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Most of us believe there are basketsful of orphaned babies the world over just waiting for an international adoption. The truth is more sullied and brutal than that ideal. The international children being adopted already have parents and they are being sold to the highest bidder.
Just when we think we’ve buried both atrocious Bush presidencies forever, the old man rises up from the grave to proclaim the ascent of the second son as the rightful heir to a doomed legacy. Bush 41 — not yet embarrassed enough by the deadly antics of Bush 43 — wants a Bush 45: Jeb Bush.
In this fine illustration of Archimedes and his Burning Mirror by Giulio Parigi (1599), we have a perfect and clear example of how plagiarism operates — and no one escapes this theft of the provenance of ideas able-bodied and unscorched: The sun is the original source, the mirror is the plagiarizer and the burning ship is the aftereffect of the illicit deed after a burning exposure.
The false charges against Barack Obama from the Clinton campaign claiming plagiarism is laughable on the surface and ridiculous in the depths.
The bane of plagiarism, however, is a serious matter and it deserves more discovery and I will more formally address that topic in a future article.
Plagiarism — taking someone else’s ideas and claiming them as your own — is an issue to some in the theatre. I argue the distinction is meaningless because in a live performance the difference between stealing and inspiration is ever-changing.