Easiest Cinnamon Rolls

Heat the oven: Arrange a rack in the middle of the oven and heat to 350°F. Coat a 9×13-inch baking dish with cooking spray or butter; set aside.

How To Make the Easiest Cinnamon Rolls

Makes15

Ingredients

For the cinnamon rolls:

• Cooking spray or butter, for coating the pan

• 3/4 cup 

  granulated sugar, divided

• 1 tablespoon 

  ground cinnamon

• 5 cups 

  self-rising flour, plus more for dusting

• 2 cups 

  whole or 2% milk

• 8 tablespoons 

  unsalted butter, melted, divided

  For the glaze:
  

• 2 cups 

  powdered sugar

• 1/4 cup 

  whole milk or 2%, plus more as needed

• 1/4 teaspoon 

  fine salt

Equipment

• Mixing bowls

• Measuring cups and spoons

• Rubber spatula or wooden spoon

• 9x13-inch baking dish

• Brush

• Knife

• Whisk

• Bench scraper

• Rolling pin

• Wire cooling rack

Instructions

1. Heat the oven: Arrange a rack in the middle of the oven and heat to 350°F. Coat a 9x13-inch baking dish with cooking spray or butter; set aside. Make and fill the rolls while the oven is heating.

2. Mix the filling: Mix 1/2 cup of the sugar and the cinnamon together in a small bowl; set aside.

3. Make the dough: Place the flour and remaining 1/4 cup sugar in a large bowl and whisk to combine. Mix the milk and 4 tablespoons of the melted butter together in a medium bowl. Add the milk mixture to the flour mixture and stir with a rubber spatula or wooden spoon until a soft dough forms and no dry bits of flour remain.

4. Knead the dough: Transfer the dough onto a generously floured work surface. Sprinkle with more flour, then knead until the dough is fairly smooth, sprinkling with more flour as needed to prevent sticking. Do not overknead or the cinnamon rolls will be tough.

5. Roll the dough out: Flour a rolling pin and roll the dough into a 24- by 10-inch-long rectangle about 1/4-inch thick, with the longer side facing you.

6. Fill the dough: Brush 2 tablespoons of the melted butter onto the surface of the dough, using it all. Sprinkle it evenly with the cinnamon-sugar mixture, leaving a 1/2-inch border.

7. Roll the dough up: Starting at the long end closest to you, roll the dough up tightly into a log, using a bench scraper as needed to help release the dough from the work surface. Pinch the seam together at the top.

8. Cut the dough: Position the log seam-side down. Cut the dough crosswise into 15 pieces.

9. Fill the baking dish: Place the cut rolls cut-side up in the baking dish, 5 across and 3 down the dish.

10. Butter the rolls: Brush the tops of the cinnamon rolls with the remaining 2 tablespoons of melted butter.

11. Bake the rolls: Bake until puffed, golden-brown, and a toothpick or skewer inserted in several spots comes out clean, about 35 minutes. Meanwhile, make the glaze.

12. Make the glaze: Place the powdered sugar, milk, and salt in a medium bowl and whisk until smooth; set aside.

13. Glaze the rolls: When the cinnamon rolls are ready, place the baking dish on a wire cooling rack. Drizzle evenly with the glaze, then let cool 15 minutes before serving.

Recipe Notes

Storage: Leftovers can be wrapped in plastic wrap and stored in the refrigerator for up to 1 week. Rewarm in a 300°F oven until warmed through, about 10 minutes.

~A.

Figuring – Brain Pickings

Enjoy.....
https://www.brainpickings.org/2018/11/01/figuring/?ref=PRHC371BF8761

Figuring

A book.

By Maria Popova

I have composed a book. It only took twelve years of Brain Pickings and the most beautiful, difficult, disorienting experience of my personal life.

Figuring (public library) explores the complexities, varieties, and contradictions of love, and the human search for truth, meaning, and transcendence, through the interwoven lives of several historical figures across four centuries — beginning with the astronomer Johannes Kepler, who discovered the laws of planetary motion, and ending with the marine biologist and author Rachel Carson, who catalyzed the environmental movement. Stretching between these figures is a cast of artists, writers, and scientists — mostly women, mostly queer — whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.

Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures — Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Caroline Herschel, Nathaniel Hawthorne, Walt Whitman — and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

Long ago, a kindly interviewer asked me why I routinely declined offers for the types of easy, marketable books I am frequently approached about doing. I told him (please suspend judgment: I was in my twenties) that I had no interest in putting into the world a book that has the shelf life of a banana. I hope Figuring has the shelf life of a shelf.

Here is the prelude — chapter 0 of 29:

All of it — the rings of Saturn and my father's wedding band, the underbelly of the clouds pinked by the rising sun, Einstein's brain bathing in a jar of formaldehyde, every grain of sand that made the glass that made the jar and each idea Einstein ever had, the shepherdess singing in the Rila mountains of my native Bulgaria and each one of her sheep, every hair on Chance's velveteen dog ears and Marianne Moore's red braid and the whiskers of Montaigne's cat, every translucent fingernail on my friend Amanda's newborn son, every stone with which Virginia Woolf filled her coat pockets before wading into the River Ouse to drown, every copper atom composing the disc that carried arias aboard the first human-made object to enter interstellar space and every oak splinter of the floor-boards onto which Beethoven collapsed in the fit of fury that cost him his hearing, the wetness of every tear that has ever been wept over a grave and the yellow of the beak of every raven that has ever watched the weepers, every cell in Galileo's fleshy finger and every molecule of gas and dust that made the moons of Jupiter to which it pointed, the Dipper of freckles constellating the olive firmament of a certain forearm I love and every axonal flutter of the tenderness with which I love her, all the facts and figments by which we are perpetually figuring and reconfiguring reality — it all banged into being 13.8 billion years ago from a single source, no louder than the opening note of Beethoven's Fifth Symphony, no larger than the dot levitating over the small i, the I lowered from the pedestal of ego.

How can we know this and still succumb to the illusion of separateness, of otherness? This veneer must have been what the confluence of accidents and atoms known as Dr. Martin Luther King, Jr., saw through when he spoke of our "inescapable network of mutuality," what Walt Whitman punctured when he wrote that "every atom belonging to me as good belongs to you."

One autumn morning, as I read a dead poet's letters in my friend Wendy's backyard in San Francisco, I glimpse a fragment of that atomic mutuality. Midsentence, my peripheral vision — that glory of instinct honed by millennia of evolution — pulls me toward a miraculous sight: a small, shimmering red leaf twirling in midair. It seems for a moment to be dancing its final descent. But no — it remains suspended there, six feet above ground, orbiting an invisible center by an invisible force. For an instant I can see how such imperceptible causalities could drive the human mind to superstition, could impel medieval villagers to seek explanation in magic and witchcraft. But then I step closer and notice a fine spider's web glistening in the air above the leaf, conspiring with gravity in this spinning miracle.

Neither the spider has planned for the leaf nor the leaf for the spider — and yet there they are, an accidental pendulum propelled by the same forces that cradle the moons of Jupiter in orbit, animated into this ephemeral early-morning splendor by eternal cosmic laws impervious to beauty and indifferent to meaning, yet replete with both to the bewildered human consciousness beholding it.

We spend our lives trying to discern where we end and the rest of the world begins. We snatch our freeze-frame of life from the simultaneity of existence by holding on to illusions of permanence, congruence, and linearity; of static selves and lives that unfold in sensical narratives. All the while, we mistake chance for choice, our labels and models of things for the things themselves, our records for our history. History is not what happened, but what survives the shipwrecks of judgment and chance.

Some truths, like beauty, are best illuminated by the sidewise gleam of figuring, of meaning-making. In the course of our figuring, orbits intersect, often unbeknownst to the bodies they carry — intersections mappable only from the distance of decades or centuries. Facts crosshatch with other facts to shade in the nuances of a larger truth — not relativism, no, but the mightiest realism we have. We slice through the simultaneity by being everything at once: our first names and our last names, our loneliness and our society, our bold ambition and our blind hope, our unrequited and part-requited loves. Lives are lived in parallel and perpendicular, fathomed nonlinearly, figured not in the straight graphs of "biography" but in many-sided, many-splendored diagrams. Lives interweave with other lives, and out of the tapestry arise hints at answers to questions that raze to the bone of life: What are the building blocks of character, of contentment, of lasting achievement? How does a person come into self-possession and sovereignty of mind against the tide of convention and unreasoning collectivism? Does genius suffice for happiness, does distinction, does love? Two Nobel Prizes don't seem to recompense the melancholy radiating from every photograph of the woman in the black laboratory dress. Is success a guarantee of fulfillment, or merely a promise as precarious as a marital vow? How, in this blink of existence bookended by nothingness, do we attain completeness of being?

There are infinitely many kinds of beautiful lives.

So much of the beauty, so much of what propels our pursuit of truth, stems from the invisible connections — between ideas, between disciplines, between the denizens of a particular time and a particular place, between the interior world of each pioneer and the mark they leave on the cave walls of culture, between faint figures who pass each other in the nocturne before the torchlight of a revolution lights the new day, with little more than a half-nod of kinship and a match to change hands.

Figuring arrives on February 5, 2019. You can pre-order it from Powell's, Amazon, and other booksellers.

Cover design by the brilliant Peter Mendelsund.

More excerpts from the book here.

~A.

Holiday Craft Shows Offer Unusual Gifts - The New York Times

Yes, I have a dozen dinner and salad plates each of Nan's..... 
https://www.nytimes.com/1978/12/03/archives/connecticut-weekly-holiday-craft-shows-offer-unusual-gifts.html

Holiday Craft Shows Offer Unusual Gifts

By KATHERINE PEARSONDEC. 3, 1978

About the Archive

This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com.

December 3, 1978, Page 1 The New York Times Archives

"CONNECTICUT has a unique diversity of craft centers and craftsmen throughout the state," said Beth Parrott, director of Guilford Handcrafts. "There's a selection of well‐made craft gifts that I'm not aware of in any other state, and the Christmas shows are the perfect time to take advantage of this crafts activity."

Guilford Handcrafts is one e of 10 craft centers and galleries featuring the work of regional craftsmen this month. At these shows you will find unusual gifts, such as a stoneware aquarium ($200) at the Creative Arts Workshop in New Haven. Traditional gifts show new creativity, too. At the Farmington Valley Arts Center in Avon, there are rocking whales ($180) along with the handcarved rocking horses ($295).

"The technical quality is far more refined and meticulous than 10 or 15 years ago, and there's a matured sense of design," said Ros Schwartz, who selects craftsmen to show at the Creative Arts workshop. "This is no longer a flower‐child business." At all the shows, craftsmen's work is carefully screened to insure quality.

Here is a sampling of original gifts from the December shows:

There are a number of good items for the kitchen at the Creative Arts Workshop in New Haven. A covered paella casserole in a gun‐metal glaze is $40. A big pumpkin‐colored stoneware soup tureen with its own ladle could serve a crowd ($48).

Soufflé dishes are part of the selection of cookware at Guilford Handcrafts, in traditional blue‐and‐brown glazes over stoneware, white porcelain, and a blue‐and‐white marbled procelain ($10‐$20). With a bread bowl from Bob Parrott of Madison, there is no danger of forgetting the recipe; the list of ingredients is stamped right on the side of the bowl ($25).

Mr. Parrott also produces 20‐inch diameter hanging platters ($85) and dinner plates decorated with landscape images ($7.50‐$12.50). Each of the plates has a permanent wire hanger attached for wall display.

Nan Heminway of West Simsbury, whose studio is in Canton Center, makes thin, shell‐like white dinnerware of porcelain. "You have to find something that speaks to you," she said. "Some people like a heavy mug. For them the thought of hot soup in a waiting mug is a wonderful thing, and they look for stoneware. Porcelain is something else altogether; it's a very smooth, refined material with no lumps and bumps. For me it's a joy to sit at the table and get real pleasure from its purity and delicacy."

Another Connecticut potter who takes advantage of porcelain in her eggshell‐thin vases is Mary Havener of Ridgefield, whose work is showing at the Silvermine Guild of Artists in New Canaan. She mixes pale blue and rose pastels over her porcelain vases.

The Oriental tradition of fine porcelains is also very much alive with 20th‐ century potters around. the state. Oriental design and firing techniques influenced antlegant raku lamp ($200) at the Creative Arts Workshop. (Raku refers both to the firing method and to the finished pot; it originated 400 years ago in Zen tea ceremonies.) For the lamp, the technique created tiny, black, mazelike cracks over a lightgray surface. The potter complemented the raku base with a black shade and rosewood base.

Rosewood bases also reinforce the Oriental quality of Barbara Scioscia's porcelain jars ($75) at the Silvermine Guild in New Canaan, with delicate flowers carved in relief and classic Oriental shapes.

Some of the most graceful and delicate work being done is in hand‐blown glass. A diminutive perfume bottle is $45 at Creative Arts Workshop. A decanter and cordial set is $69 in palegreen glass and $125 in clear glass with thin silver lines that look like cracks in ice.

"The larger a piece of glass is blown, the more difficult it is to control it," said Torn Hart of Unionville, whose rose wine goblets ($18) and candlesticks ($8) are at the Creative Arts Workshop. There are several impressive large pieces at the Silvermine Guild by Peter Bramhall of Vermont, such as the bowl (16‐by‐16‐by‐6 inches) with cloudlike swirls in clear glass ($45).

Much of the pewter in the show at the Creative Arts Workshop is well‐designed contemporary.

Ken Lundy, a Newington pewter craftsman, said: "It takes me about half 'an hour to pound a plate into a wooden mold." [He must first design and chisel the mold.] "In the same half‐hour a commercial manufacturer can turn out 12 to 15 plates on a lathe. Then buffing takes me another half or three‐quarters of an hour, if I don't run into trouble. An antique finish on commercial pewter doesn't have to be buffed. A high polish, like the one I did on the coffee service at Creative Arts Workshop, takes more time and more skills, because you can't hide flaws in a polished surface. There are 100 hours in that coffee service." It costs $400.

Pewter ocarinas are among the unique gifts at Guilford Handcrafts. An carina is an easy‐to‐play instrument, best described as a globular flute, and. about the size of a harmonica. Those at Guilford are not only musically correct, but are also decorated on the reverse side so they can be worn as a pendant ($12‐$25).

Craftsmen have become fashionwise, adapting current trends to their own designs. For example, woven scarves at Creative Arts Workshop are slimmer so they can be knotted at the ends and worn with a blazer ($20). Showing with the Society of Connecticut Craftsmen in New Haven, Doe Bartlett paired her petite disco purses with pocket‐size stained‐glass mirrors by Pat Welton of Wallingford ($8.50). Whimsical animal pocketbooks at the Farmington Valley Arts Center are for younger girls ($13).

This is, of course, the season for toys. At the Creative Arts Workshop there is a little lamb in a blue gingham dress clutching red flowers ($25) and a couple called Mr. and Mrs. Fox ($50). She is something of a craftswoman herself, with tiny knitting needles and a red scarf, just begun, in her apron pocket.

The boy swinging from the balcony is disconcerting until you see that he is a lifesize doll in jeans and tennis shoes. Playing quietly with her doll nearby, his sister seems better behaved. Each is $85.

Not all the toys are for the children. "The Lady," at the Silvermine Guild, is a shapely six‐foot doll that stretches out on the floor to support a lounging television watcher. Jane de Jouge of Stamford, who created. "The Lady" and her partner, "The Man," left room for a little personalization. With waterproof Magic Markers you can paint her bikini to match your bedspread had decide yourself if you prefer a plonde or redhead. Each doll is $1??. If you are worried about fitting a six‐foot lady under the tree, she's also avallable in a kit, ready to be stitched and stuffed ($60).

Some old crafts are still thriving. There are still working blacksmiths —not shoeing horses, but designing and making household tools of wrought iron, brass and copper. At Creative Arts Workshop there is a weathervane for $125. Some of the new blacksmiths forge unconventional shapes; a simple spiral of wrought iron is an innovative design for a candlestick ($8.50). Other blacksmiths are reproducing colonial chandeliers ($26‐$32) and fireplace tools ($12‐$35).

Part of the pleasure of owning a handcrafted piece comes from knowing something about the craftiman and how he made your piece. The Creative Arts Workshop posts brief explanations of terms and techniques beside representative pieces. At the Farmington Valley Arts Center in Avon one can watch craftsmen designing stainedglass or carving wood at 1 P.M. each Saturday and Sunday until Christmas.

At all of the shows the attendants, often craftsmen themselves, enjoy talking about the techniques and materials of crafts: One can Take advantage of their knowledge and ask questions, then pass along the information with the gift.

Most show sponsors accept a personal check with identification; credit cards, as a rule, will not be honored. ■

EXHIBITIONS SPONSORED BY CRAFTSMEN

AVON — Farmington Valley Arts Center. Open now through Dec. 24, Tuesday to Friday 11 A.M. to 4 P.M.; Thursday 5 to 8 P.M.; Saturday and Sunday noon to 5 P.M. Closed Monday. Demonstrations each Saturday and Sunday at 1 P.M. Avon Park North, Exit 39 from I‐84, to Rte. 44. Follow signs. Telephone 678‐1867.

GUILFORD — Guilford Handcrafts. Open now through Dec. 24, Tuesday through Friday 10 A.M. to 8 P.M.; Saturday 10 A.M. to 4 P.M.; Sunday noon to 4 P.M., Monday 6 to 8 P.M. Open house, demonstrations, today noon to 5 P.M. Guilford Handcrafts Center on Rte. 77, Exit 58 from I‐95. Telephone 453‐5947.

HARTFORD — Christmas Crafts Expo. Sunday, Dec. 3, 10 A.M.‐8 P.M., Friday, Dec. 8, 12 noon‐10 P.M., Saturday, Dec. 9, 10 A.M.‐10 P.M., Sunday, Dec. 10, 10 A.M.‐8 P.M. Admission: $2.25 for adults, children under 10 free. Hartford Civic Center. Free parking and shuttle bus to the Civic Center from Hartford Armory on Saturday and Sunday. Telephone 224‐8388.

MIDDLETOWN — Wesleyan Potters. Final day today, 10 A.M. to 3 P.M. 350 South Main St. (Rte. 17). Telephone 347‐5925.

NEW CANAAN — Silvermine Guild of Artists. Open now through Dec. 24, Tuesday to Sunday, 12:30 to 5 P.M., closed Monday.

NEW HAVEN — Creative Arts Workshop. Open now through Dec. 23, Tuesday to Saturday 11 A.M. to 5 P.M., Sunday 2 to 5 P.M., closed Monday. 80 Audubon St. Telephone 562‐4927.

NW HAVEN — Society of Connecticut Craftsmen. Open now through Dec. 22, Monday to Saturday. 10 A.M. to 4 P.M., Sunday noon to 5 P.M. John Slade Ely House, 51 Trumbull St. Telephone 624‐8055 during show hours.

PRIVATE GALLERIES

GREENWICH — "All That Glitters," an invitational jewelry exhibition at The Elements through Dec. 30. Mixed media in the permanent gallery Tuesday to Saturday 10 A.M. to 5 P.M., closed Sunday and Monday. 14 Liberty Way. Telephone 661‐0014.

NEW MILFORD — The Silo. Mixed media show through Dec. 24, daily 11 A.M. to 5 P.M. Upland Rd. (from Rte. 202). Telephone 355‐0300.

NEW MILFORD — Voltaire's Christmas Show of Gallery Artists, mixed media, through Jan. 3, Monday to Saturday 10 A.M. to 5 P.M., closed Sunday. On U.S. Rte. 7 and Rte. 37. Telephone 354‐4200.

~A.

Osteoporosis Is Scurvy Of The Bone, Not Calcium Deficiency – Collective Evolution

https://www.collective-evolution.com/2019/02/24/osteoporosis-is-scurvy-of-the-bone-not-calcium-deficiency/

Osteoporosis Is Scurvy Of The Bone, Not Calcium Deficiency

By

Collective Evolution

February 24, 2019

In Brief

• The Facts:

  This article was written by Dr. Suzanne Humphries, published and obtained from Greenmedinfo.com, posted here with permission.

• Reflect On:

  Why are older women diagnosed with "osteopenia" or "osteoporosis" listening to their doctors and taking supplemental calcium and even problematic drugs called bisphosphonates?

"A joyful heart is good medicine, but a broken spiritdries up the bones."~Proverbs 17:22

It saddens me to see older women diagnosed with "osteopenia" or "osteoporosis" listening to their doctors and taking supplemental calcium and even problematic drugs called bisphosphonates.  These are irrational, dogmatic, harmful approaches to the problem of degrading bone as we age.  In my time practicing nephrology and internal medicine, I saw numerous patients suffering from vascular disease while taking the recommended doses of calcium.  X-rays revealed perfect outlines of calcified blood vessels and calcified heart valves.

Pictured here is a calcified breast artery, often seen in women who are being treated for hypertension.  The primary drug used in high blood pressure, a thiazide diuretic, causes the body to retain calcium and lose magnesium and potassium.  We incidentally note these types of calcifications in the large arteries of the entire body, not just the breasts.   I believe these problems are avoidable.

The matrix of bone will incorporate calcium and nutrients where they belong as long as the proper hormones and nutrients are present. Needless to say gravitational force in the form of weight bearing exercise is essential and should be the foundation to a healthy skeleton.  Don't be afraid to exercise with some weight in a backpack if you have no disk disease or low back pain.

You still have to look at what you can do nutritionally, and in interpersonal relationships to help your body heal itself. Supplements are no replacement for good nutrition. After all, scientists are constantly discovering new things about food and its interaction with the body that we don't know.

The first thing to do is either google or look in your reference books to find foods right in Vitamin C, Vitamin K2, magnesium and minor minerals such as boron and silica.  Silica is also important for bones.  Remember too, that depression has many causes.  Sometimes the cause can be nutritional deficiencies and sometimes depression can result from entrapment in unhealthy family dynamics. Controversially, I would also say that depression can also have spiritual origins.

But if time feels of the essence, then supplementation is one route which could be taken.  While the medical profession supplements with calcium and fosomax, in my opinion, a more constructive supplementation regimen could include Vitamin C, Vitamin K2, vitamin D3( in winter months, sun in summer) and boron, silica and magnesium.  These are all far more important to preventing fracture and keeping bone healthy than calcium.

Calcium will ultimately land in the muscles of the heart, the heart valves and the blood vessels, leading to cardiovascular disease.  However if you are getting enough vit C, D3 and K2, your body will direct the calcium you ingest from your food, to where it belongs, not in your heart and blood vessels.

Vitamin C does several things to strengthen bones

1. It mineralizes the bone and stimulates bone forming cells to grow.
2. Prevents too much degradation of bone by inhibiting bone absorbing cells.
3. Dampens oxidative stress, which is what aging is.
4. Is vital in collagen synthesis.

When vitamin C is low, just the opposite happens. Bone cells that degrade bone called octeoclasts proliferate, and bone cells that lay down mineral and new bone called osteoblasts are not formed.

Studies have shown that elderly patients who fractured bones had significantly lower levels of vitamin C in their blood than those who haven't fractured. [1]  Bone mineral density- the thing that the tests measure, is higher in those who supplement with vitamin C, independent of estrogen level.[2],[3]

Vitamin K2 is well known among holistic practitioners to be important in cardiovascular and bone health.  Supplementing this is also a good idea if bone or heart issues are a concern.  Read more here.

And of course good old vitamin D3 with a level around 50-70 mg/ml will help keep the immune system functioning well and the bones strong.

This may seem like a lot of supplementing, yet to me is a worthwhile endeavor that will keep much more than the bones strong.  These days getting enough vitamin C is not so easy with diet alone.  With the toxic load we all have, even with the most pristine diets, we are requiring more vitamin C internally than our ancestors did.  Adults would do well to take 2-5 grams per day of sodium ascorbate as a general supplement.  If you have active kidney stones, or kidney disease please check with your doctor first.

Humans, monkeys and guinea pigs don't make any vitamin C.  This leaves us on our own to get our needs met.  Cats weighing only about 10-15 pounds, synthesize more than 15 times the RDA of vit C recommended for humans. Goats are about the size of a human adults, and under no stress they synthesize 13G per day.  Under stress it can rise to 100G.  Do not fear taking vitamin C. It is the one of the most non-toxic and safe supplements known.  Use liposomal vitamin C, sodium ascorbate or ascorbic acid, never Ester-C or calcium ascorbate.  If you prefer a natural plant-based source, camu-camu is very high in C.  However its harvest does threaten the rainforest.

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References

[1] Falch. 1998. "low levels of serum ascorbic acid in elderly patients with hip fracture." Scand J Clin Lab Invest May 58(3): 225-8

[2] Morton D. 2001. "Vitamin C supplement use and bone mineral density in postmenopausal women" J Bone and Min Res 16(1), 135-140

[3] Leveille, 1997. "Dietary vitamin C and bone mineral density in postmenopausal women in Washington State, USA" J Epid and Comm Health. 51(5):479-485.

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Dr. Suzanne Humphries is a conventionally educated medical doctor who has taken the walk into, around, and out of the allopathic paradigm. She fully and successfully participated in the conventional system for 19 years, witnessing first-hand how that approach fails patients and creates new disease time and again. Prior to medical school, she earned a bachelor's degree in physics from Rutgers University.

Dr. Humphries is on the board of directors of the International Medical Council on Vaccination. She lives in Maine, USA. 

Visit her website is drsuzanne.net

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Link to original article

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For more info from Greenmedinfo, you can sign up for their Newsletter HERE. 

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~A.