Stories from

Lynette Gawron, clinical supervisor and licensed creative arts therapist at Genesee/Orleans Council on Alcoholism & Substance Abuse (GCASA), proudly presented clients' artwork at the "Fall Recovery Art Show" on Saturday.

Organized in groups of eight people or less, art therapy sessions focus less on the finished product and more on the creative process. For this reason, Gawron likes to meet with people individually before they start. She says people sometimes come into it with the misconception that it is "arts and crafts" or training in how to be a better artist.

In reality, the process is quite different.

"It's about getting in touch with your true self," Gawron said, adding that the "true self" tends to be suppressed by addiction.

Gawron said art therapy helps to bring the unaddressed problems and issues that fuel or are suppressed by addiction to light.

"The emotional bubbling-up can be overwhelming," Gawron said. "(Art therapy) can be a way to channel that."

Samples:

The artist made this to show how her faith in God is helping her to "pick up the pieces" of her life and move forward.

Another made and showcased three masks:

One representing lovableness and happiness, but with memories of his/her deceased father, uncles and grandmother on the inside...

...another with various colors symbolizing the artist's hopes, fears and mistakes throughout the years...

...and a third depicting a calm exterior with "chaotic" emotions inside that come out "a little at a time."

This poster reflects the unidentified artist's anger at what addiction has done to his/her life.

Here is the bottom half:

Here is the artist's own description of this work: "This is about Light on the face and a path like the 'yellow brick road.' I look through the windows on my path at new things as I make choices in my life."

The artist who made this was present at the event. She said this represents, at the same time, the oppression of her addiction and the freedom (symbolized by the butterfly) of her recovery.

Other projects in which the clients are involved include:

1. Altered books...

...such as this one containing tiny drawers, pockets, pictures and other items. Gawron described it as a kind of journaling. Each page might have a separate theme relevant to the artist.

2. Writing about all the negativity in one's life, painting over the writing and overlaying it with positive words and/or imagery.

For more information, call Gawron at 815-1850 or e-mail llex@gcasa.org.

VFW Ladies Auxiliary District Treasurer Marge Buckley and Post 1602 President Maura Dibble are proud to introduce their first trip to Washington, D.C., for "Wreaths Across America." It will be the local debut of a national event honoring our nation's fallen veterans.

Open to men, women and children of all ages, the trip is being coordinated by "1st Choice Educational Tours." People from outside of Genesee County are also invited to participate.

The bus will depart from VFW Post 1602, at 25 Edwards St. in Batavia, at 6:30 a.m. Friday, Dec. 13, and is estimated to arrive back in Batavia around 8 p.m. Sunday, Dec. 15. Additional pick-up locations may be added for groups of eight or more.

"Wreaths Across America" is a ceremony in which wreaths are placed on the graves of fallen soldiers at Arlington National Cemetery as well as other cemeteries throughout the country.  Travellers on this trip will get to be a part of the ceremony in Arlington at 8 a.m. on Dec. 14.

Dibble said it gives her "goosebumps" to see many of the wreaths on these graves, especially since some of them belong to unknown soldiers whose families and friends have passed on.

Buckley assures participants that they "will not be riding a school bus." Round trip transportation will be provided on a 56-passenger deluxe motor coach with a built-in restroom.

Price of admission also includes:

• a two-night stay at the Courtyard Marriott Pentagon South
• two breakfasts
• two dinners
• a lunch voucher at the Ronald Reagan Food Court
• a Night Illuminated Monument Tour in Washington, D.C.
• time to explore the Smithsonian Museum
• a 90-minute tram tour of Arlington Cemetery
• a two-hour guided tour of the battlefield at Gettysburg, Pa.

Cost is $399 based on double occupancy, $359 on triple occupancy, $339 on quad occupancy and $525 on single occupancy.

There are 15 seats still available. For more information, call Buckley at 344-1663 by the middle of this week.

Today was opening day for "Umtoo," a new outreach of Batavia's First United Methodist Church (see Wednesday's article, "'Umtoo' to serve city residents in need," for more info).

According to volunteer Sandy Kramer, they had a total of 34 visitors between 10 a.m. and 4:30 p.m. -- 21 were church members and the people they invited, and 13 were non-members.

Here are some pictures from the event, including some "sneak peaks" at free stuff and what Umtoo will have to offer:

Will and Julio (musical entertainment)

Volunteers Doug Niebch, Dorothy Taylor and Kramer

Some free snacks

A jar full of Bible passages for people to pick out at random.

Night lights

Fiction and nonfiction books on a variety of topics

Batavia First United Methodist Church volunteers John Fox, Sandy Kramer and Grace West spent time Tuesday setting up the church's new walk-in mission dubbed "Umtoo," on the corner of Ellicott and Liberty streets in Batavia.

"Umtoo," according to church pastor Pam Klotzbach, is a cryptic re-spelling of "UM-two," which stands for "United Methodist two."

Klotzbach said Umtoo will be a place for the unemployed, homeless and underprivileged of Batavia's Southside to come and enjoy free coffee, tea, juice, wrapped food, fellowship, conversation, games such as checkers, and also get help with computer skills, job hunting, homework, laundry and other needs.

For those unsure of how to get the assistance they need in other areas, Umtoo will provide referrals and even, in some cases, make calls on their behalf.

They also hope to start a weekly Bible study in the next couple months, as well as informal worship services.

"Our intention is to show Christ to people in a non-threatening way," Kramer said, adding that they plan on getting to know the people and then tailoring their approach to the needs of the community.

Klotzbach had this in mind when she first introduced the idea.

Previously a pastor in Fillmore, Klotzbach was moved to Batavia by the Upper New York State Conference of the United Methodist Church. The Conference assigned her to the local church at 8221 Lewiston Road after seeing how involved she was during her pastoral tenure in Fillmore. She was not afraid to roll up her sleeves and get her hands dirty.

"(The church) got bounced out of the City of Batavia during the urban renewal days," Klotzbach said. "It used to be near the YMCA. Without sidewalks near us or buses (for transport), we have to come to where the people are."

She has been amazed at the eagerness and generosity of church members, who have put a lot of time and effort into building up and preparing Umtoo.

Umtoo will host its grand opening for the public on Friday from 10 a.m. until 6 p.m. Coffee, tea and snacks will be provided, along with entertainment from Will and Julio. It shares a space with "Amy's Fluffy Friends" pet grooming parlor at 238-240 Ellicott St.

Mission hours will be:

Monday through Thursday, 10 a.m. until 8 p.m.
Friday through Saturday, 10 a.m. until 6 p.m.
Sunday, noon until 5 p.m.

Call 343-4708, ext. 11, for more information.

Michael Bow has had a pretty good year professionally -- and, knock on wood, it will keep getting better.

Bow, 27, runs "Bow Original Woodworking" out of his home in East Bethany. He builds furniture, cabinets, and other things per client request. Clients come to him from throughout Genesee County and as far away as Massachusetts.

Here are some samples of his work:

Originally from Attica, Bow has lived in East Bethany for two years. He started his own business in October 2012, around the time his mother became ill.

"I had worked in a couple different shops," Bow said, "Then I received a lot of requests for work, and my mom got sick. It seemed like the right time to go off on my own so that I could spend more time with her without affecting anybody else."

He learned woodworking on the job as an employee of Eurostyle Woodworking in Colorado. He credits the owners, Doug Stahl and Marco Dehm, with helping him to develop the skill level he enjoys now. They were not only his employers, but also his mentors.

"They're geniuses," Bow said. "They could touch a board and make a piano."

At one point, he got to travel with Dehm to the latter's native Switzerland and get a firsthand look at his training ground.

"When I saw how the Swiss learned," Bow said, "and what 16-year-old first-year woodworking students were doing, I was humbled by how advanced they were. I know guys here (in the United States) that have done woodworking for 30 years, and there's no way they could do what the kids are doing over there."

The following interview was conducted at Bow's home:

How would you describe woodworking for the layman? How is it different from carpentry?

Woodworking is a very in-depth trade. I think that's what I love about it. You have so many different ways to do so many different things. And then you've got so many styles. There's a European style, a Japanese style -- the Japanese are phenomenal craftsmen. There's so many different ways, for example, to build a cabinet, to set a door, and to join everything. Even after 30 or 40 years you still won't know anywhere near everything about woodworking.

There are different aspects of woodworking, but it generally involves more of a finished product. To me, when someone says "I'm a carpenter," I think they're more of a framer, more of a rough builder. And that's definitely respectable. These are just two different disciplines.

Is there a typical request you get from clients in terms of what they want?

Something cheap. (laughs) My slogan is "Design & Function." People usually want something for a specific purpose. Like if it's for an entertainment center, they'll want something that can hold a flat-screen TV, space for books or a DVD player, etc. So obviously it's designed around a specific need -- that's the function in "Design & Function." You can't have one without the other. If you've got the function and there's no design to it, what good is the function? And if you've got a good design and there's no functionality to it, then what good is the design?

How do you decide what kind of wood to use for your products?

Generally, it depends on what people want. If they want a painted product, usually I'll use either soft maple or poplar. If someone is looking for a certain kind of grain, I'll offer one type of wood. If someone is on a budget, I'll offer another; cherry generally stains very well -- and it's fairly cheap. It's pretty much about what the customer is looking for. Usually when I first meet with somebody on a job I'll tell them to get on the Internet, or get a magazine, and show me what they want.

Where do you get the wood for your projects?

It depends on what work I'm getting. Usually I don't need a big quantity of wood. I go through Attica Mill most of the time. I get some specialty hardwood from someone in South Warsaw, too. And then sometimes some of the customers will have wood that has been dried, cut or milled up, and I'll take it.

How did you get started in woodworking?

(When I was a kid) my uncle, Keith Bow, was always doing something with wood. He's a genius. I always would see his work and think, "Wow!" And I admired that "wow" factor.

My dad is kind of a hobbyist; he's a good craftsman. And my brother is a woodworker down in Florida. It's just in our blood, I guess.

I think the biggest thing (I enjoy) is that "wow" factor -- especially having my dad look at something I made and say, "Wow, that's cool."

In my late high school years, when I started realizing what I wanted to do, I went that route (toward woodworking). I was fairly confident with my skills and ability and knowledge, because I have the drive.

What are some of your hopes going forward?

My hopes are to always progress, always become more efficient...basically to strive for perfection. I want to become better at what I do. I want to be able to do more unique projects and constantly do something that is "one-and-only."

I don't expect to make a million dollars a year, but I would like to get to a point where I make enough money to live well and, here and there, take a few days off to do something outside of work.

Right now I'm busy, but not swamped. It's hit and miss (from week to week). Sometimes I might be working 60 hours a week. But I love what I do -- it's an addiction.

For more information, contact bow at 409-8127 or e-mail mjbow85@gmail.com.

Sample photos courtesy of Michael Bow.

If you struggle with poverty, Foodlink invites you to SNAP out of it.

SNAP stands for Supplemental Nutrition Assistance Program, and it is available to Genesee County residents through SNAP E&T (Employment and Training).

Jerome Nathaniel, SNAP outreach and assistance coordinator, is offering outreach clinics to Genesee County families on the last Monday each month at a Foodlink partner agency.  The next one is Monday, July 29 from 9 until 11 a.m. at the Salvation Army, at 529 E. Main St. in Batavia.

According to Nathaniel, this is a change from how Foodlink -- which provides food and nutrition education to 450 agencies in 10 counties throughout Western and Central New York -- has done things in the past.

"We received a grant from the Walmart Foundation in January," he said. "Because of that grant, we have been able to add direct service as a major component (of our mission)."

Prior to this, Foodlink had been working with Genesee County through AmeriCorps Vista, which does not allow workers to engage in direct service. For the past two years, they have focused on providing training to partner agencies (shelters, soup kitchens, etc).

A press release from Foodlink described the SNAP outreach clinics as "a bridge between the Department of Social Services and those applying -- all in an effort to make it easier for all parties involved."

If you can't make it to the outreach clinic, don't panic.

"If you're from Batavia, you can actually just give me a call," Nathaniel said. "I've pre-screened most people more recently over the phone, as a matter of fact."

For able-bodied people between the ages of 16 and 59 who work less than 30 hours a week, the requirements of SNAP E&T are similar to those for receiving unemployment. Applicants must work at least 20 hours per week, and they must be able to provide proof that they are applying for jobs.

At this time, according to Foodlink's press release, 900,000 New Yorkers are eligible for SNAP services and don't even know it.

"A lot of people I've pre-screened have already applied for SNAP benefits in the past," Nathaniel said. "The problem is that the income guidelines are constantly changing. I pre-screened someone in Batavia who applied seven years ago, and this person was certainly eligible this time around."

But changing income guidelines are not the only factor behind the above statistic. Nathaniel points out that many people suffer from "circumstantial poverty as opposed to generational poverty."

"A lot of times," he said, "(there are) people who worked their whole lives and suddenly something changed. They used to have a certain income, and they were used to a type of lifestyle that required a certain level of income. And suddenly, someone in the household got laid off; or suddenly, they've retired and their retirement plan wasn't what they thought it was."

People in this type of situation, according to Nathaniel, would never imagine themselves as being eligible for a government program. But, in fact, they could be eligible for SNAP benefits.

In addition, there are a few misconceptions about the stated criteria. 

"A major mistake people make is that they don't understand what a household size is for SNAP purposes," Nathaniel said. "Ordinarily, you think of a household as meaning just whoever is under your roof -- so five people, for example. But when you're applying for SNAP, what they look at is whether or not those five people share the grocery expenses and share food. So you can have as many as five different SNAP applications in one household. That's five different SNAP households under one roof."

The gross monthly income requirement for SNAP E&T is $1,211 for an able-bodied adult under 59 and without disabilities, plus $429 for each additional person in the household.

For someone over 59 or disabled, the requirement is $1,852 plus $660 for each additional person. Medical expenses (including out-of-pocket premiums), utilities, rent and mortgage are also taken into account for this population.

For more information, call Nathaniel at 328-3380, ext. 150.

Top graphic courtesy of Kim Montinarello

Next week, Hollywood comes to Batavia.

GoArt!, in partnership with local author Bill Kauffman -- author of such books as "Dispatches from the Muckdog Gazette" and "Look Homeward America" -- and filmmaker Ronald F. Maxwell -- director of the Civil War epics "Gettysburg" and "Gods and Generals" -- will host a screening of the movie "Copperhead" on Thursday, June 13. 

This will give locals a chance to see the film before its official release in theaters on June 28.

"Copperhead" takes place in Upstate New York during the Civil War. Kauffman wrote the screenplay, based the novel "The Copperhead" by Harold Frederic, and Maxwell directed it.

Both men will be at the screening, and the movie will be followed by a short presentation by Kauffman and a Q&A session with Kauffman and Maxwell.

In anticipation of the screening, they spoke with The Batavian about the project itself, their collaboration over the years, among other things.

(To Ron): I understand you have been a longtime fan of Bill Kauffman. So this is a two-part question:

A. When and how did you first discover his work?
B. When and how did you two come into contact?

Ron: Actually the second thing happened first. We both attended an event in Washington, D.C. --- at which he spoke -- sometime in the mid-1990s. I was impressed with his wit, with his use of language, his sense of humor, and his insight, and that started a long friendship. I subsequently read his writings, and we stayed in touch over the years. 

Bill: “Copperhead” was actually my second screenplay. The first one was a project that Ron and I started developing several years ago. This was also an historical film, and it almost made it into development but didn't. We still hope it will someday. So "Copperhead" was my second screenplay, but it was the first to be produced.

(To both): What drew you to this material?

Bill: I probably first read the book 25 or more years ago. Harold Frederic was one of the great Upstate New York novelists. In fact his most well-known book, "The Damnation of Theron Ware," was hailed by F. Scott Fitzgerald as the best American novel before 1920.

Edmund Wilson, the great literary critic, praised Frederic's "Civil War Stories" for being unlike any other Civil War fiction. There's no Southern "moonlight and magnolias" romanticism, and there's no Northern "Battle Hymn of the Republic" righteousness; these are hard, unsentimental but very poignant stories of life in the North -- specifically Upstate New York -- on the home front during the war...the people left behind.

And this particular story, "The Copperhead," is about a farmer, a respected man, in a little hamlet in Upstate New York -- he's an old-fashioned Democrat who is against the war. And he is standing up, really, against his community on this. The community is torn apart, his family and the family of his chief rival are torn apart. So these people are casualties of the war in a different way.

The film is also, I think, about the resilience and resourcefulness of the people at home during wartime. It's a rich and complex story about our area, for one, and also about a fascinating time in American history.

Ron: As soon as I read it I thought, "Wow, this would be a terrific subject for a film." And I kind of ruminated for a while until about three and a half years ago, when it came up in conversation with Bill over dinner in Connecticut. I think he mentioned it first, but we both knew the novel and admired it. It was very interesting to me to explore the whole issue of the dissenters in society -- especially within the context of the Civil War, because I had already explored the reasons why good men chose to go to war in the other films, whether they wore blue or gray. Here was a film where you could explore why a good, ethical man chose not to go to war. It's the other side of the coin.

(To Bill): How was the screenwriting process different from the process of writing a book?

Bill: It’s a whole different style of writing. Writing a book is very much a solitary endeavor, although there is give-and-take with the editor. Movies are totally collaborative ventures. Even with the screenplay, Ron and I consulted throughout. Ron has a great sense for how to tell a story. So it was a very harmonious collaboration -- he's a great guy, and we work well together.

(To Ron): You wrote the scripts for both "Gettysburg" and "Gods and Generals." Why did you choose to have Bill write this one?

Ron: Well, as I said, it came up over a dinner, and by that time he and I had collaborated on the earlier project that he wrote. So I knew that he could do it. And I think part of the dynamic there is that when you write a screenplay, you need to focus big time and stop doing everything else.  At the time we started to talk about "Copperhead," I was totally immersed in something else, so I could not write the screenplay myself even if I wanted to. But I knew he could. So I worked with him, you know, in the way that a director-filmmaker works with a writer. We closely collaborated on it, but he in fact did the writing. A lot of times in Hollywood there are shared credits when a director works with the writer, but I'm a strong believer that the writer gets the credit. Because the writer is doing the work.

So, just as on the earlier screenplay, we collaborated but Bill adapted the novel. And I knew that his sensibilities would be very responsive to it. It takes place, as you know, in Upstate New York. And Bill was not only aware of this novel, but he had read other works of Harold Frederic.

In a sense, Bill is a regionalist. He's very aware of where he lives -- not just of how it is now, but of its history and literary traditions. So he was already connected to the history of this part of the world, and to Harold Frederic specifically. So of all the writers in the world, he was probably the most perfectly adapted to work out the screenplay.

If you know Bill's other work, one of his preoccupations is small town America. He has made the choice to live in small town America because he thinks that that's where American values are embodied and where the "simpler life" can be lived. That's a theme that runs through all of his nonfiction, and is certainly one of the themes of this particular story. One of the things ("Copperhead") explores is living in a rural community. I'm sure it was much more rural, with a much smaller population, back then than it is now. But again, Bill was predisposed to understanding and exploring the values of these people.

(To Bill): Were you a fan of Ron's films before this?

Oh yeah, absolutely. He's the great cinematic interpreter of the Civil War. This is his third Civil War film, but it's on a different scale. ("Gettysburg" and "Gods and Generals") had scenes with thousands of extras colliding on the great battlefields -- they were Civil War films set behind the lines.

Were you intimidated by the prospect of writing a script for him after seeing the scope of his previous films?

Bill: Well, you know, I might have been, but we had known each other. We're friends, so in that sense it was comfortable. But it was a challenge. I like challenges, and I have over the years read a lot of screenplays in preparation for this film. I'd read a number of screenplays of films that I like very much -- everything from Paul Schrader's script for "Taxi Driver" to Graham Greene's screenplay for "The Third Man." So I had an idea of how to do it, and Ron was an invaluable guide to picking up the form and grammar of a screenplay.

(To Ron): Had you ever in your life heard of Batavia before meeting Bill?

Ron: No, and I wasn't even sure whether to say Bat-ah-via or Bat-ay-via. But I guess it's like that Cole Porter song, "You say tom-ay-to, I say tom-ah-to."

(To Bill): Are there any local connections in "Copperhead"?

Bill: There is one specifically Batavia reference -- it's a little bit of an inside joke -- early in the film. Some folks will pick up on it. But I can't tell you anymore.

Also, my daughter, Gretel, and the daughter of one of the producers have cameos in the film.  It's during the barn dance scene -- look for the "giggling girls."

(To Bill): Did you have chance to visit the location shoots in Canada? If so, what was this like?

Bill: I was there for about four to seven weeks. I went up a couple different times. I got a real kick out of watching these characters that existed on paper become real. And it's funny, because some of the characters ended up looking very different from how I thought they'd look. But I think the actors really brought to life and enriched the story with their own contributions. They did a lot of studying, put a lot of thought into the roles, and I think it shows on the screen.

(On Ron as a director): You hear stories of these tyrannical, dictatorial directors, but Ron is nothing at all like that. He's very much in control, and the production is well run. But he listens to people, everyone gets along, and it's very harmonious. He does a lot of planning (before production), and that shows in that there's a real efficiency about it. It was shot over about seven weeks, and there were no wasted days. They worked from sunup to sundown. It was very impressive.

(To Bill): I understand the actors were instructed to study your Western New York accent.  What was that experience like?

Bill: (Laughs) Yes, they had a dialect coach from Canada who did a great job with them. We don't have any tapes of what people in Upstate New York sounded like in 1862, so one of the things she did -- unbeknownst to me -- was send them videotapes of speeches of mine. So it was kind of fun on the set when actors would come up to me and ask, "How do you say 'apple'? How do you say 'orange'?" Of course, we're not aware of our accents. To us, we speak normally and everyone else has an accent. And when someone asks you to pronounce something, inevitably a little bit of self-consciousness creeps into you, you know? You exaggerate whatever little accent you might have. But yeah, that was a lot of fun. And fortunately, they do not all sound like me (laughs). They develop their own accents and styles of speaking.

(To Ron): Many of the actors in "Copperhead" are a bit less well-known than a lot of movie stars out there. Was this an artistic decision on your part?

Ron: Yes, very much so, insofar as you want (as a filmmaker) to be able to have the creative freedom to cast the way you want. We made a decision early on that we were not going to chase the movie stars. Because then you're always at the mercy of their schedules, their price tags, and competing for their time with the major studios. So suddenly you're not in control of your own movie. And I've played that game, so I know that game. We wanted to be independent and just cast the movie the best way we knew we could, make the movie we wanted to make, hope that it would stand on its own merits, and get it to the public. 

The reason people get the big stars is because those stars will get the movie financed and distributed. It's a simple formula. So if you think you can have alternate ways of getting the movie financed and distributed, then that allows you artistic freedom.

(To both): How did the upcoming screening/fundraiser come about?

Ron: We thought, as part of our marketing and promotion of the movie, that it would behoove us to do a number of screenings across the country to help generate word of mouth and grassroots support of the film. And we thought, "What better way than to ally with charitable organizations?" So we looked for charitable organizations that we could feel comfortable supporting, and we have about 18 or 19 of these all across the country.

Bill: The producers asked me about having one of the screenings in Batavia, and I of course jumped at the chance. And I thought GoArt! would be a great organization (to support), and they were enthusiastic about sponsoring.

(To Ron): What interests you about the Civil War Era as a filmmaker?

RM: Well, you know, I was drawn to it so many years ago now...it took me 15 years from the time I read (Michael Shaara's) "The Killer Angels" (the book on which "Gettysburg" is based) until the time "Gettysburg" was released in the theaters. I didn't know it was going to take 15 years, and I certainly didn't know I would spend another 10 years making "God and Generals," and then another 10 years before I could make "Copperhead." That's a lot of years altogether -- it's a big chunk of anyone's life to spend on one historical period. It's not like I set out to do that, it just kind of happened that way.

But along the way I came to realize that it has been a deep and abiding interest. It's just endlessly fascinating, and these are stories that have been very compelling to me. I have other kinds of projects I've been working on -- I have a Western I've been working on, a project on Joan of Arc, contemporary films...I'm always juggling them and trying to get them financed like other filmmakers. But it's just kind of worked out that "Gettysburg" led to "Gods and Generals," which led to "Copperhead." A lot of that is my own focus and my own energy, but some of it is serendipitous.

(To Bill): What draws you to writing about small town America?

BK: Well, it's where I've spent most of my life -- it's where I am now. To me, Batavia was always a source of fascination. Every story you could tell was on its streets and in its buildings. 

It's not that people in small towns are better than people in big cities. But I think because of the smallness and intimacy of the scale, it's a place where the individual can matter. In the anonymity of the big cities and suburbs, sometimes the individual can get lost in the crowd. To me, life in a small town seems more real, more immediate. I also think that small towns get the short shrift, both culturally and politically. It's unexplored territory.

(To both): Do you have any words of advice or encouragement for readers who might be aspiring toward successful careers in writing or filmmaking?

Bill: Words of advice for aspiring writers? I guess I'd say Read Read Read Read Read. Persevere. And don't get discouraged.

Ron: Well the most important thing is for aspiring filmmakers to develop and protect their own voice -- and not kind of mimic, copy, cater, pander or be what they think someone else wants them to be, what Hollywood wants them to be, or what any third party wants them to be.  Because then they are wasting their own time and everyone else's. If they can hold onto that little voice inside them that is their unique voice, that's the most important thing. That's what we want to hear and watch.

The screening of "Copperhead" will take place at Genesee Community College's Stuart Steiner Theatre, at 1 College Road in Batavia, and start at 7 p.m. Tickets are $20 for GoArt! members and $25 for non-members.

For more information or to purchase tickets, go to www.goart.org/events.php#Copperhead or call 343-9313.

Supplemental: "Copperhead" trailer

Photo of Ronald F. Maxwell directing courtesy of George Nicholis.

Walkers finished Genesee Community College's six-hour "mini Relay for Life" last night with a dusk "Luminaria Ceremony" honoring the memory of cancer victims and people lives have been touched by cancer. The bags lining their path contained lit candles and each one was dedicated to a particular individual.

Suzanne Smith, of Batavia, "Luminaria Ceremony" coordinator and cancer survivor, is pictured here with her sons, Richie and Mikey.

This is the college's second annual "mini Relay for Life," which is a partnership between GCC's Wellness Center and the American Cancer Society.  It is also a sort of prelude to the annual "Relay for Life" at Van Detta Stadium, which will be held on Aug. 24.

More pictures:

Kristina Groff, American Cancer Society staff partner, and Michelle Williams, the event chair.

Master of Ceremonies John Kochmanski, who is with the college's radio station.

Jace Little, fundraising specialist and safety officer at College Village, and Tiffany Ralston, who was on the event's public relations committee and serves as a "Living Learning" advisor at College Village.

For more information on "Relay for Life," visit relayforlife.org/bataviany

Jennifer Spychalski, a freshman at Genesee Community College, is the winner of the college's "Fine Arts Student Show."

Her work, and that of other students enrolled in GCC's Fine Arts program, will be featured in an exhibit that will be open through Thursday.

According to a press release from Elisa Di Pietro, this exhibit "features two- and three-dimensional artwork" and "reflects the diverse coursework from drawing (to) painting, photography, 2D and 3D design and ceramics."

The exhibit is at GCC's Rosalie "Roz" Steiner Art Gallery at 1 College Road in Batavia.

For more information, contact Di Pietro at 356-2338.

Photo and information submitted by Elisa Di Pietro.

After nine years, Kathy Stefani, of Batavia, will soon gallop into the sunset as organizer of the Super Mammoth Sale at St. Joseph School.

But she will be going out with a bang, as they say, because this year's sale is the biggest thus far and includes several new attractions.

The sale will be held Saturday from 9 a.m. until 4 p.m. -- with a 15-minute break for restocking at 12:30 p.m. -- at St. Joseph School, at 2 Summit St. in Batavia.

Here are some pics:

NEW: Car/Truck Room

Volunteer Jerry Fisk will be running the car/truck room, which will feature models and toys of various vehicle types from the oldies right up to Nascar.

The Baby Room

Paintings and prints

Artisan Doll Room

Showroom #1 (cafeteria) - stage

Showroom #1 (cafeteria) - main floor

Showroom #2 (gym)

Note: Because there is so much inventory this year, both showrooms will be restocked at 12:30 (in the past, this has only been done for showroom #1).

Other items for sale will include a "barely used" Wii system with two remote controls for only $100, four Elvis Presley albums, and a copy of The Beatles' very first album.

There will also be a tent outside featuring furniture, gardening equipment, grills, and other miscellaneous items.

All proceeds of the sale will benefit St. Joseph School. For more information, call Stefani at 344-2701.

In this short video, St. Joe's fourth-grader Andres Mateos demonstrates the use of a Bo, a martial arts weapon from Korea.

Andres was one of many talented youths from Genesee County competing in the "Make Some Noise Area-Wide Talent Show" at Notre Dame High School last night.

Proceeds from this event will be donated to the Western New York chapter of "Make Noise 4 Kids," a nonprofit organization that raises money and awareness in the fight against pediatric cancer.

Here are some of the other performers:

Natalie Matuszak (Notre Dame) singing and playing the guitar for "I Wouldn't Mind" by He is We.

Nathan Beck (Notre Dame) singing and playing the original song "Can't Wait."

Kathryn Fitzpatrick (John Kennedy School) singing a cappella "Wizard and I" (from the Broadway musical "Wicked").

Matuszak and Gabrielle Linsey (Notre Dame) dancing to Rihanna's "Right Now."

Peter Kehl (Notre Dame) singing "Bring Him Home" from "Les Miserables" (dressed as Jean Valjean).

Laura Guiste (Batavia High School) singing "Love Story" by Taylor Swift.

Jon Korzelius, Tyler Hamm and Tristan Korzelius (all from Oakfield-Alabama) performing "The Pit and the Pendulum," a rock medley of original and popular rock songs.

Hailey Natalizia (Pembroke) singing "I'm Gonna Love You Through It" by Martina McBride.

Due to some technical difficulties, I was unable to take pictures of all the performers. My apologies and congratulations on a job well done to the following:

Keara Zerillo, Erin Phillips and Serena Strollo-DiCenso (St. Joseph School), who sang "Wings" by Little Mix.

Kyle Kendall (John Kennedy School), who performed a ball spinning act.

Fiona Beck (St. Joseph School), who sang and played "Don't Know Why" by Norah Jones.

Jake Krajewski, Tyler Barrett, Peter Kehl, Janelle Fancher and Lydia Moens (Notre Dame), who performed a short play called "The Legend of Krately House."

Tyler Hamm and Jon Korzelius (Oakfield-Alabama), who performed a drum duet.

Tracy Read and Beth Johnson-Walsh (Oakfield-Alabama), who sang and played the piano for "Hometown Glory" by Adele.

The winners of the contest were, left to right, Beck (first place), Cheverie (honorable mention), Phillips, Strollo-DiCenso and Zerillo (honorable mention), Kehl (third place), Korzelius and Hamm (second place) and Natalizia (pictured separately).

So as to fit them all in clearly, here is a picture from the other side:

Natalizia was happy to be another honorable mention.

As first prize winner, Beck was awarded $150. He donated his entire winnings to "Make Noise 4 Kids."

Le Roy high schoolers Margaret Kovach, Erica Parker and Ben Neumann posed in character during a rehearsal of "Anything Goes," Le Roy Jr./Sr. High School's 2013 musical production. They will be playing Reno, Bonnie and Moonface Martin, respectively.

Jackie McLean, chorus teacher for the Le Roy schools and musical director for the play, described "Anything Goes" as an intricate, laugh-out-loud funny show with great characters.

More than 80 kids are involved in this production, including cast and crew members.

With music and lyrics by Cole Porter, the show takes place on a cruise ship and features comic circumstances resulting from three love triangles.

Pictured Ashley Webb (Hope), Steven Farnholz (Evelyn) and Natalie Salphine (Mrs. Harcourt)

"The script is jam-packed with funny moments and intricacies," McClean said.

She also said that the cast, which is made up of students in grades seven through 12, "did a great job of making the characters believable."

Danny Weaver and Jayce Seeley play Mr. Whitney and Billy, respectively.

Having "believable" characters is a big change from last year's performance of "Cinderella," which had a fanciful fairy tale atmosphere. With "Anything Goes," the kids have switched to a more realistic setting.

"It was a challenge, but they've done a great job," McClean said. "It's a great group of kids."

For her part, McClean understands and appreciates the challenge of bringing these characters to life. She was in "Anything Goes" as a junior at Batavia High School, which put on its own performance of the show in 2001.

"I picked the show (for the 2013 musical) because I loved it when I was in it," she said. "I understand the challenges, and also the funny moments and the characters, because I lived it. That gives you a different perspective."

As for the music, McClean describes it as old-style jazz with a "huge choral involvement." So in addition to great sets and lots of humor, "Anything Goes" will also boast a large chorus.

Le Roy is known for setting a high bar when it comes to its school musicals. Each year, staff and students like to give audiences something new to look forward to.

This year, audiences can look forward to huge, elaborate tap dance numbers by the whole cast, as well as a six-foot platform of the cruise ship built by Patrick Patton, complete with the look of a real ship and lights that go on at night.

Patton, the father of a Le Roy High School student, has been building sets for these productions for seven years. McClean said he sets a new challenge for himself with each one.

"He's amazing," she said. "(His sets) get better each year."

Performances of "Anything Goes" will be held Thursday, Friday and Saturday in the high school auditorium, at 9300 South St. Road in Le Roy. All performances will begin at 7 p.m.

All tickets are $8 each and can be purchased at the door, via the district Web site or at the school's main office.

Supplemental Photos: Past Performances

Ken Hazlett, 51, is a lifelong Batavia resident who was diagnosed with brain and lung cancer shortly after Thanksgiving. He is undergoing treatment at Wilmot Cancer Center in Rochester, and on Saturday there will be a benefit to raise money for his medical expenses.

"Hit a Home Run for Ken Hazlett" will be held on Saturday at Polish Falcons, at 123 S. Swan St. in Batavia, starting at 2 p.m.

The event will feature a Chinese Auction with 120 to 150 baskets, a 50/50, a 46-inch TV to be raffled off, a week's cabin rental at Frost Ridge Campgrounds in Le Roy (valued at $600), and a Little League package that will include a batting glove, a bat, and tickets for reserved seating at a Buffalo Bisons' game. 

Basket drawings will take place at 6 p.m.

Clor's Chicken BBQ dinners and T-shirts, which cost $9 and $10 respectively, will be available at the event or in advance. Hazlett's niece, Nicole Newton, said there will be a limited number of extra dinners (she anticipates about 75) available on the night of the event.

Saturday's event will also include beef on weck, pizza, pop and water.

Hazlett is well-known locally for having umpired Little League games for many years, as well as for coordinating the area's umpires for about a decade. He was invited to Cooperstown in August 2011 to watch the international Little League tournament, at which he was honored to be the umpire behind the plate at the final game.

For more information or for dinner and T-shirt pre-orders, call 409-4385, 584-3589 or 409-8802. People can also pick up dinners and T-shirts at the Detail Shop, at 3875 W. Main St. Road, or Mazures Automobile Repair Service, at 643 E. Main St., both in Batavia.

Photo submitted by Nicole Newton

Family and friends of Patrick Suozzi, a Batavia man facing terminal cancer, are asking people for support.

On Jan. 27, there will be a benefit/fundraiser for Suozzi's wife, Mary Beth, and son, PJ, from 1 until 6 p.m. at Resurrection Parish (St. Mary's) Recreation Hall, at 18 Ellicott St. in Batavia. All proceeds will help offset their ongoing medical expenses.

The fundraiser will include a meal of spaghetti, salad, bread, beverages and dessert, as well as a TV raffle, a Chinese auction, a bake sale and face painting.

Admission is $10 for adults and $5 for children ages 10 and under.

To purchase tickets, make a donation or obtain more information, contact Lori DiFilippo at (716) 474-2895 or Kim Turman at 356-8922

There will also be a rock 'n' roll benefit on Jan. 26 at T.F. Brown's, at 214 E. Main St. in Batavia. It will feature three local bands: Bob Lovelace (acoustics), Amanda's Rage and Savage Cabbage (main band). The event will last from 9 p.m. until 2 a.m.

Admission is $3 at the door, and there will be a 50/50 raffle. For more information, call 343-1547.

Photo submitted by Steve Ognibene

Jim Lachman likes to tell people that in 1968 he went to Vietnam to kill Vietnamese, but in 2012 he went to paint their nails.

Lachman, of Brockport, is a 2010 graduate of Genesee Community College and is currently pursuing a Bachelors in Social Work at the College at Brockport. 

A Vietnam veteran, Lachman had the opportunity to return to the battleground this past year -- not as a soldier, but as a guest. Through Brockport's Vietnam Program, he earned 15 college credits studying Vietnamese culture and completed many hours of community service in the city of Danang. He chronicled his experience in a blog called "Danang again." (There's a link at the end of the article.)

On Nov. 13, he contrasted his two experiences in Vietnam in a speech titled "A Forty-Year Journey from Vietnam to Vietnam," which was held at his alma mater, GCC. We invited him to sit down with us and share some of his insights for readers of The Batavian.

Lachman and his wife, Bernie -- who joined him for part of his stay in Vietnam -- were interviewed at Coffee Culture in Batavia last week.

What did you do in the Vietnam War?

Jim: I was part of the C-130 Squadron in the Marines. I worked on large airplanes called VMGR 152s. We were stationed in Okinawa, but we had a sub-unit in Danang. I was there for three months, then I went back to Okinawa. Then I spent three months with the flight crew as a plane mechanic, so I was in and out of Vietnam, Thailand, and up and down different airstrips. We flew cargo and troops back and forth. Most of the missions I flew were flight-refueling operations.

So you didn't see any combat, correct?

Jim: No. I was one of the lucky few who weren't exposed to any of that.

How did you get involved in Brockport's Vietnam Program?

Jim: I was in a U.S. History class at GCC in 2010, and there was a little Asian woman sitting next to me. I asked her where she was from, and she said Vietnam. We developed a friendship -- I asked questions. She told me about a study abroad program in Vietnam at Brockport, and I said "Oh, okay..."

What exactly did you do while studying abroad in Vietnam?

Jim: I probably got about 100 hours of community service while I was in Vietnam.  There was a large community service component.

Each week we spent an hour and a half in a nursing home with ladies in their 80s and 90s (there were some men, too). We helped them pick mulberries and peanuts, and they loved to have their nails trimmed and painted.

Then we did an hour and a half a week at Agent Orange group home, and we also did home visits to kids who were too sick to come to the group home.  

Bernie: We know the effects of agent orange on American soldiers, but we don't know about the effect it had on the people who live in Vietnam. It has affected three generations with birth defects, mental sickness, (etc.) 

Jim: The way I like to put it is, we put poison in their backyard and it's still there.

We also did English instruction two nights a week and delivered food and medical supplies to a leper village. Then we got 15 credit hours studying Vietnamese history, politics, culture and language.

What was the big difference between your first visit and your second?

Jim: I contributed to the death of two million Vietnamese people by being part of the war. By contrast, in 2012 I learned about the culture and the people, and I connected with them on a human level. And I fell in love with them.

A former Viet Cong chairman who now writes for "Da Nang Today" (a Danang newspaper) interviewed me for an article on a "former invader who was coming back to do good." He asked me questions, and he was very curious. But if we had met 40 years ago, someone would have been taken prisoner.

Today, Vietnam is a wonderful vacation spot. You see people there from China, Australia, Russia...They have wonderful and very cheap accommodations, beautiful beaches...and the Vietnamese people don't like the sun, so we'd have the beach almost to ourselves (during the day).

Bernie: I came to visit Jim for a month. It was a two thousand dollar round trip by airplane, and that was the most money I spent the whole time.

I shopped at the tailor stores, which are family owned businesses. The Vietnamese are known through much of the world for their tailor-made clothes.

As a woman in Danang, I could walk safely at night. I couldn't do that in Batavia.  All the stores (in Danang) are street-level. (Store owners) got to know me, and I knew that if anyone ever tried to molest me in the street, they'd be all over them.

I went into a bookstore once, and no one there knew English. So they went two stores down and found someone who did. That's what they want -- they want to communicate.

And they revere the elderly. One time we went into a coffee shop, and one of the first questions they asked before seating us was, "How old are you?" Because we're over 40, we were always in the most honored spot.

Jim: And (accepting that courtesy) was part of my being a guest, part of accepting the culture as it was. One of the things the Vietnam Program page on the Brockport Web site says is that as students, we are guests of the Vietnamese government. So that's how I conducted myself. The last thing I wanted was to be an "ugly American."

At every other place I had served (in the Marines), I had the opportunity to connect with the people and the culture. Going back to Vietnam, it was like I had a second chance, you know?

Even if I didn't like an experience, I would try to write about it in a positive way on my blog. At the exit dinner (held at the end of the program), one of the chairmen said, "We've been enjoying your blog" -- "we" meaning the Communist Party.  When I told my son about that, he said: "Well, did you think they wouldn't?"  Honestly, I never thought about it -- I just wrote from the heart.

What would you want people today to know about the Vietnam War?

The man who taught my politics class was in charge of the Liberation Front (the enemy) in Danang back in '68. He said Vietnam has a "market economy with a socialist orientation." It seems to me that their government works as well for them as ours does for us. I often wonder what would have happened if the U.S. had allowed the Vietnamese to have their elections the way they had planned. When the U.S. got involved, it went from 1956-1975 until (the Vietnamese) could unify their country.

Bernie: People our age will ask us, "Did you go to North Vietnam or South Vietnam?" It's just Vietnam now.

Jim: I can think of two men in history who wanted to preserve national union: Abraham Lincoln and Ho Chi Minh. They both wanted the same thing.

After doing some research, I found out that what I was taught about Communism and Ho Chi Minh growing up might not have been the truth.

So then you would say that the Vietnam War was not worth it in the end?

Jim: In humanistic terms, I would have to say no. It wasn't worth all that death.

What I was told when I went over was that I was being sent to stop Communism.  After I came home, I discovered the real reason: The U.S. military was serving as the hired guns of capitalism. The reason (for the war) was that the capitalists in charge of the U.S. government wanted to control all trade in and out of Southeast Asia.

We would have been better off staying out of the whole thing and allowing the Vietnamese to have their elections and be the government they were going to be. It would have saved a lot of lives.

As an American military man in Vietnam, how were you treated when you returned home?

Jim: When I came back in July of 1969, I had heard the stories. So when I came into Travis Air Force Base in California, I put on civilian clothes in the bathroom. I made the choice not to call any attention to myself. Even today, I choose not to wear (my Marines hat), because I just got used to that.

Bernie: When I was a sergeant instructor in the Reserves (in the 1970s and 1980s), we were taught not to wear our uniforms when travelling on a civilian conveyance. Then when the Vietnam veterans insisted that the Desert Storm soldiers be honored, the culture changed. It went from "we're against the war" to "we support our troops."

What led you to speak about your experience at GCC on Nov. 13?

Jim: I was there because of Josephine Kerney, who was my sociology professor (at GCC). She does a lot of study abroad stuff, so in association with the Vietnam Program I'd run into her at fairs and such. I talked about the contrast between my first trip to Vietnam and my second, and it fascinated her. She wondered if I would come in and talk to her class about it, and that led to it being a larger event where anyone could come.

Do you have any thoughts on the current war in Afghanistan?

What I learned from my Vietnam experience was that I can't trust the government. I wonder what my government is lying to me about now. Is (the war in Afghanistan) about money? Is it about pharmaceutical interest in what we can extract from the poppy that grows there?

I've heard it said that "Afghanistan is where empires go to die." Alexander the Great tried (to invade), the Russians tried it, and now it's us.

A Kodak retiree, Lachman returned to school in 2008 out of a desire to become a counselor for military veterans. Currently in his junior year at Brockport, he plans to go on for a master's degree so that he can counsel veterans "who saw things that no one should have to see."

For more information on his experience, go to www.danangagain.blogspot.com.