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News

Bellair bears: Ursine invaders trash neighborhood

By Eileen Abbott

Bradley Kipp recently noticed evidence of a nighttime intruder in the tranquil, wooded Bellair neighborhood west of town where he lives. A resourceful problem solver, Kipp decided to use bungee cords to thwart the thief.

He created makeshift “locks” to tightly seal his trash bins, which were being regularly rummaged through, apparently by a bear that left frequent morning messes all over the yard. “Obviously, a bungee cord won’t stop a hungry bear, but that’s not really the goal” he says. “The goal is to frustrate the bear so he/she simply gives up and moves on. We’ve only had one bear incident since adding the bungee cords.”

Down the street, Kipp’s neighbor, Bev Sidders, shares a similar experience. “I’ve had two incidents this spring of bears coming into my carport, between my cars, turning over my trash cans, and dragging trash all over the yard. I’ve had to move my trash cans into a fenced-in area, and move my cars to get them in and out, so it’s a big inconvenience,” she says.

Some residents believe the bears may have meandered into Bellair after being displaced because of the land clearing going on at nearby Birdwood Golf Course, which is currently undergoing renovations.

“Their habitats have been destroyed,” surmises Sidders.

“We are new residents to the Bellair neighborhood, so this is new to me,” says Kipp. “However, my parents have lived in the neighborhood for four years, and this is the first year they have noticed a bear problem.”

“Construction might impact movements of bears, but mostly it is a food-driven system,” says Virginia Department of Game & Inland Fisheries wildlife biologist David Kocka. Last fall, very few acorns were produced across much of Virginia, he says, and when natural foods are limited, bears search more for food in the spring because there are no leftover acorns.

DGIF Regional Wildlife Manager Jaime Sajecki explains that bears are coming out of dens after months of not eating. Some have given birth and nursed cubs with nothing to eat for months. They lose 30 percent of their body weight, and if there were not good natural food sources in the fall, they can be on the edge of starvation by early spring.

“Bears only come into human-occupied areas because they are desperate for easy foods that don’t take any effort to get,” she says. “They can eat a whole day’s worth of calories from one bag of trash. Bird feeders and garbage cans are the fast food option for bears who would rather spend less calories getting the most calories they can.”

Virginia has never had a bear-caused fatality, she says, and bears are not in neighborhoods because they want to eat people or pets. “It is the buffet of half-eaten sandwiches, pizza crusts, and all the other things we put in the trash that draw them in.”

There is no increase this year in the bear population, which DGIF monitors in five- and 10-year-trends, says Kocka. “Bear populations don’t really change very quickly.”

Game & Inland Fisheries recommends going to its website, which includes information on how to reduce the chances of bears visiting your property. After a few failed attempts to find food around homes, bears will usually leave the area.

“Simple preventative steps make sure that we can all coexist,” says Sajecki.

Bellair resident Betsy Tucker accepts the fact that there is wildlife in her neighborhood, “We live very near the mountains and woods, and it comes with habitat. I didn’t pay to live in a sidewalk community. I don’t mind the bears at all. They’re not grizzlies.”

Deer, however, are another matter, says Tucker’s husband Chip. “The deer are fearless, ubiquitous, and on the increase.”

Sidders agrees. “At least eight live in my yard and have destroyed a contorted filbert tree, dug up or eaten all my tulip plantings, and anything else that I don’t surround with a wire cage,” she says.

Tucker’s neighbor, Dr. Matthew Bowen, says the issue is management, and he’s been vocal about his hopes the UVA Foundation will allow deer hunting to keep the wildlife population in check. The foundation owns , both of which border the Bellair neighborhood, and it stopped bow-hunting when it acquired those properties several years ago.

Many Bellair residents believe this has contributed to deer over-population. “We very much wish that the university would regularly thin the herds by bow-hunting, and make the meat available to local people who need it,” says Tucker.

Bill Cromwell, director of real estate asset management for the UVA Foundation, hasn’t seen any significant damage to either property, “If they did cause significant damage, UVAF would investigate measures to mitigate any issues,” he writes in an email.

His development team meets monthly with the neighborhood associations adjacent to these properties, he adds. “Residents should feel free to contact their HOA representatives to express their concerns.”

Categories
Opinion

This Week, 5/29

If you know Charlottesville resident Jamelle Bouie, you probably know him for his writing—first for The Daily Beast and Slate, now as an opinion columnist for The New York Times—or his political commentary on news shows like “Face the Nation,” or maybe for his wide-ranging and well-informed takes on Twitter. You may even see him pop up on Nextdoor, arguing about local zoning.

But Bouie is also a photographer, and his first-ever show is now on view at the Jefferson School: an exploration of a handful of all-black towns in Oklahoma that were established after Emancipation. He likes “old stuff,” he tells us, and “trying to imagine what something would have looked like when it was loved,” and the quiet, boarded-up buildings he photographed fit the bill. The show is also, though, about hope: about the thousands of former slaves who fled the oppressive racism of the South in an attempt to build their own future. “The quality and quantity of that aspiration, it cannot be missed,” says the show’s curator, Andrea Douglas.

There are a lot of new starts in these pages, from a longtime customer taking over Milli Coffee, to local performers attempting to “reclaim” stories of trauma through art.

And one goodbye: Samantha Baars files her last story as a staff reporter, about the rising costs of print newspapers, as The Daily Progress raises its rates. Sam joined the
staff as a 21-year-old straight out of James Madison University and honed her reporting skills here over the years, including as a vital part of our coverage of the August 2017 Unite the
Right rally and its aftermath. Her tenure included three press awards and one (quashed) subpoena from Jason Kessler, and her keen eye and sly humor enlivened our pages. She will be missed. 

Categories
Living

Thirst ’n howl: Wild Wolf opens second location downtown

The door, kitchen, and taps are open at Wild Wolf Brewing Company’s downtown location, hard by the railroad tracks on Second Street. The brewery and restaurant’s soft opening in the former Augustiner Hall and Garden space precedes an “official” debut on June 2.

But there’s a hitch: Due to federal regulatory snags, the Wolf can’t yet serve its own beer, a lingering mess caused by the government shutdown (remember that?). One manager said he’d been informed that the ban would be lifted on Independence Day. Oh, the irony. In the meantime, while shiny nano-brewing vats stand idle in the dining room, patrons will have to settle for frothy beverages by Deschutes, Champion, and Three Notch’d, among others.

Chef Chris Jack, formerly of Staunton’s Zynodoa Restaurant, says the Wolf’s Charlottesville menu—as opposed to the one at its flagship, in Nellysford—has been “upscaled” to fit in the mix of culinary offerings nearby on the Downtown Mall. “Out in Nellysford, we do a lot of wood-smoking, but we wanted to try something different here,” he says.

So, while you can still get a corn dog ($6) for your kid, you may also tuck into a Candy Bar Steak ($28), with creamy risotto, carrot and roasted beet purée, heirloom carrots, and orange crème fraiche. A good ol’ cheddar burger will set you back $13.50.

Patrons may sit at outdoor tables shaded by bright red umbrellas (the patio shakes a bit when trains roll by), or duck inside, where the interior is dark, sleek, and industrial, with corrugated steel walls, exposed ductwork and ceiling trusses, and lots of wood surfaces. Four big-screen TVs hang above the U-shaped bar, so this will be a haven for sports fans—and eventually, fans of Wild Wolf’s own beer.

Take two

The smallest restaurant in Charlottesville, The Flat Creperie, has re-opened. Soon after it was offered for sale in a March 22 tweet, Elise Stewart became the third owner since the popular spot first opened in 2005. The menu is suitably short at the charming ivy-covered brick box on Water Street, with four sweet and four savory offerings. We tried the Summer Veggies crepe, a thin doughy wrap stuffed with chopped red pepper, mushrooms, zucchini, olives, tomato, feta, and caramelized onions—a tasty, two-handed meal for $8.

Nibbles

Just in time for the heat wave, Greenberry’s Coffee Co. is offering a line of canned cold-brew coffees. Root 29 is open for business at the DoubleTree by Hilton Charlottesville, with small and large plates served in a glass-walled room with a long bar and a trippy fake fireplace. Early Mountain Vineyards will soon announce the arrival of a new chef to fill the role once held by Ryan Collins, now of Charlottesville’s Little Star. Patisserie Torres, the sublime pastry shop of Serge Torres, formerly of Fleurie, is shuttering after less than a year in business. The boutique Oakhurst Inn (owned by C-VILLE Weekly co-founder Bill Chapman) has revealed the imminent arrival of Oakhurst Hall, an annex with eight guest rooms and—most importantly—the Chateau Lobby Bar, where craft cocktails, light fare, and live music will be on the menu.

Categories
Arts

Stranger than fiction: Casey Cep explores Harper Lee’s foray into true crime

When word came out in early 2015 that Harper Lee was set to publish a sequel to the 1960 Pulitzer Prize-winning To Kill a Mockingbird, author Casey Cep was one of a number of reporters who traveled to Lee’s hometown of Monroeville, Alabama, to cover the book’s release. Despite Lee’s enormous popularity, Go Set a Watchman was only the second book the reticent author had published.

To her great surprise, while in Monroeville, Cep met a woman who told her about a third book that Lee had worked on—a work of true crime. Cep’s interest almost immediately shifted from covering Go Set a Watchman to investigating Lee’s unpublished true crime book.

“At some point I thought, ‘Why am I not writing this? It’s fascinating,’” says Cep.

As a reporter, Lee had spent time covering a story that took place in Alexander City, Alabama, in the late 1970s. A local man, Reverend Willie Maxwell, allegedly murdered six of his family members over a period of seven years. Locals suspected that Maxwell had killed a number of his relatives in order to collect on various life insurance policies that he had taken out naming him as beneficiary (unbeknownst to them). Although suspicions mounted against Maxwell and the evidence against him seemed damning, he was never convicted of any of the murders. This was due in large part to Maxwell hiring one of the best defense attorneys in the state—Tom Radney. It was Radney’s granddaughter, who Cep met in 2015, who told her about Lee’s work covering the Maxwell case.

In Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee, out this month, Cep uses the Maxwell murders and the friendship between Radney and Lee as a framework to paint a portrait of the writer, a deeply private figure who spent much of her life outside of the limelight. “In some ways, my motivation for looking at this case has always been to learn more about her,” says Cep.

On June 18, 1977, Maxwell attended the funeral of his adopted daughter at a small chapel in Alexander City. In the middle of the service, Robert Burns, seated in the pew in front of Maxwell turned around and shot him in the head three times—killing him instantly. Burns, a blood relative of Maxwell’s suspected last victim, went to trial for murder and hired Radney—the same man who had represented Maxwell in previous years and gotten him acquitted of murder—as his lawyer.

When Lee found out about the Maxwell case, she arranged to go to Alexander City to cover the Burns trial. While there, she befriended Radney, who very much admired Lee and openly discussed the ongoing case with her.

“The truth is that, by her own account, Harper Lee was always intrigued by crime,” says Cep. “Her father was a lawyer. Her older sister was a lawyer. She spent a lot of time around that courthouse in Monroeville.”

Lee’s interest in crime was likely stimulated by her friendship with Truman Capote. When Capote traveled to Kansas in the early 1960s to gather information about the quadruple murder of a family for his acclaimed book, In Cold Blood, Lee went along to help research the case.

“I think the friendship between Lee and Capote is one of the most interesting relationships in the book,” says Cep.

Despite their camaraderie, Lee was dissatisfied with the way that Capote presented the research when he published In Cold Blood. When she went to Alexander City to cover the Maxwell case, she was determined to write a true crime novel that was different than the one Capote had produced. The book that Lee was working on was to be called The Reverend. Yet, in spite of the time she spent researching the story—chatting with journalists who had covered the Maxwell case, gathering letters and court reports, talking with Radney—she never published anything.

“There is a camp of people who feel like the salient question isn’t ‘What did she write?’ but ‘What did she do with it?’” says Cep.

In 2017, a year after Harper Lee’s death, Cep traveled to Monroeville to meet Radney’s eldest daughter at the Lee family law firm. And that’s where they picked up a briefcase filled with notes and materials Lee had collected while researching the case—including a chapter of The Reverend.

What else, if anything, exists of Lee’s true crime book is unknown. “I wish I had the answer,” says Cep. “I jokingly say it’s mysteries on mysteries.” —Benjamen Noble

Categories
Living

Friendly takeover: Local writer and photographer to reopen Milli Coffee Roasters

On a sultry day in late May, John Borgquist and Sophia Milli Leichtentritt sit at a table in Milli Coffee Roasters, at the corner of Preston Avenue and Ridge McIntire Road. Outside, traffic swooshes by in the glaring sunlight, but inside it’s dark and quiet, except for the intermittent buzz and whir of power tools—the shop is getting a touch-up. A wide strip of black-and-white photographs, portraits of customers taken by Borgquist, line the walls.

It’s impossible not to feel the heaviness of the mood, which is also written in Borgquist and Leichtentritt’s stoic expressions. The two have known one another since 2012, when Leichtentritt’s brother Nick and his wife, Nicole, opened the coffeehouse, giving it Sophia’s middle name. She was just 12 at the time, the youngest of the six Leichtentritt siblings. Nick was the second oldest of the tight-knit family, a charismatic figure who passed away suddenly and unexpectedly on February 17.

“He was a lot of things to me,” Sophia, 19, says, her eyes glistening. “He was a mentor—that gave him some room to be hard on me. But he was also soft, like a big brother should be.”

Milli’s closed after Nick died, leaving hundreds of devoted customers without the gathering place they had come to love. But Borgquist—who first visited the coffee shop less than a month after it opened and quickly became a regular—decided to fill that void. In a video posted on Milli’s Facebook page two weeks ago, Borgquist, 37, stood beside Nicole Leichtentritt and announced that he would be buying the business.

“The best decision for the shop was to keep it open and keep Nick’s vision alive,” says Borgquist, who plans to reopen Milli’s on June 1.

“It is difficult,” Sophia says, remarkably keeping her composure. “But John is a phenomenal person. I don’t think there’s anyone better to pass the baton off to.”

Nick was open and generous with his emotions, and with Milli’s he created a nurturing haven. You can learn this by reading the comments on the GoFundMe page, Jesse’s Bright Future, created for Nick and Nicole’s 4-year-old son. As of May 24, donations had reached $24,766 of the $30,000 goal.

“Milli Coffee Roasters was pretty much my second home and the place where my friends and I became family,” one donor wrote.

“I was always struck by the obvious love and affection the Leichtentritt family exudes,” wrote another.

Those feelings drew Borgquist to Milli’s, where he became a thread in the fabric of the coffee shop’s culture. In addition to his gig as a photographer, Borgquist is a freelance writer under contract with a financial publisher. He often worked at Milli’s, sipping coffee with his laptop propped open on the table.

Borgquist says he’s planning a few changes: Milli’s will offer fruit smoothies and blended coffee drinks, and exhibit local artists’ work, starting with a show of Paige Speight’s paintings.

“The shop is certainly going to develop over time,” Borgquist says. “But Nick was a good friend of mine, and I don’t want to mess up the spirit of Milli’s.”

Milli Coffee Roasters, 400 Preston Ave., 270-9706

Updated 9:21am May 30, 2019: In an earlier version of this story, the sister of the late Nick Leichtentritt, Sophia Milli Leichtentritt, was misidentified. We regret the error. 

Categories
Arts

Healing artistry: Electro-pop project The Near Misses finds beauty in pain

The Pie Chest is a strange place to talk about trauma. Its abundant natural light and mom-and-pop feel don’t lend themselves to discussing the details of near-death experiences—stories that include a failed suicide attempt and a catastrophic German blitz, dating from World War II. But this was the location chosen by Jennifer Tidwell and Paige Naylor to chat about The Near Misses, a name for both the “electropop opera” band they have assembled and the death-adjacent tales the band will perform onstage.

Maybe the cheery choice of restaurant can be explained by what both Tidwell and Naylor continually emphasize throughout the conversation: The women who comprise The Near Misses don’t intend to wallow in the trauma they depict. Rather, says Naylor, “it’s about healing.”

“And reclaiming,” Tidwell adds.

The two are co-producers of The Near Misses, but the project was Tidwell’s brainchild back in 2012. She says she was inspired by the “notion of grace.” Tidwell’s not talking about everyday elegance—she evokes the word’s divine definition. She found herself drawn to survivor stories. There was enormous artistic potential in these stories, she knew. But in 2012, she wasn’t quite ready to harness it.

She also didn’t have the time to try—The Near Misses is just the latest of many artistic projects with Tidwell’s name attached. She’s best known for founding Charlottesville Lady Arm Wrestlers (CLAW), adapted to Collective of Lady Arm Wrestlers when it caught on in other states, but she’s also a co-founder of the all-female theater collective PEP and a constant collaborator with local artists and organizations.

Being an icon among Charlottesville creatives requires considerable energy, and Tidwell delivers. It’s visible in her hand movements as she speaks, fingers tracing shapes in the air and gesturing excitedly at Naylor, who is a bit more reserved but no less passionate. Aside from co-producing, Naylor is also the show’s composer and one of the performers. She glows with quiet anticipation when describing the music she has created for The Near Misses—“minimalist, medieval pop.”

Much of the conversation focuses around explaining what, exactly, The Near Misses will be. The band’s planned performance is as complex and intersectional as the trauma it seeks to represent, and while this is a testament to Tidwell and Naylor’s creative abilities, it’s not easily summed up.

The group is composed of four women—Naylor, multi-instrumentalist Catherine Monnes, theatre artist Kara McLane Burke, and dance artist and UVA lecturer Katie Baer Shetlick. (Tidwell, also directing, will remain offstage.) Their two-night debut will be the same show in different spaces—first The Southern on May 31, then Live Arts on June 1. Tidwell says this is because they want to prepare for different types of venues, with an East Coast tour planned in the fall.

These four performers will act out six songs of varying lengths, each relating a woman’s near-death experience. The songs will be accompanied by Naylor on keytar, along with three set instruments in the forms of dry leaves, an oven, and a doorway—“which is actually a ladder,” Tidwell confides. The song cycle lasts about 40 minutes, followed by the show’s finale: a sound collage compiled of other recorded near-death experiences.

Along with the WWII Blitz and the unsuccessful suicide, which Tidwell says was attempted in a “mock-Sylvia Plath” style, a depiction of sexual assault is the subject of another song, along with a piece about those who were injured on the Downtown Mall on August 12, 2017.

Despite the upsetting subject matter, Tidwell says the performance will address both “trauma and all the fruit that it bears”—what she calls a “really rich combination.” Tidwell also says that early reactions have been overwhelmingly positive. “I talked to friends of mine who have experienced profound trauma, and they’re happy to know that this is being represented in a way that’s not just pitying. …These people who have been hurt, they want to be heard.”

Naylor, who’s been relatively quiet next to Tidwell, finds her own burst of energy when she has to leave The Pie Chest early. She talks quickly, with excitement, about the project even as she stands to go. “It’s been such a privilege to hear all these stories and to make something out of them,” she says. “Now that I’ve heard their stories, I feel like there’s a connection there. There’s an understanding that is really incredible.”

Even after an hour-long conversation with its creators, it’s difficult to predict what to expect from The Near Misses. Certain aspects of the show feel inevitably grim, but as Naylor and Tidwell repeatedly stress, the goal is not to depress. The progression of the show mirrors the mental progression of someone who experiencing and recovering from trauma. It may be a difficult journey, but as Tidwell says, “some real strength emerges at the end.”

The Near Misses / The Southern Café & Music Hall  May 31/ Live Arts June 1

Categories
Arts

Dancer’s journey: The White Crow stays en pointe with no distractions

The 1961 defection of Soviet ballet dancer Rudolf Nureyev in Paris sent shockwaves through the artistic and political worlds—both East and West. The USSR was embarrassed that such a prominent figure slipped through its grasp, while the rest of the world now had the privilege of witnessing the raw, unencumbered, uncensored talents of one world’s greatest performers at his peak. Nureyev would go on to influence ballet for generations to come with his combination of technical perfection, physical strength, and emotion—but it all might have fallen apart had he boarded that return flight to Moscow.

The White Crow follows Nureyev on the path to defection, from childhood to the moment itself. Director Ralph Fiennes and actor Oleg Ivenko create a character who thrives on discipline but rejects authority. He craves perfection in his art and the recognition of his teachers and peers, but loses patience when he perceives them to be obstacles blocking the path to his destiny, whether that is the reality or not.

Ivenko’s Nureyev is distinct from the tiresome tropes of troubled geniuses held back by society in that he loves the world and connecting with people. He is arrogant and prone to outbursts, but he is also correct: He has a gift that will be celebrated, but who he is and what he can contribute are stifled by those who fear what is different.

The film follows Nureyev through several stages of his life: from his birth on a train in Siberia to his early years at the prestigious Vaganova Academy in St. Petersburg under Alexander Pushkin (Fiennes) and his first trip abroad with the Kirov Ballet. In Paris he mingles with dancers and socialites, to the chagrin of his KGB handlers, and finds a society welcoming of his talents and sexuality, as he explores relationships with men and women. Special attention is paid to his friendships with heiress Clara Saint (Adèle Exarchopoulos) and dancer Pierre Lacotte (Raphaël Personnaz).

Fiennes’ direction is narratively lean and technically methodical, putting a premium on character development. (Of note is that characters always speak in the correct language. The Russians speak Russian to one another, the French speak French, and English is only ever used as a lingua franca between the two.) There are no twists, except for the one we already know is coming.

The White Crow is very much a film directed by an actor focusing on performances, with the advantages and drawbacks that come with them. When depicting a master like Nureyev, the dancing is a crucial part of the character’s identity, and Ivenko’s movements are a marvel to watch. Ballet is a graceful art, but its execution is a physically grueling process that’s mentally and emotionally taxing. Fiennes gives Ivenko the room to inhabit the character on and off stage, lingering where most films might truncate. The downside is that when Nureyev does have an outburst or other big emotional moment, it plays essentially no role in the narrative that follows. This may be an accurate representation of his personality in that regard, but it can be distracting from the film’s strengths.

“The White Crow” was Nureyev’s childhood nickname, meaning he stands out. This was certainly true; he was an unmistakable character and a timeless talent. The White Crow is a simmering character study with a jarring yet tonal shift toward political thriller. It shows what it was like to walk in the shoes of someone who hasn’t found his place in the world, but does not look for deeper meaning, either political or symbolic, in the journey. Whether this is a strength or a weakness will depend on the viewer’s point of view.

The White Crow / R, 127 minutes / Violet Crown Cinema (Opens May 31)

Alamo Drafthouse Cinema 377 Merchant Walk Sq., 326-5056, drafthouse.com/charlottesville z Regal Stonefield 14 and IMAX The Shops at Stonefield, 244-3213, regmovies.com z Violet Crown Cinema 200 W. Main St., Downtown Mall, 529-3000, charlottesville.violetcrown.com z Check theater websites for listings.


See it again
Saving Private Ryan / PG, 180 minutes / Regal Stonefield and IMAX / June 2

Categories
Arts

ARTS Pick: Matthew Shipp Trio

Jazz age: At 60, jazz pianist Matthew Shipp is still innovating, even while contemplating a career slowdown. Known for his slick improvisations, the veteran is joined by peers from New York City’s modern jazz scene on a tour to celebrate the new release, Signature, by the Matthew Shipp Trio. Downbeat Magazine calls Shipp “the connection between the past, present, and future for jazz heads of all ages.”

Saturday 6/1. $12-20, 8pm. First Presbyterian Church, 500 Park St. cvillejazz.org.

Categories
Arts

ARTS Pick: The Harry Potter Concert

Muggles music: Music director Benjamin Rous leads the Charlottesville Symphony through compositions by John Williams, Alexandre Desplat, Nicholas Hooper, and Patrick Doyle in a showcase of magical moments from world’s most idolized boy wizard in Pops at The Paramount—The Harry Potter Concert. While the performance does not feature film clips, the audience is invited to dress as their favorite character from the Hogwarts School of Witchcraft and Wizardry.

Saturday 6/1. $15-54, 7:30pm. The Paramount Theater, 215 E. Main St., Downtown Mall. 979-1333.

Categories
Arts

ARTS Picks: Jade Jackson

Fierce forward: A hiking accident at the age of 20 shattered Jade Jackson’s body as well as the aspiring singer-songwriter’s career dreams. The long recovery pushed her into depression and dependency on prescription painkillers, and she says she didn’t believe in music anymore. Miraculously, Jackson quit the meds cold turkey and made her way back to the stage, where a fortuitous gig led to her discovery by Mike Ness of the punk band Social Distortion. Ness produced her debut, Gilded, in 2017, and her recent follow-up, Wilderness, in which Jackson sources the power and determination that allowed her to step out of her wheelchair and regain musical confidence.

Sunday 6/2. $10-12, 8:30pm. The Southern Café & Music Hall, 103 S. First St. 977-5590.

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