Category Archives: Anatomy

The Irish Times - Saturday, June 9, 2012

The cases so far

February 11th, 2010

EU leaders pledge to support Greece, thereby effectively abandoning the euro zones no bailout rule.

Greece

On April 23rd, 2010, the Greek government requests an initial loan of 45 billion from the EU and the International Monetary Fund to cover its financial needs for the remainder of that year. On May 1st, the government announced a series of austerity measures to secure a three-year, 110 billion loan.

In February 2012 a second bailout package worth 130 billion is agreed, conditional on the implementation of another austerity package of 3.3 billion in 2012 and another 10 billion in 2013 and 2014.

Greeks go to the polls on Sunday week after an election in May failed to produce a government. Opinion polls suggest a similar result may emerge.

Ireland

On November 29th, 2010, Ireland became the second euro zone country to seek an EU-IMF bailout. In a complex arrangement, a 67.5 billion bailout was agreed, involving those institutions (the IMFs Ajai Chopra, left, played a key part in the talks) and bilateral deals with three other, non-euro zone EU member states, the UK, Denmark and Sweden. Together with an additional 17.5 billion coming from Irelands reserves and pensions, the government received 85 billion, of which 34 billion was used to support the countrys ailing financial sector.

The rest is here:
Anatomy of a bailout

Aurora Theatre / Aurora Theatre

The original Maud Allen, subject of Aurora Theatre's "Salomania"

"The Cult of the Clitoris." That was the headline on a 1918 piece in the Vigilante, a political journal published by Noel Pemberton Billing, the rabid right-wing British member of Parliament, accusing the San Francisco-bred exotic dancer Maud Allan of being a lesbian, a sadist and a German sympathizer. To prove his point, Billing - who'd riled wartime England with his outrageous claim that the Germans were blackmailing "47,000 highly placed British perverts" - trumpeted the fact that Allan, who'd made her name in Europe in the early 1900s performing her version of Salome's "Dance of the Seven Veils," was appearing in private performances of Oscar Wilde's infamous play "Salom," which the British government had banned from public performance.

Allan sued Billing for libel. The sensational trial that followed - a front-page diversion from the horrific slaughter taking place in the fields and trenches of World War I France and Belgium - inspired "Salomania," a new play by the noted Bay Area writer-director Mark Jackson that premieres at Aurora Theatre on next Friday night, June 15.

"Billing's contention was that only doctors or perverts would know what a clitoris was," says Jackson, who became fascinated by the trial, whose transcripts he acquired from a London antiquarian bookstore, while researching the "Salom" he directed at Aurora in 2006. "The lack of male understanding of the female anatomy provides a great deal of humor for the play," whose themes of media sensationalism, gay bashing and wartime hysteria are "entirely about our present moment."

Jackson's play juxtaposes the war and life on the home front (six actors double as soldiers and civilian characters), exploring the surreal world in which a British officer breakfasts in the deadly trenches and lunches hours later in his tony London club.

Allan, who lost the libel suit and her career - 20 years earlier, she'd changed her name from Durrant after her brother, Theodore, was convicted of murdering two Mission District girls and hanged at San Quentin - "was both a potential hero and a potential threat to society," Jackson says. "She was intentionally pushing boundaries."

Get more information at http://www.auroratheatre.org.

Some splendid musicians will be at the Castro Theatre July 12-15, accompanying the movies in the 17th annual San Francisco Silent Film Festival. One is Donald Sosin, a noted composer and keyboard improviser who's served as the resident pianist at New York's Museum of Modern Art, the Film Society of Lincoln Center and the Museum of the Moving Image and performs at rep houses and festivals around the world.

Sosin, who has played the San Francisco festival for the past six years, will improvise on themes he composed to Von Sternberg's noirish 1928 classic, "The Docks of New York," Herbert Brenon's 1923 "Spanish Dancer" - he describes the music as a mix of Spanish Renaissance and Gypsy music - Chinese director Sun Yu's "Little Toys" (the music will include the synthesized sounds of Chinese instruments) and Felix the Cat cartoons.

Excerpt from:
Anatomy, war and 'Salomania' at the Aurora Theatre

(credit: Thinkstock)

The ubiquitous Broadway poster is more than just eye candy for the busy New Yorker and tourist. These pretty pictures, which cover so much of the city, convey or at least suggest the experience a Broadway production holds for the potential audience member. What will you see, hear and (hopefully) feel once you plop down your hard-earned money for a seat in one of Broadways storied theatres? Its a shows calling card. It helps put people in seats.

Upon first glance, a Broadway poster may seem deceptively simple a picture or graphic with a title and some credits. But a lot of very creative people put a lot of thought and effort into creating whats known in the industry as key art. Its this key art gets that gets spun off into the countless versions you see online, in the subways, outside theatres and above Times Square. The final product, in all its forms, depends on the show and the audience its producers wish to attract.

(credit: SpotCo)

For Once, the Off-Broadway transplant about an Irish musician and a Czech immigrant brought together by music, the challenge was to reinvent a personal story for a broader audience. As Darren Cox, Associate Creative Director at SpotCo, an advertising agency that handles many of the most successful Broadway shows, explained, Once was this little fantastic gem of a show downtown that just flowered into this huge success. The original art, which SpotCo also developed, had a very personal, slice-of-life kind of aesthetic, which was very intimate and really really good for downtown, but we found out that other needs arose when the show moved to Broadway. The bigger stage and the bigger potential audience required an updated look and feel to get noticed.

The art needed to pack more of a punch. According to Cox, there was a little bit of a fear that the intimacy of the show and the kind of quiet beauty of the show could be sort of swallowed up The solution was to hold on to certain artifacts from the original as inspiration and then dial everything up. They hired a photographer and shot the actors in real environments in the theatre, on the street, at a bar. And then we pulled back in some of the graphics and the logo treatment that had that downtown intimate feel, but then married it to the larger brand. Looking at the original and updated art you can really see there is sort of this relationship where they do feel theyre kinda like in the same voice but one has a much stronger, louder, much more splashy kind of voice.

See more Broadway posters.

(credit: SpotCo)

One Man, Two Guvnors, a comedy about an easily confused man who agrees to work for both a local gangster and a criminal in hiding, required a different approach. The play, starring the talented comedic actor James Corden, came to Broadway from Londons West End. As Cox explained, It was something that already has a lot of traction and success, and we wanted to communicate that. But we wanted to communicate that in a way that was fun, interesting and sort of off-kilter like the show. The show had received rave reviews from British audiences and press, a sort of stamp of approval. But it still needed to be introduced to American theatergoers.

We knew we had a star in James Corden, noted Cox. And the art very much reflects that by hitting pretty hard the cred that its gotten from England. In addition to the shows star in a pose that suggests the plays physical humor, the poster features glowing comments and five-star ratings from various London papers. The National Theatre in London has a great track record of doing really wonderful shows, according to Cox. So we thought that that would make it more comfortable for consumers. The goal, in this case, is to make the unfamiliar seem familiar by lending it some credibility. We really tried to build that into the artwork so that people knew this was an established brand.

View post:
Anatomy Of A Broadway Poster – The Story Behind The Art

The site of William "Bubba" Cotton's fatal accident.

Understanding the contracting chain on cell tower jobs can be complicated, but crucial when workers die.

William Bubba Cotton, 43, was the first of 11 cell site workers who died on AT&T projects from 2006 through 2008, years when the carrier merged its network with Cingular and ramped up its 3G network for the iPhone.

As ProPublica and PBS Frontline reported last month, tower climbing ranks among the most dangerous jobs in America, having a death rate roughly 10 times that of construction.

The project Cotton was on involved several layers of subcontractors, which is common in the tower industry. The accident was more unusual. Most of the 50 tower climbers killed on cell site jobs since 2003 have died in falls, but Cotton was crushed to death by an antenna.

A wrongful death lawsuit subsequently filed by Cottons survivors, as well as a personal injury suit filed by his cousin and co-worker, Charles Randy Wheeler, explored two questions at the heart of every tower fatality: Who controlled the tower site? And who was responsible for the safety of the subcontractors working on it?

Heres a breakdown of what happened in the Cotton case:

The Project: An upgrade of a cell site in Talladega, Ala., replacing the antennas on a 400-foot tower. AT&T had designated the upgrade a top priority because of an upcoming NASCAR race, a company manager said in court testimony.

The Subcontractors: To handle the tower work, AT&T (then known as Cingular) hired Nsoro, a large management firm (also known as a turf vendor.) Nsoro hired a subcontractor, WesTower Communications, a large North American tower company. WesTower subcontracted the on-site work to a Missouri-based tower company, ALT Inc.

AT&T also directly hired Florida-based subcontractor Betacom Inc. to work on a concrete equipment shelter at the base of the tower.

See the article here:
Anatomy of a Cell Tower Death

by Bryan Hastings, Macworld.com

Youre shopping for a camcorder, and youre swamped by a sea of letters, numbers, and indecipherable acronymsAVCHD, H.264/MPEG-4 AVC, MPEG-2. What do they all mean and which ones should you care about? Here's the lowdown.

Each of the above labels describes a video format. Fortunately, most people have a simple choice: MPEG-4 or AVCHD. You decide between convenience (MPEG-4) and a wider variety of features (AVCHD). However, as camcorders, computers, video players, and editors grow more powerful, AVCHD format is gradually becoming as convenient to shoot, edit, and preview as MPEG-4, making it the clear choice for a growing number of video enthusiasts.

MPEG-4 is a standard format from the Moving Picture Experts Group and has been around for more than 20 years. The current version is officially called H.264/MPEG-4 AVC, but it's usually shortened to a snappy MPEG-4 (pronounced M-Peg-4). Social networking sites, video editors, and video playersincluding QuickTimeall work with MPEG-4 files. Thus, the MPEG-4 standard is popular on pocket point-and-shoot models, and with people who want to quickly shoot video and pop it onto YouTube or Facebook, which folks can view on their computers, tablets, and smartphones.

AVCHD (pronounced by its initials) stands for Advanced Video Coding High Definition. It arrived on the scene in 2006, is more fully featured than MPEG-4 and is rapidly gaining broad acceptance. Think of AVCHD as a kind of MPEG-4 "Plus. Thats because AVCHD is a container format that includes the MPEG-4 format, but tosses a lot of other stuff into the mix, like coding for audio, writing to different media including DVD and Blu-Ray discs, and Digital Rights Management, such as copy protection. AVCHD even gives you media presentation tools so you can add menu items, make slides, and add subtitles directly from your camcorder. With AVCHD format, you dont need to export your video file to an editor to perform simple editing tasks. Unfortunately, AVCHD is an all-or-nothing format. You cant buy an AVCHD camcorder and decide to shoot using just its MPEG-4 part. If the camcorder offers only AVCHD, you have to shoot in AVCHD format.

AVCHD has other downsides. You need more computing oomph for the video editors and players to crank through AVCHD files, even if they can do it natively. You need a minimum dual-core processor and 2GB of RAM, but it would be better if you had a quad-core with 4GB of RAM. And you need relatively new software if you want to run and edit AVCHD files natively. Final Cut Pro X can process AVCHD files natively, but with the previous version, Final Cut Pro 7, you first have to transcode the file (translate the file bit-by-bit) into ProRes, a set of video compression formats developed by Apple for use in post production. The ProRes family of intermediate codecs are used for editing, but not as a final format for publishing video. Transcoding slows down file imports.

In 2009, Apple introduced the iFrame video format. You can transfer iFrame files directly into iMovie, no transcoding needed. However, few consumer camcorders offer the option to shoot video in iFrame. iFrame video is only 960-by-540 resolution, yielding only a half a megapixel per frame, only one quarter the resolution of Full HD.

You'll likely find AVCHD on more traditional camcorders that have larger lenses and higher end features than pocket camcorders, such as powerful optical zooms and a wider range of focus. However, were starting to see traditional models that let you switch between AVCHD and standalone MPEG-4, including Canons Vixia HF M50 and R30 series.

For each video format, your camcorder usually offers several profiles of four settings: resolution, frame rate, scan method (interlaced or progressive), and bit rate (in megabits per second, or mbps). These offer a trade-off between video quality and file size. You can increase video quality by raising the resolution, frame rate, and bit-rate, but you generate a larger, more unwieldy file.

The rest is here:
Anatomy of a video file

Grey's Anatomy creator Shonda Rhimes. (UPI Photo/ Phil McCarten)

License photo

SAN FRANCISCO, June 3 (UPI) -- "Grey's Anatomy" creator Shonda Rhimes, was honored at the Gay and Lesbian Alliance Against Defamation Media Awards in San Francisco, the organization said.

GLAAD held the third installment of its 23rd annual Media Awards Saturday at the San Francisco Marriott Marquis, recognizing and honoring "media for their fair, accurate and inclusive representations of the LGBT community and the issues that affect their lives," the organization said in a news release.

Actors Kerry Washington, Guillermo Diaz and Katie Lowes presented Rhimes with the Golden Gate Award, which is given to an openly LGBT media professional who has made a significant difference in promoting equality.

"I think that love is universal. And I think in telling LGBT stories, I'm telling everyone's story. Love is, in fact, universal, right? I want my daughters to grow up in a world in which there is more love than hate," Rhimes said in her acceptance speech. "I'm going to do my best in the future to deserve the honor that's bestowed on me and make GLAAD proud."

Other award-winners included Wells Fargo for the Corporate Leader Award, Facebook for the Special Recognition Award, "Grey's Anatomy" for Outstanding Drama Series and "Days of Our Lives" for Outstanding Daily Drama, the release said. The award for Outstanding Digital Journalism Article went to Max J. Rosenthal of the Huntington Post for "Adam and Pete: Love in a Time of War."

Saturday's event in San Francisco wrapped up GLAAD's three-part Media Awards. Earlier ceremonies were held in New York City in March and Los Angeles in April.

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'Grey's' Shonda Rhimes gets GLAAD award