Wayne LaPierre of the NRA says that the answer to school shootings is an armed police officer in every school in America, and Congress should ensure that this happens when kids come back from winter break in January.
Because cops are bulletproof, apparently, and are never shot. And a shooter with an AR-15 in his hand, finger on the trigger, will be stopped by a cop with a .9 millimeter in a holster who doesn’t know the asshole is coming.
And schools are the only place that’s vulnerable. Tell that to the Sikhs in Oak Creek, the moviegoers in Aurora, the shoppers in Clackamas, the staff and patients at the hospital facility here in Pittsburgh, Gabrielle Giffords and her constituents outside a grocery story. The women at the LA Fitness in Bridgeville, PA. The people at Tennessee Valley UU Church. The lunch eaters at the McDonalds in San Diego. The soldiers at Fort Hood.
Because cops never open fire on unarmed civilians who they “think” have guns. Because shootouts between cops and criminals never kill bystanders. (Who in LaPierre’s construction, would be children.) Because cops are inherently trustworthy and their presence in a school wouldn’t escalate the potential for school violence to turn deadly. (Where there’s a gun, a gun can be used.)
LaPierre also blamed violence not on guns, but on television, movies and video games, specifically naming “Mortal Kombat” in which none of the characters have a gun.
And LaPierre specifically scapegoated people with mental illnesses, calling for a national database of people with mental illnesses. No national database of guns or gun owners, but of those of us with mental illnesses. Never mind that people struggling with depression who can’t get out of bed don’t kill people. Just ignore the fact that two soldiers with PTSD commit suicide every day, on average, but so far, none have shot up a crowd of innocent people. Forget that people with schizophrenia, widely thought dangerous, are actually exponentially more likely to be victims of crime rather than perpetrators. And easily, casually, thoughtlessly set aside the fact that the vast, vast majority of gun crimes are not committed by a person with a mental illness.
Where there’s a gun, there’s a gun that can be used. Increasing the number of guns in vulnerable places (which would be, we’ve seen, as 2012 has shown us, is everywhere) only increases the likelihood of someone being shot there, and that’s not an improvement. Not by any means.
This is the NRA’s “substantial offering” to solve gun violence. This is the same old rhetoric they’ve been pushing for the entirety of their existence. It is anti-science, anti-statistic, anti-factual nonsense.
It’s time to be serious — which starts with no longer letting an organization that represents 1.3% of Americans dictate public policy on this issue.
Who or what is Adcom?
Adcom is a creative training institute that uses artwork tracing as a method of learning. This is not something new or unheard of.
But Adcom has gone beyond the pale by using traced works in their advertising.
What exactly has happened?
When confronted by Lau on Facebook, Adcom did not take any action beyond an apology, going so far to dismiss their “copying” as a simple training exercise.
It’s more than that. It’s harmful.
Why is this harmful?
- Using traced and copied art in promotional material misleads the viewing public to their first and original creative source.
- It legitimises traced works as 100% original, again without acknowledging their source.
- It insults the effort put in by the original artist, whose art is being effectively used without their knowledge or permission for the profit of a third party.
- It does a grave disservice to any original creative efforts of its staff and students, wittingly or unwittingly making them accomplice to art theft.
- It is professionally unethical, and sets a bad example for the current and coming generation of creative professionals.
- As Todd Lockwood pointed out in a Facebook share, these acts weaken or destroy copyright protection. (Thanks to the Facebooker who alerted us to this point!)
But it was just once, right?
Upon further investigation, it’s possible that Adcom has done this at least
- Student work, March 2012, vs Wang Wei’s Hellboy illustration
- Student work, Feb 2012, vs Olev Shekhovtsov’s God of Pretence
- Student work, Dec 2011, vs Dave Allsop’s Cemetery Reaper
- Student work, Jan 2012, vs Tiago Hoisel’s Chico Bento
So what can I do?
Please reblog, link, tweet or share this blog within and beyond your circle. This is especially important for those working or residing in Malaysia and Singapore, as a creative professional of any capacity.
If you see an Adcom ad with content you have seen elsewhere, let the maintainer know through the ask/submit button.
Also feel free to contact Adcom   and make your case, politely: that their use of traced/copied material in promotional items cannot be condoned and must not be repeated, and that their inaction at policing student works—or condoning the use of traced work in advertising—helps nobody. In fact it hinders not just themselves, but the regional creative industry as a whole.
Who’s behind this, anyway?
Just another young Malaysian professional. It does me no good to point out the failings of my industry and its ethics. But art theft affects us all, and I cannot keep my silence on a problem that seriously affects others in my field.
RUE was black. KATNISS’S SISTER was named prim, for primrose.
Rue in the hunger games movie is black…
WHAT THE HELL
what was going through the casting director’s minds?
“okay so we need a little girl to remind katniss of her white, blond hair, blue eyed little sister. let’s see…. how about that black girl with the fro there? perfect done the audience will see the resemblance”
The awkward moment when Rue is also BLACK in the books.
Wanna have a quick re-read mate?
”One by one, we see the other reapings…. …most hauntingly, a twelve-year-old girl from District 11. She has dark brown skin and eyes, but other than that, she’s very like Prim in size and demeanor.” The Hunger Games, pg 45, Susanne Collins.
“For the opening ceremonies, you’re supposed to wear something that suggests your districts principal industry. District 11, agriculture.” The Hunger Games, pg 66, Susanne Collins.
“…See the little girl from District 11standing back a bit, watching us. She’s the twelve-year-old, the one who reminds me so much of Prim in stature. Up close she looks about ten. She has bright, dark eyes and satiny brown skin and stands tilted up on her toes with her arms slightly extended to her sides, as if ready to take wing at the slightest sound. It’s impossible not to think of a bird. …. ‘I think her name’s Rue,’ he says softly.” The Hunger Games, pg 98 - 99, Susanne Collins.
“The boy tribute of District 11, Thresh, has the same dark skin as Rue, but the resemblance stops there. He’s one of the giants, probably six and a half feet tall and built like an ox, but I noticed he rejected the invitation from the Career Tributes to join their crowd.” The Hunger Games, pg 126, Susanne Collins.
Rue describes life in District 11; growing food but being punished for taking any. pg 282 of The Hunger Games, Susanne Collins.
This is all moot now that Collins came out & said Rue & Thresh are from a district representative of the deep south and are indeed African American.
i need this gorgeous post on my blog. i have not laughed hard enough. keep it up, Hunger Games fans.
The best part: If you go to the original post, the tags are i’m not racist and really i’m not.
omfg you couldn’t find comedy this good anywhere
where’s a good “the point……………….your head” macro when you need one? OP missed the point of Rue BY SO FUCKING MUCH OH MY GOD DO YOU NOT KNOW WHAT SYMBOLISM IS