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Critical Essay by Tzvetan Todorov
Bakhtin formulates his theory of the utterance on two occasions: once during the late twenties, in the texts signed by Medvedev and especially by Voloshinov; and in several works published at the end of the fifties, some thirty years later. I will present these two syntheses separately, although there is no great difference between them (in fact, the only changes involve accentuations of various aspects of the utterance).
The first general formulations concerning the utterance are already to be found in Freudism (1927); one page of The Formal Method in Literary Studies (1928) evokes this problem from a similar viewpoint, with an insistence on the social rather than the individual nature of the utterance; but Bakhtin introduces here a new notion, which is not reiterated in subsequent writings: that of a discursive strategy.
Discursive strategy plays a particularly significant role in daily verbal communication by determining its form as well as its organization. It gives form to everyday utterances by establishing both the style and the genre of the verbal expression. Strategy is to be understood here in a broad sense: politeness represents but one of its moments. This strategy can pursue different directions, moving, as it were, between two poles—the compliment and the insult. The strategy is determined by the set of all social interrelations between the speakers, by their ideological horizons, and finally by the concrete situation of the discussion. Whatever may be its particular nature, such a strategy determines our every utterance. There is no discourse without strategical consciousness.
In Marxism and the Philosophy of Language (1929), Bakhtin accomplishes a major step by forsaking his general theories to propose instead a detailed description of the utterance: this will constitute Chapter 3 of the second part, entitled "Verbal Interaction."
One may recall the criticism which Bakhtin voiced about the "individualist subjectivism" school (Vossler and his disciples): although superior to that of Saussure insofar as it does not ignore the utterance, yet it mistakenly believes that this utterance is individual.
Any moment of the expression-utterance one may observe will invariably be determined by the real conditions of the speech-act, primarily by the nearest social situation. Verbal communication will never be understood or explained without a reference to its link with the concrete situation.
In other words, the difference between an utterance and a proposition (or a sentence), a unity of language, is that the former is necessarily produced within a particular context which is always social. This sociality has a dual origin: first of all, the utterance is addressed to someone (this implies the existence of a micro-society comprising two people, the speaker and the addressee); secondly, the speaker himself is always a social being to begin with. These are two primary elements of the speech-act context which we need to consider in our interpretations of an utterance.
Let us first observe the role of the addressee. The utterance is established between two socially organized people: should there be no real interlocutor, then he is presupposed, in a certain sense, as a normal representative of the social group to which the speaker belongs. The discourse is oriented towards the interlocutor, towards what the interlocutor is.
Instead of the individual interlocutor we can thus imagine a certain type of addressee or, in other words, a certain horizon of reception; a notion we shall again encounter in an article published the following year (1930):
From the daily primitive utterance to the achieved poetic utterance, each one invariably comprises, as a necessary ingredient, an "implied" extra-verbal horizon. We can analyze this living and concrete horizon in terms of three components: spatial, semantic, and of values. The value horizon assumes the most important role in the organization of a literary work, especially in its formal aspects. [V. Voloshinov, "O granizakh poetiki i lingvistiki," in V bor'be za marksizm v literaturnoi nauke, 1930]
As we shall see, Bakhtin later returns to this question of values (although the suggestions formulated above will not be pursued).
The sociality of the speaker is equally important, albeit less evident. After taking certain precautions (acts of acoustical phonation and perception are indeed individual but they do not concern the essential aspect of language: its significance; a biological and individual "I-experience" does indeed exist, however, unlike the "we-experience," it remains inaccessible), Bakhtin states that the expression of an individual is not individual in the least.
There can exist no experience beyond its incarnation in signs. This immediately precludes the possible principle of any qualitative difference between interior and exterior.(…) Expression is not organized by experience, but on the contrary, experience is organized by expression which, for the first time, imbues this experience with form and direction. Aside from material expression, there is no such thing as experience. Moreover, expression precedes experience; it is the cradle of experience.
A footnote to the last sentence declares that this "assertion was in fact originally drawn from certain statements of Engels" which are to be found in Ludwig Feuerbach; beyond this, we can perhaps perceive a more distant and common source in the work of Humboldt (the inspiration for "individualist subjectivism"): an experience is preformed by the possibilities of its expression. Once we have located the formative traces of an expression at the very core of the expressible, then whatever its sources may be, there can no longer exist any sphere which is entirely devoid of sociality (since words and other linguistic forms do not belong to the individual).
Only the inarticulate animal cry is truly organized within an individual physiological system.(…) But even the most primitive human utterance, produced by the individual organism, is already organized in external terms, through the inorganic conditions of a social milieu which shapes its content, significance, and meaning. The very howls of an infant are "oriented" towards its mother.
We might formulate this observation by saying that every utterance can be perceived as part of a dialogue, in the general sense of the word; only in his subsequent writings will Bakhtin define this more specifically (as a dialogue between discourses).
Verbal interaction is the fundamental reality of language; and dialogue, in its narrow sense, is a single form, though clearly the most important one, of verbal interaction. But dialogue can be interpreted in a much broader manner, as referring not only to the direct verbal communication which is voiced between interlocutors, but also encompassing every form of verbal communication.
As a first important consequence of this new framework, we must radically distinguish between meaning in language from meaning in discourse or, to use the terminology adopted by Bakhtin at the time, to distinguish meaning from theme. In and of itself, this distinction is nothing very new; however, it will quickly become so, due to the increasing importance Bakhtin attaches to the theme. Indeed, the standard oppositions of that period between current and occasional meaning, between fundamental and marginal meaning, or between denotation and connotation, are equally fallacious in that they favor the first term, while in fact discursive meaning, or theme, is never marginal.
Thus we will strictly reserve the term "meaning" for language ("langue"); meaning is recorded by dictionaries, and any one meaning is always identical to itself (since it is merely potential): in other words, like all other linguistic elements, it can be repeated.
Meaning in opposition to theme, will represent those moments of an utterance which can be repeated and yet remain identical to themselves. Meaning actually signifies nothing except for the potentiality, the possibility of meaning within a concrete theme.
In contrast, the theme—like the utterance as a whole—is unique and cannot be repeated, since it arises from the interaction of meaning with the equally unique context of the speech-act.
Let us call the significance of an entire utterance its theme.(…) In fact, like the utterance itself, the theme is individual and cannot be repeated. It is an expression of the concrete historical situation which engendered the utterance.(…) It must then follow that the theme of an utterance is not only determined by the linguistic forms which compose it—words, morphological and syntactical forms, sounds, and intonation—but also by the extra-verbal aspects of the situation. And if we should lose these aspects, we will not be able to understand the utterance, as if we had lost the most important words themselves.
One essential feature of a theme, and therefore of an utterance, is that it is endowed with values (in the broad sense of the term). Vice versa, meaning, and therefore language, do not share this relation with the world of values:
Only an utterance can be beautiful, just as only an utterance can be sincere, delusive, courageous, or timid, etc. These value determinations are linked to the organization of utterances and literary works insofar as they involve the functions assumed by the latter within the unity of social existence and, above all, within the concrete unity of an ideological horizon.
The idea of an evaluative dimension in the utterance is further pursued by the article already referred to, "On the Boundaries Between Poetics and Linguistics." Bakhtin investigates the possible formal embodiments of this value judgment; and first considers the use of non-linguistic means.
Let us say that any evaluation which is incarnated through the (verbal) material is an expression of values. The human body itself will provide the original raw material for such an expression of values: gesture (the signifying movement of the body) and voice (outside of articulated language).
Within language itself, phonetic means are naturally to be distinguished from semantic means; and somewhat more remarkably, these are classified according to a dichotomy between selection and combination; this division is familiar today, but was unpublished at the time (although one may seek its origin in the work of Kruszewski).
We must distinguish two forms of value expression [in poetic creation]: 1) phonic and 2) structural [tektonicheskuju], whose functions can be separated into two groups: first, elective (selective), and secondly, compositional (organizational). The elective functions of the social evaluation emerge through the choice of lexical material (lexicology), the choice of epithets, metaphors, and other tropes (the entire range of poetical semantics), and finally, through the choice of a "content." In this way, most stylistics and certain elements of thematics belong to the elective group.
The compositional functions of the evaluation determine the level and hierarchical positioning of each verbal element in the work as a whole; they also determine its general structure. This involves all problems of poetic syntax, of composition in its literal sense, and finally of genre.
In the first book signed by Bakhtin himself, which is devoted to the work of Dostoevsky, the utterance will assume a new dimension, whose importance will steadily increase: every utterance can be linked to preceding utterances, thereby giving rise to intertextual relations. In this first edition, Bakhtin does not concern himself with general theories but rather with a typology of the utterance, thus he merely states:
No member of the verbal community will ever discover any words in language which are totally neutral, devoid of another's aspiration and evaluations, or free of another's voice. No, a word is apprehended through the voice of another which will remain forever imbedded within it. A word reaches one context in terms of another context, penetrated by the intentions of another; its own intentionality encounters a word which is already inhabited. (In the second edition of the work, 1963, the instances of "intention" will disappear to be replaced by osmyslenie, interpretation, and mysl', thought.)
In a previously cited article, signed by Voloshinov, these contentions, as well as several others, are paraphrased with one curious variation: "intonation" here replaces "intention":
For the poet, language is permeated with living intonations; it is entirely contaminated by social considerations and by the embryonic phases of social orientations. The creative process must continually struggle with such elements; it is from among their midst that one must choose one linguistic form or another, one expression or another, etc.… An artist never receives any word in a linguistically virginal form; it has already been 'impregnated' by the practical circumstances and poetic contexts in which it is encountered.(…)
This is why the work of a poet, like that of any artist, can only accomplish certain transvaluations, or certain displacements of intonation; these will be perceived by the artist as well as his public through the perspective of previous evaluations and intonations.
Let us now turn to the second synthesis which appears in the notes written during the fifties, and published after Bakhtin's death, under the title "The Problem of the Text"; the "Methodological Remarks" of the second edition Dostoevsky presents a summary of these issues. The frame of reference is no longer sociology, as it was thirty years earlier, but now involves translinguistics, the new discipline Bakhtin intends to found, whose primary object will be the utterance. Three factors are immediately set forth to distinguish an utterance from a sentence: an utterance has a speaker and an object, moreover it partakes in a dialogue with previous utterances.
The utterance is determined not only by its relation to the object and the speaking subject—the author (and by its relations to language as a system of potential possibilities, or givens) but, most importantly from our perspective, it is directly determined by other utterances within the framework of a certain field of communication. In simpler terms: purely linguistic relations (that is to say the object of linguistics), comprise the relations between one sign and another, or several others (in other words all systematic or linear relations between signs). The relations an utterance may have with reality, the real speaking subject, and other real utterances, that is to say, those relations which render the utterance true, false, or beautiful, etc., can never become an object of linguistics.
We must make a slight digression at this point concerning the speaking subject, the speaker. He is viewed as a constituent element of a speech-act and thus of an utterance; at the same time, one refers to the image of the author which is deduced from the utterance; and one naturally tends to project the second onto the first. However, a clear distinction between the two must be maintained. An author produces an entire utterance which does comprise the "image of the author" but he himself is a producer and never a product, natura naturans instead of natura naturata.
Even if an author-creator could create the most truthful autobiography of confession, he would still remain excluded from the universe he has portrayed simply insofar as he has produced it. If I should recount (or write) an event I have just experienced, then the mere act of narrating (or writing) this event will place me outside the time-space in which it has occurred. It is impossible to be absolutely identified with one-self, to reconcile one's veritable "I" with the "I" of his narration, just as it is inconceivable to lift oneself up by his own hair. However realistic and authentic a represented universe may be, yet it can never be chronotopically identical to the real representing universe in which the author-creator of the representation is located. For this reason, it seems to me that the term "author's image" is quite unfortunate: what has become an image of the work and thereby entered its chronotope, is a product, not a producer. "The author's image," when perceived as the image of the author-creator, is a contradictio in adjecto; each image represents something which has been produced and cannot be a producer.
Let us return to the general scheme of the utterance. We have seen that language ("langue"), the speaker, the object, and other utterances are all to be taken into consideration; we must not forget the addressee.
Discourse (like any sign in general) is interindividual. All that is said or expressed exists outside the "soul" of the speaker; it does not belong to him. Discourse cannot be attributed to the speaker alone. He clearly holds inalienable rights over the discourse, but the auditor has certain rights as well, as do those, whose voices reverberate in the words chosen by the author (since there are no words which do not belong to somebody). Discourse is a drama with a cast of three characters (not a duet, but a trio). It is performed outside the author, and one may not introject it (introjection) back into him.
Meaning, a property of language, will be opposed here to significance; this more familiar term replaces theme and links the utterance to the world of values which language does not know.
Isolated signs, and linguistic or textual systems (insofar as they represent a unity of signs) can never be true, false, or beautiful, etc. Only an utterance can be exact (or inexact), beautiful, just, etc.
We can summarize the preceding observations by reconstituting a communication model according to Bakhtin, and by comparing it with the currently more familiar model which Roman Jakobson has presented in his article "Linguistics and Poetics."
speaker utterance auditor
addresser message addressee
Two kinds of differences are immediately apparent. Jakobson isolates "contact" as an independent factor. This is absent from the Bakhtinian model, yet the relation to other utterances (which I have designated here as the "intertext") is absent from Jakobson's schema. There are then a series of differences which would seem to involve minor questions or terminology. Jakobson uses rather general terms (semiotic as well as linguistic) and they reveal the influence of his frequent associations with communication engineers. "Context" and "object" both correspond to that which other language theorists would call the "referent."
But after a more careful scrutiny, it is clear that the differences are much more important, and that the terminological discrepancies betray a deeply-rooted opposition. Jakobson sets forth these notions as a description of "the constitutive factors in any speech event, in any act of verbal communication." While for Bakhtin, there exist two radically distinct events, so distinct that they necessitate the use of two independent disciplines, linguistics and translinguistics. In linguistics, words and grammar rules provide the initial basis for the formation of sentences; in translinguistics, one starts off with sentences and the speech-act context eventually to obtain utterances. From Bakhtin's point of view, any attempt to formulate a proposal concerning "any speech event," that is to say, of language as well as discourse, would be futile. In the very schema I have drawn above, the "language" factor is not to be considered on a par with the others.
Moreover, it is no accident that Bakhtin says "utterance" instead of "message," "language" rather than "code," etc.: he quite deliberately rejects the use of engineering language to speak of verbal communication. This language could all too easily lead us to perceive a linguistic exchange in terms of telegraphic work: in order to transmit a certain content, one telegrapher first encodes it with a key and then broadcasts it; once contact has been made, the other uses the same key to decode the message and recover the initial content. This image does not correspond to discursive reality: in fact, prior to the speech-act, the speaker and the addressee literally do not exist as such; it is only the discursive process which thus defines them in relation to each other. For this reason, language is not to be considered as a code; for this reason as well, Bakhtin cannot possibly isolate one "contact" factor amidst the others: the entire utterance is contact, but in a stronger sense of the word than the "contact" of radiotelegraphy or electric work.
It is quite curious to find a page in the book signed by Medvedev which criticized the Jakobsonian model of language, thirty years before it was actually formulated; however one must note that the critique was written as a reply to certain theories of the Formalist group—to which Jakobson belonged.
That which is transmitted cannot be separated from the forms, the means, and the concrete conditions of the transmission; whereas the Formalist interpretations tacitly presuppose an entirely predetermined and immutable communication, as well as an equally immutable transmission. This might be explained schematically in the following manner: let us take two members of Society, A (the author), and B (the reader); for the time being, the social relations between them are unchangeable and immutable; we also have a prepared message X, which A must simply deliver to B. In this prepared message X, the "what" ("content") is distinct from the "how" ("form"), since literary discourse is characterized by the "set toward the expression" ("how") [this is a quotation from the first published text of Jakobson].
The schema set forth above is completely wrong. In actual fact, the relations between A and B are in a state of continual formation and transformation; they are further modified during the very process of communication itself. There is no prepared message X; it is established by the communicative process between A and B. Moreover, it is not transmitted from one to the other but is built between them like an ideological bridge through the process of their interaction.
Thus, in 1928, we can discern a rather precise prefiguration of certain recent French language theories which are sometimes based on the work of Benveniste (for example those of Oswald Ducrot or François Flahault).
As we now turn from the model of the particular utterance to the set of utterances constituting the verbal life of a community, we should note the fact which would appear to be most striking in the eyes of Bakhtin: there exists a large, but nonetheless limited, number of utterance or discourse types. One must indeed beware of two possible extremes: first, to recognize the diversity of languages and ignore that of utterances; secondly, to consider this variety as being individual and therefore limitless. Besides which, Bakhtin accentuates difference rather than plurality (one need not attempt to conceive of any common denominator which would reconcile various discourses; the argument here runs counter to the idea of unification). To designate this irreducible diversity of discursive types, Bakhtin introduces a neologism, raznorechie, which I translate (literally but in Greek) as heterology; this term is flanked by two parallel neologisms, raznojazychie, heteroglossy, or diversity of languages, and raznogolosie, heterophony, or diversity of voices (individual).
We will recall that every utterance is oriented towards a social horizon which comprises semantic and value elements. The number of these verbal and ideological horizons is quite high but not unlimited; and every utterance necessarily falls within one or several of the discursive types determined by a horizon.
There are no longer any words or forms in language which are neutral and belong to no one: it appears that language has been pillaged, pierced through and through by intentions, and accentuated. For a consciousness which exists within language, it is not an abstract system of normative forms but a concrete heterological opinion of the world. Each word evokes a profession, a genre, a trend, a party, a particular work, a particular man, a generation, an age, a day and an hour. Each word evokes a context and the contexts within which it has experienced an intense social life; every word and every form is inhabited by intentions. Contextual harmonies found in a word (of the genre, of the trend, of the particular individual) are inevitable.
Through the preceding enumerations we can already see that the stratification of language in discourse is not restricted to one dimension. In the course of the most detailed study which he devoted to heterology (in "Discourse in the Novel," text of 1934–35), Bakhtin discerns up to five types of stratification: genres, profession, social levels, ages and regions (dialects strictu sensu). Let us merely note that social class does not play a different role from that of profession or age group: it is simply one diversifying factor among several others.
In a certain sense, heterology is inherent to society; it is engendered spontaneously by social diversification. But just as the unique state attempts to contain this social diversity by means of its laws, so do the authorities fight the diversity of discourse by aspiring to a common language (or rather idiom).
The category of common language is a theoretical expression of the historical processes of unification and centralization—an expression of the centripetal forces in language. A common language is not a given; in actual fact it is always ordered, and opposes genuine heterology at every instant throughout the life of a language. Yet at the same time, this common language is perfectly real when seen as a force which overcomes this heterology, constrains it within certain limitations, assures a maximum mutual comprehension, and is crystallized in the real, albeit relative, unity of literary and spoken (everyday) language, which is the "proper language."
Bakhtin will refer, as one can see, to this tendency towards unification as a "centripetal force" and by the same token, to heterology as a "centrifugal force." Different types of discourse themselves favor one force over the other for varying reasons. For example, the novel (or what Bakhtin defines as such) reinforces heterology, while poetry does not; for heterology is linked to the representation of language, which is a characteristic feature of the novel.
While the principal sorts of poetic genres develop within the flow of the centripetal unifying and centralizing forces which inform verbal and ideological existence, the novel, as well as other related genres of literary prose, emerged historically within the flow of decentralizing, centrifugal forces.
Therefore, the high periods of the novel correspond to those which witnessed a weakening of centralized power.
The embryonic forms of novelistic prose appear in the heteroglossic and heterological world of the Hellenistic epoch, in imperial Rome, also in the decomposition and decadence of the verbal and ideological centralism of the medieval church. Similarly, the period of fruition of the modern novel is always tied to a general decomposition of verbal and ideological systems, to a process of reinforcement and intensification which opposes linguistic heterology in the literary dialect but also outside it!
On the other hand, as Bakhtin remarks, the different theories or philosophies of language are always born in the wake of unifying movements; this moreover explains their helplessness when confronted by heterology. Thus, for example, the sad fate of stylistics when it tackles the novel: a "Ptolemaic" discipline cannot account for a "Galilean" genre.
Traditional stylistics ignores the kind of combination whereby languages and styles merge in a superior unity; it has no means of approaching the particular social dialogue of languages within a novel. This is why stylistic analysis is not oriented towards the novel seen as a whole but only towards one or the other of its subordinate stylistic aspects. The specialist bypasses the distinctive characteristic of the novelistic genre; he transforms the object of his study, and instead of the novelistic style he in fact analyses something completely different. He transposes an orchestrated symphonic theme in the place of a piano.
Bakhtin enumerates several other examples of such helplessness in the face of heterology:
The poetics of Aristotle, the poetics of Augustine, Medieval religious poetics of the common language of truth, the Cartesian poetics of Neo-Classicism, the abstract grammatical universalism of Leibniz (the idea of universal grammar), the concrete ideologism of Humboldt—whatever may be the distinguishing nuances—these all express the same centripetal forces of sociolinguistic and ideological existence; they all serve the same objective: the centralization and unification of European languages.
The rather surprising name in this roster is Humboldt, a distant source of inspiration for Bakhtin, as we know, and an advocate of linguistic diversity, that of languages as well as that of individuals (language expressing a national spirit, the utterance—an individual one). However, Humboldt forgets a crucial gap between these two: social diversity. Beyond the unicity of Classicism and the Romantic infinite variety, Bakhtin seeks a third path: that of typology.
Tzvetan Todorov, "Bakhtin's Theory of the Utterance," translated by Claudine Frank, in Semiotic Themes, edited by Richard T. De George, University of Kansas Publications, 1981, pp. 165-78.
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A Season in the 'Snake
Over the course of one summer, Aaron heads out for a series of overnight rides from his front door into the Rattlesnake — Missoula, Montana's backyard wilderness.
wayp oi nts 8 H oli day g ear g u i d e 24 cycle s e n s e 32 CyClist GO THE DISTANCE. DECEMBER/JANUARY 2010 www.ADvENTURECYClING.ORG $4.95 Adve ntu r e From the Front door: A Season of Micro Adventures plus: portland, self supported KurmasKie tHe Hobo a racK primer 2009 BIKE GIVEAWAY Become a new member or renew your membership now at www.adventurecycling.org. You can also call (800) 755-2453. No purchase necessary. Official rules at www.adventurecycling.org/ membership/2009bikegiveaway.cfm. Win an Aurora Elite touring bike from Jamis. You will also get a chance to ride your new bike with us on an Adventure Cycling event in the summer of 2010. We'll draw a winner every month starting February 15, 2009, for additional prizes from Surly, Pygmy Pack, Cannondale, Arkel, Showers Pass, Old Man Mountain, Ortlieb, MSR, Canari, Detours, and BOB Trailers. Then, on January 15, 2010, we'll draw the winner for the grand prize bike and tour. If you are a current member on the respective dates, your name will be included in our 2009 Bike Giveaway drawing. In January we'll draw a name to win the Jamis touring bike and the ACA tour. DENNIS COELLO Adventure Cycling Association Get signed up at www.adventurecycling.org and you'll be entered in the 2009 Bike Giveaway. Adventure Cycling Corporate Members Adventure Cycling's business partners play a significant role in the success of our nonprofit organization. Our Corporate Membership Program is designed to spotlight these key supporters. Corporate Members are companies that believe in what we do and wish to provide additional assistance through a higher titanium level of support. These corporate membership funds go toward special projects and the creation of new programs. To learn more about how your business can become a corporate supporter of Adventure Cycling, go to www.adventurecycling.org/corporate or call (800) 755-2453. gold www.guidedcycling.com silVer bronZe red arrow group sea to sky trail rawland cycles planet bike b.o.b. trailers, inc. 2 12/1:2010contents december/January 2010 � Volume 36 number 9 � www.adventurecycling.org A dv e n t u r e CyClist is published nine times each year by the Adventure cycling Association, a nonprofit service organization for recreational bicyclists. individual membership costs $40 yearly to U.S. addresses and includes a subscription to Adventure Cyclist and discounts on Adventure cycling maps. the entire contents of Adventure Cyclist are copyrighted by Adventure Cyclist and may not be reproduced in whole or in part without written permission from Adventure Cyclist. All rights reserved. our Cover AARON TEASDAlE Aaron teasdale takes S24os to the mountaintops on an overnight ride up Missoula's Sheep Mountain. photo by Aaron teasdale. (left) As dusk settles, Silas teasdale takes a break while heading into the rattlesnake wilderness. 10 18 24 A SeASon in tHe SnAke by Aaron Teasdale over the course of one summer, teasdale heads out for a series of overnight rides from his front door into the rattlesnake -- Missoula, Montana's backyard wilderness. mission zooboMbinG in portlAnd, oreGon by Willie Weir challenging the notion that great trips need to be exotic -- or even leave the city -- willie heads to the cycling utopia of portland for a unique week of self-supported, inner-city touring. the mission of Adventure cycling Association is to inspire people of all ages to travel by bicycle. we help cyclists explore the landscapes and history of America for fitness, fun, and self-discovery. HolidAY GeAr GUide by Mike Deme and Aaron Teasdale A cornucopia of cycling accoutrements for the cyclists on your gift list. CAmpAiGns our strategic plan includes three major campaigns: creating bike routes for America Getting Americans bicycling Supporting bicycling communities d e pA r t m e n t s lette rs how to reach us 07 08 31 34 39 coMpAnionS wAnted wAYpointS boArd election MArketplAce/clASSified open roAd GAllerY 04 05 06 letter from the editor letterS from the reAderS letter from the director to join, change your address, or ask questions about membership, visit us online at www.adventurecycling.org or call (800) 755-2453 or (406) 721-1776 email: firstname.lastname@example.com Subscription Address: Adventure cycling Association p.o. box 8308 Missoula, Mt 59807 Headquarters: Adventure cycling Association 150 e. pine St. Missoula, Mt 59802 Colu m ns 28 30 32 MecHAnicAl AdVAntAGe / Jan Heine The lowdown on cargo rack design MetAl cowboY / Joe Kurmaskie He ain't homeless, he's a commuter cYcleSenSe / John Schubert The TE reviews what's cool at Interbike adventure cyclist december/january 2010 adventurecycling.org 3 A SEASON IN A summer of micro adventures in Story and photos by Aaron teasdale Missoula's Rattlesnake wilderness THE SNAKE i shut the back door, jumped on my bike, and headed for the hills. through Missoula streets, i rode to where rattlesnake creek flows from the mountains through the neighborhoods of the lower rattlesnake Valley. through a series of forested parks, my front tire traced creek-side trails through the city's outer reaches. 25 minutes after setting out, signs announced the rattlesnake national recreation Area, and i pedaled into the backcountry. it was 7:30 at night. cyclists spun by on their way out, their rides ending. Mine was just getting started. it was the end of May, rattlesnake creek was swollen and charging, the forest brilliant green and radiating life. After an hour of pedaling on an old Jeep road, i met three teenage boys with fishing poles preparing to ride out. they saw my extra gear and asked what i was doing. "Heading back as far i can get before dark," i said, "then camping for the night." "wow," they said, glimmers of possibility sparking in their eyes as they looked again at my lightly-loaded mountain bike, "that's cool." "Yeah," i said with a chuckle, "it is pretty cool." A feeling of giddiness welled in me after i said goodbye and pedaled deeper into the wilds, like the thrill of a child heading into a giant playground. As dusk spread, it occurred to me that i might be the only human back there. A branch snapped in the forest, and my mind quickly cataloged the large carnivores in the area capable of ingesting me. this is a reliably invigorating exercise, and from that point on my awareness was heightened, my primal instincts revived -- even if those instincts, being a bit rusty, had me springing into defensive stances at the sound of rustling chipmunks, or jolting my fight-or-flight impulse as grouse winged up next to my wheel. Just as it became too dark to ride, i arrived at a camp spot on a wooded bench over the creek. thirty minutes later, with the tent up and a campfire ablaze, i'd made my home for the night in the forest. it was here, while watching the moon rise behind pine-tree silhouettes, that i raised my binoculars and made the joyous discovery that, along its edges where the light throws long shadows, you can actually see the craters on the moon. this held me rapt -- exploring the suddenly visible topography, truly seeing it as a massive orb of rock floating with us through space. As i stood next to the fire, studying the moon and contemplating our place in the Universe, i thought this is so worth it. the rushed, post-work preparations, the being away from the family for the night -- it was worth riding back here just for this. i nspired by that first, grand overnight ride of the year, i made a plan for the summer: head out once a month for an S24o (sub-24-hour overnight; see: www. adventurecycling.org/s24o) or similar micro adventure, and bring car-free, overnight bicycle adventures into my busy, familyoriented city life with minimal planning and hassle. After that first ride, i put all the needed gear in a box so it would be ready to go. Make it idiot-proof, i figured, and i might actually pull it off. it helps that my hometown of Missoula, Montana, is ringed with public land that reaches upward into vast sweeps of mountains and rivers. with trails and dirt roads like father, like son. Silas and Aaron are all smiles before heading in for another night in the Rattlesnake. 12 adventure cyclist december/january 2010 adventurecycling.org radiating out like spokes on a wheel in every direction, it's a great place to be a cyclist, especially if, like me, you favor wilder terrain. My favorite swath of nearby wild country is the 61,000-acre rattlesnake national recreation Area and wilderness in the lolo national forest. Home to bears, wolves, mountain lions, wolverines, and all manner of other untamed creatures, the `Snake is not only the largest of Missoula's protected areas, it's also the wildest. fronted by the recreation Area and a spider's web of trails, its deeper reaches harbor the rattlesnake wilderness, the closest federally designated wilderness to a metropolitan area in the country. it's also just the tip of a much larger stretch of wild-country -- head north and the `Snake links with the Mission Mountains and, eventually, Glacier park and canada, making it the southern reach of what's known as the crown of the continent, one of our planet's greatest remaining wildland complexes. needless to say, being able to ride there in 25 minutes from my front door is pretty great. So it was that on the first friday night of June, my gung-ho 10-year-old son, Silas, and i headed out on our first father-son overnight adventure of the year. it was also the first overnight ride for our mountainbike tandem, a recent hand-me-down from my father that we'd immediately taken in as a member of the family. "How far back are we going, dad?" Silas asked as we reached the edge of the `Snake and pedaled into the woods. "Just a couple miles," i said. with only about 90 minutes of remaining light, i had my sights on a secret, hillside ledge with views over the Missoula Valley that i knew we could reach before dark. the sky was threatening, and the forecast promised storms; i'd even considered cancelling our ride, unsure how Silas would take to camping in the rain. but these family adventures are precious, i figured, and by Jove we weren't going to let a little rain stop us. besides, if the rain got biblical, we were only a few miles from home. once we entered the `Snake, however, we were in another world entirely: A world where rattlesnake creek was a frothing torrent of spring snowmelt threatening to spill over its banks; where sunburst blooms of yellow wildflowers -- arnica, balsamroot, glacier lillies -- carpeted the forest floor; where a father and his legs discovered the hard way how much sheer effort it takes to pedal a tandem with a child and a laden Silas, to my delight, was not fazed by the weather. donning raingear, he promptly started a fire and nursed it along while i cooked up a breakfast of oatmeal and, as insurance against any encroaching lack of enthusiasm, hot cocoa with marshmallows. later that morning, as we packed up our wet gear and prepared to ride home from our secret spot, Silas looked up from the dripping yellow hood of his jacket and said cheerfully, "we have to bring Mom and Jonah here." i smiled the deeply satisfied smile of a father who's passed something valuable on to his son and said, "definitely." few weeks later, in early July, our opportunity came to try an overnight ride with the whole family. Silas and i were fresh off a bike overnight in banff, so jumping on our trusty tandem with a bob was beginning to feel like second nature. My wife, Jacqueline, rode with six-year-old Jonah attached via a trailer-bike. "daddy, where are we going to camp?" Jonah asked as the sign announcing the beginning of the `Snake passed by. "wherever we get to," i replied honestly but curtly, still a bit tense from rounding up the gear for our adventure while try- A bob trailer. fortunately, the rain held off (and my legs held up) long enough for us to reach camp and make a dinner of fire-roasted hot dogs and glacier lillies. when it did rain that night and into the next morning, i woke up, stepped out of the tent, and, hoping to lead by fatherly example, said something contrived like, " Ah, rain -- invigorating!" In the Beginning... ...there was just one continent, Pangea. With its indestructible frame, capacity for all of your essentials and big 26" tires, the Co-Motion Pangea will unify your world's continents. Survive, Evolve, Ride. Photo: Gregg Bleakney, www.ribbonofroad.com Co-Motion Cycles Inc. Eugene, Oregon, USA Toll Free 866-282-6336 firstname.lastname@example.com We'll build one for you adventure cyclist december/january 2010 adventurecycling.org 13 breakfast storytime. Silas and Aaron start their day in the mountains by reading aloud around the campfire. ing to corral two young boys whose idea of "helping" involved some combination of playing drums, establishing new couchjumping height records, and seeing how long they could balance on their head and/ or hold their breath. but as we rode along rattlesnake creek, still boiling white but down from its peak of weeks previous, my tension floated away with the passing current. butterflies filled the air, a new wave of wildflowers speckled the forest floor, and sun-warmed air flowed over our bare arms and legs -- summer was here, and we were heading into the rattlesnake once more. the old Jeep road we followed, called the "main corridor" by locals, provides the easiest access to the `Snake's deeper reaches, paralleling the creek for 16 miles from the main rattlesnake trailhead before reaching the wilderness boundary, past which bicycles are forbidden. we made it about five of those, or 11 miles from home, before arriving at a meadow studded with towering cottonwoods. birds dashed between the trees, filling the air with song, while the sun dipped low over the forested mountains that rose on all sides. were i alone or with other like-minded (i.e. fool14 adventure cyclist december/january 2010 hardy) adults, we'd surely press on, but with the kids, and with it being Jonah's first bike overnight, the focus was fun, not epic-ness. besides, just getting out of the house, much less riding to that meadow with the boys and camping gear, felt plenty epic right then. "we're here," i called out. "Yaay!" Silas and Jonah yelled before running into the meadow and launching a spirited campaign to capture every living grasshopper there. later, after the boys had filled several stone grasshopper-detainment pens and roasted hot dogs over the campfire, we lay in our tent, the rainfly off, and read bedtime books aloud under the stars and a boomerang moon. it was exactly the kind of idyllic scene you hope for on a family camping trip, even if the reading was constantly interrupted by the kids yelling "there's one!" and "there's another one!" every time one of the meadow's unending population of bats flew helter-skelter over the tent. After the boys were asleep, Jacqueline and i talked about what a treat it was to be sitting around a campfire instead of at home glued to the internet or paying bills or some other devitalizing domestic task. when she adventurecycling.org went to sleep with the boys in the tent, i laid my bag down outside and crawled in, back to the earth, bathed in starlight. Morning dawned with cascades of birdsong, and as i awoke my vision was filled with feathery white cottonwood seeds floating through the air like nature's confetti against a brilliant blue sky. i called to the family, still asleep in the tent, and within minutes Silas had started the morning fire and Jonah had imprisoned a dozen grasshoppers. As we rode deeper into the `Snake that morning, the trailer-bike now connected to the tandem for a de facto triple, i tried to mentally prepare the boys for the long, rocky climb that awaited us when the old Jeep road left the creek-bottom and launched up a rocky mountainside. if they weren't charged up and ready to pedal, i knew there was no way we'd make it. in an effort to add some excitement to the prospect, i cried, "the teasdale train is going to be on top of the world!" thirty minutes later, things were more exciting than i'd hoped as i desperately mashed the pedals in a heroic effort to keep our train moving forward. Sweat gushed off my brow and i prayed my quads wouldn't rupture as we crept up the steep talus slope. "Guys," i managed to wheeze, "i could really use your help here." i wanted to believe that Silas was pedaling, but Jonah, whom i suspected was merrily counting butterflies or looking around for mountain goats, was significantly less reliable. Soon the battle was lost. i had to stop or explode. while i gasped and attempted to reinsert my lungs into my chest, the boys scampered around and hurled stones down the talus slope, which was apparently much more exciting than pedaling a bicycle up a mountain. we did make it to the top, though, eventually and with some pushing. we even saw a family of nine mountain goats on the cliffs there, with several kids following their parents along impossible creases in the rock. "look, they're just like us," i said. "except those kids aren't trying to make their father disgorge his lungs." i did get my revenge, however -- on the downhill. As we hurtled back down the mountain, rattling across the rocks, Silas cried, "Dad, slow down! this is freaky!" "Can't slow down!" i yelled back over my shoulder, with what would have been a disconcertingly wild grin had the boys been able to see it. "we just have to bomb down!" everyone was laughing when we reached the bottom, Jacqueline and the boys with a mixture of adrenaline and relief, i with a mixture of adrenaline and we-just-railedthat-descent glee. After crossing franklin bridge, where the main corridor crosses the creek at the foot of the hill, we stopped for a snack in a shady campsite tucked into deep forest along the water's edge. "can we camp here tonight?" Jonah said, as we sat back and watched an American dipper bob along the rocks in the creek. i reminded him that we'd left our camping gear back in the meadow and that we were riding back home after our snack. "next time we will, okay?" i said, raising my hand for a high five. Jonah smiled and slapped his little hand against mine. i couldn't help but grab it and pull him in for a hug. we had a new bicycle adventurer in the family. omehow, in the maelstrom of life, we then managed to go almost two months without another overnight. this greatly disappointed me, so i decided to make up S for it all at once. After a brief debate with Jacqueline (Her: "it's his first week of fifth grade!" Me: "this is way more important than a day at school."), i pulled Silas from school just before labor day weekend to head deep into the rattlesnake wilderness for three nights of biking, backpacking, and mountain-lake fishing. we spent our first night at the shady, water's-edge campsite near franklin bridge where Silas was now staring open-mouthed at the place where a toothbrush handle used to be before it was broken off. "Who did this?" Silas said, the disembodied toothbrush in his hand. "i did," i replied, turning away to hide my smile. "but ... why? why would you do that?" Silas said, incredulous that his father -- who'd seemed so responsible until then -- would do something so destructive. "to save weight," i said. "when you're carrying all your stuff like this, you gotta trim weight wherever you can." Silas considered this for a minute in silence. our equipment may have been the state of the art in ultralight camping gear, but given that we were also carrying a backgammon set, two bedtime books, fishing poles, and an obscenely heavy amount The Casseroll Triple delivers Versa-Thrillity. Sure, that may be a made-up word...but let us explain. The Casseroll is a road bike with real road bike geometry, not a cross bike or hybrid bike. It's definitely not about road racing though. Casseroll is about road riding, whether for commuting, fitness, or just looking at the scenery. Our Casseroll recipe begins with double-butted Salsa Classico CroMoly tubing for both frame and fork. We utilize a semi-sloping geometry to provide a fit-friendly platform and increased rider comfort. The frameset accepts really large road tires so you can take on some potholes and rough roads or just add a bunch of comfort to your ride. Designed around long-reach brakes, the Casseroll can take up to 700c x 32mm tires while running full fenders. Add a rear rack if you like, and there's a good old-fashioned pump peg to boot. All this makes the Casseroll a road rider's road bike, perfect for long miles on charity rides, credit card touring, and well...versa-thrilling. Casseroll. Truly one hot dish. �2009 Salsa Cycles adventure cyclist december/january 2010 adventurecycling.org 15 of camera equipment, my answer may have seemed dubious. i reminded Silas that we faced a big challenge right away that morning: the big talus climb that had defeated us last time. but whether he was contemplating the weight of whatever young-boy trinkets he had squirreled away in his pack (Matchbox cars? cool rocks from the creek?) or considering the new reality of life with a toothbrush-destroying father, he pikas; we weathered hail, winds, and cold. we read stories by the campfire, listened to bull elk bugle from the mountainsides, and caught fish after fish after fish. when we made it home two hours after dark on the fourth day, after a monumental six-mile hike and a 22-mile ride out, Jacqueline gave Silas a hug and asked, "How was it?" " Awesome!" came his immediate reply. i creek-side camp. Silas tends the fire at the campsite by Franklin Bridge. stayed quiet as we packed up camp. "we're going to have to work together here," i said as we began the climb, fully expecting to be off the bike in minutes and reinserting my lungs again. After all, there were only two of us, and we had a fullyloaded trailer now. but something amazing happened. Silas really gave it his all this time, and we worked together, father and son, to pedal that rig up the mountain without stopping. it was like he was suddenly growing up, like our summer of riding was transforming him. there was some highfiving at the top, but we didn't waste a lot of time with celebrations. Silas was driven to reach the depths of the wilderness and see the lakes that rested in the high peaks. "i can do it," he said whenever i suggested we aim for one of the lower, easierto-reach lakes instead of the high, distant lake he'd identified as our goal. And, to my surprise, and fueled by huckleberries and a desire to see, he did. we left the bike at the wilderness boundary and hiked high into the rattlesnake Mountains. we saw bears, eagles, and 16 adventure cyclist December/January 2010 couldn't have felt a deeper sense of satisfaction if i'd just ensured permanent world peace. My son loved the mountains just like me. f or the last overnight adventure of the season, i set my sights high -- literally. the trail up and over Sheep Mountain, on the eastern edge of the rattlesnake, is renowned as Missoula's most epic mountain bike ride. climbing a cumulative 5,000 vertical feet from the valley floor, it's a rough, narrow trail that ascends ridges along the eastern edge of the rattlesnake before topping out on an open-aired summit with 100-mile views. from there, it plummets off Sheep Mountain's backside in a switchbacking, 4,000-foot plunge to rattlesnake creek and the main corridor below. typically undertaken by experts on mountain bikes, i'd decided it would be fun to ride as an overnight on a Salsa fargo (essentially a touring bike on steroids) with ultralight camping gear. A questionable plan, yes, but i craved a challenge. As much as i love bringing my adventurecycling.org family into the mountains, i needed to do something more adventurous, maybe even risky, to shake up my comfortable workaday life. Something i could look back on when my days of high-mountain riding are behind me and say, I did that. As usual, i couldn't find anyone to come along, so i pedaled out of town as a lone rider one evening in mid-September. the shrubs were turning scarlet and the summer's butterflies were gone as i climbed the woods Gulch trail into the hills overlooking Missoula. lights began winking in the valley below as the sunset's painted sky settled into a crimson band over the blue silhouettes of distant mountain ranges. when true darkness crept from the forest, i turned on my light and the quest began, as it does every night i sleep out, for the perfect campsite. At 9:00 pm and 2,500feet above Missoula -- wind swaying the tree branches, stars piercing the blackness above -- i found it: a wide, grassy clearing in the forest overlooking the city far below. An owl hooted in the distance while i pitched my tent near the matted-down grass of an elk bed, silently thanking it for sharing its bedroom with me. the chattering of red squirrels and gray jays woke me the next morning, and i packed up and pedaled away at 8:30, intending to eat my oatmeal breakfast on Sheep Mountain's summit. Muscling up the trail was tough, and i walked more than one steep section, but the golden morning light slanting through the trees and the increasingly vast views pulled me onward. then, after taking an hour to fill a water bottle with spectacularly delicious huckleberries for the family, i came upon a glistening pile of mountain lion scat not 30 yards up the trail. My mouth dropped. Had it been watching me? there was no way to know, and nothing to do but continue on. i finally reached Sheep Mountain's summit in the early afternoon. Sitting on my throne in the sky, a lone man on a wild mountaintop, i breathed clean, pure air from the blue above. resting under a warm afternoon sun, i scanned the cliffs below for goats or sheep and gazed across a landscape of mountains without end. Sprawling out beneath me was the rattlesnake itself -- the wide, glacially carved valley of the creek and the main corridor 4,000 feet below, where the descent would soon deliver me. beyond that was a distant jumble of the wilderness's loftiest peaks, continued on page 38 Touring Ride In Rural Indiana� TRIRI� presents three tours in 2010, visiting Indiana's beautiful state parks along lightly traveled, scenic routes. Our tours offer something for everyone! Overnights in state parks Catered breakfasts & dinners June 20-26 Southeast Indiana - Camp or stay in state park inns wilderness view. Looking over the upper Rattlesnake Valley from atop Sheep Mountain. continued from page 16 and beyond those more peaks still. i'd been saving my oatmeal to eat here, since there's nothing quite like cooking a meal on a mountaintop. but because i'd camped high and ridden ridgelines all day, i'd come across no water sources and was still drinking from the same supply i'd left home with the day before. though i'd packed extra and rationed, there wasn't enough left. the oatmeal would have to wait. fortunately, the descent wouldn't, and it was as magnificent as i'd hoped. with every ounce of skill i've accumulated over two decades of mountain riding, i piloted that bike down mountainside switchbacks and onto a virtual game trail that plunged and weaved through a deep forest of emerald ferns and tumbling brooks for hours. i finally emerged, thoroughly spent, hungry, and out of water, at the side of rattlesnake creek and just below the big talus climb. i rode the half-mile down to the campsite by franklin bridge, filled my water bottles, and drank. this is where i'd camped with Silas, and where Jonah had wanted to stay, and where i'd talked to the boys with fishing poles on my first overnight of the year back in May. the creek's autumn flow was now just a trickle, but i finally had the water to cook my oatmeal -- the last of my food -- and brew an invigorating mug of earl Grey tea. though i was still eight miles from adventurecycling.org TRIRI� 2010: RAINSTORMTM 2010: July 12-17 Five century rides over five days preceding RAINTM - Ride Across Indiana September 12-17 South central Indiana - Camp or stay in state park inns SEPTEMBER ESCAPADETM 2010: WWW.TRIRI.ORG (812) 333-8176 the main trailhead, then another six miles from home, it would be a cruise compared to what i'd just done. in one of the finest adventures in a season of fine adventures, i'd completed the first-ever descent of Sheep Mountain on a loaded touring bike (even if it wasn't your typical loaded touring bike). leaning back against a smooth, angled stone, i dropped a handful of huckleberries into my hot oatmeal and found i couldn't stop smiling. riding down the old Jeep road in the darkening night a short while later -- passing a bear in a meadow, feeling a bat's wing graze my face, which made me yell and then laugh out loud -- i was enveloped in a weary euphoria. As on every one of the season's rattlesnake rambles, i'd spent the last 24 hours checking zero emails, receiving zero phone calls, and driving zero miles, and i couldn't have been happier about it. better still, my love of wild places was passing on to my boys, who were turning into bicycle adventurers themselves. i brightened at the thought of them waiting for me back home, but couldn't bring myself to rush. it had been a great summer in the rattlesnake, for me and for our family, and i wanted to savor the final ride out. By the time you read this, Aaron Teasdale should be exploring the `Snake on skis -- while concocting plans for bigger family bike adventures in the future. Follow his misadventures at www.aaronteasdale.blogspot.com. 38 adventure cyclist december/january 2010

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Eric Cantor Thinks Big
Running-mate big
Rep. Eric Cantor, the Virginia Republican who is House Majority Leader and highest-ranked Jewish U.S. legislator ever, is starting a Super PAC. His trusted deputy chief-of-staff is devoting himself to it full-time. Ostensibly, it enables Cantor to raise money for other candidates; he has indicated these will be his fellow "Young Guns," that is, conservative, Tea Party-leaning Republicans of a junior bent. However, according to the National Journal, the PAC "would give Cantor a vehicle he could use to run for vice president, should the opportunity arise, said a source close to the majority leader's office, who asked not to be named because the source was not authorized to speak publicly." If Cantor were selected to be the GOP nominee's running mate, he would be only the third Jew on a major party's national ticket, after Sen. Joe Lieberman, an Orthodox Jew from Connecticut, and Sarah Palin, an extremely Reconstructionist Jew from Alaska.
Cantor was the subject of a New York profile this week and another by our very own Allison Hoffman in February.
Sources: Cantor Launching Super PAC To Position for VP [National Journal Influence Alley]
Related: The Gentleman From Virginia [Tablet Magazine]
Earlier:What Makes Cantor Run?
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Battel Bonfire & Firework Display
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Traditional annual Bonfire Night celebrations with a torchlight procession and firework display organised by the Battel Bonfire Boyes. Fireworks begin at 7.45pm.
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May 26-June 14 Tijuana Flats' "Building Houses from Hot Sauces" campaign is raising money to provide housing for local veterans. A portion of the proceeds from six different hot sauces, as well as monetary contributions, will go towards building multiple houses for veterans in need.
Tijuana Flats Just In Queso Foundation is partnering with local chapters of Building Homes for Heroes, Habitat for Humanity and the VA Clinic to identify veterans and recipients of new homes.
After the fundraiser is complete and local veterans are selected, Tijuana Flats employees will have the opportunity to meet and participate in the construction of the veterans' homes.
Tijuana Flats' Just In Queso Foundation provides aid to individuals, communities and organizations in neighborhoods where Tijuana Flats restaurants are located. Since the establishment of the Foundation in 2007, more than $3.5 million has been raised. The foundation is focused on supporting organizations benefitting children and military.Read more
In a post on their Facebook page, the owners of the award winning Greek Flame Taverna announced their upcoming move. The restaurant will leave the Dr. Phillips Marketplace as of June 14.
Here is the statement: "I'm sorry to say as of June 14 Greek Flame will no longer be in the Dr. Phillips marketplace as our landlord will not be extending our lease. We will still be available for any catering needs while we look for a new location. We want to thank all of our loyal customers for your support. Please email us a email@example.com or follow us on facebook for updates on our new location. Thank you The Chrissanthidis Family"Read more
Viking has recalled about 52,000 gas ranges in the U.S. and 8,300 in Canada because they post a dangerous burn hazard. The appliances ovens can turn on by themselves. Consumers should call Viking Range toll-free at 1-877-929-2581, from 8 a.m. to 5 p.m. Monday through Friday to schedule a free in-home repair.
This recall involves Viking Range freestanding gas ranges sold in stainless steel, black, white and 21 different colors and finishes. The ranges were sold in various surface configurations: All burners or burners with griddle and/or grill. The ranges are about 36 inches tall to the top of the side trim, 30, 36, 48 or 60 inches wide and 24.5 inches deep to the end of the side panel.
The model and serial numbers can be found on a label in one of three locations: On the bottom of the control panel above the door, on the front of the oven cavity below the control panel, or on the inside of the left side panel; which can be seen by removing the left front grate and burner bowl. Consumers...Read more
RA Sushi is hosting a week-long fundraiser called Nicky's Week to support St. Jude Children's Research Hospital. And you can help by simply eating. May 25-31 the restaurant at 9101 International Drive in Orlando will offer a select menu and will donate 100 percent of the sales to St. Jude.
RA Sushi will also be accepting donations and hosting a raffle to raise additional funds. This fundraiser is named Nicky's Week, in honor of Nicholas "Nicky" Mailliard, a 13-year-old who lost his own battle with cancer in 2005. Nicky, the nephew of one of RA Sushi's founders, was a long time patient of St. Jude.Read more
This main dish elevates the backyard barbecue with its clean seasonal flavors and "fresh from Florida" appeal.
Curry-Lime Chicken Thighs with Tomato-Lima Bean Salsa
Serves 4
1 1/2 – 2 pounds chicken thighs
1 cup plain Greek yogurt
1 teaspoon fresh ginger, diced
1 teaspoon curry powder
Juice of 1 lime
1 cup red cider vinegar
1 cup water
2 teaspoons pickling spices
3 teaspoons salt, divided
1 tablespoon sugar
1/8 teaspoon crushed red pepper flakes
1/2 teaspoon celery seed
1 1/2 cup lima beans, cooked in water for 4 minutes, then drained and cooled
2 cups diced fresh tomatoes
1 small sweet onion, diced
1/4 cup chopped fresh cilantro
1. Combine yogurt, ginger, curry powder and lime juice. Add chicken thighs and turn to coat with yogurt mixture. Allow to marinate in refrigerator 1 to 4 hours.
2. In small saucepan, combine vinegar and water; add pickling spices, 2 teaspoons salt, sugar, red pepper flakes and celery seed. Bring to a boil, then lower heat and simmer for 5 minutes. Remove from...Read more
Ice-cold watermelon is a warm weather treat. Florida is one of the nation's leading producers of watermelons, according to the Florida Department of Agriculture and Consumer Services. But picking the right specimen is perhaps the only perplexing part of the great American melon adventure.
There are two camps of shoppers: Thumpers and weight lifters. Both types are on the right track, but combining both and adding a twist at the end will ensure a great melon every time.
Thumping is a traditional test of ripeness and is a pretty good guide at roadside stands. You should detect a hollow sound and a slight tremor when you rap the melon with your hand or knuckles. Thumping is less accurate in the supermarket after melons have been shipped and handled more.
When you lift a whole watermelon, it should be heavy for its size. Watermelon is 92 percent water and that accounts for most of its weight.
You want a firm, symmetrical melon that is free of bruises, cuts and dents. When you turn the melon...Read more


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Results 61 to 90 of 495
Thread: at the crossroads
May 17th, 2009 #61
@kagemusha, thank you for your advide, that´s what i need.
first, concerning to you question, no, i have never been to any life drawing session, i´m student at grammar school.but we have done some drawing from life in my art-lessons.now i use to draw mostly with template, for the faces weeks before i didn´t used a template, i know they look very crooked^^.
today i tried another self-portrait from life(mirror), not happy with it, but i won´t give up.it really motivates to look again at the first page of my sketchbook!
and i did a landscape-drawing, important to me was to reach a deepness with saturation, cuase i have huge problems in all of my drawing with the deepness.
i have 2 versions, which one is better?
Hide this ad by registering as a memberMay 17th, 2009 #62
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May 17th, 2009 #63
The potential is there, i think you need the milage.
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May 18th, 2009 #64
May 19th, 2009 #65
May 20th, 2009 #66
May 21st, 2009 #67
May 21st, 2009 #68
May 21st, 2009 #69
it's really good that you're attempting environments right from the get-go. a lot of people (myself included) put it off way too long, and it really is shooting yourself in the foot. if you can get perspective and environments to a sufficient level, your illustrations practically paint themselves, you know? so, kudos on that.
one suggestion, avoid absolute colors. you will almost never find an organic instance of a pure color- especially white. if you've done an entire environment and it looks pretty good, but you realize you've used a bunch of white, then tone the entire thing down (i prefer a curves adjustment layer for this). then grab your brush again and go back in to hit the brightest areas (ideally those requiring the most focus as well) with a high value. the end result is a drawing with values representative of a realistic spectrum, rather than blown out or under-exposed.
i hope that makes sense. keep up the good work!
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May 22nd, 2009 #70Registered User
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Concerning potrait dravving, especially vvhen you vvant to add tones, as you like to do, geometrisize the face. Make it more structural. It vill help you not only toning the face, but also dravving it. Learn to construct a head.
Loomis books have something about it, as vvell as Hogarth`s books. They are actually very bad books, but getting a good book doesn`t help a beginner much and doesn`t give much kudos in the professional industries, as fine arts are a bit avvay from commercial/games/visualisation and even film.
Your hand dravvings are quite good, it shows that you have it in you - a good sight. It's teachable though, and one needs to practice that aspect of drawing as well.
Concerning the desert, that's pretty nice. But don't saturate it! It's a very common and a very ugly mistake to do. What the desert needs it's just _some_ vivid colour strokes to bring out the full bloom of the colour you already put in there.
Last edited by Litho; May 22nd, 2009 at 09:19 AM.
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May 22nd, 2009 #71Draw or Die !
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Hey dude ! You already made some improvments ! keep working on it ! like sourgasm said, it's cool you're able to do paintings from the get-go ! i also take too much time on mines, and i think it's a great advantage for you ! so keep your painting up, draw more from life, paint from life, and you'll be good in a few time ! Take care
contact: kikindaface.art at gmail.com
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May 22nd, 2009 #72Terrible
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Lots of work, that'll take you far if you're patient. I see scribbling in your digitals, try using a bigger brush then you think you'll need and then slowly block in. This'll make things more realistic and save you a lot of time (you'll be doing one stroke where you would now be doing about 3-5.) Keep it up, I look forward to seeing this stuff by page 15 or so
Get in touch with me at email@example.com
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May 22nd, 2009 #73
more face studies and when you paint try to make them smooth with less white marks in them, set your brush to 1% spacing on Photoshop (if your using it, not to sure about other programs) and then set opacity to pen pressure. That will help smooth your digital paintings out. - And using the burn tool is not recommended for shading.
PS use bigger brush sizes when blocking in colours.
My observational skills may be great but i said nothing about my drawing skills
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May 24th, 2009 #74
Hi HerrleerzeichenS,
The environment from #65 is nice, but the flames would more influence teh light/colour of the surrounding. Some critique for the selfportraits from #66: I do not think it is good to draw a background, like you did. I would leave it away or draw it more accurately. It is great that you are so hard working!
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May 27th, 2009 #75
hey there thanks alot for your comment
there is not much to say to you your walking the right path it just takes time and practice,i like the sketches ur doing do alot more of these,and focus on fixing the stucture in forms,the structural skill is very important, to know how to build stuff.
i dont know if u have seen this link,it changed my life.
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May 27th, 2009 #76
Hey dude you got some nice stuff going on in here :o
I really dig the env's you make..
The faces and anatomy could use some work.. but all in good time right
Keep the fun in what you do and u'll be fine!
Good luck
My Sketchbook
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May 27th, 2009 #77
hey, thanks for visiting my sketchbook AGAIN!
Nice improvement since my last visit!
And how the hell are you so fckin industrious? im soooo lazy...at least your sketchbook motivates me
keep rockin!
join the thunderdome
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May 27th, 2009 #78
WHAT THE F***, thank you so much for your comments, I REALLY appreciate every crit i get, you´re amazing guys, amazing motivating...wanted to stop drawing now, but-NO WAY, have to draw mooore!
@sourgasm: ok, i understood, i´ll do it better
@litho: hmmm, not sure what you mean
@walid : thanks so much :-*
@ SamC: very helpful advice, thanks
@ MY57: aah, okay, helpful, thanks
@engelhardt :thanks, mate
@ Moftah: uhm, yeah, quite helpful!....IT HAS CHANGED MY LIFE!!!
@rogerb: thank you, glad to hear that
@ jatherip: oh, you again. Thank you mate
I was damn sick the last days, i´ve eaten rotten meat well, i was hungry, so i eat it....giving it back few hours later into the toilet bowl
here´s my stuff, erhm: selfportrait, did it before i got sick perspective is getting boring, i´ll try something different tomorrow. (20 min)
2. portrait with photoref. 40 min i guess.
and 1 h portrait with photoshop, tried to learn something about the skin tones
and 3 short environment b/W
May 27th, 2009 #79
May 28th, 2009 #80
yo dude, you improved, again! you'r doing well man!
a thing i noticed is, that your drawings of smaller things are a bit better then the bigger ones. the banana and the revolver look much more patient as the scenery and the war scene. i'd say try to focus on smaller things, or take some more time for the bigger ones? its not so bad to work a few more hours on one thing, if it really takes you somewhere. dont be afraid to slow down while drawing, and see where you need a little more detail, and then maybe work half an hour on some stupid detail
but anyway, youre getting somewhere!
My sketchbook: http://www.conceptart.org/forums/sho...106521&page=11
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May 28th, 2009 #81
Hey there, I appreciate you dropping by my sketchbook. Thought I'd give you my 2 cents:
You can use different kinds of brushes the right way, especially in the landscape pictures, which is really nice. I also saw good things coming out of your hand studies. Your Heads and overall anatomy still need work!
Keep it up dude!
http://www.sakuhatakka.com/ - image portfolio
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May 28th, 2009 #82
oooh no, again 3 ´o´ clock , catually i wanted to go to bed earlier
bit i had to draw.
did some posemaniacs and head-drawings from loomis today, cause i have to work on that.
tomorrow i finally try to start with anatomy studies...hope so.
here´s just the digital stuff i did today, i´m to lazy and tired now to show the doodles.
my eye, used a mirror- i know it absolutley sucks, have to work on skin-tones! do you have some advice?
the second one is another studie, orange-fruit and a kitchen-knife(my favourite one ) (1h 20 min very long, most of the time took the orange skin, took a lot of time to look brushes-so it´s long, but ok)
@ajvena:thank so much ;* i´ll keep that in mind
@spats: thanks, i´m wondering why peole always mention my hands
so here´s the digi stuff
May 29th, 2009 #83
May 29th, 2009 #84
Nice work HerrLeerzeichenS! Good to see work on the traditional and digital sides of things, nice work on that recent still life. Good to see some anatomy work too. Make sure to do some heads from imagination too to make sure you keep the Loomis study in your head.
Keep up the good work!
Conor Burke
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May 29th, 2009 #85
Wow. Tons of improvement for sure. The still life is amazing! I don't have anything to say other than you are definitely on the right track.
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May 30th, 2009 #86
Hi there! Would you like some crits?
The hands of the girls are too small on 44. A hand covers just the face. The middle finger will at least hit about the middle of the forehead. If the hands are in a plane that's more foreground than the face, they will have to be bigger because of perspective.
Is that from Jean Giraud on 55? He reminds me of Blueberry.
I notice your hatching is still somewhat random and sparse, it's going all the same direction accross the face. Try to cross hatch or make hatching follow the direction of the planes of the face. I am not very good with planes yet and I tend to do hatching so thinly it blends, but there are good examples in the self-portrait gallery. Louise Gordon also has great examples of different kinds of shading you can do in her book on heads. I don't have it with me at the moment.
78 is your best self-portrait so far. It was quite a leap comparing to previous ones.
That banana is very good, colours look right. Just too overipe to eat for me. The orange and knife is your best digital so far. The peel is very well achieved. I can almost feel the softness. The metal on the knife is quite good, it just needed to have firmer edges. Don't blur edges of things that are hard in real life.
You vary your studies and that's really cool. You're hardworking and it's paying off. I like that you did a lot of posemaniacs and Loomis anyway when you were unmotivated. I just rant when I feel like that.
Your hand studies are excelent too. That's what I'm going to do today. It's unexplored territory for me.
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May 31st, 2009 #87Registered User
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I like the studies and the dune painting especially. Dunes are hard to paint for some reason-- lots of subtle gradations of value and for some reason your eye can pick up on it really easily if it's wrong.
"I was damn sick the last days, i´ve eaten rotten meat" Don't be too sure it was rotten meat-- there's something evil going around. I was sick for a week and then I felt better for a week and then this week I got sick again.
Last edited by Strela; May 31st, 2009 at 07:12 AM."I know the Way, know the Way, know the Way, know the Way" -Achilles' Last Stand
Tutorial: Realistic Perspective Renderings from 2D Line Art
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May 31st, 2009 #88
@mac tire thanks, yeah, i do that
@pixie trick: thanks alot
@leonor: wow, great response, thank you very much
Indeed, it´s blueberry, i wrote somwhere, taht i use to upload some drawings based on blueberry, he´s the hero of my childhood,and well, he´s still my hero, i ave nearly every comic of him.
strela, who knows mybe there´s something evil, very misterious
here´s the stuff i did yesterday, hadn´t the time to upload, maybe this evening i´m going to upload again.have to learn for driver´s licence at the moment.
posemaniac, studie of drapery, and a drawing i did in our garden
June 1st, 2009 #89
coproduktion with jatherip who asked me to take a look at a quick sketch of him, anatomy etc. i asked how about a challenge, both of us make a drawing based on his lines.
he´s an fantastic guy, very helpful and motivating. KLICK - http://www.conceptart.org/forums/sho...151611&page=2] -
photoshop, took 5 h. as ajvenema said: maybe i should slow down and make a longer painting, spending more time on detail.well, i did.
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June 4th, 2009 #90
Great gesture drawings and rough sketches. You have a nice sense of color. I would like to see you push yourself further though. The Desert in post #61 is a bit more believable than the more recent picture. I would love to see this pic with more time spent on it. I think it will be pretty rad.
Keep it up man. You can become something really surprising.
Live life, Live love, Love life, then die -- SaiVix
I would really love some honest critiques and improvements suggestions
Renewed Study - I'm drawing again!!
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MLB Game Summary - LA Angels at Chicago Cubs, Game Two
(Saturday, March 23rd)
Final Score: Chicago Cubs 7, LA Angels 6
Mesa, AZ (Sports Network) - Pinch-runner Shawon Dunston scored the deciding run on an Ernesto Frieri wild pitch in the bottom of the eighth inning, giving the Chicago Cubs a 7-6 come-from-behind win over the Los Angeles Angels of Anaheim in spring training play.
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Enjoy our daily lunch specials
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Sunday, October 14, 2012
iPhone picx
I can't wait for the pictures of my birthday celebration last night! :) will blog bout it once Bobby sends me the pictures. Also gonna blog about the place my bf & I had our anniversary dinner at. The food was AMAZING.
at 12:36 PM
2 comments:
- AnonymousOctober 14, 2012 at 5:37 PM
can't wait to see your birthday picture! you must have tons of fun and have a blast, annyway happy 21st birthday tammy! continue to stay pretty forever.ReplyDelete
there is a question that i would like to ask you. would you prefer doing crunches until you are tired or do sets? i can't achieve your flat stomach, can you share how you get your stomach so flat and nice? what did you do to it. sorry for asking so much, would hope you could share your secret recipes! :) cheers.
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24 hours after last month's critical vulnerability in Cryptocat hit its peak controversy point, I was scheduled to give a talk at SIGINT2013, organized in Köln by the Chaos Computer Club. After the talk, we held a 70-minute Q&A in which I answered questions even from Twitter. 70 minutes!
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just been doing a bit of wishful playing around with holiday bookings and 4 nights in disneyland paris is more expensive than a week in florida staying onsite the disneyland paris didnt even include transport there!!!!! its just so expensive to go to paris.
not that we can afford to go with buying the house but i was dreaming


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CHENNAI: Officials of the Directorate of Revenue Intelligence seized 96.26 kg of ketamine hydrochloride, valued at Rs.9 crore, from two export containers bound for Malaysia at the Tuticorin port on Wednesday.
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The introduction of the Rebel Alliance as more than just a rumour or distant organisation is something that most EOTE groups will have to go through, especially if they plan on actually having their PCs become involved in the Galactic Civil War. Sometimes PCs will have background with the Rebels, but sometimes the group will have had no prior dealings with the Alliance.
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My cats love these and I love the price. It is easy to have a number on hand to swap out when they get bored or just need a change. Or when I get bored and want to see something different batted across my floor.
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