document_title: NBA All-Star Game

question_text: who won last year's nba all star game

question_tokens: who won last year 's nba all star game

text: NBA All-Star Game

text: History[edit]

text: The idea of holding an All-Star Game was conceived during a meeting between NBA President Maurice Podoloff, NBA publicity director Haskell Cohen and Boston Celtics owner Walter A. Brown. At that time, the basketball world had just been stunned by the college basketball point-shaving scandal.

text: In order to regain public attention to the league, Cohen suggested the league to host an exhibition game featuring the league's best players, similar to Major League Baseball's All-Star Game.[5] Although most people, including Podoloff, were pessimistic about the idea, Brown remained confident that it would be a success, and he even offered to host the game and to cover all the expenses or potential losses incurred from the game.[6] In the first All-Star Game, the Eastern All-Stars team defeated the Western All-Stars team 111–94.

text: Boston Celtics' Ed Macauley was named as the first NBA All-Star Game Most Valuable Player, and the All-Star Game became a success, drawing an attendance of 10,094, much higher than that season's average attendance of 3,500.[7] In 2010, the NBA All Star Game attendance record was set when 108,713 fans jammed Cowboys Stadium in Arlington, Texas. This shattered the existing attendance record previously held at Ford Field on Dec. 13, 2003 when 78,129 attendees watched Michigan State play Kentucky.[8]

text: The 2017 All-Star Weekend was originally awarded to Charlotte, North Carolina. On March 23, 2016, North Carolina passed House Bill 2 as a remedy to Charlotte Ordinance 7056. This led to the NBA threatening to pull the game from Charlotte if the bill was not repealed or revised so as to not discriminate against the LGBT community. The NBA announced on July 21, 2016 that the game would be moved from Charlotte to New Orleans.

text: On October 3, 2017, the NBA and NBPA announced the changes to the NBA All-Star Game format starting with the 2018 NBA All-Star Game. The vote leaders for each conferences will be assigned as team captains and will be able to select players from the rest of the starters and the reserves, regardless of the conference they play in, to form their own teams. This marks the first time, the conferences will not play against each other since the inaugural All-Star Game.[3]

text: Features of the All-Star Game[edit]

text: The starting five from each conference consists of three frontcourt players and two guards, selected by a combination of fan, player, and media voting. In 2017, the NBA moved from a pure fan vote to a weighted process wherein fan voting accounts for 50% of the total and player and media voting account for 25% each.[1] The league made the change in response to social media campaigns that resulted in mediocre players such as journeyman Zaza Pachulia nearly being voted as All-Star starters over more deserving players.,[1][9] Prior to 2013, fans selected two forwards and one center instead of generic frontcourt players.[10] The NBA in 2003 began offering All-Star ballots in three languages—English, Spanish and Chinese—for fan voting of the starters.[11]

text: NBA coaches vote for the reserves for their respective conferences, none of which can be players on their own team. Each coach selects two guards, three frontcourt players and two wild cards, with each selected player ranked in order of preference within each category. If a multi-position player is to be selected, coaches are encouraged to vote for the player at the position that is "most advantageous for the All-Star team", regardless of where the player is listed on the All-Star ballot or the position he is listed in box scores.[12] If a player is unavailable for the game due to injury, the NBA commissioner selects a replacement for the roster. If the replacement is for a fan-selected starter, the all-star coach chooses the replacement in the starting lineup, and is not limited to the commissioner's addition to the roster.[13] It is also possible for more than one All-Star to be selected from one team, but there has never been more than 4 All-Stars represent a team in the game. Most recently was the 2017 Golden State Warriors who had 4 players represent that team (Stephen Curry, Kevin Durant, Draymond Green, and Klay Thompson.) This has only occurred 8 times dating back to 1962 Boston Celtics and the 1962 Los Angeles Lakers.[14]

text: The Game is played under normal NBA rules, but there are notable differences from an average game. Since the starting All-Stars are selected by fan vote, players sometimes start the game at atypical positions. For instance, in 2007 Kobe Bryant and Tracy McGrady had the two highest fan vote totals among Western Conference guards. As both players normally play shooting guard, Bryant, who is 6'6" (198 cm), started the game as a point guard, despite him also manning the shooting guard position on his team.

text: The player introductions are usually accompanied by a significant amount of fanfare, including lighting effects, dance music, and pyrotechnics. Special uniforms are designed for the game each year, usually red for the Western Conference and blue for the Eastern Conference, but the 1997–2002 games allowed players the opportunity to wear their respective team uniforms, and until 2009 and from 2015 to the present, the host conference wore light uniforms. Originally players from the same team who share a number have the option to either keep or change numbers (e.g. Patrick Ewing trading his familiar #33 for #3 because of Larry Bird wearing the same number), but since 1997 players from the same team can keep their customary uniform numbers even if they share them. A major recording artist typically sings "O Canada" and "The Star-Spangled Banner" prior to tipoff. One of the more memorable performances was given by Marvin Gaye during the 1983 game; Gaye was accompanied by Gordon Banks, who played a tape from an all night session that used numerous elements of soul music and funk, and Banks still has that historic tape of the music to which Gaye sang his soulful version.

text: Gameplay usually involves players attempting spectacular slam dunks and alley oops. Defensive effort is usually limited and the final score of the game is generally much higher than an average NBA game. The coaches also try to give most of the reserve players some time on the court instead of using a limited rotation as they would in a normal game, but giving the starters more minutes because that's who the fans want to see most. The fourth quarter of the game is often played in a more competitive fashion, if the game is close.

text: Halftime is also longer than a typical NBA game due to musical performances by popular artists. Recent guests have included Michael Jackson, Snoop Dogg, Ariana Grande, Elton John, Beyoncé, Mariah Carey, OutKast, Alicia Keys, Shakira, Rihanna, Nicki Minaj, Kendrick Lamar, Christina Aguilera, Pharrell Williams, Migos, and John Legend.

text: All-Star Game records[edit]

text: All-Star Game results[edit]

text: This is a list of each All-Star Game, the venue at which it was played, and the Game MVP. Parenthesized numbers indicate multiple times that venue, city, or player has occurred as of that instance (e.g. "Michael Jordan (2)" in 1996 indicates that was his second All-Star MVP award). As of the 2017 All-Star Game (the 2016–17 NBA season)[update], the Eastern Conference leads with a record of 37 wins and 29 losses. The Western Conference has won the last 3 games.

text:
Eastern Conference (37 wins)
Western Conference (29 wins)

text: Note: Stadium names are named based on the name at the day of the All-Star Game.

text:
Year
Result
Host arena
Host city
Game MVP

1951
East 111, West 94
Boston Garden
Boston, Massachusetts
Ed Macauley, Boston Celtics

1952
East 108, West 91
Boston Garden (2)
Boston, Massachusetts (2)
Paul Arizin, Philadelphia Warriors

1953
West 79, East 75
Allen County War Memorial Coliseum
Fort Wayne, Indiana
George Mikan, Minneapolis Lakers

1954
East 98, West 93 (OT)
Madison Square Garden III**
New York City, New York
Bob Cousy, Boston Celtics

1955
East 100, West 91
Madison Square Garden III** (2)
New York City, New York (2)
Bill Sharman, Boston Celtics

1956
West 108, East 94
Rochester War Memorial Coliseum
Rochester, New York
Bob Pettit, St. Louis Hawks

1957
East 109, West 97
Boston Garden (3)
Boston, Massachusetts (3)
Bob Cousy (2), Boston Celtics

1958
East 130, West 118
St. Louis Arena
St. Louis, Missouri
Bob Pettit (2), St. Louis Hawks

1959
West 124, East 108
Olympia Stadium
Detroit, Michigan
Elgin Baylor, Minneapolis Lakers
Bob Pettit (3), St. Louis Hawks

1960
East 125, West 115
Convention Hall
Philadelphia, Pennsylvania
Wilt Chamberlain, Philadelphia Warriors

1961
West 153, East 131
Onondaga County War Memorial Coliseum
Syracuse, New York
Oscar Robertson, Cincinnati Royals

1962
West 150, East 130
St. Louis Arena (2)
St. Louis, Missouri (2)
Bob Pettit (4), St. Louis Hawks

1963
East 115, West 108
LA Sports Arena
Los Angeles, California
Bill Russell, Boston Celtics

1964
East 111, West 107
Boston Garden (4)
Boston, Massachusetts (4)
Oscar Robertson (2), Cincinnati Royals

1965
East 124, West 123
St. Louis Arena (3)
St. Louis, Missouri (3)
Jerry Lucas, Cincinnati Royals

1966
East 137, West 94
Cincinnati Gardens
Cincinnati, Ohio
Adrian Smith, Cincinnati Royals

1967
West 135, East 120
Cow Palace
Daly City, California
Rick Barry, San Francisco Warriors

1968
East 144, West 124
Madison Square Garden III** (3)
New York City, New York (3)
Hal Greer, Philadelphia 76ers

1969
East 123, West 112
Baltimore Civic Center
Baltimore, Maryland
Oscar Robertson (3), Cincinnati Royals

1970
East 142, West 135
The Spectrum
Philadelphia, Pennsylvania (2)
Willis Reed, New York Knicks

1971
West 108, East 107
San Diego Sports Arena
San Diego, California
Lenny Wilkens, Seattle SuperSonics

1972
West 112, East 110
The Forum
Inglewood, California
Jerry West, Los Angeles Lakers

1973
East 104, West 84
Chicago Stadium
Chicago, Illinois
Dave Cowens, Boston Celtics

1974
West 134, East 123
Seattle Center Coliseum
Seattle, Washington
Bob Lanier, Detroit Pistons

1975
East 108, West 102
Arizona Veterans Memorial Coliseum
Phoenix, Arizona
Walt Frazier, New York Knicks

1976
East 123, West 109
The Spectrum (2)
Philadelphia, Pennsylvania (3)
Dave Bing, Washington Bullets

1977
West 125, East 124
Milwaukee Arena
Milwaukee, Wisconsin
Julius Erving, Philadelphia 76ers

1978
East 133, West 125
Omni Coliseum
Atlanta, Georgia
Randy Smith, Buffalo Braves

1979
West 134, East 129
Pontiac Silverdome
Pontiac, Michigan†
David Thompson, Denver Nuggets

1980
East 144, West 136 (OT)
Capital Centre
Landover, Maryland
George Gervin, San Antonio Spurs

1981
East 123, West 120
Coliseum at Richfield
Richfield, Ohio
Nate Archibald, Boston Celtics

1982
East 120, West 118
Brendan Byrne Arena
East Rutherford, New Jersey
Larry Bird, Boston Celtics

1983
East 132, West 123
The Forum (2)
Inglewood, California (2)
Julius Erving (2), Philadelphia 76ers

1984
East 154, West 145 (OT)
McNichols Sports Arena
Denver, Colorado
Isiah Thomas, Detroit Pistons

1985
West 140, East 129
Hoosier Dome
Indianapolis, Indiana†
Ralph Sampson, Houston Rockets

1986
East 139, West 132
Reunion Arena
Dallas, Texas
Isiah Thomas (2), Detroit Pistons

1987
West 154, East 149 (OT)
Kingdome
Seattle, Washington† (2)
Tom Chambers, Seattle SuperSonics

1988
East 138, West 133
Chicago Stadium (2)
Chicago, Illinois (2)
Michael Jordan, Chicago Bulls

1989
West 143, East 134
Astrodome
Houston, Texas†
Karl Malone, Utah Jazz

1990
East 130, West 113
Miami Arena
Miami, Florida
Magic Johnson, Los Angeles Lakers

1991
East 116, West 114
Charlotte Coliseum
Charlotte, North Carolina
Charles Barkley, Philadelphia 76ers

1992
West 153, East 113
Orlando Arena
Orlando, Florida
Magic Johnson (2), Los Angeles Lakers

1993
West 135, East 132 (OT)
Delta Center
Salt Lake City, Utah
Karl Malone (2), Utah Jazz
John Stockton, Utah Jazz

1994
East 127, West 118
Target Center
Minneapolis, Minnesota
Scottie Pippen, Chicago Bulls

1995
West 139, East 112
America West Arena§
Phoenix, Arizona (2)
Mitch Richmond, Sacramento Kings

1996
East 129, West 118
Alamodome
San Antonio, Texas
Michael Jordan (2), Chicago Bulls

1997
East 132, West 120
Gund Arena
Cleveland, Ohio
Glen Rice, Charlotte Hornets

1998
East 135, West 114
Madison Square Garden***
New York City, New York (4)
Michael Jordan (3), Chicago Bulls

1999
Canceled due to the league's lockout.
The game was originally set to play at the First Union Center in Philadelphia, Pennsylvania.[15]

2000
West 137, East 126
The Arena in Oakland
Oakland, California
Tim Duncan, San Antonio Spurs
Shaquille O'Neal, Los Angeles Lakers

2001
East 111, West 110
MCI Center
Washington, D.C.
Allen Iverson, Philadelphia 76ers

2002
West 135, East 120
First Union Center
Philadelphia, Pennsylvania (4)
Kobe Bryant, Los Angeles Lakers

2003
West 155, East 145 (2 OT)
Philips Arena
Atlanta, Georgia (2)
Kevin Garnett, Minnesota Timberwolves

2004
West 136, East 132
Staples Center
Los Angeles, California (2)
Shaquille O'Neal (2), Los Angeles Lakers

2005
East 125, West 115
Pepsi Center
Denver, Colorado (2)
Allen Iverson (2), Philadelphia 76ers

2006
East 122, West 120
Toyota Center
Houston, Texas (2)
LeBron James, Cleveland Cavaliers

2007
West 153, East 132
Thomas & Mack Center
Las Vegas, Nevada*
Kobe Bryant (2), Los Angeles Lakers

2008
East 134, West 128
New Orleans Arena§
New Orleans, Louisiana
LeBron James (2), Cleveland Cavaliers

2009
West 146, East 119
US Airways Center (2)
Phoenix, Arizona (3)
Kobe Bryant (3), Los Angeles Lakers
Shaquille O'Neal (3), Phoenix Suns

2010
East 141, West 139
Cowboys Stadium
Arlington, Texas#†
Dwyane Wade, Miami Heat

2011
West 148, East 143
Staples Center (2)
Los Angeles, California (3)
Kobe Bryant (4), Los Angeles Lakers

2012
West 152, East 149
Amway Center
Orlando, Florida (2)
Kevin Durant, Oklahoma City Thunder

2013
West 143, East 138
Toyota Center (2)
Houston, Texas (3)
Chris Paul, Los Angeles Clippers

2014
East 163, West 155
Smoothie King Center (2)
New Orleans, Louisiana (2)
Kyrie Irving, Cleveland Cavaliers

2015
West 163, East 158
Madison Square Garden (2)*** / Barclays Center
New York City, New York (5)
Russell Westbrook, Oklahoma City Thunder

2016
West 196, East 173
Air Canada Centre
Toronto, Ontario
Russell Westbrook (2), Oklahoma City Thunder

2017
West 192, East 182
Smoothie King Center (3)
New Orleans, Louisiana (3)
Anthony Davis, New Orleans Pelicans

2018[3]
Team LeBron 148, Team Stephen 145
Staples Center (3)
Los Angeles, California (4)
LeBron James (3), Cleveland Cavaliers

2019[16]
TBA vs. TBA
Spectrum Center
Charlotte, North Carolina (2)

2020[17]
TBA vs. TBA
United Center
Chicago, Illinois (3)

2021[18]
TBA vs. TBA
Bankers Life Fieldhouse
Indianapolis, Indiana (2)

text:
* denotes a city without an NBA team in play during that calendar year.
** denotes game played at the "third" Madison Square Garden on 8th Avenue between 49th and 50th Streets, which the first three NBA All-Star Games played in Madison Square Garden (1954, 1955 and 1968) were.
*** denotes game played at the "fourth" (or current as of 2017) Madison Square Garden that runs from 31st to 33rd Streets from 8th to west of 7th Avenues above the western half of Penn Station in Manhattan that opened in February 1968, approximately one month after the 1968 game was played in the "old" MSG.
† denotes an NBA All-Star Game that is held at an NFL or MLB stadium.
§ denotes a stadium or arena whose venue name has since changed AND the venue has hosted a subsequent NBA All-Star Game under the alternate name.
Portland, Sacramento, Memphis, and Oklahoma City are the only current NBA cities that have not yet hosted an NBA All-Star Game.[a]
New arenas that have not hosted the All-Star Game are BMO Harris Bradley Center in Milwaukee, United Center in Chicago (set to host the 2020 game), TD Garden in Boston, American Airlines Arena in Miami, Bankers Life Fieldhouse in Indianapolis (set to host the 2021 game), American Airlines Center in Dallas, Spectrum Center in Charlotte (set to host the 2019 game), AT&T Center in San Antonio, and Little Caesars Arena in Detroit.
# Arlington, Texas does not have an NBA team within its city limits, but it is a part of the Dallas–Fort Worth metroplex that has an NBA team (the Dallas Mavericks).

text: Other All-Star events[edit]

text: The All-Star Game is the featured event of All-Star Weekend, and it is held on a Sunday night. All-Star Weekend also includes a number of popular exhibition games and competitions featuring NBA players and alumni as well as players from the Women's National Basketball Association (WNBA) and NBA G League (G League).


document_title: Nancy Dow

question_text: who did nancy dow play on beverly hillbillies

root

text: Nancy Dow

text: Personal life[edit]

text: Dow was born in Connecticut, one of six daughters of Louise (née Grieco) and Gordon McLean Dow. Her maternal grandfather, Louis Grieco, was an Italian immigrant;[3] her other ancestry includes English, Scottish and Irish.[4] Dow was also married to John T. "Jack" Melick, Jr., a pianist-bandleader currently based in Dallas, Texas, from 1956 to 1961.[5] The couple had one son, John T. Melick III,[5] an assistant director and second-unit director.

tag: p

text: Dow and her daughter were estranged for nine years, partially because Dow wrote a book about their relationship, entitled From Mother and Daughter to Friends: A Memoir (1999).[6] In 2005, after Aniston's divorce from Brad Pitt, she and her mother reportedly reconciled. Aniston described the gradual progress of her new relationship with her mother: "It's been really nice. It's crazy what, you know, your life kind of being turned upside down will lead you to. ... For us it's ... It was the time and it was going to happen when it was supposed to happen. So this is good. It's baby steps."[7]

text: Health and death[edit]

text: In 2011 and 2012, Dow had a couple of strokes, which affected her ability to speak and walk. On the morning of May 23, 2016, she was taken by ambulance from her home in Toluca Lake, Los Angeles. She died two days later at 79 years old.[8]

text: Filmography[edit]

text:
The Beverly Hillbillies (1966) (TV series) – Athena
The Wild Wild West (1967) (TV series) – Tersa
The Ice House (1969) – Jan Wilson
Pure (2004) – Lynne

tag: ul


document_title: Memory (song)

question_text: who wrote the lyrics to memory from cats

text: Memory (song)

text: Conception and composition[edit]

text: The lyric, written by Cats director Trevor Nunn, was loosely based on[citation needed] T. S. Eliot's poems "Preludes"[3] and "Rhapsody on a Windy Night".[4]" Andrew Lloyd Webber's former writing partner Tim Rice and contemporary collaborator Don Black submitted a lyric to the show's producers for consideration, although Nunn's version was favoured. Elaine Paige has said that she sang a different lyric to the tune of "Memory" for the first ten previews of Cats.

text: Composer Lloyd Webber feared that the tune sounded too similar to Ravel's Bolero and to a work by Puccini, and also that the opening – the haunting main theme – closely resembled the flute solo (improvised by Bud Shank in the studio) from The Mamas & the Papas' 1965 song "California Dreamin'". He asked his father's opinion; according to Lloyd Webber, his father responded "It sounds like a million dollars!"[5]

text: Prior to its inclusion in Cats, the tune was earmarked for earlier Lloyd Webber projects, including a ballad for Perón in Evita and as a song for Max in his original 1970s draft of Sunset Boulevard.

text: In its original orchestration, the song's climax is in the key of D-flat major, the composer's favourite.

text: While Lloyd Webber mentions Ravel's Bolero, there is no mention of similarity to "Bolero in Blue" written by Larry Clinton. In this case Lloyd Webber's composition appears to replicate note for note the first several measures from Clinton's composition.[citation needed] Larry Clinton wrote "Bolero in Blue" in the 1930s and performed it on his mid-fifties album "Larry Clinton in hi fi".

text: The arrangement of the lyrics in the show were changed after the initial recordings of the track, with the first verse, beginning "Midnight, not a sound from the pavement..." being used in only the brief, Act I rendition of the song and a new verse, "Memory, turn your face to the moonlight...'" in its place for the Act II performance. In addition, the original second bridge section became the first and a new second bridge was added. Consequently, the arrangement of the lyric for a recording usually depends on whether the artist has played the role on stage.

text: Cover versions[edit]

text: "Memory" has been covered by numerous musical acts. Among the more notable are the following:

text:
Elaine Paige, who originated the role of Grizabella in the West End production of Cats, released a version of the song that was a Top 10 hit in the UK, peaking at #6 on the UK Singles Chart in July 1981.[6] She re-recorded the song in 1998 with a slight lyrical alteration, which was included in the video release of the musical. This version reached #36 in the UK Singles Chart in October of that year.[6] Paige also recorded a version for her 1983 album Stages.
Barry Manilow released a cover of "Memory" as a single in late 1982; this became the highest-charting version to date on the Billboard Hot 100 when it reached No. 39 in January 1983.[7] Manilow's recording also made the Top 10 on the Billboard adult contemporary chart, reaching No. 8.[8] This version is included on his album Here Comes the Night.

text: in 1983, Hong Kong singer Sam Hui covered in Cantonese.

text: Barbra Streisand version[edit]

text:
"Memory"

Single by Barbra Streisand

from the album Memories

B-side
"Evergreen (Love Theme from A Star Is Born)"

Released
1982

Format
LP

Length
3:52

Label
Columbia

Songwriter(s)
Andrew Lloyd Webber and Trevor Nunn,

Producer(s)
Andrew Lloyd Webber

Barbra Streisand singles chronology

"Comin' In and Out of Your Life"
(1981)
"Memory"
(1982)
"The Way He Makes Me Feel"
(1983)

"Comin' In and Out of Your Life"
(1981)
Memory
(1982)
"The Way He Makes Me Feel"
(1983)

tag: table

text: Barbra Streisand recorded "Memory" (produced by Lloyd Webber himself, and widely regarded as the definitive version) for her 1981 album Memories. When released as a single, Streisand's cover reached No. 52 on the Billboard Hot 100 chart and No. 9 on the Billboard adult contemporary chart in 1982. In the UK this version peaked at No. 34 the same year.[9] A music video was made for her version of the song; it was filmed with only one camera on a set resembling a recording studio, and utilized some vintage stock footage of New York City and New Year's Eve parties to make the mood melancholic. The video was produced by Chips Chipperfield. The single sold 749 000 copies in France and is the 231st best-selling single of all-time in the country.

text: Weekly charts[edit]

text:
Chart (1981–1984)
Peak
position

Austria (Ö3 Austria Top 40)[10]
14

Canadian Adult Contemporary (RPM)[11]
3

Germany (Official German Charts)[12]
30

Netherlands (Single Top 100)[13]
19

New Zealand (Recorded Music NZ)[14]
4

Sweden (Sverigetopplistan)[15]
6

UK Singles (Official Charts Company)[16]
34

US Billboard Hot 100[17]
52

US Adult Contemporary (Billboard)[18]
9

text:
Chart (2012)
Peak
position

France (SNEP)[19]
185


document_title: Los Angeles Olympics

question_text: when was the olympics held in los angeles

text: Los Angeles Olympics

text: Los Angeles Olympics may refer to three different Olympic Games held in Los Angeles:

text:
1932 Summer Olympics, games of the X Olympiad
1984 Summer Olympics, games of the XXIII Olympiad
2028 Summer Olympics, games of the XXXIV Olympiad

text:
This disambiguation page lists articles associated with the title Los Angeles Olympics.
If an internal link led you here, you may wish to change the link to point directly to the intended article.

text: Disambiguation pages

text: All article disambiguation pagesAll disambiguation pagesMonitored short pages


document_title: The Week Of

question_text: who played seymour lustig in the week of

text: The Week Of

text: Synopsis[edit]

text: The week before the marriage of their children, fathers Kenny Lustig and Kirby Cordice must put aside their different views on how the wedding should be planned and work together to overcome a series of obstacles.[2]

text: Cast[edit]

text:
Adam Sandler as Kenny Lustig
Chris Rock as Kirby Cordice
Rachel Dratch as Debbie Lustig
Steve Buscemi as Charles
Allison Strong as Sarah
Scott Cohen as Ron Elliman
Melanie Nicholls-King as Katrina
Noah Robbins as Noah
Maury Ginsberg as Jay
Liz Larsen as Julia Katz
Patricia Belcher as Thelma
Teddy Coluca as Dominic
Jim Barone as Seymour
Roland Buck III as Tyler
Garry Pastore as Mayor John Barone
Rob Morgan as Cousin Marvin
Germar Terrell Gardner as Cousin Ethridge
Chuck Nice as Leonard
Kenajuan Bentley as Jermaine
Joel Marsh Garland as Kent the Magician
Dan Patrick as baseball coach
Ronnie "The Limo Driver" Mund as Pallbearer #5[3]

text: Production[edit]

text: Principal photography began on Long Island, New York in July 2017.[1][4]

text: Reception[edit]

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 22% based on 18 reviews, and an average rating of 3.5/10.[5] On Metacritic, the film has a weighted average score of 41 out of 100, based on 9 critics, indicating "mixed or average reviews".[6]

text: Richard Roeper of the Chicago Sun-Times gave the film 1.5 out of 4 stars, calling it lazy and saying: "Sandler gives a relatively restrained performance as the well-meaning dad. Rock seems barely invested in paying attention to the other actors, and reads his lines as if he’s hoping there won’t be another take and he won’t have to go through this again. Even with helpful title cards telling us it’s 'MONDAY,' 'TUESDAY,' etc., etc., this is a week that feels 10 days long."[7] Peter Debruge, writing for Variety, called the film "lazy and overlong" and said: "Back in autopilot mode, Sandler phones in what may qualify as the lowest-concept comedy of his career — which, thankfully, is not the same as the lowest point in his career (that would be Jack and Jill, the cross-dressing debacle that began the downward slide that landed him at Netflix in the first place)."[8]


document_title: The Phantom of the Opera (2004 film)

question_text: girl who played christine in phantom of the opera

text: The Phantom of the Opera (2004 film)

text: Plot[edit]

text: In 1919, the Opéra Populaire holds a public auction to clear the theatre's vaults. Raoul, Viscount de Chagny purchases a papier-mâché music box in the shape of a monkey and eyes it sadly as Madame Giry, an aged woman dressed in black, watches him. The auctioneer then presents a shattered chandelier as the next item up for bid, explaining that it once played a key role in "the strange affair of the Phantom of the Opera". As it flickers to life and slowly ascends to its original place in the rafters, the audience is transported back in time to the year 1870.

text: Back to this time, while the company rehearses for a performance of the grand opera Hannibal, manager Monsieur Lefèvre announces that he has decided to retire and that the opera has been purchased by Richard Firmin and Gilles André, two men who have no experience with the arts whatsoever. When resident soprano Carlotta Giudicelli begins to sing for the managers, a backdrop collapses and causes everyone to blame the "Opera Ghost", a mysterious figure who is rumored to live in the catacombs beneath the theater. Carlotta refuses to sing and storms offstage, leaving Firmin and André no choice but to cancel the performance. At the last minute, ballet mistress Madame Giry suggests that dancer Christine Daaé take Carlotta's place as she has been "well taught." The managers reluctantly agree and, to their surprise, Christine wins them over.

text: Later that night, after Christine's triumphant stage debut, she explains to Madame Giry's daughter, Meg, that she is being coached by a mysterious tutor who she refers to as the "Angel of Music"; a tutor who her late father said would teach her to sing. Christine returns to her dressing room to find Raoul, the opera's new patron and her former childhood sweetheart, waiting for her. The two reminisce about their youth as Christine tells Raoul her secret, only for him to laugh at her "fantasy" and invite her to dinner despite her protests. Unbeknownst to everyone, except Madame Giry, the Phantom of the Opera locks Christine in her dressing room and reveals himself in her mirror to her before hypnotizing her and taking her to his subterranean lair.

text: The Phantom reveals to her that he loves her and wants her to love him back. He shows Christine a bust of herself, wearing a wedding dress and veil, causing her to faint, and the Phantom places her in a bed. The next morning she awakes to find the Phantom writing music. She approaches him and removes his mask out of curiosity. He bursts into a fit of rage, covering his face with his hand. He at first says she must stay forever because she saw his deformities, revealing that he "dreams of beauty". Pitying him Christine hands him back his mask and the two have a moment of understanding. He then decides to return her to the opera house.

text: That morning, the two managers lament Christine's disappearance, as well as series of notes they received from the Opera Ghost trying to blackmail them for his payment and ordering them on how to run the opera house. When Carlotta returns, she is furious to find a note sent to her saying if she sang as the countess in Il Muto that night instead of Christine, then disaster "beyond [their] imagination" would occur. Firmin and André ignore the ghost's warnings and give Carlotta the lead role. That night, the Phantom interrupts the performance and criticizes their failure to follow his orders.

text: Carlotta continues to sing, but her voice croaks (as a result of the Phantom tampering with her throat spray) and the lead role is given to Christine. While the ballet is being performed, the Phantom, not realizing the performance change, encounters the chief stagehand Joseph Buquet and strangles him before hanging him from above, creating chaos. Christine flees to the roof with Raoul. She reveals to him that she has seen the Phantom's face and fears him, but also pities him because of his sadness. Raoul tells Christine he loves her and will protect her forevermore. Christine returns his love, kissing him passionately and they both leave the roof. The Phantom, who witnessed the scene, becomes heartbroken. He then hears them both singing together. Growing furious at Raoul, he vows revenge on them both.

text: Three months later, a masquerade party ensues in the opera house. At the party, Christine wears her new engagement ring from Raoul. The event is interrupted once again by the Phantom, who is dressed as Red Death. The Phantom brings his own composition, Don Juan Triumphant, and orders the managers to stage the opera. Raoul exits the room and Christine approaches the Phantom. At the sight of the engagement ring, the Phantom rips it from Christine and disappears into a trap on the floor. Raoul tries to follow him but is stopped by Madame Giry, who privately tells him the story of the Phantom's past. When she was a little girl, she went to a freak circus where they featured a deformed child in a cage. The child was beaten while everyone watched and laughed. The ringmaster then removed a burlap sack covering the child's face, revealing his deformity. Only the young Madame Giry pitied him. She was the last to leave and saw the child strangle the ringmaster with a rope. Chased by the police, Madame Giry helped him escape and found shelter for him beneath the opera house, where she has hidden him from the world ever since.

text: Christine takes a carriage to visit her father's grave, but the Phantom secretly takes over the reins. Raoul follows when he realizes she's gone. Christine arrives and laments over her father's death. The Phantom tries to win her back by pretending to be her father's angel, but Raoul arrives and stops him. A sword fight ensues in the cemetery, where Raoul eventually disarms the Phantom and is about to kill him, but Christine pleads for him not to. His rage seemingly augmented, the Phantom watches angrily as Christine and Raoul ride away.

text: Christine admits she is afraid of the Phantom and tells Raoul he will never stop trying to recapture her. Raoul realizes that they can use the Phantom's opera to capture him, as he will surely attend. Don Juan Triumphant is performed, and the Phantom makes his entrance (having secretly replaced the lead) with Christine. Raoul can do nothing but watch from his box as Christine falls for the Phantom yet again. However, she once again removes his mask, revealing his deformities to the entire audience, who scream in fear. He escapes with her by dropping the chandelier and setting the opera house on fire.

text: The Phantom brings Christine back down to his lair. Madame Giry shows Raoul where the Phantom lives, and he goes to rescue Christine. The Phantom forces Christine to don the wedding dress and once again professes his love, and orders Christine to marry him. Christine tries to convince the Phantom that she does not fear his ugliness, but rather his anger and willingness to kill to get what he wants. Just then, Raoul enters the lair, and the Phantom ties him to a gate and threatens to kill him if Christine refuses to marry him. Christine reflects over the impossible choice before passionately kissing the Phantom to show him he is not alone in the world. The Phantom is shocked from experiencing real human love for the first time in his life. Ashamed of his murderous actions, he allows Christine and Raoul to leave and orders them to never return. He finds comfort in a little monkey music box. Christine approaches the Phantom, who tells her that he loves her, and she silently gives him the diamond ring from her finger to remember her by. After Christine and Raoul leave, the Phantom smashes every mirror in his underground lair and disappears through a secret passage behind a velvet curtain just before the police arrive. Upon entering, Meg finds only the Phantom's white mask.

text: Moving back to 1919, the elderly Raoul visits Christine's gravesite and places the music box near her tombstone. He stands in silence for a moment and then turns to leave, but stops upon noticing a fresh red rose with a black ribbon tied around the stem lying on the ground with Christine's engagement ring attached to it; implying that the Phantom still lives and still loves Christine.

text: Cast[edit]

text:
Gerard Butler as The Phantom
Emmy Rossum as Christine Daaé
Patrick Wilson as Viscount Raoul de Chagny
Miranda Richardson as Madame Giry
Minnie Driver as Carlotta Giudicelli

Margaret Preece as Carlotta's singing voice

Simon Callow as Gilles André
Ciarán Hinds as Richard Firmin
Victor McGuire as Ubaldo Piangi
Jennifer Ellison as Meg Giry
Murray Melvin as Monsieur Reyer
Kevin McNally as Joseph Buquet
James Fleet as Monsieur Lefèvre
Ramin Karimloo as Gustave Daaé

text: Production[edit]

text: Development[edit]

text: Warner Bros. purchased the film rights to The Phantom of the Opera in early 1989, granting Andrew Lloyd Webber total artistic control.[3] Despite interest from A-list directors, Lloyd Webber and Warner Bros. instantly hired Joel Schumacher to direct; Lloyd Webber had been impressed with Schumacher's use of music in The Lost Boys.[4] The duo wrote the screenplay that same year,[5] while Michael Crawford and Sarah Brightman were cast to reprise their roles from the original stage production. Filming was set to begin at Pinewood Studios in England in July 1990, under a $25 million budget.[6]

text: However, the start date was pushed to November 1990 at both Babelsberg Studios in Munich, Germany and Barrandov Studios in Prague, Czech Republic.[7] Production for The Phantom of the Opera was stalled with Lloyd Webber and Brightman's divorce.[8] "Everything got tied up in settlements", Schumacher reflected. "Then my career took off and I was really busy."[9] As a result, The Phantom of the Opera languished in development limbo for Warner Bros. throughout the 1990s.[10] In February 1997, Schumacher considered returning, but eventually dropped out in favour of Batman Unchained, Runaway Jury and Dreamgirls.[11] The studio was keen to cast John Travolta for the lead role,[12] but also held discussions with Antonio Banderas, who undertook vocal preparation and sang the role of the Phantom in the TV special Andrew Lloyd Webber: The Royal Albert Hall Celebration.[13]

text: Schumacher and Lloyd Webber restarted development for The Phantom of the Opera in December 2002.[5] It was then announced in January 2003 that Lloyd Webber's Really Useful Group had purchased the film rights from Warner Bros. in an attempt to produce The Phantom of the Opera independently.[13] As a result, Lloyd Webber invested $6 million of his own money.[14] The Phantom of the Opera was produced on a $55 million budget. A further $15 million was used for marketing, bringing the final budget to $70 million.[2] Warner Bros. was given a first look deal for distribution; the studio did not sign on until June 2003, when the principal cast was chosen.[15]

text: Casting[edit]

text: Hugh Jackman was offered the chance to audition for the Phantom, but he faced scheduling conflicts with Van Helsing. "They rang to ask about my availability", Jackman explained in an April 2003 interview, "probably about 20 other actors as well. I wasn't available, unfortunately. So, that was a bummer."[16] "We needed somebody who has a bit of rock and roll sensibility in him", Andrew Lloyd Webber explained. "He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger."[5] Director Joel Schumacher had been impressed with Gerard Butler's performance in Dracula 2000.[17] Prior to his audition, Butler had no professional singing experience and had only taken four voice lessons before singing "The Music of the Night" for Lloyd Webber.[3]

text: Katie Holmes, who began working with a vocal coach, was the front-runner for Christine Daaé in March 2003.[18] She was later replaced by Anne Hathaway, a classically trained soprano, in 2004. However, Hathaway dropped out of the role because the production schedule of the film overlapped with The Princess Diaries 2: Royal Engagement, which she was contractually obligated to make.[19] Hathaway was then replaced with Emmy Rossum. The actress modeled the relationship between the Phantom and Christine after Suzanne Farrell and George Balanchine.[14] Patrick Wilson was cast as Raoul based on his previous Broadway theatre career. For the role of Carlotta, Minnie Driver devised an over-the-top, camp performance as the egotistical prima donna. Despite also lacking singing experience, Ciarán Hinds was cast by Schumacher as Richard Firmin; the two had previously worked together on Veronica Guerin.[4] Ramin Karimloo also briefly appears as the portrait of Gustave Daaé, Christine's father. Karimloo later played the Phantom as well as the role of Raoul on London's West End.

text: Filming[edit]

text: Principal photography lasted from 15 September 2003 to 15 January 2004. The film was shot entirely using eight sound stages at Pinewood Studios,[20] where, on the Pinewood backlot, the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer-generated imagery (CGI) and a scale model created by Cinesite. The surrounding Paris skyline for "All I Ask of You" was entirely composed of matte paintings.[4] Cinesite also created a miniature falling chandelier, since a life-size model was too big for the actual set.[21]

text: Production designer Anthony D. G. Pratt was influenced by French architect Charles Garnier, designer of the original Paris opera house, as well as Edgar Degas, John Singer Sargent, Gustave Caillebotte, the Pre-Raphaelite Brotherhood and Dante Gabriel Rossetti. Schumacher was inspired by Jean Cocteau's Beauty and the Beast (1946), where a hallway is lined with arms holding candelabra. The cemetery was based on the Père Lachaise and Montparnasse.[22] Costume designer Alexandra Byrne utilised a limited black, white, gold and silver colour palette for the Masquerade ball.[4]

text: Reception[edit]

text: Release and awards[edit]

text: The Phantom of the Opera was released in the United States on 22 December 2004. With a limited release of 622 theaters, it opened at tenth place at the weekend box office, grossing $6.5 million across five days.[23] After expanding to 907 screens on 14 January 2005[24] the film obtained the 9th spot at the box office,[25] which it retained during its 1,511 screens wide release on 21 January 2005.[26][27] The total domestic gross was $51,225,796. With a further $107 million earned internationally, The Phantom of the Opera reached a worldwide total of $158,225,796.[2] A few foreign markets were particularly successful,[28] such as Japan, where the film's ¥4.20 billion ($35 million) gross stood as the 6th most successful foreign film and 9th overall of the year.[29][30] The United Kingdom and South Korea both had over $10 million in receipts, with $17.5 million and $11.9 million, respectively.[2][31]

text: Anthony Pratt and Celia Bobak were nominated for the Academy Award for Best Art Direction, as was John Mathieson for Cinematography. However, both categories were awarded to The Aviator. Andrew Lloyd Webber and lyricist Charles Hart were nominated for the Academy Award for Best Original Song ("Learn to Be Lonely") but lost to "Al otro lado del río" from The Motorcycle Diaries.[32] The song was also nominated for the Golden Globe but it lost to Alfie's "Old Habits Die Hard". In the same ceremony, Emmy Rossum was nominated for Best Actress in a Motion Picture Musical or Comedy, losing to Annette Bening in Being Julia.[33] At the Saturn Awards, Rossum won for Best Performance by a Younger Actor,[34] while The Phantom of the Opera was nominated for Best Action/Adventure/Thriller Film and Alexandra Byrne was nominated for Costume Design.[35]

text: The soundtrack of the film was released in two separate CD formats on 23 November 2004 as a two-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition.

text: The film had its initial North America video release on DVD and VHS on 3 May 2005, following its first digital release on HD-DVD on 18 April 2006 and a Blu-ray edition on 31 October 2006.

text: Critical reception[edit]

text: The film received mixed to negative reviews from film critics. Rotten Tomatoes gives it 32% rotten with an average score of 5/10. "The music of the night has hit something of a sour note: Critics are calling the screen adaptation of Andrew Lloyd Webber's popular musical histrionic, boring and lacking in both romance and danger", the consensus read. "Still, some have praised the film for its sheer spectacle".[36] By comparison, Metacritic calculated an average score of 40/100 from its 39 reviews collected.[37]

text:
"The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for."

— Andrew Lloyd Webber[5]

text: Despite having been impressed with the cast, Jonathan Rosenbaum of the Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever."[38] Stephanie Zacharek of Salon.com believed that Phantom of the Opera "takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat."[39]

text: In a mixed review for Newsweek, David Ansen praised Rossum's performance, but criticized the filmmakers for their focus on visual design rather than presenting a cohesive storyline. "Its kitschy romanticism bored me on Broadway and it bores me here—I may not be the most reliable witness. Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo-Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming."[40] Owen Gleiberman of Entertainment Weekly believed Schumacher did not add enough dimension in adapting The Phantom of the Opera. "Schumacher, the man who added nipples to Batman's suit, has staged Phantom chastely, as if his job were to adhere the audience to every note".[41]

text: Roger Ebert reasoned that "part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific. There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed."[42] In contrasting between the popularity of the Broadway musical, Michael Dequina of Film Threat magazine explained that "it conjures up this unexplainable spell that leaves audiences sad, sentimental, swooning, smiling—in some way transported and moved. Now, in Schumacher's film, that spell lives on."[43]


document_title: Ulna

question_text: where does the ulna articulate with the humerus

text: Ulna

text: Structure[edit]

text: The ulna is a long bone found in the forearm that stretches from the elbow to the smallest finger, and when in anatomical position, is found on the medial side of the forearm. It is broader close to the elbow, and narrows as it approaches the wrist.

text: Close to the elbow, the ulna has a bony process, the olecranon process, a hook-like structure that fits into the olecranon fossa of the humerus. This prevents hyperextension and forms a hinge joint with the trochlea of the humerus. There is also a radial notch for the head of the radius, and the ulnar tuberosity to which muscles attach.

text: Close to the wrist, the ulna has a styloid process.

text: Gross anatomy[edit]

text: Near the elbow[edit]

text: Near the elbow, the ulna has two curved processes, the olecranon and the coronoid process; and two concave, articular cavities, the semilunar and radial notches.

text: The olecranon is a large, thick, curved eminence, situated at the upper and back part of the ulna. It is bent forward at the summit so as to present a prominent lip which is received into the olecranon fossa of the humerus in extension of the forearm. Its base is contracted where it joins the body and the narrowest part of the upper end of the ulna. Its posterior surface, directed backward, is triangular, smooth, subcutaneous, and covered by a bursa. Its superior surface is of quadrilateral form, marked behind by a rough impression for the insertion of the triceps brachii; and in front, near the margin, by a slight transverse groove for the attachment of part of the posterior ligament of the elbow-joint. Its anterior surface is smooth, concave, and forms the upper part of the semilunar notch. Its borders present continuations of the groove on the margin of the superior surface; they serve for the attachment of ligaments: the back part of the ulnar collateral ligament medially, and the posterior ligament laterally. From the medial border a part of the flexor carpi ulnaris arises; while to the lateral border the Anconæus is attached.

text: The coronoid process is a triangular eminence projecting forward from the upper and front part of the ulna. Its base is continuous with the body of the bone, and of considerable strength. Its apex is pointed, slightly curved upward, and in flexion of the forearm is received into the coronoid fossa of the humerus. Its upper surface is smooth, concave, and forms the lower part of the semilunar notch. Its antero-inferior surface is concave, and marked by a rough impression for the insertion of the brachialis. At the junction of this surface with the front of the body is a rough eminence, the tuberosity of the ulna, which gives insertion to a part of the brachialis; to the lateral border of this tuberosity the oblique cord is attached. Its lateral surface presents a narrow, oblong, articular depression, the radial notch. Its medial surface, by its prominent, free margin, serves for the attachment of part of the ulnar collateral ligament. At the front part of this surface is a small rounded eminence for the origin of one head of the Flexor digitorum sublimis; behind the eminence is a depression for part of the origin of the flexor digitorum profundus; descending from the eminence is a ridge which gives origin to one head of the pronator teres. Frequently, the flexor pollicis longus arises from the lower part of the coronoid process by a rounded bundle of muscular fibers.

text: The semilunar notch is a large depression, formed by the olecranon and the coronoid process, and serving as articulation with the trochlea of the humerus. About the middle of either side of this notch is an indentation, which contracts it somewhat, and indicates the junction of the olecranon and the coronoid process. The notch is concave from above downward, and divided into a medial and a lateral portion by a smooth ridge running from the summit of the olecranon to the tip of the coronoid process. The medial portion is the larger, and is slightly concave transversely; the lateral is convex above, slightly concave below.

text: The radial notch is a narrow, oblong, articular depression on the lateral side of the coronoid process; it receives the circumferential articular surface of the head of the radius. It is concave from before backward, and its prominent extremities serve for the attachment of the annular ligament.

text: Body[edit]

text: The body of the ulna at its upper part is prismatic in form, and curved so as to be convex behind and lateralward; its central part is straight; its lower part is rounded, smooth, and bent a little lateralward. It tapers gradually from above downward, and has three borders and three surfaces.

text:
The volar border (margo volaris; anterior border) begins above at the prominent medial angle of the coronoid process, and ends below in front of the styloid process. Its upper part, well-defined, and its middle portion, smooth and rounded, give origin to the flexor digitorum profundus; its lower fourth serves for the origin of the pronator quadratus. This border separates the volar from the medial surface.
The dorsal border (margo dorsalis; posterior border) begins above at the apex of the triangular subcutaneous surface at the back part of the olecranon, and ends below at the back of the styloid process; it is well-marked in the upper three-fourths, and gives attachment to an aponeurosis which affords a common origin to the flexor carpi ulnaris, the extensor carpi ulnaris, and the flexor digitorum profundus; its lower fourth is smooth and rounded. This border separates the medial from the dorsal surface.
The interosseous crest (crista interossea; external or interosseous border) begins above by the union of two lines, which converge from the extremities of the radial notch and enclose between them a triangular space for the origin of part of the Supinator; it ends below at the head of the ulna. Its upper part is sharp, its lower fourth smooth and rounded. This crest gives attachment to the interosseous membrane, and separates the volar from the dorsal surface.

text:
The volar surface (facies volaris; anterior surface), much broader above than below, is concave in its upper three-fourths, and gives origin to the flexor digitorum profundus; its lower fourth, also concave, is covered by the pronator quadratus. The lower fourth is separated from the remaining portion by a ridge, directed obliquely downward and medialward, which marks the extent of origin of the pronator quadratus. At the junction of the upper with the middle third of the bone is the nutrient canal, directed obliquely upward.
The dorsal surface (facies dorsalis; posterior surface) directed backward and lateralward, is broad and concave above; convex and somewhat narrower in the middle; narrow, smooth, and rounded below. On its upper part is an oblique ridge, which runs from the dorsal end of the radial notch, downward to the dorsal border; the triangular surface above this ridge receives the insertion of the Anconæus, while the upper part of the ridge affords attachment to the supinator. Below this the surface is subdivided by a longitudinal ridge, sometimes called the perpendicular line, into two parts: the medial part is smooth, and covered by the extensor carpi ulnaris; the lateral portion, wider and rougher, gives origin from above downward to the Supinator, the abductor pollicis longus, the extensor pollicis longus, and the extensor indicis proprius.
The medial surface (facies medialis; internal surface) is broad and concave above, narrow and convex below. Its upper three-fourths give origin to the Flexor digitorum profundus; its lower fourth is subcutaneous.

text: Near the wrist[edit]

text: The head of ulna presents an articular surface, part of which, of an oval or semilunar form, is directed downward, and articulates with the upper surface of the triangular articular disk which separates it from the wrist-joint; the remaining portion, directed lateralward, is narrow, convex, and received into the ulnar notch of the radius.

text: Near the wrist, the ulnar, with two eminences; the lateral and larger is a rounded, articular eminence, termed the head of the ulna; the medial, narrower and more projecting, is a non-articular eminence, the styloid process.

text:
The head presents an articular surface, part of which, of an oval or semilunar form, is directed downward, and articulates with the upper surface of the triangular articular disk which separates it from the wrist-joint; the remaining portion, directed lateralward, is narrow, convex, and received into the ulnar notch of the radius.
The styloid process projects from the medial and back part of the bone; it descends a little lower than the head, and its rounded end affords attachment to the ulnar collateral ligament of the wrist-joint.

text: The head is separated from the styloid process by a depression for the attachment of the apex of the triangular articular disk, and behind, by a shallow groove for the tendon of the extensor carpi ulnaris.

text:
Vertical section through the articulations at the wrist, showing the synovial cavities.

Bones of left forearm. Anterior aspect.

Bones of left forearm. Posterior aspect.

Ligaments of wrist. Anterior view

Ligaments of wrist. Posterior view.

text: Microanatomy[edit]

text: The ulna is a long bone. The long, narrow medullary cavity of the ulna is enclosed in a strong wall of cortical tissue which is thickest along the interosseous border and dorsal surface. At the extremities the compact layer thins. The compact layer is continued onto the back of the olecranon as a plate of close spongy bone with lamellæ parallel. From the inner surface of this plate and the compact layer below it trabeculæ arch forward toward the olecranon and coronoid and cross other trabeculæ, passing backward over the medullary cavity from the upper part of the shaft below the coronoid. Below the coronoid process there is a small area of compact bone from which trabeculæ curve upward to end obliquely to the surface of the semilunar notch which is coated with a thin layer of compact bone. The trabeculæ at the lower end have a more longitudinal direction.[3]

text: Development[edit]

text: The ulna is ossified from three centers: one each for the body, the wrist end, and the elbow end, near the top of the olecranon. Ossification begins near the middle of the body of the ulna, about the eighth week of fetal life, and soon extends through the greater part of the bone.

text: At birth, the ends are cartilaginous. About the fourth year or so, a center appears in the middle of the head, and soon extends into the ulnar styloid process. About the tenth year, a center appears in the olecranon near its extremity, the chief part of this process being formed by an upward extension of the body. The upper epiphysis joins the body about the sixteenth, the lower about the twentieth year.

text: Function[edit]

text: Joints[edit]

text: The ulna forms part of the wrist joint and elbow joints. Specifically, the ulna joins (articulates) with:

text:
trochlea of the humerus, at the right side elbow as a hinge joint with semilunar trochlear notch of the ulna.
the radius, near the elbow as a pivot joint, this allows the radius to cross over the ulna in pronation.
the distal radius, where it fits into the ulnar notch.
the radius along its length via the interosseous membrane that forms a syndesmosis joint

text: Muscle attachments[edit]

text:
Muscle
Direction
Attachment

Triceps brachii muscle
Insertion
posterior part of superior surface of Olecranon process (via common tendon)

Anconeus muscle
Insertion
olecranon process (lateral aspect)

Brachialis muscle
Insertion
anterior surface of the coronoid process of the ulna

Pronator teres muscle
Origin
medial surface on middle portion of coronoid process (also shares origin with medial epicondyle of the humerus)

Flexor carpi ulnaris muscle
Origin
olecranon process and posterior surface of ulna (also shares origin with medial epicondyle of the humerus)

Flexor digitorum superficialis muscle
Origin
coronoid process (also shares origin with medial epicondyle of the humerus and shaft of the radius)

Flexor digitorum profundus muscle
Origin
anteromedial surface of ulna (also shares origin with the interosseous membrane)

Pronator quadratus muscle
Origin
distal portion of anterior ulnar shaft

Extensor carpi ulnaris muscle
Origin
posterior border of ulna (also shares origin with lateral epicondyle of the humerus)

Supinator muscle
Origin
proximal ulna (also shares origin with lateral epicondyle of the humerus)

Abductor pollicis longus muscle
Origin
posterior surface of ulna (also shares origin with the posterior surface of the radius bone)

Extensor pollicis longus muscle
Origin
dorsal shaft of ulna (also shares origin with the dorsal shaft of the radius and the interosseous membrane)

Extensor indicis muscle
Origin
posterior surface of distal ulna (also shares origin with the interosseous membrane)

text: Clinical significance[edit]

text: Fractures[edit]

text: Specific types of ulna fracture include:

text:
Monteggia fracture - a fracture of the proximal third of the ulna with the dislocation of the head of the radius
Hume fracture - a fracture of the olecranon with an associated anterior dislocation of the radial head

text: Conservative management is possible for ulnar fractures when they are located in the distal two-thirds, only involve the shaft, with no shortening, less than 10° angulation and less than 50% displacement.[4] In such cases, a cast should be applied that goes above the elbow.[4]

text: Other animals[edit]

text: In four-legged animals, the radius is the main load-bearing bone of the lower forelimb, and the ulna is important primarily for muscular attachment. In many mammals, the ulna is partially or wholly fused with the radius, and may therefore not exist as a separate bone. However, even in extreme cases of fusion, such as in horses, the olecranon process is still present, albeit as a projection from the upper radius.[5]

text: Gallery[edit]

text:
Position of ulna (red). Animation

Bones of the right arm, showing the ulna, radius, wrist and humerus

Cross-section through the middle of the forearm, showing the two bones and the muscles, nerves and blood vessels surrounding them.


document_title: Your Body Is a Wonderland

question_text: who is my body is a wonderland about

question_tokens: who is my body is a wonderland about

text: Your Body Is a Wonderland

text: Song information[edit]

text: Mayer once said during his "As/Is" tour, that the song was about "girly parts", but this was later denied. During his "VH1 Storytellers" performance, Mayer stated that he wrote the song about his first girlfriend at age 14. The song was actually named "Strawberry Wonderland" but was later changed by Mayer.

text: There has been speculation that Mayer wrote the song about Jennifer Love Hewitt, whom he dated in 2002, but she denied it.[1][2][3] Hewitt told Entertainment Weekly, "My body is far from a wonderland. My body is more like a pawnshop. There's a lot of interesting things put together, and if you look closely you'd probably be excited, but at first glance, not so much".[4]

text: According to the liner notes, a toy piano is used as an instrument in the song.

text: Lyrics[edit]

text: The line "I'm never speaking up again", sung in the background, is also prominently featured in the chorus to the song "My Stupid Mouth", which appears just before the song on Room For Squares.

text: Track listing[edit]

text: All songs are written by John Mayer except where noted otherwise.

text:
"Your Body Is a Wonderland" – 4:09
"No Such Thing" (Acoustic version, live from WXPN) (John Mayer & Clay Cook) – 3:46
"Your Body Is a Wonderland" (acoustic version, live from WXPN) – 5:46
"Not Myself" (demo version) – 4:05

tag: ol

text: Personnel[edit]

text:
John Mayer – vocals, guitar, toy piano, vibraphone, Korg Triton synthesizer
David LaBruyere – bass
Nir Z – drums
Brandon Bush – Wurlitzer electric piano
John Alagia – percussion, Hammond organ
Chris Fischer – congas

text: Reception[edit]

text: Billboard said the song showcases Mayer's "smooth, casual singing style and barroom instrumentation."[5] In 2003, "Your Body Is a Wonderland" won Mayer the Grammy Award for Best Male Pop Vocal Performance.[6] The song ranked at No. 28 on Blender magazine's list of the "50 Worst Songs Ever".[7]

text: Video[edit]

text: The video starred the actress Holly Lynch. The video was directed by Jim Gable, and edited by Scott C. Wilson.

text: Appearances in the media[edit]

text: In 2006, the song was used in an episode of U.S. version of The Office, entitled "A Benihana Christmas". Characters Michael Scott and Andy Bernard sing the song as a karaoke duet. Mayer agreed to let the show use the song, in exchange for a Dundie,[8] which was for "Tallest Music Dude".

text: In the episode of Family Guy titled "Stew-Roids", Stewie sings a song in which he pronounces the word "body" like "bah-dy", which he then explains "That's how John Mayer would say it"; a reference to the pronunciation of the word in "Your Body Is a Wonderland".

text: Lance Bass and Lacey Schwimmer performed a rhumba to the song on Season 7 of Dancing with the Stars.

text: Chart performance[edit]

text:
Chart (2001–03)
Peak
position

Australia Top 40 Digital Tracks (ARIA)
23

Austria (Ö3 Austria Top 75)[9]
48

Germany (Media Control AG)[10]
51

New Zealand (RIANZ)
9

US Billboard Hot 100
18

US Billboard Hot Adult Top 40 Tracks
3

US Billboard Hot Adult Contemporary Tracks
17