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Cinematic Slant
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Tag: michael pena
Fantasy Island – Marketing Recap
How Columbia Pictures and Blumhouse are selling a dark take on a television classic.
Blumhouse has made a name for itself over the last few years as the go-to production house for thrilling low-budget horror that offers something fresh for audiences. That reputation has been diminished somewhat as Jordan Peele has created something new and socially relevant to the genre.
The producer's latest release is this week's Fantasy Island, an update of the classic TV series fo the same name. That series focused on a magical island where guests arrived to live out their fantasies, which often provided some kind of insight into their true personalities, sometimes uncomfortably so.
While the new movie retains the same essential premise, it takes it into a much darker direction. Michael Peña plays Mr. Roarke, the island's host. The guests that arrive include Elena (Maggie Q) and Melanie (Lucy Hale) among others, all of whom think they've come for a bit of a romp. It turns out the fantasies they're offered are not only dark but potentially dangerous to everyone. It's up to them, then, to navigate the island and save themselves.
The $12-17 million opening weekend estimated by early tracking would appear to be a disappointing number, even measured by Blumhouse's niche standards. While Columbia's marketing has tried to leverage the movie's brand appeal, that hasn't turned into meaningful interest.
The Posters
In early November the first poster (by marketing agency Cold Open) came out offering an ariel look at the island, the shoreline of which upon further inspection forms the shape of a face screaming. The dread is further conveyed by the inclusion of "#NeverComingHome."
Lurking danger is also the key message on the next poster (by marketing agency BOND), released later in the month. This time that's conveyed by showing the relatively benign top of the island above the waterline while the bottom completes the form of a screaming skull. "Anything you desire. Everything you fear."
The Trailers
At first everything seems idyllic and wonderful in the first trailer (8.2 million views on YouTube), released in November. We see Melanie and a group of others arrive on a paradise island, where Mr. Roarke welcomes them and tells them their every desire will come true during their stay. As those fantasies begin to come true, she and the others are surprised at how visceral they are. When things become even more dark they come to the realization there are more sinister motives at play on the island and they may be in danger.
The second trailer (326,000 views on YouTube) from late January opens with Melanie recording a video after having arrived on Fantasy Island. After the same basic setup that the characters have been assembled to live out their fantasies, but it seems there are powers that have twisted those fantasies into something much darker that may be a threat to all those on the island.
Online and Social
For such a potentially rich environment like a creepy, mystery-filled island, the movie's official website uses none of that in its design or navigation. The standard content is there, but nothing else. It doesn't even have a good interactive image or anything.
Advertising and Promotions
Videos like this cut down the trailer to its basic elements to introduce the concept along with some of the characters and establish, or try to, a sense of mystery and dread as a way to create intrigue in the audience. Those videos were used on TV as well as social media, on video sites as pre-roll ads and elsewhere.
Online ads – and presumably outdoor billboards – used the key art of the screaming island to build brand recognition.
The stars – particularly Pena, Hale and Maggie Q – made the talk show rounds, but that appears to be about it in terms of press activity.
It feels like there should be a lot more here. For a movie with presumably significant brand recognition – it's likely a big reason why it was greenlit and moved into production – there's not much being done to take advantage of that.
While the trailers and posters work well in showing the audience what to expect, including that this isn't the kind of Fantasy Island their parents watched in reruns, the campaign also doesn't play with the material at hand at all, which is disappointing. There's a lot of potential here to deepen audience engagement with the brand through "What's Your Fantasy" quizzes and interactive features, navigation of the different parts of the island and more.
Picking Up The Spare
Hale appeared on "Jimmy Kimmel Live" to hype the film even as it was getting very negative reviews.
An interview with Pena had him talking about filming and what it was like to take on such a well known role. More of the filmmakers involved talked here about turning the TV drama into a horror story.
Bear McCreary's score for the movie got the spotlight in a featurette from Sony following release.
Author Chris ThilkPosted on 2020-02-12 2020-04-02 Categories Marketing Recap, Movie MarketingTags blumhouse, columbia pictures, fantasy island, lucy hale, maggie q, michael penaLeave a comment on Fantasy Island – Marketing Recap
The Mule – Marketing Recap
Recapping Warner Bros.' marketing campaign for The Mule.
Director Clint Eastwood is back in theaters with the new movie The Mule. Based on a true story originally published as a story in The New York Times, the focus is on Earl Stone (Eastwood), a retired WWII vet who becomes involved with a Mexican drug cartel, transporting their merchandise into and through the U.S.
His activities put him on the radar of the DEA, who seek to not only arrest him but use him as a way to bring down the cartel as a whole. But he's not doing it because he's a hardened drug dealer, just because he wants to leave something behind for the family he wasn't there for in the past.
Eastwood's face dominates the movie's only poster, hovering over the highway where we see his truck cruising down the road. Other than the note that it's "Inspired by a true story" there's no copy here that explains what the movie is about or what that story is, so Warner Bros. is obviously hoping the face of the actor/director will be enough to inspire people to check the movie out. Either that or it couldn't figure out anything new to say.
The first trailer, which came out shortly after the announcement of a release date, introduces us to Earl as he's in the middle of a potentially dangerous encounter with a police officer while in the middle of a drug run. As we shift into a montage of clips that come largely without dialogue, Earl narrates an explanation of how he wanted to do something that would in some way make up for the failure he was to his family, even if it is dangerous work he's doing. Amidst that we see a group of what are presumably federal agents who seem to be closing in on him and those he works for. It ends by setting up a conclusion that may not work out well for Earl and those he cares about.
Not much on the movie's official website, just the trailer and a story synopsis along with information on release dates and links to the Twitter, Facebook and Instagram profiles.
Advertising and Cross-Promotions
Nothing I've come across, though it may be that WB has run some targeted ads in the markets getting the movie early.
Speculation had run rampant for a while about whether or not the movie would make it in time to be considered for the 2018 awards season. That was put to rest in late September when Warner Bros. announced its mid-December release date.
His role in the movie was part of a short interview with Pena about his tendency to play drug enforcement characters.
The New York Times journalist whose story inspired the movie wrote a remembrance of how he discovered the story and how it feels to see it on the big screen.
A video for an original song from Toby Keith was released just a couple weeks ago that featured scenes from the movie.
At the movie's premiere the cast spoke about the process of working with Eastwood while the director shared what it was that drew him into the project. He was also interviewed about the unusual nature of the story and how it got on his radar.
I mean…alright. This seems to fit in with Eastwood's late career theme of playing cranky old guys who won't let go of the past while at the same time seeking to make amends with the family they've neglected over the years.
What's kind of surprising is that this is all there is. It may be, especially given the late date at which the movie was finally put on the release calendar, that WB is looking to make as small a deal about it as possible. That's reinforced by the lack of early reviews and the overall small publicity push it received.
Eastwood's daughter Alison spoke about her decision to return to acting, particularly with her father.
Warner Bros. released a featurette including Eastwood talking about the story and his long-lived career.
There was an interview with jazz musician Arturo Sandoval, who created the score for the movie.
Author Chris ThilkPosted on 2018-12-13 2019-01-25 Categories Marketing RecapTags clint eastwood, michael pena, the mule, warner bros.Leave a comment on The Mule – Marketing Recap
Extinction – Marketing Recap
New to Netflix this week is the science fiction action drama Extinction. The movie stars Michael Pena as Peter and Lizzy Caplan as his wife Alice. She's been very understanding recently as he has a series of episodes where he insists he sees mass carnage and destruction but can't put a finger on what's causing these visions or what they mean.
Their life – as well as the lives of everyone on the planet – are thrown into disarray when what appears to be an invading alien force arrives on Earth and begins wiping out the human population. Alice and Peter have to lead their daughter and others to whatever safety might exist, a goal that Peter may be uniquely suited to achieve.
A small girl stands all by herself on an abandoned city street on the movie's poster. Shown in the sky is an alien ship descending toward the ground which, when combined with the "We were not here first" copy, makes it clear we're dealing with an alien invasion story of some sort.
Peter is a good guy who works hard for his family in the trailer but as we see he has recurring visions of destruction and violence he can't shake and can't explain. He's convinced something bad is coming but no one believes him until they actually start coming. At that point he finds he can use his memories of those visions to help his family survive, navigating the worst parts of what's happening by remembering what he's already seen.
It's a decent spot, though I call foul on the underuse of both Pena and Caplan. They both seem to turn in fine performances – they're incapable of doing otherwise – but are also capable of much more than this.
I don't see any official web or social presence for the movie.
No advertising has been done that I've seen or am aware of. Netflix will occasionally run retargeted ads, though, and the company has offered at least a couple prompts for me to add it to my list, either through email or when I'm logged into the site.
While the movie had sort of been floating in the background for a while the news Netflix had picked it up from Universal, who had recently pulled it from their release schedule, got lots of people talking. That's largely because it came just days after the whole Cloverfield Paradox surprise release, so the narrative of Netflix purchasing difficult sci-fi movies was ripe in everyone's mind.
Here's hoping there's more to the movie than what's on display in the campaign. It's fine and looks like a perfectly decent mid-tier science fiction movie, which is why Universal abandoned it (no singularly identifiable hook) and Netflix picked it up. It's likely made its way into the lists of quite a few subscribers, who will eventually check it out while doing other things.
Star Michael Pena stopped by "Colbert" but only got a plug for the movie in briefly at the end of the interview.
Author Chris ThilkPosted on 2018-07-25 2018-10-01 Categories Marketing RecapTags extinction, lizzy caplan, michael pena, netflix2 Comments on Extinction – Marketing Recap
12 Strong – Marketing Recap
While the mission has become somewhat fuzzier and more ambiguous over the years, our initial goal in sending military to Afghanistan was to quickly and definitively rain hell down on the Taliban in the wake of the 9/11/01 terrorist attacks. That story, of when everything was righteous and pure, is being told in this week's new release 12 Strong, based on the book "Horse Soldiers" by Doug Stanton, which tells the non-fiction version of these events.
Chris Hemsworth, Trevante Rhodes, Michael Shannon, Michael Pena and others all star as members of an elite squad who went overseas as the pointy end of the knife, a small force that could be flexible and lethal, acting as America's strong right hand. Once in-country they find the situation is even more unexpected than planned. Operating without support or infrastructure, the group finds themselves needing to work with a tribal warlord whose allegiance is questionable and facing opposition sporting significantly more firepower than the horses and rifles they're using.
Continue reading "12 Strong – Marketing Recap"
Author Chris ThilkPosted on 2018-01-17 2018-01-17 Categories Marketing RecapTags 12 strong, chris hemsworth, michael pena, michael shannon, warner bros.1 Comment on 12 Strong – Marketing Recap
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By Laura Dale May 26, 2022 May 26, 2022
Revita Accessibility Review
Over the past week, I've been trying to play through a bunch of recently released indie games, looking for interesting titles to talk about, and a game called Revita really caught my eye.
The game is a side-scrolling twin stick shooter roguelike, in which players try to defeat waves of enemies with gunfire, while using their own health as a resource traded for better weapons and upgrades.
While the game itself is really interesting, it also has a really robust set of accessibility features on offer that reminded me most closely of challenging indie platformer Celeste.
So today, on Access-Ability, we're going to talk about Revita. We're going to discuss how the game creates its level of challenge, what accessibility options the game contains, and how they work together to provide a customisable gameplay experience.
Let's start off this video by discussing in general terms how Revita plays, outside of the game's accessibility settings.
In Revita, you play a young non binary character with memory loss, fighting their way through a series of ever more dangerous environments. The left analogue stick moves your character around, the right stick aims a reticle, R2 fires bullets, L1 is mapped to jump, and L2 is a dash.
As you progress through runs, you'll have opportunities to gain new items or upgrades, which can be paid for by offering up amounts of health. The more damage you agree to take, the better the item or weapon you will be offered, with the ability to see what you will receive before committing to the trade. At later points in the game, you can trade permanent heart containers for upgrades to those existing power ups that make them more effective.
By defeating enemies, players build up a meter which can be spent to recover health, and if spent when your health is full will generate portions of new heart containers, building your maximum health value.
So, what accessibility settings does Revita contain?
Well, on each boot of the game, before the main menu, players are given a content warning that the plot deals with specific heavy themes, including mental health issues, grief, loss and suicide. No further information is given on specifics for these warnings, and there is no option to receive warnings prior to those events showing up in the plot.
One unfortunate downside to this game's setup is that D-Pad controls are not supported for navigating in game menu options, only analogue stick controls.
If you navigate to settings, you'll find the game has its own dedicated accessibility settings menu, although unfortunately some accessibility settings are not found there, and we will get back to those a little later in the video.
So, in the accessibility settings menu, one of the most notable options is the ability to change the speed of the game, either up to double speed, or down to half speed, in 10% increments. This is super useful for players like myself who sometimes struggle with reacting at full speed to on screen challenges, and need just a moment longer to get their brain and hands in sync during tricky combat segments.
Players can also tweak the size of the relic HUD, the size of their aiming cursor, the level of camera zoom so that you can see more of each room at once, turn off bright flashing effects, turn on a coloured outline around the player character in custom colours, outline enemies in custom colours, turn button mashing and holding prompts off, customise enemy damage to half its usual amount, darken background elements for greater contrast, turn off foreground elements, and change the game's default pixel font to an easier to read "HD font".
The game also allows several degrees of aim assist, which at its maximum setting will allow you to flick your stick in roughly the right direction, to have your character essentially auto target a given enemy, while they are in range of your shots.
Outside of the dedicated accessibility settings menu, the game offers sliders to alter screen shake and vibration levels, the ability to turn off potentially distracting elements such as damage numbers and bullet trails, and the ability to remap the game's controls, although the first time you visit the menu the game will attempt to discourage you from using it, as they want you to play with the "intended experience".
While you have the option to remap specific control functions, and turn on or off certain additional control tweaks, one of the more interesting aspects of the game is the addition of a one stick control preset, which remaps the game's controls to all fit on a single JoyCon on Switch, which is really nice to see.
Having put a few hours into Revita now, I am really enjoying the game, and am pretty pleased with the way the game handles its accessibility settings support. It's a shame some accessibility settings are not in the accessibility menu, but when that's the worst thing I can say about a game, it has done a pretty good job of accessibility.
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Brachial plexus Injury, Diagram, Roots, Trunks, Divisions, Cords and Branches
Brachial Plexus Anatomy
Formation of the Brachial plexus
Classification of the Brachial plexus into Roots, Trunks, Divisions, Cords and Terminal Nerves
Parts of the Brachial plexus
The Five Roots of the Brachial Plexus
Branches from the Roots of the Brachial Plexus
The Three (3) Trunks of the Brachial Plexus
Nerve Branch from the Trunk of the Brachial Plexus
The Six (6) Divisions of the Brachial Plexus
The Three (3) Cords of the Brachial Plexus
Peripheral Nerve Branches arising from the Cords of the Brachial Plexus
1. Branches from the lateral cord
2. Branches from the medial cord
3. Branches from the posterior cord
Brachial Plexus Anatomical Variation (Prefixed and Postfixed Brachial Plexuses)
Brachial Plexus Mnemonic
Clinical importance and applications of the anatomy of Brachial Plexus
Brachial Plexus Block
Brachial plexus is a major network of nerves that innervate or supply the upper limbs – most nerves in the upper limb arise from the brachial plexus; there is one brachial plexus on the left and another on the right, both supplying the two upper limbs. The Brachial plexus starts in the lateral cervical region (posterior triangle) and extends into the axilla where almost all branches of the brachial plexus arise after the plexus has crossed the first rib.
The brachial plexus is formed by the union of the anterior rami of the C5 to C8 and also most of T1 nerves, which constitute the roots of brachial plexus. The roots of the brachial plexus usually pass through the gap between the anterior and middle scalene muscles to lie superior and posterior to the subclavian artery. The sympathetic fibers carried by each root of the brachial plexus are received from gray rami of the middle and inferior cervical ganglia (gray rami communicantes) as the roots pass between the scalene muscles.
The Brachial plexus is divided into different parts or segments. Starting from the origin (from the neck) to the last part as it extends into the axilla, the Brachial plexus can be divided into Roots, Trunks, Divisions and Cords.
There are five (5) Brachial plexus Roots
There are 3 Brachial plexus Trunks
There are two major Divisions of the Brachial plexus (Anterior and Posterior Divisions) of which there are 3 of the anterior divisions and 3 posterior divisions
There are three (3) Brachial plexus Cords
Each of the parts of the Brachial plexus has nerve branches arising from it and these branches will also be mentioned briefly.
Labeled Diagram of Brachial plexus showing the roots, trunks, divisions, cords and nerve branches
There are five roots of the brachial plexus which are the points of origin of the brachial plexus. These roots are formed by the union of the anterior rami of the C5 to C8 and also most of T1 nerves. The roots also carry sympathetic fibers from the gray rami of the middle and lower cervical ganglia. In the lower part of the neck, the roots of the brachial plexus unite to form three trunks in this manner: the upper two roots of the brachial plexus unite to form the upper trunk, the lower two unite to form the lower trunk and the central root runs on as the middle trunk of the brachial plexus.
There are three nerve branches from the roots of the brachial plexus and they are: the dorsal scapular nerve, the nerve to subclavius and the long thoracic nerve.
The dorsal scapular nerve which supplies the rhomboid muscle arises from the posterior aspect of C5, pierces scalenus medius and courses downwards in front of levator scapulae, lying on serratus posterior superior. It is accompanied by the dorsal scapular vessels. It supplies both rhomboids and usually gives a branch to levator scapulae.
The nerve to subclavius arises from the roots of C5 and 6 where they join to form the upper trunk. It passes down in front of the trunks and the subclavian vessels to enter the posterior surface of subclavius. It frequently has a branch (accessory phrenic nerve) which connects with the phrenic nerve, providing an alternate pathway for some fibers from the fifth cervical anterior ramus to reach the diaphragm.
The long thoracic nerve which supplies serratus anterior arises from the posterior aspects of C5, C6 and C7. Branches of C5 and C6 enter scalenus medius, unite in the muscle and emerge from it as a single trunk to pass down into the axilla. On the surface of serratus anterior (which forms the medial wall of the axilla) this is joined by the branch from C7 which has descended in front of scalenus medius. The nerve passes down posterior to the mid-axillary line, deep to the fascia on serratus anterior, and supplies the muscle segmentally.
In the lower part of the neck, the roots of the brachial plexus unite to form three trunks which are:
The superior trunk formed from the union of the C5 and C6 roots.
The middle trunk which is a continuation of the C7 root.
The inferior trunk formed from the union of the C8 and T1 roots.
Each trunk of the brachial plexus then divides into anterior and posterior divisions as the plexus passes through the cervicoaxillary canal posterior to the clavicle.
There is only one nerve branch that arises from the trunk of the brachial plexus, this is the suprascapular nerve this nerve arises from the upper trunk in the lower part of the posterior triangle and passes backwards and laterally deep to the border of trapezius muscle. It passes through the suprascapular foramen (beneath the transverse scapular ligament) and supplies supraspinatus, and then descends lateral to the scapular spine with the suprascapular vessels and supplies infraspinatus muscle. It also innervate the shoulder and acromioclavicular joints.
Each of the three trunks of the brachial plexus divides into an anterior and posterior division. At the outer border of the first rib, the upper two anterior divisions unite to form the lateral cord, the anterior division of the lower trunk runs on as the medial cord, while the three posterior divisions unite to form the posterior cord. There are no peripheral nerve branches arising directly from the divisions of the brachial plexus.
There are three cords (Lateral cord, Medial cord and Posterior cord)formed by the union of the six divisions of the brachial plexus. These 3 cords are related and therefore named according to the second part of the axillary artery. They enter the axilla above the first part of the axilla artery, approach and embrace the second part, and give off their branches around the third part of the axilla artery. Most of the major peripheral nerves of the upper limbs arise from the cords of the brachial plexus. Nerve branches from the lateral and medial cords generally supply the anterior compartments of the upper limbs while nerve branches from the posterior cord supply the posterior compartment of the upper limbs.
The Lateral cord is formed the union of the anterior divisions of the upper and middle trunks and therefore has contributions from C5 to C7. It is called the lateral cord because it is positioned lateral to the second part of the axillary artery.
The Medial cord is the continuation of the anterior division of the inferior trunk and is called the medial cord because it is positioned medial to the second part of the axillary artery. The medial cord has contributions from C8 and T1.
The Posterior cord is formed by the union of the three posterior divisions and contains contributions from all the roots of the brachial plexus from C5 to T1. It is called the posterior cord because it is posterior to the second part of the axillary artery.
There are three peripheral nerve branches arising from the lateral cord of the brachial plexus, these include the lateral pectoral nerve, musculocutaneous nerve and lateral root of the median nerve.
The lateral pectoral nerve pierces the clavipectoral fascia to supply pectoralis major with fibers from C5, C6 and C7 and then communicates across the front of the first part of the axillary artery with the medial pectoral nerve and through this communication supplies pectoralis minor. It has no cutaneous branch.
The musculocutaneous nerve with fibers from C5 to C7 leaves the lateral cord quite high in the axilla to run obliquely downwards and enters coracobrachialis muscle and giving a twig of supply to it before passing through the muscle. Lower down in the arm, the musculocutaneous nerve innervates biceps and brachialis and then becomes the lateral cutaneous nerve of the forearm. An anesthetic injection to the floor of the axilla in order to effect a brachial plexus block may not affect the musculocutaneous nerve because it is high in the axilla and away from the lateral cord.
The lateral root of the median nerve is the continuation of the lateral cord (C5 to C7). It is joined by the medial root of the median nerve (from the medial cord, C8 and T1); the two roots embrace the axilla artery and when the arm is pulled down to depress the shoulder may, in some cases compress the vessel.
There are five branches from the medial cord of the brachial plexus and they are the medial pectoral nerve, medial head of the median nerve, ulnar nerve, and the two cutaneous nerves to the arm and forearm respectively.
The medial pectoral nerve arises from the medial cord (C8, T1) behind the first part of the axillary artery and is joined by a communication from the lateral pectoral nerve. It enters the deep surface of pectoralis minor, giving a branch of supply before doing so, perforates the muscle and enters the pectoralis major, in which it ends by supplying the lower costal fibers. It may give a direct branch to pectoralis major, which passes around the lower margin of pectoralis minor. The medial pectoral nerve has no cutaneous branch. The medial and lateral pectoral nerves are named in accordance with their origins from the medial and lateral cords of the brachial plexus.
The medial root of the median nerve is the continuation of the medial cord, with fibers from C8 and T1, and it crosses the axillary artery to join the lateral root.
The medial cutaneous nerve of the arm (C8, T1) is the smallest and most medial of all the branches. It runs down on the medial side of the axillary vein and supplies skin over the front and medial side of the arm.
The medial cutaneous nerve of the forearm (C8, T1) is a larger nerve that runs down between artery and vein in front of the ulnar nerve and supplies skin over the lower part of the arm and the medial side of the forearm.
The ulnar nerve is the largest branch of the medial cord (C7, C8, T1). It runs down between artery and vein as the most posterior of the structures which run down the medial side of the flexor compartment of the arm. It sometimes receive its C7 fibers as a branch from the lateral cord, if these have not already passed to the medial cord from the anterior ramus of C7.
The five branches from the posterior cord are the upper subscapular, thoracodorsal nerve (nerve to latissimus dorsi), lower subscapular nerve, axillary (circumflex) nerve and radial nerves.
The upper subscapular nerve is a small nerve (C5, 6) which enters the upper part of subscapularis muscle.
The thoracodorsal nerve (nerve to latissimus dorsi with fibers from C6 to C8) is a large nerve which runs down the posterior axillary wall, crosses the lower border of teres major and enters the deep surface of latissimus dorsi, well forward near the border of the muscle. It comes from high up behind the subscapular artery, but as it descends to enter the muscle it lies in front of the artery, at this level called the thoracodorsal artery. It is thrown into prominence in the position of lateral rotation and abduction of the humerus and is thus in danger in operations on the lower axilla.
The lower subscapular nerve (C5, 6) is larger than the upper subscapular and supplies the lower part of the subscapularis and ends in teres major.
The axillary nerve which is formerly called the circumflex nerve is one of the two large terminal branches of the posterior cord (the other is the radial nerve). The axillary nerve (C5, 6) supplies nothing in the axilla despite its name having been changed from circumflex to axillary nerve. From its origin, it runs backwards through the quadrangular space bounded by subscapularis above, teres major below, long head of triceps medially and the surgical neck of humerus laterally. It then passes just below the capsule of the shoulder joint, with the posterior circumflex humeral vessels below it, and emerges at the back of the axilla below teres minor. Having given a branch to the shoulder joint, it divides into anterior and posterior branches. The anterior branch winds round behind the humerus in contact with the periosteum and enters the deep surface of the deltoid muscle to supply it; a few terminal twigs pierce the muscle and reach the skin. The posterior branch supplies teres minor and deltoid, then winds around the posterior border of deltoid to become the upper lateral cutaneous nerve of the arm.
The radial nerve (C5 to C8 and T1) is the continuation of the posterior cord, and is the largest branch of the whole plexus. It crosses the lower border of the posterior axillary wall, lying on the glistening tendon of latissimus dorsi. It passes out of sight through the triangular space below the lower border of this tendon as it lies in front of teres major, between the long head of triceps and the humerus. Before disappearing it gives nerves of supply to the long head of triceps and the medial head (a nerve which accompanies the ulnar nerve along the medial side of the arm) and a cutaneous branch which supplies the skin along the posterior surface of the arm (posterior cutaneous nerve of the arm).
Variations in the brachial plexus formation are common. In addition to the five anterior rami (C5-T1) that form the roots of the plexus, small contributions may be made by the anterior rami of C4 or T2. When the superior-most root (anterior ramus) of the plexus is C4 and the inferior-most root is C8, it is called a prefixed brachial plexus. Alternatively, when the superior root is C6 and the inferior root is T2, it is a postfixed brachial plexus. In the latter type, the inferior trunk of the plexus may be compressed by the first rib, producing neurovascular symptoms in the upper limb.
Variations also may occur in the formation of trunks, divisions, and cords; in the origin and/or combination of branches; and in the relationship to the axillary artery and scalene muscles
In order to easily remember the brachial plexus, it is important to appreciate the parts of the brachial plexus which are the roots between scalene muscles, trunks in the triangle, divisions behind the clavicle and cords in the axilla. The nerve branches of the brachial plexus are formed from the roots, trunks and cords; there is no peripheral nerve branch from the divisions. The roots and trunks with their nerve branches form the supraclavicular part of the brachial plexus, while the cords and their branches form the infraclavicular part of the brachial plexus.
When you learn the basic pattern, it becomes easier to put in the branches of the brachial plexus which consist of 3 branches from the roots and 3, 5 and 5 from the lateral, medial and posterior cords respectively. The only exception to the 3, 5, 5 rule is in the branch from the trunks. It is only one (the suprascapular nerve), from the upper trunk, in the posterior triangle. Everywhere else in the plexus the number of branches follows the 3, 5, 5 pattern.
Brachial plexus Injuries affect movements and cutaneous sensations of the upper limb. Any disease, stretching or wounds in the lateral cervical region (posterior triangle of the neck) or in the axilla may give rise to brachial plexus injuries. The Signs and symptoms of brachial plexus injury depend on the part of the plexus that is affected. Injuries to the brachial plexus result paralysis (loss of muscular movement) and loss of cutaneous sensation (anesthesia). In complete paralysis, no movement is possible while in incomplete paralysis, there could be partial movements because not all muscles are paralyzed, even though the movements are weak compared to those on the uninjured side.
Brachial plexus Injuries to superior parts, affecting the C5 and C6 fibers usually occur from an excessive increase in the angle between the neck and the shoulder. These injuries can occur in a person who is thrown from a motorcycle or a horse and lands on the shoulder in a way that widely separates the neck and shoulder. When thrown, the person's shoulder often hits a hard surface such as a tree or the ground and stops but the head and trunk continue to move. This stretches or ruptures superior parts of the brachial plexus or avulses (tears) the roots of the brachial plexus from the spinal cord. Brachial plexus injury to the superior trunk gives rise to waiter's tip position in which the limb hangs by the side in medial rotation.
Upper brachial plexus injury can also occur in a newborn when excessive stretching of the neck occurs during delivery giving rise to Erb-Duchenne palsy due to paralysis of the muscles of the shoulder and arm supplied by C5-C6 occurs. The usual clinical appearance is an upper limb with an adducted shoulder, medially rotated arm, and extended elbow. The lateral aspect of the upper limb also experiences loss of sensation.
Prolonged micro-trauma to the superior trunk of the brachial plexus from carrying a heavy backpack can produce motor and sensory deficits in the distribution of the musculocutaneous and radial nerves.
Brachial plexus Injury to inferior parts of the brachial plexus leads to Klumpke paralysis this is less common. These injuries may occur when the upper limb is suddenly pulled superiorlyfor example, when a baby's limb is pulled excessively during delivery. These events injure the inferior trunk of the plexus (C8 and T1) and may avulse the roots of the spinal nerves from the spinal cord. The short muscles of the hand are affected and a claw hand results.
Injection of an anesthetic solution into or immediately surrounding the axillary sheath interrupts nerve impulses and produces anesthesia of the structures supplied by the branches of the cords of the brachial plexus. Combined with an occlusive tourniquet technique to retain the anesthetic agent, this procedure enables surgeons to operate on the upper limb without using a general anesthetic. The brachial plexus can be anesthetized using a number of approaches: such as interscalene, supraclavicular, and axillary approach.


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Katherine Jenkins Interview – New Baby
Enjoy Celebrity Radio's Katherine Jenkins Interview New Album Baby….
Katherine Jenkins is THE mezzo soprano of her generation! Effortless talent.
From Dancing With The Stars USA to performing for Royalty, legends & millions worldwide – she has defined herself as the UK's sweetheart of classical music.
After the birth of her daughter, she's back and happier than ever!
In February 2014, she began dating American artist and film actor-director Andrew Levitas. The couple married at Hampton Court Palace on 27 September 2014.
Jenkins gave birth to their first child, in New York in September 2015.
All in all she's one of the most blessed, beautiful and brilliant Stars of her generation.
Katherine released her new moving and meaningful album 'Celebration' in April 2016.
Get 'Celebration' below via AMAZON. Get tour dates HERE!
Enjoy an Exclusive interview with Katherine and Alex Belfield via YouTube:
Katherine became an OBE in 2014.
Jenkins was born in Neath, Wales, where she and her sister Laura were raised by their parents Selwyn John and Susan.
Here's Katherine & Alex in Nottingham:
At the age of 17 she won a scholarship to study at the Royal Academy of Music, graduating with honours and receiving a music teacher's diploma.
This interview made Page 10 of the Daily Express 26th April 2016:
Interview recorded 21st April 2016 by Alex Belfield for Celebrity Radio.
Katherine Jenkins Pregnant / Husband Katherine Jenkins Exclusive NEW Interview – Tour, Husband & Marriage Katherine Jenkins Wedding Exclusive Life Story Interview
← Lionel Blair Life Story Interview 2016
Russell Watson From The Heart Tour →


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28th annual Sailors' Series lectures focus on remarkable maritime photography
Sailors' Series: Elemental Exposures launches March 22
NEW BEDFORD, Mass. –Speakers featured in the 2018 Sailors' Series: Elemental Exposures at the New Bedford Whaling Museum will showcase remarkable maritime photography that captures the dynamic world of yacht racing, the sea's mercurial beauty, and rhythms of life along the coast. Two of the world's most talented marine photographers, Onne van der Wal and Daniel Forster, will speak about their own work and adventures on March 22 and April 5 respectively. On April 19, John Burnham, former editor of Sailing World and Cruising World, will take audience members on a photo tour tracing the history of the International One-Design sailboat class. Louie, Charlie, and Kin Howland will profile Padanaram, Massachusetts' beloved marine painter and photographer Norman Fortier in the final Sailors' Series lecture on May 10. Every year, the Sailors' Series presents a wide variety of experiences and adventures by individuals with lifelong commitments to sailing, boats, and the sea. The 28th annual series is supported by Ruth and Hope Atkinson.
All Sailors' Series Lectures begin at 7 pm with a reception at 6 pm. Individual lecture tickets can be purchased for $15 for Whaling Museum members and $20 for non-members. Series tickets are $54 for Museum members and $72 for non-members. Go to www.whalingmuseum.org or call 508-997-0046 for tickets.
March 22: Wind and Water
Speaker: Onne van der Wal
Onne van der Wal is one of the most prolific and talented marine photographers in the world of sailing. As the bowman and engineer aboard the Dutch maxi-boat Flyer II, he won all four legs of the 1981-1982 Whitbread Round the World Race. Enjoy photos and videos from Onne's recent travels and marine industry editorial work.
April 5: The International One-Design – 80 Years Young
Speaker: John Burnham
The iconic International One-Design sailboat has been the subject of thousands of remarkable photos in its eight decades of competitive history. Join John Burnham, a past champion and former editor of Sailing World and Cruising World, on a photo tour that traces the history of the class, including John's personal experience of the last 30 years and the array of extraordinary venues where the boats are sailed.
April 19: 45 years of Yachting Photography on the High Seas
Speaker: Daniel Forster
Daniel Forster of Jamestown, R.I., is one of the finest yachting photographers of our time. He has covered every America's Cup from 1977 to 2017, and a dozen Olympic Games: 1977 to 2016. Forster's presentation will be nothing short of spectacular, showing images of sailing and the beauty of the sea. It will be every bit as evocative of the last glorious half-century in sailing as were the great Morris Rosenfeld's photos from the preceding 50 years.
May 10: Recalling Norman Fortier: Images and memories of Padanaram's beloved marine painter and photographer
Speakers: Louie, Charlie, Kin and Ed Howland
Norman Fortier (1919-2010) returned to the New Bedford region after World War II and set up his own commercial photo studio. His work testified to both his brilliance as a technician and his uncanny sense of composition. Louie, Charlie, Kin and Ed Howland were neighbors, friends, customers, occasional shipmates, and ultimately landlords of Norman Fortier over a span of some sixty years. Each has special memories of Norm. Each has particular favorites among the nearly 60,000 maritime photographs Norm took during his wonderfully productive career. This presentation will feature plenty of surprises—and the Howlands very much hope that members of the audience will participate.
The New Bedford Whaling Museum is the world's most comprehensive museum devoted to the global story of human interaction with whales through time, and the history and culture of the South Coast region. The cornerstone of New Bedford Whaling National Historical Park, the Museum is located at 18 Johnny Cake Hill in the heart of the city's historic downtown. Museum hours: January through March, Tuesday – Saturday 9 a.m. – 4 p.m. and Sunday 11 a.m. – 4 p.m.; Admission is free for Museum members and children aged three and under; adults $16, seniors (65+) $15, students (19+) $10, child and youth $7. For more information visit www.whalingmuseum.org.
Media Contact/High resolution images:
Photo credit: Onne van der Wal


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Interview with sports biographer Jonathan Weeks
Today's special guest is writer Jonathan Weeks to chat with me about his new sports history-biography, The Umpire Was Blind! Controversial Calls by MLB's Men in Blue.
During his virtual book tour, Jonathan will be awarding a $25 Amazon or Barnes and Noble (winner's choice) gift card to a lucky randomly drawn winner. To be entered for a chance to win, please use the form below. To increase your chances of winning, feel free to visit his other tour stops and enter there, too!
Jonathan Weeks spent most of his life in the Capital District region of New York State. He earned a degree in psychology from SUNY Albany. In 2004, he migrated to Malone, NY. He continues to gripe about the frigid winter temperatures to the present day. He has published several books on the topic of baseball. He would have loved to play professionally, but lacked the talent. He still can't hit a curve ball or lay off the high heat. In the winter months, he moonlights as a hockey fan.
Welcome, Jonathan. Please share a little bit about your current release.
I've written several books on the topic of baseball. This is the first one that focuses almost entirely on umpires. I didn't realize that there were so many interesting characters until I started doing my research. Tim Hurst was among the most colorful umpires of the early-20th century. Renowned for his nasty temper, he had an unusual way of keeping catchers under control. "Never put a catcher out of a game," he told a New York Herald reporter. "If the man in back of the bat is sassy and objects to your calling of balls and strikes, keep close behind him while doing your work and kick him every time he reaches out to catch a ball. After about the third kick, he'll shut up." Hurst got away with murder for sixteen years, until he finally crossed the line. In 1909, he was fired by American League president Ban Johnson for spitting in the face of Philadelphia Athletics' infielder Eddie Collins.
What inspired you to write this book?I grew up watching baseball and have seen a lot of bad decisions made by umpires. In 2016, I caught an episode of the HBO series, "Real Sports with Bryant Gumbel." In this particular installment, a Yale professor named Toby Moskowitz claimed that he had analyzed a million major league pitches over a three and a half year period. The data showed that 30,000 incorrect ball-strike calls are made each season for an overall accuracy rate of about eighty-eight percent. That's not a very impressive number. I was actually somewhat astounded and decided to explore the topic in greater detail.
Excerpt from The Umpire Was Blind!:
Let's face it—umpires are only human.
For well over a century, the activities on major league baseball fields have been dramatically affected by the flawed decisions of officials. In late-August of 2008, a rule was implemented by commissioner Bud Selig allowing crew chiefs to call for video reviews on questionable home runs. (Video review had been used just once in the majors prior to then—during the 1999 season.) The rule proved beneficial less than a week later when an apparent homer hit by Alex Rodriguez of the Yankees was disputed by Tampa Bay Rays manager Joe Maddon. Crew Chief Charlie Reliford examined the footage and allowed the call to stand.
From 2008 through 2010, the use of video replay was invoked more than a hundred times, resulting in several dozen overturned home run calls. After much debate, a new regulation was established in 2014, allowing each manager one official challenge per game with a new one being granted each time a dispute is upheld. In addition to home run calls, managers can now challenge a number of other situations, including fair-foul rulings and fan interference calls.
The use of video replay has served to drastically reduce the number of bitter disputes. John Thorn, the official historian of Major League Baseball, remarked: "Gone are the days when a Bobby Cox, Lou Piniella, Sparky Anderson or Earl Weaver could combine cathartic exercise with theatrical relief in disputing an umpire's judgment call. The modern skipper just signals for the replay booth."
Before the advent of video replay, controversy on the field was common. And the face of baseball history was irrevocably altered by the questionable judgments of umpires on multiple occasions. For instance:
--In 1908, a game-winning hit by Giants infielder Al Bridwell was disallowed, ultimately costing the New Yorkers a pennant.
--In the 1985 World Series, an erroneous decision by umpire Don Denkinger helped the Royals to a championship.
--In 2011, umpire Jim Joyce spoiled what should have been a perfect game for Tigers pitcher Armando Galarraga when he blew a call at first base on the final out of the game.
Legendary Giants pitcher Christy Mathewson once quipped: "Many baseball fans look upon an umpire as a sort of necessary evil to the luxury of baseball, like the odor that follows an automobile." Defending his own limitations as well as those of his peers, hall of fame arbiter, Billy Evans, contended that: "The public wouldn't like the perfect umpire in every game. It would kill off baseball's greatest alibi—'we was robbed.'" At the very least, umpires are an inescapable necessity. And despite their many faults, they have played an integral role in shaping the game's past
What exciting story are you working on next? Though I've written extensively about baseball, I'm also a hockey fan. I have always wanted to write a book about my favorite team—The Boston Bruins. The project is nearing completion and will be released next year through McFarland Publishers. The current working title is Best of the Bruins: Boston's All-Time Great Hockey Players and Coaches.
I wrote my first short story when I was around nine or ten years-old. Before then, I wrote and illustrated my own comics. I didn't realize that I had any talent until I got into high school and started getting compliments from my English teachers. I realize now that anyone who writes is technically a writer. But honestly, I didn't actually feel like a writer until I was holding a copy of my first book in my hands. It was such a proud moment. And it never gets old. I still get really excited when the author copies arrive on my doorstep.
I have a full-time job as a mental health counselor. I write whenever I can. Mornings are usually when the best ideas come to me. I'm an early riser. I get up around 4 or 5 a.m. and start hacking away at the keys while I'm having my first cup of coffee.
Website | Publisher | Goodreads | Facebook | Amazon
Thank you for stopping by today!
Labels: author interview, biography, Controversial Calls by MLB's Men in Blue, goddess fish promotions, jonathan weeks, McFarland Publishers, sports history, The Umpire Was Blind
Bernie Wallace said...
Did you have to do any research when preparing to write your book?
It's been great getting to discover your book and share with the readers in my family. Thank you and thanks for the giveaway.
Jonathan Weeks said...
Hi Everyone!! I want to thank Lisa for hosting my tour. I greatly appreciate it. I also want to thank readers who are following me. With the current baseball season up in the air, it's a great time to read about seasons past. Cheers!
Sounds like a good book.
Great giveaway, thanks for sharing!
marisela zuniga said...
this sounds really good
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https://www.chron.com/life/article/Drought-stricken-trees-gain-new-life-as-furniture-3377093.php
Drought-stricken trees gain new life as furniture
By Tracy Hobson Lehmann
Published 11:10 am CST, Friday, March 2, 2012
When a pecan tree began dropping limbs over their house, Ralph and Ruth Wells knew it had to come down. They plan to have artist Peter Zubiate make a dining table from the wood.
After a decades-long relationship, Ralph Wells hated to see the end. But he knew it was time.
Last month, the retired internist called in an arborist to remove a drought-stricken pecan tree that was dropping limbs on the roof of his San Antonio house. But he couldn't bear to say goodbye forever, so he and his wife also called in artist Peter Zubiate to make something - likely a dining table - from the wood.
"At this point, the trees are friends," said Ruth Wells, noting that her husband purchased the house, his first, in 1975.
The trunk of the Wellses' pecan tree, estimated to be about 80 years old, is about 2 feet in diameter and straight, plenty for a table.
"It doesn't have to be a huge tree," said Zubiate, though larger trees are more economical to mill.
Smaller pieces, he said, can be used for mirror frames or mosaics to be incorporated in a floor. Larger sections can be transformed into everything from cabinets and chairs to mantels to sculpture.
"You could pick a slice and carve into it the names of people or represent the history of the land that it came from," the artist said.
Beneath the bark
Cherry, walnut, mesquite, pecan and oak woods are known for their grain and color. Other species surprise with equally interesting character.
Bradford pear: The wood's fine texture feels almost like marble when it's sanded. The wood has pretty colors like other trees the rose family such as cherry and plum.
Cedar elm: Wood varies from creamy yellow to dark reddish-brown within a log, depending on minerals in the soil. Color variations make it look painted.
Chinaberry: Part of the mahogany family, it has reddish wood with pronounced growth rings.
Chinese pistasche: Cream-colored sap wood. Variegated gray and green heart wood.
Huisache: Dense wood that's reddish-pink to reddish-brown in color.
Osage orange: Orange color with beautiful grain.
Sycamore: If quarter-sawed, the rays are so pronounced the wood looks three-dimensional.
Source: Dan Keierleber, Alamo Woodworking
"A lot depends on what you get out of it. It might be rotten or have wire or nails where a fence was running through it, but that can be incorporated in the design."
The Wellses aren't the only ones losing trees. An estimated 66 million trees in the eight-country Houston region will eventually be lost to the drought.
Arborist Thomas Sillitoe said his company, Davey Tree, is taking out at least one dead tree a day in San Antonio. "Used to be pruning was 90 percent of our business and removal was 10 percent. Now it's 50-50."
Dan Keierleber of Alamo Woodworking sees opportunity in the loss. "I'm excited about the prospects for 2012 and what might show up," he said. "Sometimes it's hard for us to accept or understand, but the drought is part of the natural cycle in nature, and the trees that are weak and not hardy are going to succumb to that."
Mark Duff, a forester with the Texas Forest Service, knows the drought devastation well, and as a woodworking hobbyist, he's keeping wood out of the landfills.
"It's a landscape changer," he said of the drought. "And it's not over."
Much of that wood can be recycled into beautiful products, he added. In Galveston, artisans are carving yard sculptures from the stumps of trees lost in Hurricane Ike.
When a pecan alongside Christian Herff's San Antonio driveway turned brown last summer, he called Attie Jonker of Green Wood Milling for advice about how the tree should be cut so it could be repurposed. "I hated to throw it away."
The sections of the trunk are drying now outside Jonker's shop in Kirby, and Herff and his wife, Mary, are weighing the possibilities.
"We were thinking about maybe a dining room table, maybe a desk," he said. Some of the smaller logs might be made into cutting boards.
Already out $800 - the lowest bid - for having the tree removed, Herff said the furniture won't be cheap. He estimates milling the wood will cost another $1,000, plus the fee for having the piece made.
"It's definitely a luxury to have this done," he said. "But it will have a story, and it's much prettier wood than you could get anywhere else."
Many variables affect the cost of a custom piece, said Bob Card of Greenwood Bay in Houston. "Sometimes it takes a long time to make it look like you didn't do anything to the wood. Sometimes the wood has to be flattened, and it takes a lot of hand work to get it nice and flat like a table."
The cost is comparable to high-end furniture, he said, but the piece has the added value of sentiment.
"People have a bond to the trees in their yards, and if they can repurpose that tree into a piece of furniture, there is a real connection there," Card said. "It's a good way to honor that tree, and it's a far better thing than sending it off to be disposed of."
Homeowners who want to leave part of the tree standing can take a page from Galveston artisans. Since Hurricane Ike they've been transforming tree stumps into yard sculptures that are becoming a popular tourist attraction.
tlehmann@express-news.net