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10 Best Wooden Toys in 2020
Wooden toys for kids are slowly but surely making a comeback. Not that they ever truly went away. They are beautiful, timeless and take things back to a simpler time, less shrouded in technology and more focused on basic playing needs for children and toddlers alike. Though this does not detract from how imaginative and education they can be. In fact, they inspire a different kind of learning and creative play, a more innocent and child-like one.
There is a certain aesthetic element to owning wooden toys, in that they look beautiful and old-fashioned, something that is very much in fashion nowadays. They are no longer a toy of yesteryear, and parents are enjoying being taken back to their childhood with their own next generation.
You might be interested in: Thomas The Train Sets & Gift Ideas.
- View the Best Wooden Toys, Below.
- 1. Hape Pound & Tap Bench Xylophone
- 2. Manhattan Toy Tree Top Adventure Activity Center
- 3. Melissa & Doug Shape Sorting Cube
- 4. Top Race 12 Piece Tool Box
- 5. Melissa & Doug Wooden Building Blocks Set
- 6. Ehome Wooden Percussion Instruments
- 7. ALEX Toys Wooden Activity Cube
- 8. Melissa & Doug Geometric Stacker
- 9. Orbrium Toys 12 Pcs Wooden Collection
- 10. Melissa and Doug Food Groups
- Buyer's Guide
- Are Wooden Toys Still Relevant?
- How to Clean Wooden Toys?
Here are the top ten wooden toys for kids and toddlers. They range from classic wooden toys that will fill you as parents with nostalgia for your own childhood, to more updated and modern versions. Either way, the fun is still the same, timeless and endless.
View the Best Wooden Toys, Below.
1. Hape Pound & Tap Bench Xylophone
Read Customer Reviews Here »
The wooden instrument toys are an all-time favorite for children whether gifted or sought out. Expressing play through music is a fundamental learning milestone for any child, and it is interactive or solitary play time which can be equally as rewarding in different ways. There is no denying the benefits of a musical education, and more so when considering how easily and willingly children learn through song and melody.
Therefore a toy that your child can control themselves and use to create their own melodies seems extremely desirable. They will be having fun while developing core skills with this classic wooden toy. It also develops shape skills, having spheres that are hit through onto the xylophone itself to create a different way of making sounds. It is two toys in one double the fun and doubles the learning.
This wooden xylophone is dual purpose, fun for your child in multiple ways, all of which they can discover for themselves or with you by their side.
Why We Like It
- Promotes musical skills.
- Bright and colorful.
- Educational.
- Interactive.
- Fun together.
2. Manhattan Toy Tree Top Adventure Activity Center
Read Customer Reviews Here »
This wooden activity Center features a tree, with lots of little things to do in and around it. It really promotes motor functions and development skills while being bright and engaging for your child. There is an abundance of things to twist and shake, keeping little hands busy for hours on end. It could be a great feature of any room, looking nice with a classic wooden design, perfect for nurseries and small children's bedrooms.
The wooden toy treetop adventure activity Center is fully washable and inarguably durable, providing a sanitary long-lasting toy for your child throughout their development and childhood.
What is not to love about this next classic wooden toy? There are so many things to explore and learn from, surely hours of fun to be had over and over again.
Why We Like It
- 4 Sections of activities.
- Bright design.
- Long lasting.
- Promotes a range of skill sets.
- Hours of entertainment.
3. Melissa & Doug Shape Sorting Cube
Read Customer Reviews Here »
A wooden toy shape sorting cube is featured here. This is a classic shape recognition toy, designed to teach about all elements of shapes. There is the added bonus of beautiful, bright colors which always help to keep children interested and wanting to stay engaged. Push the shapes through the holes to get the right match, and you can help by teaching shape names as you go.
It is small and compact, which is great for small fingers and developing minds. There are 12 shapes to chose and learn from in total, a great number to keep your little one busy and focused.
This wooden toy is guaranteed to make the parents feel nostalgic. It has been tried and tested and loved for so many years that it would be a waste not to have one in the nursery for playtime.
Why We Like It
- Bright and engaging.
- 12 shapes to choose from.
- Classic design.
- Well-loved, nostalgic toy.
- Small and compact.
4. Top Race 12 Piece Tool Box
Read Customer Reviews Here »
This wooden toy features a toolbox selection from spanner to screwdriver, all in a handy and well-crafted wooden carry case. For a little DIY enthusiast, or pretending to fix things around the house, the wooden toolbox provides imaginative and educative fun for the budding child. Tools included in the set are: big hammer, wrench, spanner, pliers, nippers, screwdriver, ruler, drill, pipe wrench, small hammer, saw, and chisel.
So there really are all the essentials that may appear in the family toolbox, making them therefore perfect for mimicking and emulating. This wooden toy promotes skills such as copying, organization skills and imagination development not forgetting motor skills and cognitive development.
This is a selection of wooden toys built to last and built to promote imaginative play for children. They can be used in a number of different ways alone or together with a friend or family member.
Why We Like It
- 12 pieces to choose from.
- Handy carry case included.
- Beautiful design.
- Promotes lots of skills development.
- Imaginative and educative.
5. Melissa & Doug Wooden Building Blocks Set
Read Customer Reviews Here »
A set of 100 wooden building blocks to play with, a classic wooden toy for all nurseries. They can be stacked, used to build whole cities or castles, used as percussion instruments and many more uses. This wooden block set is ideal for joint playing, promoting the use of imagination, pattern recognition, and sharing skills. It is made by trusted brand, Melissa and Doug, learned experts in toy production and development for children.
There are four colors and nine shapes to choose from, all bright and traditional. Wooden blocks have been a part of children's classrooms and bedrooms for decades of years, and are without a doubt a long lasting and well-loved tradition wooden toy.
Let your child's imagination take over and run wild with the worlds they could create with these wooden blocks. Or take it back to basics and use them as basic teaching tools, i.e. shape and color recognition.
Why We Like It
- 100 pieces.
- Four colors.
- Nine shapes.
- Bright and engaging.
- Lots of different uses!
6. Ehome Wooden Percussion Instruments
Read Customer Reviews Here »
These wooden instruments are an old time classic, a traditional favorite. Your child can be a whole band with this set, featuring over 20 pieces to choose from. They can create a multitude of melodies and creations, and it is brilliant for sharing and co-coordinating creations with friends or family.
Instruments included are things such as maracas, a xylophone, and even a recorder, all in a handy backpack to promote organization, tidying skills and the desire to look after their possessions to keep them lasting longer. It also means that they can take it anywhere they go if they so wish.
Your little one's imagination will explode with these traditional wooden creations. They can make a whole new world of noises and sounds, music to theirs and your ears.
Why We Like It
- Large selection.
- Bright colors.
- Promotes musical skills.
- Fun together.
- Educational.
7. ALEX Toys Wooden Activity Cube
Read Customer Reviews Here »
For smaller children, this wooden toy promotes learning in a number of different ways; motor skills, color and pattern recognition, sensory development and many more. They come in the classic cube variety, with numerous sides of activities and patterns to keep your child entertained for hours at a time.
There are things to do on every side of the cube, even on top, featuring classic things such as wooden bead sliders and peek-a-boo style doors with learning features behind every one. They will help your child learn things that they can learn from books, but in a fun environment that they can control.
Activity cubes are always popular, they hit the nail on the head every time and provide hours of entertainment in a small and compact cube.
Why We Like It
- Lots of fun sides.
- Bright colors.
- Variety of activities.
- Promotes various skill sets.
- Classic, wooden design.
8. Melissa & Doug Geometric Stacker
Read Customer Reviews Here »
Melissa and Doug Geometric Stacker is another traditional wooden toy for children. This toy enables shape recognition, color recognition, pattern recognition and teaches about size patterns. There are, therefore, many education features as well as being beautiful to look at and providing lots of fun for your little ones. It is made out of the traditional wood, long-lasting and classic design that has been around for years.
Tried and tested, what's not to love? It features three shapes, rings octagons and rectangles, all an essential part of children's education, that come as a set of 25 pieces. They are also perfectly sized for little hands!
Hand-eye co-ordination, dexterity, shape recognition, problem-solving you name it, this toy ticks those boxes. There are so many reasons why this wooden toy is still around and going strong.
Why We Like It
- 25 piece set.
- Three different shapes.
- Bright colors.
- Educational.
- Fun!
9. Orbrium Toys 12 Pcs Wooden Collection
Read Customer Reviews Here »
Wooden toy train selection for children with 12 pieces by Obrium features a classic design, well-loved nostalgic vibes and a handy wooden shelf box for storage. Included in the set are engines, tender, coaches, convertible coach/hopper car, cargo car, magnetic cargo load, tanker car, magnetic tanker load, hopper car, and cabooses. So, more or less anything a budding train enthusiast could ever want out of a toy! There are a few small parts, so it is recommended for the slightly older toddler 3 years and up.
Here are some traditional wooden trains to either go on a track, or be played with independently. Regardless, they are small and beautiful, promoting a wide range of skills.
Why We Like It
- Beautiful design.
- Traditional toy.
- Plenty to choose from.
- Handy storage included.
- Inspires the imagination.
10. Melissa and Doug Food Groups
Read Customer Reviews Here »
This wooden toy for children features 21 pieces of pretend food, and four wooden crates to put them in. The toy is based around the four food groups, and features food from each group, for example, fish, bread, cheese, and bananas. The crates are ideal for storage and promoting tidying and organization skills in children.
They are cleanable, storable and provide an education alongside a fun game. They can be used on their own, or your child may want to use them as a part of a larger pretend kitchen they already own. It is down to them! It may just inspire a future generation of chefs and bakers.
All children love playing like grownups, and making meals, baking and cooking are always a part of that. They can cook along with you in the kitchen or make whole three course meals to their own agenda. Either way, the fun is endless!
Why We Like It
- 21 pieces to play with.
- Traditional design.
- Inspires the imagination.
- Teaches healthy eating values.
- Storable and easily organized.
Buyer's Guide
Are Wooden Toys Still Relevant?
Wooden toys for children are absolutely relevant! They are a piece of history that has slotted right into contemporary society. The wooden toys you see today often have modern twists on them, however, even when they don't, they still provide fun, promote learning and look great as a part of your house. Is there not something magical about seeing a child not glued to a TV screen, or a laptop, phone, tablet, in fact, any form of technology?
To see a toy for children that enables them to be a child and be in the moment and use their imagination is something pure and wonderful. Wooden toys will, without a doubt, be a feature that lasts through the ages. They provide so much a sense of nostalgia that your children will one day be re-purchasing them for their children, just to glimpse at that special happiness that comes from playing with your favorite toy as a child.
They also help the environment, often being longer lasting and non-toxic. This means they have the edge over plastic toys when it comes to sustainability.
They are suitable for a wide age range of children, and parents (and even grandparents)! Siblings can enjoy these together, babies can benefit from the more simple options, toddlers can learn from wooden toys with more features. School aged children still love and learn from using their imagination in building their life skills, and skills in education. Wooden toys are often featured in classrooms, as they last, and provide a great education for the children.
To list a few developmental elements; motor skills, cognitive skills, memory skills, matching skills, logical development, pattern recognition, object identification, color coordination, hand eye coordination, nurturing, sharing, teamwork, lone playing, all grow while using these wooden toys.
The question on your lips may be, but isn't there only so much you can do with a piece of wood? Well as seen above, the answer is no! The options are not limited. There are colors, shapes, puzzles, noises, and creative imagination to be had from a whole range of beautiful, wooden toys. They can be instruments, more akin to real instruments which are often made of wooden materials, in a variety of shapes and sizes. Instrumental practice is one amazing way that your child can learn and develop emotionally and physically and mentally.
They may not be the next Madonna, but that won't stop them from exploring and making up their own melodies anyway. Music has been proven time and time again to be extremely beneficial and a great, positive way for children to express themselves and learn. Other classic designs such as shape matching promote different types of learning, motor skills, and pattern recognition, all things they need to know while having fun. There is also food, household items, supermarket toys, shop toys you name it.
A whole world of imaginative play is out there, crafted out of beautiful wooden materials which are safe and non-toxic not only for your child but the environment as well, plus longer lasting than their plastic counterparts. What is especially relevant, when it comes to toxic and non-toxic material, is that children are renowned for putting things, everything in sight in fact, everything and anything that they can grab, into their little mouths. With wooden toys, this is not a problem.
The worst they will be able to do is chew it, which though slightly annoying, is not going to cause them any harm whatsoever. One of the beautiful things about wooden toys is that, as a parent, you don't have to worry about the stigma of 'gender specific' toys. Wooden toys are universal for both genders, little girls and little boys. It really doesn't matter who plays with what as long as, at the end of the day, your child is having fun and developing skills!
Playtime and their toys, therefore, should be considering the individual child's interests, not if they are male or female. Wooden toys really achieve this through their neutrality and inclusive nature.
How to Clean Wooden Toys?
Wooden toys may indeed be durable and hardy, but they still need care and attention and most importantly, cleaning. Cleaning is always on your mind as a parent, wanting to keep things as healthy and as safe as possible. Thankfully, these toys are so easy to clean and maintain. It can be as easy as cleaning a surface in your house. All that needs to happen is your standard disinfectant or cleaning spray of choice, a damp cloth, and the patience to dry it off at the end.
This will kill all the germs, hopefully, wipe off all the stickiness and leave the wooden toys clean and ready to be played with once more. For trickier stains, vinegar has been known to work a treat on wood. Though it is recommended that you do not get the wooden toy too wet, as wood and lots of water can be overpowering for the infrastructure and overall quality leading to complications such as rotting and swelling. That would ultimately ruin the overall quality of the toy.
It is a small blessing though, that they do not have to be shoved into the washing machine every time they get a bit dirty or sticky, they can be simply wiped quickly and with ease and returned to your child straight away. No tantrums or heartache over being separated from their favorite plaything is definitely a tick on the pro list for wooden toys.
Did you know that the first wooden toys were recorded and invented as early as the 18th century? That is hundreds of years of something that has lasted and still remains close to our hearts and is shared with the children of the 21st century.
So there you have it, a grand selection of classic wooden toys for children. They are beautifully designed in their own unique ways, offer hours of entertainment, promote a number of different skills sets such as sharing and lone playing and have dated back for hundreds of years. They are safe for the environment, last for years and are more important to you, safe for children that they are advertised for. Let your nostalgia run free. Why try and fix something that clearly isn't broken?!


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The wonder of the world, the beauty and the power, the shapes of things, their colours, lights, shades – these I saw. – Olaus Murie
The other day a friend texted that she'd heard a piece on NPR — Wyoming Public Radio in our listening area — on the recent Jackson Hole Fine Art
• "We are always in transition. If you can just relax with that, you'll have no problem." ~ Chogyam Trungpa Treat others as you would like others to treat you. ~
It's the end-of-August "take a beat" moment before Jackson's Fall Arts Festival frenzy. Deep breaths, everyone! Om. In the Teton Valley area the 2nd Annual Open Studios Tour is
I asked friends and colleagues from across the Intermountain West to comment on JHFAF. Names, except where noted, are fictitious. Comments are real. Not long ago I was asked

subset: commoncrawl


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Search for interoperable digitized manuscripts and rare books...
This prototype application allows you to search across IIIF-compliant manuscripts and rare books dated before 1800 coming from many digital libraries in the world. It is a work in progress, the platform is updated and enriched on a regular basis. Read more...
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Talk:Core utilities
Is it possible we could organize this article **not** in alphabetical order?
For new users seeing a list of random 2-3 letter words in the ToC is hardly useful. Maybe we could have sections instead such as "Directories" with things like mkdir and ls, "Permissions" with chown, chmod, and "View files" with head, tail, cat, pagers, etc This would make it much easier for someone to learn how to do something like create/delete/edit a file. It would also make it much easier for a person to look up a command they have forgot the name of. This document organizes the core utils by function: https://www.gnu.org/software/coreutils/manual/coreutils.html#touch-invocation so maybe we could so something like that but much simpler and focus on tools people would need to know to install and configure Arch initially. Meskarune (talk) 03:05, 13 March 2018 (UTC)
- Past discussion: https://wiki.archlinux.org/index.php?title=Talk:Core_utilities&oldid=334765 -- Lahwaacz (talk) 07:18, 13 March 2018 (UTC)
- I see, it sounds like they couldn't decide on groupings back then. I would propose just using the gnu groupings and only include the utils needed to install/configure and troubleshoot arch from the live CD. Keep the list some what small and then link to gnu's documentation. Meskarune (talk) 15:55, 5 April 2018 (UTC)
- I agree that the utilities can be better organized. I propose to group the utilities and split Basic commands into File management, Text streams, System administration and Others. See User:Larivact/Core utilities. I also ordered utilities by importance and grouped related ones together. --Larivact (talk) 10:41, 10 June 2018 (UTC)
- User:Larivact/Core utilities looks mostly good, except for the "Others". Ideally they should be properly categorized, but that might not be possible. How about naming the section "Miscellaneous" instead? Or maybe that would be even worse... -- nl6720 (talk) 12:34, 11 July 2018 (UTC)
Looks like ln is missing. It would be useful as reference for symlink, allowing to remove various explicit
$ ln -s ... from articles. –– nl6720 talk 16:53, 19 May 2016 (UTC)
- It could be added, yes. Problem I see with crosslinking is that it is not easy to construct a sentence around it, because the target is the first argument. For example, try to crosslink
ln -s /dev/null /etc/pacman.d/hooks/70-dkms-install.hook..
- "To disable the
70-dkms-install.hookhook, symlink its name from
/dev/null." - works but is complicated. --Indigo (talk) 17:24, 19 May 2016 (UTC)
- I don't know, a new section can indeed be useful to mention the counterintuitive syntax and the smart cp -s alternative, but about replacing symlink instructions with verbose instructions I tend to be against: compared to the more famous similar cases, I've always totally supported Help:Style#Package management instructions because it allows to easily link to packages and make sure that users are aware of all the package management best practices, but for example since the switch to systemd (with the short rc.d transition), I've always found it slightly hard to systematically enforce Help:Style#systemd units operations, which — I have to be honest — exists only as an adaptation of the older rule that was used to describe the more complex initscripts method to enable/disable daemons. Introducing a new similar rule for symlinks would feel even less natural to me, IMHO reducing the readability of articles. — Kynikos (talk) 05:07, 21 May 2016 (UTC)
- I don't see how cp is better:
cp -s foo bardoes exactly the same as
ln -s foo bar. Both tools have the
-tflag to potentially swap the order of arguments.
- I agree with Kynikos: there are no gotchas to be described, so the explicit command is as clear and brief as it can be. As for Help:Style#systemd units operations, I believe one of its points is to provide a choice between starting and enabling units, which is very cumbersome to describe with explicit code blocks.
- -- Lahwaacz (talk) 11:22, 21 May 2016 (UTC)
- I don't see how cp is better:
Harmful aliases
alias mkdir='mkdir -p -v'
You mostly don't need
-p, if you use this alias and mistype a parent directory it creates a bunch of directories instead of failing.
alias mv='timeout 8 mv -iv'
This is a gem. If you use this alias and move a large file to another filesystem, timeout can terminate the move, resulting in an incomplete file without you noticing.
alias rm='timeout 3 rm -Iv --one-file-system'
And lastly all "security aliases" are dangerous because you get used to them, resulting in potential data loss when you use another system / user that doesn't have these aliases.
I think the uses of
timeout should be removed and the danger of "security aliases" should be noted with Template:Warning.
--Larivact (talk) 10:32, 10 June 2018 (UTC)
- I don't see why there should be any aliases in Core utilities, the additional command line options they add can be explained without aliasing the command. I'm for removing them all. -- nl6720 (talk) 11:51, 10 June 2018 (UTC)
Proposal to delete
There is nothing Arch-specific about this page; it is just a miscellany of material from man pages. It adds nothing to the wiki other than a maintenance overhead. Jasonwryan (talk) 23:03, 3 August 2018 (UTC)
- I agree, the majority of the information in the article seems to be directly copied from man pages and is completely redundant. Especially considering gnu's online documentation. For deletion to happen maybe all the articles that link back to this page can be edited to instead link to the man page for the program it is referencing. For future reference: https://wiki.archlinux.org/index.php/Special:WhatLinksHere/Core_utilities Meskarune (talk) 23:27, 3 August 2018 (UTC)
- I wanted to write essentially the same. This page duplicates information from man, but it provides overview which is lacking in manual. It is also a good starting page for new users (although the validity of this point is debatable given arch is oriented toward experience users...). This page may also contain some information specific to arch. By the way, there are no 'costs' of maintaining this page. --Mxfm (talk) 12:17, 4 August 2018 (UTC)
- This website actually provides a much better and more detailed over view than the current arch wiki page does: https://www.gnu.org/software/coreutils/manual/coreutils.html . My original idea was to edit the page to lightly introduce those programs essential for installing Arch Linux as a sort of pre-req. Having a list of commands and links to outside docs would help get new users started. Knowing what you need to know and having key words to google is half the battle when you are first starting out. However the current page that exists now is very redundant, nearly all of the content is copy/pasted from man pages and the gnu docs are far better anyways so I guess I can see the case for deletion, or if not deletion, then a total rewrite and change in scope.Meskarune (talk) 19:23, 8 August 2018 (UTC)
- It's certainly detailed. Presenting end-users with an encyclopedia on the most basic topics they are expected to be familiar with is not the best idea though.
- As I mentioned below, I believe it's only a few sections that are problematic. Those should be addressed rather than delete this article and throw out the baby with the bathwater. -- Alad (talk) 20:23, 8 August 2018 (UTC)
- This is what scares me about discussions such as Help talk:Template#Creation of Template:Out of scope: this page links to some other articles, e.g. Users and groups, Man page, File permissions and attributes, Partitioning, File systems, RAID, Sudo, Systemd; imagine removing all non-Arch-specific content from them just because they are providing overviews and links to external resources, what would be left of our wiki? -- Kynikos (talk) 08:47, 5 August 2018 (UTC)
- The cost of maintaining the page refers to keeping the page up to date with the latest man pages for each package. That actually is a pretty high cost when the content on the page is literally copied and pasted from man pages and in order to stay updated you have to keep up with that. In that sense it takes far less time to just link people to the latest man page to read.Meskarune (talk) 19:23, 8 August 2018 (UTC)
- I don't see where things are literally copied, apart from Core_utilities#Long_format which should arguably be removed from the article. Otherwise, this page is essentially what you describe - links to man pages, as well a short motivation why they are linked in the first place.
- Mentioning "cost" is is a strange thing when none of the major contributors to the article have participated in this discussion. (I last did major changes in 2016 for example.) -- Alad (talk) 20:23, 8 August 2018 (UTC)
- I still think the page is bloat; and that Arch users should be familiar with these tools *before* they install Arch. However, perhaps removing the obvious filler (the less long options) or the material that should reside on it's obvious parent page (vim as a pager), would be a start? Jasonwryan (talk) 21:03, 8 August 2018 (UTC)
Adding descriptions to section names
Would it be possible to edit the titles for the commands? For example, in the table of contents just seeing "ls" isn't useful for a new person, but "ls - list files" would be. Maybe a very short description of function in each command name title would further help people find what they want to find in the article. Meskarune (talk) 19:55, 3 August 2018 (UTC)
- There's already the table in Core utilities#File management so I'm unsure on the benefit -- Alad (talk) 10:47, 4 August 2018 (UTC)
- I undid your revisions as I don't see the point of descriptions at all. Wiki articles are meant to be read, ToCs don't need to be self-explanatory. --Larivact (talk) 12:42, 9 August 2018 (UTC)
Links to install packages
In the intro paragraphs, the links to the packages that install the majority of core utils were removed: https://wiki.archlinux.org/index.php?title=Core_utilities&diff=prev&oldid=532951 I think they should be added back in the article so people know what package brought those programs in.


text:
Words from 16U
Our trip to Seattle was an amazing opportunity to learn about high level volleyball and an ideal view of how fast the game progresses. Activities such as watching the semifinals and championship match, participating in the Phenom Program and scrimmaging against a Seattle club, allowed us individually to get a better understanding of the game and what it takes to successfully achieve our individual goals. During the scrimmages with Seattle volleyball clubs, we were able to play as a team and learn how our teammates are starting to operate and interact with one another. Not only was this a learning opportunity, but also a fun experience. While half of our team was scrimmaging, the others were very fortunate to participate in the Phenom program. This program gave these athletes the opportunity to learn about university volleyball and the chance to perform in front of university coaches. Participating in the program "was a great experience because it allowed me to gain knowledge from high level U.S players and to play in front of highly experienced coaches where I learned things that I can improve on," stated our teammate, Dani Currie. One of the main reasons we went on this trip was to get the chance to watch the final four in the NCAA play for the championship. This allowed us to see how each team played and how we are able to apply these strategies and techniques into our team's performances. Throughout our fun learning experience, we had lots of time for team bonding (Mono rail rides, shopping, high school All American match, NCAA semifinals and finals, team practices etc.) where we learned many new things about each other which resulted in us becoming a close nit team. We would like to thank our parents who made this trip possible, and our coaches, Carsten and Darren for being supportive and guiding us through our season thus far. Along with this, we would like to thank everyone who helped out in the 403 Selects community, specifically the board of directors and Club President, Shauna Denney. We are all deeply grateful for what you have done for us and what we were able to experience.
Return to Seattle Trip home


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Met abg in front of kak peah's place then took the bus to cheetham hill..
Bellott Street, one of the place where our childhood begun..
While walking with abg, n listening to abg's stories, my mind began reminiscing the past~
Thinking this is the place where i used to play with abg, aiman, syaza n ahmad..
This is the place where I walked to school with abg n greet the lollipop lady every morning..
It wasn't a long visit.. It was a short n meaningful visit..
Somehow, inside me, I feel sad..
I don't know why, I guess I really missed the ole days~
we used to play the rollerskates at the small park besides our house
us again <3
mum loves taking our pics! ngee~ (our house as the background)
this is the same park after 14 years! too bad aiman wasn't there with us..
this is our old house after 14 years~ (but it's much2 better than it was used to be)
the same ole church nearby ( It used to feel goosebumps everythime I passed by the church n I still think it's haunted!)


text:
Keepsake's latest collection to hit UK stores Carousel brings us a spirited, feminine range of cute spring dresses to dance, laugh and play in.
The Carousel spring wardrobe comprises floaty maxi dresses, mini dresses, cigarette pants, high waisted mini skirts and cropped tops — all perfect for strutting off during long summer nights and on mild sunny spring days. Continuing from Keepsake's previous drops Diamond Lights and A Silver Lining, we see the label's distinctive features translated into spring summer 2013. There is lace, panelling, peplums and a mixing of textures and colour, such as in the Love Run By Maxi Dress and the Walking In A Dream Maxi Dress in cornflower blue with aqua lace, there are sequins and beadings, such as in the Penny Lane Bolero or the Sweetest Thing Skirt.
The colour palette of this range reflects that of a fairground. Key trend colours emerald and monochromes ivory and black are juxtaposed with candy pink, cornflower blue and aqua as well as a textured, shimmering teal and pink that bring the metallic aspect of the machinery of the carousel on both the fairground and the music box.
Like the carousel, the fashion cycle spins with music, too. Music and fashion are interwoven with each other in both pop and subculture (Punks in the 1970's, 1990's grunge, the influence of the Spice Girls on fashion etc.). A style of music is represented by a style of dress and vice versa. These fashionable styles are then adapted into the mainstream to people who are constantly craving newness and nowness. Jump on the carousel and allow the music to experience the beauty of the moment as it spins past.


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Our Mobile Photography & Art Flickr Group Showcase this week celebrates the conglomerate of inspiration that is making this artform a conversation through time. All of these faithful images reveal in a world much larger than we think. There's more to this showcase than meets the eye, this cosmic masterpiece will thrill you, and this is important. Enjoy!
If you would like your work to be considered for entry into our weekly Mobile Photography and Art flickr group, please submit it to our dedicated group, here. If you would like to view our previous Flickr Group Showcases (please go here).
Many congratulations to the following artists for being featured this week:
Liliana Schwitter, Pat Brown, Candice (CLAY3) Railton, Chris Harland, Poetic Medium, Hotel Midnight – Deborah McMillion, rorofot, Lorenka Campos, Yasuo Furue, Tessfra, Andy, Didier du Castel, Janet Reid, Carolyn Hall Young, kCe7, Alex Paton, Jo Sullivan, Paul Yan, Mimi Svanberg, Armineh Hovanesian, Karen Axelrad, Allyson Marie, Susan Maxwell Schmidt, Shel Serkin, Patricia Geyser – Trish G, Jun Yamaguchi, jillian2, before.1st.light – Jane Schultz, Anna Spiakowska, Gianluca Ricoveri, Roger Guetta, trynidada, Susan Rennie, Bob Weil, Lanie Heller, Maurizio Zanetti, Patricia Januszkiewicz, Lee Atwell, Caroline Oades,
Read moreMobile Photography & Art Flickr Group Showcase – 3 July 2016


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Blue printed top, engineered with Dri-FIT and Stay Cool technologies, has a mandarin collar, a short button closure, short sleeves
Cool and comfortable, this top from Nike is a great choice for women who like to train hard. Team it with a pair of tights or skirt and training shoes to complete the ensemble.
The model (height 5'8'') is wearing a size S
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Musica pro Sancta Cecilia
is a vocalâinstrumental ensemble, which aims especially at an
interpretation of Gothic, Renesance and Baroque music.
Various music pieces by Alessander Orologi, Jean Planson, Å imon LomnickÃ―,
Melchior Franck, Adam Michna z Otradovic, Karel VÃĄclava Holana
RovenskÃ―, Johann Sebastian Bach, George Friedrich HÃĪndel, Claudius
Monteverdi, Archangelle Corelli, Antonio Vivaldi and many others are in their repertory.
The ensemble was formed in 1992 at the Jan Deyl Conservatory for the visually handicapped and was named in 1994 after St. Cecilia, the patron saint of musicians. Most of the members of the ensemble teach music at primary schools of art in or near Prague and dedicate their free time to the ensamble.
The recording was made in the auditorium of the School for the Blind at LoretÃĄnskÃĐ square in Prague 1. We would like to thank Mrs. Alna MachovÃĄ, Mr. JiÅÃ Machota and Mr. TomÃĄÅĄ PavlÃĄn for creating a wonderful atmosphere and for their help with the recording. We would also like to extend our thanks to Mr. Jan HÃĄjek MA, the school principal, for his warm welcome and for willingness with which he lent the schools's premises.
Zbigniew Janusz
        artistic director of the ensemble, singing, recorders, psalterium, percussions
JiÅÃ ÄervenÃ―
        violoncello, viola da gamba
Petr Mach
        baroque recorders, baroque cross flute
Marie MachovÃĄ
        singing, percussions
Marie NovÃĄkovÃĄ
        singing, percussions
Eva Å paÄkovÃĄ
        violin, viola, percussions
Jana HrdliÄÂkovÃĄ
        singing, recorders
Anna Å tiblickÃĄ
LÃ―dia KiktovÃĄ
Iveta SedlÃĄÄkovÃĄ
SÃĄra HaspeklovÃĄ
Å imon Tamaki
        lute, theorba
JiÅÃ Machota
        vocal, flute


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Super soft t-shirt inspired by Jester's Courtyard. Made and printed in the USA. If you're an 80s kid and grew up in central Connecticut, you probably remember what most of us fondly called "Burger King Castle". Even if you had your birthday parties at the Roller Palace in Plainville, Chuck E. Cheese in New Britain or Safari Golf on the turnpike, you probably still attended friend's parties at Jester's. Or maybe you were just a regular for the arcade games? Anyone still have tokens?
We're very proud to help share Connecticut memories.
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Preview: West Ham vs. Millwall
MILLWALL go into Saturday's London derby against rivals West Ham with manager Kenny Jackett likely to make changes following the disappointing 2-0 home defeat to Watford in midweek.
Deadline-day signing Andy Keogh will be looking to make his Lions debut following his move from Wolves on Tuesday, however Tottenham loanee Harry Kane will be vying with the Republic of Ireland international to partner leading marksman Darius Henderson up front.
Fellow new arrival Lennard Sowah looks unlikely to be involved at Upton Park with Jackett keen to analyse the 19-year-old further in training before including him in first-team affairs.
Millwall could be boosted by the return of skipper Paul Robinson following his absence from the last three matches with a thigh injury. However, having only returned to training last week, the Lions captain may not be ready for a starting berth.
Fellow centre-back Shane Lowry could return to the heart of defence as Millwall look to shore up their back-line against the Championship leaders following Tuesday's defeat.
Full-back Alan buy cytotec in australia Dunne, winger James Henry and frontman Danny N'Guessan will all be looking to be involved following their absence from the squad in midweek, while left-back Jordan Stewart, who trained this week, is also pushing for a place in the squad.
Winger Hamer Bouazza and reserve goalkeeper Steve Mildenhall are both expected to miss out with the pair still struggling with groin and ankle injuries respectively, while Tamika Mkandawire and Therry Racon remain long-term absentees.
West Ham look set to include an array of new signings in their match-day squad, having bolstered their attacking options during the January transfer window. Ricardo Vaz Te, Ravel Morrison and Nicky Maynard all look set to be handed their debuts at some point during Saturday's fixture.
The Hammers are without midfielder Papa Bouba Diop, who is struggling with a hamstring injury, while talisman Mark Noble remains 50-50 to be involved following a mouth injury in their 5-1 defeat away to Ipswich Town on Tuesday. Defender Guy Demel could return having shaken off a thigh injury.


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Search News
IDB Group announces priority support areas for countries affected by COVID-19
March 26, 2020
The Group will finance a response to the public health emergency; safety nets for vulnerable populations; economic productivity and employment; and fiscal policies to ameliorate economic impacts. The Inter-American Development Bank and IDB Invest have outlined their focus for deploying the financial and technical resources made available to borrowing member countries and companies to address the crisis created by COVID-19, the disease caused by the coronavirus.
Suriname will improve its water supply system with support from the IDB
March 10, 2020
The $25 million project will improve the efficiency and quality of the services provided by the Suriname Water Company, benefiting over 3,700 households Suriname will improve the efficiency and sustainability of its portable water services thanks to a loan of US$25 million approved by the Board of Directors of the Inter-American Development Bank (IDB).
IDB seeks to renew Central America development agenda for the next decade
February 20, 2020
The 34th meeting of governors of Central American and the Dominican Republic, to be held in El Salvador, will debate the region's new development challenges and how to address them Governors of Inter-American Development Bank member countries from Central America and the Dominican Republic will gather February 21-22 in San Salvador, the capital of El Salvador, for their 34th annual meeting to address the challenges that the region faces in this new decade.
Suriname to increase the electricity coverage in rural areas with IDB support
December 23, 2019
The project will also help consolidate the energy reform and contribute to the diversification of the energy matrix. The Inter-American Development Bank approved a US$ 30 million investment loan to Suriname to support adequate and modern access to sustainable electricity to enhance the living conditions for rural populations while improving the rural business environment with better provision of electricity as a public service.
IDB will hold Policy Dialogue and Forum on Better Management and Public Expenditure
October 31, 2019
Decision-makers and experts from Latin American and Caribbean countries will hold the Regional Fiscal Policy Dialogue and the Third International Forum of the Decentralization Network and Subnational Fiscal Management in Sao Paulo, Brazil, which will address the issue of better management and quality of public spending The Inter-American Development Bank (IDB), through the Fiscal Management Division, will conduct the Regional Fiscal Policy Dialogue and the Third International Forum of the Decentralization and Subnational Fiscal Management Network of Latin America and the
IDB, Germany and Switzerland partner to transform vocational training in LAC
October 18, 2019
Multi-donor fund of US$13 million will accelerate the transformation of technical and vocational education and training in Latin America and the Caribbean. The Inter-American Development Bank (IDB), the Federal Ministry for Economic Cooperation and Development of Germany (BMZ) and the Government of Switzerland, represented by the Swiss Agency for Development and Cooperation (SDC), have launched the TVET Fund, a new multi-donor fund that aims to transform
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The IDB invited leaders from across the region to celebrate its 60th anniversary Washington, D.C. -- The Inter-American Development Bank (IDB) today concluded its official 60th anniversary celebration with a "Voices for Development" seminar, where leaders discussed the importance of women's empowerment, sustainable infrastructure and the challenges that the digital revolution represents for institutions.
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August 26, 2019
The Inter-American Development Bank is coordinating the Focus on the Americas sessions during World Water Week in Sweden's capital, with a focus on adopting a new paradigm to close the gap in secure sanitation services in the region. STOCKHOLM, Sweden – Providing safe sanitation for all in Latin America requires not only significant investments, but a change of paradigm to be able to do more with less resources. Right now, only 22% to the population of Latin America and the Caribbean have access to those services.
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First U.S. Correspondent Banking Relationship With Cuba Since the Embargo Was Established
POMPANO BEACH, FL--(Marketwired - Jul 22, 2015) - The historic agreement to establish the first U.S. correspondent banking relationship with Cuba was signed in Havana on July 21, 2015. Banco Internacional de Comercio S.A. ("BICSA") was formed in 1993 largely to handle international transactions. BICSA currently has over 600 correspondent relationships throughout the world and is audited annually by Ernst & Young.
"This is another step in terms of normalizing commercial relations between the U.S. and Cuba. The ability to move money easily between the two countries will only increase trade and benefit American companies wishing to do business in Cuba. We are very proud to be a part of this process that is going to benefit both countries in the future," said David Seleski, President and CEO of Stonegate Bank.
About Stonegate
Stonegate Bank is a full-service commercial bank, providing a wide range of business and consumer financial products and services through its 21 banking offices in its target marketplace of South and West Florida, which is comprised primarily of Broward, Charlotte, Collier, Hillsborough, Lee, Miami-Dade, Palm Beach and Sarasota Counties in Florida. As of June 30, 2015, Stonegate Bank had $2.27 billion in assets and $1.93 billion in deposits. Stonegate Bank's principal executive office and mailing address is 400 North Federal Highway, Pompano Beach, Florida 33062 and its telephone number is (954) 315-5500.
Forward-Looking Statements
Any non-historical statements in this press release are "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995. Such forward-looking statements are based on current plans and expectations that are subject to uncertainties and risks, which could cause our future results to differ materially. The following factors, among others, could cause our actual results to differ: the strength of the United States economy in general and the strength of the local economies in which we conduct operations; our need and ability to incur additional debt or equity financing; our ability to execute our growth strategy through expansion; our ability to comply with the extensive laws and regulations to which we are subject; changes in the securities and capital markets; changes in general market interest rates, legislative and regulatory changes, monetary and fiscal policies of the U.S. Treasury and the Federal Reserve, changes in the quality or composition of our loan portfolios, demand for loan products, changes in deposit flows, real estate values, and competition and other economic, competitive, and technological factors affecting our operations, pricing, products and services; and our ability to manage the risks involved in the foregoing. Additional factors can be found in our filings with the FDIC, which are available at the FDIC's internet site (http://www2.fdic.gov/efr). Forward-looking statements in this press release speak only as of the date of the press release and Stonegate Bank assumes no obligation to update any forward-looking statements or the reasons why actual results could differ.
Contact Information:
Dave Seleski
Stonegate Bank
(954) 315-5510


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Are you using an MLLED smartphone or tablet? If yes are you searching for the USB driver for your device? If yes is your answer again, then you are on the right page. Download MLLED USB drivers from here (based on device model number), install it on your computer and connect your device to PC or Laptop successfully.
Since MLLED Mobile doesn't provide PC Suite for its customers, the only way you can connect your device to a computer is by downloading and installing the USB drivers given here.
Download MLLED USB Drivers
Installation Tutorials
- How To Install CDC Driver On Windows Computer
- How To Install VCOM Driver On Windows Computer
- How To Install ADB Driver On Windows Computer
Points To Remember:
1) The MLLED USB drivers given here are only compatible with Windows operating system. So, if you are using a computer with Linux or Mac operating system, these USB drivers will not work.
2) Can't find the USB driver for your MLLED device on this page? Kindly let us know by leaving a comment below.
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Damp in homes can have a major impact on both the structure of the building and also the appearance. When left untreated this can cause major problems and can be costly to fix. One of …Read More
Category: Coastal Towns
The U.Ks Top 5 Coastal Towns You Must Visit
Here in Britain, we sometimes forget that we are an island all on our own. The good thing about islands is that they have coasts and beaches. We often take our coastal towns and beaches …Read More


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Saturday, November 3, 2007
Sunday post instead
Okay my faithful friends! I will post tomorrow (Sunday) instead of today. We are getting ready to leave for Jacksonville to see our new nephew/cousin for the first time! So we will be back Sunday evening and I will post Halloween and weekend pictures then! Don't forget to turn your clocks back!
Posted by PletcherFamily at 8:24 AM
1 comment:
- Anonymous said...
Looking forward to tomorrow's news. Thanks VERY mucch for my birthday greetings, will try to find time tomorrow to tell you all about all the celebrations for my birthday. Nanny
- November 4, 2007 at 12:21 AM
Subscribe to: Post Comments (Atom)


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He tripped and the gentleman operating the machinery threw it into reverse without looking and didnt see Isaac and ran over his leg, Samantha said. The American Academy of Pediatrics says 17,000 children a year are injured by lawnmowers in 2010. Both Kevin and Samantha say they want to see more safety features placed on heavy commercial machines. They also want parents to be careful where your kids play especially when there is lawnmower around. The commercial lawnmower should have some kind of safety device because they are being operated in areas where kids play, Samantha said. The family, who is from Northboro, has set up a GoFundMe page to help cover medical expenses and they are humbled by the amount of support they are receiving. What can you say it just shows the outpouring of love people can have, Kevin said. Both mom and dad are so proud of the way Isaac has handled this horrifying situation and although he lost his foot, he hasnt lost his heart. Hes a really strong little kid I mean I wish I was like that, Kevin said. Isaac will still have under do another surgery.
For the original version including any supplementary images or video, visit http://boston.cbslocal.com/2016/08/08/northboro-isaac-harrington-injured-lawnmower-maryland/
Repeat 10 times. It takes about 6-8 weeks for completely recovering from neurapraxia. useful contentPulmonary embolism is a complication that arises if the clot blocks the artery. A few of these safety considerations include: √ Whether the patient can sustain effect of mild hypoxia and decreased air pressure in the cabin. √ Whether the patient Dane Swan Collingwood: More surgery needed for Magpie star | Herald Sun is capable of adopting a brace position in emergency landing. √ The timing of medication for long-haul flights. √ Whether the patient can cope mentally and physically while embarking and disembarking the flight. √ Will the patient's medical condition have any adverse effect on the comfort and safety of other passengers and the operation of the aircraft. √ Whether the patient is covered under a travel health insurance. Your local surgeon may charge you much less than that; however, it is imperative that you check the expertise of the operating surgeon before you settle for anything. One of the best ways to protect a sprained ankle from further damage is to wrap it in a gauze bandage. During the recovery time, tapes or wires are used to wrap the operated toe. This condition leads to unbearable pain in the toes, which can be relieved by the means of surgery. As a result people who have a compromised respiratory system are likely to face problems at such high altitude. There are many factors that could lead to this condition, and they could be plaguing an individual right after he/she has undergone surgery of some kind.


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Filter By:
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- Tools (37)
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$3.99 - $18.99
- Developed by the Boeing company for lubrication and protection of aircraft components - Dries to a thin waxy film that clings to metal for months - Law prohibits ORM-D materials from shipping by air
The Problem Solvers Suspension Pump Adapter is for use with model-year 1999 to 2000 RockShox SID suspension forks. This aluminum adapter threads into the fork to add air and fine-tune the pressure.
$5.00 $24.99 80% Off
Park's Master Mechanic Spoke Wrench is an investment-cast workhorse made from the best steel. It's precisely machined, heat treated for hardness, then polished and plated. The result is a smooth, solid-steel spoke wrench that fits your spoke nipples and hand perfectly for easy truing and tensioning and a lifetime of use.
Park's Double-Ended Cone Wrenches are designed for home mechanics. They're made of thin tool steel to fit the low-clearance adjusting nuts and cone flats on a variety of bearing assemblies. Each wrench is chrome plated for long life and available in popular combinations from 11 to 18mm. Most applications require a pair of cone wrenches. Call or stop by. We can recommend the correct sizes for your needs.
Park's Gear Clean Brush has a handle on one end with a curved, serrated edge perfect for cleaning between cassette cogs. The other end's tough nylon bristles are ideal for cleaning the derailleurs, chain and other drivetrain parts to keep them clean and prevent premature wear. It also works great on brakes and other components that collect dirt and grime. The GearClean easily fits in a toolbox or pack.
Speedplay cleats require routine lubrication for optimal performance and durability. Speedplay's SP-LUBE is specially formulated to dry instantly and bond to the pedal and cleat surfaces, creating a highly protective barrier that does not attract dirt. Use SP-LUBE regularly to ensure maximum functionality and improved pedal performance.
• Precision-sized, hardened-steel, chrome-plated spoke wrench • Deep U-channels for a great grip • 8-groove design fits 9/10/11/12/13/14/15 gauge spokes/nipples • Made in Taiwan
$5.99 - $127.10
- Light viscosity oil for deep penetration with teflon for durability - Law prohibits orm-D materials from shipping by air
Park's Tire and Tube Repair Kit is a riding essential. It features Park's glueless Super Patch Kit and strong nylon Tire Levers for quick and easy flat repairs. The kit comes with 3 levers, 6 patches in a small container, and a piece of sandpaper (for roughing the tube to prepare it for patching).
- Long lasting teflon paraffin wax and oil penetrant set up dry - Law prohibits orm-D materials from shipping by air
$7.49 - $9.49
Park's professional-quality, precision-sized spoke wrenches are hardened and chrome plated for long service. Wrenches are vinyl coated in one of four colors indicating the size at a glance. You will find these wrenches in virtually every professional bike shop and every shop mechanic's personal tool stash. Make sure you have the sizes you need in your home toolbox and bike bag.
Clean, polish and protect your prized ride with the advanced technology of Finish Line's Showroom Polish And Protectant. It restores and rejuvenates all surfaces and is safe for use on steel, aluminum, carbon fiber, titanium, plastic, rubber as well as clear coats. It dries to a clear hard film and helps keep your frame and components cleaner longer.
Finish Line's Premium Grease With Teflon is a race-proven lubricant formulated for the unique demands of bicycle bearings. It's exceptionally strong and thick, it doesn't separate and it repels water even when submerged. Rated "5 Chainrings, Exceptional Grease" by Bicycling Magazine, it's very slick and very tough and lasts as much as 5 times longer than petroleum grease.
Park's Bladed Spoke Holder is a must for building and truing wheels that feature bladed spokes. It has 4 different size slots to fit a wide variety of bladed (aero) spokes from .08 to 2mm wide. It holds them safely in place to prevent twisting as you turn the nipple to true and tension the wheel.
Park's Cone Wrenches are made of durable tool steel and are nice and thin to fit on the small-clearance cones found on hubs and other bearing assemblies. Plus, they work as regular wrenches, too. They feature Park's special Y heads that put more material where it's needed for excellent durability and strength. Most applications require at least 2 cone wrenches. If you have questions please contact us and we can recommend the correct sizes for your needs.
Sunlite's Series II Chain Tool works with Shimano IG, HG, and UG chains. The vinyl coated handles make chain maintenance a breeze, and the screw style makes loosening up a stiff link easy.
$8.99 - $11.99
Clean Ride is White Lightning's legendary self-cleaning lube. By creating a dry, waxy film on your chain this lube doesn't attract dirt and grime like traditional oil based lubricants. Should dirt work its way onto your chain or gears Clean Ride's self-cleaning action is activated causing small particles of wax to break free, taking the riff-raff with it. Not only will you spend less time cleaning your chain, you'll enhance the lifespan of your drivetrain, too!
Everything you need Be prepared for roadside adjustments and minor repairs with the Bontrager Comp Multi-Tool. This simple tool features a compact design that easily packs away yet provides all of the essential tools to keep your bike tuned and running smoothly. Key features - 2,2.5,3,4,5,6,and 8 hex along with Phillips, flat and T25 - Alloy sides for a sleek lightweight design - Material: Steel
$9.99 - $69.99
- A biodegradable degreaser that cuts through the toughest grime - Strong enough for the metal parts, Yet safe enough to clean parts with rubber o-Rings and seals, Urethane elastomers, And painted surfaces - Exceeds all federal v.O.C. And california carb regulations - Law prohibits orm-D materials from shipping by air
Clipless pedals require regular maintenance for optimum performance and longevity. Finish Line's Pedal and Cleat Lubricant sprays on to fully and evenly coat all frictional surfaces and is engineered to ensure you click in and out of your pedals quickly, easily and smoothly every time. It also helps prevent creaks and squeaks from the pedal/cleat interface. Plus, thanks to a 100% dry-to-the-touch (in seconds) micro-thin coating, there is no oily, greasy film. So, it's safe to walk around on floors in your cycling shoes. Finish Line's Cleat and Pedal Lubricant was designed in conjunction with the pedal experts at Speedplay.
$9.99 - $14.99
White Lightning's Epic Ride lets you take on that all day ride and hear only the birds chirping, not your chain squealing. Its unique formula features premium non-petroleum synthetics that provide unheard of durability without the grimey build-up common with synthetic oils. This versatile lube also works wonders on derailleur cables and suspension seals. And, good news for the forgetful amongst us, Epic Ride is lube-and-go, no prep or dry time required!
A high-performance bike polish that's designed specifically for bicycles so you can keep them looking their best. Get your shine on Make your bike shine with this bike specific polish. It features a gloss-enhancing formula that seals and protects the paint, while guarding against water, dust, and dirt so your bike looks as good as it rides. Product details - High-performance bike polish designed for all bikes and all paint finishes - Proprietary formula is Trek's factory-recommended bike polish - Safe on all paints, but may alter finish on matte paints - Pleasing grape scent - For easiest results, spray onto clean microfiber cloth and apply to clean bike - 12 fl oz (355mL) spray bottle is easy to use and refillable - Also available in 1g/3.8L bulk bottle for easy and economical refills - Keep out of reach of children and do not ingest
The Park Tool Fold-Up Hex Wrench Set combines 4, 5 and 6mm hexes, a flat blade screwdriver and a T25 Torx compatible driver into one convenient fold-up tool. Its multi-position composite handle is comfortable, lightweight, slip-resistant, and 40% stronger than steel handles.
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text:
The artist's engagement of soul and art resolves itself in the body divine.
The artist's engagement of soul and art resolves itself in the body divine.
CATHERINE MADSEN is a visiting lecturer in the religion department at Mount Holyoke
College and a contributing editor to Cross Currents.
CATHERINE MADSEN is a visiting lecturer in the religion department at Mount Holyoke
College and a contributing editor to Cross Currents.
The picture is printed in viridian ink, so dark as to appear blue (see below). The
central image draws the eye first: a three-quarter view of the Venus of Willendorf, etched
not only with photographic precision but with a certain fundamental seriousness (however
the eye knows seriousness; it is compelled, above all, to keep looking). Gradually the
other layers of the image make themselves known: the skull on which the Venus is
superimposed, the woman's body in which the skull rides as womb, the lilies and the tree
that sprout from the Venus's head. Snakes are twined with the woman's legs and feeding
upon the lilies. Roman letters awkwardly positioned supply a caption, AVE IN MY OWN WAY.
Ave/Eva? The prehistoric Venus incubating toward her resurrection? Lilies, limbs and
snakes are reaching, sinuous, in motion -- but all is contained within an eggshell: the
skull and the stone figure are the still center. Womb, grave, fetus, yolk.
"Ave in My Own Way," etching 1978, by Judith Anderson. Photo
by Jim Colando.
When Judith Anderson made this print she had been studying Jung's thought and her own
dreams for some months, preoccupied by the archetype of the Great Mother. She was known as
a Christian artist: she had done several striking prints on eucharistic and biblical
subjects, and had carved liturgical objects and furniture for the local Episcopal church
(All Saints' in East Lansing, Michigan). Ave in My Own Way is one of several
prints made in 1978 that signal a decisive shift away from the church and toward pagan
feminism. (Its title is drawn from Alan Watts's autobiography, In My Own Way.)
Since that time her work has appeared in feminist journals, books on the revival of
Goddess religion, on a Bill Moyers program on spirit and nature, and (pirated) in at least
one college women's newsletter; she has become, not a household word, but a presence
respected by a small public. Her output, though steady, has not been large -- owing to the
distractions to which women's artistic work is often subject -- but it is work of
distinction and power. The case for a feminist exodus from the church has often been made
by rational argument; Anderson's work -- intelligent, scrupulous, complicated -- makes the
case for her own emigration by a compelling irrational argument.
Anderson is of Sylvia Plath's generation; she graduated from Mount Holyoke College in
1956. As a young woman she faced the same painful tension between work and traditional
marriage as Plath did, the same expectation that one could be an educated woman and an
artist without ever sacrificing wifely forbearance, maternal solicitude or gracious
living. Unlike Plath, she managed to survive -- partly because she took longer to discover
the nature of her work, partly because by temperament she has a greater trust that the
world is not her enemy -- but the stresses of the dual life, and the vulnerability of the
artistic life to the collapses of the domestic life, form a subtext to her work that is
especially familiar to women of her generation.
After college she studied for a year at the Art Students League with George Grosz,
Robert Beverly Hale and Edwin Dickinson. She went on to do graduate work in English at the
University of Minnesota, married (uncertain what else to do, she says now) and moved with
her husband to Bloomington, Indiana, where their three children were born, then moved to
East Lansing. There, in 1970, she took an evening course in printmaking and found her
work: etching, on zinc plates, images of immense detail and intricacy. Her first prints
had such authority that her mentor from the University of Minnesota, Samuel Holt Monk --
professor of 18th-century literature -- insisted on giving her an etching press.
(Anderson's son, and several other Sams among Monk's former students, are named for this
remarkable and generous man.) For all the subtle costs of her position as faculty wife,
the gift was a magnificent one, and she had the time to make use of it.
At about this same time she underwent the religious conversion that returned her to the
Episcopal church, which she had left twenty years before. It was not so much an
intellectual conversion as a sense of being known in a private anguish; not so much an
attachment to a theology as to an iconography. The religious work that emerged is
restrained, intense and ambiguous: it is in a Christian tradition that -- at its artistic
best -- has always allowed the darker realities of loss and death to push to the wall the
promises of forgiveness and redemption. The Still Point (1973), its title from
T. S. Eliot's Four Quartets, presents the eucharistic bread and chalice in a
protected space at the center of the print, set off by a Gothic arch and an uneven floor
of white space; under the floor a multitude of little troll-like men and animals crouch
and sway, holding up a roof of rock, and under their feet in a ghostly sea swim sharks.
Above the Gothic arch soars another arch made of large bones: the delicate joints of knee
and shoulder, the rib cage, the hand. Fraction (see below) is an immensely
complex image, dominated by two hands (Anderson's own, and seen from the owner's vantage)
in the act of breaking the sacrificial bread; between the torn edges of the bread appears
a visual quote of Rembrandt's Christ at Emmaus. Arching protectively and
threateningly over all is an image of a Vietnamese mother and child flanked by two eagles
with outspread wings. Images of sacrifice are everywhere: mice dangle from the eagles'
talons, a human body hangs from each thumb of the priestly hands (at the left a warrior
enduring the Sun Dance ordeal and at the right Judas in his suicide, an act which Anderson
sees as redemptive, "an expiation and not a punishment"). Below the mother and
child and above the Rembrandt image is another quote, from Poussin's Slaughter of the
Innocents. A buffalo skull, images of wild horses, and a heap of human skulls at the
bottom of the picture flank a wrapped figure in the doorway of a stone tomb. Tucked under
the eagles' wings are lozenges with faces peeping through them: on the left the eyes of
Picasso, on the right the smiling face of a reformed thief. The mother and child bow under
the eagles' wings with a sense of inevitability. The question of the print is the question
of willing or unwilling sacrifice: the food chain -- physical and metaphysical -- on which
are placed the mice, the buffalo, the murdered humans, the warrior in his ordeal, the
betrayer in his atonement, and the child born to die and become a sacrament. Whose will is
done? Anderson says she came to see the mother who gives the son for sacrifice -- in the
absence, or the silence, of the Father -- as "the darkest secret in Christianity,
what no one will say."
"Fraction," etching 1976, by Judith Anderson. Photo by Jim
Other prints from this time have no religious reference, but are purely introspective. Herons
Walk in Their Shroud, an homage to Dylan Thomas, incorporates herons, gulls, fish
bones, a net, and images of Thomas's face. Through the Unknown, Remembered Gate
(1975) began as a meditation on Anderson's dogs and ended as a meditation on her
childhood; it is dominated by her own profile back-to-back with her dog Glück's, the two
profiles filled with images from old photographs: the house she grew up in, her mother,
herself at her baptism, her first dog (and, in a symbol, her next dog: Glück died during
the months she was working on the print, and the new dog -- Lily -- is represented by
lilies in the foreground). The profiles serve as a visual "gate" into clarity
through a misty backdrop of children bathing in a stream. Find Me (1976) is a
baby, printed in green ink, the whole surface of its skin tattooed, as it were, with
images: faces (her own, her mother's, old friends'), animals and plants (the dog Lily,
twined snakes, ivy, grapes, lilies, wheat sheaves, an egg). The effect is disturbing, for
the baby's eyes are deliberately skull-like and other faces look out through them, but
there are visual jokes in the print for those who look closely: a set of teeth in the
armpit, the baby's sex represented by a French horn. Anderson's wit -- much more
rambunctious in person -- is never entirely absent from her art.
Find Me was made at the beginning of her Jungian investigations. She worked
with an analyst who also lectured on Erich Neumann's The Great Mother, showing
slides of ancient goddess imagery which in the mid-1970s were radically new. There was
debate then in feminism -- it has not altogether subsided -- whether the image of the
Great Mother was essential or retrogressive in the struggle for women's well-being; for
Anderson it became essential. The prints of this period are rapt with contemplation of
female imagery. He Drew Me out of Great Waters (1978), whose title is a line from
Psalm 18, shows a face bent over cupped hands full of water, in a womblike enclosure
defined by a veined umbilical rope which is also a snake swallowing its tail. A child with
outstretched arms stands at the top of the picture, on the snake's head, between two
spheres that hold letters of an imagined alphabet. Two hands droop down on the far sides
of the spheres, in the upper corners of the print, the fingers limp like the fingerlike
ends of the Fallopian tubes that wait to catch an egg from the ovaries. At the right side,
Anderson as a young child waits with her mother at the top of a flight of steps that
descend diagonally across the lower half of the print. At the left, two overlapping images
of a newborn baby, held upside down, seem to drop from the limp hand. The whole is in
black ink, extremely shadowy, but the water in the cupped hands is painted a faint blue
with watercolor; it drips down between two more upheld hands -- flayed hands this time,
the bones and muscles and the pale wrist-cuffs exposed -- which support the
Ouroboros/uterus and serve as conduit for what is certainly an umbilical cord. At the end
of the cord, at the center bottom of the print, is a little square with a baby's head in
it, wrong way up for birth and already caught between the doctor's or midwife's hands; the
final pair of hands are the baby's, outspread in an echo of the child's at the top of the
picture. In the lower left corner, on the lowest step but one, rests an egg; this image
comes from a dream in which Anderson saw a stone egg on the steps of St. Peter's
Basilica. The print radiates a profound stillness that never becomes stasis; like The
Still Point and Ave, it centers on a point of repose around which all the
world's motion rolls.
By this time Anderson had begun to find the iconography of bread and chalice impossible
to use. Her attraction to Jungian archetypes and to the image of the Great Mother had been
matched by an equal and opposite disaffection with the Christian schema. It was not yet
feminism in the political sense; it was grief for the uncomprehending treatment of women
by the church, and also for the exclusivity of communion which seemed to her to set
needless divisions between Christians. Later, with freedom and distance, she could afford
anger, but the grief has never entirely subsided. Annunciation (1978) gives form
to her changed consciousness: it is a tenebrous, barely visible image of subtly colored
flowers growing from a dark cube that is chiseled with the letters
The "annunciation" of the title is -- those words make clear -- the
annunciation at Christ's tomb, not the annunciation to the Virgin Mary. Anderson's
encrypted meaning is that neither the miraculous child nor his mother can be found in the
neat theological box in which the lord of life has been immured: the flowers (lily, iris
and rose, all associated with ancient goddesses and eventually with Mary) are the growing
and dying locus of the source of life. Ghostly bees hover near them, enclosed in six-sided
cells: the Great Mother's insects, workers of fertility and transformation, makers of
honey and wax -- as Swift said long ago, of sweetness and light.
But for feminism, Anderson's work might have remained obscure: the strong and skillful
work of a suburban faculty wife, known only by a regional audience and in the national
community of printmakers. Feminism changed her subject matter, her audience and her life.
Her marriage failed, after nineteen years, in 1978 (a circumstance with which neither the
church nor the Great Mother had much to do); within two years she had moved from the
church to the women's movement and the lesbian community, from the church choir to a small
and uproarious feminist singing group that experimented with rituals, from using lines
from the Psalms as titles to making a series of erotic-fantastical ink drawings for the
group's songbook. In the university library, where she took a clerical job, her prankish
sensibility and irreverence for hierarchy kept her and her co-workers sane (among other
things, she once set a page of the departmental procedural manual to Anglican chant for an
office party). She became for almost twenty years a fixed star of the women artists'
community in Lansing. Her work was published in books and journals, including
Elinor W. Gadon's The Once and Future Goddess (Harper & Row, 1989), Women's
Art Journal, and many feminist magazines and calendars; she found galleries on both
coasts (In Her Image Gallery in Portland, Oregon, and R. Michelson Galleries in
Northampton, Massachusetts); she began to exhibit nationally in shows of women's work as
well as juried print shows; she was included in The World's Women On-Line in connection
with the United Nations women's conference in Beijing and in the Bill Moyers Spirit
and Nature program on PBS. Both her skill and her preoccupations found a responsive
Mandorla of the Spinning Goddess (1982) is a sepia print of many curiously
angled hands spinning thread out of and across a vulvar image (the mandorla, in Christian
iconography, is the almond-shaped nimbus of light, formed by the intersection of two
circles, that surrounds a holy person); one thumb, descending from the top border like the
hand of God from a cloud, is placed frankly at the peak of the almond. The heads of an old
woman and a baby occupy the upper corners of the print; at the center, far within the
shadows at the point of the cervix, a goddess image appears. Her Runes of Earth and
Stone (1987), made after a trip to the ancient pagan holy sites of England, shows
snakes, standing stones, and a nautilus-like labyrinth superimposed on a woman's body
within a halo of bones. Mystery of Generation (1987), a simple but extremely
compelling print, is a narrow vertical strip containing three images: an ancient woman's
face, pensive and troubled; a bird-headed child, curled and upside-down as if in the womb
(or the egg); and the Green Man, the foliate head of Celtic tradition, prepatriarchal man.
In these prints and others of this time, Anderson was consolidating the images she could
still trust.
Like any audience for liturgical art, the feminist audience is not always
discriminating; it appreciates skill and taste but does not demand them. In a small
community with a short history it can be more difficult to make exacting judgments about
one's work, especially when the community is suspicious of outside standards and
ambivalent about the very act of judgment. In moving from the church to the women's
movement Anderson had shifted from an artistic tradition of enormous subtlety and range to
a subculture of protest with a much smaller and much less ambiguous iconographical
vocabulary. It was a risk. The individuality of her line and the persistence of her
intricate private vocabulary -- the lilies, the faces of friends -- always save the work
from being purely polemical, but in some cases a certain tension goes out of it: sides
have been chosen and it is clear which side she is on. Her Runes of Earth and Stone
tends in that direction: a celebration without any difficult questions (the snakes, as
goddess symbols, not being a difficulty). Call Me Judith (1989), a fierce and
striking sepia print of an old woman, one breast bared, who stands against a parched
ground, her helper holding by the hair the decapitated head of a miniature Holofernes, is
an image full of difficult questions, but it takes on somewhat the air of a
nineteenth-century tableau through its inclusion of floating women wielding labryses (the
ancient Minoan women's double axe) and through the delicate, ceremonial labrys that hangs
loosely from Judith's hand. (Meanwhile, in a visual quote superimposed on one of the tent
flaps, Artemisia Gentileschi's Judith, knowing her job, saws away with a sword). Medusa
Unwound (1993), portrait of the artist with snaky hair, rictus of rage and cherry-red
protruding tongue, surrounded by female figures ranging from the Kilpeck sheela-na-gig to
a bather from Ingres's Le Bain Turc, verges on caricature. (Though the rictus is
laughter too: Anderson was thinking of Margaret Atwood's famous informal study which found
that what women feared from men was battery, rape or murder, and what men feared from
women was being laughed at.) To an audience outside feminism, to whom such images are new
and rare, their ferocity may well be shocking. To an audience within feminism --
accustomed to the labrys and the Medusa's head as motifs for jewelry -- the shock has worn
off, and the images' potential as recognition signals is weightier than their power to cry
out against injustice. They remind but they do not move. Compare Kollwitz's slit-eyed
peasant whetting his scythe in the Peasants' War series: oppression is
brutalizing. Kollwitz gives us not the romance of rage but the real thing; she conveys
without euphoria the high cost of rage to the one who is driven to it. She does not give
the peasant a hammer to go with his sickle. The labrys and the Medusa's head are, in a
sense, merely women's rage in shorthand. Women's rage in action is Lorena Bobbitt, the
women who shoot or set fire to the men who abuse them, the women who throw their
unfaithful husbands' belongings out on the lawn; it is not emblematic and stirring but
desperate, miserable, ugly. Anderson gave her Judith a labrys because she would not give
her a sword; Gentileschi came closer to accuracy.
The antiwar print Myselves the Grievers Grieve. . . and Miracles Cannot
Atone (1986), its title taken from Dylan Thomas's "Ceremony after a Fire
Raid," takes a more complex approach. It was made after several years' brooding on
Adrienne Rich's book Of Woman Born, and on the sardonic question asked of Rich,
the mother of three sons, during the Vietnam war: "Vous travaillez pour l'armee,
madame?" (You are working for the army?) The focal image is a mourning woman who
holds her emaciated hands to her head; a bandaged sphere is held before her face by
another pair of hands. Above them, small silhouettes of women dance in a circle and
another woman, naked and howling with grief, lifts a dead child to the moon. Butterflies
and a yin/yang symbol float encapsulated in circles; a lioness's skull and a stag beetle,
creatures "red in tooth and claw" but innocent of moral evil, are placed below
the feet of the dancers. The bottom border of the print seems at first merely a decorative
pattern, but on closer examination it yields the meaning of the picture: it is the outline
of a row of bombs, which are packed with a cargo of skulls and fetuses. "Vous
travaillez pour l'armee?" Behind the bombs a flight of labryses arises, delicate
and weightless as the butterflies, but here their meaning is ambiguous: are they an
antidote to the bombs? an answering symptom in the plague of violence? an ancient weapon
prefiguring a new one? Similarly, the circle of dancing women offset by the woman with the
dead child is not simply a suggestion that women's celebrations will prevail over men's
wars, but a disturbing visual echo of the Bacchae. One who knows Anderson's work may
assume that she intends in this print, as in the others, to indict male violence without
implicating women; yet women are not in the same category with the lioness and the stag
beetle, bloodstained and guiltless. They are human creatures with wills. The griever may
be grieving the impossibility of women's miracles on the scale of men's devastation; she
may also be clutching her head in madness at the remembered knowledge of Fraction,
that the mother too gives the son for sacrifice.
Missa Gaia: This is My Body (see below), the print shown on PBS and Anderson's
best-known work, at first appears to be pure lament: a brooding woman, a visual quote from
Kollwitz's sculptural Pietŕ, the Great Mother lost in an insupportable anguish.
Animals surround her and are superimposed on her: an ingathering, a biotic implosion to
that original body. They seem unaware of her grief: simply there, as animals are,
quizzical, alert, anxious, the large ones impassive. She holds a whale by the tailfin
between finger and thumb. Gradually the lower outline of her body becomes clear, and it is
apparent that she is mourning and birthing at once; her knees are open, and an otter's
head emerges from her womb. Even in her grief for her creatures -- "because they are
not" -- she goes on producing them; regeneration proceeds in the midst of
destruction. "I decline to accept the end of man," said Faulkner in his Nobel
statement; in Anderson's vision, nature declines to accept the death of nature.
"Missa Gaia: This is My Body," etching 1988, by Judith
Anderson. Photo by Jim Colando.
Bone Woman (1994) is a self-portrait of Anderson as a lithe old woman,
half-squatting, half-lying in a midden of human and animal bones, drawing in the dust with
the thumb and two fingers of a skeletal hand she has salvaged, like Blake's God with his
compass. The bones of her near arm and leg show through the flesh. Lilies grow at her head
and feet; entangled in her white hair, as if at the back of her thoughts, is an image of
herself with her three children when they were small (a shadowy three-year-old self who
stands to one side blesses the mother's small head with one hand and the Bone Woman's head
with the other). The image is quiet, absorbed: the artist at work, taking from the refuse
of death what is needed for new creation. Nature and art are prolific and at peace.
Bone Woman may serve as the pattern for Anderson's recent work. On her
retirement from the library she made a cross-country move to live with her partner, writer
Kathleen Collins; the move entailed dismantling the etching press, building a studio and
waiting a year for the press to be reassembled. During this interim she made ink washes,
watercolors, figure studies in red Conté crayon, and extremely fine pencil drawings in
the style of a fellow artist in Lansing, Kathryn Darnell. She continued the intricate
carvings in wood and bone -- spoons and containers chased with Celtic interlaces -- which
she had substituted for the liturgical carvings when she left the church. She carved in
stone: soapstone, limestone, alabaster. She thought on the work of artists she admired:
the surgical line of Leonard Baskin, the intimate and protective sculptures of Georges
Jeanclos, the strange images and
dark moods of Odd Nerdrum's paintings, the mysterious figures of Pavel Tchelitchev's Hide
and Seek which she had puzzled over endlessly in the Museum of Modern Art forty years
before. Increasingly she is moved by the "motor stuff" beneath the skin: the
mysteries of hands and eyes and collarbones, the exquisiteness of the body in the midst of
moral imperfection. These small works and sketches -- and the life drawings she has
produced in a weekly class for the past two years -- are the equivalent of Bach's cello
suites as compared to his cantatas, pure form without statement; they are the thanks of
eye and hand and brain for their own workings. At this level there is no distinction and
no quarrel between Christian and pagan imagination; at the place of their convergence --
in the absence or failure of all icons -- there is only actuality without doctrine: the
human form divine.
Her new prints work with this understanding on a larger scale. Ultimate Grace
(1995) shows a woman bent slightly forward, her face utterly at peace, her hands crossed
on her breast, and a pair of hands behind her gently touching her head. Her shoulders show
the marks of ropes, and in her mind bound figures struggle toward release. The
Fullness of Time (Easter 1998, the first print after the press was reassembled) uses
the silhouette technique of Through the Unknown, Remembered Gate, but this time
the silhouetted heads are Anderson's and her partner's, gazing at each other in an
embrace, surrounded by playing children and images of lilies and by visual quotes of
Demeter and Kore and of the Visitation. In a bright mandorla between the two faces, a hand
emerging from a lily holds a stalk of ripe wheat, triumphant sacrament of the Eleusinian
The newest print, Dance in Shadows (1999), is a triptych of dancers' torsos
and leaves in a glowing yellow ochre. "Low on psychological angst," Anderson
remarks wryly, and wonders what she ought to say about the fighting in Kosovo. But in a
sense she has always said it: in the interpenetrating images of birth and death, in the
reflective and unromantic images of motherhood and childhood, in the very gravity of her
line and shading, unmistakably the work of a mind that considers the price of our life.
Whatever can be said about the futilities and cruelties of war, one thing is sure: the
Great Mother, in an act that is at once the antithesis of conscience and the essence of
conscience, will bring life out of that death.
* * *
NOTE: The title of this essay comes from one of Judith Anderson's
unpublished songs.
I am grateful for Judith Anderson's illuminating written commentaries on her work, and
for a generous and candid interview on November 1, 1998. Most of all I am grateful
for our long friendship, which has survived the old usages of the Episcopal Church, the
rise and fall of the Greater Lansing Spinsters' Guild in which we sang together, the
atmosphere of the university library where we both worked, and other vicissitudes of life.
She is one of the people whose work taught me to work.
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Source: Cross Currents, Summer 1999, Vol. 49 Issue 2.