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Long Now Salon Construction Underway

Long Now Salon Construction Underway


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The Long Now Foundation is well on its way to its new salon

Designs by Because We Can for the Long Now Salon display first looks at the new space.

The Long Now Foundation has a new venture underway with the help of a customer-aided campaign.

The foundation, which was founded in 1996 to encourage and foster long-term thinking and responsibility, has so far had 135 donations, reaching $186,028 of a $495,000 goal to build its one-of-a-kind bar and social space. A press release about this venture on San Francisco Bay says it will feature “small events and big ideas, conversations about long-term thinking, and inspiring beverages.” The menu will contain rare and handmade liquors, exceptional cocktails, and top quality tea and coffee.

Though the foundation had to close its For Mason space in preparation for the renovation, the fundraising is steadily underway and construction work on the Salon is imminent. Prototypes crafted by Because We Can, a design-build studio, show what the salon will look like after its completion. The Long Now’s Salon Partners include Samovar Tea of San Francisco, St. George Spirits, the Fort Mason Center, Because We Can, Adams & Chittenden Scientific Glass, and The Internet Archive.


Road construction projects underway in Sioux Falls

SIOUX FALLS, S.D. (KELO) – Drive almost anywhere in Sioux Falls today and you’ll see a lot of orange cones. Construction started today on three major road projects.

The orange barrels went up this morning right outside the Bagel Boy at 33rd and Minnesota. Coming from the south, you won’t be able to make a left turn into the restaurant, but manager Kevin Hauger is pretty sure his customers will find a way to get in.

“This is really nothing compared to the Covid, I would hope. We’ve got the best customers in the business, they come here no matter when it was Covid, construction, we just have a great following and we really appreciate all of them,” Bagel Boy manager Kevin Hauger said.

The project is scheduled to be done in September so Hauger says he may have to run some special summer deals if he sees his business slowing down. The man in charge of Sioux Falls street construction says the city will do what it can to keep cars moving.

“We’ll be maintaining traffic on Minnesota, but 33rd Street we’re going to close one side at a time to do that work, so that be something for drivers to be aware of and take a little extra time,” Sioux Falls principal engineer Josh Peterson said.

Detour signs are sure to frustrate some drivers, but engineer Josh Peterson says you should focus on the improvements.

“You have the delays while you’re going through it but on the plus side, you’re going to see some brand new pavement when we’re all done,” Peterson said.

Kevin Hauger says the project will upgrade this intersection and that’s good for his business in the long run.

“Progress is always good. It will be better for everybody once it’s done. Traffic should flow a lot smoother on Minnesota,” Hauger said.

A second major street project to start Monday… ripping up Phillips Avenue from 14th Street to 18th. A third project began on North Marion Road to help traffic flow better in and out of the new industrial park.

Copyright 2021 Nexstar Media Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


Major construction projects underway in Omaha now, through the summer

OMAHA, Neb. (WOWT) - Heads up drivers: The two biggest construction projects in the city are in full swing and will likely impact the masses.

Thanks in part to the federally funded Build Grant received in 2020, Omaha is able to roll out a revamp of 120th Street between Fort & Maple.

“That’s certainly an area you’re gonna want to detour around on one of the other north-south streets,” Omaha City Engineer Todd Pfitzer said.

In addition to that project, comes the sprawling expansion of 168th Street between Pacific Street and West Center Road, which Pfitzer said will also cause some significant traffic flow changes.

“Both of those involve bridges or culverts where we have to close the road. We have to drive some piling, get compacted dirt to put down. where we can’t do that with traffic,” he said.

Each are arterial widening projects, taking two-lane county roads and expanding them to four.

For the public, this means bike paths, sidewalks, curbs and gutters, storm sewer inlets, roadway widening with four lanes, turn lanes, signals, and more.

Both are slated for the entire summer, though Pfitzer believes the construction at 168th could likely carry into 2022. Still, he said Public Works is excited about construction season and all the work they’ve been able to get thus far adding that productivity recently has been at an all-time high.

“People weren’t taking vacations. They weren’t getting on airplanes and going wherever for two weeks. They were working because they couldn’t travel. So, in many cases, the production levels were higher than under normal conditions,” Pfitzer said.

The goal for Public Works is to finish each project in a single season. Sometimes it happens, but oftentimes that’s out of their control, especially when inclement weather becomes a factor.

Usually, for the department, it’s about the long game.

In fact, the next major roadway plan on the books is the other half of 168th from Center to Q. And many of the future road improvement projects are coming out of last year’s $200 million dollar street improvement bond, which voters approved.

In any case, Pfitzer said the city is always trying to save taxpayers time and money.

“We have made an effort to try to get our projects done earlier so that we can get them out in the hands of contractors earlier which gives them more time to pan,” he said. “And we tend to get better prices, but it’s a challenge. Omaha’s a very vibrant place right now. There’s lots of construction going on and there’s only so many people to do it. We compete for those contractors with our local community.”

Public Works has also crafted an entire website dedicated to helping the public navigate the latest updates and details on construction throughout the city. Keep Omaha Moving is a site with information, locations, summaries, maps, and more, so that residents, drivers, people who commute to and from the city, and really everyone, can stay in the loop about various roadway projects.


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(WSYR-TV) — Warmer weather signifies the start to construction season in Central New York. Several road projects are underway throughout the region.

Motorists are reminded to slow down and drive responsibly in work zones. Fines are doubled for speeding in a work zone. Convictions of two or more speeding violations in a work zone could result in the suspension of an individual’s driver’s license.

Rehabilitation work on the bridge on Newport Road over Nine Mile Creek in the village of Camillus will begin Monday. A two-lane road will be shifted to one side of the bridge while the other side is constructed. This project is expected to be complete by the end of the 2021 construction season.

Drivers on I-481 northbound can expect delays as work on the bridge over Kinne Road begins between Exit 3 (Route 5/92) and Exit 4 (Interstate 690). Lane closures will occur throughout the project. Construction is expected to last about 4 weeks.

Work to rehabilitate the bridge on State Route 13 over Six Mile Creek in the City of Ithaca begins. The bridge, originally built in 1965, will get improvements to extend its life and improve resiliency. Work will take place overnights beginning at 7 p.m. to 6 a.m. to minimize impacts to traffic.

The sidewalk on the east side of the bridge will be replaced, while the west side of the bridge will remain open to pedestrian traffic throughout the construction process.

Replacement of the approach slabs will require some weekend road closures but will not be scheduled on either May 22-24 or May 28-31, to accommodate Ithaca College and Cornell University graduation events. Traffic will be detoured onto Route 13A during the weekend closures. All work is expected to be completed by the end of 2021.

Several CSX railroads in Oswego will be getting upgrades.

Smith’s Beach Crossing: The road will be closed beginning Tuesday, April 27 to Thursday, April 29 from 8 a.m. to 5 p.m. each day. The road will reopen to traffic each day at 5 p.m. and close again at 8 a.m.

Mitchell Street Crossing: The road will be closed beginning Tuesday, April 27 at 8 a.m. until Thursday, April 29 at 5 p.m.

East Avenue Crossing: The road will be closed beginning Wednesday, April 28 at 8 a.m. until Friday, April 30 at 5 p.m.

Copyright 2021 Nexstar Media Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


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OVERLAND PARK, Kan. — Construction on a massive multi-sport complex will soon be underway in Overland Park.

On Monday, the Overland Park Planning Commission approved the final plans for Bluhawk Sports Park, a 4,000-seat civic and community sports center.

The 256,000-square-foot facility will be located in the southeast corner of 162nd Street and Lowell Avenue and feature four basketball courts, eight volleyball courts, multiple recreational turf fields and an ice rink to accommodate sporting events. The complex will also include locker rooms, team meeting spaces and a restaurant within the arena.

Bart Lowen, vice president of development for the company, said the project is expected to cost approximately $100 million to complete.

“It’s a sports facility that’s geared for youth sports. The youth sports industry is $15-20 billion and growing. One of the things I think we’ve seen though the pandemic is that youth sports is thriving,” Lowen said.

Bluhawk has reached an agreement with Sports Facilities Management to manage the multi-sport complex. Lowen said the partnership will help broaden community outreach and bring potential events to Overland Park.

“We are excited about every step we have along the way here and look forward to passing the milestones we have in front of us in the near future and getting to the point where we can put a shovel in the ground on this facility,” Lowen said.

Lowen said construction is slated to begin in October with tentative plans to open the facility in early 2023.


Niki de Saint Phalle: Nothing More Shocking Than Joy

At MoMA PS1 and Salon 94, the French-American artist gets long overdue attention for her boundary-defying architecture and public sculptures.

“I was lucky to discover art,” she said, “because on a psychological level I had everything you need to become a terrorist.”

It was going to be one or the other for Niki de Saint Phalle, who made some of the most joyous art of postwar France, and also some of the most menacing. Her colleagues in 1960s Paris caused ruckuses by filling galleries with industrial junk, or painting canvases with the bodies of naked models — but none of them went as far as Saint Phalle, who used live ammunition to shoot up oil paintings and, by extension, the men of the cultural establishment. Even when her art turned more lighthearted later, there was always something beneath them: a risk, a rumbling, a sense it could all go off the rails.

Freedom through violence, creation through destruction, pleasure through fear: These were the artistic antinomies of Niki de Saint Phalle (1930-2002), whose gun-toting performances and larger-than-life sculpted women have received more respect in Europe than America. New York, where she lived in her childhood, has never afforded her a full-scale museum exhibition — or not until now, with the opening of “Niki de Saint Phalle: Structures for Life,” at MoMA PS1. It’s one of the most surprising shows of the season, with a heavy emphasis on her later, monumental work in parks and other outdoor spaces: walk-in structures, somewhere between architecture and public art, where caves are covered in mirrors and monsters’ pink tongues turn into slides.

It’s a revisionist show, which is curious for one this overdue. By valorizing the later public works and putting the ’60s in shadow, the PS1 curator Ruba Katrib and her colleague Josephine Graf offer a partial view of an artist that many Americans still don’t know in full. But “Structures for Life” brings a cannonade of color to Queens, and it’s one of two opportunities to rediscover Saint Phalle in New York right now. In Manhattan, the gallery Salon 94 has moved into a Beaux-Arts mansion on East 89th Street that previously housed the National Academy of Design, and there you’ll find motorized sculptures Saint Phalle made in collaboration with her second husband, the Swiss kinetic sculptor Jean Tinguely, and three of the totemic sculptures of women she called Nanas.

These large, faceless figures, with spherical breasts and broad hips and hot-colored patterning, may now look like benign ’60s artifacts. But for Saint Phalle the Nanas were fierce things, threatening the patriarchy, with the potential to become what she saw deep inside herself: une terroriste, with the feminine article.

Catherine Marie-Agnès Fal de Saint Phalle was born in the wealthy Paris suburbs to an American mother and a French aristocrat father a few years later the family moved to New York. Both were fervent Catholics, and both were monstrous parents. When she was 11, her father raped her — a trauma she disclosed much later, in an illustrated book from 1994 on view at PS1. “All men are rapists,” she wrote. “I had understood that everything they taught me was false.” (Two of her siblings later killed themselves.)

She got expelled from both Catholic school and Brearley, and while still a teenager she began working as a model, appearing on the covers of Life and Vogue. At 18 she married the author Harry Mathews, and not too long after she was committed to a mental institution, where the doctors first administered electroshock therapy, then encouraged art making. Once discharged, Saint Phalle moved to Spain, where the architecture of Antoni Gaudí — particularly his Parc Güell in Barcelona, with its undulating porticos and mosaic-covered benches — would decisively influence her later public works.

At her first exhibition, in Paris in 1961, Saint Phalle hung a white canvas on the wall, picked up a rifle, and then let it rip. The bullets pierced paint-filled plastic bags beneath the canvas, which bled out to create a drippy abstraction. This and subsequent “Tirs” (or “Shoots”) were performance art in the form of symbolic murder — of gestural abstract painting, of the artist as expressive visionary, of her father, of all fathers.

And sure, they were stunts. Shooting at crucifixes or Kennedy effigies scores pretty low on subtlety. But they won her both fame and credibility, and she was invited to join a group of artists working with collage, industrial materials and performances, known as the Nouveaux Réalistes. Many of these Parisians, including Tinguely, Daniel Spoerri, Jacques Villeglé and Arman, remain stubbornly underrated here, though their work was not so unlike their American counterparts. (Robert Rauschenberg, Lee Bontecou, Noah Purifoy and Bruce Conner might have all been Nouveaux Réalistes.)

The PS1 exhibition moves quickly over Saint Phalle’s “Tirs,” and skips entirely the subsequent gaudy sculptures of brides and monsters, to reach her other breakthrough of the ’60s: the Nanas, which recast her rage at the patriarchy into autonomous, strangely jolly prima donnas. She made these plump and often pregnant figures from plaster or polyester, and painted their surfaces with solid-colored stripes and black outlines. Frequently they had concentric circles, like targets, on their breasts or bellies.

From some angles they recall piñatas. From others, Stone Age fertility statues. And sometimes, really, they look like killers. Saint Phalle often acknowledged the influence of “King Kong” on her art, and in a 1966 ballet (done with Tinguely, and viewable at Salon 94), a giant Nana wearing red pumps descended from the flies to crush the male dancers.

“Nana” is a French slang term for a woman, something like “chick” or “broad,” though it also evokes Émile Zola’s fictional courtesan Nana, painted by Édouard Manet in the late 19th century. They could be as tall as a building, or small as a paperweight. The queen of the Nanas was “Hon,” which she made with Tinguely and Per Olof Ultvedt in 1966: 75 feet long and lying on her back, with a door to her insides between her open legs. They built her for a show at what was then the coolest museum on the planet, Moderna Museet in Stockholm, and some 70,000 Swedes patiently queued to penetrate the exhibition, where adults could look at paintings, kids could go down a slide, and everyone could drink milk at a bar in one of the breasts.

If “Hon” rethought the Nana as a permeable, inhabitable figure, the project also prefigured the public works that the PS1 show spotlights. For a playground in Jerusalem in 1971, Saint Phalle designed a black-and-white golem, its rippling walls indebted to Gaudí, with three slides formed from its three giant tongues. (Parents were scandalized the kids loved it.) In 1983, she and Tinguely created the Stravinsky Fountain near Paris’s still-new Centre Pompidou, where his creaking machines spat water alongside her colorful Nanas and birds.

She spent decades on a garish Gesamtkunstwerk in Tuscany, called the Tarot Garden, where she and dozens of collaborators built massive occult structures, including a mirror-covered Empress that also served as her home on site. Much of the funding for the Tarot Garden came from the sale of perfumes at PS1, her sales expertise gets full Warholian honors.

Saint Phalle always wrote alongside her art making, and this show includes many hand-drawn pages for a book on AIDS and its prevention, published in English as “AIDS, You Can’t Catch It Holding Hands.” First written and illustrated in 1986, later adapted for French TV, this openhearted book features Nana-like dancers proclaiming “I love condoms,” and beautiful edicts to love and care for people with H.I.V. and AIDS, long before many political leaders even acknowledged the syndrome.

Yet the PS1 show’s concentration on public engagement and public constructions does make her seem a bit too congenial. It gives us the “good Niki,” with her unpolished, self-taught aesthetic, her communal construction projects and celebration of play, her AIDS advocacy, her confessional diaries. It muffles the “bad Niki,” slayer of good Parisian taste, who wanted art to be “as beautiful as seeing someone killed, or the atom bomb.” And for a show concerned with the artist’s social commitments, it treads rather gingerly over her support for the American civil rights movement. We get a dreamy frieze from 1968 of Nanas of all colors, but not Saint Phalle’s large Black Nanas, which today feel bold and awkward in equal measure.

At Salon 94, by contrast, the racialized Nana is on center stage. The gallery has installed three large sculptures in a winter garden that echoes the design of her first solo museum show, called “Nana Power,” at the Stedelijk Museum Amsterdam in 1967. (“We have Black Power, why not Nana Power?” she said at the opening.) One of them is called “Black Dancer,” balanced on one foot, wearing a miniskirt like a mushroom cap. Another, also on one foot and playing with a beach ball, is titled “Le Péril Jaune” (“Yellow Peril”), from 1969 she has flowers on her breasts and flesh the color of a taxicab. She is a heroic figure, but Saint Phalle’s repurposing of a racist trope for its title carries a serious shock, in the Vietnam era and no less today.

It’s natural to be left uncomfortable by these painted giantesses. They’re more than half a century old. But museums purged of uncomfortable things are also playgrounds of a sort, and Saint Phalle rarely gave audiences the fully approved version of anything. It’s lovely to build a place to gather, but she was both a builder and a destroyer. She was a maker of structures to live in, and a pillager who shot to kill.


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“This delay has gone on long enough that the idea of beginning construction in 2021 has now entered the realm of fantasy,” he said.

“This project is now delayed a year.”

The full Green Line is eventually planned to run from 160th Avenue N. to Seton in the southeast. The first phase will be built from 16th Avenue N. to Shepard, with plans to build a bridge over the Bow River and to tunnel beneath downtown and the Beltline.

Delays in a project this large inevitably mean increasing the cost. The city has also been pushing hard to start building as soon as possible for the sake of creating jobs to mitigate the economic hit of the COVID-19 pandemic.

But Mayor Naheed Nenshi acknowledged last week that he “can’t see a world where there will be major construction this year.”

He said the communications “logjam” with the province seems to be broken, and the city is working through the UCP government’s questions. But with the 2021 construction season already underway, the window for starting work is closing.

“We may be able to get to a point to award a contract and do some early works, but I think even that is optimistic,” Nenshi said.

Transportation and Municipal Affairs Minister Ric McIver said in a statement Friday he’s thankful for the “positive and collaborative work” between the province and the city.

“The issues we’ve identified are technical, not political, and I look forward to the province’s and city’s technical people resolving those problems successfully.”


How to make a Sazerac, a New Orleans cocktail with a sweet and spicy bite

By Erin Keane
Published February 13, 2021 9:30PM (UTC)

The Oracle Pour (Illustration By Ilana Lidagoster)

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"The Oracle Pour" is Salon Food's spirits column that helps you decide what to drink tonight.

Perhaps right now you are ice-bound. Perhaps a thawing — of the ground, of the protective shells we've built around ourselves — feels far-away, speculative even. What if we could go outside without pain or panic? What if drinks with friends, or strangers, or strangers who become friends for one evening and then vanish into sweet memory, were possible right this second? Where would you go? What would you order? What would you add to your repertoire that would then influence the next round of drinks, of destinations?

The choices at times seem endless. A basic cocktail may have but a handful of elements — spirits, bitters, sugar, water — but from those essential building blocks grows an endless menu of interpretations and remixes and ingredients to satisfy ever-changing palates, distinct occasions and appetites.

Let's narrow down our quest. In a normal year we might expect to be headlong into a season of deep indulgence before our ritual period of repentance, reflection and sacrifice. The highs, the lows. But here we are instead, a sameness smoothing out the sharp corners of our evenings, which give way to dreams colored by anxiety and fear. Where better to transport ourselves than to New Orleans, a city that enchants and delights, but never coddles?

Mardi Gras season should be underway, a rush of revelry before the fast. But this year, the city's annual carnival parades have been canceled due to the pandemic, so residents have transformed their houses into stationary floats, a testament to the resilience of the imagination. Salute that transformative power with a Sazerac, the New Orleans classic that captures the sweet and spicy bite of a city that always turns out to be more than the sum of its parts.

In his essential book "Imbibe," David Wondrich calls the Sazerac — created in the Crescent City before the turn of the 20th century — "New Orleans' own liquid lagniappe." Adding a rinse of absinthe on the way in and a misting of lemon oil on the way out to the basic cocktail building blocks gives you a complex drink that packs a velvet punch.

A note about absinthe: A mere haunting of it remains behind in the glass, and yet its anise flavor remains essential to the character of the drink. Almost a decade ago, I spent a short honeymoon in New Orleans, where I made it a point to ask bartenders for their suggestions rather than place orders. Accepting a marriage proposal turned out to be a good idea, despite having not thought of it myself. What else might I like if I tried it? One night in a Soviet era-themed bar on Decatur Street, I let the bartender choose, and he poured me a $15 glass of absinthe. What could be more romantic, I thought, than sipping absinthe with my new spouse in a quiet, dark place where secrets might be traded? What other exotic adventures might await me if I am open to suggestions from the universe?

But I did not fall in love with absinthe that night. In fact, I nursed the drink but never finished it, walking it all the way back to our hotel, taking ever-smaller sips, reluctant to give up on an expensive, whimsical pour with a romantic past, or on the promise of the minor delight of my evening taking even a small turn for the unexpected, until finally abandoning it, half-finished on the night stand. What is more romantic, I learned, is understanding your tastes and finding suitable matches for them. As it turns out, the bite of rye complicated by bitters, cut with sugar, then graced with a hint absinthe and a kiss of lemon? Transforms a spirit I'm ambivalent about into a magical experience.

Ingredients:

Serving size: one beverage

  • 2 oz. rye whiskey
  • Absinthe, for rinsing
  • Peychaud's bitters
  • Angostura bitters
  • Sugar cube
  • Lemon twist or peel
  • Ice

You don't need any specialty equipment to mix or serve a simple cocktail. Improvise with what you have. But here's what I keep at hand:

Instructions:

Chill a rocks glass with ice, then toss the ice and rinse the glass with absinthe. In your mixer glass, add a few dashes of Peychaud's bitters and a couple of Angostura to a sugar cube, and muddle them together until the sugar is dissolved. Add ice, then whiskey. Stir until good and chilled, then strain into the absinthe-rinsed, chilled rocks glass. Express the lemon peel — pinch it over the drink to release the oils, gently swipe the interior side across the rim of the glass — then discard.

When absinthe was illegal in the U.S. and hard to source, anise-flavored liqueur Herbsaint served as a fine stand-in, and it still may. I like to use Pernod, another anise liqueur — I find it more versatile, if sweeter than absinthe, and therefore more likely to already be on my home shelf — but know that purists may reject that spin. You can also skip the Angostura and double down on the Peychaud's bitters. If you're feeling extra French, Jim Meehan's "Meehan's Bartender Manual" suggests trying it with cognac instead of whiskey.

More Oracle Pour:

Salon Food writes about stuff we think you'll like. Salon has affiliate partnerships, so we may get a share of the revenue from your purchase.

Erin Keane

Erin Keane is Salon's Editor in Chief.

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Long Now Salon Construction Underway - Recipes

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Cemetery bridge work now underway

The work gets underway Thursday at the long-closed bridge over Lytle Creek in Sugar Grove Cemetery.

John Hamilton | News Journal

WILMINGTON —There’s some light at the end of the tunnel — or in this case, the long-closed bridge over Lytle Creek in Sugar Grove Cemetery.

Construction began on the newest version of the structure Thursday morning.

However, what was up must come down — the project’s first phase involves removing the trusses and some demolition.

Work at the site will then stop for several weeks as repairs to structures are made off-site, but the project is expected to be complete in July.

“No pedestrian traffic will be permitted at this location from now until the end of the construction,” states the Facebook pages “Historic Sugar Grove Cemetery” and “Friends of Sugar Grove Cemetery”. “It is very important that patrons of the cemetery stay out of the work zone! Please do not attempt to cross Lytle Creek at this location until after the bridge is completely finished.”

Nineteen months ago — in August 2019 — Wilmington Safety/Service Director Brian Shidaker discussed resolutions involving the project during a report to Wilmington City Council.

Shidaker said then that a resolution would authorize him to execute an amended Local Public Agency (LPA) project agreement with the Ohio Department of Transportation (ODOT) for the bridge project.

Shidaker also told council in 2019 they had gone through the application process, adding there are “a lot of hoops to jump through” when dealing with federal funds — although Shidaker noted this was actually good news.

“The state and the federal government are requiring us to sign an amended agreement because the original was approved for $233,035 in federal funds. We were able to squeeze a little bit more money out of them, so now it’s $259,331,” Shidaker said in 2019, adding that the bridge had already been closed “way too long.”

If you have questions about the 2021 project, call the cemetery office at 937-382-6509.

The work gets underway Thursday at the long-closed bridge over Lytle Creek in Sugar Grove Cemetery.