Age: 45 | Title: Songwriter

Lynchburg Living Editor Shelley Basinger: Jamie, your songwriting talents have received national attention over the past five years or so. How long have you been writing?
Jamie Trent: I’ve been writing for 30 years. I wasn’t an outcast growing up, but I definitely was artsy, more introverted. I expressed myself in ways such as writing poetry and found my niche. I wrote an awful lot of bad, bad poems back then!

SB: After high school, you joined the military—which laid the foundation for one of your most well-known songs, “Bullet Holes in the Sky.” Why did you decide to enlist?
JT: I joined the service and served during the Desert Storm conflict in ’92. While I was exposed to the conflict, I never served on the front lines. Growing up I was a “military brat”—my dad served 30 years in the Navy so we traveled around the country. Joining the service is sort of what I thought you did, especially if you didn’t have an identity. I spent four years in the military and it helped get my head on straight and put things in perspective.

SB: Where did life take you after the service?
JT: I went to college and started singing a lot, mainly private weddings and parties, which paid my way through school. Then, after college, I started making some connections in the songwriting industry. I met some folks in Nashville who thankfully took me under their wing and taught me how to be a better writer. Along the way, I continued to hone my craft.

SB: When did you feel like you got your first big “break”?
JT: I had two or three cuts with indie artists. As a non-signed songwriter you really have to cut your teeth with not-so-well-known artists. Then about five years ago I wrote a song for my wife called “The Outer Banks and You.”

That’s sort of our little safe haven, and I wrote it for our anniversary. I had no intentions of pitching it because I thought it might be too regionally based.

But I did end up sending it to a guy I work with in Nashville and he said, “Man, that is the best one you’ve ever written.” He set me on the track to pitch it to chambers of commerce and real estate companies. It wasn’t 24 hours later that Southern Shores Realty called me and said they wanted to sign me on the spot to use the song in their national advertising campaign. That was a big win for me not only monetarily speaking, but also street cred—people sort of took me seriously then. That’s when I started hearing from others in the industry wanting to do co-writes. You just never know what songs stick.

SB: Over the past few years, you have focused on writing songs about veterans. Why did you choose that niche?
JT: My wife and I were sitting in our garage two or three years ago and she asked me, “Once our careers are behind us, how do you want to be remembered?” I was sort of taken aback by the question. I wasn’t so concerned about “being remembered” as I was about being a part of something that was bigger than myself. It got me thinking. I love to write, I love veterans initiatives… then I came across Songwriting With:Soldiers. This organization pairs combat vets suffering from PTSD and other traumatic brain injuries with professional songwriters. They write songs about their experiences. Through that organization I met some incredible songwriters (Radney Foster, Darden Smith, Jay Clementi, Gary Nicholson). I really started forming a special relationship with Mary Gauthier, who I ended up co-writing “Bullet Holes in the Sky” with.

SB: Mary Gauthier has quite a resume!
JT: She does indeed. She is a Grammy-nominated artist with song cuts by Blake Shelton, Tim McGraw, and Jimmy Buffett. Her songs have been heard on shows like “Nashville” and “Yellowstone.” She also has two TED talks.

SB: What inspired the lyrics of “Bullet Holes in the Sky”?
JT: Mary sent me a text one evening when she was backstage at the Grand Ole Opry in the “Johnny Cash” room. She was getting ready to do a show. She said she had a chorus for a song, but needed “the movie” for the song. Right then and there I sent her a line, “It’s the 11th of November in Nashville, Tennessee, free breakfast at the Waffle House if I show ’em my ID.” At that point, we had “the movie.” She calls herself a “midwife” for songs. I had to laugh when she said this song was like a child in the birth canal and we just had to bring it into the world.

As for the inspiration behind the song, many folks—civilians and military—have mixed emotions about serving and the sacrifices we have to make. It’s not a question of being patriotic, just the internal conflicts that we feel sometimes.

SB: Were you surprised by the press the album and song received? The album was featured in the LA Times and nominated for a Grammy.
JT: Short answer, YES. But more importantly, it gave me HOPE. With more than 22 veteran suicides per day, we need to continue to find ways to help our soldiers and their families. If songs can do that, which I believe they can, then this album and song gives me hope that they are reaching the masses.

SB: More recently, in mid-September, you decided to use a song you wrote two years ago to help some residents affected by Hurricane Dorian. That turned a lot of heads as well.
JT: A couple of years ago my wife, Tammy, and daughter, Kardigan, and myself actually spent an entire week in Ocracoke. Having vacationed in the Outer Banks for over 35 years, I had never actually spent a week on that island. It was like no place I had ever been. I loved it and knew the minute my feet hit the beach that I had to write a song about it. I partnered with a songwriter friend of mine, David Kent, to finish the song. (As a side note, David landed a #1 hit for Blake Shelton’s song, “Austin.”) Once I heard about and saw all the destruction that had occurred from Dorian, I felt a calling to do more. So I decided to sell the song through iTunes and Amazon Music outlets and donate 100% of the proceeds to help with the relief efforts. I am partnering with The Outer Banks Community Foundation (OBCF.org or OBXdisaster.org). This was just my little way of trying to give back.

SB: That’s incredible. What’s next for you?
JT: As a songwriter, it’s all about write, write, write, re-write. Continue to get better. Continue to make connections. For me, it’s therapy and to be quite honest, it’s fun. I realized many years ago that I didn’t have the patience or talent for golf. So many of my Saturday mornings you will find me doing FaceTime or Skype co-writes instead of playing 18 holes.

I’m still writing some songs about the Outer Banks too, actually finishing up one now. I want to continue being involved in the local veteran community. I held a fundraiser at the American Legion three years ago, raised about $20,000. I’m looking to do a golf tournament next year.

SB: Do you have any advice for aspiring songwriters?
JT: A very established multi-#1 hit songwriter once told me, “Writing to the radio will make you a liar.” You are just going to come up short and you are never going have anything new to say. Someone once interviewed Bruce Springsteen and asked him the same question. His answer was, “If you are writing a song and 1+1 equals 2, you have failed.” That is about as brutally honest as it gets. My personal advice would be to write as much as you can. Work with co-writers. Make connections. The songwriting community is filled with folks on every skill level. But to work your way up the ranks, you have to get in the game.

SB: How can readers get in touch with you?
JT: Find me on Facebook, Jamie Trent/Songwriter. Or visit Reverbnation.com/obx.

Lynchburg’s “largest art auction” will help high schoolers pursue their dreams

What happens when a community comes together because of a shared love of art and a united passion to help local students? The result is Art for Achievement—a fundraising effort that combines the talents of dozens of local artists to raise money for Lynchburg Beacon of Hope, a nonprofit focused on helping students attain post-secondary education.

While the grand finale for Art for Achievement is a beautiful formal gala at the Virginian Hotel on Nov. 9, the work to create the centerpiece—a giant mosaic display of artwork—began many months ago.

Lynchburg Beacon of Hope is known for its cornhole tournament fundraiser each year, which is a grand success. But this year they wanted to add another event to their calendar. Inspired by a fundraiser they saw in another state that involved the creation of a huge wall of local artwork, Beacon of Hope’s board members creatively and collectively started working on a plan for a similar art-focused fundraiser and gala. They asked the Lynchburg Art Club for help.

The Lynchburg Art Club was founded in 1895 by Bernhard Gutman, who at the time was the supervisor of art for the Lynchburg Public School System.

To this day, members of the Art Club create scholarships for local students who are planning to attend art school after graduation. Collaborating with Beacon of Hope for Art for Achievement only expands on that mission; they were thrilled to help.

The Art Club didn’t want any financial gain from the project, specifying that all money raised be given directly to Beacon of Hope. They only wanted exposure of their artwork in the community.

Members of the Art Club were asked to create Lynchburg-focused paintings on 10’x10’ canvases to contribute to the giant mosaic. But you didn’t have to be a part of the club—young artists from both city high schools as well as other talented community members contributed canvases as well.

“The enthusiasm about this project has been tremendous right from the start,” said Kathy Busch, the Art Club’s past president and current committee member. “We wanted 100 10’x10’ canvases, but eventually 130 were purchased.”

The painted canvases were placed on multiple display panels, 20 per panel, creating the multi-piece mural wall. When the display boards were placed side by side, the 130 canvases created a larger-than-life display of art.

Local artist and Art Club member Lisa Richards painted three canvases in the mosaic, and she donated two larger floral paintings for the gala’s live auction. She has enjoyed seeing the community be so engaged by an art-focused event.

“This is a great way to help the students to be able to achieve their goals,” Lisa said, adding that it’s also a great way for local artists’ work to be seen, too.

Ted Batt, director of visual arts at the Academy Center of the Arts, donated two sculptures to the live auction and also helped install the mosaic.

“This event just represents the really strong and vibrant community of artists we have here in Lynchburg,” he said.

The mission of the event also hits close to home. “I wholeheartedly believe in it, having two high school students myself. Making sure every student has the chance to start out on the right foot,” he said, adding that his son is currently attending Central Virginia Community College and his daughter plans to do the same, then transfer to Virginia Commonwealth University.

The staff and supporters of Beacon of Hope, which was established in 2011, work diligently to inspire and assist students who are currently attending Lynchburg City Schools in pursuing post-secondary education, including two- and four-year colleges, military enlistment, trade schools, technical degrees, and industry certifications.

The nonprofit has nestled itself alongside Lynchburg’s public schools. Its purpose is to focus intently on working with students in the 9th through 12th grades, helping each student prepare a plan for their life after graduation.

However, they also work with younger students to ignite a spark of excitement. Beginning in Kindergarten, students are entered into Beacon of Hope’s Kids 2 College program, where they are taught to start dreaming about whether they want to attend college and what they want to be when they grow up. In 8th grade, students participate in Beacon of Hope’s College Readiness Symposium and are given the opportunity to visit a nearby college campus.

Inside Heritage and E.C. Glass high schools there are Beacon of Hope Future Centers. These labs create a safe space where students can seek guidance on post-secondary planning and much more. This year, a third lab was established at the Amherst campus of CVCC.

But one of the most exciting accomplishments of Beacon of Hope, and the purpose behind the Art for Achievement fundraiser, is the Stay Close, Go Far Promise Scholarship. Last year, Beacon of Hope created this scholarship to help bridge the gap between the amount of money students could obtain from FAFSA® (Free Application for Federal Student Aid), grants, and scholarships… and the actual cost of tuition.

When the dollar amount of financial assistance falls short, Beacon of Hope has promised that any student who has attended Lynchburg City Schools for four years (from 9th through 12th grades) can receive what they call a “gap scholarship” to help with the costs of attending CVCC or other area schools. Scholarship amounts vary depending on where the student wants to enroll.

This Stay Close, Go Far Promise was made to help students over a five-year span. More than $5 million dollars has been raised for this scholarship fund by local individuals, businesses, and foundations, and due to the program’s large popularity with students, Beacon of Hope is seeking to raise $2 million more.

According to Joan Foster, who serves on Beacon of Hope’s Board of Directors and on the fundraiser’s development committee, the goal of the Art for Achievement fundraiser on Nov. 9 is to raise money to be used towards this promise.

“We are truly coming together and working together collectively for the future of our students, and for the future of our community,” she said. “That’s a good day in Lynchburg when two groups can come together to do that.”

This new and exciting partnership with the Art Club has given Joan plenty of hope.

Art For Achievement
Saturday, Nov. 9, 6 – 9 p.m.
The Virginian Hotel, Lynchburg
Tickets: $50
Live music, cocktails, canapes. Live and silent auction of local artwork, including canvases.

By Teresa Davis | Photos by Bryant Haskins

Lynchburg’s “largest art auction” will help high schoolers pursue their dreams

By Teresa Davis | Photos by Bryant Haskins

What happens when a community comes together because of a shared love of art and a united passion to help local students? The result is Art for Achievement—a fundraising effort that combines the talents of dozens of local artists to raise money for Lynchburg Beacon of Hope, a nonprofit focused on helping students attain post-secondary education.

While the grand finale for Art for Achievement is a beautiful formal gala at the Virginian Hotel on Nov. 9, the work to create the centerpiece—a giant mosaic display of artwork—began many months ago.

Lynchburg Beacon of Hope is known for its cornhole tournament fundraiser each year, which is a grand success. But this year they wanted to add another event to their calendar. Inspired by a fundraiser they saw in another state that involved the creation of a huge wall of local artwork, Beacon of Hope’s board members creatively and collectively started working on a plan for a similar art-focused fundraiser and gala. They asked the Lynchburg Art Club for help.

The Lynchburg Art Club was founded in 1895 by Bernhard Gutman, who at the time was the supervisor of art for the Lynchburg Public School System.

To this day, members of the Art Club create scholarships for local students who are planning to attend art school after graduation. Collaborating with Beacon of Hope for Art for Achievement only expands on that mission; they were thrilled to help.

The Art Club didn’t want any financial gain from the project, specifying that all money raised be given directly to Beacon of Hope. They only wanted exposure of their artwork in the community.

Members of the Art Club were asked to create Lynchburg-focused paintings on 10’x10’ canvases to contribute to the giant mosaic. But you didn’t have to be a part of the club—young artists from both city high schools as well as other talented community members contributed canvases as well.

“The enthusiasm about this project has been tremendous right from the start,” said Kathy Busch, the Art Club’s past president and current committee member. “We wanted 100 10’x10’ canvases, but eventually 130 were purchased.”

The painted canvases were placed on multiple display panels, 20 per panel, creating the multi-piece mural wall. When the display boards were placed side by side, the 130 canvases created a larger-than-life display of art.

Local artist and Art Club member Lisa Richards painted three canvases in the mosaic, and she donated two larger floral paintings for the gala’s live auction. She has enjoyed seeing the community be so engaged by an art-focused event.

“This is a great way to help the students to be able to achieve their goals,” Lisa said, adding that it’s also a great way for local artists’ work to be seen, too.

Ted Batt, director of visual arts at the Academy Center of the Arts, donated two sculptures to the live auction and also helped install the mosaic.

“This event just represents the really strong and vibrant community of artists we have here in Lynchburg,” he said.

The mission of the event also hits close to home. “I wholeheartedly believe in it, having two high school students myself. Making sure every student has the chance to start out on the right foot,” he said, adding that his son is currently attending Central Virginia Community College and his daughter plans to do the same, then transfer to Virginia Commonwealth University.

The staff and supporters of Beacon of Hope, which was established in 2011, work diligently to inspire and assist students who are currently attending Lynchburg City Schools in pursuing post-secondary education, including two- and four-year colleges, military enlistment, trade schools, technical degrees, and industry certifications.

The nonprofit has nestled itself alongside Lynchburg’s public schools. Its purpose is to focus intently on working with students in the 9th through 12th grades, helping each student prepare a plan for their life after graduation.

However, they also work with younger students to ignite a spark of excitement. Beginning in Kindergarten, students are entered into Beacon of Hope’s Kids 2 College program, where they are taught to start dreaming about whether they want to attend college and what they want to be when they grow up. In 8th grade, students participate in Beacon of Hope’s College Readiness Symposium and are given the opportunity to visit a nearby college campus.

Inside Heritage and E.C. Glass high schools there are Beacon of Hope Future Centers. These labs create a safe space where students can seek guidance on post-secondary planning and much more. This year, a third lab was established at the Amherst campus of CVCC.

But one of the most exciting accomplishments of Beacon of Hope, and the purpose behind the Art for Achievement fundraiser, is the Stay Close, Go Far Promise Scholarship. Last year, Beacon of Hope created this scholarship to help bridge the gap between the amount of money students could obtain from FAFSA® (Free Application for Federal Student Aid), grants, and scholarships… and the actual cost of tuition.

When the dollar amount of financial assistance falls short, Beacon of Hope has promised that any student who has attended Lynchburg City Schools for four years (from 9th through 12th grades) can receive what they call a “gap scholarship” to help with the costs of attending CVCC or other area schools. Scholarship amounts vary depending on where the student wants to enroll.

This Stay Close, Go Far Promise was made to help students over a five-year span. More than $5 million dollars has been raised for this scholarship fund by local individuals, businesses, and foundations, and due to the program’s large popularity with students, Beacon of Hope is seeking to raise $2 million more.

According to Joan Foster, who serves on Beacon of Hope’s Board of Directors and on the fundraiser’s development committee, the goal of the Art for Achievement fundraiser on Nov. 9 is to raise money to be used towards this promise.

“We are truly coming together and working together collectively for the future of our students, and for the future of our community,” she said. “That’s a good day in Lynchburg when two groups can come together to do that.”

This new and exciting partnership with the Art Club has given Joan plenty of hope.

Art For Achievement
Saturday, Nov. 9, 6 – 9 p.m.
The Virginian Hotel, Lynchburg
Tickets: $50
Live music, cocktails, canapes. Live and silent auction of local artwork, including canvases.

The Academy’s Youth Programs Flourish with Reopening of Historic Theatre

Photos by brittany Griffith, Academy center of arts

Last December’s reopening of the Historic Academy of Music Theatre was met with great excitement throughout the Lynchburg and surrounding communities, but perhaps the most enthusiastic reception came—and continues to come—from the young members of the Academy’s Youth Theatre program.

“I always love when we have new students in our programs seeing the Historic Theatre for the first time,” says Kelly Posenauer, director of education at the Academy Center of the Arts. “We hear things like, ‘I get to sing here?’ I think they all know how lucky they are to perform in this incredible space and in turn give their hearts to the production.”

Anyone who caught the Youth Theatre’s recent production of Newsies has seen this passion and dedication firsthand. The cast was made up of 42 high school students from Lynchburg and the surrounding counties. About 1,500 people came out to see the performance over the course of three shows. Posenauer says it’s one of the most special productions she has been involved in. “The energy in the theatre was palpable,” she says. “Those students worked so hard and really brought the audience into their story.”

Newsies is one of five productions the Academy’s Youth Theatre program showcased this summer. The Lion King, Jr.; Madagascar: A Musical Adventure, Jr.; A Wrinkle in Time; and The Jungle Book completed the lineup.

Summer productions are preceded by two-week camps. Although auditions are held for certain parts during these camps, all children enrolled in the camp get to play a role in that given production.

According to Posenauer, planning for summer productions starts about nine months before the camps begin. “The directors of the respective camps and I start discussing potential show ideas and make lists of shows that get us excited,” she says. “I take that short list to the Academy’s programming team and we discuss things like show themes, educational opportunities, and diversity to make sure that we stay as inclusive to our community as possible.”

In addition to a full summer calendar, the Academy’s Youth Theatre program now boasts year-round programming, offering more programs than ever before—including fall programming, a spring camp, and those five summer productions.

They also offer non–performance based programming. For instance, the Academy offers a “Broadway Bound” camp where Broadway performers share their knowledge with aspiring performers while teaching them real world applications. “While the camp doesn’t end in a ticketed production, students can walk away with the knowledge they need to have a successful audition and different acting techniques they didn’t previously know,” Posenauer says.

Posenauer believes that, regardless of the type of program a child participates in, theatre serves as both a safe haven and as a site of important development for young people. “The theatre is a magical and safe space for children to grow, to explore, and to thrive,” she says. “Theatre programs are generally comprised of some of the most accepting individuals who value each child for who they are but also encourage them to be so much more. Over the years I have seen some of the most timid children come out of their shells when they were on our stage. In theatre, students can learn core values like inclusion, patience, and selflessness.”

Delia Loy, a Youth Theatre student who appeared in Newsies, agrees—saying she walked away from her experience feeling changed. “I have found more confidence in art, theatre, singing, and dancing with the Academy, more than at my own school or anywhere else,” she says.

In addition to enriching the lives of individual children, theatre programs for young people also benefit the community at large. The director of Beauty and the Beast, Jr., encouraged students to donate books to the Free Libraries around town. “They learned how to give back to our community in a small way that created a big impact,” says Posenauer. “One thing I love about the Youth Theatre programs is how they connect our community. We have students from Lynchburg and the surrounding counties who come together and form friendships that last throughout the years. They support each other in their respective schools, thus creating community year round.”

In turn, the community gives back to the Academy in the form of scholarships that help children in need gain access to the Youth Theatre program. About 30 percent of students are on scholarships of some form, thanks to donors. The Academy also offers payment plans.

In the future, Posenauer hopes to see the Youth Theatre program continue to expand and evolve, and she believes that the recent restoration of the Historic Academy Theatre has already begun to facilitate positive growth. “The education department now has more space to expand,” she notes. “This summer we added a straight play [A Wrinkle in Time] to our lineup, expanding beyond just musical theatre. I would love to offer more programs like this when we have openings in our schedule.”

Regardless of the specific shape the future takes for the Academy’s Youth Theatre program, the ultimate goal is to make sure young performers leave their experience changed for the better—whether through learning new skills, making new friends or unearthing new confidence.

“My first experience with theatre was not with the Academy and while I enjoyed it, I definitely felt like I could have walked away,” says Elise Jones, Youth Theatre student and Lion King, Jr., cast member. “But now I’ve made a real family here and I feel so at home. I can’t imagine my life without it.”

Hand-Carved Stamp Maker & Block Print Artist

Lynchburg Living Editor Shelley Basinger: Anna, the hand-carved stamps you create through Emissary Arts are so unique. When did you get into this type of art form?

Growing up, I experimented with my mom’s stamp collection, but it never really stuck for me. It did leave me curious, though, because I was really intrigued by the idea of creating original designs. And I wondered if it was possible to make stamps. Fast forward to November of 2018, and in a moment of creative energy, I started wondering about it again. The first thing that came to mind was carving a potato for a stamp. I ran to the store and grabbed a scalpel and a bag of potatoes. I carved a pinecone into a potato and stamped about 30 notecards. It was the closest I’d gotten to making a stamp and I was really excited. But at the end of the day, the stamp pad was full of potato water, the potato was shriveled, and I was a little deflated. So I scoured the internet, and that’s when I found the world of block printing. I don’t have any formal arts training. If I did, I probably would have been familiar with it. But not having that, finding block printing was like finding buried treasure, and I was immediately hooked.

What exactly is block printing?

Block printing is hand engraving a block of wood, linoleum, or rubber and then using that engraved block like a stamp. Cover the raised portion with ink, leave the recessed portion clean, press it on something like paper or fabric—and voilà!

You said earlier you never had formal arts training, but you’ve always been interested in art?

Always. I’ve never been able to stay away from it. It’s definitely a skill God gave me, and sometimes it’s expressed itself in ways I don’t always understand. As a kid, I don’t ever remember being bored (although my mom might remember differently) because I was always captivated by observing the world around me. Usually, I was analyzing color, shape, dimension, line, shadow, and light—before I knew to use those words. For most of my life that translated into creating things inspired by the beauty around me. I dabbled in art forms like drawing, painting, photography, cake decorating, clay modeling, and hand lettering, and my family was constantly telling me that I needed to sell my work. But it wasn’t until I found block printing that I felt comfortable narrowing my focus and branding my artwork.

How long have you been creating the hand-carved stamps?

I started right after that first potato stamp, so I’ve been at it for about 8 months. It’s been a steep learning curve, but one I’ve enjoyed.

What types of designs do you create?

So far, I’ve worked on two types of projects. One is making custom logo stamps (from already existing logos). Those are often for small businesses who want to improve their branding by stamping their packaging or products. The other is completely original block print designs—lately, it’s been florals or architecture—that I print either on notecards or on fine arts paper as stand-alone pieces.

Have you been surprised at the interest there has been so far?

Yes, there has been so much interest! I haven’t been able to accept every order given the fact that I’m balancing another job and chronic health complications related to Lyme disease. But I try to take as many as I can, and, honestly, I can’t tell you what an inspiration the support and encouragement I’ve received from my local and online community has been.

What other types of products do you create through Emissary Arts?

I’m currently working on expanding my custom stamp offerings to include some standard designs for last name and return address stamps. Besides that, there is so much left to experiment with, but one upcoming project that I’m looking forward to is stamping an entire wall in a local clothing boutique with one of my flower stamps.

That sounds neat! Looking ahead, what else do you hope to achieve with your art? Is this something you could do full time?

That’s a big question! Broadly speaking, I aspire to take everything that God has given me and use it to proactively reflect His beauty in a world where most of us have experienced something less than beautiful. If my art communicates that kind of hope, I’m content. Business-wise, I’d like to continue building my skill set, perfecting what I’m already doing. Going full time would depend on what level of creative freedom I could maintain. But I also love doing a variety of things, so taking the step to go full time with anything would be a big decision for me.

Any advice for aspiring artists?

I still have a lot to learn, but I’ve noticed that most artists experience creative highs and lows, though we’re not always aware that’s what’s happening. One week you’re busy creating and feeling like you’re moving forward, and the next week you’re stuck. It feels natural to ride those waves. But just riding it out can make you directionless over time. Highs are great and lows aren’t always bad, but two things help me work with that cycle and use it to my advantage.

First, set actual, measurable goals. You may reach those goals mostly in your creative highs or you may decide to push through a slump. Whatever you decide to do, actual goals provide a point of reference to track your progress long term, which is encouraging.

Second, develop awareness. Be quick to recognize the emotional, physical, or environmental factors you’re dealing with. Then, you can adapt, whether that means stopping, pushing through, or finding another creative solution. I think that’s resilience—always moving forward, sometimes inspired, sometimes not.

How can people get in touch with you?

I’m very active on social media and you can find me on Instagram or Facebook as @emissaryarts. Or email me at annaeileenwhite@gmail.com. I’d love to hear from you!

Singer-songwriter returns to Lynchburg, where it all began

Asked how she’s doing one Tuesday evening in March, Jane Claudio describes herself as “a little emotionally drained.” The 28-year-old singer-songwriter, who got her start in Lynchburg and has since moved to Nashville, has just spent the day at a women’s prison.

On Tuesdays, Claudio helps out with a Bible study and life skills classes and sometimes sings for the inmates. “It’s just a little bit draining,” she said. “These women’s stories are a lot to hear. That’s where I’m coming from.”

Claudio—Jane Marczewski when she lived in Lynchburg—has a story of her own. It’s one that started in 2009 at Liberty University, where she confessed she was “never quite good enough to make it on any of the music teams,” and came full circle when she opened for Grammy winner Tori Kelly at Liberty’s Vines Center on April 6.

Undeterred after being rebuffed by LU’s music teams, Claudio started writing her own songs. “I started to make music that wasn’t intended for church,” she said. “That was kind of funny. The disappointments in your life, the ways you feel you failed, set you on a path that you were supposed to be on. I started making music that was more honest.”

Soon, she was the “it girl” of the local music scene, performing at Speakertree Records, Canvas, White Hart Café and the Lynchstock music festival, and landing the cover of Lynchburg Living in 2014. Out of the spotlight, though, all of the attention was starting to affect her negatively.

“All I ever wanted to do was play music and have people’s attention, cheering about what I sang,” she said. “I succeeded at that a little too much, because it was bad for me. I didn’t like the person I was internally. I didn’t know who I was. I was really focused on succeeding in my career and being likeable and newsworthy, but wasn’t taking care of my inner self.” >>

So, toward the end of 2014, Claudio made a decision: She’d go home to Ohio for a couple months and then it was Music City or bust. Once at home, however, she met and fell in love with fellow musician Jeremy Claudio and two months stretched into nearly a year. They married and moved to Nashville together in 2015.

In Nashville, Jeremy started producing her music and performing with his own band. It was an adjustment for Claudio, who said it was “terrifying to be thrown into the culture where everyone is good at what they do.

“I feel like it just took some time … for me to exist without having to be special, in order for me to realize and accept that people care about me, even if I’m not impressive or the most beautiful or the most funny or whatever.’
“I was just born a little performer and when I came here I no longer had those tools to get attention.”’
Just when she was starting to get her footing, in September of 2017, Claudio was diagnosed with Stage 2 breast cancer. It wasn’t entirely unexpected. She said that around the time she left Lynchburg, she got a feeling that cancer would be part of her journey.

“I believe when you decide to follow Jesus—jump into that life—then we believe that God kind of lives in you through the Holy Spirit,” Claudio said. “I kind of had a little bit of a gut feeling or inkling that I’d get cancer.

“When you’re listening and paying attention, God gives you a little inkling of what’s to come. I felt like … there was going to be a three-year period to [get] to know myself and be healthy and I felt like music was going to come back to me.”

In the months that followed her diagnosis, Claudio had chemotherapy, a bilateral mastectomy and reconstructive surgery. For a while, she said, she was “bald and just looked like I hatched out of an egg.” She also didn’t feel like the “smart and witty” person she used to be.

“I didn’t have any of the things I’d had before but was still met with so much compassion and love and care,” she said. “This force of sympathy and empathy from people, it restored my faith in humanity, as tacky as it is to say that. It answered that question I’d been asking all my life: What if I wasn’t excellent? Would people still love me and still come?”

After surviving cancer, Claudio started to think about resurrecting her career. While known in Lynchburg as more of an American folk singer, she’d recently taken on a sound she describes as more “dance-y pop.” She chose a new name to go with it: Nightbirde.

Nightbirde came to her before she got sick, in a series of dreams. “I woke up three nights in a row, the same dream: all these birds singing outside,” she said. “It was almost like a dream within a dream. I’d wake up in the night with birds singing out my window.

“The third day, I woke up, went to the window and saw there were birds. It was so profound: this image of being able to sing through a dark time, even when there’s no proof that the sun is coming. To sing in anticipation of the dawn, even if you can’t prove it.”

During her treatment and recovery, Claudio said Nightbirde was “kind of like a flag I carried.”

After everything that had happened—the move, the romance, the cancer—Claudio hadn’t played a show in four years. It was then that she got an email from someone at Liberty. They needed an opener for Tori Kelly and thought of her.

“I haven’t played a show in about four years,” Claudio said a few weeks before the concert. “Open for a Grammy award-winning artist? Totally wild.”

With a gig on the calendar, Claudio got to writing. There was one “super meaningful” song she said she had to finish before the concert, “Heartbeat.” The chorus goes like this: “I’m just trying to tell myself you can be the only one in this world, still the song is worth singing and life is worth living, as long as you’re breathing and your heartbeat goes on.”

She performed “Heartbeat” at Liberty and also shared her cancer story. “Being the opener, I was mentally prepared to not have the attention of the room … but in my instance, I felt like as soon as I got there I had the entire room’s attention,” she said.

“It was very abnormal, the crowd was just awesome. I had so much fun. … I wish every day could be like that, like the day after Christmas.”

And so the old Jane—“it girl” of the local music scene—was resurrected, if only for a weekend. “It was a weird feeling to come back,” she said. “I left this little local celebrity persona behind and I got all this special treatment. It was super fun.

“I don’t miss being this special person—there’s a lot of pressure that comes with that—but it was fun to step back into that for a weekend.”

Jane is now focusing on releasing more content—be on the lookout for her songs and videos. Keep in touch with her career at www.nightbirde.com

For The Birds
Local man with learning and developmental challenges breaks stereotypes with woodworking creations
By Logan Smith

Chris Russell has always appreciated nature.

But something was different when the 46-year-old and his father, Mark Russell, stepped outside their Boonsboro home nearly a decade ago.

A bluebird, perched on a tree limb several yards away, caught their attention. Bright blue coated the feathery creature’s head and back, and a rusty orange pigment highlighted its soft belly and neck.

“Chris watches nature very closely,” Mark Russell, 71, said of his son who was born with mental health challenges, intellectual challenges and a seizure disorder. “He loves walking through the woods and observing animals.”

The bird remained on the branch for a short period, possibly looking for soft grasses or pine tags to enhance its nest. After surveying its surroundings, it fluttered out of sight—but not out of Chris’s mind.

His observation, although brief, prompted a conversation with his father that ultimately changed Chris’s life—and the Lynchburg community—for the better.

That day, Chris learned about the struggling bluebird population and the necessity for human intervention. Bluebirds experienced a decline in population during the 20th century, but have gradually recovered thanks to the efforts by many, including Chris Russell.

Bluebirds reside in meadows and small openings surrounded by trees. You may see them perched on wires or low branches, and they commonly use woodpecker holes as homes, according to the Cornell Lab of Ornithology, a member-supported organization dedicated to the understanding and protection of the natural environment.

After observing the bluebird in its simple, yet beautiful setting, Chris decided to make a difference.

“For the Birds” was born.

For more than eight years, Chris has used his woodworking skills to handcraft high quality bluebird houses, wood duck boxes and other products. He operates his business at Wall Residences in Madison Heights, an organization that assists individuals with intellectual and developmental disabilities.

He sells his woodworks to members of the greater Lynchburg community and to several retailers including Ace Hardware.

“If I don’t help them, then the baby bluebirds will get eaten by other animals,” Chris explained. “[For the Birds] gives me a place to go when I’m extra bored at home. If we don’t build the birdhouses, the birds will get eaten by the hawks. We don’t want dead birds.”

Chris uses western cedar and pine to craft his birdhouses. Unlike many birdhouses purchased online, Chris fastens his birdhouses with wooden screws, not nails, to guarantee a secure, crack-free surface.

Unique equipment decorates Chris’s shop, including a table saw, drill press, electric sander and chop saw. A long, heavy concrete table stores most of the wood.

Chris works hard, sometimes daily, and he occasionally juggles multiple orders at once. While he executes most of the hands-on work, his father and several employees assist when needed.

“I just love for Chris to be able to make a difference and to be proud of everything,” Mark Russell said. “I’m 71 and he’s 46, but I just love for him to have a real productive and positive life.”

Chris’s intellectual disabilities include reading comprehension and math, and his medical side effects result in weight gain. He also struggles with PTSD and anxiety.

Similar to those with Asperger syndrome, Chris cannot read emotions. He does not have Down syndrome, although many may mistakenly assume.

Despite his disabilities, Chris’s love for people outweighs his condition. You may find him at a coffee shop with a friend, playing bongos at his church, or volunteering with Meals on Wheels.

“[I like] going out and having fun, staying happy, seeing people and having regular conversations with them,” Chris said.

Through his hard work, love from his family and gracious support from Wall Residences, Chris has taken agency over his life. Not only has he helped the natural habitat, but he has also made his own money to purchase CDs, movies, food and coffee.

Other than Chris’s earnings, “For the Birds” does not generate profit, but he normally breaks even on materials.

Mark expressed satisfaction that his son has pierced the traditional mold of citizens with disabilities by staying occupied and adding value to the greater Lynchburg community—instead of simply occupying a facility.

“The important thing for Chris is that he owns his own life,” Mark said. “People need to be in the community, not just living in a nice house somewhere.”

Watt Foster, CEO of Foster Fuels, has been one of Chris’s faithful customers for years, purchasing more than 120 birdhouses to spread over 2,000 acres.

“When I see all the bluebirds on my farm, I appreciate Chris and his efforts,” Foster said.

Foster noted that Chris’s birdhouses are excellent, complete with precise sizing, crawl capability for baby birds, and an easy opening door for nest cleaning. Chris sometimes even installs small screen ladders for baby birds and ducklings to comfortably crawl out of their home.

“[Chris] is passionate, and dealing local is important to me,” Foster said. “Chris is fun, and I really enjoy being with him.”

Chris has lived in Lynchburg for more than 40 years and enjoys interacting with members of the community like Foster. But the great outdoors is his greatest joy—he loves walking through the woods and keeping an eye out for numerous wildlife including birds, turtles and foxes.

“I like to watch birds, and I love nature. It’s neat to see all kinds of nature,” Chris Russell said.

Portrait Artist

Lynchburg Living Editor Shelley Basinger: What brought you to Lynchburg?
Kate McClure: We moved here last summer from Waco, Texas. My husband Paul got a job at University of Lynchburg as a professor of sociology.

SB: Had you all heard of Lynchburg before?
KM: Paul went to Washington and Lee for undergrad so he had been to Lynchburg. I had never been to Lynchburg but immediately fell in love with it.

SB: We love hearing that! What reeled you in?
KM: The charming homes, the mountains, the downtown area. It’s just got a great, warm welcoming feel but there are still big things happening here. And the art community is amazing. It’s tight knit yet there are so many opportunities.

SB: When did you first discover your artistic talent?
KM: I’ve always been good at art—drawing and painting—from my earliest memories. I’ve always been an artist and I can’t imagine not being one now.

SB: Were your parents supportive?
KM: Absolutely. As a child, they recognized my talent and put me in special art classes, including an art academy where I grew up in Memphis. My mom said I was like a sponge. I would see something then sit down and paint something like it. I was always absorbing, always inspired, always painting… on everything. I once tried to paint a design on the door frame of my room and my parents were like “No, no, no, no!”

SB: We’ve had moments like that in my house, too! So, you ultimately decided to pursue art as a career path?
KM: Right, I went to Auburn and majored in fine arts with a focus on painting. I studied classical art in Florence for a little while. I’ve taken different workshops and classes along the way so I’ve had a lot of training and great experience. Over the years, I sort of found my niche in terms of what I enjoy and how I can also make a living, which is portraits with a focus on children.

SB: Walk us through that process. When you have a portrait client, how do you get started?
KM: With kids especially, I talk to the parents about the child’s personality so I can really capture that. Then I take photos of the child and that’s what I work from. I really love to capture something, a moment where they are really natural and not forced. Because kids just have that wonderful quality about them. Then I choose a photo that I think best showcases the child’s personality.

SB: Parents can be tough to please sometimes. Do you ever get nervous before you hand over the final product?
KM: I used to in the beginning but I don’t really anymore. I’ve done so many of them. But I’ve never had something not work out. I wouldn’t show it to a client if I didn’t think it was exactly the way it should be.

SB: How long do you spend on each piece? Do you paint every day?
KM: Not all day every day but I typically book up six months to a year in advance. So when I start on it depends on when I have the next spot open.

SB: You also have your own artwork on the side.
KM: In my spare time, I focus mainly on painting landscapes. Most of the portrait work I do is more realistic so when I get to do landscapes, I like to play around with color and get more loose and abstract.

SB: Are the landscapes a way to sort of get the creative juices flowing?
KM: Exactly. It’s nice to switch back and forth because I will go to landscapes or my own art and then I will miss portraits again and vice versa so I think it’s important to switch it up.

SB: What types of scenes inspire you?
KM: Since moving to Virginia, the landscape here is so beautiful and that is really my main inspiration. But it’s always based on something I see. The mountains, the fall colors, the birch trees, the farmhouses. Things like that.

SB: What do you do with your landscapes and other artwork?
KM: I had a show in Lynchburg in March and have another show happening Memphis in a couple of months. I sell out of my studio to anyone interested in those pieces.

SB: What’s next for you?
KM: I will always be doing my portraits. I work with lots of families, and I love that. Since moving here and being able to settle, I’ve been able to focus on showing my own artwork, which is really fun and exciting. I hope for more opportunities down the road to expand on that.

SB: You are proof that making a career out of art is possible. Do you have any advice for aspiring artists?
KM: I’m really passionate about this because there is so much training on how to make art but training on how to market and sell art is harder to find. I was lucky and found a woman out of California who has a business training course for artists. I worked with her for several years and it made all the difference. I think artists need to get that training if you want to do it full time and it be your main source of income.

SB: You need to have a strategy.
KM: Exactly. Not just, “I’m hoping somebody will see me.” It doesn’t work like that. The competition is too great. Also, my advice to aspiring artists—work really hard at developing your craft and be patient. I think back to when I started doing this full time 10 years ago and how far I’ve come. You have to be patient but if you stick with it and are committed then doors will open.

Local baristas explain how they turn your latte into a memorable design… that you almost hate to sip

A hiss of steam, and the dance begins. Steady hands raise a small, metal pitcher near a steaming cup of espresso. Blink and you might miss the delicate movements—all in the wrist—as the creamy stream is pushed under the dark liquid, then, as the pitcher draws back, a few gentle wiggles precede a steady whip, following through, turning a roasted beverage into a work of art.

People love their caffeine, but today’s coffee shops offer much more than a mere fix. Increasingly, cafés have become artistic hubs for the community (Lynchburg has no shortage of “it” joints serving up some mean java). Of course, the coffee has to be good. But customers also want an experience, something “snapworthy” to share with their digital community.

“I would say, especially in coffee, presentation is important just because it is a science and an artform combined,” Becca Laughlin, a barista at Third Wave Coffee, said. “If you go somewhere and you see latte art … it is a good sign that the person making your drink cares, or at least to some degree knows what they are doing.

“Customers, they love [latte art],” she continued. “Even if I pour something and I am like, ‘Oh man, that is terrible,’ people get so excited. They are like, ‘That is so cute, oh my gosh.’”

Golf Park Coffee Manager Haylynn Gaunt said that as Lynchburg’s scene is growing, so is the expectation that comes with personality-driven businesses.

“When I came to work in Lynchburg, people were surprised when I would hand them a latte with something pretty in it,” she said. “When I was introduced to coffee, it was mostly in bigger cities [like Baltimore, New York, and Washington, D.C.], so every barista is pouring good latte art consistently. I just came to expect that.”

With the right equipment, and practice, adding that artistic flair atop a homemade drink is possible.

Haylynn Gaunt, manager at Golf Park Coffee on Bedford Avenue, has been creating latte art for a little over two years.

“For the most part, anyone can do it; you don’t have to have this special talent or necessarily be good at art to be good at it,” Gaunt said. “It is a lot of attention to detail. You have to be paying attention to the point that [during] each pour you do you can adjust yourself.”

“You want to be relaxed,” Laughlin added.

“If you are tense, it is going to make it a lot more difficult. A lot of it is muscle memory and just learning what that feels like. You can practice pouring with water with the pitcher in the sink.”

To create art with a latte or cappuccino (the difference being the amount of milk; lattes have more), one needs to be able to pull a shot of espresso and steam milk properly. Alternative milks tend to not pour as well as whole milk.

“It’s the fat content that makes a big difference in the milk,” Laughlin said. “The fat percentage in whole milk seems to work the best. It is possible with alternative milks, it’s just much, much, much, more difficult.”

Both experts said to get a really great drink with really great art, it’s best to invest in your equipment. As it relates to the espresso, a fresh shot is all you’ll need, but it probably won’t taste as good from a low-end machine.

To get started, Gaunt explained: “A big part of it is having a good foundation—hot espresso with that crema on top. The crema, the foam on top of the espresso when you pull it, is what allows you to sink the milk underneath and give that contrast as you pour.”

Laughlin stressed the importance of properly steamed milk to both taste and the process. “The way that you steam the milk also has to do with taste, even down to the temperature that you steam the milk,” she said. “If you burn the milk, it is not going to taste as sweet. … If you don’t steam the milk properly it is pretty much impossible to make any kind of art.”

Place the steam wand close to the bottom of the pitcher, she said, tipping the pitcher to allow the milk to aerate. When the milk is done, it should look like wet paint when you swirl it around. This is called microfoam—the steam has created tiny, unseen bubbles that texture the milk when you swirl it around.

From there, it’s all about getting the mechanics of pouring down. And having a good pitcher will make all the difference. Pitchers vary in the amount they hold and how wide the spouts are. Baristas differ in their preferences, but typically a narrower spout is better when pouring less milk, such as for a cappuccino.

“When you pour, it is different between the height, the flow of how you are pouring,” Gaunt explained. “You start up really high so that the milk is a thinner stream and sinks underneath the crema, so you are hiding it but it is keeping the same color while also diluting the espresso. Then, it will raise up as you pour more in and then you can actually do the art.”

Holding the cup in one hand, aim the pitcher for the deepest part, at first.

“After you kind of create a good base,” Laughlin said, “swirl it around to make sure it is all even. Once you are ready to start pouring the design, you bring the pitcher down closer to the espresso. Then, it is this very delicate—very small movements. You would kind of start with the pitcher close to the milk and it is kind of a push, depending on the type of design you are making.”

The most basic design is a monk’s head, a circle. If you pull through you get a heart.

For a rosetta, another basic design, Laughlin explained: “You would start with a push and then a very, very light wiggle. It is not aggressive. It is not your whole arm. It’s all in the wrist. Little wiggle and then pulling back at the same time.

And then when you get to the end you would hold it and then pull it up a little more. That is what creates the heart on the top. And then it is a pull through, evenly.

“Tulips are layers,” she added, “so you would push-push-push, so you are pausing instead of pulling through.”

Bolder designs often come from combining mechanics of others.

“You are trying new movements but they are all building on those foundations,” Laughlin said. Seeing those designs on top of one’s drink adds more than a layer of cream; it adds a flair that invites appreciation.

“If you pour latte art and it isn’t great, it is going to taste the same as if you were pouring it pretty,” Gaunt said.

“Art kind of adds a touch and makes people remember it more. It’s marketing, really. For the coffee industry presentation is important. People want to take photos of it and get more excited about it.”

Woodworker

Lynchburg Living Editor Shelley Basinger: Norman, take me back to how this hobby of yours began. Have you always had an interest in woodworking?

Norman Ogden: When I was in school, we had FFA (Future Farmers of America) and the last semester we had to work in the shop. You had to make a toolbox by hand using a handsaw and all of that.

SB: Did that spark an interest for you?

NO: It did. But after school I went and worked for a long time. When I left school, I worked at Campbell-Payne Inc. hauling and unloading cement by hand. Then I went to work at the paper mill (formerly MeadWestvaco Corp., now WestRock Co.). I worked for 46 years until I retired in 1998. That’s when I said to myself, “Well I’ve got to have something to do.” In the meantime, I had bought a truckload of tobacco sticks. I decided I was going to try to make something out of those. So I did.

Bonnie Kinnaird (daughter): The first tobacco sticks he used came from an auction and at first, Dad didn’t know what he was going to do with them. It was just part of the heritage of Virginia. He wanted them for that reason.

SB: A lot of people (including me) may not really know much about tobacco sticks. What’s the history there?

NO: They don’t use them much now. But farmers used to take all of the leaves off the tobacco and tie them onto the sticks. Then the sticks were hung in the rafters of the barn. They would put a fire underneath to dry out the leaves and prevent mold. After the tobacco dried they would take it down, tie the leaves into bundles and take the tobacco to market. They quit using the tobacco sticks mostly or some farmers quit raising tobacco altogether. Then they had these piles and piles of tobacco sticks leftover.

BK: The first thing he made with the tobacco sticks was a little stand or drying rack that would sit on a counter, about 18 inches long. This was in the heyday of country style. People used it to display towels in their bathrooms, for example. That drying rack was the beginning of it all. Little boxes came next.

NO: Bonnie said to me one day, “Now that you’ve made all of these things, what are you going to do with them?” I thought maybe I could just give them away. But we went to some craft shows and I later ended up selling at the Lynchburg Community Market.

SB: You’ve worked up to bigger pieces of furniture now. What inspires you to create?

NO: Sometimes when you start out you have a big idea. Then you get into it and it has to be changed (laughs). I make coffee tables, shelves, cupboards with tobacco stick doors, dining tables, all kinds of things.

SB: With so much interest in farmhouse style, I’m sure you’re seeing a lot of customers.

NO: Oh yeah. The reclaimed wood, the barn wood, that’s just the craze right now.

BK: Up until really the last year, we were able to find reclaimed lumber at auctions or other ways but now that it’s so popular you either can’t find it or you can’t find it for an affordable price. A lot of what Dad is doing right now is making with what he has.

NO: Everybody wants a farmhouse table. Of course, they have to have a certain size… and a certain look.

SB: Where do you do most of your work?

NO: I have a garage out back. I thought when we moved here a few years ago it had a lot of space. But it keeps getting cluttered up… and smaller and smaller.

BK: He stays very busy.

NO: I usually go down to the shop by 9 a.m. and come in by newstime—5 or 5:30 p.m. Every day.

SB: Even weekends?

NO: Every single day.

BK: That’s how you get to be 87. Doing something you love.

NO: Who is 87???

SB: Any final thoughts you want to pass along?

NO: I’m lucky to have all of my fingers. That’s the main thing. I think sometimes when I’m working with the table saw…it would be terrible after all of these years for me to lose a finger!

Find Norman’s wood furniture and décor at the Lynchburg Community Market and keep up with him on Facebook: Norman Ogden, artisan.