A Lynchburg Woman Learns to Forgive After Being Kidnapped as a Child

By: Megan L. Horst | Photos By: Ashlee Glen

In the small rural village of Kakinada, India, lived a young girl. Born into poverty, captured, and trafficked before she was even eight years old, Devi reflects on her hardships and faith in Christ that has not only sustained her but allowed her to forgive those who kidnapped and abused her.

When Devi was a young girl, her mother ended up living on the streets and, out of necessity, turned to a life of prostitution.

“[At the brothel] we lived in one bedroom with six people,” Devi said. Her two brothers also lived with them. Devi worked a number of jobs, as do many children in India who are born into poverty. She recalls cleaning houses, selling snacks at the theater, and her favorite job—selling spices at the bazaar.

“Child labor is very common in India,” Devi said.

When the brothel was eventually shut down, Devi and her family ended up on the streets. Her mother became ill, and she was taken to a hospital with horrendous living conditions. Regardless, Devi did not want to leave her mother’s side.

“I slept under her bed on the floor,” Devi said.

“I just wanted to be with her.” After nearly a month of taking care of her mother in the hospital, a man who noticed their situation approached them, offering to take Devi to find work.

“Again, child labor is common in India,” Devi said. He promised to take Devi to a workplace and bring the money Devi earned back to her mom, assuring Devi she could come back to visit. Although she did not want to go, she knew her wages would help with her mother’s medical care. She never imagined that her mother would pass away that same night, and that would be the last time she saw her.

The man took Devi on a nine-hour train ride to an orphanage, where he was compensated for bringing her.

“He sold me to that orphanage,” Devi said.

“I remember them exchanging money in front of me.” At that moment, Devi knew she had been trafficked.

Devi soon discovered that she was not alone.

There were many other children who had been trafficked. The “orphanage” had a valid license; however, it was, in fact, a front for child trafficking. All the children at the orphanage had been kidnapped and were held until someone overseas wanted to adopt them.

“Every kid in that orphanage had a story to tell,” Devi said. When a child was brought to the orphanage, their hair would be cut, their names would be changed, and they would be told that their families were dead. Changing their identity and leading them to believe there was no family to be reunited with was a deterrent to running away.

Devi explained that they were not treated well and were put to work in the rice field, on the farm, and in charge of caring for the younger children. The girls were physically, sexually and mentally abused, but whenever prospective parents came from overseas to visit the orphanage, they would “put on a show.”

“They’d get all these workers to come and pretend they were working there,” Devi said. “We put on nice clothes, and they fed us. It was like a showcase.” Although the children were all kept in one room, there were other rooms in the orphanage, such as a dining room, that were kept nice and only used when prospective parents came to give the illusion that the children were well cared for.

“It was all a lie,” Devi said. “Behind the curtains, no one knew what was happening.” Most of the children were eventually adopted. The international parents who paid high adoption fees had no knowledge that the child they adopted had been a victim of human trafficking.

Like many of the children, when Devi learned she was going to be adopted and taken away from India, she tried to run away with other girls from the orphanage. Their plan did not work, and they were caught, brought back to the orphanage, and badly beaten.

In 1998, after being in the orphanage for two years, Devi was adopted by a family in Virginia.

“I didn’t want to be here,” Devi said, remembering the days following her arrival. “I hated it here.” Aside from dealing with the trauma she had endured, without knowing any English, coming to the U.S. was challenging for Devi, and she struggled to communicate with her new American family.

“She [adoptive mom] labeled everything in the house to teach me,” Devi said.

Once she was able to communicate, Devi told her adoptive parents what had happened to her and explained she was not even an orphan; however, they were skeptical of what she claimed.

“Who would believe a kid?” Devi said. Her adoptive parents were given death certificates of Devi’s biological parents, however, the certificates were fabricated. Around the same time Devi was trying to convince them of her story, there were two other girls from the same orphanage who had been adopted by a family in Alabama, and they were speaking out about their story. Their adoptive dad worked to bring awareness to the child trafficking ring that was fronting these adoptions. The orphanage was eventually exposed, and the owner was arrested.

When Devi was in high school, she returned to India and was reunited with her family.

“When we got there the first day, to my hometown, the streets where I grew up, everyone was still there,” Devi said.

She discovered that her town and family had looked for her after she disappeared, but with limited resources, they could never find her and assumed she was dead.
Although Devi’s parents were Hindu, she had heard about Jesus as a young child. While in the orphanage, she did not know Jesus as her Savior yet, but there were times as a child when she felt the Lord’s presence and comfort.

“I didn’t become a believer until I came to my U.S. adoptive parents,” Devi said.

“It came easy to accept it because I was aware of it. It clicked.”

Trying to heal from her experiences, in 2012, Devi again returned to India for a visit and decided to find the location of the orphanage, which had been converted into a glass business. Upon visiting the location, she came face-to-face with one of the people who had run the orphanage. He claimed not to remember her, but she remembered him.

“You don’t have to remember me,” Devi told him. “I was just a number to you. You were making money out of us.”

When Devi was about to leave, he asked if she hated him, and she said no, but she hated the system and what was done to so many children. She explained that the only reason she was able to forgive him and the others who abused her was because of the Lord.

There are still times that Devi strives to feel close to her Indian heritage by cooking Indian food, watching a movie, and crying over the memories of her past, but then she can let go of the hurt and move forward, giving it “all to the Lord.” She said you must decide how you allow your past experiences to affect you.

“You have to make that decision,” she said. “It can eat you up; let the poison get the best of you, or you can make peace with it and move forward.”

Making a Difference

A local artist uses her skillset to create beautiful works and foster Lynchburg’s growing art scene

By: Christian Shields | Photos By: Ashlee Glen

Tucked away on the third floor of the Bailey Spencer Hardware building on Lynchburg’s main street, the Studio 3 Art Gallery provides patrons with a wide range of artistic expertise, all courtesy of owner JoAnne Becker.

From woodworking to abstract paintings, portrait photography, family history books, and more, Becker has a self-described “compulsion to create things.” This desire to create beauty causes her to try her hand at many different art disciplines with a high level of success. This often leads to unique combinations of photography intertwined in other art forms, such as her custom cigar boxes.

“It’s a good day when I create something interesting,” she said with a smile.

Becker originally moved to Lynchburg from Maine eight years ago. During a conversation with Bailey Spencer owner Michael Pearl five years later, she was offered the chance to rent the third-floor studio space and she jumped at the opportunity.

While Becker places high value on her creations and takes pride in her work, she refuses to hoard these treasures or over price them for her own personal gain. She instead keeps her prices reasonable and also features low cost items to ensure everyone who walks into her studio can take something home if they choose.
“Really the impetus for this is I love what I do, and I want to share that with people,” she said. “It makes people feel good to have their portraits done.
I get satisfaction taking photographs, but it’s also really rewarding to see them go somewhere where people will enjoy them. Whether I give them away or sell them, it’s the same feeling.

It’s not about the money, it’s about sharing what I do.”

This heart for the community extends beyond Becker’s approach for selling her own products. On Saturdays, she hosts a maker’s market in which local artists of any age can set up a table in her gallery to sell their wares. Rather than seeing other artists as competition, she sees them as fellow craftsmen.

“Art is very personal, so it’s hard for some artists to put their work out there for everyone to see, it definitely was for me,” she said. “I am grateful to be able to help young artists at Studio 3 and watch them gain the confidence and fortitude they need for success.”

This summer, Becker will hold her first solo art show, “Beauty of the Unexpected,” at the Up Front Gallery at the Academy Center of the Arts, with an opening night on June 6 from 5 to 8 p.m. The show will run through July 26.

Explore JoAnne’s paintings and photography at joannebecker.com and connect with Studio 3 Art Gallery on Instagram at @studio3lynchburg.

You can find JoAnne’s custom cigar boxes online at creativecigarboxes.com.

Painting with Purpose: Artist uses his talent and love for art and nature to inspire others

By: Megan L. Horst | Photos by: Ashlee Glen

As a born and raised Virginian, Anthony Bowes grew to love and appreciate the Blue Ridge Mountains and has drawn inspiration from the beauty of God’s creation.

“I’ve always enjoyed the outdoors and getting outside, so that plays a big part in my inspiration coming from the landscape,” Bowes said. He explained that when he looks at something, he sees it from the point of view of an artist.

“Ultimately, my goal is to represent the thing that I’m depicting while drawing attention to how I experience God’s natural world,” Bowes said. “It’s my hope to invite the viewer to pause and reflect on the landscape in a way that is both intimate while expansive, capturing the restless beauty of the Blue Ridge Mountains.”

Bowes began his career as an artist at a young age. With the encouragement of his grandmother, who was an art teacher, Bowes first showcased his artwork at the age of seventeen. Shortly thereafter, he painted a portrait of a fallen State Trooper, gifting it to the trooper’s family.

“Their reaction to my painting changed my life forever,” Bowes recalled. “It was this painting, and how I saw it affect a family in such a positive way, that led me to truly believe in myself and my art.” This experience gave him a passion to bless families who have lost loved ones with paintings.

“I want to continue to give back in that way,” he said.

Since his career launched, Bowes has sold over 400 paintings. He has also won “Best Artist Under 30” for Plein Air Magazine, and one of his oil paintings won a second-place award at the 31st Annual Art Show of Moneta, Virginia.

Although he has been successful, he made a point to note that it has not always been an easy journey.

He desires to encourage other artists to continue pursuing their talent even when it is challenging or when you must work a side job to support yourself as an artist.

“Just because you’re doing something on the side doesn’t mean you are not an artist or any less of an artist,” Bowes said. “Just because things aren’t going the best now doesn’t mean God still doesn’t have a plan for you and the gifts that he has given you.”

Bowes said he never takes the gift the Lord has given him for granted.

He has a desire to use his talent to help others and has found ways to not only inspire people through his paintings, but also raise funds for various organizations. One of the charities he participated in was a series of auctions that benefited the Virginia Capital Trail Foundation and the Christian Wood Scholarship Fund.

“Originally, I tried to do all this stuff for myself in trying to find my identity,” Bowes said. “But now I just give glory to God for the gifts he has given to me and not take them for granted.”

Palmera House Opens on Bedford Avenue

By: Izzi Diaz Young | Photos By: Ashlee Glen

Cozied up near the corner of Bedford Avenue is a brand new place where friends, family, and co-workers alike can gather. This venue combines a love of community, a passion for beautiful spaces, and an appreciation for healthy meals. Open since January of 2025, Palmera House has quickly become a pillar in the downtown-adjacent community, welcoming guests with its stunning design, heavy use of natural elements, and comfortable nooks.

Owner Erica Kerns-Calfee always had the concept of a place just like this within her heart. She began her professional career in varying corporate industries, spanning from transportation to interior design. She later transitioned into retail, where she worked at Pottery Barn and J.Crew. Through these career steps, Kerns-Calfee began to better understand the customer experience: what a shopper encounters both visually and experientially is crucial to the bigger picture of any business.

As a longtime lover of Bedford Avenue in Lynchburg, Kerns-Calfee reunited with the street and the city after spending a decade in Texas. She was then, and still is, a frequenter of the businesses that are now her own business’s neighbors, such as Golf Park Coffee and The Dahlia.

“I love spaces that have a magnetic pull,” she said. “I always thought, one day, I want to create something like that. A place where people love to be.”

After returning to Lynchburg, Kerns-Calfee joined the Moore & Giles team as VP of Product Development, Merchandising, and Design, where she worked for three years.

“I have such an appreciation for leather now; its history, anomalies, and how we should choose this material over things manufactured,” she noted. “Taking what could have been waste and turning it into something beautiful and loved for generations. It’s the patina that happens over time to furniture, vessels, leather, and art that makes them so coveted and special. These are the same layers you’ll find in Palmera House.”

Her unique vision and love for all things reclaimed soon took shape into a clear picture. She discovered that the establishment once holding Elliott’s Cleaners was under new ownership by Penny Lane Properties.

“I’ve been in the corporate world for nearly 30 years, so the thought of stepping away and taking this risk felt equal parts terrifying and invigorating,” she added. “We have this one little life to live and to learn, and taking chances is a big part of what gives our lives meaning. So, I decided to go for it.”

She crossed her fingers, pitched her concept, and just like that, Palmera House was in the works.

But the transformation didn’t happen overnight. The building had nearly no roof, no working water or sewer, no working electrical, and broken windows. With the goal of adding two additional floors for apartments above the future shop, there was work to do.

Despite all the challenges these issues may have presented, her imagination cut through.

“I saw it. The exact shop, just as it stands today,” she recalled. “I could see the bodega counter, the living wall, the rugs hanging, all of it.”

From there, the process of turning an aged structure into a new and modern cafe, lounge, and boutique truly began.

“I started with the layout of the space and identifying the partnerships I would need to make it all happen,” Kerns-Calfee remembered. “Then, the collecting began. The basement of my home became an incredible Tetris-like room of furniture pieces. I love that all of them have lived a long life before now and are being rebirthed in a new space to be enjoyed and loved again.”

The intricate and distinctive design choices within the main lounge area itself are only part of the overall picture. When visitors arrive at Palmera House, it might also be in their best interest to come hungry, ready to indulge in some of the flavorful options that span across the menu of Palmera Bodega, the cafe within the business.

“The menu was another fun creative moment,” Kerns-Calfee added. “I love smoothies, bowls, and salads, so I went to work crafting a menu of items that were recognizable, but with a few fun differentiators.”

Palmera Bodega, open from 7 a.m. to 7 p.m., offers guests a menu filled with salads, smoothies, and frozen paletas, to cold brew directly from the shop’s adjacent establishment, Golf Park Coffee. After patrons enjoy their meal, they are invited to travel to the retail side of the shop, where they can discover esteemed brands such as Abigail Ahren, Berg’s Potter, and John Derian.

The living wall serves as any plant-lover’s dream and beyond, as it is overflowing with a variety of alluring plants, pots, plant-care, plant accessories, and more.

The unmistakable comfort and relaxed feel of the shop comes from Kerns-Calfee herself, as she relayed how much it resembles her own living space.

“It’s an explosion of plants and greenery, layered with antique pieces, and stacks of books in every corner,” she continued.

“Home is about surrounding yourself with the things that you love. That is what Palmera House is for me. I hope others fall in love with those things too.”
In conjunction with serving as a bustling cafe during the day, Kerns-Calfee noted her favorite time in the shop is from 4 p.m. to 7 p.m.

“I love when the sun dips, the lights are low, and there is this incredible energy shift.

We pour natural wines and open craft beers,” she said. “Friends are gathering to catch up, play cards, or decompress from the workday.”

The community that surfaces during these hours creates an extremely special time for all who step inside, including Kerns-Calfee, who is reminded of her initial prescience of the space.

When inquired about any future dreams for her business, Kerns-Calfee hopes that it will be a place where people simply love to be. She said she wants it to be the first place someone thinks of when deciding where to go, a place where people enter the doors and immediately feel home.

“I want everyone who walks in to enjoy being here: working, having meetings, and spending time with friends,” she explained. “I want them to always find warmth and kindness from our team.”

The love that Kerns has for the city of Lynchburg is evident. She fondly referred to her town as a “boomerang city,” a place where many of the current residents arrived in their youth and then left to explore other cities and opportunities. But, like so many, Kerns-Calfee made the decision to come home.

“The magnet-pull of Lynchburg stays in the heart. It is such a special place,” she gushed. “I speak to so many people who, like me, have left and returned. To come back to a city I love and create something beautiful for the people who call Lynchburg home truly feels like a gift.”

What’s next for Palmera House? In 2025, the business’s sister company, Casa Nueva on Fort Avenue near the City Stadium, will open as well. Kerns-Calfee described this venture as “a large and incredibly beautiful space that, like Palmera House, will be filled with greenery, bringing the outdoors in for private events.”

The Casa Nueva space will be available for rent, where it can hold larger events or special occasions with an overall ambience that resembles Palmera House.
“If you dream of an outdoor event, but fear the unpredictability of weather, Casa Nueva could be the perfect location! We’re hoping to have the space ready to rent in April of 2025,” noted Kerns-Calfee.

Palmera House reaches out to the community of Lynchburg, welcoming everyone in with not only idyllic ambience, noteworthy meals, and specially curated products, but with a hug and a warm presence that reminds any who enter that this place is their home, too.

Delmus Phelps’ Contagious Joy in Flowers: The Art of Offering Healing Through Paintings

By: Emeri Glen | Photos by: Ashlee Glen

Settled next to a small garden and near the nesting spot of a neighboring doe, Delmus Phelps’ red studio sits neatly. It’s filled with natural light from its several windows and, covering the wall opposite the entrance, still moments captured on canvas. One of these pieces recreates Phelps’ son looking out over a valley, trying to discern which path to take following his graduation from high school. Another is of a colorful giraffe playfully sticking its tongue out. But most of these poignant pieces are flowers.

Somewhere between 2007 and 2008, Phelps was walking along a street with his son when he chanced to see a marvel through a storefront window.

“I saw the painting, from the street, through the gallery, all the way in the back… That [the positioning of the painting] was done on purpose,” he recalled.

Phelps had glimpsed an unusually large, detailed painting of three blooms. Despite his son’s chuckles, Phelps left his walk to go search through the gallery for the piece. After winding through the maze of paintings to the end of the gallery, he finally was able to properly appreciate what he’d seen from the street, and thus Phelps, immediately falling in love with this style of artistry, began to paint flowers.

Phelps, born in Germany, raised in the United States, and well-traveled, has experienced a wide range of what this life has to offer. He is acquainted with both great joy and heavy grief, and seeks to represent these experiences in his art. Phelps’ family deemed him “the artist” amongst their bunch when he was young, and he has been painting impressive pieces for decades.

Following another stint in Germany, where he was stationed with the Airforce, Phelps’ returned to the United States with his growing family in tow and began to hone his passion. His oil on canvas pieces include familiar locations around Lynchburg, landscape, still life, and everyday objects, but his main focus is on flowers and their beauty.

Phelps spoke of a study conducted by California University where individuals were gifted flowers.

“Their face typically lights up,” he said. “People are really happy when they see flowers. … And I’ve asked customers who’ve bought my paintings, ‘Well, what was your main reason?’”

These customers’ reasons were primarily in keeping with the results found by the study; flowers bring joy, and Phelps paints them well.

Some of the themes that permeate Phelps’ work are that of healing and not worrying oneself over circumstances that aren’t within one’s control.

The yellow swallowtail butterfly serves as a spiritual reminder to Phelps that everything will be ok, and he mentions that it makes appearances in many of his paintings. Encompassing these themes is the common, meaningful need for beauty in the form of art. Phelps spoke about how his customers recognized the grief in his paintings, and this shared meaning helped them to find commonality in beauty and understanding.

“I guess the main thing is… You need art in your life, and it’s healing, especially flowers,” he said.

Phelps continues to offer healing in the form of his empathy and painted blooms. To read more about his story, visit his website www.delmusphelps.com.

Greg Starbuck’s Remarkable Experience as a Historical Headwear Hobbyist

By: Emily Mook | Photos By: Ashlee Glen

If you know—or at least know of—Greg Starbuck, you likely already know that he wears many hats. If you don’t, however, he would simply like for you to know that he makes them. Starbuck has been creating authentically reproduced 19th century headwear, specifically Civil War kepis, for more than 40 years, and his experience doing so is like something out of a Hollywood movie—or, as it were, something in multiple Hollywood movies.

Starbuck’s early interest in American history paired with his early exposure to sewing made him ideally tailored for his eventual—and highly fruitful—hobby as a kepi creator.

“I grew up with a mother who was into quilting, so I grew up surrounded by sewing machines and fabric,” he remarked. “It was not an unfamiliar domain for me.”

Starbuck made his first cap at the tender age of 13, but the hobby really took hold during his time working at a historic Civil War site in Georgia in the 1980s.

“A big part of our programming involved people dressing up in uniforms,” he recalled. “Back in those days, you couldn’t just go online and order historical gear, so some of my colleagues and I would get together and sew things ourselves.”

Starbuck soon realized that he had a particular affinity for creating kepis.

“As time went on, I gravitated toward Civil War headgear because the pieces are distinctive and attractive—and small!” he said. “Making the headgear also entails working with fabric and leather, and I like working in both of those disciplines.”

According to Starbuck, the kepi is “ubiquitously associated with the Civil War,” but it actually originated in France. America adopted its style for the Civil War, and many other countries—including Japan, Mexico, and Germany—also adopted its style in the 19th century. With its easily identifiable shape and style, the kepi is undoubtedly an iconic historical artefact.

Starbuck’s ability to honor the kepi’s rich history while innovating and improving his creative process makes him a master in his field.

“The techniques, materials, and equipment I use have all evolved over time,” he said.

“Even though I’ve been doing this for more than 40 years, I’m still always learning.

It’s fun to discover new things. I may have done something a certain way for 20 years and then learn a new approach that’s easier and also produces better results. I’ve gotten more economical and streamlined over the years.

It’s natural to evolve and improve when you do the same thing for this long!”

Of course, innovation sometimes entails an enhanced aptitude for authentically replicating techniques of the past, as is the case with the fabrics Starbuck uses for his kepis.

“In the early days, I would just go to the fabric store and buy fabric, but now there are a lot of places that specialize in producing fabrics exactly the way they were produced in the 19th century,” he remarked. “They will weave the fabrics on looms and dye the fabrics with vegetable dyes rather than modern dyes.

The materials now are much more exciting to work with because they replicate what was used back then so well.”

From start to finish, Starbuck’s kepi-creating process runs like a well-oiled machine.

“I keep a pile of fabric and leather on hand,” he stated. “When I need to make something, I simply pick the right pattern out—I have 30 to 40 patterns—trace it, cut it out, assemble the basic framework by machine, and then hand-sew the rest. I then hand-sew the leather components like the visor and sweatband. I also have a supply of buttons on hand because each cap has a button on either side. I’ve literally accumulated thousands of buttons over the years! There’s also some ironing involved.”

As luck would have it, Starbuck took on another hobby in and beyond the 1980s that would ultimately help catapult his kepi-making hobby to A-list Hollywood heights: acting as a TV and film background extra.

“The 1990s and 2000s were a sort of golden age of historical movies, and I got to work on several of them as a background extra,” he recalled. “They [movie crews] typically use the same 40 people and just dress them up differently for different scenes. Being an extra got me slightly into the Hollywood network.”

Among the films Starbuck has appeared in are Ironclads, The Broken Chain, Tecumseh: The Last Warrior, Forces of Nature, The General’s Daughter, The Hunley, and the hugely successful and acclaimed The Patriot. He can be seen playing a squeezebox in a bar scene in The Hunley and playing a fife in the Charleston British headquarters scene in The Patriot.

Starbuck’s first major motion picture costuming experience was as a props assistant on Gettysburg in 1993. He cites his first big costuming break as 2003’s Gods and Generals, saying that “the costume designer for that film was a history friend of mine, and he called me to see if I could create the headwear.” He designed and produced more than 80 pieces of principle headwear for all lead actors in the film including Stephen Lang, Jeff Daniels, C. Thomas Howell, and Bruce Boxleitner.

2003 proved to be a banner year for Starbuck; his next project was the blockbuster smash Cold Mountain. He both designed and handcrafted Civil War headgear for Jude Law and other actors and served as an advisor to the costume department.

Since 2003, Starbuck has worked on over a dozen film and TV projects, most notably 2012’s multi-Oscar winning, Steven Spielberg-helmed Lincoln.

“I did four caps for Spielberg’s Lincoln,” noted Starbuck. “They said they needed one of the caps by a certain date, but then they contacted me and said they needed it sooner for rehearsals in Baltimore because Spielberg wanted everyone to rehearse in full costume. I told them that even if I finished it that day and shipped it the following day, it wouldn’t make it in time, but they said, ‘No problem; we’ll send someone to pick it up.’ So, someone came and picked it up and drove it to Baltimore.”

Regardless of the size, scale, and commercial success of—and personalities involved in—Starbuck’s many projects, he says that every experience has been his favorite.

“The energy, enthusiasm, and adrenaline rush on a movie set is unparalleled,” he remarked. “Each project is different, and those differences keep things fun and interesting!”

Similarly, whether Starbuck is making a kepi for a major celebrity, a museum exhibit, a living history or reenactment event, or a noncelebrity history enthusiast, he approaches each project with curiosity, enthusiasm, and a profound regard for both the client and the craft.

“I think the most rewarding thing is seeing someone really happy with what I’ve made for them,” he stated. “It’s great to see someone in their 60s acting like a kid at Christmas! It’s also great to see what you’ve made up on screen on a famous A-lister.

Of course, it’s not just about producing something—the process is also a form of relaxation therapy for me. It’s something I truly enjoy doing.”

No matter what his next move—or movie—may be, Starbuck tips his hat to the legacy he has built thus far.

“If I stopped tomorrow,” he said, “all of my dreams would have been realized.”

Not sure where to start with that holiday shopping list? You’ve come to the right place!

Our annual Holiday Gift Guide is an overview of unique gift ideas, all found from local businesses. So you’ll not only feel good about what’s under the tree, but you’ll also know your purchase helped support the local economy.

 

Irvin Reynolds’ ‘Preacher’s Pick’ Food Reviews

By: Olivia Carter / Photos By: Ashlee Glen

Lynchburg native Irvin Reynolds has always had a deep connection to his community. From growing up in the Richland Hills subdivision, delivering newspapers and working at the local Winn Dixie, to embarking on a career in food service and ministry, Reynolds’ life has taken many turns.
Now, after nearly 40 years away, he’s back in Lynchburg with a new mission—finding the best dishes in town ranging from hot dogs and burgers to barbeque and pizza.

Reynolds left home after high school to pursue higher education and a career in retail grocery and food manufacturing. He worked for companies like Winn Dixie and CPC International, managing stores and overseeing food production, all while learning the ins and outs of the food industry. His expertise ranged from butchery to crafting grocery store “meal solutions,” a precursor to the modern-day ready-made meals we find in today’s grocery aisles.

While in Charlotte, where he lived for 28 years, Reynolds also became involved in ministry, eventually serving as a discipleship pastor at a large church. His wife, Donna, also became heavily involved in food service at the church—feeding more than 600 people at a time.

But after years of service, the couple felt the pull to return home to Lynchburg, especially with their grandchildren now living in the area.
The Reynolds moved back in 2023, settling near their family. Shortly after, an unexpected opportunity arose. A small church in Evington—Bethel Baptist—needed a pastor and Reynolds agreed to serve, returning to his roots in ministry.

But it’s not just ministry that has captured Reynolds’ attention since his return to Lynchburg. Last August, while browsing the “Living in Lynchburg” Facebook page, Reynolds noticed a local debate about the best place to get a hot dog. Inspired by his own love for the classic American treat, Reynolds decided to start a fun new project—“Preacher’s Pick.”

Each week, Reynolds would visit a different restaurant around Lynchburg to sample their hot dogs. He would share his thoughts on Facebook, accompanied by photos of the hot dogs and a bit of commentary on the experience. His posts quickly gained traction, sparking lively discussions among locals about their favorite spots.

“I grew up with the Weenie Stand and Texas Inn, so I know a good hot dog when I see one,” Reynolds said. “It’s been great to reconnect with the food scene here and it’s a fun way to explore Lynchburg again.”

Reynolds’ “Preacher’s Pick” has become a charming addition to the local online community, offering residents a fresh perspective on old favorites—such as the humble hot dog. Through his light-hearted reviews and thoughtful engagement, Reynolds is creating a new sense of camaraderie among Lynchburg’s food lovers.

“I have to say, there’s something special about the Weenie Stand,” he said.

“It’s nostalgic and it always hits the spot.”

His approach to reviewing local food spots is all about detailed descriptions and community engagement. By asking locals for their favorite spots, he gives them a chance to voice their preferences, and the response has helped drive the direction of his reviews.

He said his process involves visiting the top-nominated places, ordering a consistent meal—in the case of the hot dog: a hot dog with chili, slaw, and onions—and providing thorough descriptions of every aspect: the bun, meat, chili, slaw, condiments, and even the price.

The detailed nature of his reviews, inspired by what he learned from Food Network shows, stood out to the community. Rather than simply stating that the food was good, he explained why it was good, noting the quality of the chili and whether it was meaty or whether the slaw was homemade or store-bought.

Initially, Reynolds posted his reviews in the Lynchburg Recommendation group, but after his posts—especially on fried chicken—gained popularity, Kipp Teague, the administrator of Living in Lynchburg, suggested he share his reviews there instead.

He said that oftentimes, his posts will drive attention to small, often overlooked, local restaurants.

What began in August of last year has snowballed into a local sensation.

“People started paying attention, especially when I reviewed fried chicken,” Reynolds said. “That one really got people talking.”

He said he has adapted his method based on feedback. For example, while hot dog and fried chicken reviews were a hit, taco reviews didn’t receive the same enthusiasm, partially because tacos didn’t photograph well and there were diverse expectations about what makes a good taco. Ultimately, he said his aim isn’t to act as a food critic but to promote local businesses and share personal experiences that resonate with the community.

“One of the biggest challenges is to keep the reviews positive, even when there are some aspects of a dining experience that aren’t great,” Reynolds said. “My intent is to promote local businesses.”

In just a year, he has reviewed everything from fried chicken and barbecue to cheeseburgers, tacos, and ice cream.

His selections are crowd-sourced as much as they are driven by his own curiosity.

He admits that he doesn’t feel like he’ll run out of places to review anytime soon.

“I’ve been surprised by the variety we have,” he said. “Lynchburg does have diversity in food styles, though some people don’t think so.”

With his latest endeavor focusing on mac and cheese, Reynolds said he has learned a lot about Lynchburg’s food scene—most notably, how slow it is to embrace change.

“Lynchburg is cost-conscious.

People get excited about new restaurants, but then it goes back to, ‘Well, how much does it cost?’” he said. “People here talk about the IHOP coming, and the next thing you know, everybody’s hyped up.

But two days later, they’re saying, ‘That place is expensive.’”

Reynolds has used the Preacher’s Pick platform to introduce the community to some hidden gems. One being Jed’s, a small barbecue food truck in Madison Heights. After his review, the place saw a surge in business.

“When I went back, the guy working said, ‘I know who you are. After your review, we got slammed, and we’ve been slammed ever since.’ It’s moments like that that make it all worth it,” he said.

Despite his success, Reynolds keeps it humble. He’s just a local preacher, enjoying good food with his wife, Donna, and sharing the experience with the community. He’s not worried about burnout or losing momentum. For him, there’s always a new dish or restaurant around the corner waiting for his Preacher’s Pick stamp of approval.

“People will tell someone, ‘Did you see what he said? Let’s go there tonight,’”

he said. “That’s what it’s all about, bringing people together over good food.”

Fine Art Photography and Ethereal Self Portraiture

By: Emeri Glen | Photos by: Ashlee Glen

Lillian Merritt works in avenues of redemption, but this may not be evident upon first glancing at her work. Filled with beautifully rich tones, breathtaking scenery, and packed with ample opportunity for different interpretations, Merritt’s fine art photography exists to create shared meaning.

Merritt grew up in the small military town of Eden, Oklahoma, with an older sister, two scientifically inclined parents, and a love for the arts. At the surprisingly young age of two, Merritt was already learning ballet at a studio, and it was at this establishment that she was first exposed to photography at the age of eleven.

For Merritt, photography just clicked.

“I was just like, this is it. This is what I [want to] do long-term,” she said.

Merritt began to explore the different avenues of photography and eventually landed on self-portraiture with a twist; she added the component of fine art-style post-editing to create something ethereal.

“I instantly fell into this other-worldly, fanciful style,” she remembered. “I’d never seen it anywhere before.”

Encouraged by her ballet studio’s photographer and an online teacher (who Merritt has since met and worked with), Merritt began to flourish in her newfound venture.

In an almost eerie way, Merritt’s pieces often have subtle connections to her childhood. One piece, “Jadis,” is based off of the popular Chronicles of Narnia book series. The picture portrays a white dress-clad Merritt trapped and suspended behind a fractured pane of ice. The whole piece is a chilling blue, much like the environment of The Lion, the Witch, and the Wardrobe. Merritt excitedly reminisced about how she grew up listening to her mother read the books in the series.

“The books are amazing. … Edmund is my favorite,” she said. “There is a special place in my heart for people who are like the black sheep, the people who need extra love and saving.”

Merritt and her family have lived in the Lynchburg area since 2015, and it was around this time that she truly began to invest in her natural talent.

By 2017, Merritt had gained the opportunity to send her art to a gallery in The Louvre. While she wasn’t able to travel with her art that year, she has since visited France, England, several states in the U.S. (her favorite is Montana), and several other countries. On each trip, she’s made sure to add to her photo reserves.

Merritt’s artistic process begins with coming up with a theme, envisioning what she wants to communicate through her art, packing up her tripod, camera, and any props that she may need, and setting off for her shoot location. After the shoot, which typically takes thirty minutes or so, Merritt heads back to her studio and resizes her photos to fit her standard template. Then comes the fun part, where Merritt plays with light and magic in the colors and landscape of her photos.

When she’s not creating with her camera and laptop, working her day job, seeking out new shoot locations, or choreographing for a production, Merritt is planning her next steps. Her love for “black sheep” and the Edmunds of the world has played a part in her vision for redeeming things very near and dear to her heart: Old abandoned homes.

“I’ve always loved the surrealness about abandoned properties,” she said. “I’ve always wanted to restore them. They need—they deserve—a second chance at life.”

Merritt hopes to start a nonprofit in the near future where she redeems these old homes (she’s already purchased her first and is ecstatic) and creates an environment for other artists to thrive and grow in. Its name? “Restory.”

To contact or learn more about Merritt and the stories that she tells through her work, visit her website (www.strengthofatlantis.com) or
Instagram account (@strengthofatlantis).

A Day in Pompeii Is Changing the Perception of Female-Fronted Metal Music

By: Olivia Carter  |  Photos by: Ashlee Glen

Angry music for happy people.” This is how members of local band A Day in Pompeii describe their music.

The heavy rock and metal band describe their sound as a mix of intense, emotional music aimed to uplift and energize listeners. While the band has a wealth of original material, they also perform covers to engage audiences and draw them in. 

The band formed last year and today includes Anna Tracy, Candy Phelps, Jonathan May, and Brian Honeycutt.

For Tracy and Phelps, who are sisters, music has always been a family affair.

“Candy and I have always been in music together. It’s a family kind of thing,” Tracy said.

Phelps, the bassist and vocalist for A Day in Pompeii, has always felt a deep connection to music.

“I’ve always felt drawn to be involved in music in one way or another for as long as I can remember,” she said.

Creating, performing, writing, and recording music is not just an activity—it’s a part of her identity.

“It’s part of who we are,” she said.

May, the guitarist and harsh vocalist for the band, said he became involved after he asked Tracy to sing on one of the songs in the band he was playing for at the time.

The collaboration went well, and an idea formed.

“We should start a band,” he suggested, and the rest, as they say, is history.

The origin of the band’s name, A Day in Pompeii, stems from a question at May’s workplace: If you could go anywhere in history without affecting the timeline or fearing death, where would you go?

May’s answer was, “the last day in Pompeii.” He pitched this idea as a band name, and Tracy immediately saw its appeal.

“If I read that, I’m going to click on it. It says metal, it says rock, it’s heavy, and it’s catchy,” Tracy said.

Despite their demanding schedules, the band remains committed to producing high-quality music.

“It’s a challenge to do it when you have a full-time job and a family, but we get it done. We have a high standard of what we want to sound like,” Tracy said.

The band meets weekly to rehearse, working on songs individually at home, and coming together to perfect their sound which blends heavy and melodic elements.

“We meet once a week, rehearse, and practice. We work on our songs individually at home, and when we come together, it’s like a group project where everyone does their part,” she said.

Tracy, who has a background in rock, acapella, and gospel music, brings a fresh dynamic to the band.

“I’ve never been in a band where I was singing with a male voice. The harsh vocals from John are new and exciting for me,” she said.

Despite the male-dominated genre, she believes there is a place for women in metal.

The genre already has plenty of women in it, Tracy said.

“These women have been around for like two decades. So it’s not new. As for A Day in Pompeii, I guess the uniqueness for us is we really like to have the harmonies in the layers of female vocals against harsh vocals and you’ll get that from us,” she said. “If you hear our songs, you recognize it as us because you have those beautiful harmonies on top of the melody, which is all female. And then you have harsh vocals coming in with John.”

There have been preconceived notions about female-fronted bands in the hard rock and metal genres, Phelps said, and she finds it perplexing that some people view female-fronted bands as deliberately going against the grain.

“Hard rock and metal were never meant to be just male voices or just female voices,” she said.

The genre, she believes, is for everyone and their music should be appreciated for its authenticity rather than judged by outdated stereotypes.

The band said it has had a difficult time getting booked at local venues.

“It’s really challenging for an original metal band with female singers to get in these venues,” Tracy said. “Venue owners need to take a risk and give us the opportunity. Lynchburg wants metal and they will show up if given the chance.”

Most live music events take place in restaurants or businesses that double as music spaces, Phelps said.

“[Venues] think people only want to hear music they’ve heard a million times before,” she said.

The band has a vision for the future of Lynchburg’s music scene. They hope to see more original bands like theirs on stage and to be a part of a thriving local music community.

“We want to play our town and have the support of local fans. We believe Lynchburg has a lot of talented musicians and we want to be a part of that scene,” Tracy said.

A Day in Pompeii is determined to bring heavy metal back to Lynchburg and to change preconceived notions about female-fronted metal bands.

“We want to play our town and have the support of local fans. We believe Lynchburg has a lot of talented musicians and we want to be a part of that scene,” Tracy said.

When asked about the band’s sound, Phelps said she finds it challenging to compare themselves to other bands.

“We all have different influences. We sound like A Day in Pompeii,” she said confidently.

The band’s music is rooted in their local experiences and reflects their own lives.

“The songs we write are an expression of people who live where you live,” Phelps said.

She said the music resonates with the struggles, joys, and experiences of their community.

 “Give it a chance because you might find something that connects with you,” she said.

A goal for A Day in Pompeii is to create a deep connection with their audience.

“We don’t just write songs; we build soundscapes. We want listeners to feel what we feel when we play,” May said.

The band strives to evoke a range of emotions, from headbanging excitement to goosebumps-inducing epic moments.

May said the band is a prime example of creativity and taking a risk.

“Don’t be afraid to shoot your shot,” he said. “Don’t be afraid to break through the stereotypes because that’s what we’re doing.”