEXICAN, IT'S

ALMOST LIKE I'M PART OF THE

FAMILY OF CARMEN.

>> I THINK IT'S LIKE HONORING

THESE PEOPLE.

TAKE THEIR LEGACY AND TRY TO

PASS IT ON.

THAT'S DEFINITELY IS MY FINAL

DESTINATION.

THAT'S MY PURPOSE.

I WOULD LIKE TO GET

CERTIFICATION AND I AM GOING TO

WORK THROUGH THAT.

BUT I REALLY THINK THAT I AM

DOING IT MORE TO ENJOY THE

PROCESS.

AND TO PASS IT ON.

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>> WHEN I HEAR NEW ORLEANS I

THINK OF A VIVACIOUS CITY FULL

OF COLOR AND ENERGY.

ARTIST TERRANCE OSBORNE WAS BORN

AND RAISED THERE AND LOVES TO

DEPICT HIS CITY AND ITS RICH

CULTURE IN HIS WORK.

HIS ARTWORK IS FULL OF FEELING

AND EXPRESSION.

YOU CAN'T HELP BUT FALL IN LOVE

WITH THIS CULTURE THROUGH HIS

EYES.

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>> I AM ONE OF FIVE.

WE USE TO PLAY UNDER OUR HOUSE.

THESE SHOTGUN HOUSES, THEY'RE

RAISED.

SO WE USED TO PLAY

ARCHEOLOGISTS.

DIGGING UP BOTTLES AND THINGS

LIKE THAT.

I DEVELOPED A LOVE FOR ANTIQUES

AND RUSTIC THINGS AND ALL THINGS

NEW ORLEANS.

MY MOM COLLECTED A LOT OF

ANTIQUES.

THAT WAS SOMETHING THAT SHE DID.

A LOT OF RUSTIC STUFF SHE LIKED.

WHAT I TRY TO DO IS PAINT ABOUT

THOSE THINGS.

PLAYING UNDER THE HOUSE, GAVE ME

AN IDEA OF HOW THE STRUCTURE OF

A HOUSE WAS FORM.

CAUSE I COULD SEE UNDERNEATH.

SO WHEN I STARTED PAINTING THEM

AS AN ADULT, I JUST PAINTED FROM

MEMORY.

IT WAS EASY TO UNDERSTAND THEM.

THERE'S THE ARTIST WHO SEES THE

CULTURE AND WHO MIMICS THE

CULTURE.

I AM GOING TO PAINT THE GUY

PLAYING THE TRUMPET OR GOING TO

PAINT SOME CRAWFISH OR SOMETHING

LIKE THAT.

AND THAT'S FINE BECAUSE THAT

INTRODUCES PEOPLE TO THE CULTURE

AND GIVES THEM SOMETHING TO TAKE

BACK.

BUT THEN THERE'S ANOTHER ARTIST,

THAT I AM PARTIAL TO.

THIS ARTIST IS BORN OF THE

CULTURE AND WHEN HE PRODUCES

SOMETHING HE PRODUCES IT FROM A

PLACE WHERE HE'S NOT TRYING TO

MIMIC.

HE'S CREATING THE CULTURE.

AND THAT'S WHAT I DO.

MY JOB IS TO TAKE THE CULUTRE

AND SHOW WHAT IT IS.

I AM NOT MIMICKING.

I AM GIVING BIRTH TO CULTURE.

SO WHEN PEOPLE SEE MY WORK THEY

RECOGNIZE THAT.

PEOPLE WHO ARE NOT ARTIST, THEY

EXPERIENCE THE SAME THING THAT I

EXPEIRENCE WHEN THEY LOOK AT THE

CITY.

LOCALS, RIGHT?

THE DIFFERENCE IS THAT I HAVE

THE MOTOR SKILLS TO INTERPRET MY

PERCEPTIONS.

EVEN SOMEONE MIGHT THINK WHAT

MARDI GRAS IS, I CAN PAINT THEY

EXPRESSION OF IT.

THERE'S THIS PIECE CALLED "THROW

ME SOMETHING MISTA" WHERE THIS

LADY HAS HER ARMS STRETCHED OUT

AND SHE HAS BEADS AND YOU CAN

SEE THE ENTHUSIASM IN HER FACE.

SHE IS MARDI GRA PERSONIFIED,

RIGHT?

NOW THAT'S HOW EVERYBODY FEELS,

BUT I CAN PAINT ABOUT IT.

MOST OF MY PIECES ORIGINALLY

WERE ABOUT THE HOUSES AND THE

NEIGHBORHOODS.

THINGS LIKE THAT.

GRADUALLY STARTED TO MOVE INTO

PAINTING PEOPLE MORE.

AND THEN PUTTING HOUSES ON THEIR

HEADS OR UMBRELLAS ON THE THEIR

HEADS OR ALLIGATORS.

ANYTHING THAT REPRESENTS THE

CULTURE HERE.

I'VE BEEN PAINTING A LOT OF

WOMEN IN SORT OF A REGAL LOOK.

CENTERED AROUND SOMETHING HAVING

TO DO WITH MARDI GRAS OR NEW

ORLEANS.

AND OFTEN TIMES I USE MY WIFE OR

MY DAUGHTER AS MODELS.

I'LL TAKE A PICTURE OF THEM WITH

THE RIGHT ANGLE AND PAINT THEM

IN.

SOMETIMES ITS MY WIFE'S EYES AND

MY DAUGHTER'S FACE OR VICE

VERSA.

JUST TO CREATE THESE WOMEN,

TYPICALLY CENTERED AROUND MARDI

GRAS.

AND I ENJOY THAT.

I PUT MY FAMILY IN WORK, I'VE

ALWAYS DONE THAT.

I DON'T KNOW WHAT ELSE I WOULD

PAINT.

FOR ME THAT'S REAL LIFE.

LADY MARDI GRAS IS MY ABSOLUTE

FAVORITE.

I USE THIS IMAGE ON ALL OF MY

CARDS AND ADVERTISING.

YOU CAN EASILY FIND HER AT A

BALL OR SOMETHING.

SHE WOULD BE THE LADY THAT

STANDS OUT.

WHEN I PAINTED THIS PIECE, I

NEEDED SOMETHING TO INTERTWINE

HER HAIR THROUGH THE HOUSE TO

LOCK THE HOUSE ON HER HEAD.

SO I ADDED THESE BIRDS, THEN I

ADDED THE CAT, I TEND TO ADD

SOMETHING THAT DOESN'T BELONG.

BECAUSE BIRDS AND CATS DON'T

REALLY GET ALONG.

TO GIVE IT CONTRAST.

ALSO THE BLACK CAT IS MYSTERIOUS

AS WELL.

IT GIVES HER THAT SORT OF

MYSTERY ABOUT HER.

THE BAYOU ST. JOHN BRIDGE IT'S

ACTUALLY CALLED THE MAGNOLIA

BRIDGE, RIGHT?

AND ONE DAY THIS LADY CALLED ME

AND SAID MY HUSBAND AND I ARE

RETIRED AND ONE OF OUR FAVORITE

THINGS TO DO IS SIT ON THE

PORCH, SIP WINE, AND WATCH

PEOPLE GET MARRIED ON THE

BRIDGE.

IT'S MOSTLY A PEDESTRIAN BRIDGE.

SO SHE SAYS THAT HER HUSBAND

MENTIONED ONE TIME -- HE SAID,

"HONEY WHEN I DIE, I WOULD LOVE

FOR A BAND TO MARCH ACORSS THAT

BRIDGE TO CELEBRATE MY LIFE."

SO SHE SAID HIS BIRTHDAY IS

COMING UP, I WANT TO GIVE HIM

THE GIFT BEFORE HE DIES.

COULD YOU PAINT A SCENE OF A

BAND CELEBRATING MY HUSBAND'S

LIFE ON THE BRIDGE?

SO I DID.

AND ALSO I PUT THEM ON THE BOAT

ON THE SEA.

ALSO MY WIFE IS IN THE CENTER OF

THAT BRIDGE.

I THOUGHT THAT WAS A SWEET

SENTIMENT FOR A HUSBAND.

THE HOUSE IS IN THE SCENE.

IT'S THE HOUSE THAT'S CLOSEST TO

THE BRIDGE WITH A PICKET FENCE

AROUND IT.

UPTOWN BOUND IS ONE OF MY

FAVORITE ONES.

BECAUSE IT HAS ALL MY FAMILY'S

NAMES IN IT.

SO ON THE LEFT IF YOU LOOK AT

THE BUILDINGS, YOU'LL SEE

STEPHANIE, MY WIFE.

THE SECOND ONE IS SETH.

HE'S MY 20 YEAR OLD.

HE'S THE CULINARY ARTIST OF THE

FAMILY.

THEN L.T. IS MY OLDEST.

L.T. STANDS FOR LITTLE TERRANCE.

HE'S NOT SO LITTLE.

HE'S 26.

HE'S A GRAPHIC ARTIST.

AND THEN THERE'S A SIGN THAT

SAYS SYDNI.

MY DAUGHT SHE'S 17 AND SHE'S A

MOBILE ARTIST.

AND 524 ON THE STREET CAR IS MY

WEDDING ANNIVERSARY DATE.

SO IT'S THE ONLY ONE THAT HAS MY

ENTIRE FAMILY IN IT.

AND THE STREET CAR IS NICE.

THIS PANDEMIC WAS HAPPENING AND

YOU SAW ALL OF THESE WOMEN.

80 PERCENT OF THE PEOPLE IN THE

MEDICAL INDUSTRY -- ON THE FRONT

LINES ARE WOMEN.

SO A FRIEND OF MINE SUGGESTED

THAT I PAINT THE ROSIE THE

RIVETER --

I THOUGHT IT WAS A FANTASTIC

IDEA, HIS WIFE WAS A NURSE.

SO I PAINTED HER, AND WHAT I

ENDED UP DOING WAS DONATING

ABOUT 5,000 OF THE POSTERS TO

THE HOSPITALS IN NEW ORLEANDS

AND SOME HOSPITALS AROUND THE

COUNTRY.

THE IMAGE WENT VIRAL.

I REALLY FELT LIKE I WAS

CONTRIBUTING TO THE PANDEMIC.

THERE'S NO COMPETITION FOR THE

JAZZ FEST POSTER.

THIS ONE GUY CALLED AND SAID I

AM RESPONSIBLE FOR SELECTING THE

ARTIST FOR JAZZ FESTIVAL AND I'D

LIKE YOU TO DO THE JAZZ FEST

POSTER.

SO THAT WAS IN '07.

JAZZ FESTIVAL IS THE HIGHEST

GROSSING FESTIVAL IN THE WORLD.

THE JAZZ FEST POSTER IS THE

HIGHEST GROSSING FESTIVAL POSTER

IN WORLD.

SO IF YOU GET IT OF COURSE IT'S

A HUGE HONOR.

YOUR WORK GOES ALL OVER THE

WORLD.

IF YOUR POSTER DOES WELL THEY

CALL YOU AGAIN TO DO ANOTHER

POSTER.

SO I'VE DONE FIVE JAZZ FEST

POSTERS SO FAR.

THAT REALLY PUT ME ON THE MAP

EARLY ON.

MOST PEOPLE THINK THAT THE

ARTIST CREATES IT ALL.

BUT IT'S NOT.

IT'S MORE OF A COLLABORATION

BETWEEN THE PRODUCER OF IT AND

THE ARTIST.

THE MOST EXCITEMENT I GOT WAS

WHEN MY THIRD POSTER DID WELL.

THE THIRD ONE IS ONE OF JAZZ

FEST'S BEST SELLERS.

THE TROMBONE SHORTY FROM 2012.

I LIKE HOW IT CAME OUT.

I LIKE THE ENTHUSIASM EVERYONE

GOT FROM IT.

I ENJOYED WORKING ON IT.

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>>> DANCE IS A POWERFUL TOOL

THAT CAN BRING GENERATIONS

TOGETHER.

IN COLUMBUS, A MOTHER, DAUGHTER

AND EDUCATOR USED TRADITIONAL

FOLK LORE DANCE, BAILE

FOLKLORICO, TO EXPLORE AND SHARE

THEIR CULTURAL HERITAGE.

CHECK OUT SCENES FROM MI TIERRA

BAILA.

AN ANNUAL PERFORMANCE PRESENTED

BY THE OHIO STATE UNIVERISTY AND

FOLKLORE HISPANO THAT EXPLORES

TRADITIONAL DANCES FROM SPANISH

SPEAKING COUNTRIES.

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>> MY MOM TOLD ME STORIES THAT

SHE WANTED TO DANCE WHEN SHE WAS

LITTLE AND THAT SHE DANCED TO A

SONG.

SHE WAS HAPPY WHILE SHE DANCE.

>> WHEN I WAS YOUNGER, IT WAS

VERY REWARDING TO BE ON THE

STAGE AND TO IN FRONT OF

THOUSANDS OF PEOPLE.

LIKE I USE TO GET SO MUCH

CONFIDENCE AND ENERGY FROM THAT.

MOST RECENTLY I FIND IT

REWARDING -- LIKE TRANSFERRING

ALL THAT TO MY STUDENTS.

THE SPARKLE THEY HAVE IN THEIR

EYES BEFORE THEY GO ON STAGE AND

THE BUTTERFLIES THEY GET IN

THEIR STOMACH, IS LIKE WHAT I

USE TO HAVE AS A KID.

AND I AM JUST EXCITED THAT I AM

ABLE TO PASS THAT ONTO THE NEXT

GENERATION OF STUDENTS.

A SORT OF EXPERIENCE THAT'S VERY

UNIQUE AND NOT VERY COMMON.

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>> THIS IS THE HAT WE HAVE TO

WEAR.

IT'S CALLED A SOMBRERO AND THEN

A REBAZO.

AND IF YOU WANTED YOU COULD WEAR

BRACELETS AND GOLD EARRINGS.

THE SUIT IS CALLED WHAT?

AND THEN THE SKIRT.

AND THE SHOES.

WE'RE SUPPOSE TO BRING THE

BRAIDS.

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>> AS A SECOND GENERATION

MEXICAN

AMERICAN, I THINK IT'S IMPORTANT

TO CONNECT TO OUR CULTURE.

MAKE SURE IT DOESN'T GET LOST.

SO IT'S ONE OF THE GREATEST WAYS

TO DO THAT AND TO REALLY EDUCATE

THE GREATER COMMUNIY ABOUT HOW

DIVERSE AND UNIQUE EACH PART OF

LATIN AMERICA IS.

>> IT'S DISCOVERING.

WE'RE DISCOVERING IT.

MY MOM WANTS ME TO KEEP GOING

AND GROW UP LIKE MS. PETINA.

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>>> WE END WITH MUSIC FROM THE

SELF PROCLAIMED WRECKLESS

UNDERGROUND ROCK AND ROLL BAND,

EARWIG.

THEY SING THEIR HIT, "WASTED ON

YOU."

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YOU COMING AROUND NOW SAYING

SORRY SAYING MY NAME YOU STILL

WANT ME I MIGHT BE ROUGH BUT

I'LL BE SECOND TO NONE IT

DOESN'T MATTER NOW EVEN IF

YOU'RE SORRY YOU WALKED AWAY

LIKE ALL THE LOVERS DO AND EVERY

WORD I SAID IS JUST WASTED ON

YOU IT'S MOSTLY IN THE MORNING

WHEN I MISS YOU ALSO AT NIGHT I

CAN'T SEEM TO GET YOU OUT OF MY

MIND I AM ONLY SAYING THIS

BECAUSE IT'S TRUE BUT I STILL

WANT TO BE WITH YOU YOU MEAN THE

WORLD TO ME BABY IM SORRY IT

DOESN'T MATTER IF I STAY AWAY OR

WAKE UP EVERYDAY STILL WASTED ON

YOU I WANT YOU NOW I WAS WRONG I

NEED YOU NOW LIKE I NEVER DID

BEFORE LIKE I NEVER DID BEFORE

HEARD YOUR DRAGGING CHAINS YOU

CAN'T FORGET ME.

WHITE HOT AND WASTED WAS ALL YOU

EVER WANTED TO BE NEVER HAD A

LOVER QUITE LIKE YOU MAKE ME

FEEL THE WAY THAT YOU DO BUT

SOMETIMES THESE THINGS JUST

DON'T WORK OUT THE WAY YOU

WANTED TO I AM ONLY SAYING THIS

BECAUSE IT'S TRUE I WILL ALWAYS

BE WASTED ON YOU WASTED WASTED

WASTED ON YOU.

WASTED WASTED ON YOU WASTED

>> WANT TO KNOW MORE ABOUT

EARWIG

AND WHAT THEY'RE UP TO?

GIVE THEM A LIKE ON

FACEBOOK.COM/EARWIGTHEBAND.

WELL THAT'S OUR SHOW.

REMEMBER YOU CAN FIND ALL OF OUR

STORIES ONLINE AT WOSU.ORG AS

WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US HERE AT WOSU, I AM

KATE QUICKEL.

THANKS FOR WATCHING.

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!!musiC@!!!musiC@!

>> SUMMERJAM WEST HAS A

COMMITMENT TO PLACING PERMANENT

PUBLIC ART ON THE HILLTOP.

IN 2018 OUR THEME WAS HILLTOP

RISING.

AND WE DECIDED WHAT WENT WITH

HILLTOP RISING WAS LIKE A

PHOENIX RISING FROM THE ASHES.

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>> SO IT'S ALL STEEL.

IT'S ALL MILD STEEL.

ALL IN ALL WEIGHT WILL PROBABLY

BE A LITTLE OVER 800 POUNDS.

WE START WITH AN ARMATURE AND

THAT'S ACTUALLY THE MOST

IMPORTANT PART.

WE BEND AND CUT THE STEEL INTO A

SHAPE, THAT'S LIKE BONES.

OR A FRAMEWORK FOR ARCHITECTURE.

AFTER THAT IT'S A LITTLE MORE

DECORATIVE.

YOU'RE ABLE TO START PLACING

THINGS WHERE YOU NEED THEM.

YOU CAN CUT EXACT SHAPES.

YOU CAN REALLY FIGURE OUT WHERE

YOU WANT TO GO FROM THERE.

IT'S ALL ABOUT THE BONES OF IT.

!!musiC@!!!musiC@!

>> IT'S BECAUSE WE THINK IT

ENRICHES PEOPLES LIVES.

THESE PAST FEW YEARS HAVE BEEN

THE ONLY TIME NEW ART HAS BEEN

INSTALLED ON THE HILLTOP.

SUMMERJAM HAS A PURPOSE AND A

MISSION TO BRING THAT NEW ART UP

HERE.

>> CATCH COLUMBUS AT ITS

CREATIVE BEST ON "BROAD & HIGH"

THURSDAY NIGHTS AT 8 O'CLOCK ON

WOSU TV.

!!musiC@!!!musiC@!

>> PRODUCTION OF "BROAD & HIGH"

IS FUNDED IN PART BY THE GREATER

COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING AND

CONNECTING THE COMMUNITY TO

CULTURAL EVENTS, ARTISTS, AND

CLASSES AT

COLUMBUSMAKESARTS.COM.

!!musiC@!!!musiC@!


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