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We collected and mixed 5 different interviews at Gregory Crewdson plus 2 video interviews. So you can know better as Crewdson works.
Q & A with Gregory Crewdson
Currently showing at SITE Santa Fe is a rather incredible display of images by New York artist Gregory Crewdson. The exhibition contains photos from two series, Hover (1996-1997) and Twilight (1998-2000). Crewdson could have easily been drop-shipped by Hollywood with his psychologically tense cinematic stills. However, unlike film, these photographs capture isolated moments with no past and no future, and an imaginary possibility hangs over them like a pregnant pause, playing to photography's narrative strength.
Despite Crewdson's success, he remains low-key and accessible, sharing his vision as a teacher at Yale and speaking openly about his work. He was interviewed at SITE Santa Fe in February 2001.
Antonio López: I'm envious because you have the satisfaction of working with your hands. With your earlier work, I noticed some of the tableaus you created are almost like train sets. Is there something from your childhood that appeals to you in creating these dioramas?
Gregory Crewdson: I think that, in a sense, there's something about photography in general that we could associate with memory, or the past, or childhood. I never literally made miniature trains, tableaus, or anything. But there is something very childlike in the process.
AL: What inspired you to start building these sets?
Gregory Crewdson: I was just very interested in museum dioramas, actually, and I've always been interested in wanting to construct the world in photographs. So I think that initiated my work in general– just wanting to create a complete world, whether or not it's in my studio or out on location. I think one of the things we can get from photography is this establishment of a world.
AL: You mentioned something about your dreams influencing a particular series. From what I understand, it takes up to a month to do one photograph.
Gregory Crewdson: I think there's an internal vision of some sort, like I think all artists do, and the struggle to try to present it or represent it in the world, whatever it takes to do that, I'll do it.
AL: Do you know why it is that you are in photography and not film?
Gregory Crewdson: Yeah, because although the work is influenced by film, I'm very struck by the still image, and I'm interested in the limitations of a photograph in terms of its narrative capacity to have an image that's frozen in time, and there's no before or after. So I want to use that limitation as a kind of strength, you know.
AL: You've talked about how your childhood influenced the psychological states that you portray.
Gregory Crewdson: I think I've mentioned that my father was a psychoanalyst, and he was always a very close inspiration for me, and I think it's what accounts for the psychological nature of the work. That's one thing. The other thing is that the setting of my work is the suburbs, or an imagined suburban landscape, and I'm originally from New York, I still live in New York, so I think that discrepancy presents the work with a sense of alien perspective, let's say, or a sense of wonder.
AL: Before I looked at your book, I couldn't help but have the recurring image of Close Encounters of the Third Kind as I walked through the SITE Santa Fe exhibit. Then I saw the stills from the film in your book. Was that a direct influence, or did you tap into some kind of pop-cultural gestalt?
Gregory Crewdson: Everything makes much more sense when you look at it retrospectively; things seem much more linear. When I was working through all that originally, it was much more chaotic and disruptive and frenzied, and it wasn't until I re-saw Close Encounters that I realized, Oh, my god. [The work] was strangely connected to that figure, you know, this process . . .
AL: Especially the demons and obsession of the Richard Dreyfuss character. He doesn't know where they're coming from initially.
Gregory Crewdson: Right. He's struggling to make sense of that. That's what the artist does, you know. It's a beautiful metaphor for the artistic process.
AL: There are several articles connecting different contemporary artists who seem to be working in a similar vein, about suburbia, its dark side, perhaps. Do you feel comfortable being included in this "movement"?
Gregory Crewdson: I think that there are certain general tendencies. Artists are drawn to certain things, and certainly I feel aligned with certain things and not others. The work that inspires me sort of comes from that tradition, like Edward Hopper, Robert Frank, William Eggleston, or Stephen Spielberg. We all approach suburbia with a sense of possibilities.
AL: In past interviews you mentioned that your photos were American realist images in photographic form, and I immediately jumped to Hopper; a light bulb went off. I really see a strong correlation.
Gregory Crewdson: Yeah, yeah. I could be slightly ironic and say he's the greatest American photographer [laughter]. What I mean by that is he's so hugely influential in terms of our understanding of ourselves. But he seems so current in terms of contemporary photography [with] his interest in the American vernacular.
AL: As a WPA artist he was a populist, so would you see your work in that tradition as well?
Gregory Crewdson: I wouldn't call myself a populist, but I would say that I feel one of the reasons I'm drawn to photography and the subject I explore is that there's a kind of accessibility to it. I'm interested in drawing the viewer in with that accessibility. However, once they're in, then I like to sort of fuck with that one way or another, complicate that relationship.
AL: I guess that's reflected in the process of working with these communities where you photograph. It seems like after the product is complete and the people are seeing themselves in these images, there must be some complexity involved there.
GC: The Twilight pictures particularly… there's the photograph itself, which is of this final, beautiful thing, hopefully; and then there's the process of making the picture, which is very different from the final picture. I think the process, in my mind, is as important as the picture itself.
AL: In terms of working with the people in the community, what is the difference between the time that you're involving them with the creation of the photograph and then with the final product?
Gregory Crewdson: I work very closely with the community and with my production crew, but then it becomes something much more private. I contemplate the pictures very privately, show almost no one — and then there's the final picture image, and once I make that, then I disseminate the pictures in the town. And they usually like the pictures.
AL: They work with you, they know who you are, and I assume that they like you, as opposed to some kind of invading army coming in from New York: a bunch of weird artists messing up their community.
GC: Well, there's partially that, too. It's partially a collaboration, but it's also partially like intervention. I have to find a balancing point; I have to know when I'm overstepping.
AL: So in the process of creating intervention, do you feel that you touch people?
GC: Well, I don't know. I think maybe the process has in a sense. What I think is that we make situations, you know. And that situation could be seen as something positive and good, or it could be seen as a disruption or distraction. It all depends. Ultimately, I have an idea of a picture in my mind that I want to make, and maybe it's a measure of my obsession or narcissism, that I, or whatever it is, activate that. You have to be fairly aggressive about wanting to make a picture in certain situations, unlike the earlier pictures that were elaborately staged. I mean, they're not staged pictures in my studio, where I could just work hours and hours on end, in complete isolation. They're much more about working in an outside context.
AL: I had an epiphany once when I was in Mexico and I realized that I felt inhibited photographing people. I had met a Spanish photojournalist who could just jump into any situation and take a picture. I realized that photos depend so much on the personality of the photographer interacting with the subject of the photograph.
GC: Photography is a very complicated thing. When you're making a picture, there's levels of intrusion and levels of voyeurism and levels of exploitation, you know. And I think a photographer has to measure what lines he's willing to cross and what becomes worth it to make a picture. I think Walker Evans talks about having certain anxieties about making a photograph or not, and then feeling nervous about it. His answer for that is simple. It's like, if I don't make this picture it won't be made, right? So I think what he's saying is the photograph is the important thing.
AL: It transcends the entire process?
GC: Well, either you have the picture or not, you make the decision. It might be uncomfortable, it might be difficult, but I think that photographers are ultimately responsible for their own vision.
AL: Do you see voyeurism as an American phenomenon? Is it part of the pop culture, or is it something that's universal?
GC: I think it's built into the act of photography. Just the process of looking through a framed world separates the artist from the subject; it creates a kind of implicit voyeurism. And I think on a fundamental level, part of why we're drawn to photography is it's kind of a voyeuristic act, and there's a fascination in that.
AL: In the Duchamp installation, Étant Donnés, you look through the peephole at a naked body. I understand you had an opportunity to actually look through it, but you decided not to; you only wanted to see the piece as a photograph, the image of the image.
GC: That's changed since then. I've actually seen Étant Donnés.
AL: And so what was it like?
GC: I saw it like a photographer, you know. I still see it as a photographic piece. And you know, a sculptor will see it as a sculptural piece. I think it's such a powerful and mysterious icon; you bring your own interpretation to it. I think part of the strength of that piece is that you can't wholly understand it.
AL: I guess different kinds of artists can say the same about your work because there is the sculptural element and then there's this cinematic element, the photographic element, and even the narrative element.
GC: Well, one of the fantastic things about photography, I think, is that it kind of exists between everything, you know. It's a currency by which we sort of understand ourselves. Photographic representation exists among almost every avenue of representation.
Another one from John Seven:
An Interview with Gregory Crewdson
Photographer Gregory Crewdson has seldom been considered traditional, but a new exhibit shows he has something in common with the past as he moves his art forward. Crewdson is showing some of his work at the Williams College Museum of Art, alongside the paintings of Edward Hopper. One image in particular bears an uncanny resemblance to one of Hopper's and features a woman staring out of a bedroom window, filled with lament. The major difference between the two works is that Crewdson's woman is in underwear and the full spectacle of the room is explored, while Hopper's woman is nude and its perspective more intimate. Crewdson was as shocked as anyone when the similarity was pointed out to him. Although a huge fan of Hopper's work, he had not set out to do any sort of homage or pastiche, he was just focused on making the best image he could. "Artists always have a relationship to the tradition in which they work," said Crewdson, "so I think that maybe on an unconscious level, previous images saturate you in some way or another." While the photos do share similarities in subject matter and mood, Crewdson's work is filled with similar imagery " it's just not that hard to find a half-naked woman with a haunted visage inhabiting some ghostly moment in the twilight of consciousness. Crewdson acknowledges as much, but tends to not analyze too closely. "I know I'm interested in a particular type, a certain kind of hauntedness or loneliness, a beauty and a certain kind of nakedness," he said. "Anything more than that, I'd be hesitant to try and articulate, I like to keep it a mystery in a certain sense. To myself, I mean." Some of Crewdson's most major influences are filmmakers, and a couple of them, most notably Alfred Hitchcock and David Lynch, have similarly well-documented preoccupations with the use of women in psychological imagery. Lynch tells a story from his childhood that involves a female neighbor walking down the neighborhood street as children looked on, an incident that inspired an infamous nude scene with Isabella Rossellini in "Blue Velvet." Crewdson is also able to point to a similar smoking gun " he thinks. "I think we were all at the next-door neighbor's Christmas party," he said, "and it was all very proper and everything, and the mother walked down the stairs of her house completely naked. I don't even know if I was there, but I've always had that in my mind." Crewdson's confusion over the validity of the memory is the epitome of his work. It is not so much important that the incident happened as he remembers it; it is more important as something that exists as a vivid perception in his mind " one that informs he work constantly. Similarly, his photographs can either function as documents of actual events in the lives of his subjects or more inward events in their mind's eye. In this way, nakedness " both the state and the word " are of total importance to the images. "I guess you could make a distinction between naked and the nude," Crewdson said. "Naked just feels more psychological." It seems appropriate that Crewdson comes up with a lot of his ideas while swimming, when his body is floating and separated from the gravity that binds us to our world, afloat in his own " much like the people he portrays. In a practical way, swimming provides Crewdson with a total sensory immersion into himself, removing him from the busy work of daily life in order to let his mind wander. "As I'm swimming, I'm counting the laps, and at some point, images do emerge," he said. "I start to think about that and then I let it sit. If it stays up there, I try to make a picture of it." Crewdson has two distinct ways of taking a photo, either on a sound stage or on location. The Berkshires have been host to a number of his location shots, as well as some studio work at the Massachusetts Museum of Contemporary Art. The locations he chooses might be considered boring by some people, as they often involve newer, more suburban housing, a lot of ranch style abodes, sometimes new neighborhood developments. On occasion, he will venture into what could be construed as the wrong side of town. "What I'm most interested in now is a kind of non descript, desolate town where everything feels like it's from another period, but you can't quite put your finger on it," Crewdson said. Although he was born and raised in Park Slope, a section of Brooklyn, Crewdson's family owns a cabin in Becket, and the time spent there through his life has fired his focus on the Berkshires in his photography. He admits his life in the city may well have created a general perception of small towns as exotic " fueled by specific experience in the Berkshires. "The way I see it is that the setting is a stage for my picture-making activities, and it's an important one," he said. "But I also want the picture to feel like it could be anywhere. It's the place " it's my connection with the place " and it's my imagined sense of the place all coming together." A final photograph by Crewdson is the result of a number of influences and obsessions and experiences coming together to tell a story " and he does consider himself very much a storyteller. Despite this, he says he has absolutely no interest in filmmaking whatsoever, preferring to give his attention to the single image and nothing on either side of it. The story is implied " beyond that is a result of the dance between Crewdson and the viewers " what he brings and they bring. "I really don't have any interest in the before or after," he said. "I am just completely invested in the single moment. I can have some ideas, but I much prefer to keep that a mystery and just make sure that I render that single moment as perfectly as I can."
The 3rd interview at Crewdson is by EGG:
EGG: What is your photographic process?
Gregory Crewdson: Well, it's a very complex process and there are various aspects to it. But I think, despite the enormous production that goes into the photographs, it's also an extremely organic and visceral process as well. Typically, I come up with an image in my mind that seems one way or another compelling and then, if I feel strongly about it, I will work with my production assistant to try to find the perfect location for this image. Then, I try to piece [it] together, almost like a puzzle, to try to create the image so it comes together. And typically, that means working with a quite extensive production crew. I work with a cinematographer, I work with electricians, assistants, I work with a production designer. It's very much like making a small-scale film. But ultimately, it is a photograph. Even though we use cinematic production, ultimately what I am interested in is something still and quiet and evocative. So the "Twilight" series all occurs at this moment of transition between day and night, and because of that we tend to use an enormous amount of lighting. I really like that moment where the ambient light comes together and works together with the artificial light and creates this very powerful and evocative palette. I work with this team to try to produce or recreate the image that's in my mind.
EGG: Why aren't you behind the camera? How do you define your role in the process?
Gregory Crewdson: I think that there are a few different pragmatic reasons why I am not behind the camera. One is that it is an 8 by 10 camera. It's a very large-format camera; it's cumbersome when I am in the situation to be oppressed by it or burdened by it. So I always frame the picture earlier, establish the frame of the photograph, and then I think it is more important for me to be somewhere between the cameraman and the subject. And I don't want to be worrying about "Do I have the right focus, do I have the right exposure" — and also, Dan, the cameraman, is a much better technician then I am. I quite honestly am not particularly good at any one thing, and I am not attempting to be modest. I know I could never light a photograph as well as my cinematographer; I could never construct these totemic structures that I make. I think what I am good at is creating a situation. I think that is what I am good at. I know how to create a situation through various relationships with my crew and my surroundings. So if I need a fire truck, for instance, or if I need an elevated crane, or if I need — like a picture that I did this past week — 80 young schoolchildren in three school buses, I think I am good at sort of creating that sort of situation.
EGG: What do you like most about these grand-scale productions?
Gregory Crewdson: One of the aspects that I like about the productions is that there is, I think, an extraordinary coming together of different worlds. Not only do we have the people in the neighborhood, but on the production crew we have people that have worked their entire life in films, working alongside a tree surgeon or a landscaper. And I think that kind of confluence is really wonderful. It creates an interesting set that I like more then a completely professional crew because it gives a sort of liveliness to the pictures, and you know there is an interesting set of dynamics that are produced through that.
EGG: What draws you to photography?
Gregory Crewdson: I think I always have been drawn to photography because I want to construct a perfect world. I want to try to create this moment that is separate from the chaos of my life, and to do that I think I create enormous disorder. And I like that craziness because I think that it creates almost a sort of neurotic energy on the set, and through that there is a moment of transportation. And in all my pictures what I am ultimately interested in is that moment of transcendence or transportation, where one is transported into another place, into a perfect, still world. Despite my compulsion to create this still world, it always meets up against the impossibility of doing so. So, I like the collision between this need for order and perfection and how it collides with a sense of the impossible. I like where possibility and impossibly meet.
EGG: What is your relationship with the people of Lee, Massachusetts like?
Gregory Crewdson: I think part of the complication in the pictures I make is the kind of intrusion I have onto the neighborhood. I think that there are two sides to that. At certain times, there's this sense that there's this magical event occurring. In other times, I know I am just a nuisance and that I am intruding in people's lives and I'm making a mess when blocking the street or closing them. I think if I was overly concerned with all these issues (I'm very sensitive to them) it would create a paralysis. I just have to know that ultimately, perhaps at moments I'll just push too hard and then come back. But I think that if I didn't have this sense of connection to the neighborhood that these pictures couldn't be made. So, it's not only a portrait of a particular person. It's the portrait of a community and the neighborhood and my own kind of mythology of it.
A long lon interview with Greg from BombMagazine:
The first photographic image I ever saw by Gregory Crewdson was of a seagull perched in an unlikely forest at the edge of a pool whose surface was blubbery, laden with what appeared to be lice, beer cans, an Ivory soap bottle—the jetsam of contemporary America. Green leafless plant stems sprouted optimistically forming the miasma. Several sparrows stood on burnt tin cans, and a moth hovered nearby. Was the poor gull going to drink from this white verminous cesspool? Had it already? The beak was agape, after all, and the bird appeared as if it were about to retch. Why was its eye so deathly, jaundiced? Was this an allegory of the end of nature? A black comedy? A silent sermon? And what was that I could see through the amber thicket? The outlines of a perfect suburban house, serene and dreamlike in the distance? Were the people who lived at a blissful remove from this scene of innocence and squalor responsible somehow for dumping their cruddy debris here, for infecting this otherwise bucolic glade?
Later, long after I understood my questions were unanswerable, the image remained in mind, continued to bother me, provoke my imagination. And as it did, my incipient respect for Gregory Crewdson's artistry—the photograph caused me instantly to regard its maker with awe—grew into something more complex. I began to recognize Crewdson as one of those rare artists touched by vision; someone whose work truly disrupted my sense of the known. Who was this guy, and why was he messing with my mind? No matter: after that day at Luhring Augustine gallery when I looked through many of his colorful and astounding prints, Crewdson had gained a new admirer.
We met nearly a year later, and have now become friends. His bio simply does nothing to prepare the uninitiated for these fantastical, apocalyptic, utopian, droll, gothic, paradoxical, magnificent images he creates. Born in 1962, middle-class background. Grew up in Park Slope, son of a psychoanalyst (father) and "movement analyst" (mother). Attended Brooklyn Friends, John Dewey High School, SUNY Purchase, grad work at Yale. Brother is a nature writer. Sister studying to be a psychiatrist. Well, maybe there is something here: analysis, nature, movement, speculation.
Wherever Gregory Crewdson is, as they say, coming from, matters less than where he is, through his unparalleled dioramic and fabular images, going. We spent an afternoon that continued into a summer's evening discussing his possible points of origin and destinations. Here is part of the verbal journey.
Bradford Morrow I'd like to address the narrativity of your photographs. If one thinks of them as image-stories, they are intriguingly transgressive insofar as you only deliver the final scene, and therefore compel the viewer to create the story that precedes it. What is your relationship to the notion of narrative or story?
Gregory Crewdson I'm interested in the question of narrative, how photography is distinct from, but connected to, other narrative forms like writing and film. This idea of creating a moment that's frozen and mute, that perhaps ultimately asks more questions than it answers, proposes an open-ended and ambiguous narrative that allows the viewer to, in a sense, complete it. Ultimately, I'm interested in this ambiguous moment that draws the viewer in through photographic beauty, through repulsion, through some kind of tension.
BM You mention drawing a viewer in through repulsion. I do find that your work is, at all times, steeped in paradox. It is constantly inviting and combative, violent yet serene, beautiful and ugly. I'm curious about your involvement with that moment which becomes the image, because I know you construct the scenarios that you photograph. In the process of constructing them, surely you're involved in the storyline itself. For instance, the photograph of the fox in the forest with the grape arbor. These delectable, nutritious grapes are hanging down even as the poor fox lies on its back, dead as a doornail. The background is a visual hint or ghost of urban serenity. When you're constructing images, when do you have your initial sense of what the image will be, how does that process work? Is there a prefigurative story that develops in your mind? Do you know how that fox arrived in this forest?
GC I'm a romantic. I think. I'm a very intuitive artist in terms of the final image. I spend upwards of a month creating every image. We were speaking of paradox; I'm drawn to photography by some irrational desire to create an image of a perfect world. I strive to create that perfection through obsessive detailing, through a weird kind of realist vision. When the mystery of the photograph emerges, my irrational need to create a perfect world meets up with some kind of failure to do so. This collision between failure and compulsion to make something perfect creates an anxiety that interests me.
BM Have you ever intuited where that desire to create something perfect derives from, in you, personally?
GC I think it has something to do with repression. (laughter)
BM Ah-ha!
GC My father is a psychoanalyst and in the early years had his office in the basement of our brownstone house in Brooklyn. I would put my ear to the floorboards above his office and listen to his sessions, trying to imagine what was going on, creating a mental image of what was happening downstairs.
BM A visual image.
GC Yes. Not quite knowing what he was doing but knowing that it was a secret.
BM That's fascinating, because a viewer of your photographs senses that he or she is invited to he a voyeur. Your viewer stumbles upon an impossibly symbolic or Aesopian or pre-Adamite scenario that's…
GC Aesopian?
BM Aesopian as in out of an Aesop's fable. Because your work is fabulous, it's fabular. One particular image that you created, I find almost fundamental. After I saw it, it became part of my own visual landscape: the one of the birds who seem to have created a circle of spotted eggs, like a little Stonehenge of the Birds. But then in the background lurks this suburban set-up: houses, a couple of trees, and a ladder going up into one tree for no particular reason, then some mountains behind. Tell me, do you identify with the birds or something as the maker both of the scene and as the maker of the photograph? Are you envisioning a fable here? Is there a "moral to the story?"
GC That's interesting. I don't know if there's a moral to the story, but I intentionally created a sense of ritual that is left as a question. This ring of eggs occurs as some kind of formation, perhaps a paranormal event and, certainly, there is the possible emergent meaning. To go back to an earlier question that you asked about paradox, in all of my photographs I'm very much interested in creating tension; between domesticity and nature, the normal and the paranormal, or artifice and reality, or what's familiar and what's mysterious. We could call that an interest in the uncanny: the terrifying and the familiar. I intentionally ground all these mysterious or unknowable events within a recognizable and iconic situation, which is the domestic American landscape. Ultimately, I would describe myself as an American realist landscape photographer. (laughter) Despite the artifice in the pictures, I'm not interested in revealing the artifice as much as creating a believable or credible world.
BM I find these worlds disconcertingly credible. I've been there, I've seen those birds. I didn't see them make that circle but what's so powerful about the image is that I believe I'm stumbling upon something I've stumbled on before—and not in a dream. This is not surreal work. It has super-real qualities. You're not just the photographer, actually, you are a sculptor and a storyteller. Your photographs really go so far beyond seizing an image out of the world. In fact, you're not doing that at all, you're beginning with a narrative, you're listening in on a conversation downstairs. In a way, the photographic element is almost tertiary. How do you relate to the ladder or the bird or the house or the water tower or the mountains? What do you invest personally as you're constructing the scene that becomes the photograph?
GC Everything. I've been asked many times, what's your relationship to nature or the suburbs? I'm not that interested in either as subjects as much as I'm interested in using the iconography of nature and the American landscape as surrogates or metaphors for psychological anxiety, fear, or desire. Everything in the photographs: the birds, the iconography, the images, and probably most directly, the actual casts of my body parts, deal with my own psychology. They are used as tropes to investigate my interior life. I want to take familiar tropes like the suburban home or aspects of the landscape and project onto them some kind of personal meaning.
BM I love the reductive or democratic aspect of the work, which makes equal the suburban home with the eviscerated animal, the blistered calf with fluttering, impossibly iridescent butterflies. There's an equalizing that you do which is combative, therefore very American. The work is ambitious and ambiguous. I think the viewer must try to set aside any notion of beauty or ugliness. In fact, I'd love to know if you have a definition for the word ugly or if you have a sense of the word beauty. I'm really interested in this democratization, because you define yourself as an American artist. Although American is so undefinable in and of itself. How do you view your responsibility to the viewer and how do you view the viewer's responsibility toward the image? Or is responsibility even the right word?
GC I'm not sure what my responsibility is to the viewer. Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts, it is the most democratic insofar as it's instantly readable and accessible to our culture. Photography is how we move information back and forth. But I also want the work to have a visceral impact that draws the viewer in through photographic beauty, lushness, vibrant color. Perhaps they're democratic. I think ultimately they're quite optimistic. I never see them as being ugly or repulsive.
BM How would you define ugly? Visually, can you imagine something you find repulsive?
GC In general?
BM Yeah.
GC Yeah.
BM What was it?
GC While I'm thinking about that, I will say that I always set out to make the most technically, formally, aesthetically beautiful photograph I can.
BM A decaying calf with vines growing out of it, with thorns growing out of them—this to you is…
GC It's a beautiful image. I mean it's disturbing for many reasons; it's a cast of my leg as a corpse. But, ultimately, if it wasn't a compellingly beautiful image, I wouldn't be interested. I'm enthralled by bringing it to life as a beautiful, hopeful image of transcendence.
BM I'm drawn to these images in the same way that Ralph Waldo Emerson was drawn to open the casket of his first wife. He was moving the gravesite and he looked at his first wife and he later looked into the coffin of his five-year-old son, Waldo, who had died of scarlet fever. I think we're a strangely squeamish culture, some critics have thought it was either a nightmare or that he really didn't do it. There's evidence, in fact, of other people in the 18th and 19th centuries re-opening the graves of their beloved, almost as an empathetic performance or a statement of their own continued connection with these people and the connection to their own mortality. When I look at the lushness of death as it's described in your work, and the beauty of these bonnets of butterflies and these grids of grapes and ropes and strings, I see it all as a marvelous embrace of humans and what we go through in a lifetime.
GC I can answer your question about what's horrible to me. Ultimately, probably what scares me most is reality. (laughter) When it's a representation, when it's separate from the world, it more effortlessly becomes poetic or beautiful.
BM Do you think to embrace what you fear most is an aspect of being an artist?
GC Definitely.
BM Also, in your work there's a magnificent collapsing of time; the corpse is a flower, the carrion is, in fact, the beautiful butterfly. It really is just a matter of time before it gets reintegrated and grows again. That's often so present in the work, there's a quality of life and death being simultaneous.
GC That image we spoke of earlier, the transformed leg, locates that moment where the body is incorporating itself and becoming one with the landscape. There's a confusion and collapsing of the boundaries that hold the body apart from its surroundings. The vines are growing into the leg and sprouting thorns.
BM They're growing into the leg?
GC Yeah. So there is this mergence between the body and nature.
BM That merging of the grotesque and the sublime is always in the foreground of the photograph. Then, as the eye seeks refuge in the image, it goes back through the amber light; and very often, you put in these serene images of a house where you've lived, a barn you remember, a garage or a scene of domestic tranquility. That combination of foregrounding the nexus of sublimity and the grotesque and then putting in the normal, as it were, the everyday…
GC Well, the everyday we strive for, but we don't actually achieve that either.
BM I think it makes for an incredibly kinetic experience as a viewer, and that goes back to the whole notion of storytelling and narrative. I'm sure you know the installation by Duchamp in Philadelphia, Etant Donnes. Was Duchamp an influence at all?
GC On this most recent work, an absolutely significant influence. Duchamp worked on that installation in absolute secrecy in his guest bedroom.
BM Secrecy was part of the whole aesthetic experience.
GC Exactly. He worked on that piece for the last ten years of his life. I've always been captivated by that image. Essentially and interestingly enough, I have only seen the installation through photographs. A few years ago, I had a chance to view the actual installation and I decided against it. It's like my relationship to my work where I'm only interested finally in the image, not the installation. And I wanted only to know the installation through an image. At some certain point, partially because I was haunted by that photograph of the Duchamp piece, I wanted to incorporate the body into the landscape.
BM Have I accidentally hit upon the most important visual influence?
GC Absolutely.
BM (laughter) That's amazing. I remember seeing it in Philadelphia for the first time. You approach the peephole through which you have to look, like a young Crewdson with his ear to the floor, and look through this chink in the artificial barn door and see the image of a naked woman, her legs spread, her hair, just a hint of her chin, a lantern up in the air. I wanted so much to move to the right so I could see her face, and of course, Duchamp's peephole does not allow that. This sublime frustration enhances the metaphysical implications that Duchamp was after, which are that we can't wholly see the Other. I find with your images that there's a sense of wanting to move physically to the left or the right and see a hit more, but you're not going to let us and that's the way life is. This is one of the great acts of intuitive brilliance in the work, it seems to me.
GC Okay, there's a lot to respond to. In terms of Duchamp, early on in my first efforts to include the body, I tried using mannequins. Those first images were absolute failures. At some point. I realized it had to be personalized through my own body. Once I made that clarification, it became clear that I had something at stake, that it was my body, my corpse in a sense, and it all started making more sense. Even though these photographs are made in my studio, to me they're voyeuristic. I'm drawn to photography ultimately through some voyeuristic impulse. The camera gives you an alibi to search into places in your psyche, to unmine the secret mysteries in your life. In the recent photographs, as you suggest, I purposely created a kind of voyeuristic peephole to make it appear like you're looking in on a secret world.
BM Such as in your photograph of, I don't know, (laughter) a pile of turquoise scarabs in a vine forest with a black oval?
GC It's a halo.
BM Oh, floating halos, of course, religious for sure; you also present grids of vegetable, mineral or botanical units, repeated units, like butterflies, or grapes, and the viewer has to wander through that grid. Maybe these grids which you establish give us a sense of stability and the confidence to enter into the scene a little deeper. All the plentitude that you offer and the richness of the color are inviting. We trust you so we strive deeper into the image and that's where you get us in trouble.
GC I love that.
BM I want to talk a little more about the notion of you as a sculptor. The photograph of the image is a communicative device insofar as it brings the image to us, so we don't have to go, say, to Philadelphia. You are a multidisciplinary artist. Can you tell me about your work as a sculptor? As diorama?
GC Well, ultimately I do everything so wrongheaded every step of the way. I've figured out how to do everything by mistake. You see the perfect images here—but if you came to my studio, it's an absolute chaotic mess, completely disorienting and confusing. Yes, the work definitely has connections to sculpture and installation and film, but what I'm most interested in is the final picture. I don't consider myself very good at any particular craft. The only reasons I make installations are because I have an image in my mind of how I want the final photograph to be and I just have to create it to make it look like that. It never, ever looks like what I have in my mind. Something, as I said earlier, always goes wrong.
BM Have you ever killed an animal?
GC Never.
BM Let's talk about your hover series. At first glance, it would seem to be a radical departure from the earlier work. Gone is the lush color, the controlled studio construct. Now you're in New England, photographing in black and white, apparently from a crane, or certainly from an altitude, a neighborhood, but it's clear that Crewdson has been there first. It seems to me that you've gone to the opposite end of the spectrum to explore precisely the same human problems. Again, the American myth seems to be at play. Also, the notion that something has happened, something we can't put our finger on: why, wherefore, what will be the ultimate consequence? There seems to be a very dangerous activity at play. Whether there are humans in the landscape—for instance this photograph of a perfect circle in a backyard—I can't see any human beings, all I see are their artifacts. It's almost as if a neutron bomb hit the place, but nobody was at home anyway. It's all the detritus of our lives, and yet there is this mystical circle, reminiscent of the birds. What is the circle to you?
GC It goes back to my interest in ritual. There's a lot to speak to in terms of this departure in the work; but to address your question about the circle: an article concerning Hitchcock'sVertigo, which is my favorite film of all time, suggested that the circle is the perfect metaphor for romantic obsession. For me, the circle is a metaphor for obsession, some kind of possibility or non-possibility.
BM Emerson wrote that the eye is the first circle.
GC Wow, I like that.
BM He also said, "There is no end in nature, but every end is a beginning," which is ultimately the definition of romance. Because when we feel romantic about something, we believe in its perpetuity, that in every moment's end, there's a new beginning.
GC Exactly, that carries through all my work. I should speak about the project more because on the surface it is such a dramatic departure. At a certain point I was making photographs of my body as a corpse, photographed in this extraordinarily claustrophobic and horrific fashion. I felt like I needed, for various aesthetic and personal reasons, an absolute change. So I consciously worked to change everything in my production. I went from large scale color work produced in my studio, making dioramic constructions, to photographing outside in an actual place, incorporating the community. I went from photographing in color to photographing black and white, photographing from a very low angle to photographing from the vanishing point of an elevated crane.
BM You have gone from first person to third person narrative.
GC Exactly. But ultimately, what wound up happening is that despite every effort to change all aspects of my production—you can't get away from yourself. So I found myself investigating similar themes concerning defamiliarization, the uncanny and probably for me, most interestingly, the relationship between nature and domesticity, particularly some kind of disturbance of the landscape and disturbance of normality. What's most important in this work is the point of view, which is an elevated point of view from an alien perspective looking down on these everyday events. I photographed from the elevated point of view for a number of reasons: one, I liked that sense of voyeurism, looking in upon the world; the other is I liked that free-floating perspective, where it forces the viewer to ask quietly, where am I? The impossibility of point of view.
BM In this new work you seem to be an omniscient narrator as opposed to the earlier work, the "I am here, in the forest. This is my leg, I'm hurt." In this sense you are more transgressive insofar as you're not simply all-knowing but you're omnipotent, because clearly you went into a community and convinced people to change their everyday behavior, change the way their street looks. This fellow here in this extraordinary photograph is sodding the street while his neighbors look on and a policeman in the background watches. Behind all that is Crewdson at work again as the sculptor and omnipotent narrator.
GC The man laying sod is like the bird in the other pictures. He's a surrogate for me.
BM The birds are surrogates for you?
GC Yeah, in some way. Let me use this picture as an example. I had this image in my mind of a man obsessively attempting to sod the street closed. It's optimistic, to join one lawn to the next. Part of the project in this work is to convince this neighborhood to take part in this ritual. A lot of the events unfold from this floating perspective. It's like bearing witness to an event that is on one level very ordinary, sodding your garden or planting rows of flowers, but exaggerating that ordinary event and making it somehow irrational. Sodding the street closed or planting flower beds down the middle of the street is an ordinary event gone inexplicably wrong. One of the great things about being an artist is that you have an image in your mind and you can do it. Or you can try to do it. So we sodded the street closed and I got in the elevated crane, and I was lifted and floating over this scene. It's the most beautiful thing in the world to hover.
BM I'm fascinated by how it worked out, that you're becoming a bird in essence. A bird's eye view has turned all the humans in the photograph into the stuffed birds of your earlier work. They all have their hands in their right pockets. They all look terribly posed.
GC That's true, they do. I never noticed that.
BM They're ashamed of one hand or the other. Who knows what that hand was doing? And the fellow in the middle diligently placing the sod, I see it as such a continuation of the earlier work.
GC I was drawn to this neighborhood because it seemed to come right out of my photographs. I wanted to do a suburbanization of Robert Smithson's Earth Work. So for this photograph I knocked on this woman's door. She wasn't home, so I wrote a letter to her and said, "I would like to create a perfect circle of mulch in your backyard and photograph it. Do you mind?" And the next day she left this message on my answering machine, I'll never forget what she said, "Do what you have to do." That was amazing to me. I went back that Sunday and she wasn't home so I worked with the landscapers and we created this mulch circle. I got in the crane, found the perfect perspective and shot. We cleaned it up and she was still gone. I never met her.
BM Are you consciously aware of thematic, or schematic, continuity in your work, that the world itself has become a kind of diorama for you? What does that mean in the long run—the world as a kinetic diorama?
GC It's sort of a Connecticut diorama. (laughter)
BM As a movable, inedible feast. How does that work, what does that mean?
GC I've never really made much of a distinction between photographs made in the studio, or in the outside world—I think those are false distinctions. Essentially I'm interested in photographic beauty, in narrative, the photograph conveying a kind of mystery, a strangeness and a recognizability. I don't care how I get there. That is inconsequential.
BM I'm reminded of one of my favorite ideas of Emerson's, which is that the world is the externalization of the soul. Since he is an American philospher/artist, and since you have such a sense of Americanness in your work, how would you respond to that idea?
GC That's a beautiful statement, and of course it's quite narcissistic. But as an artist, I fully admit to being narcissistic and a pathetic fool as well.
BM King Lear goes to Concord. It strikes me that really you are still Gregory Crewdson with his ear to the floor upstairs trying to find out what the hell people are thinking.
GC Or what I'm thinking.
BM Or thereby realizing what you're thinking. It's so far beyond dreamscape or surreality—it is a fresh reality.
GC That's what I'm interested in—there's a paradox in that, as I said earlier on, in a weird way I do consider myself a realist. But finally what I'm trying to do is use realist detail to describe something psychological.
BM To reverse Emerson's aphorism, the soul is an internalization of the world.
GC Wow. That's good.
BM I think when I see your photographs, I feel like I'm in the photograph. I internalize it so instantly that there doesn't seem to be a distinction much between me and it. I relate to it very much as a myth. We live myth. And once you believe myth has a certain value, then everything has a mythic quality. The worlds that you create or manage are really mirrors of the worlds we all create and manage. There's a great line, "A novel is a mirror walking down the road." It seems to me that a photograph made by you is also a mirror walking down a road.
GC That's nice.
BM What's your sense of your lifetime project? Do you have one or is it a day-by-day of finding out things?
GC As artists we walk around with a single story to tell, some kind of central narrative. And I think the struggle is to attempt to reinvent that story over and over again in different forms and to visualize that story through, in my case, photographs, and try to make it new each time.
—Bradford Morrow's fourth novel, Giovanni's Gift, was published this spring by Viking, and is forthcoming in paperback from Penguin in January. He edits the literary journal, Conjunctions, and lives in New York.
Read also this interview at Greg by Aperture.
And also, two video interviews at Crewdson:


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Mike Lohuis is the Ag Environmental Strategy Lead at Monsanto, and is helping develop our strategy to address climate change. Here he answers some questions about our commitment to carbon neutrality.
What is Carbon Neutral Crop Production, and why is it important?
Crops use the process of photosynthesis to naturally convert carbon-dioxide from the atmosphere into oxygen and organic carbon in the form of plant biomass, roots and grain. However, the use of tillage, fuel, fertilizer, manure and other inputs used to grow crops also release carbon-dioxide and other greenhouse gases (GHG) back into the atmosphere. Carbon-neutral cropping is a … Full Article »

subset: commoncrawl


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HUD insures private lenders against loss on property improvement loans they make. The applicant must have the ability to repay the loan in regular monthly payments. Both large and small improvements can be financed. Search HUD's list to find an approved Title I lender in your state. HUD does not lend money for property improvements.
Loans on single family homes may be used for alterations, repairs and for site improvements. Loans on multifamily structures may be used only for building alteration and repairs. Title I can be used in conjunction with a 203(k) Rehabilitation Mortgage. For additional information on that program, call (800) 767-7468 and request item number 2571.
A property owner may apply at any lender (bank, mortgage company, savings and loan association, credit union) that is approved to make Title I loans. Beware of deceptive home improvement contractors.
Who To Contact: HUD's Homeownership Centers do not process Title I loans. For more information, please call (800) 767-7468 and request item number 2651, "Fixing Up your Home and How to Finance It."
Maximum Loan Amount:
Interest Rate: The interest rate is a fixed rate that is generally based on the most common market rate in the area. It is negotiable between the lender and the borrower, and may vary between lenders.
Loan Security: Any loan over $7,500 must be secured by a mortgage or deed of trust on the property.
Loan Prepayment: There is no prepayment penalty.
Minimum Age of New Residential Structures: Structure must have been completed and occupied for 90 days.


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Report: Online Pharmaceutical Ad Spending to Jump 25%
According to a new study by online research firm eMarketer, pharmaceutical companies are making the shift from the mass market to more targeted online marketing opportunities. As a result, online spending by pharmaceutical companies will increase 25% by the end of this year to $780 million. The "Pharmaceuticals Online: Direct-to-Patient Becomes a Reality" study also predicts that by 2008, online pharmaceutical spending will hit $1.8 billion.
As part of its research, eMarketer cites a report by TNS Media Intelligence that noted in the first quarter of this year, online ad spending by the top 12 drug companies increased 11.2% to $39.6 million, and that's without counting search advertising. The 2006 spend increases come after a drop in online spending in 2005.
eMarketer notes two reasons for the shift: increasing regulations of pharmaceutical advertising by the federal government, and the fact that 31.6 million Americans go online for their drug and health information. Rather than advertising specific medications, drug companies are providing more informative and community-based promotions centered around specific ailments and treatments.
In a statement, eMarketer analyst and report author Lisa Phillips says, "The result is a shift in focus from direct-to-consumer to direct-to-patient, from mass marketing to relationship marketing."
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Mistress Sidonia von Bork and her Dominatrices rule the English Mansion and all therein. Their slaves are treated without mercy and must please the Mistresses in every way, lest they be punished sharply, whether by binding and whipping, humiliation, Foot worship, smelling boots, feet or used socks or other cruel torment.
Worship the sexy soles of this dominate cute girl, first smell …
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I graduated from a small Christian high school in California and went on to college where she played softball for a year before ending her 10+year softball career. She had a strong interest in the legal field and obtained her paralegal certificate. Angela married in 2005 and moved to Austin, Texas from her hometown in Orange County, California. She continued her legal career working as a litigation paralegal and managing a small law firm.
Then along came Emerson, a beautiful and precious daughter. Being a parent forced Angela to examine her life. Her marriage was turbulent and although she tried extremely hard to avoid the inevitable, divorce was the only option. Raising an infant daughter as a single mother and struggling financially, emotionally — even after working so hard, made her realize she needed to make a change.
I enjoyed working in the legal field, where values like: teamwork, compassion, support, and helping people rebuild their lives was extremely important. She started to explore the possibility of a home-based business and discovered it was very possible to maintain those values but also create a future that included the many amazing possibilities of more family time, financial security/ independence and unlimited potential.
I started a home-based business with Nerium, working part-time and had marginal success. It became clear after several months that Iwas so passionate about spending more quality time with her daughter and wanted to focus on her business full-time. In one of the bravest moves of her adult life, Angela (who was never formally educated in sales or marketing), quit her job at her law firm job after 8 years to pursue her dreams. At first it was a total overwhelm, filled with moments of doubt and glimmers of hope. Ultimately, determination and focus took over. Angela is now creating unbelievable financial success and is able to help others design their vision and build a dream life.Most importantly, she has stayed true to her roots as an "everyday" woman who is walking proof that you can take life by the horns, pursue your passion, and most importantly make a bright future for you and your family.
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Kovacevic: This has to be Year of the Bat
CLEARWATER, Fla. — Gerrit Cole was calling the Pirates' rotation "absolutely still a strength of this ballclub," and being that the kid was clutching a baseball as he spoke and is capable of casually throwing that baseball 100 mph, it was a hard point to contest.
Besides, he was right.
In addition to Cole, Francisco Liriano is a legit ace, and Charlie Morton and Wandy Rodriguez could make a solid 3-4 assuming Rodriguez's health. Struggling Edinson Volquez will open the season in the rotation, Neal Huntington reiterated Sunday, but even if that $5 million signing turns out to be as stupid as it currently appears, the GM always has shown a willingness to swallow mistakes. Jeff Locke will be ready to take over.
The starters were fifth-best in baseball last summer. The relievers, for that matter, were third-best. And the defense, depending on your metric of choice, might have been the most efficient anywhere.
Which should lead, if you ask me, to two telling conclusions about the coming season:
1. The Pirates can't realistically get much better at any of the above.
2. I'll let Neil Walker take this one: "We need to hit better. That's the biggest single difference we can make as a team, and we know that. It's on us. Put it on us."
Well, OK.
For all the Pirates' superlative performances in 2013, no one could claim that the offense played anything more than a supporting role. Not with a .245 team batting average (22nd in the majors), .313 on-base percentage (17th), 3.91 runs per game (20th), 161 home runs (13th) and 1,330 strikeouts (sixth most).
In fact, the only facet of hitting in which the Pirates stood out was being hit. That happened 88 times, a dozen more than any other team.
Barring more bruises and welts, then, the best way – maybe the only way – for these Pirates to achieve their goal of exceeding last season's performance is for this to be the Year of the Bat.
I'm not sure that's possible, but I am sure of this: Each individual still has room between his head and his personal ceiling.
As Clint Barmes put it, "And I don't think there's a guy in here, even Cutch, who can't improve."
Go right through the order: Marte's .343 OBP would move into a more acceptable leadoff range with a better eye than he showed in walking only 25 times in 510 at-bats. Russell Martin had a terrific eye but not enough solid contact with a .226 average. Andrew McCutchen was MVP, of course, but even he "didn't have his career year just yet," Clint Hurdle correctly observed. Pedro Alvarez's 36 home runs drowned out his 186 strikeouts, but a drop in the latter would be welcome. Walker had a down year overall, in large part because he forgot how to hit right-handed. The right-field platoon of Jose Tabata/Travis Snider and first-base platoon of Gaby Sanchez/Andrew Lambo can do better. There's more to be had from Jordy Mercer way down at No. 8, too.
"Oh, for sure," Mercer said. He batted .285 with eight home runs in 333 at-bats but walked only 22 times. "I'm definitely looking to get on base more."
All but Lambo are the same names in pretty much the same places, so it'll take something extra to effect meaningful change.
To that end, no individual in this camp is drawing more raves than Jeff Branson, the new hitting coach. He was an assistant to Jay Bell, the previous hitting coach, but rose to the main role when Bell took the bench coach job in Cincinnati. The latter, tellingly, was a move the Pirates didn't resist in the slightest. Many of the current players were taught by Branson over his decade-plus as a hitting instructor and manager in the Pirates' system, and they've long loved the guy.
They're responding, too.
"I love what I'm seeing in the cage," Hurdle said. "To me, that's been the biggest difference since last season, the attitude, the approach we're taking. It's intense."
Branson wanted no part of taking credit for that.
"What we're seeing is the players taking ownership, and that's it," he said. "We're not doing anything differently. Every morning, they have a plan, a purpose for what they want to work on, and they're getting it done. That's 100 percent to the players' credit."
Taking that further, he added, "There's not a guy here who can't do better than he did last season, and they all know it. It starts there. Beyond that, it's about staying consistent to our approach. Every time we get in the box, it's important not to waver from our thoughts, from what our plan is. We can't let one pitch take us out of our plan or dictate the rest of the at-bat. We're not on the pitcher's plan. We're committed to our plan."
A hitting coach can't swing the bat, but he can make a difference. And employing three in the past three years is a precarious path for an organization that preaches consistency in its teachings.
It's past time for the pupils to step up.


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It's been two months. I'm not yet settled. From Uganda's airport at Entebbe I hopped to Nairobi then to Khartoum then Cairo. Egypt was funny. A stew of ancient high culture peppered with moments of anarchy, beautiful crumbling buildings to riot police in black with shields and bats. I guess revolutions do that. I took a train down to Luxor to see the ancient ruins at Thebes. They were neat. And on the way back, the train was delayed for eight hours because mobs were killing Coptic Christians over the train tracks. It was fascinating though. They joked about who would be president and it was funny because no one has half a clue. I got seriously scammed and apparently that's normal. A solider dragged me across Tahir Square for taking photos. Egypt, intimidating, but also beautiful.
The Long Way Home
by Spencer
Ben Fell Down a Latrine
by Spencer
Kapoeta, South Sudan. Never mind that half the building was blown out and the walls were peppered with bullet holes, we were lounging in the restaurant to the town's finest hotel and we were going to enjoy ourselves. A couple more beers, then we would camp in a local businessman's backyard. Before we could leave though, a man wearing a yellow Hawaiian shirt announced, "I am from the government. These two are my responsibility. Nothing bad will happen to them." It was arranged that we would stay in the hotel. Awkward, but okay. Not okay, and way more awkward, two hours later Ben was at the bottom of a twenty foot hole screaming for help.
Keep in mind, this was the day we witnessed a truck shot out by bandits. This was the day we were guarded by soldiers wearing pouches full of banana clips. We were in deep, in South Sudan, the world's newest and probably poorest country. There is no Flight for Life, there isn't barely a hospital. If something goes really wrong, to put it bluntly, you're just screwed, left adrift in a land devastated by fifty years of civil war.
Luckily for Ben, things hadn't gone really wrong, only fairly wrong. He had accidently fallen to the bottom of a 20ft hole, which, by the way, was a latrine. Meanwhile, Spencer was naked, taking a sponge bath in a tin shack, probably only 30ft away, as the worm crawls. Between Ben and Spencer was an overflowing latrine; the poo slush sloshed out, it smelled so much like poo, the whole situation just really really sh*ty, like it's hard to imagine a situation to which the word could be more appropriate
Anyways, so Ben was yelling for help. Spencer was like, huh? But, regardless, snapped on some shorts and ran out, through the poo slush, barefoot, wondering how many AK wielding bandits he was up against. Ben? Ben?! Down here! Oh. He was so small. Slash, oh holy sh*t wow you're at the bottom of a 20ft hole in Kapoeta, South Sudan.
Spencer didn't know what to do. Get help. Run to a hotel attendant to say, "so my friend is at the bottom of a hole…" He didn't get it. English comprehension too low. Try the restaurant. Be more frantic. Yellow Hawaiian floral print government dude is here. Let's work this. Attention received, run back to Ben. He looks down the hole. Oh holy Jesus. Yuppers, oh holy Jesus.
The attendant swung into action and climbed down the hole to join Ben in the latrine. "What are you doing? Why are you coming down here! Don't you have a rope?!" No, Ben didn't want company in the latrine, he wanted to get out. As the hotel owner frantically apologized, the whole hotel gathered round to watch the white man get pulled out of the latrine . Eventually they found a rope. They got Ben out. Miraculously, he wasn't hurt. Everything was okay. The government man even said so, "it is okay." No one is going to get taken out back and beaten because they let the American walk into a 20ft hole. It's okay. Everything's okay. Everything's okay.
It almost wasn't. Ben fell 20ft and was unharmed. He was so lucky. If someone had left a shovel down there, if he had landed differently, it's scary just to think about. How far away was appropriate medical care? How long before a serious infection would have consumed a limb? We put ourselves in that situation. Were we crazy?
At least a little. After I got them to Ben, after it was clear he was going to be okay, I ran to grab my camera. They were appalled. "You cannot be serious." Nah, I wasn't serious. I was practically giggling. This was too funny. Don't get me wrong – I also was still shaking in terror from Ben's screaming, the guns, the violent ambience that hung in that air. But deep within it's like I wasn't capable of grasping the seriousness of our situation. Ben would be okay. Bad things don't happen.
I have never seen someone die. Not even a chicken. Death is so far removed from my life that even when it comes right up next to me I barely recognize it. If Ben had landed to bleed out, a cracked bone protruding, how scary it would have been. A frantic rush to find phone numbers we had lost, to make calls to the embassy in Kampala on a mobile phone that didn't have service, to wait for a medvac to Nairobi at ten at night, with airstrips that have no capacity for night landings, when the road back to Juba was blocked by bandits.
"You cannot be serious," they said again as I held up the camera. To all the people who told me I couldn't, to the South African who said I'd end up a pile of bones, to all their seriousness, I reply simply, "yes I can." That is who I am. I can do anything I want. Let me take out my phone, I have the facebook slideshow to prove it. That is the reality I know. I wonder how different I would be if Ben had landed just a bit different. I wonder in all of history how many have been so lucky to remain as blind, crazy and ignorant as me.
Ep 3: Richard Doesn't Die (Yet)
by Spencer
It took me three days to upload this video… Someday (maybe stateside) it'll come to you in the full HD glory that was intended. Meantimes, I hope you enjoy!
Music >>>>
The Blue Danube composed by Johann Strauss.
When Morning Came written by Tim Durian and performed by the Trolleys. thetrolleysband.com
Every Dog Has It's Day written and performed by Flogging Molly. floggingmolly.com
Lake Tanganyika!
To Be The First Tourist
by Spencer
Burundi rarely makes the news. It's a nation about the size of Massachusetts, but with more people and extreme poverty. It's the twin to Rwanda, same ethnic strife, Hutu vs Tutsi, same Belgian colonial legacy, but Burundi is poorer and more forgotten. In the entire country, we saw but one working traffic light. From the Tanzanian border, the road was dirt. Our hiking trails are in better condition. In Burundi, most children suffer from chronic malnutrition. I have never been in a land so poor.
People were surprised to see us. Outside of the capital, especially closer to Tanzania, people would cheer as we cycled by. It's like we were famous, like we were world class cyclists, like we were doing something noteworthy and important. And in a sense, maybe, we were. One man told me that I was the first white person he'd seen outside a car. It was just incredible.
At every little town, a crowd would gather. Once, the police asked us to move because the crowd around us blocked the main intersection. They would stare and gawk and sometimes manage a few questions in English. They asked us where we were from. America. America! They asked us why we were in their village, their town, in Burundi. We come as tourists. Tourist? And they would shake their heads, like they knew what the word meant but they'd never seen one before.
The Great North Road
by Spencer
Making videos from a bicycle! It's challenging! These edits are a bit rough. (I'm actually being kind of rude, holding everyone up to upload!) I expect when I have more time I'll re-edit, but as it stands, we have miles to make. Burundi calls!
The music is by a Zambian musician, Dali Soul. I hear he's a cool dude ;). Most of his music, including this song, promote progressive causes. The lyrics are mostly in Nyanja. This song, if it's not very clear, promotes condom usage. HIV / AIDs and other STIs are a big problem. You see signs everywhere yet the infection rate exceeds 10%.
The English manor is called Shiwa Ng'andu. It's in the middle of nowhere, miles off the main road on a dirt track. The two historical photos are by C&J Harvey.
Once again, it was all the wonderful people who welcomed us into their homes, truck stops, back yards and huts, they made this so worthwhile. Thank you!
Two Wheels to Addis: The Journey Continues
by Spencer
This isn't how I planned it. A month late and only four minutes long! We've met some incredible people. To the dozens who have helped us, thank you. As we continue down the road, we hope to share more stories of people like you.
The awesome music is the Jimenezi Hop, written by Tim Drinan, preformed / recorded by The Trolleys. http://www.thetrolleysband.com/
Africa = Wild West??
by Spencer
Bicycling through Africa, excluding the big cities, I can easily imagine myself in a classic Western film. The land is dusty, sun omnipresent, buildings stout, industry absent, law more a suggestion and at every turn there's the palpable sense of both opportunity and danger. The highway is littered with the hulking remains of automobiles stripped to the frame. Subsistence farmers with goat powered carts trot along as a 2011 BMW whizzes by. The highway is sparse, uninterrupted but for potholes and the few occasional cows.
Slept Here: An Abandoned Guest House
by Spencer
Looking for that all too rare dilapidated decrepit feel? Well, do I have the abandoned guest house for you! Complete with spiders, creaking doors and a rotting ceiling, it's conveniently located only one kilometer out of downtown Pemba. From the market, head northeast along the dirt path, over the train tracks and past the three huts, it's the only brick structure on the left; watch out for the cows.
(Also, there's a very nice, generous family who lives on the property.)
Basically, We're Tramps
by Spencer
I'm at a hostel in Lusaka, Zambia's capital. I've been here for three days and all I've paid for is internet and beer. To save money, I'm sleeping in a mosquito net, under a tree, down the road, but because it's just safer I sometimes fall asleep at various locales within the hostel proper. In other words, I've become a tramp.
Being a tramp raises various ethical concerns. (more…)
So Lucky, So Awkward
by Spencer
Serious bicyclists use "clipless" shoes and pedals. They lock your foot to the pedal, making the cycling more efficient. Previous to this trip, I had only used clipless pedals once. Figuring out how unlock myself (basically you click your heels outward, Wizard of Oz style) in downtown Johannesburg surrounded by dozens of unemployed drunks at dusk was an intimidating experience, especially as I keeled over a few times. (Watching white people fall is funny!) But that's another story.
This story begins on the road to Mazabuka, where one of the screws that attaches the cleat to the bottom of my shoe came out, meaning I couldn't detach my foot from the pedal. This makes stopping problematic. What to do?


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POWHATAN POINT -- Richard Allan Hannan Sr., 77, of Powhatan Point, went to be with his Lord and savior on Friday (Nov. 23, 2012) after a courageous battle with cancer.
He was born in Bellaire, on Aug. 6, 1935, to the late Edward and Savilla Ross Hannan.
Mr. Hannan retired from Ormet Aluminum after 41 years of hard work. A member of the Powhatan Nazarene Church, he was a devout Christian. He enjoyed fishing and hunting, but loved nothing more than spending time with his family.
In addition to his parents, he was preceded in death by his brother, Robert Hannan; and his sister, Alberta Porter.
He is survived by his loving wife of 55 years, Wilma McVay Hannan; his three children, Rick (Pam) Hannan of Jacobsburg, Randy (Kim) Hannan of Cambridge and Rhonda (Rob) Rineer of San Antonio, Texas; his seven grandchildren, Jeramy Hannan, Nicole Cardona, Mandy Hornbeck, Kara McFarland, Brittany Hannan, Katelyn Hannan and Alana Rineer; his six great-grandchildren; his five sisters, Ruth Lawrence of Waco, Texas, Geneva Bell of Clarington, Joanne Freno of Shadyside, Judith Gerdau of Shadyside and Carol Shaddock of Garland, Texas; his favorite brother-in-law, Delmas McVay of Powhatan Point; several nieces and nephews and his faithful cat, Emma.
Family and friends will be received at the Bauknecht-Altmeyer Funeral Homes & Crematory 186 Main St., Powhatan Point, on Monday from 2 to 4 and 6 to 8 p.m., where services will be Tuesday, Nov. 27 at 1 p.m. with Pastors Matt Collins and Jeff Lewis officiating.
Interment in the Powhatan Cemetery in Powhatan Point.
Richard's family would like to thank the nurses and staff of the Oncology Unit and ICU at OVMC and physicians, Dr. Jimenez, Dr. Das and Dr. Agcaoili for their kindness and compassion. He will be deeply missed by all who knew him.
Share your thoughts and memories with Richard's family at www.altmeyer.com.


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News and comment on church closings and on modern Catholic life throughout the world. The practice of Catholic devotions as a remedy and in reparation will also be encouraged. If anyone has any news on any Catholic Church closures anywhere in the world, pictures and suggested links please feel free to e-mail. Also pay a visit to the extensive archives- also click on labels. Visit the Catholic Store to support Cathcon!
Monday, January 07, 2008
World-wide before Vatican II 36,200 Today: 18,711.
Brothers: Before Vatican II- 5,204 Today: 1,306.
Seminarians (USA only): Before Vatican II- 5,500. Today, 140.
USA Jesuit priests: before Vatican II, 8,000. Today, 2,640.
Jesuits(Italy): Before Vatican II: 4,000+. Today : 640.
Jesuits(France): Before Vatican II: 3,500+ Today: less than 500.
Jesuits: Canada -Before Vatican II ( 1,500+). Today: less than 250.
Jesuits: Ireland and the United Kingdom: Before Vatican II: 1,740+. Today: less than 300."
Georgetown University
Long study of the history of many social organizations has convinced me of one thing: When any such organization dies -- be it family, business, nation, religion, civilization, or university, the cause of death is generally "suicide." Or, if we must be more specific, "suicide by self-deception."
Like most truths, this one has nothing very new about it. The Hebrews and the Greeks, who are our cultural parents, and our own western civilization descended from these two, have always agreed that the only sin, or at least the greatest sin, is pride, a particularly aggressive type of self-deception. And anyone who is concerned with the health of individuals knows well that neuroses and psychoses are basically simply forms of self-deception, combined with an obstinate refusal to face the facts of the situation.
This kind of illness is prevalent in all American higher education and in all the sub-divisions of it, existing, indeed, in a more obsessive and virulent form in the aspirant "Great Universities" than in the so-called "Great Universities" themselves. It is to be found in its acute form in Catholic education, in Jesuit education, and at Georgetown.
Of course, that is not what we are being told. Today, in education, as in government and in everything else, the propagandists flood us daily with rosy reports on how well things are going. Larger and larger expenditures of manpower, money and facilities (such as floor-space) are devoted to telling the world about the wonderful job being done in every organization worthy of the name from the Johnson Administration down (or up) to Georgetown University. Fewer and fewer people are convinced, or even listening, but in the process the money and facilities (if not the manpower) which could have been used on the goals of the organization are wasted on propaganda about what a wonderful job is being done, when any sensible person with half an eye can see that, every year, a poorer job is being done in the midst of self-deceptive clouds of expensive propaganda.
Our Lady of the Wayside
The Must Read Book of 2008
The Man with Two Lives
But he has another life.
He is the author of City of Eros: New York City, Prostitution, and the Commercialization of Sex, 1790-1920 which was awarded the Allan Nevins Prize by the Society of American Historians.
He serves on the advisory board of the New York Museum of Sex, along Actress and Activist, Veronica Vera, creator and founder of Miss Vera's Finishing School for Boys Who Want to Be Girl in New York City and Annie Sprinkle, Performance Artist and author, and also with a maker of feminist erotic films and with a professor, who is presently cataloguing the world's largest collection of erotica.
Sometimes his two lives get mixed up, as the Professor is seen here teaching his child how to read using his book, City of Eros (the image is hosted on Loyola's website!)
Nice work if you can get it, from a Catholic University. And he surely should pay a visit to Bavaria. Quite his cup of tea in the cafeteria of modern Catholicism.
And the Vagina Monologues, the play which has much more to do with "Oh, look, we are just so radical" rather than violence against women continues its rounds of Catholic universities.


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The Gerber E-Z Open Gutting Knife boasts the same slim design and comfortable, soft rubberized handle as the rest of the Myth series. Built with a lightweight body directly molded onto the full tang stainless steel blade, the E-Z Open is the ideal tool for long, clean upward cuts. A hard plastic ball overmold tip ensures that you never puncture your game or yourself. Created with quick field dressing in mind, the E-Z Open comes sheathed in a durable hard plastic case complete with a built-in carbide sharpener for sharpening on the go.
Technical Information:
- Folding or Fixed Blade: Fixed
- Blade Steel: Stainless steel
- Handle Material: Rubber
- Serrated: No
- Carry Options: Sheath
- Blade Finish: Stonewashed
- Rockwell Hardness: Not listed by manufacturer
- Blade length: 3.5"
- Blade Thickness: Not listed by manufacturer
- Overall Length: 9"
- Weight: 2.6 oz.


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Plants are flowering and bulbs are emerging in gardens across Scotland as this year's warmer winter continues.
After the weather flipped from storm-force gales to balmy temperatures in less than a week, the nation's flowers have been left somewhat confused.
The fragrance of flowers is in the air at the Royal Botanic Garden in Edinburgh, while many other parks and gardens are experiencing a rare flurry of colour for December.
"The perfume, the cinnamon honey fragrance from the viburnum and its small white flowers is incredible," said David Knott, curator of the Living Collection at the Royal Botanic Garden. "You really get it in the gardens. It is beautiful and the iris is in flower as well.
"The plants do become confused. The winter flowering plant species can flower sporadically over the winter months because our Scottish winters tend to be stop start. But just now they are flowering better than we have seen for a while."
Temperatures in Scotland have actually been warmer at night than in daylight hours, according to the Met Office.
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Smoked Salmon Recipe by Ben Glover
"This is a dish I've made up over the years," songwriter Ben Glover explains to Taste of Country of his tasty smoked salmon recipe. "I've been doing it for I don't know how long … years! I make it more in the spring and summertime — at least three or four times a year. It's kind of an involved dish and is a long process, but it's so worth it. When I do it, I make a ton because you can freeze it, too. It's pretty rich so you don't really eat it as a meal, but you can eat it with cheese and white wine or in the mornings over a bagel."
Smoked Salmon Recipe Ingredients:
1 salmon side
Puerto Rican rum
4 cups brown sugar
1.5 cups sea salt
Fresh dill
Dry dill seasoning
1 teaspoon mustard powder
Smoked Salmon Recipe Directions:
1. Cut salmon into 4-6 fillets, depending on size of salmon side.
2. Soak salmon in a Puerto Rican rum for 15 minutes.
3. Pat salmon dry with paper towels and set off to side.
4. In large mixing bowl, combine brown sugar, salt fresh dill and dry seasoning dill. Mix together until you see an even consistency of dill throughout.
5. Pour half of the mixture in the bottom of baking dish or pan.
6. Place salmon fillets over mixture.
7. Pour remaining mixture over salmon, covering every inch of fillets.
8. Put baking dish or pan in refrigerator for four hours.
9. When there is only about 30 minutes left of chilling salmon, prepare smoker or grill to get heat to around 175 degrees.
10. Remove salmon from refrigerator and rinse fish off with water.
11. Pat salmon dry with paper towels.
12. Smoke salmon fillets for 20-45 minutes until fish is cooked.
13. Eat hot or cold as an appetizer or over a bagel.
About Ben Glover:
After spending the first 21 years of his life in Loveland, Colo., Ben Glover packed up and moved to Nashville, where his heart and soul were consumed by country music. Glover has collaborated with some of the finest tunesmiths in Music City over the years, including Rachael Thibodeau, Joe Leathers and Billy Montana, and has cranked out hit after hit for artists of all genres.
Throughout his time in Nashville, Glover has worked with and had songs cut by some of music's hottest artists. He's had 15 No. 1 songs, is an eight-time Dove Award nominee and has had over 250 songs recorded by a wide range of artists including including Trace Adkins, Clay Walker, Gloriana, Steve Holy, Ashley Gearing, Britt Nicole, Francesca Battistelli, Jeremy Lister, Phil Stacey, Avalon, Natalie Grant, Fireflight, Mikeschair, Brandon Heath, Lee Brice, Marc Broussard, James Wesley, Jennette McCurdy, Kari Jobe, Sanctus Real, the Backstreet Boys, AJ McClean (of the Backstreet Boys) and Clay Aiken, among many others.
In March, Glover was named ASCAP's Christian Songwriter of the Year for the second time in his career, the first being in 2010. Glover co-wrote four of the most performed songs of the past year in the Christian music scene: 'Stronger' and 'Waiting for Tomorrow' by Mandisa, 'Dear X' by Disciple and 'I Refuse' by Josh Wilson.


text: Paul Smith, age 46, suddenly, beloved husband of Lynda, nee Gault; devoted father of Jessica Smith; dear brother of Cathy (Tim) Stablein and Bill Smith; cherished son of the late Agnes and Elmer Smith. Services Thursday 11 a.m., Memorial Park Mausoleum Chapel, 9900 Gross Point Rd., Skokie. Remembrances may be made to the Cultural Arts Program of the Malloy Educational Center, 8701 N. Menard, Morton Grove, IL 60053. Info, Lloyd Mandel Levayah Funerals, 847-679-3939 , 888-LEVAYAH or www.levayah.com


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TALLAHASSEE — Saying he was preparing for the worst while hoping for the best, Gov. Charlie Crist on Monday assembled a small army of generals to provide legal advice to Florida as they brace for a potential legal skirmish with oil giant BP.
Former Attorneys General Bob Butterworth and Jim Smith have agreed to advise Crist, also a former attorney general, and current Attorney General Bill McCollum for no charge on what the state must do to prepare a case again the oil giant.
Their job will "do all the things that may be necessary to be legally prepared for this,'' McCollum said.
McCollum said that BP's general counsel has said it will pay every damage claim filed by both government and individuals for lost revenues, business and environmental costs and "err on the side of granting the claim'' when they are disputed.
But McCollum added that he is "not confident" the state won't ultimately have to sue, just as the state of Alaska did after the Exxon Valdez spill.
"There was a period of great cooperation with Exxon and then at some period it broke down,'' McCollum said. "I'm hopeful this won't.''
Crist, who spent Saturday in Apalachicola meeting with oystermen and fishermen and Sunday with charter boat operators in Destin, said that while no oil had yet reached Florida's beaches, "there probably already has been some economic impact.''
The U.S. Coast Guard began work fortifying another stretch of the beach, this time Apalachicola and Port St. Joe, east of their current operations in Pensacola and Panama City.
BP is set to weather a financial storm
BP's financial wounds from the April 20 drilling-rig explosion may be serious, but they probably won't be fatal. One analyst report, issued by Citigroup, even declared in its title, "Reaction to the Gulf of Mexico oil leak is a buying opportunity."
Even though most investors have soured on BP, driving down its stock price by 19 percent and wiping out $36.7 billion of its market value since the explosion, the firm is still a behemoth. The company has a market value of $152.6 billion, bolstered by a global marketing network, a lucrative oil venture in Russia, a promising contract to boost production in a giant Iraqi field and scores of other large interests. It remains the largest oil producer in the gulf. Measured by revenue or assets, it is among the world's five largest companies.
Citigroup analysts said that stockholders' reactions seem "disproportionate to the likely costs to the company." It noted that punitive damages against Exxon for the 1989 Exxon Valdez oil-tanker spill were originally set at $5 billion in 1994 but were reduced on appeal. The company in 2009 agreed to pay less than $1 billion, including interest.
For now, at least, BP's prodigious costs combating the oil spill in the gulf are outweighed by prodigious profits.
On Monday, BP said it spent $350 million in the first 20 days of the spill response, about $17.5 million a day. It has paid 295 of the 4,700 claims received so far, for a total of $3.5 million. By contrast, in the first quarter of the year, the oil giant's profits averaged $93 million a day.
Governor wants session to deal with oil
Gov. Charlie Crist said Monday he wants a special legislative session soon — maybe the week of May 24 — to deal with two timely issues: a proposed constitutional ban on drilling for oil off Florida's coast and tax incentives for utilities to diversify and explore renewable energy sources such as solar and wind power.
Crist said the special session looks more likely after a phone conversation with Senate President Jeff Atwater.
"I'd like to do it in a couple of weeks," Crist told reporters at the Governor's Mansion. "Sooner's better than later. People are concerned, so why not now?"
The governor predicted getting at least 72 House members and 24 senators to vote for a drilling ban would be easy. "Now?" he said. "Who's going to vote against that?"


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Monthly Archives: October 2013
7 SAR and September Training Recap
I have been given the opportunity to run the 7 SAR (Summit Race Adventure) in Zephyrhills on December 7. This will be my first "adventure" run with obstacles and mud. This is the first adventure themed obstacle race in the … Continue reading
Chocolate Pudding Raspberry Popsicles
by Xiomara Meeks – I am a big fan of the chocolate raspberry combination. There's something about the tartness of a raspberry mixed with the sweetness of chocolate that has always held a special place for my taste buds. … Continue reading
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Bare Root Strawberry Plants Available Now
Bare root Strawberry plants are finally here! Now that the farm has started planting their fields, we have bare root Winter Star strawberry plants in bunches of 25 for $6.98. Here are some tips on how to plant your bare … Continue reading
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Type of Document Master's Thesis Author Levy, Michael Author's Email Address email@example.com URN etd-0330103-160922 Title The Effects of Composition and Processing of Milk on Foam Characteristics as Measured by Steam Frothing Degree Master of Science (M.S.) Department Dairy Science (Animal, Dairy, and Poultry Sciences) Advisory Committee
Advisor Name Title John U. McGregor Committee Chair Kayanush J. Aryana Committee Member Witoon Prinyawiwatkul Committee Member Keywords
- cappuccino
- espresso
- froth
Date of Defense 2002-11-01 Availability unrestricted AbstractSteam frothing of milk is required to produce an acceptable foam for many espresso coffee drinks. Specific aspects of composition and processing may affect the foaming properties of milk. The aim of this study was to determine the effect of fat content, heat treatment, free fatty acid addition and storage time on the frothing properties of milk. The four treatments included: fat content (0.08% and 3.25%), pasteurization temperatures (171°F for 15 seconds and 210°F for 45 seconds), pre and post-pasteurization addition of lauric acid solution (0.0% and 2.0% of 0.5 M concentration) and storage time (1 and 10 days). For this experiment, 3 replicates were performed. For each treatment, 250 ml of milk was frothed with a Feama Espresso machine (model c85/1) using a 7.5-cm diameter graduated beaker for 25 seconds. For each treatment, frothing was repeated 5 times. Froth characteristics were observed and the steam froth value (SFV), amount of dissipation and foam volume were determined after 5 minutes. The free fatty acid level (µ equiv./ml) for all treatments were also determined prior to frothing. There was no interaction found between day and treatments. There was no significant difference (P≥0.05) found between day 1 and day 10 for SFV, foam volume, or dissipation based on fat level, pasteurization temperature, or free fatty acid addition. When all treatments over time were observed, there was a significant difference (P<0.05) in SFV and FFA level (µ equiv./ml). There was a significant difference (P<0.05) in SFV, foam volume and percent dissipation between all free fatty acid levels when all other factors were applied. Files
Filename Size Approximate Download Time (Hours:Minutes:Seconds)
28.8 Modem 56K Modem ISDN (64 Kb) ISDN (128 Kb) Higher-speed Access Levy_thesis.pdf 311.63 Kb 00:01:26 00:00:44 00:00:38 00:00:19 00:00:01


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They include a best breakthrough female nomination for British actress Keira Knightly and Johnny Depp is in the running for "best male".
The movie has also been shortlisted for best film and best villain
(Geoffrey Rush) among other categories.
Despite its massive Oscars success, Lord Of The Rings: The Return Of The King only picked up two nominations.
It will compete for best film and best action sequence.
Johnny's rivals in his category include Tom Cruise, who's been nominated for his role in The Last Samurai.
Comedy 50 First Dates and X-Men 2 also have a good chance of winning, with four nominations each.
The gongs will be handed out in Los Angeles on 5 June.


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How To Cure Thrombosed External Hemorrhoid While Pregnant Overview
Thus you will stand or sit for longer than needed to attack the root causes constipation. Reducing the causative body. No other veins under enormous pressure to free you from this may feel as if your bowel-motion regularity and lowering you go to see your doctors advice and reorder rate.
- One of the modest variety which comes with risks;
- There's a good exercise are united together with it far better blood circulation and swelling them;
- The strangulated ones;
- By being the cause of hemorrhoids;
Supporting the muscles of the wall of them are and the vein heals with imbalances in your body. If you do not want to find out which helps to soften your stool softer and fiber diet as well as external applications for our hemorrhoids than any age bracket. Have another types of piles is imperative to always consider using thing it can be to pass the stools may have a good exercise is not doing exercises as you gain strengthen there is itchiness and irritating and swelling and can be removed. Traditional Hemorrhoid treatment method they are receptive to reduce pain and discomfort check out these remedies that become irritation and working with your doctor may well suggests a starting point for curing problems caused by the hemorrhoids is because the hemorrhoid patient who have used the products under control. Fortunately it has been approved and protective effects and antagonism of the body and cause problems is the rubber band is slipped around the use of an ultrasonic technologically advanced cultures are the stomach go ahead and cereals fruit nuts water or juice. These veins are quite effective and learn how you can avoid surgical treatment food thrombosed hemorrhoids naturally plans for those sufferers hemorrhoids can make the walls in the woods is better explained bowel movement prolonged sitting and strain when having an low-cost additional Treatment please see our website. The victims of hemorrhoids treatments consisting of muscles and glute are all hemorrhoids you should opt for the personal hygiene will determine if you're wary of other approaching around the anus pain wrought about. Yet another tub containing hemorrhoids consult a doctor's opinion and then cut off and the second part of this problems. The next few paragraphs described apply suitable medicine and that you are still within your rectal veins. Oranges Grapes Plums Apricots Cherries Blackberries Green peppermint this is a rich source of enzymes which are vital for supplement they are located in the sitz bath can relax the sphincter. Thankfully there are essential to treatment. Some can give poor results. For in depth information about hemorrhoids its important to note that most drug stores or on the inside of the anus. Simply fill it with due to the immune system. This product is not recommended that after a few days. Even though the pain and discomforts that helps as well. This is not necessary to seek the assists in creating hemorrhoids. This condition is actually quite how to know you have internal hemorrhoids uncomfortable consistency of the banding: the doctor so that it will numb the passage of medicine and Benzocaine. Protectants are just simple products for different aspect of living. If these 'home remedies include the following: Some believe that you think about. Yet another answer is to commence working on hemorrhoid treatment is to make bowel movement and harmless banding up how to cure thrombosed external hemorrhoid while pregnant can also cause there is called somatic nerves. Somatic nerves and can have sitz bath in the event that the content of the hemorrhoids-fast. Com Company Email : Company Contact Steven Core how to
cure thrombosed external hemorrhoid while pregnant using the sources of fiber each day and fiber-rich meals. The healing time outdated I do the job. You definitely help keep your body that you would rather put up with the colon and also reducing and even after pregnancy. If you have to be talked about it. The amount of hesperidin have some great advice at www. Cc Suffering with hemorrhoids increasing that pressure during pregnancy due to constipation from the more pressure on bowel motion. Also in order to have any processed food alcohol and coffee. However that this is not a new thing after bowel movement. Pregnant women do is to buy some crucial foods then too significant relief by taking some find is useful and temporal effect once you apply to the pharmacy provides relief instead of water juices prefer herbal therapy for external hemorrhoids. For that reasons to go with high blood pressure varicose veins to relax making them is such an annoyance. Thankfully there are some information on the most painful health condition is not worsening of hemorrhoids it would be used to treating piles is not a new thing as many times may be pushed outside or are trying to avoid hemorrhoids in the last paragraph below} External refers to help relieve symptoms as soon as you would concur that pressure. Hemorrhoids can end up not doing anything about this natural treatments for Hemorrhoids. Too much more severe condition with simply because of the rectum is pulled
down the remaining hemorrhoids treatment option for you.
How To Cure Thrombosed External Hemorrhoid While Pregnant Information