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by John Roper
© Copyright 2003 - John Roper - Used by permission
Storycodes: MF/f; bond; cons; X
Thanks to the demands school made on her time, there had not been an adrenalin-rush adventure in Barbara Gwenn's life in many a month. Six semesters of college had painstakingly demolished the twenty-two-year-old's merry-go-round of fun parties and events, which had once been an integral and taken-for-granted part of her high school routine. Maintaining a B+or-better average had turned her schedule into a one-dimensional loop of under-whelming, energy-draining oh-hum-ness, from which she now desperately needed to escape. Given the few options available to Barbara's perennially redlining contagion of self-imposed isolation, she decided to pick up on the first, out-of-the ordinary opportunity that presented itself to a vacant slot on her calendar.
It was Friday night. She'd been doing research in the school library for a paper due on Monday when her brain waves simply refused to take the task any further than the saturation point it now occupied against its will. Barbara checked the time and instinctively listened to its silent, subliminal red light. 'Wow. Is it that late already?' A hot bath beckoned on the view screen of her imagination. 'Yes!' she thought as she packed up her books and headed for the soothing, self-indulgent luxury.
When she sailed by the bulletin board just inside the front door, an artistically composed flyer caught hold of her peripheral vision. The word 'Party' was prominently headlined. Barbara stopped briefly to read the illegally posted communiqué. Thanks to a borrowed thumbtack, removed from the invite's upper left hand corner, and the memo that covered the two capital letters that preceded the word party, she had to pivot her head to the left to adjust to the angled way the details were forced to read, and didn't get to see the two letters that spelled out the theme of the occasion. Since her arms were loaded with books, and her momentum sensually dictated by the future feel of hot, bubble bath water, she made a mental note of the time and address of the bash, rather than exert the energy it would have taken to check out what was under the inconsiderately posted, overlapping memo.
Later, in the tub, she debated the possibility of stealing a few hours of quality time for some much needed R&R. 'Washed my hair last night. Just got off my period. Might even bump into someone I know from school.' Nothing she could factor in could seriously inhibit the equation. Before she could think herself out of it, Barbara Gwenn squeezed into her tightest jeans and sweater, high-heeled boots, and was happily strutting out the door. The fact that the party was but a few blocks away convinced her that the unexpected event was clearly there to get caught up and into her local flow. What she didn't know at the time was that the two unseen letters on the flyer would soon put her in touch with a network of strangers away from which her friends and family had warned her since age ten.
At 10:31 PM, Barbara Gwenn presented herself at the front door of the huge, light gray house on the corner of Bond Street and Hemp Lane. A smartly dressed blond, of about 21 or 25, welcomed her with a smile that could have meant any one of a number of things.
"Hi! I'm Pamela. Come in. Welcome."
"Thanks." A familiar jazz cut caught Barbara's ear. "Am I underdressed?"
"Not at all," assured Pamela. "I just like tight-fitting suits. What's your name?"
"Barbara. I found out about the party from a flyer on the library bulletin board." They shook hands.
"Glad you could make it," said the pretty hostess. "That brings the male/female ratio to 16 and 9. But the night is young." Another, more ambiguous smile accompanied the mathematic report. "You can put your stuff in the closet here."
After doing so, the two strangers headed for the main room of the party. Being foxy and shapely, their arrival turned many a male head, and a few females' as well.
"Everyone!" announced Pamela, "this is Barbara." The introduction was tendered en route to the bar, where a smiling hunk placed a napkin on its highly polished, mahogany surface, and nodded an 'I'll-take-it-from-here' to the door lady's practiced poise. "See you later," said Pamela as she turned and headed for parts unknown.
"What'll it be?' asked John, with both palms on the bar.
Barbara perched herself on a black-leather stool and smiled back. "I don't know. What would you suggest?"
"How about something neat and clean burning?"
"Great."
Two shot glasses appeared between them. Then came the saltshaker, and a small dish of cut lemon. "Tequila," realized Barbara, with overt enthusiasm. "My favorite."
As John poured, he asked, "Ever been to one of our parties?"
"Can't say as I have."
"Then let me be the first to inform you that you make a most pleasant, visual contribution to the evening's aesthetic ambiance."
Barbara hadn't listened to a man speak to her in such a positively articulate fashion in years. "Thank you," she said, with a humble dip of her chin. A room scan revealed a count of less than 15 guests, giving Barbara pause to wonder where the other ten or so could be. 'Getting seriously connected, I'll bet.'
"Here we go," said John as he pushed the shot towards her and lifted his. The salt was already on the back of his hand. "Why don't you propose a toast."
Barbara smiled, shook salt, raised her glass, and said, "To the end of boredom."
"Amen," agreed John before he and his newest customer sucked sodium, gulped down the shot, and brought the lemon to their lips.
"Everyone!" announced Pamela again from the other end of the room, "this is Tanya." She didn't bother escorting her to the bar, a fact of which Barbara took curious note. Only newcomers turned to look.
"Must be a regular," she assumed as she watched the top-heavy redhead strut her stuff to the couch to receive a kiss on the cheek from a male acquaintance. A more specific scan of the elegantly furnished room also revealed an interesting array of provocative attire. "Leather must be in," she figured, having not been as fashion conscious, as High School had demanded, since committing to her current goals. When Barbara turned back to the bar, her shot glass was again full, and John was attending to another thirsty guest. "What an odd collection of people; not at all the usual college crowd." She refocused on the couch, only to discover that Tanya and friend had disappeared. "This is a very interesting party," she gathered, with a tiny smile, before wondering if her out-of-step fashion statement might have had something to do with why not one partygoer had shown any overt interest in her.
"See anything you like?" asked John, when his intuitive bartending skills picked up on the aura of Barbara's uncertainty.
"Yeah," she smiled, "you."
He was out from behind his Job in a flash. "I was hoping you would say that. How about we take a walk?"
Barbara didn't hesitate.
They were soon shooting a game of pool in the center of a huge, finished basement. "I'm really glad I came tonight," admitted John's flirting house tourist. "There hasn't been a party in my life in ages."
"I find that hard to believe," said Barbara's icebreaker as he broke the rack and sunk the fifteen-ball in the process. "What shall we play for?" A seductive smile escaped his self-control.
Barbara's grin more than complimented his. "What would you suggest?"
John moved to his next shot and gave the new woman in his life a gauging look. "Fantasies?" The four-ball found a corner pocket.
Barbara didn't quite understand, but had already decided to make love to John. So she went along with his leading, provocative body language, figuring that, whether she won or lost, she'd eventually end up in bed with him anyway. "OK."
The verbal thumbs up had its desired effect on the game. John missed an easy shot. "Your turn."
Barb, too, was at a loss as to how to control her hand-eye coordination, which, by the time the sixth missed shot of the game put both of them into stitches, made for the most fun she'd had in several weeks. "I normally don't play this badly."
"Neither do I," admitted John before sinking the winning ball. "You never did touch your second Tequila."
"Does that mean your fantasy will bring us back to the bar?"
John raised his left arm, bowed, and motioned towards the staircase. "Shall we?"
"It's your fantasy." Barbara placed her cue stick on the table and headed for the indicated direction. "Are you trying to get me drunk?"
"Only if you want to be." When they reached the front door hallway, John gently led his fantasy lady to the second floor staircase. "How about I show you the attic?"
Barbara rolled her eyes skyward. "Is that part of the fantasy?"
"Everything, since I sunk the fifteen ball, is part of the fantasy. How is it so far?"
"I don't know. It sure doesn't feel like a fantasy." Barbara moved closer and placed her hands on John's shoulders.
"How about a sneak preview?" They kissed... "Not bad. Lead on."
"First things first," said the fantasy man as he took his party date by the hand and headed for a closet.
Barbara watched him take from it a cue chalk colored, zippered bag, one of several contained within, and guided her to the stairs by the wrist.
Barbara did what she could to control a swoon. "What's in the bag?"
"More fantasy."
John's new damsel was catching on slowly, and did her best to get into the spirit of the scene. "What's in the attic?"
"More party."
When they reached the attic door, John unlocked it, gave his new friend a calculating look, and asked, "Are you sure you want to go thru this door?"
"I've come this far, haven't I?"
A ten-watt, red light revealed a staircase on the other side, but very little else. "Watch your step?" warned John as he closed and locked the door behind them.
Barbara stared up into the attic, but could see nothing beyond the top of its stairs. "Lead on, fantasy man."
Nothing was said on their way up, though John's body language suggested a change of character. The higher they climbed, the weaker the red light got, until they were engulfed in complete darkness. It took but a minute for their passion to assume a more aggressive posture. They kissed for several seconds. Barbara was surprised at how comfortable they were with each other.
"I've missed you terribly," she heard herself say, in the wanton character she had decided to role-play.
"And I you, my sweet," said John as he pulled his lover's sweater out from under her jeans.
"Oh, yes- hurry. I can't wait." She lifted her arms above her head, allowing the top to effortlessly peal off her gorgeous upper body. In the interim, she herself removed the bra. There they stood, in the dark silence of the empty attic, kissing relentlessly, and with great, empathetic resolve.
Then, something unexpected happened. John released his fantasy slut and knelt to the gear bag, which he unzipped to retrieve the first fantasy toy. Realizing her lover could no longer see her, Barbara shamelessly fondled her nipples and breasts. "Where have you gone?" she asked hungrily as her right hand reached down to the sensual heat building up between her long, shapely legs.
"Right behind you, tramp," said John, gruffly, while quickly and masterfully joining his fantasy damsel's elbows behind her back to bind them together with a seven foot length of 3/8ths-inch-thick, nylon rope. His tone bristled with wounded lover innuendo. "Was the grass greener than you thought on the other side of the fence?"
The role-play was unique to Barbara's limited experience. At first, she didn't know what to do or say about it. The several circles of line were soon cinched and knotted securely. "What are you doing?" she heard herself say, incredulously. There was no answer but the feel of wrists being joined, palm-to-palm, by another length of tightly applied rope. She was suddenly beside herself with unexpected, sensual excitement. "What have I done?"
John spoke his lines with convincing timbre as he cinched and knotted the fours circles of line. "I warned you about what would happen the next time I caught you messing with another guy."
Barbara had never been disciplined so strictly before, let alone bound. Nor had the curious sensation of enforced vulnerability ever presented itself to her usually inactive libido. She chose her words carefully, speaking them softly, and with composed authority. "If you love me, you'll stop doing this right now." She struggled anxiously to protest the moment. "These ropes are tight. I can't believe this is happening."
John punctuated his next line with the tightening of the last, out-of-reach knot. "If you loved me, you would never have gotten mixed up with that rich brat in the first place."
Barbara could hear him rummaging through the blue bag again. "Are you saying we're not in love anymore; that we're through?" She tested the ropes and quickly realized her binder/lover was well practiced. "Shit." The subtle, but unmistakable thud of two or three pounds of rope hit the floor behind her. "Oh-boy. Now what?"
John tied one end of it to the elbow cinch and gave his fantasy wench something to think about as he snugly welded her arms to her torso with circle after circle of weatherworn clothesline. "What I'm saying, missy, is that should you ever decide to put our love to the test again, what I'm going to do to you now will feel like tea party, compared to what I will do to you if that event reoccurs." He carefully encased her entire torso with rope.
The first-time sensation of being tied up by a man, or anyone for that matter, was making a deep psychological impression on Barbara's currently introverted disposition. "Why am I hornier than I am scared?" she wondered. "Why am I enjoying this more than I'm protesting it?" The ropes hugged her tightly, but not enough to cause any real pain. "Why am I not screaming for help?"
John's next words were spoken softly, and without malice. "You can forget about screaming. This place is soundproof."
A jolt of delicious fear raced down Barbara's spine. When it touched bottom, something extraordinary invaded her erotic perception. The setting of the last knot in the torso bind completed the moment with a sensation so blessed with irresponsibility it literally swept her off her romantically inclined feet. "Well, I did want to get away from it all, but this is far out..."
A gently ministered kiss stopped her form thinking again. She played hard-to-get. John backed off, only to grab her now hard, left nipple with the thumb and index finger of his left hand. The right tenderly caressed her inner thighs, while his lips tended to the right breast.
"...Oh-my-God," sighed the new lover in his life. She tore at the ropes in her first concerted effort to escape. The unrelenting hug of clothesline and nylon engendered an outer conscious swoon, the likes of which she'd never before uttered in her life. "This is incredible."
The feel of arms and kisses soon joined the bind's pressure. She let go completely. Several outrageous minutes passed, most of which were spent on a nearby mattress. No other clothes were removed, no untoward advantage taken. Just the delightfully frustrating love knot of hard-core necking in the pitch-black darkness of the musty, interesting-smelling, top floor room of the house in which Barbara Gwenn attended her first "BD" party, by mistake.
"Barbara Gwenn," informed John when he returned to the bar and switched places with his co-tender. "Did my sudden egress have the desired effect?"
Chris smiled and glanced down at the 17-inch monitor hidden under the combination watering hole and console. "She's been struggling like a maniac ever since."
John had crossed and bound Gwenn's ankles together before turning on the lights and leaving his new damsel to her outraged thoughts. "She's quite a looker. How about we pipe this into the TV room?"
The two party drivers exchanged mischievous grins and got on with the briefing.
Meanwhile, Barbara was doing her best to manipulate her crotch rope and acclimate herself to the attic's unique appointments, pulling and tugging at the line that ran from the front of her waist ropes, down between her legs, and on to the ankle cinch. Another, four-deep, loop cinch welded her knees together as well, while boot heels were a mere two inches from her rump, making the semi-hogtie a major distraction with which to contend and sow into the equally major adventure at hand.
'Good grief,' thought Barbara Gwenn as she scoped the bare framework of the room. 'What have I gotten myself into?' Poster size, bondage artwork adorned the walls. Pulleys, and chains, with wrist cuffs affixed, hung everywhere.
The sound of the attic door opening inspired our heroine to lay back, motionless, while the clicking of heels ascended the staircase. The lights went out. A figure, decidedly feminine, appeared before her, with candle in hand. She wore a very tight fitting, spandex body suit, black-leather gloves, 6 inch heeled boots, and a huge-leather mouth restraint that completely encased the lower part of her face. A thick chastity chain completed her ensemble, padlocked at the naval. Its heavy-duty links dug deep into her crevice. She held the candle in her right hand. The left was strapped to the body suit, up between her shoulder blades. The right elbow was also lashed to the side of her torso by a few strips of black belting.
She looked down at John's damsel for a second or two, turned, and headed for a far corner, where she lit another candle. Barbara remained still while she watched her new roommate ignite one candle after another, until all 33 of them filled the room with the dim glow of what, under normal circumstances, would have been a very romantic aura in which to make love. It took almost half a dozen minutes to finish the task. Our heroine spent most of that time trying to establish eye contact. None was forthcoming.
"Hey?" asked Barb when the candle girl moved toward the staircase. "I would be eternally grateful if you would untie me." The girl turned and gave her a wide-eyed look.
"She has her orders," said John over the intercom, into a wireless headphone mike. "If she did undo you, there would be hell to pay. You may leave now, Jackie."
She did, immediately leaving Barbara in yet another state of shock. "John?"
"Yes."
"Where are you?"
"In my fantasy. Where are you?"
"...Where am I?"
"Don't you know?"
"I would not have asked had I known."
He pressed another button on the under-bar console. A huge TV screen against a wall opposite the mattress instantly filled with the image of a woman, alone in a sparsely furnished room, bound securely to a straight-back chair. She wore underwear and skyscraper heels, and a big-red ball gag. Barbara took note of the tightly applied rope between her legs. It ran down in back to the line that tethered her bound ankles under the chair to her crossed and bound wrists in back. She struggled pleasurably in her fix while she waited on what would happen next.
"Who is that?" asked Barbara as she tugged on her crotch rope, took a deep breath, and felt the delicious embrace of her torso ropes tighten considerably.
"That's Bunny. Would you like something to drink?"
Given her circumstance, Barbara thought the question was absurd. "...Tequila?"
"No. You've had enough for one night. How about a Pepsi?"
"Sure. Are you going to bring it?"
"Depends."
"On what?"
He punched the 'record' function on a cassette deck. "Do we have your permission to videotape you in bondage?"
"...We? Who else will see it?" Barbara made two, tight fists, and felt a sudden jolt of captive excitement race down her spine. 'I can't believe I'm this horny.'
"Everyone at this party, and every party hereafter."
John's damsel writhed in her distress, while trying to think above the rapturous distraction of yet another multiple in the making. "...Uh, I don't know about this... John?"
"Yes, sweet Barbara."
"Is that all you want from me?"
"I want only what you and I both want. What do you want?"
"I was hoping we'd make love."
"What do you think I've been doing for the last 55 minutes."
Barbara watched as the girl in the video started to enjoy her orgasmic redundancy. "Don't you want me?"
"More and more by the minute. Shall we?"
The TV screen went dark. The door to the attic opened, and up its staircase came the candle lighter again. This time, her arms were free. She wore a headset as well, but was still gagged. The jackknife in her right hand captured Barbara's undivided attention. It soon severed the hog-tie line before dropping to the floor as Jackie knelt to the task of freeing her charge's ankles and knees...
"Follow her," said John after his date rose from the mattress and stretched her long, fit-n-trim legs a bit.
The two women descended the staircase and stepped out into the dimly lit hallway, where an opened door beckoned. Jackie headed straight for it. Barbara followed excitedly. Its room was brightly lit, with a four-poster, brass bed against the right wall. The door closed and was locked.
"I want her naked," instructed John through Jackie's headset, "on her stomach, her legs spread and tied off to the lower bedposts, with the upper arm collection point tethered to the top bar of the head railing. Make everything nice and snug. I also want her blindfolded and ready in less than 5 minutes"
Barbara could not hear John's commands now. Jackie worked the task swiftly and efficiently, making sure all knots and lines were drawn exactly the way her master customarily wanted them. A pillow was placed between her bindee's chest and the mattress before the upper arm tether was drawn and knotted to the top of the head railing. It took only 3 minutes and 25 seconds to complete the task. The door slammed on Jackie's way out. The sound of a lock being keyed and engaged brought a tingle to Barbara's back. It soon engulfed her lower regions as well. She immediately tested the configuration for slack. There was none. The blindfold was also unshakable.
"Wow," thought out loud the new damsel in John's life. A witticism crossed her mind, which she spoke to herself while lowering her chin and realizing it could be lowered no further than a foot or so off the mattress. "Gee, I wonder what's going to happen next."
"What would you like to have happen next?" smiled John from the bar.
Barbara chose her words carefully. "I have a choice?" The verbal intrusion did not surprise her.
"Yes, until you decide on an intensity number."
"A what?"
"1 to10. Each level is more intense, more demanding, more strenuous."
"...What's a 10?"
John's words filled his initiate with an excitement she'd never experienced before. "No restrictions whatsoever. You would be at the absolute mercy of your binder. No safe word; no one will intervene; discipline and sexuality will marry, and a new word will define itself into your sensual vocabulary."
"What word?"
"...You'll know it when you say it, moan it, scream it, think it."
"...How long do I have to stay like this?"
"As long as you like. Is everything intense enough for you?"
Barbara decided to explore. "What else would you do if I said no?"
"Just enough to create a healthy dose of physical and emotional distress."
"...No." spat Barb as she struggled fiercely and got into a fantasy she'd been contemplating all her teenage and sub-adult life. 'I can't believe I said that.'
Two seconds later, the door was unlocked, and in strutted Jackie. Before her mistress knew what was happening, her mouth was stuffed with cloth, held in place by a ball gag, tightly strapped. Barbara then felt the pillow under her chest being slowly pulled off the bed. The tension in all the tether lines tripled when it no longer filled the gap between her and the mattress. The collection of interlaced rope work between her upper arms now completely supported the weight of her upper body. Her nipples barely touched the sheet below.
"Ahnn," commented Barbara when the impact of her situation gave her reason to believe 'no' was a bit premature of her, given the new ball gag wrinkle.
"That will be all, Jackie. You can go back to whatever you were doing."
She left the room, slammed and locked the door, and returned to the attic to extinguish its 33 candles.
"Is that intense enough for you?" said John, in an unemotional monotone. The lights in the room dimmed to half intensity. "I'll be up there in less than 20 minutes to relieve the pressure on the tether lines by replacing the pillow with my naked body. You'll feel the back of my erection against your crevice. My hands and lips will be all over your neck and breasts. And when I'm sure you truly want what only I can give you, I'm going to stop until you reach maximum craziness. Then I'm going to drive my 8 inches into you and see what happens. I'll be motionless. You will struggle for friction, which, of course, will inspire the expanding and lengthening of my passion. My legs will be under yours. The hair on my chest will titillate your nipples. They will get harder, as will I. Then things will really get intense. Have you ever been spanked?"
"Mmmmuhuhu?"
Continued in Part Three
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story continues in Damsel in Distress 2


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Tag Archives: Robin Hood Daffy
Hood do you think you are?
July 19, 2016 loxley1975	Leave a comment
It's been 25 years since Robin Hood: Prince of Thieves crashed onto UK cinema screens, and we all know that Kevin Costner and Errol Flynn donned tights and confounding archery trickery in the forests of Sherwood.
Dean Newman picks a quiver full of people who have also brought the world's most famous outlaw to life, including a duck and Cheggers!
As featured in Robin Hood Daffy… (1958)
Following the same well drawn lines as his other alter ego Duck Dodgers, Daffy Duck, heads to Sherwood with fine support from Porky Pig as Friar Tuck. Directed by animation legend, Chuck Jones.
Rocket Robin Hood
As featured in Rocket Robin Hood… (1968)
The series was high concept to say the least: in the year 3000, a descendant of the original Robin Hood reforms the Merry Men, complete with namesakes of the originals, to combat a new Prince John, despotic ruler of the National Outer space Terrestrial Territories, and the Sheriff of N.O.T.T.(National Outer-Space Terrestrial Territories).
While the bow and arrow was still Robin's weapon of choice, almost everything else was updated. He now had rayguns, electro-quarter staves and rocket ships at his disposal…and jet-packs! Think Space Ghost style animation meets the original animated Spiderman.
Keith Chegwin
As featured in Robin Hood Junior… (1975)
Cheggers plays pop-ular action folk hero in his Children's Film Foundation classic (think the Robin Hood version of Bugsy Malone minus those custard pie guns and all that singing). A fantastically fun romp that deserves to be released on DVD with Keith Chegwin commentary!
As featured in Robin and Marian… (1976)
Talking of Bond…one of the few Robin Hood's to die on screen and indeed to show him in his twilight years. Slower paced and had a fantastic Guy of Gisbourne in the shape of Robert Shaw. Acting, of course, runs in the family and Jason got to step up to the plate in the third series of Robin of Sherwood as Robert of Huntingdon.
As featured in Time Bandits… (1981)
There's more than a bonkers feel to this Terry Gilliam film fest with Python face as perhaps the oddest choice big screen aloof Hood ever, in charge of some perhaps too Merry Men.
Michael Praed
As featured in Robin of Sherwood… (1984 – 1986)
For me this was as much a part of early 80s Saturday teatime as Doctor Who. Still looks great nearly 30 years later and features a fantastic turn from Ray Winstone as the screens greatest ever Will Scarlet. Had a brilliant two-part opener that fused together would have made one of the best Robin Hood films ever! Famously full of mysticism, it was the first Robin Hood to take in the notion of the green man and introduce us to Herne the Hunter. It was also the first to introduce a Saracen character from the Crusades that has now – with Prince of Thieves and the recent BBC TV series – become the norm.
Praed bowed out after series two, succumbing to the Sheriff and his men, or in TV terms, moved to America to only be shot at his own wedding in Dynasty, surely the Hood equivalent of George Lazenby jacking in Bond after one film. Interesting fact: Neil Morrissey, from Men Behaving Badly and Boon, almost got to play the Hooded Man.
As featured in Star Trek: The Next Generation… (1987 – 1994)
It's in one of those dastardly Q moments that expertly lampoons the look and feel of Flynn's Adventures of Robin Hood, albeit with a Klingon and an android, it also some brilliant knowing dialogue. Stewart also parodied the Sean Connery role in Prince of Thieves, complete with strong Scottish accent, at the close of Men in Tights.
Patrick Bergin
As featured in Robin Hood… (1991)
The 'other' Robin Hood of 1991, this Irishman played Robin Hood with a tache in what was released as a TV movie in America but theatrically over here in Blightly. Billed as gritty, it certainly rhymed with that, as it added elements into the mix that were just downright odd/dull. Uma Thurman made an interesting Maid Marian however. Not a lot really happens.
As featured in Robin Hood: Men in Tights… (1993)
"Unlike other Robin Hoods I speak with an English accent." Cary Elwes showed he was good with a blade in The Princess Bride and actually would have made an impressive bonafide Hooded Man. Was actually born in England, which is something of a rarity for big screen Robin Hoods in Hollywood. Certainly not Mel Brook's greatest film ever but has aged well and still manages to raise more than a titter.
Rik Mayall
As featured in Blackadder: Back and Forth… (1999)
One of those oh so special programmes produced for the millennium, indeed it was produced to be shown at The Dome, which generally means they miss the mark more than they hit with a parade of famous people trying to be oh so funny, also see Comic Relief specials etc, in the days before Extras. Blackadder's very own Lord Flash heart managed to stuff himself in his tights and brought along Kate Moss as Maid Marian. Beware, not as good as the original series. Close, but no cigar, Darling.
As featured in Princess of Thieves (did you see what they did there)… (2001)
Before playing with Pirates this young moppet played Robin Hood's daughter in this little seen Disney TV movie which also saw Malcolm McDowell as the scowling Sheriff. Directed by Peter Hewitt, who helmed both Bill and Ted's Bogus Journey and The Borrowers.
Blackadder: Back and ForthCary ElwesDaffy DuckErrol FlynnJohn CleeseKeira KnightleyKeith ChegwinMichael PraedPatrick BerginPatrick StewartPrincess of ThievesRik MayallRobin HoodRobin Hood DaffyRobin Hood: Men in TightsRobin of SherwoodRocket Robin HoodSean ConneryStar TrekTime Bandits

redpajama_set_name: RedPajamaCommonCrawl


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stamp act cartoon drawing
Needing the revenue from American trade, the British Parliament voted to repeal the Stamp Act in 1766. Also available in digital form. Choose from 60 top Stamp Act stock illustrations from iStock. ( If Others Stamp Act: Cartoon, 1765 is printed by machine on textured canvas, it takes about 5 working days to your address; if you choose it as hand painted reproduction, it takes about 18 working days to your address. Stamp Act Cartoon by mad-as-a-bat12 on DeviantArt Stamp Act Cartoon by mad-as-a-bat12 0 0. the Library of Congress because of rights considerations, but you have access to larger size images on Expresses disapproval of the Soviet opposition to various American diplomatic proposals in the early years of the Cold War. desire a copy showing color or tint (assuming the original has any), The image warned against the danger of Britain losing her American colonies showing a woman with her limbs (American states) cut off. original item when a digital image is available. The Stamp Act was the first direct tax imposed by Britain on its American colonies. STAMP ACT: CARTOON, 1765. Full online access to this resource is only available at the Library of Congress. The Stamp Act of 1765 generated intense opposition with the American colonists, who called for a boycott of British imports. 170 British political cartoons dating from 1766 to 1787 referencing the American Revolution.The drawings show early rebelliousness in the American Colony, open Revolution, and the aftermath of England's loss of the colony. | TIFF(2.8mb). The Stamp Act sets a troubling precedent for a legal system driven by precedent, the colonists feel they are no longer in control of their own legislation-a right granted them as Englishmen. Drawing a Political Cartoon. For information about reproducing, publishing, and citing material from this collection, as well as access to the original items, see: Cartoon Drawings - Rights and Restrictions Information, If an image is displaying, you can download it yourself. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2016683588/. Ding suffered through the dark ages of wild animal populations in North America. Accessibility | Medium: 1 drawing. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. The subject of the cartoon is a combination of two themes popular in Florentine painting of the 15th century: The Virgin and Child with John the Baptist and Virgin and Child with Saint Anne.. Download in under 30 seconds. Are you looking for the best images of Stamp Drawing? If an image is displaying, you can download it yourself. ADVERTISEMENT. Back to top. 0 0. All stamp act artwork ships within 48 hours and includes a 30-day money-back guarantee. A second type of cartoon is that of social comment, with a little more cutting edge added to the comic art. JPEG(94kb) All products are produced on-demand and shipped worldwide within 2 - 3 business days. If you do not see a thumbnail image or a reference to another fill out a call slip in the Prints and Photographs Reading Room Nobody could know it then, but coordinated resistance against the Act will set in motion actions that will eventually lead to Revolution. All stamp act artwork ships within 48 hours and includes a 30-day money-back guarantee. Ding Darling at his drawing desk, courtesy of the Ding Darling Wildlife Society. The emblem reappeared in colonial newspapers during the Stamp Act crisis. Press | DonateInspector General | However, the Stamp Act had the unintended and ironic consequence of drawing colonists from very different areas and viewpoints together in protest. 13 The part that Franklin played during the Stamp Act crisis is treated in detail by Verner W. Crane, Benjamin Franklin and the Stamp Act, Publ. The caption refers to the infamous tax imposed on the American colonies by the British government in 1765. The image warned against the danger of Britain losing her American colonies showing a woman with her limbs (American states) cut off. record ("About This Item") with your request. Blog. $22. Unknown 156 Death of the Stamp Act in color Each cartoon has to be one box explaining the act in a cartoon-like way. [Philadelphia : Printed by Hall & Franklin, 1765]. On Oct. 31, 1765, the publishers announced... http://lcweb.loc.gov/rr/print/res/393_marc.html, Cartoon Drawings - Rights and Restrictions Information, One of the biggest question marks in history. The Marques of Rockingham, only recently named Prime Minister, had the difficult job of convincing Parliament of the benefits of this repeal. The Fatal Stamp.' Nov. 7, 1765, issue no. of Congress Duplication Services. color or tint (assuming the original has any), you can generally purchase a quality copy of LC-USZ62-100015 (b&w film copy neg.) Share your thoughts, experiences and the tales behind the art. when you are outside the Library of Congress because the to view the original item(s). I have to draw a political cartoon for history about either the Boston Tea Party, Stamp Act, Sugar Act, or the Boston Massacre. To contact Reference staff in the Prints and Photographs Reading Room, This was a time-honored liberty of representative legislatures of the colonial governments. | Cartoon shows Soviet leader Khrushchev with a slide projector labeled "Propaganda" projecting the words "Segregation Issue" on a screen. 233x300 stamp - Stamp Drawing . A Warning Inspired By The Stamp Act, Printed In The 'Pennsylvania Journal,' 1765. Cartoon Analysis Sheet. They are also In some cases, a surrogate (substitute image) is Marcus, Edwin, Artist. Buy stamp act posters designed by millions of artists and iconic brands from all over the world. Download Illegal misdeed images and photos. New users enjoy 60% OFF. 700x467 vintage sun face rubber stamp standard stamp - Sun Drawing With Face. $27. have a compelling reason to see the original, consult with amer., v. 4, no.15541. cf. We collected 34+ Stamp Drawing paintings in our online museum of paintings - PaintingValley.com. However, the Stamp Act had the unintended and ironic consequence of drawing colonists from very different areas and viewpoints together in protest. (Some images display only as thumbnails outside The era of unregulated market hunting ended in 1900 with the Lacey Act, but the dire poverty and chaos of the Dust Bowl, the Great Depression, and World War I kept accelerating many species' tailspin. Pieter Nolpe. a writer fellow! Cartoon showing repeal of the Stamp Act For their part, the colonists saw the Declaratory Act as evidence of Parliament's attempt to control their lives and limit their liberties. No, the item is not digitized. George Grenville, whose ministry passed the act, carries a coffin representing the act, with other notable politicians in the funeral train. For further rights For information see "Edwin Marcus Rights and Restrictions Information,", LC-USZ62-100015 (b&w film copy neg.) Draw your cartoon on a standard piece of blank paper. $22. Benjamin Franklin designed and distributed a cartoon urging the repeal of the Stamp Act. Drawn during the early years of the Cold... 1 drawing. An editorial cartoon, also known as a political cartoon, is an illustration or comic strip containing a political or social message that usually relates to current events or personalities. Christopher Weyant . Affordable & funny comics that are great for presentations, websites, social media, publications, gifts and more. the original. Unknown 156 Death of the Stamp Act in color 'O! advise you in both how to fill out a call slip and when the item can be served. Also published, Annapolis, 1766, under title, "Proceedings of the... Cover title. 1760 . - or the Funeral Procession of Miss Americ-Stamp., a famous 1760s political cartoon depicting the repeal of the Stamp Act 1765. All stamp act posters are produced on-demand using archival inks, ship within 48 hours, and include a 30-day money-back guarantee. ! site.). Temperley, Harold William Vazeille - Great Britain. circa 1766. Find a certified presentation designer for your next project on Prezi; Oct. 2, 2020. The sickle is actually a question mark. Detail of a cartoon, 1766, captioned 'The Ballance, or the American's Triumphant' commenting on William Pitt's speech in Parliament, 14 January 1766, that lead to the repeal of the Stamp Act.. 0131344. - Stamp Drawing. Reprinted with additions, from Niles' Weekly register, 1812, v. 2, p.[337]-342, [353]-355. 500x201 vector drawing of weather design postage stamp - Stamp Drawing. The Stamp Act sets a troubling precedent for a legal system driven by precedent, the colonists feel they are no longer in control of their own legislation-a right granted them as Englishmen. Parliament - Hull, Charles Henry. Reference staff can advise you in See more ideas about Stamp, Acting, American colonies. Find high-quality royalty-free vector images that you won't find anywhere else. Stamp act Cartoons by award-winning cartoonist Mark Parisi. Stamp act cartoon analysis. Citations are generated automatically from bibliographic data as Home office setup: 5 ways to create a space for WFH Stamp Act Cartoon, 1765 Drawing. A colored version of The Repeal. image, a copy print, or microfilm. "Reprinted from the American Historical Review, Vol. Comments on the Soviet tactic of publicizing social problems in... 1 drawing. its collections and, therefore, cannot grant or deny permission to same day or in the future. 3, April, 1912". The goal of a political cartoonist is to try to influence the viewer to a particular viewpoint and predispose him or her to a particular action. 32: 56-77, Boston, 1937. For your convenience, there is a search service on the main page of the site that would help you find images similar to stamp act clipart with nescessary type and size. XVII, no. Sons of Liberty protesting the Stamp Act in Boston by burning stamps. Library of Congress Duplication Services. 3) Must be drawn by hand and coloured. Download 35,941 Cartoon Stamp Stock Illustrations, Vectors & Clipart for FREE or amazingly low rates! 1 decade ago Political Cartoon ideas? Ultimately, it is the researcher's obligation to assess copyright or other use restrictions and obtain permission from third parties when necessary before publishing or otherwise distributing materials found in the Library's collections. Choose your favorite stamp act designs and purchase them as wall art, home decor, phone cases, tote bags, and more! Get caught up! Source: This cartoon portrayed the disunited state of the colonies. Price lists, contact information, and order forms are available on the Restrictions Information page Versions of the snake cartoon appeared in newspapers during the American Revolutionary War, sometimes as part of a masthead. 1 drawing. This drawing was based on the popular superstition that a snake that had been cut in . Dec 18, 2015 - Explore Sew 18th Century's board "Stamp Act", followed by 1497 people on Pinterest. A seal representing the stamp act,vintage line drawing or engraving illustration. when you are in any reading room at the Library of Congress. (A thumbnail (small) image will be visible on the left.). See more ideas about Stamp, Acting, American colonies. The Stamp Act. Granger. In many cases, the originals can be served in a Retrieved from the Library of Congress, . Who Started The Stamp Act of 1765? Debates on the Declaratory act and the repeal of the Stamp Act, 1766, No stamped paper to be had. In some cases, a surrogate Marcus, E. (1947) The Stamp Act. More from This Artist Similar Designs. Benjamin Franklin designed and distributed a cartoon urging the repeal of the Stamp Act. easier to see online where they are presented as positive 2) Take the side of the Loyalists or the Patriots and show their perspective on the British law/act that you've chosen. The Marques of Rockingham, only recently named Prime Minister, had the difficult job of convincing Parliament of the benefits of this repeal. Here you are! 0 Comments Leave a Reply. (Sometimes, the original is simply I need help. 1) Choose one of the 5 British laws/acts that we have examined as the subject of your cartoon (Sugar Act, Stamp Act, Townsend Act, Tea Act, Intolerable Act). In some cases, only thumbnail (small) images are available considerations, but you have access to larger size images on site.). negatives are particularly subject to damage. Industries." Comments on the bewilderment of the... cover-title. 100% satisfaction guaranteed. Wall Street Panic, 1873 Drawing. | Cartoon shows a fierce eagle with spread wings (labeled "U.S. As is to be expected, their treatment of the Act and the motives of its sponsors, as well as the ends intended to be achieved by it, is grossly distorted, fantastically biased, and patently "untrue." LC-USZ6-1462 (b&w film copy neg.). please use our Ask A Librarian service or 0 0. The Stamp Act of 1765 generated intense opposition with the American colonists, who called for a boycott of British imports. All images can be viewed at a large size Granger, Bruce Ingham. rights restrictions. Molotov, Vyacheslav Mikhaylovich,--1890-1986. International relations--Soviet Union--1940-1950. International relations--United States--1940-1950. http://www.loc.gov/rr/print/res/rights.html, http://lcweb.loc.gov/rr/print/res/393_marc.html. From Granger - Historical Picture Archive. (Some images I seriously have no ideas on the cartoons. The Stamp Act in Contemporary English Cartoons With a note by Douglass Adair T X SHE Stamp Act is the first great American issue to be extensively treated by English political cartoonists. The repeal was a victory for the American colonists and this cartoon portrayed that. Customize your stamp act poster with hundreds of different frame options, and get the exact look that you want for your wall! 10/10/2013 0 Comments Students analyzed a political cartoon on the Boston Tea Party/Stamp Act. Stamp Act: Cartoon, 1765 Giclee Print. Please use the following steps to determine whether you need to fill out a call slip in the Prints Text of the stamp act, reprinted from an edition published "by authority", at London, in 1765. Summary: Cartoon shows the hand of Soviet foreign minister Molotov stamping "NO" on various papers calling for an atom bomb plan, a European Recovery Conference, and … No, another surrogate does not exist. few minutes. If only black-and-white ("b&w") sources are listed and you A colored version of The Repeal. 1760 . The caption refers to the infamous tax imposed on the American colonies by the British government in 1765. This Original Stamp Clipart Microsoft - Stamp Act Clip Art is high quality PNG picture material, which can be used for your creative projects or simply as a decoration for your design & website content. The Library of Congress generally does not own rights to material in display only as thumbnails outside the Library of Congress because of rights STAMP ACT CARTOON, 1766. Thousands to choose from. | Cartoon shows a man with a globe head looking inquiringly at a large hammer and sickle. Sep 28, 2012 - Cartoon by Benjamin Franklin about the Stamp Act. In many cases, the originals can be served in a few minutes. Price lists, contact information, and order forms are available on the Stamp Act cartoon 2 of 2. Please use the following steps to determine whether you need to Most Downloads Size Popular. We ship all over the world. Search Stamp Act Congress Cartoon. item is rights restricted or has not been evaluated for The drawing may be purchased as wall art, home decor, apparel, phone cases, greeting cards, and more. Search ID: gbrn797. such as microfilm or copy prints? Oct. 5, 2020. $100. Duplication Services Web site. Please go to #2. Ding Darling at his drawing desk, courtesy of the Ding Darling Wildlife Society. two would come to life if the pieces were joined before sunset. Edited by Lewis Cruger. The era of unregulated market hunting ended in 1900 with the Lacey Act, but the dire poverty and chaos of the Dust Bowl, the Great Depression, and World War I kept accelerating many species' tailspin. Photograph. http://www.loc.gov/rr/print/res/rights.html The Library of Congress does not own rights to material in its collections. surrogate, please fill out a call slip in the Prints and Photographs Also available in digital form. High Res: 2228x1564 (unwatermarked) Tags: english, politician, politicians, politics, prime minister, prime ministers, marquess of rockingham, whig, whigs, whig party, rockingham whigs, stamp act, stamp act of 1765, declaratory act. Are you looking for the best images of Stamp Drawing? too fragile to serve. ADVERTISEMENT. Each box has to be bigger then a normal sheet of paper. | Cartoon shows John Bull and Uncle Sam singing a duet called "Unity," while a figure labeled "Russia" looks on in dismay. Needing the revenue from American trade, the British Parliament voted to repeal the Stamp Act in 1766. [18 On March 5th, 1770 an event dubbed the Boston Massacre occurred. This kind of art tries for a humorous and good-humored observation on daily life and problems. ). you can generally purchase a quality copy of the original in color by publish or otherwise distribute the material. Dislike this cartoon? This law placed a tax on newspapers, almanacs, pamphlets, playing cards, and legal documents. 429x418 the stamp act hey, look! Choose your favorite stamp act designs and purchase them as wall art, home decor, phone cases, tote bags, and more! public's eye and was reproduced in other newspapers. The artist's goal is simple entertainment in a weary world. Source: This cartoon portrayed how the Stamp Act, after being imposed for only approximately 4 months, was repealed and stopped. 0 0. See more ideas about political cartoons, revolutionary war, american revolutionary war. Attached are the cartoon and analysis sheet. ), May be restricted. " The Stamp Act in Contemporary English Cartoons ." The William and Mary Quarterly (October 1953): 538-542. Is the item digitized? 0 0. Mar 14, 2016 - Explore Kim Malcolm's board "Political Cartoons- Revolutionary War" on Pinterest. Political cartoons are drawings with a partisan message for viewers about what they should think or do politically. The Stamp Act was repealed in March 1766, because King George saw few people were buying the stamps and that meant he wasn't getting any money. 12 Frank Weitenkampf, American graphic art, 244, New York, Henry Holt and Co., 1912. Probably refers to the Soviet... 1 drawing. This drawing immediately caught the public's eye and was reproduced in other newspapers. Cartoon shows the hand of Soviet foreign minister Molotov stamping "NO" on various papers calling for an atom bomb plan, a European Recovery Conference, and a Japanese Peace Treaty. We collected 34+ Stamp Drawing paintings in our online museum of paintings - PaintingValley.com. - or the Funeral Procession of Miss Americ-Stamp., a famous 1760s political cartoon depicting the repeal of the Stamp Act 1765. Acquiring the skill of analyzing what is in the media will give students an introduction to critically looking at the media. Bernie Sanders Became President And Everything Drawing. The earliest illustration from 1766 depicts the end of the stamp act of 1765. About | Other materials require appointments for later the same day or in the future. Here you are! USA.gov, Larger images display only at the Library of Congress. For example, glass and film photographic Stamp Act, (1765), in U.S. colonial history, first British parliamentary attempt to raise revenue through direct taxation of all colonial commercial and legal papers, newspapers, pamphlets, cards, almanacs, and dice. To contact Reference staff in the Prints and Photographs Reading Room, please use our Students will determine whether the political cartoons' point of view covers the colonists' or British perspective of the Stamp Act. Choose your favorite stamp act designs and purchase them as wall art, home decor, phone cases, tote bags, and more! the Prints and Photographs Reading Room. | Cartoon shows the hand of Soviet foreign minister Molotov stamping "NO" on various papers calling for an atom bomb plan, a European Recovery Conference, and a Japanese Peace Treaty. $27. Duplication Services Web site. However, the Stamp Act had the unintended and ironic consequence of drawing colonists from very different areas and viewpoints together in protest. Blog. (substitute image) is available, often in the form of a digital information, see "Rights Information" below and the Rights and and Photographs Reading Room to view the original item(s). Home office setup: 5 ways to create a space for WFH | Cartoon shows Soviet leader Joseph Stalin gazing with clenched fists at the word "Preparedness," written in the sky by an airplane labeled "U.S. For information see "Edwin Marcus Rights and Restrictions Information,", Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print. $27. Stamp Act Cartoon. 5:00 at 202-707-6394, and Press 3. [18 On March 5th, 1770 an event dubbed the Boston Massacre occurred. George Grenville, whose ministry passed the act, carries a coffin representing the act, with other notable politicians in the funeral train. 1 drawing. Most Downloads Size Popular. Alternatively, you can purchase copies of various types through Library Colonial Society of Mass. the original in color by citing the Call Number listed above and including the catalog Jobs | [ digital file from intermediary roll film ], May be restricted. Adair, Douglass. Please use the digital image in preference to requesting The Stamp Act was the first direct tax imposed by Britain on its American colonies. Reference staff can direct you to this surrogate. Reading Room. a reference librarian. Students will analyze two political cartoons about the Stamp Act of 1765. Charles Watson-Wentworth. https://www.loc.gov/item/2016683588/. Ask A Librarian service or call the reading room between 8:30 and For American history we have to make a cartoon type drawing for the 4 acts: the Townshend acts the Tea Acts the Intolerable acts and the Stamp act. Comic art is the most innocent form of cartoon comment. Sabin, Bibl. And the snake cartoon was used by both sides during the Civil War. The political cartoon has a very subjective viewpoint. 1924, of the Pennsylvania gazette, printed at Philadelphia by David Hall and Benjamin Franklin; without date, number, masthead, or imprint. More from This Artist Similar Designs. Shop for stamp act art from the world's greatest living artists. United States Soviet Union, 1947. images.). Unknown 156 Death of the Stamp Act in color . Stamp Act, 1765. Sunset Sky Photo Epicondyle Bone Marking Berserk Guts Armor Cosplay Retro Script Fonts X Chris Brown Deluxe Awesome Abstract Wallpapers Green Waiting In Line At Airport Clipart Quantum Physics Problem Water Wizard Art … I have to draw a political cartoon for history about either the Boston Tea Party, Stamp Act, Sugar Act, or the Boston Massacre. Does anyone have any ideas?? We offer you for free download top of stamp act clipart pictures. The Stamp Act of 1765 (short title: Duties in American Colonies Act 1765; 5 George III, c. 12) was an Act of the Parliament of Great Britain which imposed a direct tax on the British colonies in America and required that many printed materials in the colonies be produced on stamped paper produced in London, carrying an embossed revenue stamp. Over 111 Illegal misdeed pictures to choose from, with no signup needed. citing the Call Number listed above and including the catalog record circa 1766. Do the Access Advisory or Call Number fields above indicate that a non-digital surrogate exists, STAMP ACT RIOT, 1765. Lithograph from a 19th century American book.. 0009746. Discounts when you buy 3 or more. 149,619,950 stock photos online. Shop for stamp act art from the world's greatest living artists. ("About This Item") with your request. The Stamp Act signaled a shift in British policy after the French and Indian War. This drawing immediately caught the . This law placed a tax on newspapers, almanacs, pamphlets, playing cards, and legal documents. Therefore, it does not license or charge permission fees for use of such material and cannot grant or deny permission to publish or otherwise distribute the material. Find a certified presentation designer for your next project on Prezi; Oct. 2, 2020. Tougher Policy") atop a pole on which hangs a ragged old coat (labeled "Russian Threats"), giving the appearance of... 1 drawing. On our site you can get for free 10 of high-quality images. The snake was a potent symbol with more positive connotations to the colonists than it might carry today, according to Donald C. Dewey, author of the 2007 book, The Art … Gift; Mrs. Edwin Marcus; 1962; (DLC/PP-1962:R03.115). The drawing is notable for its complex composition, demonstrating the alternation in the positioning of figures that is first apparent in Leonardo's paintings in the Benois Madonna. call the reading room between 8:30 and 5:00 at 202-707-6394, and Press 3. Title: The Stamp Act Creator(s): Marcus, Edwin, 1885-1961, artist Date Created/Published: 1947 July 27. Stamp Act Cartoon, 1765 is a drawing by Granger which was uploaded on July 1st, 2012. $22. Political cartoon by Benjamin Franklin entitled THE COLONIES REDUCED expressing opposition to Stamp Act imposed by British Parliament with object of raising revenue in America. LIMITED OFFER: Get 10 free Shutterstock images - PICK10FREE. In later years, the Join or Die cartoon resurfaced on important occasions. Alternatively, you can purchase copies of various types through Other materials require appointments for later the Remember: The 9 weeks ends on Friday. Bullion, John L. " British Ministers and American Resistance to the Stamp Act, October- December 1765 ." The William and Mary Quarterly > (January 1992): 89-107. Visit & Look Up Quick Results Now On celebrandoleonardo500.com! United States Soviet Union, 1947. The Colonists reacted immediately, asserting that the Stamp Act was an attempt to raise money in the colonies without the approval of colonial legislatures. The Colonists reacted immediately, asserting that the Stamp Act was an attempt to raise money in the colonies without the approval of colonial legislatures. More from This Artist Similar Designs. available, often in the form of a digital image, a copy print, or microfilm. 350x350 the stamp act - Stamp Drawing. It included the people who had something to do with the passing of the Act. The Stamp Act. Nobody could know it then, but coordinated resistance against the Act will set in motion actions that will eventually lead to Revolution. stamp act clipart. ... a famous 1760s political cartoon depicting the repeal of the Stamp Act 1765. Celebrando Leonardo. All stamp act artwork ships within 48 hours and includes a 30-day money-back guarantee. Marcus, Edwin, Artist. Views: 762 Images: 34 Downloads: 2 Likes: 0. stamp; rubber stamp; for kids; engineer; architect; shop; act; Like JPG. If you do not see a thumbnail image or a reference to another surrogate, please fill out a call slip in Ding suffered through the dark ages of wild animal populations in North America. Stamp Act, 1765 "Taxation without representation" Stamp Act, 1765. Dec 18, 2015 - Explore Sew 18th Century's board "Stamp Act", followed by 1497 people on Pinterest. Views: 762 Images: 34 Downloads: 2 Likes: 0. stamp; rubber stamp; for kids; engineer; architect; shop; act; Like JPG. Yes, another surrogate exists. Reference staff can Crane there makes no mention of the cartoon. Granger. Artist: Brown, Gary. Please go to #3. Author. Legal | "The Sons of Liberty" and How They Were Involved: The British Government passed the Stamp Act in circa 1766. George Grenville, whose ministry passed the act, carries a coffin representing the act, with other notable politicians in the funeral train. Related searches. Tulip Mania, 1637 Drawing. External Link Disclaimer | This Others Stamp Act: Cartoon, 1765 is oil on canvas and waterproof. thank you!!!! If you This drawing was based on the popular superstition that a snake that had been cut in two would come to life if the pieces were joined before sunset. By showing the. both how to fill out a call slip and when the item can be served. If only black-and-white ("b&w") sources are listed and you desire a copy showing Photograph. Before the Stamp Act, the colonists had paid taxes to their colonial governments or indirectly through higher prices, not directly to the Crown's appointed governors. Oct. 5, 2020. This act represented the Chatham ministry's new approach to generating tax revenue in the American colonies after the repeal of the Stamp Act in 1766. https://www.loc.gov/pictures/item/2016683588/, (http://lcweb.loc.gov/rr/print/res/393_marc.html).
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2020 stamp act cartoon drawing


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All sciences strive to find the origin of the problem they're investigating. We always turn to origins–it is in our nature. There is no doubt in my mind that with man's very first breath he wondered about the origin of the world about him: the sun, moon, planets, oceans, mountains, trees, and meadows. The when, how, why. It is the 'why' that most stirs the imagination toward the inner world, evoking daunting possibilities of forces greater than man, than some men care to think.
No sooner was psychoanalysis discovered than the thrust of exploration ran progressively toward origins. In a little while the child came into view as a proper vehicle for investigation and study. Analysts examined and thought about infancy, just as the physical scientists have scraped away at the physical universe, picking and poking it in the incessant endeavor to discover the where, when, how, and why.
By now countless theories about mental functioning and personality development, and about childhood and infancy, have been set forth. Tools from many physical disciplines have been brought into the field of analysis, aiding us as we investigate the infant in all the physical and physiological ways possible. But, as analysts, we have to have faith in the tools of our profession. We must have the conviction of there being an unconscious and a conscious, and there being entities called dreams which can lead us to all the answers we want to know. If we pursue with purity the method of dream analysis discovered by Freud2, we find that the dream is the Rosetta stone of inner mental life–or so my experience has taught me.
My experience has also taught me that all emotional illness is based upon the relationship between mother and infant, from the moment of conception–and even before the infant is conceived, for the mother already has a plan, albeit unconscious, that she will execute upon her future child. This is beyond the conscious fantasies she may harbor, the way all of us harbor dreams of the future. What the unsuspecting woman does not know is that the plan was already executed upon her. She has no other choice than to pass it on to her children. This process has such fixity that one may say it has a genetic quality. One can do nothing about it psychologically. Even so, I have found that analyzing even that which appears to be instinctual will yield to psychoanalytic exploration.
Since all analysts begin learning their profession by dealing with the adult, there is often a reluctance and fear on the student's part in dealing with children, unless one is doing a child analytic course. Specialization in this area requires additional years of training, and few analysts are willing to spend the time in this direction. I do not think specialization is necessary, however, for in view of my work I have come to the conclusion that there is no such entity as adult analysis.
The adult of the patient before us does not need analyzing. He can dress himself, drive a car, shop for food, do work, and so on. Wherever adult function is impaired, there infantile trauma has been. Pathological mechanisms rush to the wounded site the way leukocytes rush to a wound. Only we do not see the blood, the swelling, or the heat, for this process all takes place in the mind–which is so vast as to be capable of containing and even concealing much trauma and pathology. Of course, if the damage is too great symptoms will emerge that the defense mechanisms no longer can contain. All emotional illness has its origin in infancy, and all illnesses can be traced to the infant's relationship with first the mother and then the other members of the family.
It follows then that there is no such thing as adult analysis, for adult qualities and functions do not need analysis in the main. One is simply, and constantly, analyzing the infant in the adult–though there is no doubt that analyzing infantile expressions of pathology in the person will always improve adult functioning. To talk about these issues intellectually with the patient is of no use, for only when the infantile core, which is the emotional core, is available can something be done through interpretations.
As a matter of survival, all infants have to insure that their mothers will live. It has become clearer and clearer to me that babies' minds have to split almost at birth, maybe even before, in order to accommodate a mother who is beset by emotional disturbances–and, of course, who amongst us is not beset by emotional disturbances. To ensure the survival of the mother the infant has to become his mother. Then the infant knows that he will live. All of this is unconscious in the baby's mind and though the infant feels that a big problem has been solved, which it has not been, the infant will indeed live. The consequences that follow will trail the infant all the rest of its life, for he will have a life-long identification of being his mother. The mind will be split, and the entity s/he was supposed to be will never come into existence.
If there is not too much damage in early infantile life, one can live out one's life relatively well or less well, depending on the vicissitudes given one. However, when the damage is too great; the infant is forced to give up his own pristine potential self in order to survive. The task of analysis is for us to reach that well defended and often hidden part and begin to set it free. This is not easily done. The patient himself will resist the analysis in a myriad of ways. And the sicker the patient is–that is, the greater the split–the greater the identification with the mother will be. It is sometimes so great that the patient is, for all practical purposes, his mother, and there is no patient.
Some 10 to 15 years ago I was analyzing a young woman who was very constricted, a constriction that covered a very infantile personality–all of which was hidden by an organized, professional stance. Professions hide much, as we all know. This woman delivered a baby in the course of her analysis, and it was a terrifying experience for her. So much so that she returned to the analysis within one week, driven by her anxiety. She walked into my office with a tiny baby in her arms. She sat on the couch, holding the baby awkwardly and away from her body. It looked as if she were holding something dangerous, something she needed to rid herself of immediately. The baby cried loudly, incessantly. I felt like getting up and taking the baby myself, but I did not. The patient began telling me her dream amid the squalling noises of the infant, who was lying now with her back arched. I listened to the material, trying to concentrate on the patient's words.
When I felt I understood the dream in relation to the patient's associations, I made an interpretation. To my surprise, as soon as I spoke the baby relaxed and fell into a deep sleep. Her red face lost its redness and became pink. Then the patient relaxed and leaned against the wall. This happened regularly for the next six months, without fail. Every interpretation quieted the baby and when she relaxed the mother did as well. That was the beginning of my understanding that talking to the mother was talking to the baby. There seemed to be no barrier between the two. It was a matter of two hearts in consonance–with one mind, the mother's. Later other young women analysands brought their babies, often for lack of a babysitter, and the same thing would occur. Even with older children, interpretations made to the mother always affected and quieted the child.
You see, I was to discover that the baby has been imprinted with the mother, imprinted in the way it is to live and to die. We are all imprinted in these early moments and hours of life. Konrad Lorenz found this to be true of birds and other species, and I say it is true of mankind as well. The principle is the same. It is simply the law of economy at work. We hide our imprinting by our brains, by our intelligence, but a deep analysis uncovers surely and slowly beyond our technical knowledge and our cleverness the simple fact of our being imprinted. All things in the world, all creatures, have their signature. What is DNA except an imprinting device–so simple, but capable of great diversity? The fact that we are imprinted is not to be scorned or rejected or fought against. It is the nature of being, and we take our place in the universe as one of the creatures with the greatest potentiality for evolution–that is, if we can get past an imprinting that leaves us crippled, passive, frustrated, and bent on self-destruction.
Now it is clear that every person's problem in life is not the Oedipal struggle. The problem is in how to find the spark of self that one was supposed to be as one came into existence, and the central issue is how to become oneself, and break free of the mother's imprint. It is over this issue that the patient puts up the greatest struggle. Confronting this fundamental conflict is the most frightening task for the patient and for every human being.
Cure can only come about when there is a transformation. The patient has to repudiate his mother–now a maternal imprint3 within him–not by saying "I let you go," but by an emotional letting go, which may take a very long time. The patient has to give up everything he has known from birth, renouncing the imprints of the mother and the father, losing all landmarks. It is only through a renunciation of the false self that a true transformation ensues. Short of this, if the choice is made by the patient not to sail on this journey, a fundamental change, a true transformation, will not be made. Only when there is evidence in dreams that the patient is fighting for himself, only when that tiny hidden spark slowly reveals itself, can we be sure of there being a transformation and a cure.
When a genius speaks I have always taken it seriously. I listen with devotion and awe, for these people are enbued with a touch of what I must call the "divine"–in the way we regard the great composers, scientists, artists who have had that incomparable vision. I think Thomas Carlyle, the Scottish historian, was on the mark when he wrote that civilization is the history of those few geniuses whose discoveries have enlightened mankind, pushing back the powerful envelope of darkness that constantly threatens to enclose us. Momentous discoveries have not only brought illumination to man, they have given us hope; they have brought hope of there being a unity in all phenomena, animate and inanimate, contained in the world and in the universe.
When Freud stated he was the most fortunate of men to be given the secret to the interpretation of dreams, he was absolutely right. He was given this opportunity and his genius seized it for he knew, beyond all, that it held the key to much of mankind. My work would say that dreams hold possibilities that not even Freud wrote of, though we cannot say what he might have thought or suspected. I understand dreams are out of fashion, which is paradoxical, for they represent messages from the unconscious and analysis is the one discipline out of all the scientific disciplines that knows how to broach this leviathan. Without dreams and their understanding there can be no analysis, and we are flung back a hundred years to the darkness from which Freud rescued us with his greatest work, The Interpretation of Dreams.
The unconscious may contain many things that we so far do not know about. But one thing it does contain without a doubt is the record of one's life from the origins of that life-indeed, even to the formation of that life, egg and sperm. If one listens properly, these origins can all be recovered. When a patient tells us a dream, he is tugging at our sleeve, begging us to hear him out–to understand his infantile fears and trauma, the imprint that clouds and conceals his pristine self. In that room and on that couch he is saying he wants to be aware of his life, to become open to the secrets of his unconscious. He comes, we know, because he suffers. He comes because he does not want anymore to react to his life. He wants to be in his life. When he opens up the treasure of his unconscious, he will become greater than what he thought he was before, back when he was indrawn, constricted, and wearing all the masks that life has fashioned for us – masks that cost us our truthfulness, our simplicity, our essential selves.
The work of listening to dreams is very difficult, for every dream carries with it a charge of toxins that make us weary. It is not easy to bear the confusion, the disjoint of the communication–that is, it is not easy to bear the transference and the hatred that comes with this job. The participants also must have great endurance, and the truth will prevail only if the patient allows it to, for the patient always has a choice about how he wishes to live his life. The reward for the patient is immeasurable: freedom in letting go of the toxic material that has been lying in his mind, slowly paralyzing him out of his own life. It is this relief that gives the patient the impetus to go deeper, to trust more, to become as a child again and take the hand of the guide. Here all the strength, the skill and the experience the analyst can muster are important to hew to the truth of the dream, for the truth will be contained within it. It is all an analyst can do. It is the best an analyst can do.
1 Jacob Boehme, Signatura Rerun (The Signature of All Things, from the William Law translation), Chapter I, Item 17.
2 Freud's method of analyzing dreams (his use of the day residue, his attempts to gather detailed associations to the elements of the dream, etc.) is to be distinguished from Freud's wish fulfillment theory regarding the latent content of each dream. If we follow Freud's method, without an a priori theoretical conclusion regarding the dream's meaning, then we see that the dream illuminates a life in its entirety, revealing the truth of that individual's being, and more.
3 The maternal imprint consists of unconscious unresolved infantile issues within the mother, issues that cannot be held within her mind and are thus projected into her infant's mind. The infant, without a defensive structure, must then take care of his mother's unconscious – hold it within his mind – and in this way become the receptacle for what is unaddressed, unknown, and unwanted within her. The infant thus becomes his mother and cannot come into his own unique existence.


text:
Cardinal Hopes Forum Opens New Chapter In Catholic-Muslim Relations
VATICAN CITY (CNS) — On the eve of the first meeting of the Catholic-Muslim Forum, the cardinal responsible for the dialogue said he hoped it would open "a new chapter" in a long history of Catholic-Muslim relations.
French Cardinal Jean-Louis Tauran, president of the Pontifical Council for Interreligious Dialogue, gave interviews in early November to Vatican Radio and to the French Catholic newspaper La Croix.
He told Vatican Radio that the Nov. 4-6 meeting with representatives of the 138 Muslim scholars who began the Common Word initiative in 2007 would give participants an opportunity to explain their faiths through their understanding of the commandments to love God and to love one's neighbor.
While theological points underlie the discussion, "properly speaking, one cannot say that we have a theological dialogue," he said in the Nov. 3 interview with Vatican Radio.
Rather, he said, the Vatican's dialogues with Muslims have focused on ethical questions, spirituality and joint action on behalf of the suffering.
He told La Croix Nov. 2: "At the moment theological dialogue has not really begun. We will see with the Forum, when we will speak of the love of God, how far we can go together. What is important is to know the theological thinking of the other" and to share the riches that come from our respective religious traditions.
The second day of the meeting is expected to focus on human dignity and mutual respect, and Cardinal Tauran said he hoped that would be an opportunity for the Vatican to voice its concerns about the limits on freedom of conscience and religious practice Catholics face in some Muslim countries.
Cardinal Tauran said it is natural to want reciprocity and to believe that the freedom that is good for Muslims in Europe, for example, would be good for Christians in the Middle East.
"But beware," he said, "the principle of reciprocity is not a prerequisite for dialogue; this is not the logic of 'Do ut des' (I give so that you will give). That would be anti-Christian."
Instead, he said, ensuring respect for each other's beliefs and rights is something that results from gradually changing attitudes.
While several high-level initiatives give hope that changes will take place, the cardinal said, "the problem is that these initiatives of dialogue seem very hit-and-miss compared to the daily stories of anti-Christian violence in several countries. The question is how do we get these real openings we have with the elite to filter down to the masses."


text:
using System;
using System.Collections.Generic;

namespace Aurora.Settings.Overrides.Logic.Builder {

    ///
    /// This class helps to build override logic instead of needing to manually
    /// create and instantiate the various logic evaluatables.
    ///
    public class OverrideLogicBuilder {

        private Dictionary<string, IOverrideLogic> overrideProperties = new Dictionary<string, IOverrideLogic>();

        ///
        /// Creates a new override logic builder.
        ///
        public OverrideLogicBuilder() { }

        ///
        /// Returns the created override property table for using with a layer's _OverrideLogic property.
        ///
        public Dictionary<string, IOverrideLogic> Create() => overrideProperties;

        #region Dynamic Value Methods
        ///
        /// Interal helper function to simplify/shorten the public API methods.
        ///
        private OverrideLogicBuilder SetDynamic(Type type, string layerPropertyName, IEvaluatable evaluatable) {
            overrideProperties[layerPropertyName] = new OverrideDynamicValue(type, new Dictionary<string, IEvaluatable> { { "Value", evaluatable } });
            return this;
        }

        /// Creates/replaces the override entry for the given boolean layer property with the given evaluatable boolean.
        /// <param name="layerPropertyName">The name of a bool layer property (e.g. "_Enabled").</param>
        /// <param name="evaluatable">The evaluatable boolean that will be used for this property.</param>
        public OverrideLogicBuilder SetDynamicBoolean(string layerPropertyName, Evaluatable<bool> evaluatable) => SetDynamic(typeof(bool), layerPropertyName, evaluatable);

        /// Creates/replaces the override entry for the given integer layer property with the given evaluatable number.
        /// <param name="layerPropertyName">The name of an int layer property (e.g. "_EffectWidth").</param>
        /// <param name="evaluatable">The evaluatable number that will be used for this property.</param>
        public OverrideLogicBuilder SetDynamicInt(string layerPropertyName, Evaluatable<double> evaluatable) => SetDynamic(typeof(int), layerPropertyName, evaluatable);

        /// Creates/replaces the override entry for the given long integer layer property with the given evaluatable number.
        /// <param name="layerPropertyName">The name of an long layer property.</param>
        /// <param name="evaluatable">The evaluatable number that will be used for this property.</param>
        public OverrideLogicBuilder SetDynamicLong(string layerPropertyName, Evaluatable<double> evaluatable) => SetDynamic(typeof(long), layerPropertyName, evaluatable);

        /// Creates/replaces the override entry for the given floating-point number layer property with the given evaluatable number.
        /// <param name="layerPropertyName">The name of an float layer property (e.g. "_Opacity").</param>
        /// <param name="evaluatable">The evaluatable number that will be used for this property.</param>
        public OverrideLogicBuilder SetDynamicFloat(string layerPropertyName, Evaluatable<double> evaluatable) => SetDynamic(typeof(float), layerPropertyName, evaluatable);

        /// Creates/replaces the override entry for the given double-precision number layer property with the given evaluatable number.
        /// <param name="layerPropertyName">The name of an double layer property.</param>
        /// <param name="evaluatable">The evaluatable number that will be used for this property.</param>
        public OverrideLogicBuilder SetDynamicDouble(string layerPropertyName, Evaluatable<double> evaluatable) => SetDynamic(typeof(double), layerPropertyName, evaluatable);

        /// Creates/replaces the override entry for the given color layer property with the given evaluatable numbers.
        /// <param name="layerPropertyName">The name of an color layer property (e.g. "_PrimaryColor").</param>
        /// <param name="a">The evaluatable number that will be used as the alpha property for this color.</param>
        /// <param name="r">The evaluatable number that will be used as the red property for this color.</param>
        /// <param name="g">The evaluatable number that will be used as the green property for this color.</param>
        /// <param name="b">The evaluatable number that will be used as the blue property for this color.</param>
        public OverrideLogicBuilder SetDynamicColor(string layerPropertyName, Evaluatable<double> a, Evaluatable<double>r, Evaluatable<double>g, Evaluatable<double>b) {
            overrideProperties[layerPropertyName] = new OverrideDynamicValue(typeof(System.Drawing.Color), new Dictionary<string, IEvaluatable> {
                { "Alpha", a }, { "Red", r }, { "Green", g }, { "Blue", b }
            });
            return this;
        }

        /// Creates/replaces the override entry for the given color layer property with the given evaluatable numbers.
        /// <param name="layerPropertyName">The name of an color layer property (e.g. "_PrimaryColor").</param>
        /// <param name="r">The evaluatable number that will be used as the red property for this color.</param>
        /// <param name="g">The evaluatable number that will be used as the green property for this color.</param>
        /// <param name="b">The evaluatable number that will be used as the blue property for this color.</param>
        public OverrideLogicBuilder SetDynamicColor(string layerPropertyName, Evaluatable<double>r, Evaluatable<double>g, Evaluatable<double>b) => SetDynamicColor(layerPropertyName, new NumberConstant { Value = 1 }, r, g, b);
        #endregion

        #region Lookup Table Methods
        public OverrideLogicBuilder SetLookupTable(string layerPropertyName, Type t, IEnumerable<OverrideLookupTable.LookupTableEntry> entries) {
            overrideProperties[layerPropertyName] = new OverrideLookupTable(t, entries);
            return this;
        }

        public OverrideLogicBuilder SetLookupTable<T>(string layerPropertyName, OverrideLookupTableBuilder<T> entryBuilder) => SetLookupTable(layerPropertyName, typeof(T), entryBuilder.Create());
        #endregion
    }

    ///
    /// Builder to help construct an entry set for the OverrideLookupTable.
    ///
    /// <typeparam name="T">The type of variable expected for this table.</typeparam>
    public class OverrideLookupTableBuilder<T> {

        private List<OverrideLookupTable.LookupTableEntry> entries = new List<OverrideLookupTable.LookupTableEntry>();

        /// Adds an entry to the table with the given value that will be used as an override when the `when` condition is true.
        /// <param name="value">The value to override a layer property with.</param>
        /// <param name="when">The condition that must be met for the override property to be used.</param>
        public OverrideLookupTableBuilder<T> AddEntry(T value, Evaluatable<bool> when) {
            entries.Add(new OverrideLookupTable.LookupTableEntry(value, when));
            return this;
        }

        public List<OverrideLookupTable.LookupTableEntry> Create() => entries;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: Where is Open Console option in Intellij 12 I am using Ultimate 12.1.4 on os/x 10.8.5 and I can not find "Open Console Here" (or the equivalent). I went through all the menu items several times as well as popup/context menu.

A: Do you need to open system terminal console in selected directory? There are sevelal options here:

*

*External Tools -- (Settings | External Tools) -- you can execute any external command (exe/batch file/etc) you want. Make sure to set $FileDir$ as a tool working directory
http://www.jetbrains.com/phpstorm/webhelp/external-tools.html

*Command Line Tools -- "Tools | Run Command..." (you need to installe the Command Line Tools support plugin from the repository).
http://www.jetbrains.com/phpstorm/webhelp/command-line-tool-support.html
http://confluence.jetbrains.com/display/PhpStorm/Command+Line+Tools
http://blog.jetbrains.com/phpstorm/2013/07/command-line-tools-in-phpstorm/

*Terminal (available in upcoming IDEA v13) -- "Tools | Open Terminal..." (toolwindow should be pinned to the bottom of the screen by default)
http://blog.jetbrains.com/phpstorm/2013/09/built-in-local-terminal-in-phpstorm-7/
http://blog.jetbrains.com/phpstorm/2013/08/using-the-phpstorm-built-in-ssh-terminal-and-remote-ssh-external-tools/

redpajama_set_name: RedPajamaStackExchange


The future of any HOA lies in the hands of its board members. With that in mind, recruiting future qualified candidates should be on everyone's radar if your current leader is looking to step down or tend to other obligations. While there is a lot at stake for HOA members and homeowners, it's important to choose wisely. Therefore, in addition to protecting your association with a customized LA HOA Insurance program, heed the following advice.
Start talking with new and existing homeowners about their interest in the board and becoming a leader. Further, if a new homeowner moves in, your HOA should take the time to get to know him or her and discuss potential openings on the board.
Be wary of a lack of time.
Busy professionals, such as a CPA, might have skills that the HOA can use, but that doesn't necessarily mean he or she will have the time to contribute to the association.
"Look at new owners' leadership ability, communication ability and so on for potential leadership positions. But, it's important for board members not to be coercive to get someone to volunteer for the board who doesn't have the time to participate," explains Debra A. Warren, principal of Cinnabar Consulting to Community Association Management. If that's the case, suggest they join a committee to give additional advice to the HOA when needed.
Pay attention to the residents and their interests. For example, if you have a naturally social person, grant them the authority to be the official welcoming person upon moving in. Or, if a resident loves gardening, put them on the landscape committee. Residents are more likely to join the HOA board and get involved when their interests come into play.
A little praise goes a long way. Take the time to acknowledge homeowners' efforts and for being a part of a great team. The more positive the environment is, the more likely they are to join, as well.