The USDA released this stakeholder announcement on Thursday, Sept 26. https://www.rd.usda.gov/ media/file/download/usda-rd-savapg-final-rule-09262024.pdf
Several hours later, Hurricane Helene ravaged much of East Central Georgia, leaving (Augusta and other) communities without electricity, water, and many other necessities and creature comforts, for weeks. Internet connectivity was one of those comforts.
Our farm families are safe, but we’ve many miles to go before they are made whole. The Growing Augusta team is just now coming up for air and seeing this announcement and subsequent deadline.
Though the deadline has passed, I humbly submit these comments on “Improvements to Expand Access to Funding for Farmers and Rural Entrepreneurs” from a rented room and borrowed wifi connection.
Very respectfully, kgordon (Augusta Georgia USA)
Improvements to Expand Access to Funding For Farmers and Rural Entrepreneurs
SUBMITTED BY KGORDON: GROWING AUGUSTA: ARTS, AGRICULTURE, & AGENCY
COMMENT 1:
The USDA’s decision to standardize application periods for the VAPG, AIC, and RCDG programs is a positive step towards providing clearer guidance for applicants. Nevertheless, to enhance accessibility for BIPOC farmers, I recommend developing a set of simplified checklists and resource materials that detail the documentation required for each program. Additionally, hosting workshops and training sessions focused on application completion can empower BIPOC entrepreneurs to confidently apply for funding. Together, we can cultivate a more diverse and resilient agricultural sector that benefits everyone.
Apply for disaster assistance loans at SBA Portal Centers
Hephzibah location added
The Small Business Administration has opened Portable Loan Outreach Centers in Richmond County for homeowners and businesses with Hurricane Helene damage.
A South Augusta office has been added to those already in operation. The center will be open Friday from 1 p.m. to 6 p.m. at the Mayor’s Satellite HQ Office, behind Parkers Kitchen, in Hephzibah.
The SBA offers low-interest, long-term loans to businesses, homeowners, renters and non-profits to cover damage not covered by insurance or another source.
Economic Injury Disaster Loans are also available to small businesses that suffered a significant drop in sales after the disaster, regardless of whether or not they had physical damage.
The SBA Office of Disaster Recovery & Resilience works alongside FEMA when there is a Presidential Disaster Declaration, such as Hurricane Helene offering low-interest, long-term loans to cover damages not covered by insurance, FEMA or another source, according to an SBA news release.
There is no cost to apply, and applicants have two months to decide to accept the offer after receiving it. Also, there is no interest or payments for the first year, and no pre-payment penalties. The deadline is Nov. 29.
COMMENT 2 - re: VAPG
The VAPG program plays a vital role in supporting the growth of value-added agriculture. To further enhance its impact, I recommend that the USDA consider issuing grants to producers before planting. This shift would empower farmers to engage in thorough market planning and product development ahead of the growing season, ultimately increasing their chances of creating successful, marketable products. Proactively investing in producers’ planning phases aligns with the program’s objectives and helps create a stronger agricultural economy.
COMMENT 3 - re: AIC:
The importance of technical assistance through the AIC program cannot be overstated, especially for rural producers. However, to truly support these farmers, the USDA must integrate broadband access as a fundamental component of the assistance offered. Rural farmers need reliable internet to access training programs, online marketplaces, and agricultural resources that are increasingly digital. By prioritizing broadband expansion and digital literacy initiatives alongside the AIC program, we can equip rural farmers with the tools they need to thrive in today’s economy.
COMMENT 4 - re: RCDG:
The RCDG program presents a vital opportunity for rural economic development. However, land theft continues to pose a serious threat to BIPOC farmers, particularly those dealing with heirs’ property. To truly enhance the sustainability of cooperatives, the USDA should incorporate strategies that help protect BIPOC ownership rights. Supporting educational programs on land tenure and providing resources for legal support would greatly assist individuals trying to navigate these challenges, ultimately fostering stronger, equitable cooperative businesses.
Growing Augusta: Arts, Agriculture, & Agency LLC
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+1 (706) 751-2537
& MARKETING
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CONTRIBUTORS
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IN PASSING
Judith Jamison, Alvin Ailey Dancer of ‘Power and Radiance,’ dies at 81
She became an international star as a member of the company and later directed it, guiding it out of debt and boosting its popularity.
By Brian Seibert
Judith Jamison, a majestic dancer who became an international star as a member of Alvin Ailey American Dance Theater and who directed the troupe for more than two decades, building it into the most successful modern dance company in the country, died on Saturday (Nov. 9) in Manhattan. She was 81.
Her death, at NewYork-Presbyterian Weill Cornell Medical Center, was announced by Christopher Zunner, a spokesman for the Ailey company, who said she died “after a brief illness.”
At 5-foot-10, Ms. Jamison was unusually tall for a woman in her profession. “But anyone who’s seen her onstage is convinced she’s six feet five,” the critic Deborah Jowitt wrote in The New York Times in 1976.
“I was the antithesis of the smallboned, demure dancer with a classically feminine shape.” Ms. Jamison wrote in her 1993 autobiography, “Dancing Spirit.”
It wasn’t just her size and shape that were distinctive, however. She was a performer of great intelligence, warmth and wit.
“Jamison doesn’t show you steps, she uses them to show you a woman dancing,” Ms. Jowitt wrote. “This ability to maintain a human dimension and to project superhuman power and radiance is perhaps one of her most impressive skills.”
A ballet-trained dancer who wore her hair closely cropped, Ms. Jamison often inspired comparisons with the divine. “The prototype of countless carven and sculptured goddesses” was how Olga Maynard described her in a 1972 cover article for Dance magazine. (Ms. Maynard later wrote the 1982 biography “Judith Jamison: Aspects of a Dancer.”)
Clive Barnes of The New York Times wrote of Ms. Jamison, “She looks like an African goddess,” moving “in a manner almost more elemental than human.”
Mr. Barnes was reviewing the premiere of “Cry,” a 16-minute solo that Alvin Ailey choreographed for Ms. Jamison in 1972. She had joined the Ailey company in 1965 and had already distinguished herself in Mr. Ailey’s signature work, “Revelations,” by playing a woman in a baptism scene who holds a white umbrella high with one hand and undulates the opposite arm to mimic a rippling river. But it was “Cry,” an immediate hit, that made her a star.
At first wielding a long white scarf, Ms. Jamison suggested a series of female roles, from mother to servant to queen, and danced through pain into ecstatic freedom. The solo was a physical challenge — “as if you’re running around the block full speed,” she wrote — and a heavy symbolic lift. Mr. Ailey dedicated it “to all Black women everywhere, especially our mothers.”
“If I had been told that I was to represent every Black woman in the world, I would have dropped the cloth and left the stage immediately,” Ms. Jamison wrote of the burden of
representation in “Dancing Spirit.”
But that was what she was often called on to do in appearances as a guest artist with the Vienna State Opera, San Francisco Ballet, Royal Swedish Ballet and other prestigious companies, usually performing “Cry.” It was, as Thomas F. DeFrantz wrote in “Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture” (2004), “a defiant interpolation of African American experience onto stage spaces typically empty of black bodies.”
And in 1976, when the ballet superstar Mikhail Baryshnikov made a guest appearance with the Ailey company, he performed a duet with Ms. Jamison in a culturally significant pairing of Black and white, America and Russia. The duet, custom-made by Mr. Ailey, called “Pas de Duke,” was a playful exchange of techniques and style.
Ms. Jamison was the Ailey company’s celebrity and Mr. Ailey’s muse. But they had a sometimes stormy relationship, which she once compared to that between twins. “We could read each other’s minds” she told Ms. Maynard. “He was there as a guide, but he let me find my own way.”
Ms. Jamison stayed with the Ailey troupe until 1980, when she left to
star in “Sophisticated Ladies,” a Broadway revue set to music by Duke Ellington. In his Times review of the show in 1981, Frank Rich called her “a mesmerizing incarnation of 1920s Cotton Club glamour.”
A Broadway career failed to follow, but in 1984 she began one as a choreographer, making “Divining” for the Ailey company. In 1988, she founded her own group, the Jamison Project. It didn’t last long. The following year, Mr. Ailey died of AIDS at 58, and Ms. Jamison took over as artistic director of his namesake troupe.
She inherited a company in its 31st year, with standing as a beloved national institution, but it had long been in financial trouble, partly because of Mr. Ailey’s drug addictions and mental health struggles. (In 1980, when Mr. Ailey had a mental breakdown and was arrested and hospitalized for two months, Ms. Jamison took over the directorship during his absence.)
Under her leadership, the company not only came out of debt for the first time; it also grew in size and budget and became even more popular, keeping up a nearly unparalleled schedule of national and international tours. In 2005, it opened the Joan Weill Center for Dance, a sleek, multistory headquarters in Midtown Manhattan with a claim to being the largest building in the country devoted exclusively to dance.
As director, Ms. Jamison maintained classics by Ailey (“Revelations” above all) while adding works by a wide range of choreographers, including those of Ronald K. Brown, whom she particularly championed, and a few of her own. Though some of her choreographic choices were faulted by critics as not rising to the level of her dancers, company members thrived under her leadership.
“What is most touching, and most revelatory of Jamison’s genius as a director is how deep the quality goes,” the critic Joan Acocella wrote in The New Yorker in 1999.
“New dancers, regular dancers, people that nobody’s making a fuss over, are performing at eight hundred kilowatts.”
“They are spontaneous, relaxed, human, and they are wholly inside the dance,” she continued. “Someone has given them to themselves, and that person has to be Jamison.”
Judith Jamison: Director of the Alvin Ailey Dance Theatre
Quincy Jones remembered
From bebop to hip-hop, Quincy Jones excelled at musical producing and arranging like no one before him. In a career that spanned over 70 years, Jones elevated the voices of dozens of entertainers — most indelibly Michael Jackson, but also Frank Sinatra, Paul Simon and Aretha Franklin — with his unsurpassed artistry in combining jazz, rhythm-and-blues and classical orchestration.
By the time of his death on Nov. 3 at 91 at his home in the Bel Air section of Los Angeles, he had become a renaissance impresario of music, film and television, catapulting the careers of Oprah Winfrey and Will Smith and smashing barriers for other African Americans. Mr. Jones’s death, of undisclosed causes, was announced by his publicist, Arnold Robinson, and in a family statement.
Mr. Jones’s seven-decade career was nothing short of Zelig-like. He brimmed with anecdotes about his encounters with figures from Nazi propagandist Leni Riefenstahl to Sinatra to the rap star Tupac Shakur, who was engaged to one of Mr. Jones’s daughters before his murder in 1996.
“It takes a lot of guts to tell Sinatra what to do, man,” Mr. Jones once told the Sunday Telegraph of London. “He takes no prisoners and if you ask him to jump without a net, you better have got it right. … He would love you, or roll over you with a truck and then reverse.”
By Tim Greiving
Legendary music producer Quincy Jones died on Nov. 3 in his Los Angeles home. The prolific music producer had an incalculable impact on American popular music.
Starting out as a jazz trumpeter, Mr. Jones was in Seattle in 1947 playing juke joints with the teenaged Ray Charles. A decade later, he was in Paris studying composition with Nadia Boulanger, mentor to Igor Stravinsky and Aaron Copland. As the first African American to be a senior executive at a major White-owned music label — Mercury Records — he produced Lesley Gore’s 1963 hit “It’s My Party.” The next year, he arranged the jazz-pop mainstay “Fly Me to the Moon” for Sinatra and Count Basie; it was Sinatra who bestowed on him his enduring nickname, “Q.”
Mr. Jones helped score films as diverse as “In Cold Blood” (1967), an acclaimed drama based on Truman Capote’s account of the notorious Clutter family murders in Kansas, and the all-Black musical “The Wiz” (1978). In 1977 he shared an Emmy Award for his score of the TV miniseries “Roots,” a ratings juggernaut that traced an enslaved man’s lineage.
In 1979, Mr. Jones ushered the child singing prodigy Jackson into adulthood by producing the album “Off the Wall.” Three years later, he followed up with “Thriller,” the top-selling pop release of all time. He produced the allstar charity song “We Are the World” in 1985, a best-selling single that raised $50 million for African famine relief.
He coproduced the film “The Color Purple” (1985), directed by Steven Spielberg, and handpicked Winfrey, then a rising Chicago-based talk show host, for her breakout dramatic role. In 1990, he produced the NBC sitcom “The Fresh Prince of BelAir,” composing the theme song and casting the down-on-his-luck rapper Smith in the title role. Mr. Jones produced Bill Clinton’s inaugural celebration concert in 1993.
Mr. Jones’s impact on American popular music was incalculable. He surrounded Jackson’s vocals in “Baby Be Mine” with a funky bass line inspired by John Coltrane’s saxophone and, on “Beat It,” gave the softish high tenor a rock edge with Eddie Van Halen’s electric guitar solo.
Mr. Jones poured fizzing piano and saxophones around Dinah Washington’s voice in “I Get a Kick Out of You.” His own care-
THE Q FACTOR
“It’s tribal. He understands everybody’s talking drum. He’s the only guy in the world who can do that, who can reach all the way back to Frank Sinatra and Ella Fitzgerald and connect them to the rappers.” – Melle Mel
free standard “Soul Bossa Nova,” memorably punctuated with the laughter-like sound of a Brazilian cuíca drum, was reclaimed in the late ’90s as a camp theme for “Austin Powers.”
He helped shape the recordings of singers as varied as Sammy Davis Jr., Barbra Streisand, Helen Merrill, Stevie Wonder, John Legend, Andy Williams and Sonny Bono. “He’s Doctor Fixit,” trumpeter Dizzy Gillespie told People magazine. “He knows the sound you’ve got in you, and he’s got the experience and the know-how to get it out. If I knew how he does it, I’d be a millionaire.”
In the mid-1960s, Mr. Jones became the first African American to score major Hollywood films. He was the first African American to produce the Academy Awards, in 1996, with Whoopi Goldberg as host.
He founded a media empire that included his record label (Qwest Records), a film and TV production company (QDE Entertainment) and the Black music magazine Vibe. Mr. Jones received
28 Grammys (out of 80 nominations); only singer Beyoncé and conductor Georg Solti have won more Grammy, with 32 and 31, respectively). Mr. Jones received seven Oscar nominations, won the Motion Picture Academy’s Jean Hersholt Humanitarian Award in 1995 and was a Kennedy Center honoree in 2001.
Harvard scholar Henry Louis Gates Jr. told Smithsonian magazine in 2008: “Quincy has a lifeline into the collective consciousness of the American public … It’s one thing to find a person who is a brilliant creator and composer. It’s another to find a person who is just as brilliant as an entrepreneur.”
Mr. Jones said he looked for “divine intervention” and “goose bumps” in the studio, and he embraced colorful metaphors to explain his arranging. “A lot of the language we use is food related,” Bruce Swedien, Mr. Jones’s longtime sound engineer, told The Washington Post in 1996. “Q will say things like ‘put a little more garlic salt on the vocal.’”
Mr. Jones’s “garlic salt” was often on the cutting edge of popular taste. He was an early adopter of the synthesizer, fusing electronics and funk into his jazz albums for A&M Records.
He produced “Back on the Block” (1989), which featured rising rap star Ice-T. On the track “Jazz Corner of the World,” Mr. Jones threw a multigenerational party where rappers Kool Moe Dee and Big Daddy Kane were the hype men for a succession of solos by jazz eminences Gillespie, James Moody, Miles Davis, George Benson and a scatting Ella Fitzgerald in her final recording.
Among other Grammys, “Back on the Block” won for album of the year and the inaugural award for best rap performance by a duo.
“Quincy knows how to pull it out of different people,” rapper Melle Mel was quoted saying in Mr. Jones’s memoir, “Q.” “It’s tribal. He understands everybody’s talking drum. He’s the only guy in the world who can do that, who can reach all the way back to Frank Sinatra and Ella
Richmond Board of Education welcomes four new board members
AUGUSTA
The Richmond County Board of Education (RCBOE) welcomes the addition of four new members following the regular election on Tuesday, November 5. They are Shontae Boyd, District 4; Monique Braswell, District 5; Mary Jane Abbot, District 8; and Samantha Valentine, District 10 (at large). The new board members formally take office on January 1, 2025 for a term of four years.
“Our Board is pleased to welcome
four new members, each bringing unique perspectives and a strong commitment to our mission,” says Charlie Walker Jr., Board President. “We are grateful to our outgoing members for their dedicated years of service in building a solid foundation. I am confident this new group will continue to bring valuable insights to advance our vision for educational excellence, and we look forward to the next four years of effective governance and progress toward our goals.”
The newly elected board members will receive an orientation and be sworn in before their terms officially begin in January. A formal ceremony will mark the occasion, with details to be announced at a later date.
Superintendent Dr. Kenneth Bradshaw, says, “We welcome our newly elected board members and look forward to their contributions as we continue to advance the educational standards and opportunities for all students in Richmond County.”
RCBOE is responsible for establishing policy, managing budget allocations, and setting the district’s strategic direction. With the addition of these newly elected members, the Board will continue its commitment to upholding standards that foster student success, operational efficiency, and community accountability.
For more information about the Richmond County School System’s Board of Education, please visit rcboe.org/boe.
Augusta launches self-reporting website for storm damage Assessment
AUGUSTA
The Augusta Fire/EMA Department, in collaboration with the Augusta-Richmond County Tax Assessor’s Office, is conducting city-wide damage assessments after Hurricane Helene. Teams from both departments are assessing damage
across the city. These assessments are not linked to financial assistance programs but are essential for meeting GEMA and FEMA requirements to document the extent of damage.
The self-reporting site is accessible through
the City of Augusta’s main page at www.augustaga.gov or this link. We encourage those affected to use this tool to help streamline assessments and expedite documentation. Media interested in covering this topic may contact Chiquita Richardson at 706-825-1076.
United Way leverages partnerships to deliver food
United Way of the CSRA is excited to announce the launch of its Ride United Last Mile Delivery program, which is in partnership with Golden Harvest Food Bank and DoorDash. This collaborative effort seeks to fill the gaps in food distribution by providing free delivery services to those who have difficulty accessing food resources.
The Ride United Last Mile Delivery program will help ensure that essential food items reach individuals and families in need, particularly those
who are elderly, disabled, lack reliable transportation, or not able to access items on their own.
“Access to food is a huge burden on individuals and families in our community,” said Brittany Burnett, President and CEO of United Way of the CSRA.
“This partnership brings together essential resources and innovative solutions to tackle the pressing issue of food insecurity in our area. Together, we are committed to ensuring that everyone has the ability to
receive the food they need.”
Through this program, United Way of the CSRA and its 211 Network will collaborate with Golden Harvest Food Bank to identify individuals and families who will benefit from food delivery services, as well as provide food resources from its pantry storefront. DoorDash will facilitate the logistics of delivering food directly to those in need, ensuring that no one has to go without essential nourishment due to transportation challenges.
“We’re excited to join forces with
United Way and DoorDash in this innovative approach to fighting hunger,” said Amy Breitmann, President and CEO of Golden Harvest Food Bank. “The Ride United Last Mile Delivery program allows us to reach those who might otherwise be unable to access food support due to barriers like limited mobility or lack of transportation. This partnership brings us one step closer to our vision of a hunger-free community by ensuring food reaches our neighbor right to their doorstep.”
7th Annual Battle of the
The Battle Photo
The Darlington High School Marching Band (Darlington, SC) performed during the 7th annual Battle of the Bands competition held at Butler High School Stadium.
Photo by Richard Dunn.
(At right)
The Academy of Richmond County Marching Band performed during the 7th annual Battle of the Bands competition held at Butler High School Stadium.
Photo by Richard Dunn
(Above)
The Darlington High School Drum Major (Darlington, SC) led the band to an outstanding performance.
Photo by Richard Dunn
(At left)
The Glenn Hills Marching Band performed during the 7th Annual Battle of the Bands competition
Photo by Richard Dunn
the Bands Competition
The Fort Valley State University Marching Band performed during the 7th annual Battle of the Bands competition held at Butler High School Stadium.
Photo by Richard Dunn.
Banneker High School Marching Band (Atlanta, GA) performed during the 7th annual Battle of the Bands competition held at Butler High School Stadium.
Photo by Richard Dunn
The Westside High School Marching Band performed during the 7th annual Battle of the Bands competition held at Butler High School Stadium. Photo by Richard Dunn
Paine College Board of Trustees selects Dr. Lester McCorn as next college president
“I am honored to accept the presidency of Paine College. My acceptance originates from a place of deep respect and admiration for the legacy and significance of this historic institution. Connecting Paine College’s historic past with a strategic vision for the future will catapult this institution into unparalleled prominence in American higher education.”
Dr. Lester McCorn, President-select
The Board of Trustees of Paine College has announced the appointment of Rev. Dr. Lester A. McCorn as President-select. Known for his transformational leadership in higher education, Dr. McCorn brings a wealth of experience and knowledge to Paine College. McCorn will assume the presidency of the college on January 1, 2025.
Since 2017, McCorn has served as President and Professor of Christian Leadership at Clinton College located in Rock Hill, South Carolina. He is an ordained elder in the African Methodist Episcopal Zion Church. He served as pastor of churches in Boston, Connecticut, Atlanta and as Senior Pastor of the Historic 1,500-member Pennsylvania Avenue AME Zion Church in Baltimore, Maryland.
A native of Worchester, Massachusetts, McCorn earned a Doctor of Ministry from the United Theological Seminary (Dayton, OH) in 2011; a Master of Arts from Chicago Theological Seminary (Chicago, ILL) in 2003; a Master of Divinity Studies from Yale University School of Divinity (New Haven, CT) in 1999; a Bachelor of Arts in Liberal Studies from Charter Oak State College (Newington, CT) in 2001; and a Bachelor of Arts in Religion and Sociology from Morehouse College (Atlanta, GA) in 1989.
“Dr. McCorn is a proven leader who has demonstrated a clear and concise vision for institutional change, while identifying and executing a comprehensive plan designed to achieve successful student outcomes,” said Michael Thurmond, Chairman of the Paine College Board of Trustees.
Dr. Cheryl Evans Jones, outgoing president, recently
retired after 31 years of distinguished service at Paine. Dr. Jones played a pivotal role in the development of the Transformation Plan that will carry forward under the leadership of President-select McCorn.
ACHIEVEMENTS
During McCorn’s seven-year tenure as president of Clinton College, the institution:
Added five new bachelor’s degrees: Nursing, Cybersecurity, Elementary Education, Interdisciplinary Studies and pending a Bachelor of Public Health (BPH)
Increased student enrollment by 27% in fall 2024
Improved student retention by 20% and graduation rates by 25%
Established a Department of Sponsored Programs and Grants and secured over $20 million in grants and awards
Granted $1.5 million grant from the U.S. Department of Energy to fund a Cybersecurity program
Constructed the first Digital Library and Learning Commons at an HBCU (2021) with a state-of-the-art Cybersecurity Lab and a new Academic Center for Excellence, with faculty offices, writing lab and a new Nursing Simulation Lab
Earned ten years accrediting reaffirmation by the Transnational Association of Christian Colleges and Schools (TRACS), with no recommendations, findings, or suggestions in 2023
MEETINGS
Augusta Georgia Land Bank Authority MONTHLY MEETING
Date: Thursday – November 13, 2024
Time: 2:00pm –3:00pm
Location: Enterprise Mill - First Floor Conference Room 1450 Greene Street Augusta, GA 30901
AUGUSTA AVIATION COMMISSION
Work Session-Storm Water
November 13, 2024 9:00 a.m.
Orwen Commission Chambers 2nd Floor - Terminal Building
Call to Order, Prayer – Chairman Dan Troutman
I. Agenda Minutes, Statistics & Consent- Chairman Dan Troutman
A. November 13, 2024 Meeting Agenda
II. Discussion Items
A. Impervious Surfaces at Augusta Airports (AGS & DNL)Edwin Scott, Mead & Hunt
B. Review of Historical Payments (AGS & DNL)- Herbert L. Judon, Jr., AGS & Becky Shealy, DNL
C. Augusta Airports (AGS & DNL) Fee Structure-Herbert L. Judon, Jr.
D. General Discussion
Sacred Heart Holiday Market & Guild Bake Sale
Market in Great Hall: November 21; 10 am – 6 pm
1301 Greene Street, Augusta 706-826-4700
VENDORS
Billue Farms
Buona Café
Christmas Toppers by Julia Griffin
Finn’s Family Crafts
Guild of Sacred Heart Bake Sale
Handcrafted Cutting Boards
Hilltop Embroidery
Interiors by Ivy Hill
Orange Otter Toys
ACTIVITIES
Find the perfect gifts from over a dozen local vendors. Enjoy lunch while listening to special guest speakers. Meet local authors, and don’t
Paws and Claws Dog Treats
The Papered Parlor
Raynell Farms
Reflections Candle Company
Sacred Heart Gift Shop
Saltbox Pens
Senn Designs
Stacey Vincenzetti Designs
The Soda Well
Santa Photo Op • Local Author Meet & Greet • Boxed Lunches and Casseroles Pre-Orders • Gift Wrap Table • Guest Speaker • Live Music
The Boy That Comes From Nothing is an outstanding novel that will take you on a journey of trials and tribulations, heartbreak, beacon of hope, and inspiration. “The Boy That Comes From Nothing” written by Jukwan Brooks is out now on Amazon.
forget the popular Sacred Heart Guild Bake Sale. With new extended hours, the annual Sacred Heart Holiday Market is sure to get you into
the holiday spirit! Also, make sure to pre-order your boxed lunch and dinner casserole to pick up the day of the event. Visit SacredHeartAugusta.org
BOXED LUNCHES AND DINNER CASSEROLES
Guests can pre-order a boxed lunch and dinner casserole by calling Sacred Heart by Monday, November 18. 706-826-4700.
LUNCH OPTIONS: (Includes sandwich, chips, fruit, choice of cookie or brownie, & drink) $14
Turkey, Ham, Roast Beef, or Veggie. Casserole options: Small (2-3 servings) $16 Large (4-5 servings) $32
