#Locking Variable Angle Plate

[siiorasurgical1]

Intramedullary Nailing - A Modern Technique to Bone Fracture Treatment

Bone fractures are a common occurrence, affecting millions of people globally each year. Whether due to accidents, sports injuries, or age-related fragility, the need for effective fracture treatment is undeniable. Among the many advancements in orthopedic medicine, intramedullary nailing has emerged as a game-changing technique, offering patients a quicker recovery and enhanced bone stability.

Understanding Intramedullary Nailing

Intramedullary nailing is a surgical procedure used to treat fractures of long bones, such as the femur, tibia, and humerus. The technique involves inserting a metal rod, known as a nail or rod, into the hollow medullary canal of the bone. This rod acts as an internal splint, holding the broken fragments in proper alignment while the bone heals naturally.

This technique, first introduced in the 1930s, has evolved significantly over the decades. Today, with advancements in materials and surgical methods, intramedullary nailing has become the gold standard for treating complex fractures.

The Procedure: How It Works?

General or regional anesthesia is given to the patient before the procedure. The surgeon makes a small incision near the fracture site, gaining access to the medullary canal. Using specialized instruments, the surgeon carefully reams the canal to accommodate the metal rod. The nail is then inserted and secured with locking screws at both ends to prevent rotation or shortening of the bone.

One of the key benefits of this technique is the minimally invasive nature of the surgery. Smaller incisions lead to reduced blood loss, lower infection risk, and shorter hospital stays. Patients often begin physical therapy within days of surgery, promoting faster rehabilitation and reducing the risk of complications associated with prolonged immobility.

What Are the Benefits of Intramedullary Nailing?

Stability and Strength: The metal rod provides robust internal support, allowing patients to bear weight on the injured limb much sooner compared to traditional methods like casting or external fixation.

Faster Healing: By stabilizing the fracture internally, the bone can heal in optimal alignment without frequent adjustments, leading to quicker recovery times.

Reduced Scarring and Pain: Smaller surgical incisions translate to minimal scarring and less post-operative pain, contributing to better patient comfort.

Versatility: This technique is suitable for a wide range of fractures, including open, closed, and comminuted fractures, where the bone shatters into multiple pieces.

Lower Complication Rates: Intramedullary nailing reduces the risk of malunion (improper bone healing) and nonunion (failure of the bone to heal), which are more common in non-surgical treatments.

Recovery and Rehabilitation

Recovery following intramedullary nailing varies depending on the severity of the fracture and the patient’s overall health. However, most patients can resume light activities within a few weeks and regain full function in a few months with diligent physical therapy. Rehabilitation focuses on restoring strength, flexibility, and range of motion to the injured limb.

It’s essential for patients to follow their orthopedic surgeon’s guidance closely during recovery. Regular follow-up visits ensure the bone is healing correctly, and any complications are promptly addressed.

The Future of Fracture Treatment

Intramedullary nailing continues to evolve, with researchers exploring new materials like bioresorbable nails that dissolve as the bone heals, eliminating the need for a second surgery to remove the hardware. Additionally, innovations in imaging and surgical navigation are making procedures even more precise, further enhancing patient outcomes.

As technology and medical knowledge advance, intramedullary nailing stands as a testament to the power of innovation in healthcare. This modern technique has transformed fracture treatment, offering patients renewed hope, reduced recovery times, and a faster return to their daily lives.

In conclusion, intramedullary nailing has undeniably revolutionized orthopedic surgery. By providing internal stabilization, promoting faster healing, and minimizing complications, this technique exemplifies the progress of modern medicine. For patients facing long bone fractures, it represents not just a treatment option but a pathway to reclaiming mobility and well-being.To get an international standard range of PFNA intramedullary interlocking nail and other trauma implants, contact Siora Surgicals Pvt. Ltd. Based in India, the company is also looking to be counted among the top orthopedic devices companies in Saudi Arabia.

[siora-surgicals]

Variable Angle Locking Plate – Improving Fracture Surgery

A variable angle locking plate as the name suggests is an orthopedic implant that can be applied at different angles depending on the fracture pattern. These plates can accommodate different fracture patterns. Hence, they give surgeons the liberty to fix screws at different angles to hold fractured bone fragments in the correct anatomy. Their locking structure helps provide a rigid fixation while preventing the displacement of bone fragments. Siora Surgicals Pvt. Ltd. is a trusted name when it comes to manufacturing orthopedic devices including variable angle plates. They have an in-house production facility and each implant is tested to meet set international standards.

[siorasurgical-post]

Variable Angle Plate – Get an International Standard Range

Variable angle plates are game-changers in fracture repair. These medical implants offer surgeons more control by allowing screws to be inserted at various angles. This versatility is crucial for complex bone breaks, especially in the wrist. Variable angle plates provide: Improved fixation: Precise screw angulation for better bone fragment alignment. Minimally invasive: Smaller incisions compared to traditional plates. Faster healing: Stable fixation promotes quicker bone healing. You can get a CE-certified range of locking variable angle plates from Siora Surgicals Pvt. Ltd., a renowned manufacturer of a huge range of trauma implants and instruments.

[siiorasurgicals]

Understanding the Variable Locking Plate System: Features & Benefits.

Orthopedic implants have revolutionized the field of medicine, offering improved treatment outcomes for patients with fractures and bone-related injuries. Among these, the Variable Angle Locking Plate system has emerged as a crucial advancement in fracture fixation. This innovative system provides surgeons with enhanced flexibility, stability, and biomechanical advantages when addressing complex fractures. In this blog, we will explore the features, benefits, and applications of the variable locking plate system, helping readers understand why it has become a preferred choice in modern orthopedic surgery.

[siorasurgicalsprivatelimited]

Locking Variable Angle Proximal Lateral Tibia Plate 3.5/4.0mm

Locking Variable Angle Proximal Lateral Tibia Plate is intended to be used for the surgical fixation of proximal tibia fractures like comminuted, simple, and depression in adults & adolescents. Siora Surgicals Pvt. Ltd. manufactures these plates in medical-grade stainless steel and titanium. They can also be availed in left & right directional configurations.

[siorasurgicalsblog]

Understanding the Biomechanics of Variable Angle Plates in Fracture Fixation

The biomechanics of variable angle plates in fracture fixation plays a crucial role in modern orthopedic surgery, offering greater flexibility, enhanced stability, and improved healing outcomes. Unlike traditional locking plates, variable angle plates (VAPs) allow surgeons to adjust screw angles, ensuring optimal fixation even in complex fractures and osteoporotic bones. By distributing load effectively and minimizing implant failure, these advanced plates have revolutionized fracture treatment. This article explores the science behind VAPs, their benefits, and how they are shaping the future of fracture fixation.

[siiorasurgicalspvtltd]

Locking Variable Angle Plate Manufacturer

Siora Surgicals Pvt. Ltd. is a leading manufacturer of Locking Variable Angle Plate and other orthopedic implants in India. These plates are used for open reduction and internal fixation of fractures.

[healthjoymedical]

First MTP Fusion for halluxvalgus 2.7/3.5 Variable Angled Locking Plate with Cannulated screw fixation after Concave and Convex reaming.

[viriyanon]

'tired' ? for your challenge :P

a.n. anon u... u reel me into a very dangerous thought okay. for the first 3 minutes, congratulation. but not after that. not toDAY SATAN!!1!1!1!!1

also. this is unexpectedly LONG. SO. LONG.

jiang yuelou sighs in annoyance after hanging up zhan junbai's phone call, telling him that his men failed to track down hong kong's emerging opium dealer that currently supplies jing city with an unidentified type of poppy. the whole police bureau is on fire due to this discovery.

"all i could confirm is that they indeed sell a new type of opium, presumably from india. but we failed to extract any information about the leader, let alone catching them. they were enforced by british authorities and my men suddenly were outnumbered," says junbai dimly from the other side of the line, clearly not liking the unpredicted variable in their perfectly planned undercover.

the executive offers an apology, which yuelou dismisses in a second 'cause executive zhan, regardless this one very failure, is still the best external alliance ever. the most reliable source, partner, and friend. yuelou can't ask for a better connection than zhan junbai.

but that doesn't change the current result. coming with that are mayor cai's aggravation and bai jinbo's wrath. song rong and sun yongren can only dip their head down watching the commissioner throw those paper in their boss' face, saying how incompetent yuelou is.

("well, let's see if commissioner bai can capture them by himself!" sun yongren says quietly, aggressively biting a baozi in his head 'cause it's pass dinner already.)

so, having a bad day is an understatement. it's beyond bad, it's bad bad. jiang yuelou is not someone who accepts defeat easily, he never wants to be one step behind. when he's one step behind, he must be in the chasing mode—he must be the one controlling the lane, the illusion of safety margin that manipulates the target's decision, the pace of their game. but today, someone else's successfully taking over him without his permission, dragging him around like a lifeless ragdoll.

thinking about him getting controlled by an unknown party burns him, anger boils in his vein—violence at the tip of his fingers, ready to transfer his rage to anything and anyone without mercy. upon seeing jiang yuelou disappear into his room, song rong and sun yongren immediately rush to every corridor that yuelou will have to walk through to exit the building, telling everyone not to initiate any conversation if their boss pass them by to avoid making the bureau a blood painted crime scene.

"don't- don't talk to chief jiang when he walks out, understand?!" sun yongren repeats the same information to some rookies coming in for their night shift before running to other corridor. the young officers, still with their idealism and lack of experience, take it with a grain of salt.

next thing they know is they freeze under the wall-mounted lamp as jiang yuelou grimly walks down the corridor. noone says anything to him, not even looking up from the carpeted tiles after they nod to salute him. his subordinates immediately clear out of his way, bumping their shoulders into the wall to avoid bumping into the walking wrath instead.

the said chief passes by the rookies too, giving them a side-eye, and they feel like they just get caressed by death. the yellow lights from the filament lamp falls on his pale white face, clenched jawline, and riled expression every two meter, making his appearance more hair-rising due to scanty lighting and blank spots. in addition, winter wind is particularly strong this week, easily slipping inside from the gap between the window frame and the stone surface. the corridor, dimly lit and gravely chilling, feels like a gate to the underworld and yán wáng is coming to take them personally, for a good minute.

the chief keeps striding without diverting his attention anymore, eyes fixed forward to shove everyone aside. he only has one destination set in his mind now and before he gets to it, his revolver will aim towards whoever gets in his way and extricate them his way, which usually is... freestyle.

when yuelou arrives in front of yuzhi’s front gate, he can’t help the bubbling anger overflowing his already small pot. the wooden doors are closed, tight, locked, yelling at him “no chen yuzhi today.” noone in this world would understand the immense effect this sentence can do to jiang yuelou who has grown a co-dependency with the doctor. today is marked as yuelou’s worst setback in life.

the chief exhales loudly, admitting his defeat to the universe, and makes his way towards his house with heavy shoulders. the rage and anger he wanted to lash out recklessly towards chen yuzhi douses entirely by the fact that the doctor’s not home to listen to him vent. thank goodness the snowfall is not heavy today unless he’d bury himself under the thick snow in one of jing city’s darkest alley. it’s sad that he is alone in this big, big world today. dramatic, but valid.

just when he’s about to open the gate to his house, he sees they are already unlocked. jiang yuelou never forgets unlocking his own house. facing unforeseen danger on daily basis, yuelou immediately slips his hand into his jacket and pulls out the revolver from its holster. he opens the wooden gate slowly, trying not to make even a creak from the rusty hinge and accidentally announce his appearance instead.

slowly but steadily, the gap widens and he steps inside with his arms are stretched out, his revolver is ready for some quick shooting. but he is welcomed with his brightly lit house in lieu of a group of opium dealers whose lives he ruined in the past. his eyes widen in disbelief upon seeing steam rising from freshly cooked foods on his dining table. yuelou freezes from his place, his arms gradually lowering themselves as well as his self defense.

soon, a man dressed in a warm ivory white knitted turtleneck appears with two plates of dish in his hand coming out from his kitchen and setting them on the table with other dishes. his hair, as usual, combed neatly—unlike yuelou’s hasty finger-combing technique. he is wearing yuelou’s slipper, the one he left behind in his living room when he was off to work. the moment the said man looks up and meets him in the eyes, a smile blossoms on his face, so beautiful yuelou can feel his heart wrenches from the mere sight.

"yuelou? you're home."

this is the view he's always dreaming of for God knows how long but never dares to tell. to come home to chen yuzhi dressed in a warm clothes, smiling under the bright light of jiang residence and welcoming him with a tight hug. and if he tells him he misses him into his ear, yuelou will pepper him with kisses all over his face, free of charge for undeterminable time, until yuzhi is tired from giggling and trying to escape from his iron grip. until he puts his palm over yuelou's lips as the last attempt to prevent him from attacking his face again and smile playfully at yuelou's temporary defeat. until the glint in his gleaming doe eyes changes into something like want, something that sounds like a request to kiss him properly if yuelou has some energy left to be wasted.

and jiang yuelou will not ask twice if he catches yuzhi's eyes flicker to his lips just once and goes back to meet his eyes. because yuzhi will see him doing the same thing too and he will understand that both of them want it.

jiang yuelou slams the wooden gate close, storming towards chen yuzhi whose eyes widen at his explosive reaction. impulsivity has neither been a best friend nor a rival, in yuelou’s case, but he learns to run for what his heart longs the most. and this is the first time his body really runs for what his heart wants. his heart wants comfort.

the chief throws away his revolver once he is inside his house and immediately reaches out for the doctor. one of his arm pulls yuzhi closer to his body as tight as he could while the other one is fixated on yuzhi's jawline, gently tilting it to a better angle ‘cause,

fuck this.

"yue-"

chen yuzhi never finishes his name as yuelou closes their gap and captures his upper lip, his teeth painfully clashing against yuelou as the latter miscalculates his strength. but yuelou doesn’t stop to apologize like every time he accidentally hurt him, instead crowding him against the dining table and kissing the light out of him as if the last time he had a meal was a thousand years ago.

yuzhi is confused, very confused. this is not their first kiss, but this is the first kiss that yuelou does so overly rough, messy, and raw, like a mass mayhem in a week long blackout. he knows yuelou tends to be stormy when his trauma is triggered or his mission falls by the wayside but he never lets this kind of weather affects his behavior and treatment towards chen yuzhi. after the doctor treats him routinely and he gradually gets better at controlling his emotion.

understanding and patiently waiting are yuzhi’s best weapons to pacify yuelou, returning him back to the ground until both of his feet firmly embed to the soil. he only needs to mold it into a form of physical affection without trying to change his pace. something that jiang yuelou will perceive as an act of submission. only this way, yuelou can and will melt. he is not a man who can be persuaded by asserting one’s power on him, and coercion is never chen yuzhi’s forte anyways.

the doctor gently squeezes yuelou’s shoulder once where he places his hands before and moves to hook them around his neck. he buries his right hand in his black hair, his fingers are warm and heavy against the skin of yuelou’s head. his thumb is rubbing a small circle on his back head tenderly, like a mantra he does it over and over again until jiang yuelou comes back to his sense.

that’s when yuelou’s grip on his waist loosens little by little, his turbulent kissing reduces to a slower and intimate one—the one that always trips chen yuzhi and makes him fall deeper for the other man and his enigma. soft moan slips out of his lips only to get muffled by yuelou’s inadvertent growl. 

they gasp for air eventually but never leaving their hands from each other’s body, not quite ready to let go. in between their huff and puff, yuelou steals a soft kiss on yuzhi’s cheekbone.

“i’m sorry, love. i was–” yuelou hesitantly looks up, straight into yuzhi’s eyes. the decision is a bad move, probably the only bad move that yuelou has ever made ‘cause the emotion in yuzhi’s eyes, they remain calm and considerate, far from judgmental nor do they spiteful. his lips are bruised as hell but his eyes, they never stop glistening with benevolence and never-ending patience towards his lover.

jiang yuelou can’t stand the guilt rising in the depth of his heart after seeing them. they are together, chen yuzhi chooses to be with him not to be his outlet of rage. the image of his defenseless late mother flashes in yuzhi’s face and he instantly regrets whatever he forced yuzhi into earlier. even if it’s just a kiss, something he did daily, routinely, sneakily, wholeheartedly, nothing really abusive and malignant about it but yuzhi might be hurt today. and if yuelou hurts him, he is breaking his own rule written on the very top of the list.

“yuzhi, i’m sorry i–” chen yuzhi slides his hands, cupping the older man’s face that looks like a 13 year old boy now under the weight of his guilt. smiling ever so fondly, he says, “you are tired, love.”

words stuck in yuelou’s throat for the third time upon seeing yuzhi’s eyes that have perfectly sensed his weary and withheld agitation. it’s his red light, then. it’s time for him to let yuzhi take control of the situation and do his part of the day. to do what he is the best at that yuelou is the worst at. any other matters can wait until yuzhi deems him to be fully loaded with ammo and health again.

jiang yuelou leans forward into chen yuzhi’s body, resting his feverish forehead on the crook of his lover’s neck, seeking comfort and humanly touch. yuzhi can’t help smiling at yuelou’s clinginess—he never says it but he absolutely loves it. love the idea to take care of the most troublesome chief officer in the whole jing city. love the way his toned muscles and tensed neck relax under his lithe fingers as he bathes him in a bathtub.

“let me prepare hot water for your bath.”

“will you wash my hair too?”

“hm.”

“what else will you wash?”

chen yuzhi presses a kiss on yuelou’s cheek, whispering “make a wish” before walking towards the kitchen, and disappear behind the white wall.

[twelvemonkeyswere]

very intrigued by hermione/jaime crack 😳😳

thank you both @halfagod​ and @forbiddenfantasies1​ for asking about this! and sorry it's so long okay so - right off the bat, this isn’t anything romantic or anything, but it is crack.

you’ll likely remember there was some fanfic grrm was writing about his own characters fighting other characters. one of the first ones was Jaime Lannister vs Hermione Granger, and since he hates JK Rownling his descriptions of what a showdown between them would be were very uncharitable to the characters to say the fucking least, especially Hermione.

the whole thing is quite a bad read and it sent me thinking that there were a LOT of variables that would play into it if taken seriously, starting with their personalities, ages at the time of the match, reason why they’re fighting in the first place, etc.

and since I like world building and whatnot, I began thinking how to make their showdown realistic and feasable obeying the laws of their respective narratives, and then I decided it would be even more fun (hah) to make as many scenarios with those variables as possible, because that’s the sort of person i am. and then I realized... well. asoiaf began to be published in the 90s.... 1996, to be precise, when hermione was 17, and facing a war against a madman. and the parallels were right there, and thus I made a timeline to see how things would fit, and then some other ideas sprang up from that.

so now the main idea is that it all starts the year after the war, when Hermione comes back to Hogwarts to finish her studies while everyone else goes on with their lives. she’s alone, she has to deal with everything she saw and everything she had to do, and with everyone else in Hogwarts being traumatized too... so she’s depressed, and trying to get better. and in my idea, one of the things she tries is to get back to the things that made her happy before it all went wrong, reading among them.

particularly, reading muggle books. because since she knows real magic now, well, regular fantasy books must lose some of their charm, right? but what if that was what she loved as a kid, and she’s desperate enough to get away from what reality is now, in real-magic world? so maybe she tries new stories, see what she’s missed in the last couple of years.

and maybe she is afraid of being judged for having some of those books or she just wants some peace and quiet, so she sneaks into the room of requirements and foolishly and naively asks for a room where she can “immerse” herself in the book she’s trying to read that night.

and that’s how she meets Jaime, by going into the world of the book. and the idea was then that she would periodically travel into the books and see Jaime at different ages, and as she gets older and processes what happened during the war, her perspective of the events and her life shifts and changes, not unlike Jaime’s story changes through the books.

anyways i wrote some 2k words about grief and healing and it’s been sitting there, looking at me and threatening to become too long.

here’s the bit where she first meets Jaime in case you’re interested

(be warned, I never read HP in English and I haven’t consumed any media about it in YEARS. also i suck at actions scenes)

come ask stuff about my WIPs if you want!

“Who are you?” The white knight demanded.

Hermione frowned and ignored the question, inspecting the trees behind the man, the grass of the meadow under her feet. She had clearly been portkeyed somewhere, where was the artifact? 

“Answer me!” the man demanded. He shifted on his feet, his armor creaking and clinking. “Who sent you?” 

“He said,” a second voice drawled behind her. “Where did you come from?” 

Jumping to one side, Hermione noticed another knight, much closer to her, but also much younger. He was tall, but had a leaner frame even with the white armor, same as his companion. He didn’t have his helm on either, and she spotted it on the ground, likely dropped so the boy could hold his sword with both hands, the point of which was angled at her throat, even at a distance. His curly hair, golden and sticky with sweat, enveloped two emerald green eyes that moved with the murderous intent of a cat. 

Hermione swallowed.

If velas were male, she blinked in confusion, this is what they would look like.

It was stupid to realize that at a moment like this, given the fact her life was being threatened, but no human being was ever that beautiful. It had to be magic. 

She looked around, trying to remember what had been next to her in the Room of Requirements. Where’s the bloody thing?

“Accio portkey,” she swished her wand in a circle above her head, but nothing happened.

“Get her!” the man ordered the boy, and both stepped forward, closing in. Their swords drew up, the man holding it above his head, the boy raising the pommel to his cheek.

“Whoa!” Hermione reached instinctively into her robes and got her wand out. Her mind raced, trying to recall everything she knew about metal charming, but when the knights were upon her, she disapparated with a faint pop. 

She apparated a couple of meters away, shaking her head off the unpleasant feeling of being vaccumed through space. As she opened her eyes, there was a loud clank from the swords that met where she should have been. The boy trembled below the man’s strength, holding his ground with some difficulty.

“Oi, please!” she called to them, holding a hand out in a placating gesture. “Where am I? Who are you?”

As one, the man turned with fury towards her, and the boy frowned in angry confusion. She had a second to recall Professor Gilderoy Lockhart, and, not without failing to see the irony, felt grateful she had learned forgetfulness spells from the best.

“Witchcraft,” the older knight muttered, and the boy only glanced at him for a moment, returning his eyes to her. “Cut her throat!” 

The boy hesitated a second, but when the older man charged towards her, so did he. 

“Wingardium leviosa!” she yelled at the armors, to no effect. “Shit.” She disapparated again, just before they reached her. She apparated by a tree this time, to their right. She aimed at the clothes they hopefully had below their armors and forced herself to speak through the haze. “Wingardium leviosa!” 

Both knights lifted into the air like they weighed less than feathers. 

“Seven hells!” the older knight screamed, anger and fear mixing as he balanced unceremoniously on his spot. 

Iron, Hermione breathed with relief to herself. It was the iron.

She didn’t know what to expect, she had never tried to charm uncharmed metalwork before. Unless you counted locks. Then again maybe that charmed the air around the metal, or maybe there was more magic in this particular iron, she didn’t have the time to--

“What is this?” the young man demanded, as he waved his sword around, testing if he was being held on the spot like a puppet.

Hermione walked towards them with caution. 

“Gentlemen, please!” she called to them through their grunts and curses. “Where am I? Who are you?” 

“Silence, witch!” the older man ordered, trying to stick his sword to the ground in an attempt to descend.

“I’ll let you down as soon as you answer my questions,” she swallowed, reminding herself of the many times she had fought against enemies bigger than her. “I just want to get home.” 

The boy bore his eyes into hers. “Where is that?” 

“None of your bloody business,” she replied instinctively. 

“She’s not from here, ser,” the boy said to the older knight. “She wears odd clothes, speaks strange words.” 

“Shut up, Ser Jaime, get to--”

But Hermione didn’t get to hear what the man wanted the boy to do.

“Ser Jaime?” the name was out of her mouth before she knew it. She squinted at the boy’s armor, saw the seven swords engraved on the plate, and realization hit her. She looked at the boy, then at the man. I’ll be fucking damned. 

“Jaime.” she repeated, bringing the boy’s attention back to her. “Jaime… Lannister?”

[siiorasurgical1]

Understanding the Variable Locking Plate System: Features & Benefits

Orthopedic implants have revolutionized the field of medicine, offering improved treatment outcomes for patients with fractures and bone-related injuries. Among these, the Variable Angle Locking Plate system has emerged as a crucial advancement in fracture fixation. This innovative system provides surgeons with enhanced flexibility, stability, and biomechanical advantages when addressing complex fractures. In this blog, we will explore the features, benefits, and applications of the variable locking plate system, helping readers understand why it has become a preferred choice in modern orthopedic surgery.

[ritukumari7533]

Safety-Lock Variable Angle Two-Column Volar Distal Radius Plate

https://www.orthopaedic-implants.com/small-fragment-locking/safety-locking-implants/plates/variable-angle-volar-plates.php

[siiorasurgicals]

How Variable Angle Locking Plates Enhance Fracture Fixation?

When it comes to orthopedic trauma and fracture management, the development of advanced fixation methods has revolutionized patient outcomes. Among these advancements, variable Angle locking plates have emerged as a game-changer in fracture fixation. These plates provide superior stability, improved healing conditions, and greater flexibility for surgeons in treating complex fractures. But how exactly do variable locking plates enhance fracture fixation? Let’s take a deep dive into their benefits, mechanisms, and impact on patient recovery.

[caltropspress]

FEEDBACK LOOP #7: Curly Castro’s “Weapon 13X” featuring Breeze Brewin

There was a very old man, an old white man out in the crowd, and he started screaming and crying like a baby and he kept crying and he said, “God damn, God damn, what is this God damn country coming to that the niggers have got guns, the niggers are armed and the police can’t even arrest them!” He kept crying and somebody led him away through the crowd.

—Robert F. Williams, Negroes with Guns (1962)

Gun flash beats the child’s head in, maniac teeth dance in a bloody grin blue lies, badge confessions, yng dude dead just beyond his mama’s arms

—Amiri Baraka, “Stop Killer Cops”

Police said Cleaver and Hutton were holed up at 1218 28th Street with two 9 mm automatic pistols, two AR-15 and one military-type M-14 automatic rifle, and a large supply of ammunition, some armor-piercing.

—Berkeley Barb, Volume 6, Number 15, Issue 139

1.

“Weapon 13X” is a diptych. Two verses; one pivot—or volta, for you bookworms. Curly Castro is first with a séance that summons the mysteries of Clarence 13X and Weapon X. These nullified variables and Roman numerals come together in an elixir mix so potent that it would make Aes Rock choke on the amalgam. Castro opens the fission gate and discharges two-hundred forty thousand mega-therms on the city of brotherly love, the city of bombs from above onto a 6221 Osage Avenue row house. Shameek just got bust in his arm, leg, leg, arm, head. The Black man is God personified, and Logan is regenerative. Adamantium claws. Mathematical jaws. Science dropped and experiments performed. Spark this like metal does when dragged across concrete.

2.  “Harriet would grab her balls, / This my gun, and this my rifle.”

Harriet Tubman gets cast by Kubrick for Full Metal Jacket, recites the Rifleman’s Creed, but it was actually a pistol she kept buried within the folds of her calico. She sallied forth seeing visions from the overseer’s heave of a weight—made her skull snap. Don’t sleep. “When the caliber’s inside you,” you can’t necessarily count on “the muzzle smoke revival.”

3.

Quelle Chris provides production, lest we forget his 2019 Guns album with its Dada-bullet, double-barreled barrage album art. The title track armed to the teeth: “Ain’t no cracking that code, / Ain’t no safety on locks, / Might as well get you one, / Procrastinating will get you popped.” The machine gun funk outs finks and COINTELPRO cooperators, conspirators, dispiriters. Here, Castro’s got those same turncoats and sucker MCs in his sights, so to speak.

4.  [The oppressor] teaches the Negro that he has no worth-while past, that his race has done nothing significant since the beginning of time, and that there is no evidence that he will ever achieve anything great. (Carter Godwin Woodson, The Mis-Education of the Negro, 1933)

Castro makes a promise, provoked by those who came before him, those who brandished firearms in the faces of their enemies:

We never will disarm: these are the lies that you were sold, When your glory tripped up, you trade your weapons in for gold. With Yakub in the schools, trade your dreams, knowledge folds. Found the tome, Mis-Education Negroes…

Dr. Yakub sloshing liquids in the lab—Bunsen burners explode and the lab leak is viral whiteness. Tricknology replaces Biology. Castro is looking back while moving forward. “Doomed to repeat it”-type forewarnings. He knows the ledge and also wants his people to.

5.

aim     get your sights & its sound in abstract or journal movements to a peace settlement

dude shot my man

dead,          precious lord blow off theres no willy in th blues theres no you.

—from Tom Weatherly’s Maumau American Cantos (1970)

Castro is a “gunhand, cybernetic with spray cans, / Basquiat, baklava, Mau Mau.” That’s likely an intentional malaprop—surely his militant stance calls for a balaclava. Even still, Castro doesn’t stutter. He will still sh-sh-shift his voice on you—the dynamics of his delivery raise stakes and get guttural, scraping against sewer plates. He’s potent, even if Basquiat’s pistol appears flaccid with its hand-scrawled linework. In another piece, Basquiat starts the decolonization process at the point of a safari helmet. The image detonates.  

6.  Free country? Man, I should fuck you up for sayin’ that stupid shit alone.

“This film is a call to racial violence!” a film critic shouted at Roger Ebert after a screening of Do the Right Thing. She worried Bed-Stuy would set fire to theaters, but Lee’s 1989 film wasn’t The Rite of Spring in Paris in 1913. An amerikan psychotic turn to theater violence would be postponed until Aurora in 2012, and it would be white violence, which would come as a shock to none who have tracked the trajectory of white violence. Displacement is white violence, too. White violence is a sine qua non for gentrification. And so Castro allies himself with “Buggin’ Out battle brownstone houses, some Bird fans, / While Mookie turns the radio up and launched the trashcan.”

7.  “We are the weapons.”

Of late, Castro has consistently been proving you’re out your depth, with verses so allusive they suggest a strong “Erick Sermon and Parrish Smith, nobody blink. / They don’t now who the fuck that is” vibe. So what, though? At this point, Castro’s a vet, an elder. The youngins need to catch up or cash out. Get KRS-One bookish, kiddies, or be left behind. Be the weapon or never prosper. Create your own mythos: “Omega built a mother by the sun and Cyclops sent / a blurred Baraka poem capable to raise the dead. / Yet instead I use the sword...”—with Wu-Tang pronunciation of the w in “sword,” of course. History moves backwards and forwards at the same time. Language is lost and recovered. The poem is “blurred” because it’s been duplicated on a mimeograph—a machine that involves a “drum.” The words are ink-smudged. Baraka’s former partner, Diane di Prima, shouted, “"Power to the people's mimeo machines!” Accuse and attack, Baraka sloganeered. We’re talking about agency—by hand-crank, handgun, or mic check.

8.

Castro creates imagery like Emory Douglas did with paint: painfully bold and saturated with color like blood soaks clothes. Baraka called Douglas’s art a combo of “expressionist agitprop and homeboy familiarity,” which applies to what Castro does on the track. I quote Mao who called literature and art “part of the whole proletarian revolutionary cause,” and Mao quotes Lenin who called lit and art the “cogs and wheels in the whole revolutionary machine.” And Baraka also said Douglas’s work:

functioned as if you were in the middle of a rumble and somebody tossed you a machine pistol. It armed your mind and demeanor. Ruthlessly funny, but at the same time functional as the .45 slugs pouring out of that weapon.

The Panthers were trapped and tear-gassed in a West Oakland basement. Eldridge Cleaver told Bobby to go out naked—unarmed as the day he was born not quite eighteen years earlier—but he emerged from the burning house fully dressed, with dignity, and he was searchlighted and shotshotshotshotshotshotshot dead.

Castro needs Brewin to make the cypher complete—a two-man killarmy using loud words in quiet wars, no silencer.

9.  “Before blurting out, try analysis, brother.”

Breeze’s Yo, listen… at the start of his verse is comparable to Sir Thomas Wyatt intoning Whoso list to hunt… to begin his 16th-century sonnet. The amalgam here is less Five Percenter plus clandestine government experimentation and more a deconstruction of the both violent and sexualized language of braggadocio. “Anything you say isn’t played like Miranda Rights,” and so we’re already with our hands behind our backs, silenced by an pig officer’s gag order. The competition doesn’t get played; they play themselves.

Sir Thomas Wyatt sets it off like so:

Whoso list to hunt, I know where is an hind, But as for me, hélas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I by no means my wearied mind Draw from the deer, but as she fleeth afore Fainting I follow.

Breeze has wanted to stay pleasant to the ears—you know, like Lauryn Hill phone sexing—so this isn’t new territory but rather a well-worn path. Wyatt’s wearied and “so sore” by “the hunt,” the pursuit of his love interest, even though he knows “where is an hind.” Still, “as she fleeth afore / Fainting [he] follows.” He can’t help himself.

Love is lost within violent pursuit. Breeze speaks of a “plan to strike” and “zero in” on a “target,” his quarry. He and Castro are “talking about broads often, no doubt, / We broad and burly as hell, / Brag about the hunt, you was jukin’ a girly gazelle.” Breeze’s assault is dizzying, a salvo from all angles: “Hit ’em with some counter clay rebuttals that’s subtle but still befuddle if dude slow.”

10.  “It’s nothin’, I gotcha, and that’s word to Super Lover Cee.”

Super Lover Cee and Casanova Rud’s 1988 single “Girls I Got ’Em Locked” articulates the carceral embrace of “locking” a girl down, which—consequently—requires violence to enforce: “Don’t ever touch a girl owned by me or I’ll ruin ya’, / Slap you with my mic simultaneously as I’m doin’ ya.” The girl is commodified, and Super Lover Cee takes a proprietary attitude toward the relationship. If you overstep, you’ll be ruined, that is, you’ll fall. And while you’re prostrate, you’ll be slapped with the phallic mic simultaneously. Is the Super Lover doin’ her or you, though? What’s truly getting him off? That hypermasculine posturing skews homoerotic. Breeze Brewin laughs at you for subscribing to the nonsense: “Dag, if that was what you believe then your world be a hell.”

11.

Liberal discourse suggests policing your impulses. Put down the gun—don’t touch it. “Touchy subjects,” like racism (apparently), get the “We need to have a conversation” treatment. Look, don’t touch. Don’t touch the exhibit of stolen artifacts—those Benin bronzes in the British Museum. Beneath the topic of orignoo gunn clapping, Curly Castro’s track is about the x’s and o’s of eros as well. Many gestures meant to protect women are merely some other man staking his claim, adorning her with “diamonds in letters plain,” as Wyatt writes of the collar around the deer’s “fair neck.” Wyatt’s sonnet warns against overstepping (or even half-stepping). The collar reads Noli me tangere (touch me not)—she belongs to someone else. It’s a bad touch example. Like his fellow Indelible J-Treds, Breeze Brewin is the living circle-circle-dot-dot: nobody can touch him.

12.

Let’s bring it back to Little Bobby Hutton. When Eldridge Cleaver told him to leave the ambushed basement naked, he was thinking of Bobby’s safety. He thought the extreme measure of appearing on the street without clothes would be enough to convince the pigs he wasn’t armed. Cleaver was naïve to think so. Bobby Hutton was right to emerge clothed. In doing so, he rejected the indignity of the auction block, the lynching, the mutilation and spreading of souvenir flesh. The searchlight made Bobby Hutton the subject of a spectacle, yes, but he refused to consent to the psychosexual desires of white supremacy. He refused the castration ritual. Little Bobby Hutton, in effect, threw down a challenge to the cops: Use your imagination once again. Try to think of a few situations where your own weapon might be used against you…used against you…used against you.

Images:

Emory Douglas, The Black Panther, Vol. IV, No. 78, 1971 (detail) | Weapon X (detail, issue unknown) | Emory Douglas, Rat Subterranean News (1970) | Harriet Tubman with gun sketch | Anti-Mau Mau British propaganda poster | Newspaper headline from Negroes with Guns | Jean-Michel Basquiat, Untitled (date unknown) | Jean-Michel Basquiat, Native Carrying Some Guns, Bibles, and Amorites on Safari (1982) | Screenshot from Spike Lee’s Do the Right Thing (1989) | Two images from the Berkeley Barb, Volume 6, Number 15, Issue 139 (1968) | Emory Douglas, The Black Panther (miscellaneous poster) | Medieval depiction of the hunt (unknown) | Image detail from the Berkeley Barb, Volume 6, Number 15, Issue 139 (1968)

[siorasurgicalsblog]

How Does the Locking Mechanism in a Variable Angle Plate Enhance Stability?

Orthopedic surgical techniques have significantly evolved over recent years, and one of the most groundbreaking innovations is the variable angle plate. These plates are commonly used in trauma and reconstructive surgeries to stabilize fractures and promote healing. A key feature of these plates is the locking mechanism, which plays a critical role in enhancing stability. In this blog, we will delve into how the locking mechanism in a variable angle plate works and how it contributes to improved outcomes in orthopedic procedures.

[siiorasurgicalspvtltd]

Locking Distal Radius Volar Rim Plate 2.4/2.7 mm Variable Angle is used for the surgical fixation of complex intra and extra-articular distal radius fractures. These orthopedic implant plates are made using medical-grade stainless steel and titanium. They can address individual fracture patterns as these plates are designed to have variable angle holes. Siora Surgicals Pvt. Ltd. is a leading trauma implant manufacturer in India that manufactures a wide range of orthopedic implants and instruments including variable angle locking distal radius volar rim plate.