text: Republicans and the Debt Limit by Laurence M. Vance January 10, 2013 It's official: The U. S. government has reached its debt limit. According to the Daily Treasury Statement for December 31, 2012, total public debt increased to $16.432 trillion, exceeding the debt limit of $16.394 trillion. The debt subject to limit, $16.393 trillion, was about as close as it could get without going over. This is a far cry ... [click for more]

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My Filly is a yr and a half. She will be 2.
She is currently on free access hay, and 14% pellets.
I also give alfalfa cubes soaked as a treat.
She has a mineral block, and a peppermint mineral block . I love her.
I feed my 2 dogs Taste Of The Wild which has no grains, made with purified water, and is all natural.
I'd like for my horse to have the same treatment- a good balanced diet- especially since she is growing and gets lunged daily.
So! What kind of feed should I be giving her at this age? How often?
What would you recommend? :)


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August 2, 2015
WAUKESHA, Wis. (AP) - The family of a 12-year-old Wisconsin girl who was repeatedly stabbed says she's been walking the halls of a hospital and watching TV in her wheelchair.
Two other 12-year-old girls who are her classmates have been charged with trying to kill her by stabbing her 19 times Saturday.
A fundraising website set up by the victim's family says she's a "fighter" and is improving every day. Her parents say they've been trying to limit visitors because she becomes overwhelmed easily..
The parents expressed appreciation for support from the community. The family is asking for homemade purple hearts with encouraging messages to put up in the girl's room.
Her classmates told detectives the attack was an attempt to please Slender Man, a fictional character they found on a horror website.
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To retard self-ignition of commercial grades of sodium dithionite when contacted with moisture and/or water, small but effective amounts of low concentration alkali metal and ammonium salts of diglycolic acid are added, said additive salts being beneficial to bleaching processes in which sodium dithionite may be used, while at the same time avoiding eutrophication of lakes and streams into which the bleaching effluent may ultimately flow.
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United States Patent [1 1 Ellis et al.
[ Feb. 26, 1974 SODIUM DITI'IIONITE STABILIZATION AGAINST SELF-IGNITION [751 lnventors: Leonard C. Ellis, Chesapeake;
Mearl A. Kise, Portsmouth, both of Va.
[73] Assignee: Virginia Chemicals Inc.,
Portsmouth, Va.
[22] Filed: July 26, 1972 [21] Appll No; 275,448
[521 US. Cl 423/515, 252/105, 252/188,
8/110 [51] Int. Cl ..C01b 17/98 [58] Field of Search. 252/188, 105; 423/515; 8/110 [56] References Cited UNITED STATES PATENTS 7/1950 Hurd et a1 1, 252/188 9/1962 Franklin et a1. 252/188 3,353,909 11/1967 .lanson et a1. 423/515 3,433,590 3/1969 van Damme-van Weele 252/1811 3,468,623 9/1969 van Damme-van Weele 252/188 3,645,665 2/1972 Etters l l l 252/188 3,672,829 6/1972 Kise et a1. 252/188 Primary Examiner-Carl D. Quarforth Assistant Examiner-lrwin Gluck Attorney, Agent, or Firm-J. Gibson Semmes [57] ABSTRACT 14 Claims, No Drawings SODIUM DlTl-IIONITE STABILIZATION AGAINST SELF-IGNITION BACKGROUND OF INVENTION Under normal storage conditions, commercial grades of sodium dithionite can be held without appreciable decomposition for several years, if kept dry. There have been reports, however, of instances where sodium dithionite in storage has spontaneously ignited," i.e., decomposed with heat, resulting in considerable damage. As the result of such ignition, copious volumes of noxious sulfurous gases are evolved.
It is a well-known fact that fires" can be caused by contact of sodium dithionite with water, a combination which liberates heat. Where large quantities are confined, in drums or storage bins, sufficient heat can accumulate to reach a temperature, even with small amounts of water, to start the decomposition reaction. An explosion can occur from the internal pressure generated by the decomposition when a gas-tight storage container such as a drum is involved. Although precautions are generally taken to keep sodium dithionite dry, moisture from the air, residual moisture from the man ufacturing process, or water from accidental wetting of the stored material may initiate the decomposition reaction under certain conditions.
It has been reported that sodium dithionite decomposes and "burns" with or without the presence of moisture if the temperature is allowed to reach l35-190 C. Presently accepted stabilizers such as alkali metal carboxylates (e.g., sodium benzoatc) and watcr-soluble macro-molecules (e.g., polyethyleneimine) prevent the temperature from reaching these heights.
Known art in this field comprises the following: A. RC. Franklin and H1. Stryker, US. Pat. No. 3,054,658 (1962) to El DuPont de Nemours and C o.
B. F. Poschmann and A. .lanson, US. Pat. No.
3.287.276 (1966) to BASF.
DESCRIPTION OF THE PREFERRED EMBODIMENTS In concentrations ranging from 0.5 to 20.0 percent by weight relative to an overall bleaching additive product of the sodium dithionite, disodium, dipotassium and diammonium diglycolate salts, have been found effective as stabilizers against self-ignition of the dry sodium dithionite when it has been contacted with moisture. In all cases herein, the grades of sodium dithionite and the diglycolate salts are within these minimums:
In the presence of 10.0 percent sodium carbonate, the blend may be protected with a 2.5 percent disodium diglycolatev Under laboratory conditions, the non-protected commercial sample of sodium dithionite reached 306 C. in 2 hours with the appearance of a flame over the surface (Table I). With 5.0 percent disodium diglycolate, the temperature reached only 133C. in 2 hours, a temperature below the thermal decomposition point of sodium dithionite. Increasing amounts of the disodium salts improved the protection. In point of fact, where 10 percent sodium carbonate was used with a 2.5 percent disodium diglycolate, the sodium dithionite was protected against self-ignition, whereas the unprotected standard having sodium carbonate alone reached a temperature of 250 C. after 2 hours.
Again, and without the sodium carbonate being added, the dipotassium salt gave evidence of protection at the 20.0 percent dipotassium diglycolate level and the diammonium salt provided protection at the 15.0 percent concentration level, all as will appear from reference to ensuing Table l.
Testing Procedure:
A 500 ml. Dewar flask (inside diameter 77 mm; depth 125 mm) was charged with 200 g. of the sodium dithionite test sample. l2 milliliters (12 ml.) of water were then pipeted rapidly around a thermocouple positioned at the center of the test sample. An additional 200 g. of sample were immediately poured on top of the initial portion and the subsequent temperature rise recorded every 2 minutes throughout the 2 hour test period.
TABLE I Sodium Hydrosulfite Self-Ignition Tests With Salts of Diglycnlic Acid Blend Na,S,O, Wt. X Na P O Wtfit. Na,CO Wt. Z SODA Wtfl KODA W15? AODA Wtfi Temp.tC.) after 2 hours 'Nit,S,O, blend was treated with 3' by weight of water in a Dewar flask. The water was placed in the middle of the blend. Disudium diglycolate. Diputussium diglycolate Diumnmnium diglycolate.
We claim:
1. A method of retarding self-ignition in dry storage of commercial grades of sodium dithionite. comprising adding to the sodium dithionite, precedent to storage, small but effective amounts of the groups alkali metal and ammonium salts of diglycolic acid.
2. The method according to claim I in which the salt comprises disodium diglycolate.
3. The method according to claim I in which the salt comprises dipotassium diglycolate.
4. The method according to claim I in which the salt comprises diammonium diglycolate.
5. The method according to claim 1 wherein the amount of additive salt is less than the sodium dithionite. the concentration ofthe additive salt being in concentration of 2.5 to 20.0 percent by weight relative to the overall product of sodium dithionite to be stored.
6. The method according to claim 2 in which the conccntration of the sodium diglycolate is at 0.5 to 20.0 percent relative to the overall product of sodium dithionite to be stored.
7. The method according to claim 3 wherein the dipotassium diglycolate is at a concentration of 3.0 to 20.0 percent. relative to the overall product of sodium dithionite to be stored.
8. The method according to claim 4 in which the ammonium diglycolate is at the concentration of 5.0 to 15.0 percent relative to the overall product of sodium dithionite to be stored.
9. The method according to claim 2 wherein sodium carbonate is added in a concentration of 10.0 percent, relative to the overall product of sodium dithionite to b e ored and the disodium diglycolate is in a concentration range of 2.5 to I00 percent relative to said sodium dithionite.
10. A bleaching agent composition of matter comprising in relative percentages by weight, the compounds:
A. dry sodium dithionite 80.0 to 99.5 percent;
B. the group alkali metal and ammonium salts of di glycolic acid 20 to 0.5 percent.
H. A bleaching agent composition of matter comprising in relative percentages by weight, the following:
A. dry sodium dithionite 99.5 to 80.0 percent; B. disodium diglycolate 05 to 20.0 percent. 12. A bleaching agent composition of matter comprising the following:
A. dry sodium dithionite 87.5 to 80.0 percent by weight; B. 10.0 percent by weight of sodium carbonate; C. 2.5 10.0 percent disodium diglycolate. 13. A composition of matter bleaching agent comprising in percentage by weight:
A. dry sodium dithionite at 97.0 80.0 percent commercial grade sodium dithionite; B. 3.0 20.0 percent dipotassium diglycolate. 14. A composition of matter bleaching agent comprising in percentage by weight:
A. 95.0 85.0 percent sodium dithionite; B. ammonium diglycolate 5.0 15.0 percent by weight.
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|Avg. Dinner Entrée
|Greater than $25
|$18.01 - $25
|$12.01 - $18
|$7.01 - $12
|Less than $7
Posted by anonymous on 10/03/2013
I would never recommend this restaurant to anyone, the food was poor and the workers very rude - not a good experience.
Posted by Anonymous on 07/15/2013
We stumbled on this place while looking for a nearby bar. We were starving, it looked nice, we stopped in. The atmosphere was cool, a modern Greek isles kind of thing. Our waitress was prompt in greeting us and taking our order, but while sweet, she seemed like a newbie. We ordered the spread for the appetizer, which was delicious, but they didn't give enough pita/veggies for the amount of sauces/dips they give you. Our waitress was good about bringing more pita, though. And it was a good thing we had ordered a app b/c it took forever for our entrees to come. We had ordered within 10 minutes of being seated and we got our food about an hour after that. No joke. When the entrees did come, they were wrong. The server had misheard me and ordered me rabbit instead of ravioli. Back it went and another 5-10 minutes later, we finally got our food. And then, the portions were tiny. My boyfriend got the lamb chops, which must have come from miniature lambs b/c they literally had 1 regular sized bite of meat on it. So small! The fava bean mash was a smeared tablespoon at best. And my meal consisted of 3 decent sized raviolis. So not worth the price, good lord. Drinks-wise, I had 2 glasses of one of the Greek wines, which was a bit harsh, but not anybody's fault, and my boyfriend got the greek margarita and a coke (he really liked the margarita). When they messed up our order, the server said they'd take off our drinks. Well, they took off one wine and the margarita. Better than nothing, but not what we were told. So all in all, I wouldn't recommend Opa. If they served actual dinner-sized portions for the same price, ensured the servers repeated the order back to make sure they heard correctly the first time (it is a little loud there), and sped up the kitchen A LOT, it'd be a great place w/ good food, but as is: no dice.
Posted by BarbM on 01/31/2013
Service poor, the wait was so long, who has hours to spend at lunch. Very meager portions, my pita was burnt and the lamb had a lot of grizzle. The food and service do not justify the prices. You can have a better lunch from the gyro cart around the corner and that is not saying much for either of them.
Posted by Lisa on 04/27/2012
Great look, nicely designed, but that is the high point. The service was poor - so poor that I had to indicate to the waiter that we needed plates removed so that our entree's would fit on the table. Poor in that I had to indicate that we were ready to order...first the apps, then the entrees, and then no interest from him if we wanted dessert, coffee or the bill. Now for the food. Poor. The portions are disproportionate, the burger and fried are huge, but the other items are small. The duck confit is greasy, and dry, a hard result to produce. The artichokes and the octopus was also tough and a small portion, and everything but the burger was undersalted. So sad to see such potential wasted. Greek food is so naturally delicious. I would encourage the owners to simplify and hire a new chef.
Posted by none on 04/17/2012
Food poor, portions meager, prices high, come on
Posted by Elenitsa on 11/02/2011
I'll agree with the previous poster that you might want to eat before you go to this resturant. The portions are very meager for the price. The Greek salad was room temparature (not that I minded, but others in the group did), it was small, but tasted good. Though the blend of olive oil and vinegar with the juices from the tomato were delicious, you couldn't enjoy it, as they carry no bread to dip in it. Only pita! Who ever heard of Greeks dipping Pita!? The Tirokafteri wasn't too bad, good with Pita. The "Greek Bifteki ( aka stuffed burger) was way too salty and so were the french fries. The "Oregano fries" had barely any oregano, a popular herb in Greek cooking. The Octopus portion was so small, the tentacles looked like bean sprout strands. definately not worth the money. The Saganaki tasted delicious, but lacked presentation. The bottle of wine we ordered was very good, "Limnio Porto Carras 2010". The Atmosphere was Great! It appears to be a decent place for enjoying the bar/drinks.
Posted by Layne on 06/15/2011
Eat before you go to this resturant as the portions are very very meager for the price and the rabbit was cold. Server was very nice and friendly but would not go back to this resturant or recommend it.


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Hi Melissa Ann,
Have you contacted Monterey Boats directly? They have been a great help for me in the past, I too bought one of their boats used and need a replacement plaque for the vessel, two days later it was in my mail. I know they had a fire several years back and lost a lot of their back documentation. This is a good place to post. Sorry my boat is not the same as yours. Best of luck, Steve
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Mother Admits She Doesn't Love Her Daughter
Filed under: Just For Moms, Health & Safety: Babies, Playground Bureau
Shelley Price doesn't love her own daughter, and fears she never will. This tearful mother of two is telling her story because she believes that she isn't the only mother to ever tackle such a taboo subject, and hopes she may help others come to terms with this unspeakable truth. How can this be?
(Update: The story that originally ran on dailymail.co.uk on January 22, 2009 was pulled off the site the following day. Read on and you'll see why.)
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Price was just 22 when she had her eldest daughter, Catherine, now 11. Shortly after Catherine's birth, a five-year relationship with the father fizzled. That didn't help matters.
"It was obvious that something wasn't right from the start," said Price. The night Catherine was born, Price says she didn't want to look or touch her. Her maternal malfeasance continues to this day. Playgroup pickup was something to dread, she recalls no landmarks such as a first tooth and when Catherine is sick, Grandma is called in. She admits to ignoring her daughter's attempts to get her attention and not wanting to be physically close to her. "I did hug Catherine, but it was always half-hearted," Price said. "I always told her I loved her but I never really felt it or meant it."
That is just awful. Particulary when there is another child in the house now, Poppy, 2, a daughter who she calls "the love of my life" by her current partner.
I can understand how at times we might not like our children, say, when they break stuff or hit their sister. But that doesn't mean we don't love them. Also, many new moms, myself included, feel overwhelmed with the responsibility of a new baby. Coupled with the baby blues or postpartum depression, it's often very hard to bond.
I have a friend who admitted to me she wasn't immediately bowled over by her son when she first had him. Many moms go through that. But as time went on, she grew to love her son more than life itself. That's how you should feel when you have a child, right? Isn't loving our children -- whether it's at first sight or through time -- part of what makes us human?
Psychologists say that a mother's failure to love her child can result from depression, feelings of inadequacy or when the child reminds her of a bad relationship (i.e., the co-parent). Price fits neatly here, although she says not so.
On the plus side, if there is one, Price recognizes her shortcomings and is trying hard to improve her relationship with her older daughter. "Sometimes, if I've been playing with Poppy, she'll come and sit next to me, put her head on my shoulder and her arm round me, waiting for me to cuddle her," she said. "I look at her little face and know I've hurt her. I do care deeply for Catherine, but I have just never felt the same bond with her."
Instead of a good night kiss and "I love you, honey," Catherine hears a nightly whisper in her ear. "I'm sorry for the way I've been with you." Isn't your heart breaking?
Can you relate to Price? Do you feel like you don't love your children enough, or at all?
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ReaderComments (Page 2 of 62)
1-23-2009 @ 9:50AMMykidsMommy said...
I just do not understand why she did not place this child for adoption. If the initial feeling did not go away within the first year (or 2, or 3) she could have found this child a LOVING home with parents that WANTED her. My heart aches for this poor child, and for the pain she must feel now and will experience when she brings children into the world and feels the "falling in love with your child" love that she never received. Shame on this mother for not only being selfish enough to admit to the world that she doesn't love her but for denying her daughter a loving family to begin with.
1-23-2009 @ 9:52AMLori Barnett said...
Interesting....the article has been removed. Hopefully, someone came to their senses and realized the damage this story "in print" could ultimately cause. Now, I only hope someone comes to the rescue of this poor child and gives her the love she so deserves.
1-23-2009 @ 9:54AMCristina said...
Wow -- what a sad situation all the way around. That little girl is going to have some serious emotional issues as an adult if the mom can't dig deep enough to give her some genuine, heartfelt love. I hope the mom gets some counseling, or spiritual guidance NOW. That little girl deserves to be nurtured and valued by her mom.
1-23-2009 @ 9:54AMMegan said...
I am expecting my first child on March 1st. I have read a lot of articles in magazines regarding this issue. I feel bad for the mother. It scares me, because the doctors say that some women instantly bond and some take time or never do. I think this has more to do with the person than anything with the child. I think it takes courage for this woman to admit to her shortcummings and recognizes that it is her and not the daughter's fault. To all those people who judge the mother and say she is not human... maybe they need to remember that until they walk someone else's shoes they are in no position to say anything. Who are we to judge someone if we've never had the same experience. The Human mind is an enigma with how and why it processes the way it does. We should commend this mother for being honest and trying not to take it out on her daughter, unlike some mothers we are seeing who are murdering their children.
1-23-2009 @ 10:00AMCamanche said...
Yeah, she is sick!!! And the nerves to have another child. People need to stop!! This child deserves to be loved, she didnt ask to come here. The balls of this lady. I'd like to kick her a$$ to sleep.
1-24-2009 @ 8:49PMchances84 said...
I think that not loving a child with all your heart is hurtful. You can't blame the child for your bad relationship with the father. She needs to wake up to reality, and love her child unconditionly. You never know when they may be taken away from you.
1-23-2009 @ 11:28AMimfuzed said...
The problem with taking the child away now is that she will remember (she's 11, folks!) her mother that didn't love her. She will grow up with the knowledge that her mom didn't want to have any relationship with her and sent her away...and not her little sister. She would be resentful to anyone that tried to take the place of the mom she really wants. I'm not saying that not loving you child isn't right but at least she is trying. I know, my mom hated me and loved my older and younger brothers. she sent me away. what i wouldn't give for my mother to at least have tried to love me or even just told me once that she did.
1-23-2009 @ 10:22AMmommyof2 said...
That is so sad. I have two boys that I love more then ANY thing in the whole world. I can't understand how you can look at that little face and not see everything that matters in there. I have always want to have a 3rd and prayed that it would be a little girl but that was not to be. Sadly maybe that mother doesnt understand that there are wonderful people that would love to take that little girl under their wing and really love her and treat her like she is special. She should give her up to a family that would love her and treat her like she should be treated. Just because you can have a kid doesnt make you a good mom . Stop thinking of yourself and for once think of your daughter!
1-23-2009 @ 3:49PMdrina0518 said...
I cant relate to mother but the child she get older. this artical describe my mother
1-23-2009 @ 10:49AMaprilpetty001 said...
How could she have lived with this baby girl for 11 years, and claim not to love her. Selfish, stupid, irresponsible. She never deserved to have another child....had she given the first child up after she realized she didn't love her, maybe. She needs some serious help and should have gotten it alot sooner. I hope her daughter reads this, when she is old enough to be out of her B***h's house and can understand that it was not her fault and she is a blessing in her own way.. Maybe she will even go on to adopt a few that have mothers like hers and can feel like she is giving them the kind of love and getting the kind of love she has always been deprived of. Poor girl! I have 6 children, sometimes I don't like them...but ALWAYS I love them no matter what they say or do or how they act. We were given children to teach and show how to be the best they can. This poor littl egirl may be doomed!
1-23-2009 @ 7:31PMMarisa said...
Right, how proud she is going to feel after reading this article in the future or when someone reminds her of the depths of emotion, her mother had for her. It sounds like to me that she is transferring the pain and disappointment she felt for the father on her daughter. How selfish!!
1-23-2009 @ 10:54AMMary said...
Being the mother of six grown 'kids'; there have been many times in life that I get upset by their behavior...especially with one who is on drugs. However, I would give up my life for any one of them. To me, despite any downfalls they may have; they are a gift from God and I LOVE each and every one of them very very much. How can a true mother not feel the same way? Open your heart to your children, parents. Give them the love they truly need. Too many kids grow up to be troublesome adults due to lack of attention and love from their parents. If you can't love them, then give them to someone who will.
1-23-2009 @ 11:12AMBeth said...
I can't understand how a mother can say she doesn't love her daughter. My mother grew up like this and I can't begin to count the problems she has had and still does have with regards to this!!! She, however made sure that I felt loved and was the most important thing in her life! How could this mother put this crap out on the internet for everyone to see? How is this little girl going to feel, knowing this. I'm not a parent but I don't understand this!!!!
1-23-2009 @ 11:33AMJAN said...
1-23-2009 @ 11:14AMLeigh Smith said...
OMG! I feel SO sorry for this child. Please lady, get some help and find this child a loving environment to live in. I'm like the others....I'll take her.
1-23-2009 @ 1:43PMconcerned said...
It is good that the mother can notice and admit her problem but just trying to not feel that way is not enough. Why hasn't she gotten SERIOUS help. It's horrible that she doesn't love this child but for heaven sakes if you're going to announce it to the world would you not have tried to do MORE about it over the past 11 years of this childs life. I do this this mother fits in the catagory that she is distance from this child due to the bad relationship this child was produced from but it's not the little girls fault. The mother chose the man she had this child too and if she felt that distant from the child from the get go she should have been doing something to get help along time ago so this poor child doesn't suffer the consequences of feeling less of person to now another sibling that is loved. My girls are like night and day but I love them both dearly and would go to the ends of the earth for both of them even though the one has more of the same personally as me. I still love them BOTH!!!!
1-23-2009 @ 11:37AMari pagola said...
Dear "mother" go to a psychiatrist RUSH, you need therapy and medication. And poor Catherine, God ...Bless her and I send her all my love.
1-23-2009 @ 11:39AMpenny said...
and we wonder why some of our children end up going crasy and hurtin there folks.
1-23-2009 @ 12:11PMbe said...
Oh my gosh I agree, The continuing pain that this mother is causing is so sad. This child needs protection TODAY!
1-24-2009 @ 5:06PMvalwil said...
I do not agree with the way this mother is dealing with her shortcoming, but I think there should be a professional organization designed to handle issues like this...maybe poor Kaylee would still be alive if her mother had a safe palce to turn to where she could admit her true feeling and either work through them or give up her child to be adopted by loving caring individuals. We have to begin to recognize that peole are hurting for numerous reasons and stop judging them and reach to help them!
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text: When family members lay a loved one to rest, they expect that the final resting place for their body will be the same as the one they envision for their soul: peaceful. So it's no surprise that relatives of those buried in Burr Oak are outraged that the graves of their dearly departed have been desecrated all because of greed. Those who are responsible should be prosecuted to the fullest extent of the law; life in prison for such deplorable behavior is not too much to ask.


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Happy Monday everybody! I hope everyone had a great weekend. I thought I would share an old classic with a very interesting twist. We were at a garage sale about 4 months ago at my aunt's place getting rid of what I call "JUNK" and my aunt's neighbor brought over a little treat. Large homemade rice krispie squares, but not just plain rice krispie squares… they were chalked full of trail mix and smarties.
I sunk my teeth in to one of those and was very surprised at just how yummy they were. I will be honest with you, I never used to jump up and down over regular rice krispie squares before…. but these were delicious.
So needless to say I had to give these a whirl. I whipped these up on Saturday before dinner. Let me know what you think!
- 50 mL 1/4 cup margarine or butter
- 250 g, 1 pkg (about 40) regular marshmallows or 5 cups miniature
- 2 mL 1/2 tsp vanilla extract (optional)
- 1 Cup (250 ml) Trail Mix
- 1/4 Cup Smarties
- 1.5 L 6 cups RICE KRISPIES* cereal
- Melt butter in large saucepan over low heat.
- Add marshmallows and stir until completely melted.
- Remove from heat.
- Stir in vanilla.
- Stir in KELLOGG'S* RICE KRISPIES* cereal until well coated.
- Stir in Trail MIx and Smarties.
- Using lightly buttered spatula, press into buttered 3.5 L (13 x 9″) pan.
- Allow mixture to cool. Cut into bars.
- Best if served same day.
Zesty Tip: When making these squares it is essential you have everything measured out and act quickly as the mashmallow mixture will quickly become like glue. Also, do not forget to butter your spatula before pressing down the squares.
I hope you enjoy this little treat and I would love to know what you add in your rice krispie squares when you make them? Let me know in the comments.
Have a great Monday!


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After a four-year slide on their SAT scores, South Carolina public school seniors rebounded this year with better results.
By the numbers
The SAT college entrance exam is made of three sections — critical reading, writing and math — and each part is worth a possible of 800 points. A perfect score on the test is a 2,400. To see school-by-school results, go to: ed.sc.gov/data/national-assessments
District Percentage of 2013 seniors taking the SAT 2012 composite score 2013 composite score
Berkeley 32 1,443 1,433
Charleston 65 1,442 1,447
Dorchester 2 48 1,463 1,461
Dorchester 4 8 1,332 1,326
State 51 1,422 1,423
S.C. Department of Education
The state's class of 2013 saw its composite score on the college entrance exam improve by one point from last year to 1,423 out of a possible 2,400 — or 800 on each of the exam's reading, math and writing sections.
The composite average among all the state's seniors, meaning not just those in public schools, saw an even bigger jump of five points to 1,436.
Those gains bucked the nationwide trend of either stagnant or falling scores. The national average for all students was flat at 1,498, and the figure for only public school students fell three points to 1,474.
The national performance is a concern for the College Board, which administers the SAT exam. The College Board has set a score of 1,550 as its college and career readiness benchmark, and it said studies show that students who reach that level are more likely to enroll in college and complete a degree. Only 43 percent of SAT takers nationally met that score, and that percentage has been virtually unchanged during the last five years.
"While some might see stagnant scores as no news, we at the College Board consider it a call to action," said College Board President David Coleman in a statement. "We must dramatically increase the number of students in K–12 who are prepared for college and careers. Only by transforming the daily work that students do can we achieve excellence and equity."
In the Lowcountry, the number of test takers as well as their results fell in Berkeley as well as Dorchester 2. Dorchester 4 had the same number of test takers but a lower overall composite score.
Berkeley saw the biggest drop — 10 points from last year to 1,433, followed by rural Dorchester 4 with a six-point decline to 1,326. Dorchester 2 also saw a small decrease in students' performance, losing two points for a composite score of 1,461.
This is the second consecutive year Charleston County schools have seen improvement on their composite score, with the district's overall average rising by five points to 1,447. The district saw better scores on the exam's critical reading and writing sections, and its best gain was in critical reading. Math scores fell slightly.
"I feel confident our literacy focus is beginning to reap rewards," said Superintendent Nancy McGinley. "It underscores the need to put that same focus on math."
Despite the improvement, its scores aren't as good as they were five years ago; the district's composite score in 2008 was 1,458.
McGinley said she plans to talk to principals about why fewer students are taking the SAT, as well as which students are taking the exam. She said she doesn't judge any school on this test score alone, but rather looks at a range of results and information to make a judgment on their overall well-being.
In South Carolina, public school seniors saw a two-point gain on the critical reading and writing sections of the test, but the state still lags the national average in all three subjects tested.
"Improving the reading skills of students must continue to be our top priority as we prepare our students to be successful adults," said State Superintendent Mick Zais in a statement.
The state also released on Thursday statewide scores for high school students on Advanced Placement exams, which are tests that often are accepted for college credit. The state's students improved their performance on those tests, and more students than ever – 23,416 – took AP exams. School- and district-level Advanced Placement results will be released in October.
Reach Diette Courrégé Casey at @Diette on Twitter or (843) 937-5546.
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How to Make a Flaky Pie Crust
I've recovered from early pie-making traumas to make crusts that are both flaky and tender. For me, the key was in the technique—working quickly with cold ingredients, keeping some of the fat in little solid chunks, giving the dough a good rest in the fridge, and handling the dough gently. Maybe it sounds like a long list of things to keep in mind, but I promise it's not complicated. Check out the step-by-step slideshow so you can become a crust-making pro too. More


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In determining just and reasonable rates, the commission may audit and investigate management practices and policies, or have performed an audit and investigation of such practices and policies, in order to determine whether the utility is operating with efficiency and is utilizing sound management practices. The commission shall adopt rules and regulations setting forth the scope, frequency and application of such audits and investigations to the various utilities subject to its jurisdiction. The commission may include the cost of conducting the management audit in the cost of service of the utility.
In determining just and reasonable rates, the commission shall investigate and review transactions between utilities and affiliates. The commission shall limit the total return of the utility to a level which, when considered with the level of profit or return the affiliate earns on transactions with the utility, is just and reasonable.


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Michael Motorcycle - The Standard, Downtown LA limited edition print
LA based artist Michael Motorcycle created this limited edition of 300 hand silkscreened "rock" posters for The Standard, Downtown LA, the first in a series for each of The Standards. 18" x 24", on cream colored paper.
Michael works from Pasadena, CA where he designs and prints his own work. The production of each poster takes approximately six to eight weeks from inception, starting with his hand drawn image. Screen-printing includes layering several single colors to construct an image. The craft of his making each color separation is unique and labor intensive, as is the hand printing that he does himself.
Michael's clients include: All Tomorrow's Parties Presents, the Hollywood Bowl, and Goldenvoice Presents. He has exhibited his work throughout the US and Europe. His work has been published in many books and magazines including The Art Of Modern Rock.


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Super sweet yearling. Take her the way you want her. Has a big hip and sweet personality. Up to date on everything including coggins. Sire is Skip N…$1,500
Her mother is a 14.2 hand, red and white pinto mare. She is a red bay with lots of chrome. Bella has four white socks, a light tan muzzle and ring around…$5,000
2013 Bay filly with no white. Beautiful mover and awesome attitude. This girl just floats across the pasture with no effort at all. Would make a wonderful…$8,000
MV Bendito's Little Gem 2015 molly mule out of 14.2 hand champagne TNW mare by Horseshoe Hill Bendito. Will mature to 14.3 or taller. Mare has a solid…$1,500
MV Ben's Fashionably Late 2015 buckskin molly mule out of 15.3 hand buckskin QH, Raggidontheedgesgirl, by Horseshoe Hill Bendito. Will mature to 15.3…$2,000
Halter Broke. Feet trimmed and UTD on everything. 2015 coggins. Well built filly https://www.youtube.com/watch?v=8lmiiZ-Yi14$2,500
Needs a confident rider as she can test a lot. Has lots of trail miles, will ride thru anything. Sat most of the summer, pulled her out and she rode off…$1,200
MV Colonel's Huck Finn 2015 john mule out of 15.2 hand dun, blanketed appaloosa mare, Princess Dun Plaudit, by Horseshoe Hill Colonel. Will mature to…$1,500


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Des Moines, Iowa – The owner of a dangerous Sherman Hill apartment building is making some repairs, but it may be too late.
The city is ordering all residents of the Navarre building on 15th Street to move out by the end of the month. Inspectors say the building is just too dangerous. Monday morning, city inspectors met with attorneys for owner Kirk Blunck. According to the city, Blunck is making some improvements, but major repairs, like asbestos removal and roof and window repairs, probably won't happen before residents are forced to move out. City inspectors say Blunck ignored repeated warnings, now there can't be much flexibility.
"The time has long since passed where we have more flexibility," said Community Development Director Phil Delafield. "Now we're at the end of the deadlines. This is really the last opportunity that the courts grant us to make sure the building's safe."
Blunck, a well known Des Moines archetect, has not returned our repeated calls for comment.


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Hotels close to City Park are listed below sorted by distance (closest first). Search for cheap and discount hotel rates near City Park in New Orleans LA for your leisure or business trips.
We list the best lodging close to City Park so you can review the New Orleans LA available lodging below and find the perfect hotel. Need a room block for a group? Save with a New Orleans LA group hotel deal
Lodging/Accommodations close by City Park
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Sponsored: Recovery—the Science of Champions
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Exercise Makes You Smarter as You Age
A new study finds that endurance sports like cycling may help prevent cognitive decline
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Take Our 21-Day Tour Training Challenge
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Clue in to your health on your next ride with these perspiration signals
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How to Build This Iconic Cycling Muscle
A chiseled VMO muscle is an unmistakable mark of the fittest, most dedicated cyclists. Here's how to strengthen yours—and get enviable quads in the process.
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The Best Apps for Sleep
New technology promises to help you fall asleep, stay asleep, and monitor your sleep so you feel fresher when you're awake
1 month ago
9 Ways to Make Riding in the Morning Easier
Early birds share their secrets
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Ask A Pro: How to Pack Pockets for a Long Ride
Be prepared to carry what you need


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I didn't think there was anything more annoying about Ellen DeGeneres than that stupid little "smiley dance" thing she does at the beginning of her show until today, when shortly after doing said dance, Ellen launched into a painful soliloquy about her utter befuddlement over the concept of "blogs", and people "sharing their personal thoughts online". To learn more, she turns to audience member "Kayleeeee", who explains how she uses this "blog thingy on the MySpace" to write about her trip to Disneyland. Ellen's startling incompetence and awkward rambling somehow makes Tony Danza's daytime talkshow musings look like Shakespearean monologues. Sh*t, Rosie O'Donnell is already a blogging legend.
ALSO: We're not unaware of the brain-bending "meta-ness" of this post, so save it.


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For this show, we rented the set and costumes from our friends at Seattle Opera. The set itself is made mostly out of steel so it is one heavy beast of a show (I know this not because I lifted anything, but because I listened to eight guys whine about how heavy it was during the truck swap). It's also quite high and wide, so it takes up most of the Jubilee stage, and I'm here to tell give you a rough play-by-play of what all goes into bringing a show like this from our shop to the stage.
We started this morning by hanging al of the motors we're going to be using, to raise the set pieces up into the air. Geoff and his crew worked off of the plot and got it done in a snap.
We then had a couple of hours for lunch (joys of finishing early) and then got right back into it by unloading the three scenery trucks from Seattle and filling the Jube's loading dock to the brim. This is usually where I try to be helpful and point the truck loaders/carpenters in the right direction to drop their pieces off, but this time proved to be a bit more challenging. Not only are the pieces fabricated mostly of (heavy) steel, but a lot of them are the same colour but a different shape, and sometimes though they have the same letter code, they go into different piles.
Thankfully for me (and the guys who would be cursing me if I sent them in the wrong direction), we had the help of Jason, the set supervisor from Seattle. As Geoff (carpentry) and Alison (LX = lights) worked on deck (or the stage) with their crews, Jason and I tried to guide the truck loaders as best as we could — which also meant a lot of shuffling things around in the loading bay. Essentially, a travelling show is like a puzzle that can be put back together in more than one way — in a truck, in multiple piles or on a stage — and the only variable that really matters is space.
Another major part of move-in day is where Alison shines (pun totally intended), and it's the lighting move/hang. At Edmonton Opera (and I'm sure most other places), this typically happens in conjunction with the set install, so there can be up to 40 people on stage during this. The most important part of working on a show like this — as far as I'm concerned, at least — is team work. No one can hang a 50'x50' drop on a pipe by themselves and even if they could, it's much better with a friend, or 39.
Back to lighting. Alison and Bud (her assistant head LX) work together with their crew, the lighting designer (for this show, it's David Fraser) and Kevin, the Jube lighting tech, to make the designer's vision come to life. They start by lowering in pipes (or bridges or booms, depending on the plot) and moving the lamps to wherever their new position is. From there, they connect each lamp to a power source and its DMX channel(s) and then relay that information back to Kevin, who works on the patch. Once everything is plugged, patched and ready to go, we can start programming the various lighting cues actually needed for the show.
So that's a bit of what we did on Thursday! We're about to break for dinner and I'm going to head to the shop tonight to pick up our label maker and then come back for the last four hours of install for today, before starting all over again tomorrow!
Soprano Simone Osborne makes her role and company debut at Edmonton Opera in the title role of Lucia di Lammermoor this April. The Canadian soprano is an alumna of the esteemed Canadian Opera Company Studio Ensemble, and was one of the youngest winners of the Metropolitan Opera National Council auditions.
Have you performed in Edmonton before?
Yes, I have performed in Edmonton before. The first time I was here as a young student taking part in the Opera NUOVA summer training program. I was only 20 years old but had the opportunity to sing the title role in the Czech opera The Bartered Bride. I spent an incredible summer in Edmonton, learned a whole lot of Czech and explored all of the amazing shopping on Whyte Ave. The second time was shortly after that, I had just won the Metropolitan National Council auditions in New York and a big season of engagements came my way. One of them was with Edmonton Symphony Orchestra singing Bach and Mozart. It was a wonderful experience and I was happy to be back in Edmonton.
Do you have a personal connection with Lucia di Lammermoor?
This is a big role debut for me. That comes with some extra excitement. I remember being an undergrad student and picking up an anthology of coloratura arias. I was skimming through it, and came to Lucia's mad scene. I distinctly remember thinking, "Oh, I could never sing that ..." It was so high, so exposed, so many notes! Hopefully, opening night in Edmonton ... it will remind me never say never!
Please describe your character.
Lucia is a young, passionate woman torn between great love and a great sense of duty to her family. She is pushed to the brink over the course of the opera and loses her mind — literally! Cue 20-minute mad scene ...
What first interested you in opera?
When i first started singing lessons I just loved to sing. But when I was introduced to classical music, I fell in love with the challenges the languages and styles presented and the technical ability it took to master the craft of classical singing. I guess I'm a glutton for punishment?
Is there anything else interesting we should know about you?
I'm half Iranian, half Icelandic. My seven-pound Morkie, Gatsby, travels the world with me when I am working.
Do you have any pre-performance rituals?
I like to wake up as late as possible, go for a nice walk to start my day, do some yoga and stretching to prepare for the evening show. There's lots of hydrating and a good protein-filled meal before heading to the theatre. Every night I stop in the wings, before my first entrance, and thank my lucky stars for the opportunity to step out on that stage ...
Which movie would make a great opera?
To Kill a Mockingbird. Although Zoolander the opera might prove to be comedic.
Which composer is your favourite and why?
That's an impossible question! Mozart, Verdi, Debussy, Schumann, Stravinsky ... I tend to fall in love with whatever I am working on at the time, but it would be impossible pick a favourite.
What is the biggest challenge with being an opera singer?
The most difficult part of what we do is definitely being away from home for important life events. It's hard to keep personal relationships, even family and good friendships together when one spends most of the year on the road, living out of suitcases. I have missed countless birthdays, weddings, anniversaries and celebrations when I was away on a job. But I try to always look on the bright side and be grateful for the opportunity to see the world while doing something I love.
What advice would you give to aspiring artists?
I never understood this piece of advice when I was a younger singer, but it really is true: unless you have to sing opera, find something else to pursue. This is a gruelling, all-encompassing career. If you do decide to follow your dream, keep your head down, work as hard as you possibly can. Don't worry about what everyone is doing or singing, just stick to your own, individual path and work to become the best musician and artist you can be.
"Lucia di Lammermoor" is at the Northern Alberta Jubilee Auditorium April 18 (8 p.m.), April 21 (7:30 p.m.) and April 23 (7:30 p.m.). Tickets start at $40 and can be purchased online at edmontonopera.com or by calling the box office at 780.429.1000.
Over the course of three performances, Mozart's Magic Flute characters cast their spell on Edmonton audiences. But what about the stories of the opera singers behind those characters? Through a series of blog posts, we'll share some of the most interesting answers that cast members have submitted.
Which composer is your favourite and why?
I adore Mozart because when I listen to his music, I can't think of a single possible improvement that could be made. –Tanya Roberts (Second Lady)
My favourite composer is Bellini, because I love singing long, flowing melodies. Bel canto is the best. –Adam Luther (Tamino)
It's hard to decide. Top two are Dvorak and Tchaikovsky. –Betty Waynne Allison (First Lady)
I don't think I can pick just one. Strauss, Verdi, Puccini, Stravinsky. –Neil Craighead (Sarastro)
Bizet — his music is very lush and very satisfying to sing. –Catherine Daniel (Third Lady)
I always find this question tricky. There are so many styles of operatic composition that it is impossible to love just one composer exclusively. So, Mozart, Donizetti, Wagner and Strauss. Each one represents a different style. –Rob Herriot (director)
Way too difficult to choose. But if I must, I guess I'd say Mozart is my favourite. I love the forms of his compositions, and find his setting of texts really show the subtext of the characters' thoughts as well. Every time I come back to singing Mozart it just feels right. –Jessica Muirhead (Pamina)
Edmonton Opera's "The Magic Flute" opens with a sold-out performance on Jan. 31, 2015 (8 p.m.), with additional performances on Feb. 3, 2015 (7:30 p.m.), and Feb. 5, 2015 (7:30 p.m.). Tickets are available online at edmontonopera.com or by calling the box office at 780-429-1000.
Over the course of three performances, Mozart's Magic Flute characters cast their spell on Edmonton audiences. But what about the stories of the opera singers behind those characters? Through a series of blog posts, we'll share some of the most interesting answers that cast members have submitted.
Is there a particular part of in The Magic Flute that you're looking forward to?
I'm looking forward ti the final scene in which the Three Ladies appear. We try to sneak into the temple, only to meet doom and our destruction! I don't know what the director has in mind, but I hope it involves lots of smoke and lightning. –Tanya Roberts (Second Lady)
Working as a trio is always extra interesting and fun. –Betty Waynne Allison (First Lady)
I always enjoy my first entrance to the stage. There's a lot of pomp with a chorus and brass instruments, usually a bright lighting cue. I also really enjoy the fugue at the beginning of the armed guards' duet in the second act. –Neil Craighead (Sarastro)
The first trio for sure! The Three Ladies get to manhandle Tamino and the poor tenor has to pretend to be asleep. –Catherine Daniel (Third Lady)
My favourite scene is my attempted suicide, where the Three Spirits are watching and eventually save me from myself. The music is stunning, and I find I'm always covered in goosebumps when the Spirits are singing! –Jessica Muirhead (Pamina)
Edmonton Opera's "The Magic Flute" opens with a sold-out performance on Jan. 31, 2015 (8 p.m.), with additional performances on Feb. 3, 2015 (7:30 p.m.), and Feb. 5, 2015 (7:30 p.m.). Tickets are available online at edmontonopera.com or by calling the box office at 780-429-1000.
Over the course of three performances, Mozart's Magic Flute characters cast their spell on Edmonton audiences. But what about the stories of the opera singers behind those characters? Through a series of blog posts, we'll share some of the most interesting answers that cast members have submitted.
Have you performed in Edmonton before? If so, please note the production you were here for, the year and any memories from the trip.
I survived my first winter in Edmonton (Die Fledermaus, February 2014). I left Chicago expecting arctic conditions in Edmonton, only to be greeted with an unseasonably mild winter. –Tanya Roberts (Second Lady)
Die Fledermaus last season. It was such a playful and interesting production combined with a supportive company that it didn't scare me off of returning to Edmonton in January again to brave the cold! –Betty Waynne Allison (First Lady)
This will be my first time performing with Edmonton Opera. I have been to Edmonton only once as a baby when my parents were looking for somewhere to settle in Canada (we are from England originally). My parents loved Edmonton and Toronto, so looked for work in both cities. Toronto was the first place they found work, so that was how we wound up settling there. Otherwise I could be saying I grew up in Edmonton! –Jessica Muirhead (Pamina)
Edmonton Opera's "The Magic Flute" opens with a sold-out performance on Jan. 31, 2015 (8 p.m.), with additional performances on Feb. 3, 2015 (7:30 p.m.), and Feb. 5, 2015 (7:30 p.m.). Tickets are available online at edmontonopera.com or by calling the box office at 780-429-1000.
With the holidays over, Santa Claus might want to check out Edmonton Opera's production facility, as the north-end building could be serious competition for St. Nick's toy workshop.
Since September, nearly every inch of the production facility has been used to build The Magic Flute — carpenters, welders and painters working on the scenery in the shop, while the wardrobe crew builds costumes at the opposite end of the building.
"We have about 15,000 square feet of floor space dedicated to the scenic shop, and sadly, that is about a quarter of what we seem to need," said Clayton Rodney, Edmonton Opera's technical and production director.
"So constantly, what happens is pieces go out on the floor, they get cut, assembled, then they have to wait for the next step so they get disassembled, stored against a wall, then brought back for other phases. So it's a constant ballet of things moving around."
Rodney plays a middleman role — once scenery designer Bretta Gerecke supplied him with drawings of the scenery pieces to scale, he was able to create technical drawings in AutoCAD that the carpenters referenced to build each piece.
This design is the product of an award-winning Canadian team — Gerecke worked with director Robert Herriot and costume designer Deanna Finnman to create what they describe as an exotic pop-up storybook world, where everything pops up, drops down or slides in to create a world where the audience doesn't know what is coming next.
Adding metal to the mix
Once the shop had the technical drawings, work began on two pieces used at the top of the show — metal frames that form six panels upstage, midstage and downstage, and a forest cut out of wood.
The panels open and close throughout the performance, each time reshaping the stage and revealing something new. It's like turning a page in a pop-up book, Gerecke said.
Welding the aluminum frames was a new skill set for the opera's welders; the metal was not only a stylistic choice, but a practical one too.
"For aluminum, you think, 'Oh yeah, it's aluminum, that will weigh nothing.' No, they're a few hundred pounds per panel. Our biggest panels, fully assembled, I'm guessing are around 700 pounds. So not as heavy as steel by any means," said Rodney, adding that there is also consideration to the weight of the fabric on the panels, the paint and the hardware required to slide the panels.
As both the scenery designer and the lighting designer, Gerecke laughed when she said it poses a unique challenge because she can become angry with herself for putting a scenery piece in the way of a lighting cue.
"The set was designed to be lit," she said. "Translucent panels, and the panels themselves open and close to reveal various locations, so the joy of this set for me is going to be getting to light it."
In addition to the frames, three arches were welded for the temple scenes. The triangular structures are wrapped with green poly strapping — the same material used to hold pallets together — creating a twisted vine look.
Welding the various shapes took about 14 weeks, so while the welders sometimes took up the entire shop floor, more often than not they shared the space with another part of the process.
"Two-dimensional storybook thinking"
To start, plywood boards were laid out on the floor, and, with the help of a grid, the head of properties traced the outline of the forest to cut.
"There's a forest depiction, I think it was in [Rudyard Kipling's] Just So Stories, and it's absolutely beautiful — similar, but a bit more romantic and curvilinear," Gerecke said. "We had a great moment of inspiration of, 'Well, what if we make that a bit more angular and a bit more powerful?'"
Once the majority of the frames were out of the way, work continued quickly on the rest of the wooden set pieces. The palm trees and rocky staircase are theatre-style flats, while the sun is a TV-style flat —more prominently three-dimensional.
"There are six palm trees — a pair downstage, a pair midstage and a pair upstage," Rodney said. "Basically, everything in this show creates a forced perspective moving upstage, so the legs taper in, the borders drop slightly. We start with this wide box and it gets smaller as you go on. It's very much two-dimensional storybook thinking."
Mid-winter colour therapy
And, he joked, the points on the sun are so sharp that when the Queen of the Night is blinded by the light at the end of the performance, the sun's rays might skewer her.
"The colour on [the sun] is great," Rodney said. "I love the colour, it's so bright, and I've seen the costumes that go with it as well, and you might want to bring your sunglasses for that moment."
The colour palette is reminiscent of warm spice tones, and the way that they blend on the angular scenery pieces was a conscious design decision to create contrast, Gerecke said.
"The colours are fairly bold for this production," she said. "It will definitely brighten the spirit of everyone who sees it, because it will be February in Edmonton, and who doesn't want a little colour therapy in February in Edmonton?"
At the end of November, the scenery pieces were moved to the side so that the stage deck assembly could begin (the contraption for the Queen of the Night was the last piece built, in late December and early January). In this production, installing a stage deck on top of the Jubilee stage allows for the use of a trap door, knife tracks that keep scenery pieces on a specific course, concealing pyrotechnics and of course, it's much easier to paint a travelling stage instead of the Jubilee floor itself.
From start to finish, the entire process is layered, as the costume build started in the middle of the set build, in mid-November. The wardrobe crew will be busy right up until opening night, as every clothing article, including headwear, is made from scratch, instead of modifying existing pieces.
All told, by closing night, more than 50 people — shop, wardrobe and running crews, as well as administration staff — will have had some hand in bringing Mozart's last opera to life (and that doesn't even begin to include the 16 principals, 32 chorus members and 50 Edmonton Symphony Orchestra musicians).
In an opera where the word magic is right in the title, Gerecke was the first to admit it during a shop tour in late November: "It's the magic that's complicated."
Edmonton Opera's "The Magic Flute" opens with a sold-out performance Jan. 31, 2015 (8 p.m.) at the Northern Alberta Jubilee Auditorium, and continues with additional performances on Feb. 3, 2015 (7:30 p.m.) and Feb. 5, 2015 (7:30 p.m.). Tickets are available online or by calling 780-429-1000.
Not too many people get one change to build an opera company. Irving Guttman was lucky enough to have three opportunities.
Known as the father of opera in Western Canada, Guttman was closely associated, sometimes simultaneously, with the Edmonton Opera (33 years), Manitoba Opera (21 years) and the Vancouver Opera (16 years) either right from the start, or nearly. He also worked with Saskatchewan Opera (10 years) and Calgary Opera (four years) in addition to directing various productions around the world. He passed away on Dec. 7, 2014, in Vancouver, where he had resided on and off for over 40 years.
But Guttman's legacy remains strong in Edmonton, where his work as the artistic director from 1965 to 1998 influenced numerous chorus members, artists and staff who remain with the company today.
"Stage managing for Irving was a delight — he worked very quietly — having gained great respect from artists and chorus, all who can get loud and unruly in large group rehearsals," said Tim Yakimec, who, before becoming Edmonton Opera's general manager and artistic director, stage managed for the company for 10 years.
"A favourite line he used to mutter only loud enough for my ears was, 'Oh my God, she's ruining my opera!' He would then proceed to work with the individual and fix the scene. He had a great sense of hyperbole — and would never panic — he would methodically fix things. This gave a great sense of trust to all he worked with."
During his tenure, Guttman was regularly able to convince performers to brave the seasonally bitter cold of the Prairies, and in doing so, introduced Edmontonians to the likes of Montserrat Caballe, Beverly Sills, Joan Sutherland, Teresa Stratas, Anna Moffo, Ermanno Mauro, José Carreras, Huguette Tourangeau, Judith Forst, Richard Margison, Marilyn Horne, Louis Quilico and more, many in their Canadian debut.
He loved grand opera — Puccini and Verdi in particular, remembered Betty Kolodziej, an Edmonton Opera chorus member who has performed in more than 90 productions since starting with the chorus in 1974. Many chorus members also remember when he directed them to "Just go over there and do something Egyptian!" during the 1989 production of Aida.
Canadian opera director Brian Deedrick said that from the moment he became interested in opera as a kid in Lacombe, he was aware of Guttman.
As an adult, he found himself in Vancouver during Expo '86.
"I don't know where I found the nerve, but I tracked down a phone number for the legendary Irving Guttman and called to ask 'the great man of opera' if he would ever find the time to allow an unknown schmedrick like me to meet with him, and ask questions about this 'opera stuff,'" Deedrick wrote in an email.
To Deedrick's surprise and eternal gratitude, Guttman and his partner Robert Dales invited Deedrick to their apartment for an afternoon to talk about opera.
"I knew nothing, except that I loved the art form, and we had an extraordinary and illuminating couple of hours discussing how and if a theatre guy like me could break into, train or learn to enter the world of opera," Deedrick continued.
Guttman's willingness to mentor others may have come from his own history — without much of a singing voice, he tried many avenues into the industry before becoming an assistant to the director at the Canadian Opera Company, Herman Geiger Torel.
From there, Guttman would go on to assistant direct and direct his own operas, including televised performances for the CBC.
Another instance of his legend is found with the Montreal Festival: Guttman was asked if he could direct The Marriage of Figaro for them. He was confident enough to answer that he could stage it right then, in the board president's office, if they so desired. The five-performance run sold out by the second night, and another five nights had to be added. He was asked back the following year to direct Don Giovanni, and remained associated with the festival throughout its lifespan.
"I won't be remembered for directing a couple of good operas here and there," Guttman told the Globe and Mail in May 1991, days before his 25th anniversary gala at Edmonton Opera.
"It will be for having started this cultural thing in the West, having kept it alive and well. … I've loved opera since I was 13 years old. I have my quiet way of working. I love my work and I'm honest. I care about the art more than about me, but the work rewards me tremendously."
The Irving Guttman Endownment Fund was established in 1991, and has provided funds for young, local artists to pursue opportunities. Donations to the fund in memory of Irving Guttman can be made by calling 780.392.8719 or online.
My my what a busy couple weeks of 8-15 hour days it has been! Over at the opera, we did our load-in, install, piano techs, dress rehearsals and have even had opening night! I'm currently sitting backstage during show no. 2, writing to y'all. I have so many good things I don't even know where to start, so here I go! (Warning: You'll have to forgive me for gushing a bit. It's my very first opera and I have nothing but love and respect for the people who have made it possible for me to be a part of this wonderful team and I gotta brag about 'em a bit!)
We loaded our trucks up at our warehouse on Oct. 16th and if you've ever dreamed of playing life-size Tetris, come work at the opera during a load-out. It's one long game of 'How can we make this fit?' and I hear Clayton always wins.
We started our install the next morning, bright and early. Seeing as it was a rental, we brought in a set supervisor who had installed the show in Vancouver years before to help us set it up. As the various rectangular pieces came off the truck and I looked at the set photos, I really had no idea how it would come together… But! As always, everything has a place and it came together mighty quickly thanks to our hardworking IATSE Local 210 crew!
Since I'm still kinda new around here (six months today!) and sort of finding my place during show times, I got to hang out backstage and watch it come to life. I really enjoyed seeing each of the departments bring their very best to the table and seeing how everything tied together. The exquisite costumes — particularly Rosina's Carmen dress, the elaborate props (who knew one could fashion a tornado out of silk?), the enormous set being complemented by the mood setting lights (Put together by our terrific lighting designer, and my former instructor and program chair in theatre production at Grant MacEwan University, Geoff George), just everything. Even when I fall into my job a bit more, I'll never be the one crafting any of these spectacular items, but I have to say watching each piece come to life one by one is good enough for me. (And if I can help them stay on budget, that's great too.)
A small chunk of my week was also spent ensuring the crew had a quick breakfast to go along with their coffees in the mornings. Each morning I had planned to offer them something different, but I learned pretty quickly that most of the IA crew wants doughnuts over anything else. I adjusted my plan a bit during the week and ended up doing two doughnut days back to back, but everyone was happy and that's what matters. I'm thinking that for the next show I may have one day where I bring a bit of everything and see what fares well, who eats what, and go from there. I remember the good old days of craft services in Vancouver and the crazy lengths I went through to get that perfect, so for now I want to get comfortable and then blow them all away! One step at a time.
As we rolled into the final rehearsal period of our show, I had the opportunity to work alongside our director, Allison Grant, as her note taker. I have to say, I have not written that feverishly in a long time, and through some miracle she was able to read my writing, so we made a great team. Having the chance to work with someone from the artistic side rather than the production team gave me a different perspective on what I saw on stage and I rather enjoyed it. It's something I'll get to repeat on our next two shows, Magic Flute and Lucia di Lammermoor, and I'm very much looking forward to it. Each director I've worked with, even in a small capacity, has taught me a lot and gives me even more of an appreciation for the work they do. Each one has a different style and different goal for each show and being fly on the wall when they make their magic happen is something I wouldn't trade for all the doughnuts at VooDoo Donuts.
Opening night approached ever so quickly, and it was time for me to run out to Leduc once again to rent a backdrop from Look Events for our Edmonton Opera photobooth! Our senior marketing manager, Cameron MacRae, came up with the concept and edited a gorgeous photo of Rosina (Sylvia Szadovszki) into a movie poster that's used in the show and also for our lovely patrons to pose with. Big thanks to Nanc Price for helping us out by taking photos of everyone and to Kristy Benckhuysen (also one of my other awesome bosses) at Look Events for the back drop. The design concept for our next show, The Magic Flute, explores an East Indian motif, and I'm hoping we can design a photobooth to match that. If you're at the show tonight or seeing it Thursday (Oct. 30, 2014), don't forget to have your photo taken!
Those are some of my more memorable show moments, but I also got to run errands, pick up some old props, new props, pit extenders, bolts, adjust sponsor slides, and cook for 40 people (spoiler alert : I failed. Ran out of food, but I rectified that of course.) among many other things. It was such a fantastic learning experience for me and even though I felt like I always needed a bit more sleep, overall it was lovely and got me excited for the next show. I feel a bit more prepared with what is expected of me, and in true Patsy fashion, I made myself a list of all the things I did this show so I can prepare ahead of time for next show. Things will still go wrong, but that's just something I need to learn to deal with. I can't control everything and those moments of panic are often the ones where I learn the most — or at least the ones I remember not to repeat next time around.
Well that's it for me for tonight! Hope you enjoyed this backstage look into Barber of Seville, and I will be back soon to post about my adventures in stage management over at St Albert Children's Theatre. For now, enjoy this photo of the final scene of the show.
P.S. One of the other amazing things that has happened on this show is the opportunity to work (albeit from afar) with Edmonton Opera chorus members, Luc Tellier and Christina O'Dell. Luc was the lead in Young Frankenstein, one of the shows I worked on during my time at MacEwan, and we hit it off instantly. He's a terrifically talented actor and singer and I know he's gonna make it big someday soon! Christina is the sister of Jamie O'Dell, the man who got me through Carrie: The Musical. When everything was going wrong, Jamie was the one who kept me focused and his lovely sister has kept me laughing through this show on Twitter. We finally met for the first time about 20 minutes ago though we've been going back and forth for a while now. Like I always say, networking is a beautiful thing.
Over the course of three performances, Edmonton audiences will become familiar with the stories of Almaviva, Rosina, Bartolo, Basilio and Figaro, along with other characters that they pull into the drama of The Barber of Seville (Oct. 25, 28 and 30). But what about the stories of the opera singers behind these characters? Through a series of blog posts, we'll share some of the most interesting answers that members of the cast have submitted.
What first interested you in opera?
I have loved expressing myself through singing since I was five years old and I have always admired people who have the courage to be performing on a stage. I saw my first musical at age eight and knew I wanted to be up on stage someday. The grandeur of the sets, the costumes and the orchestra is what drew me into the opera world. The ability of the human voice to convey so much emotion is what astounds me in opera and keeps me interested. - Sylvia Szadovszki, Rosina
The natural way of projecting the voice. -Alexandre Sylvestre, Bartolo
When I first went to college for music, my instructor loved opera and shared her love with me. -Cara Brown, Berta
I first became interested in opera mid-way through my BMus, around the time when I took my first voice lessons. If I were to pick a moment when I realized how great opera can be, it was on my first-year listening exam for music history. The surprise excerpt, which turned out to be Birgit Nielsen singing the Liebestot, from Wagner's Tristan und Isolde, had me weeping, completely overwhelmed. - Phillip Addis, Figaro
Opera got under my skin at age 16, after seeing Carmen in Vancouver. I disliked it, actually! But a few years later, my college music history teacher suggested I join the chorus at Pacific Opera Victoria for their production of Eugene Onegin. I'd never spoken in Russian before, much less tried to sing it, and here I was, dancing Russian folk dances and living in Pushkin's world. The opera bug bit, and continues to bite me every time I open a score. -Aaron Durand, Fiorello/Sergeant
I started singing in musicals and school choirs when I was a kid. But when I started my music degree in university, it was a piano major. I discovered opera in my school's music library, watching opera films and recordings of live performances — Theresa Stratas in La Traviata and Salome, Placido Domingo in Carmen. Seeing the video of The Ghosts of Versailles by John Corigliano, which the Metropolitan Opera commissioned in the early '90s, had a big impact on me. I was immediately struck by the theatrical possibilities of opera, which I had never been exposed to before. When I finally heard a recording of Jussi Bjorling singing Una furtiva lagrima (the famous tenor aria from l'Elisir d'amore), I got hooked on the sound of the operatic voice. Something about it just resonates deeper inside of you than any other type of singing or instrument. And when it's coupled with great acting, opera is just a phenomenal experience. -James McLennan, Almaviva
Over the course of three performances, Edmonton audiences will become familiar with the stories of Almaviva, Rosina, Bartolo, Basilio and Figaro, along with other characters that they pull into the drama of The Barber of Seville (Oct. 25, 28 & 30, 2014). But what about the stories of the opera singers behind these characters? Through a series of blog posts, we'll share some of the most interesting answers that members of the cast have submitted.
Did you have a former career?
I used to be a guitarist and a song writer. -Alexandre Sylvestre, Bartolo
Yes, I was in office administration and was a legal secretary. - Cara Brown, Berta
This is the only career I've ever had. - Phillip Addis, Figaro
Not unless you count scooping ice cream and singing for tips at my mother's store! - Aaron Durand, Fiorello
I actually have a current second career. I have a degree in French translation and I freelance a translator specializing in academic writing, public administration and corporate communications. I love working with languages, which is partly why I went into opera, so it's a great fit. -James McLennan, Almaviva
Over the course of three performances, Edmonton audiences will become familiar with the stories of Almaviva, Rosina, Bartolo, Basilio and Figaro, along with other characters that they pull into the drama of The Barber of Seville (Oct. 25, 28 & 30, 2014). But what about the stories of the opera singers behind these characters? Through a series of blog posts, we'll share some of the most interesting answers that members of the cast have submitted.
Which character would you love the opportunity to play in an opera?
I would love to sing Octavian in Der Rosenkavalier because the music is drop-dead gorgeous. On a completely different note, I would also love to play Carmen. I think that is a dream role for a lot of mezzos. (Editor's note: since this production of "The Barber of Seville" is set on a movie studio backlot, the film star Rosina is shooting scenes for a movie version of the opera "Carmen.") -Sylvia Szadovszki, Rosina
I would love to sing the role of Benjamin Britten's Billy Budd. I used to maintain and sail on tall ships as a teenager and I have sung Britten's music at practically all stages of my life, from his children's songs to the War Requiem. This story of a tragic dreamer aboard a ship of the line really resonates with me and the music fits my voice like a glove. -Phillip Addis, Figaro
I'd love one day to play Rigoletto. You run this gauntlet of emotions, playing a father, a jester and a vengeful employee. - Aaron Durand, Fiorello
There are a few! One of the greatest tenor roles Mozart ever wrote is Tito in La Clemenza di Tito. He's a Roman emperor who gets betrayed by his friends and has to reconcile his conscience with his duties as king — the plot reads like an episode of Game of Thrones. His music is just thrilling and it's one of those roles that my voice just loves to sing. I also love the role of Nemorino in L'elisir d'amore. On the surface, he's a simple guy, but his too-beautiful music and the words he sings reveal a really deep character with enormous heart. It's a role that's both comic and dramatic in its scope. What's not to love? Finally, I'm not sure what this says about me but I really like playing bad guys. There are only a few opera villains written for tenors — it's mostly baritones who get to be mean on stage! I'd love to play Begearss in The Ghosts of Versailles. He's hilariously evil and I completely adore him. Seeing that show was also a big part of why I went into opera! Herod in Salome is another great role. I don't know that I'd ever fit it vocally, but a guy can dream! - James McLennan, Almaviva
Over the course of three performances, Edmonton audiences will become familiar with the stories of Almaviva, Rosina, Bartolo, Basilio and Figaro, along with other characters that they pull into the drama of The Barber of Seville (Oct. 25, 28 & 30, 2014). But what about the stories of the opera singers behind these characters? Through a series of blog posts, we'll share some of the most interesting answers that members of the cast have submitted.
Which composer is your favourite, and why?
My favourite composer is Richard Strauss. I am enamored with Der Rosenkavalier, and could listen to the closing trio on repeat all day. I also love Mahler for his Symphony No. 5. -Sylvia Szadovszki, Rosina
Puccini. So many beautiful stories. -Alexandre Sylvestre, Bartolo
Probably Mozart, because not only do I enjoy singing his repertoire, I find his intrumental music comforting and it often makes me smile. -Cara Brown, Berta
It's hard to name one; there are so many giants in the pantheon. Greatness comes when a composer finds their own voice and a new way to make a lasting statement. -Phillip Addis, Figaro
My favourite composer never wrote an opera. George Butterworth. He can say so much with so little. -Aaron Durand, Fiorello
That's such a hard question, but I'll stick to opera composers to narrow it down! Mozart is glorious, but for the sheer fun of singing, Rossini can't be beat. I also love Richard Strauss. He writes music on a galactic scale. -James McLennan, Almaviva
Over the course of three performances, Edmonton audiences will become familiar with the stories of Almaviva, Rosina, Bartolo, Basilio and Figaro, along with other characters that they pull into the drama of The Barber of Seville (Oct. 25, 28 & 30, 2014). But what about the stories of the opera singers behind these characters? Through a series of blog posts, we'll share some of the most interesting answers that members of the cast have submitted.
Is there anything we should additionally know about you that would be interesting to audiences?
I'm a keen (hobby) photographer, dabbling in subjects astronomical to microscopic, as well as on the human scale. - Phillip Addis, Figaro
I'm an avid hiker, a sucker for breakfast food and Breaking Bad, and if you saw my iPod playlist you wouldn't believe I sing opera (read: way too much classic rock and rap on there!). - Aaron Durand, Fiorello
I studied improv at the Second City Training Centre in Toronto for two years. I still take classes and clinics when I can. I say it's the best training for opera! It was also where I developed my killer impression of Morgan Freeman. - James McLennan, Almaviva
If there's a silver lining to the end of the summer, it's that Edmonton's performing arts organizations are once again getting into the swing of things! Here's seven reasons why you should join us at the opera this season.
7. This is the season to be impressed by opera. Listen live to some of the most difficult arias in opera, as each production has one aria listed on the Top 10 Horrifyingly Difficult Opera Arias.
6. Hear bel canto twice, with The Barber of Seville and Lucia di Lammermoor. With bel canto style opera, every song starts easy but then gets hard, challenging the audience to listen for musical statements and vocal colour, as Seattle Opera explains in this blog post.
5. Introduce someone else to the opera. Explorers members (18-29) can purchase a $25 membership and receive two $20 tickets to each production this season, while encore! memberships (30-40) are free, and offer great discounts on subscriptions! An outing to the opera is a great reason to have a stylish night out with some friends or as a date. (And, might we add — if you're hoping for a fun night out where no one dies, The Barber of Seville is exactly that!)
4. Canadian soprano Simone Osborne, who was recently named by CBC as one of 30 outstanding classical musicians under 30, will make her role and company debut in the title spot of Lucia di Lammermoor in April. An intense drama, this classic opera explores madness and the dark edges of beauty.
3. Experience a really, really cool set for The Magic Flute, where, in the style of an exotic pop-up book, the audience is constantly confronted with something popping up, sliding down or dropping in to change the setting and mood. (By the way, our tech director keeps tweeting top-secret photos of the set design and build!)
2. Rossini's chattering rhythms in The Barber of Seville are infectious, plus, the melodies have been made famous by one particular wascally wabbit. Allison Grant (Die Fledermaus, February 2014) returns to direct this stylish comedy set on a movie studio backlot in 1940s Seville.
1. Subscriptions offer a great way to save on all three operas (up to 30 per cent compared to single tickets) and single tickets are also affordable, starting at $40 on the main floor. However you choose to escape to the opera with us, be sure to leave enough time to once again take advantage of the complimentary parking in the Jubilee parkade!
Inspired by the 30-Day Opera Challenge done by Austin Lyric Opera, the staff at Edmonton Opera have taken on their 30-question challenge. Each week, we'll post answers from staff about various aspects of opera, whether it's their favourite aria, an opera house they'd like to visit or their opinion on a genre. We welcome your own opinions about the question, either on the blog or via social media.
Week 26:
Name an aria you dislike, and why. Is it because it's an earworm, or too long, maybe?
Mickey Melnyk, stewardship officer: Interesting question. The aria Nessun dorma from Puccini's Turandot was popularized by the Three Tenors who sang their debut concert on the eve of the 1990 World Cup. Unfortunately, when I hear Nessun Dorma, this soccer visual is what I remember. Having not seen Turandot itself, I am afraid when I do get the chance, the drama will be lost as I will visualize soccer fans, Domingo, Carreras and Pavarotti singing "vincero!" (I will win!)
Michael Spassov, artistic administrator and chorusmaster: I'm not too fond of Rodolfo from La bohème. Think about it: this guy's girlfriend is dying of tuberculosis, and all he does is sit around writing poetry and complain that she's cheating on him. The poor girl isn't, of course, and she might have had a chance of beating the TB if he'd actually gotten a job and bought her some medicine. Maybe some firewood to heat their freezing apartment. Instead, all he does is sing an aria about how cold her hands are. (Che gelida manina)


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One is the base model, and one is the icing on the cake. We'll help break down the pros, cons, and how much extra you pay to upsell from the S6 to the S6 Edge.
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Two of the least talkative characters in all of fiction get together for an epic rap showdown.
Do you love emoji? The Emoji Keyboard on Kickstarter puts a silicone keyboard cover and software on your Mac so you can type symbols quickly and easily.


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Love it or hate it, it's Valentine's Day! A day that has celebrated romantic love in the West since the Middle Ages, it is often marked with the giving of gifts as tokens of love.
Love and jewellery have long been associated with each other, from betrothal to mourning; it has been given and worn to show passion, devotion and loss. It's around this time every year that advertisements start popping up declaring diamonds to be the perfect way to declare love.


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Here's your chance to weigh in on what went down during the I Love New York reunion. Were you as shocked as New York when Tango called off the engagement? What did you think of his reason? Does this prove that New York should have chosen Chance? Will New York ever find love?
And, maybe most importantly, what did you think of Sister Patterson's new hairdo?


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Hold down Control (PC) or Command (Mac) key + mouseclick to select more than one option
|Avg. Dinner Entrée
|Greater than $25
|$18.01 - $25
|$12.01 - $18
|$7.01 - $12
|Less than $7
Posted by Mereditor on 11/23/2008
My friends took me here to start off my bachelorette party. We were the only people in there early on a Saturday night so we had the main karaoke room all to ourselves. The sushi and other Japanese food was decent, nothing to rave about, but the prices were extremely reasonable, considering karaoke is free. The owners let my friends decorate the table and were very accommodating. The song selection is lacking, and there were problems with the system, but the drinks were strong, so we didn't mind too much!
Posted by thompson on 04/05/2008
We went here for our friend's birthday. We've been to karaoke all over the city and always have a good time - no matter what's wrong with the place, we still manage to have fun. Except for Biny. Their karaoke system doesn't work well, it's hard to use, their selection is poor, and the speakers are way too loud for some songs and then way too quiet for others. Most of all, the manager was just downright mean to us. He kept cutting off our songs in the middle, and then yelling at us when we asked him what was going on. We left halfway through and went to a bar up the street that was much more fun simply because nobody screamed at us.
Posted by Viv on 12/30/2005
Biny's is our favorite spot for karaoke. On top of that, the sushi and drinks are great. For Happy Hours -- the karaoke is free with $25 of food ordering
Posted by JOJO on 09/15/2005
I LOVE THEIR LUNCH SPECIAL! It's 3 maki rolls with meso soup and a salad with carrot ginger dressing for $10. If its carryout you will get a free little dessert. Its always fresh and very filling! The atmosphere in the restaurant is much better at night when you can sing karaoke and party!
Posted by Anonymous on 09/01/2005
Subpar atmopshere, and less impressive food. Wouldn't suggest going there. Poor quality, I expected it to be like a japanese steak house where they cook in front of you or something, but they serve you a plate with beef terriyaki and a side of mashed potatoes and steamed vegetables... Not impressed. The sushi is definitely not anything to talk about.
Posted by joe on 01/13/2005
Biny is on 2nd floor. Walking up from the entrance gives you the impression you're about to enter a mob controlled club with naked dancers on the tables. Upon entering the restaurant, the place is dimly lit like a club, except it's just a sushi restaurant at lunch! I heard the place turns into a Karaoke bar at night, but never been there in the dark hours.


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What You Should Know
|Star Rating
|2 or More Patented Ingredients
|Less Than $5 Shipping
|Trial Offer
|Rejuval Skin (2014 Editors Choice)
|Facial Toner
|IQ Derma
|Meaningful Beauty
|Neova Copper Peptide Therapy
Neova is a product line that is marketed by a company called Procyte. They appear to have three locations that can all be found within the United States. The three states that they are located in are Pennsylvania, California, and Washington. The product that is going to be in focus in this particular review is the Neova Copper Peptide Therapy. We are going to try and gather information on this particular product and it's ingredients in an attempt to either prove or disprove the claims that have been made about the functionality and the effectiveness of this product.
Product Details
It has been shown that the Neova Copper Peptide Therapy product contains an ingredient called GHK Copper Peptide Complex. It is believed that this is what the product itself was named after. This patented ingredient is said to be a micro nutrition supplement that is thought to aid in bringing aged skin back to life by giving it a more youthful appearance. There have been clinical studies done that prove the effectiveness of certain types of Copper when they are used in skin care products. This product is said to contain the type of Copper that is needed to stimulate the Collagen production that most doctors would agree is essential in reducing fine lines and wrinkles. The website offers a complete description of the process of the GHK Copper Peptide Complex and it appears to explain exactly how it works.
The reason why we think it is important for a product to have a patented ingredient is because scientists cannot get a patent without providing some sort of proof that the ingredient will work as it is stated. Other ingredients that may be found in Neova Copper Peptide Therapy are Hydrolyzed Soy Protein, Titanium Dioxide, and Retinol.
Hydrolyzed Soy Protein is one of the ingredients that are listed above. It is a new idea and mostly experimental at this time, but it is believed to have an effect on wrinkles also by providing the skin the essential proteins that it may need in order to regenerate properly.
It also seems to contain a form of sun block that is known as Titanium Dioxide. This may be considered to be a plus because it could eliminate the necessity for applying extra sun block. Retinol is most commonly found in acne medications and the purpose is believed to be able to help the skin in its renewal process.
The Good
- Contains a patented ingredient.
The Bad
- Appears that Neova Copper Peptide Therapy may only be available through a physician.
- No before and after shots were found.
- May pose an inconvenience to use.
The Bottom Line
It appears as though we may have run into a product that could have true potential with Neova Copper Peptide Therapy. However, it may pose as an inconvenience in more ways than one. First, the expense. Next, is that it is recommended to be used in a regimen, which has been found to be time consuming and expensive. Last, it appears as though you may only be able to get it through a physician which, once again, can be inconvenient and expensive. Even if the product is patented and proven to be effective, it is believed that many women will never be able to try this because of the inconvenience and the expense.