Come On

Come On may refer to:

In music:

See also

Baby K

Stephanie Keene (October 13, 1992 – April 5, 1995), better known by the pseudonym Baby K, was an anencephalic baby who became the center of a major U.S. court case and a debate among bioethicists.

History

Prenatal assessment

Stephanie Keene was born at Fairfax Hospital in Virginia, the United States. At the time of her birth, she was missing most of her brain, including the cortex; only the brainstem, the portion of the brain responsible for autonomic and regulatory functions, such as the control of respiration, the heartbeat and blood pressure, had developed during pregnancy.

Opposing viewpoints

Keene's mother had been notified of her condition following ultrasonography, and was advised to terminate the pregnancy by her obstetrician and neonatologist but chose to carry the child to term because of "a firm Christian faith that all life should be protected." The hospital believed that care provided to the baby would be futile, while the mother believed mechanical breathing support must be provided during the baby's periodic respiratory crises. Fairfax Hospital doctors strongly advised a Do Not Resuscitate order for the child, which the mother refused. Stephanie remained on ventilator support for 6 weeks while Fairfax searched for another hospital to transfer her to, but no other hospital would accept her. After the baby was weaned off constant ventilator support, the mother agreed to move the child to a nursing facility, but the baby returned to the hospital many times for respiratory problems.

Production coordinator

A production coordinator (officially called production office coordinator and abbreviated POC) is a unionized position in stagecraft under the International Alliance of Theatrical Stage Employees (IATSE) and is governed in Los Angeles by Local 871.

The production coordinator serves under the production manager, producer or UPM to coordinate the various groups and personnel that come together in filmmaking to a movie and video production to make a television show. It is a supervisory position to the Production assistant staff. The position requires adept organizational skills, resourcefulness and the ability to handle a multitude of tasks simultaneously under often high-pressure situations. The POC serves as the gatekeeper of company policy and is usually responsible for ensuring the rest of the production television crew follows the requirements of the Production Company or Studio.

The duties of a POC are often undefined and extremely varied ranging from office manager, to human resources, to controller, to accountant. The POC is one of the only positions with the IATSE (USA and Canada) which no longer has a scale or set wage. The IA bylaws simply state the POC’s wage is “subject to negotiation with the Producer”. Fringe benefits include inclusion with the (USA)industry’s Motion Picture Industry Pension & Health Plans. Currently the production company is required to contribute 60 pensions hours per week, which equates to about 35-percent of the weekly gross wage. Most all POCs are hired an "on-call" weekly status and are basically paid a flat rate per week, no matter how many or few hours they work. Working conditions can vary on the medium (half-hour, hour-long television, reality, live, soap and feature) and daily hours can range from 8 to 16 hour days. The POC is often the first person in the office and the last to leave since they hold the responsibility of tending to the needs of the crew.