Salvation Army selling camp stew

first_img Email the author Published 4:00 am Thursday, September 24, 2015 Sponsored Content Around the WebMd: Do This Immediately if You Have Diabetes (Watch)Blood Sugar BlasterIf You Have Ringing Ears Do This Immediately (Ends Tinnitus)Healthier LivingHave an Enlarged Prostate? Urologist Reveals: Do This Immediately (Watch)Healthier LivingWomen Only: Stretch This Muscle to Stop Bladder Leakage (Watch)Healthier LivingRemoving Moles & Skin Tags Has Never Been This EasyEssential HealthTop 4 Methods to Get Fortnite SkinsTCGThe content you see here is paid for by the advertiser or content provider whose link you click on, and is recommended to you by Revcontent. As the leading platform for native advertising and content recommendation, Revcontent uses interest based targeting to select content that we think will be of particular interest to you. We encourage you to view your opt out options in Revcontent’s Privacy PolicyWant your content to appear on sites like this?Increase Your Engagement Now!Want to report this publisher’s content as misinformation?Submit a ReportGot it, thanks!Remove Content Link?Please choose a reason below:Fake NewsMisleadingNot InterestedOffensiveRepetitiveSubmitCancel Skip Latest Stories Salvation Army selling camp stew The Salvation Army is a non-profit organization and all donations are tax deductible.May said the fall is a busy time for the Salvation Army as requests for assistance increase for a variety of reasons.“The Pike County Salvation Army is a United Way Agency and we benefit greatly from the funding we receive from the United Way on a quarterly basis,” she said. “The funds we receive give us a financial boost throughout the year and at times when we seem to need them most.”May said the Pike County Salvation Army will participate in the Pike County United Way Taste of Pike County at the Pioneer Museum of Alabama Tuesday night. This Video Will Soon Be Banned. Watch Before It’s… Remember America’s heroes on Memorial Day You Might Like Voter fraud coming to an end MESSENGER PHOTO/COURTNEY PATTERSONAlabama’s Secretary of State John Merrill spoke to the Pike County Republican Women Wednesday about voter fraud and… read more The Pike County Salvation Army is known far and wide for its camp stew that is so good that it just has to be made from a special and secret recipe.Kim May, Pike County Salvation Army director, said the camp stew is sold a couple of times a year and now is one of the times.“Our Fall Camp Stew Sale is underway and it’s still a great buy at $10 a quart,” May said. “Orders may be placed by calling 334-808-1069 or 672-4481 or by stopping by the Salvation Army Service Center and Thrift Store at 509 South Brundidge Street in Troy.” Troy falls to No. 13 Clemson Book Nook to reopen Pike County Sheriff’s Office offering community child ID kits “The Salvation Army will have a booth at the kickoff for the fundraising campaign for our local United Way,” she said. “I would encourage every to join us to learn more about the 18 agencies that support our friends and neighbors in need in Pike County.”May said the Pike County Salvation Army uses the funds it receives from the United Way to help those in need with utility bills, gasoline for doctor’s visits, medicines and other emergency situations.“Of course, the help the Salvation Army provides hinges on whether the applicant qualifies,” she said. “Whether an applicant qualifies is based on their income and expenses. An applicant must have legitimate reasons for requesting assistance. The Salvation Army is here for emergencies, not for dependency.”May said the local Salvation Army receives funding, at times, from the EFSP, Emergency Food and Shelter Program, quarterly from the United Way, from donations and its three fundraisers.“We appreciate every dime and every dollar,” she said. “They all add up to provide much needed help to the people of Pike County.” Print Article By Secrets Revealed The camp stew will be available for pickup from noon until 6 p.m. on Thursday, Oct. 1 at the Salvation Army Service Center.”May said the camp stew sale is one of three fundraisers for the local Salvation Army.“The camp stew sale, the Red Kettle Campaign and Empty Bowls are our three annual fundraisers and we appreciate the strong support that we get from the Pike County community,” she said. Plans underway for historic Pike County celebration By Jaine Treadwelllast_img read more

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Frendly Gathering Announces 2018 Lineup

first_imgFrendly Gathering is a Vermont music festival produced by professional athletes Danny Davis and Jack Mitrani. For the second year in a row, the festival will return to Sugarbush Resort, located just an hour outside of Burlington. Today, the music festival has announced its initial 2018 lineup, which is slated for June 28th through 30th and includes host band Twiddle in addition to other headliners Greensky Bluegrass and Kamasi Washington. The festival will also see performances by Trevor Hall, Spafford, Kevin Morby, The Suffers, Algiers, Lowdown Brass Band, and more. 2018 Initial Frendly Gathering LineupTWIDDLEGREENSKY BLUEGRASSKAMASI WASHINGTONTREVOR HALLSPAFFORDKEVIN MORBYTHE SUFFERSALGIERSSUITCASE JUNKETUPSTATE RUBDOWNLUKE MITRANILOWDOWN BRASS BANDSMALLTALKERSTRANGE MACHINESSATSANGDISCO PHANTOMTAKAJUPTRALEXANDRA HARLEY[Photo: Ojeda Photography]last_img read more

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BlueLock Lets You Customize Your Cloud Infrastructure

first_imgIf you’re a software-as-a-service company you are probably thinking about how cloud computing can save you money and time. The same thing is true for departments in the enterprise that wants to spin up a new service for customers.We had a chance to sit down with BlueLock, one of the leaders in cloud-based infrastructure providers. Their solutions range from quick provisioning using an online form, to becoming your infrastructure team for mission-critical applications. BlueLock represents a part of the trend in virtualization that not only extends physical servers, but allows companies to leverage infrastructure investments to meet the needs of application developers.One of the benefits of cloud computing is the ability to optimize the experience of experts and save money in hosting applications. However, one of the areas that is terminally difficult in the enterprise is configuration management in between the layers of OS, storage, security and network. This is getting more and more focus from the biggest providers in IT – Cisco, Microsoft, EMC, NetApp – but where the rubber hits the road, IT leaders are doing a majority of the work tuning configurations to find the right mix of infrastructure to meet their needs.Custom is King Fully outsourced configuration management of the infrastructure is one of the areas that BlueLock offers. One benefit of this service is the opportunity for an enterprise to configure a cloud to be both production ready, and also have a mirror environment for testing and development. Not all applications are created equally and it is a key part of the job to optimize across layers.This area seems ripe for change and the future is unknown in the sense that today it is unclear which traditional infrastructure tools will evolve into the holy grail of “one click” deploy-and-customize solutions. So, if you want a solution that is cloud hosted today and configurable, it’s worth giving BlueLock a look. This week at VMware Partner Exchange announced the BlueLock CloudSuite. One key feature in the mix is a tailored selection of infrastructure environments.Instead of just cloning infrastructure, BlueLock focuses on tailoring it around the successful patterns we’ve seen in the enterprise. Additionally, its offerings are based on VMware virtualization technology. The mix of cloud computing with customization seem like an ideal marriage for IT managers looking to build towards the cloud. Is customization a key capability that you look for in a cloud hosting provider for your applications?Photo credits: thebestofmyself & Phillip Pessar Serverless Backups: Viable Data Protection for … Related Posts Top Reasons to Go With Managed WordPress Hosting How Intelligent Data Addresses the Chasm in Cloudcenter_img Tags:#cloud#Data Centers#saas#Vendors#Virtualization Cloud Hosting for WordPress: Why Everyone is Mo… mike kirkwoodlast_img read more

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Screenwriter James V. Hart on Career, Coppola, and Creating a Method

first_imgJames V. Hart has worked with many of the greats — from Coppola to Spielberg. We sat down to talk about his journey and some of the lessons he’s learned.With experience ranging from Dracula to Hook (and many more), screenwriter James V. Hart has collected a wealth of knowledge and a fully formed workflow for taking an idea through inception to all three acts on the page. We sat down to ask him about his experiences, his approach, and what he’s valued most throughout his career.PremiumBeat: I need to ask you about your first credit, Gimme an F, which seems to be a cheesefest in the vein of Porky’s meets Flashdance. How did the guy behind Contact, August Rush, and Dracula create a script about a bunch of randy cheerleaders complete with savage dance numbers?James V. Hart: Yikes. Would you believe it is a cult classic to horror gore auteur Eli Roth? I wish they had shot the original script that I wrote, which was more like MASH, Slap Shot, Hangover — really a savage comedy about my confessions as a male cheerleader during my years as an instructor for the National Cheerleader’s Association in the ’60s. I was a cheerleader in high school in Ft. Worth and at SMU. I had to become one of the girls — gave me a whole new POV and appreciation for [women] and how they spoke and their views on boys and men. It was not just an exploitative sex romp, and it was really raunchy. The male producers could not believe girls and women could talk and act like the female characters. Cut to The Wedding Party and Mean Girls decades later. It was the last comedy I wrote. It was a racy, savage, love poem to cheerleaders everywhere.Image via James V. HartPB: So many of your films involve larger-than-life characters and otherworldly locations. When you inhabit storytelling, are you most interested in diving into a world outside of yourself, or do you bring aspects of Jim to vampires and pirates and boys who never grow up?JH: Unfortunately, every writer, including this guilty one, brings themselves to the table. Never grow up, never give up is one of my mantras. And, once a pirate, always a pirate. I am writing my fourth adaptation of Treasure Island for David Oyelolo, who is portraying Long John Silver as a man of color during the formation of the first democracy formed by pirates in the Caribbean in 1710, and where no slavery was allowed and everyone was equal, regardless of color — equal vote, equal shares of treasure. 150 years before Lincoln signed the Emancipation Proclamation. My kind of pirates.Hook was seminal for me. I could never have written Hook until I had kids. I will say this, one of my producers on Hook was impressed Coppola was directing at the same time Spielberg was completing Hook. I explained that Dracula was the dark side of Neverland, and she quickly corrected me by replying, “I think Dracula is the dark side of you.” Rimshot.Image via James V. Hart.PB: You’ve created a very successful working process that you are sharing with other writers now called The Hart Chart — a system that you first discovered after working with Francis Ford Coppola on Dracula. Can you give us context to that discovery and how it changed your approach to storytelling?JH: 1992. I get a phone call at midnight in NYC. It is Francis Coppola. He has been in post-production on Dracula for several months, and it is not going well. Another disastrous preview has the studio on edge. He asks [politely commands] me to get on a plane and come to San Francisco. He hates the film, hates the script, hates me for writing it, hates the cast, hates the studio, and he wants to show me the film to prove it.“Great, I can’t wait to see it,” I replied facetiously.It had only taken me 15 years of rejection and failure to finally get Dracula produced. And now one of the greatest directors in history of filmmaking was at the helm of a disaster in the making. How was that possible? What had gone wrong?Image via Dracula (Columbia).The next night I met Francis at the Zoetrope building on Kearny St. in San Francisco. He escorted me to the basement screening room, the Godfather room, with big leather couches, cigars, wine, brandy, and two women who spoke only Romanian, and he made sure I was comfortable with instructions to call him in his penthouse after I finished watching this film he hated and he would join me to discuss.He was right. For 2 hours and 10 minutes, I watched the worst piece of shit film I had ever seen. I was comatose, destroyed, drunk, and pissed. Coppola finally called the screening room since I had not made contact.I confirmed his opinion: “I hate you, I hate the script, I hate the actors, I hate the studio, I hate myself for writing it . . . etc. etc.”This is midnight now, and Francis descends from his mountaintop and joins me for the aftermath. And then with complete delight and enthusiasm, Francis Ford Coppola tells me the story of the film, Dracula, that he wants to make.I laugh, I cry, I puzzle. He tells me the story of the script I thought I had written, and the film I thought he had directed as I had seen the dailies and been on the set for much of the production. A little late to start over with an October release date less than four months away.Image via Dracula (Columbia).He invites me into the editing room to spend the next week reviewing every scene shot, other footage not used, etc. in service of the narrative Coppola had pitched and the script we shot. We targeted a dozen pieces and shards of narrative missing in the footage and the script, including story and character moments that had been cut from the script for budget, time, or our not thinking the moments were necessary.We revised the shooting script with the existing footage in the editing room and wrote new pieces, bits, inserts, tags, beginnings and ending of scenes into the narrative that we had somehow missed in the scripting and shooting stages of the production.Coppola skillfully convinced the studio that he needed to bring the cast together and shoot these narrative revisions at a substantial cost to deliver the audience a satisfying ending and, of course, to help the studio recoup their millions in production costs.The best example of the problems the original shooting script did not reveal is the ending as the film was viewed in its initial release. This complete ending was not in the shooting script and went through several stages of additional development to arrive in its final form.The solution to the ending came from an unexpected source — a “Resurrection Opportunity” in HartChart language, a true “Cinderella Moment” to invoke another HC signpost.Image via James V. Hart.Coppola screened an improved cut for George Lucas and Mike Mignola (then an up-and-coming graphic novel artist — before he created Hellboy). Lucas nailed what was wrong with the ending. We had broken the rules of how to kill a vampire that we had established in the film; the only true way to kill a vampire is to cut off their head and cut out their heart, then burn it. Which is exactly what Van Helsing and his Vampire Killers do to Lucy in the film.Lucas was spot on. The rules were right there on the screen. In order for Mina to give Dracula peace, she has to cut off his head with the Bowie knife she had plunged through his heart.That meant bringing Winona and Gary back together to shoot the new moments and bits we needed to complete the narrative. Gary and Winona had literally been at each other’s throats since the second week of shooting. They had even refused to pose together for the photo shoot with the famed Albert Watson to be used for the poster promoting the film. They would never get together again for additional filming.I remember Coppola calling me with this proposition:“Do you think we can get Winona back to cut off Gary’s head?”“It’s the only way you will get her back,” I replied.Image via Dracula (Columbia).Months after principal photography had been completed and sets had been struck, Coppola assembled a crew, including cinematographer Michael Ballhaus, and the cast, including Anthony Hopkins, Gary, and Winona — all one big, happy family — back at Sony studios in Culver City, CA. The missing parts of the narrative were filmed, including Winona cutting off Gary’s head.Coppola’s mastery and execution is seamless. In the film’s climax when Mina decapitates Dracula and sets him free, there are close-ups, medium shots, and high angles that were filmed almost a year apart. The same for many other narrative pieces Coppola captured and edited into the final version.Bram Stoker’s Dracula opened in October of 1992 to a record-breaking $32m and went on to gross $215M worldwide on a $40m dollar budget. It was the ninth-highest grossing film that year.But what haunted me was the nagging questions about the faults and inadequacies of the script during principal photography that were only discovered in the editing room during post-production. There had to be a method, or a tool, or a program that could be applied in the development stages that could potentially head off these kinds of creative crises. And if there wasn’t, there should be.Certainly, lower-budget indy films do not have the resources to bring together cast and crew a year later to re-shoot and/or shoot new material like Coppola did with Dracula. Indy filmmakers would kill for a way to get it right on the page and save time and money during principal photography and post-production.I was determined to find, steal, or create a method, a tool, a philosophy that could highlight these problems in the script development stages and address them prior to production.Image via Dracula (Columbia).In my discussions with Coppola, he gave me the key: the three magic questions to ask and answer about your characters before writing the script.Who is the main character(s) and what does he or she want? (What they need is different; see below.)Who are the characters and the relationships and what are the obstacles the main character must encounter and overcome in order to get what he or she wants?In the end, does the main character get what he or she wants or not? Is it good or bad for them if they did or did not? (i.e. Did he or she get what they need?)I realized that by answering these questions about each main character in my narrative, I would be creating a character-driven three-act narrative (or 7- or 10-act), rather than plot-driven.The emotions, desires, wants, and needs of the characters would be the story engine instead of a plot imposed on the characters by the writer.My characters would pull me through the story rather than push me.By adding more questions and narrative signposts, I had a tool kit different than any screenwriting dogma I had encountered that presented rigid rules and formulaic results: “By page so and so you must do this. The inciting incident must occur before x.”I was liberated to let the characters structure their journey, (not the self-imposed plotline).Literally, my own heartbeat added the final ingredient to the story brew of the HartChart. While having my annual heart exam and EKG, I watched the needles tracking my pulse on the graph and posed to my Cardiologist I should wire myself up when I watch a film (or now binge-watch TV) and see how my heartbeat is affected by what I am seeing and experiencing.Then the epiphany, lightbulb, a ha moment: could I measure/forecast the heartbeat of my characters as I was writing the script and plot their emotional journey on a chart like my EKG? (i.e. take the pulse of my characters in any scene or sequence and measure their ups and downs, victories and defeats, progress and setbacks from beginning to end!)Image via James V. Hart.PB: That was amazing to hear. In a way, you’ve already answered my next question by going through the Hart Chart, but we often hear that writing is re-writing. What is your process after you have a first draft that makes you satisfied? Do you have a trusted source read it for feedback? Or is your process back to basics, back to the chart? When are you satisfied that you are done and ready to hand the script off to executives or the director?JH: First I use the HartChart tool kit and the story-mapping tool to do my own autopsy on the draft. I use those tools every day. I apply the audience test to the read, which is new for me. I apply certain audience questions as if the audience is looking over my shoulder as I read/write. What do they know? When do they know? How do they find out? Are they satisfied?I also have a handful of close confidants and family I will entrust to read. They are tough and honest, which is what you want in order to succeed at any successful revisions.Image via Dracula (Columbia).PB: Much of your work has been adapting existing material — what are the challenges you face when going from a book to screen or taking an iconic character such as Dracula or Peter Pan to a screenplay?JH: Significant baggage. There were over 100 Dracula films and gobs of books, comics, and games, embedded in the audience before I even wrote a word. Same for Hook — a grown up Peter Pan? Blasphemy! The biggest problem with adaptations of pop icons and massively popular characters and stories that the writer is competing with [. . .]  is the mind of the viewer. The best movie of any book etc. is in your head. That is who were are competing against — the imagination is a powerful cinema experience.Image via Epic (20th Century Fox).PB: As a man who has been married to the same woman since 1973, you are obviously a guy who commits and can collaborate. You’ve worked with your friend Bill Joyce on Epic and with your son, Jake, developing projects. What’s the secret to writing with someone else, especially someone to whom you are very close?JH: Judy from the beginning was a great cheerleader for my work, and my harshest, most honest critic. She is busy being Bo — her grandmom name — to our two grandsons, who are currently on location with their mom, Julia, our writer-director daughter. Jake has been a collaborator since age 6 when he asked “What if Peter Pan Grew Up?” Finding a rhythm and a trust, and being able to debate and disagree, and argue, and butt heads without taking it personally is the most difficult balance to find. When it works, and have those breakthroughs and Cinderella moments and bliss hits, you have someone you really care about to high five with.Image via August Rush (Warner Bros).PB: Finally, writers are often marginalized in the process once they’ve handed off the script. What film has been your most complete experience of being respected and involved with the final product? Or is that question even relevant — should writers just let their babies go?JH: Dracula and working with Coppola was the most satisfying complete experience I have had or will ever have in my writing life.Working with Brian Henson and the amazing Muppet players and the entire Henson family and company was the happiest I remember being on and off the set.Standing in Central Park at night with a full orchestra playing Mark Mancina‘s “August Rush Rhapsody,” watching Freddy Highmore bring his parents together with his music is about as good as it gets.Hook was seminal to my career and my family and Mr. Spielberg, who does not like Hook, will always be in my long list of thank yous if there is ever the right occasion.The two years I had with Carl Sagan and Anne Druyan on Contact can never be surpassed.Go with gravity. See where it takes you. It has certainly been good to me.Cover image via James V. Hart.Looking for more industry interviews? Check these out.Screenwriter Norman Steinberg on Mel Brooks, Richard Pryor, and Getting HeardJonah Hill on Writing and Directing Mid90s — and Tips He Learned from the GreatsInterview: Jennifer Gatti on Bon Jovi, Star Trek and Longevity in the BusinessIndustry Interview: Advancing Your Career from PA to ADBest F[r]iends: Greg Sestero on Making Movies With Tommy Wiseaulast_img read more

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Celebrity Items Go Under The Hammer In SAG Awards Auction

first_imgThe SAG Awards Ceremony Auction benefiting the Screen Actors Guild Foundation’s Children’s Literacy and Emergency Assistance programs is currently live at sagawards.org/auction.The auction offers collectibles from nominated films and TV shows such as “Breaking Bad,” “Downton Abbey,” “Homeland,” “Les Miserables,” “Lincoln,” “Mad Men” and “Silver Linings Playbook.” Also up for bid are one-of-a-kind experiences, set-visits, and premium items from networks, studios, sponsors and individuals. Bidding began online on January 21, 2013, at 6 p.m. (PT) and concludes on January 31, 2013 at 6 p.m. (PT) at sagawards.org/action.Proceeds from the SAG Awards Ceremony Auction will benefit the SAG Foundation to help sustain its award-winning children’s literacy programs: BookPALS (Performing Artists for Literacy in Schools), reading to over 60,000 children monthly in classrooms and hospitals nationwide, and Storyline Online, reaching an average of 750,000 global views each month. The auction also supports the Foundation’s Catastrophic Health Fund and Emergency Assistance, including the Superstorm Sandy Relief Fund. For additional information, please visit sagfoundation.org. The 19th Annual Screen Actors Guild Awards honoring the outstanding film and television performances of 2013 will be simulcast live on TNT and TBS on Sunday, January 27 at 8 p.m. (ET) / 5 p.m. (PT).The following is a list of items up for bid at the SAG Awards Ceremony Auction, organized by autographed memorabilia & collectibles, experiences, and premium items.
Autographed Memorabilia and Collectibles:· “The Dick Van Dyke Show” complete DVD series/Blu-Ray box set, signed by Dick Van Dyke and Carl Reiner· “Silver Linings Playbook” DeSean Jackson midnight green football jersey signed by Robert De Niro, Jennifer Lawrence, Chris Tucker, Jacki Weaver, Paul Herman and DeSean Jackson· “Silver Linings Playbook” DeSean Jackson white jersey/shirt signed by Bradley Cooper, Chris Tucker, Jacki Weaver and Paul Herman· “Lincoln” script signed by Steven Spielberg, Daniel Day-Lewis and Sally Field· “Making of Lincoln” book signed by Steven Spielberg, Daniel Day-Lewis and Sally Field· “Les Miserables” soundtrack signed by Hugh Jackman, Eddie Redmayne and Tom Hooper· “Les Miserables” poster signed by Anne Hathaway, Hugh Jackman, Tom Hooper and more· “Life of Pi” package that includes “The Making of ‘Life of Pi’” book and movie poster signed by director Ang Lee· “The Paperboy” mounted poster signed by Nicole Kidman· “The Newsroom” script signed by Aaron Sorkin, Jeff Daniels, Emily Mortimer and more· “The Chronicles of Downton Abbey” book signed by Hugh Bonneville and cast· “Boardwalk Empire” poster signed by Steve Buscemi, Kelly Macdonald and more· “Mad Men” package that includes a script signed by the cast, seasons 1-5 DVD sets, a T-shirt and travel mug· “Breaking Bad” three-T-shirt package that includes a “Los Pollos Hermanos” tee· “Breaking Bad” two-T-shirt package· “Homeland” package that includes a season one DVD set, T-shirt, coffee mug and dog tags· “Nurse Jackie” season one DVD set and syringe pen· “Chocolate Me!” children’s book, written by Taye Diggs, and T-shirt (size M) signed by Diggs
Experiences:· Tickets to the Season 6 premiere event of “Sons of Anarchy”· Visit to the set of “E! News”· VIP visit to the set of “EXTRA”· Visit to the set of “Entertainment Tonight” and “omg! INSIDER”· In-studio listening date with Lori & Julia at myTalk 107.1last_img read more

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