title: Ferrocene

text: The discovery was considered so significant that Wilkinson and Fischer shared the 1973 Nobel Prize for Chemistry "for their pioneering work, performed independently, on the chemistry of the organometallic, so called sandwich compounds".


title: Ferrocene

text: Mössbauer spectroscopy indicates that the iron center in ferrocene should be assigned the +2 oxidation state. Each cyclopentadienyl (Cp) ring should then be allocated a single negative charge. Thus ferrocene could be described as iron(II) bis(cyclopentadienide), .


title: Ferrocene

text: The number of π-electrons on each ring is then six, which makes it aromatic according to Hückel's rule. These twelve π-electrons are then shared with the metal via covalent bonding. Since Fe has six d-electrons, the complex attains an 18-electron configuration, which accounts for its stability. In modern notation, this sandwich structural model of the ferrocene molecule is denoted as .


title: Ferrocene

text: The carbon–carbon bond distances around each five-membered ring are all 1.40 Å, and the Fe–C bond distances are all 2.04 Å. From room temperature down to 164K, X-ray crystallography yields the monoclinic space group; the cyclopentadienide rings are a staggered conformation, resulting in a centrosymmetric molecule, with symmetry group D. However, below 110 K, ferrocene crystallizes in an orthorhombic crystal lattice in which the Cp rings are ordered and eclipsed, so that the molecule has symmetry group D. In the gas phase, electron diffraction and computational studies show that the Cp rings are eclipsed.


title: Ferrocene

text: The Cp rings rotate with a low barrier about the Cp–Fe–Cp axis, as observed by measurements on substituted derivatives of ferrocene using H and C nuclear magnetic resonance spectroscopy. For example, methylferrocene (CHCHFeCH) exhibits a singlet for the CH ring.


title: Ferrocene

text: Industrially, ferrocene is synthesized by the reaction of iron(II) ethoxide with cyclopentadiene; the iron(II) ethoxide needed is produced by the electrochemical oxidation of metallic iron in anhydrous ethanol. Since the reaction between iron(II) ethoxide and cyclopentadiene produces ethanol as a byproduct, the ethanol effectively serves as a catalyst for the overall reaction, with the net reaction being Fe + 2CH → H + Fe(CH) (also see below)


title: Ferrocene

text: The first reported syntheses of ferrocene were nearly simultaneous. Pauson and Kealy synthesised ferrocene using iron(III) chloride and a Grignard reagent, cyclopentadienyl magnesium bromide. Iron(III) chloride is suspended in anhydrous diethyl ether and added to the Grignard reagent. A redox reaction occurs, forming the cyclopentadienyl radical and iron(II) ions. Dihydrofulvalene is produced by radical-radical recombination while the iron(II) reacts with the Grignard reagent to form ferrocene. Oxidation of dihydrofulvalene to fulvalene with iron(III), the outcome sought by Kealy and Pauson, does not occur.


title: Ferrocene

text: The other early synthesis of ferrocene was by Miller "et al.", who reacted metallic iron directly with gas-phase cyclopentadiene at elevated temperature. An approach using iron pentacarbonyl was also reported.


title: Ferrocene

text: More efficient preparative methods are generally a modification of the original transmetalation sequence using either commercially available sodium cyclopentadienide or freshly cracked cyclopentadiene deprotonated with potassium hydroxide and reacted with anhydrous iron(II) chloride in ethereal solvents.


title: Ferrocene

text: Even some amine bases (such as diethylamine) can be used for the deprotonation, though the reaction proceeds more slowly than when using stronger bases:


title: Ferrocene

text: Direct transmetalation can also be used to prepare ferrocene from other metallocenes, such as manganocene:


title: Ferrocene

text: Ferrocene is an air-stable orange solid with a camphor-like odor. As expected for a symmetric, uncharged species, ferrocene is soluble in normal organic solvents, such as benzene, but is insoluble in water. It is stable to temperatures as high as 400 °C.


title: Ferrocene

text: Ferrocene readily sublimes, especially upon heating in a vacuum. Its vapor pressure is about 1 Pa at 25 °C, 10 Pa at 50 °C, 100 Pa at 80 °C, 1000 Pa at 116 °C, and 10,000 Pa (nearly 0.1 atm) at 162 °C.


title: Ferrocene

text: Ferrocene undergoes many reactions characteristic of aromatic compounds, enabling the preparation of substituted derivatives. A common undergraduate experiment is the Friedel–Crafts reaction of ferrocene with acetic anhydride (or acetyl chloride) in the presence of phosphoric acid as a catalyst. Under conditions for a Mannich reaction, ferrocene gives N,N-dimethylaminomethylferrocene.


title: Ferrocene

text: In the presence of aluminium chloride MeNPCl and ferrocene react to give ferrocenyl dichlorophosphine, whereas treatment with phenyldichlorophosphine under similar conditions forms "P","P"-diferrocenyl-"P"-phenyl phosphine.


title: Ferrocene

text: Ferrocene reacts with butyllithium to give 1,1′-dilithioferrocene, which is a versatile nucleophile. In combination with butyllithiium, "tert"-butyllithium produces monolithioferrocene.


title: Ferrocene

text: Ferrocene undergoes a one-electron oxidation at around 0.4 V versus a saturated calomel electrode (SCE), becoming ferrocenium. This reversible oxidation has been used as standard in electrochemistry as Fc/Fc = 0.64 V versus the standard hydrogen electrode. However, also further values have been reported. Ferrocenium tetrafluoroborate is a common reagent. The remarkably reversible oxidation-reduction behaviour has been extensively used to control electron-transfer processes in electrochemical and photochemical systems.


title: Ferrocene

text: Substituents on the cyclopentadienyl ligands alters the redox potential in the expected way: electron-withdrawing groups such as a carboxylic acid shift the potential in the anodic direction ("i.e." made more positive), whereas electron-releasing groups such as methyl groups shift the potential in the cathodic direction (more negative). Thus, decamethylferrocene is much more easily oxidised than ferrocene and can even be oxidised to the corresponding dication. Ferrocene is often used as an internal standard for calibrating redox potentials in non-aqueous electrochemistry.


title: Ferrocene

text: Disubstituted ferrocenes can exist as either 1,2-, 1,3- or 1,1′- isomers, none of which are interconvertible. Ferrocenes that are asymmetrically disubstituted on one ring are chiral – for example [CpFe(EtCHMe)]. This planar chirality arises despite no single atom being a stereogenic centre. The substituted ferrocene shown at right (a 4-(dimethylamino)pyridine derivative) has been shown to be effective when used for the kinetic resolution of racemic secondary alcohols.


title: Ferrocene

text: Ferrocene and its numerous derivatives have no large-scale applications, but have many niche uses that exploit the unusual structure (ligand scaffolds, pharmaceutical candidates), robustness (anti-knock formulations, precursors to materials), and redox (reagents and redox standards).


title: Ferrocene

text: Chiral ferrocenyl phosphines are employed as ligands for transition-metal catalyzed reactions. Some of them have found industrial applications in the synthesis of pharmaceuticals and agrochemicals. For example, the diphosphine 1,1′-bis(diphenylphosphino)ferrocene (dppf) is a valued ligand for palladium-coupling reactions and Josiphos ligand is useful for hydrogenation catalysis. They are named after the technician who made the first one, Josi Puleo.


title: Ferrocene

text: Ferrocene and its derivatives are antiknock agents used in the fuel for petrol engines. They are safer than previously used tetraethyllead. Petrol additive solutions containing ferrocene can be added to unleaded petrol to enable its use in vintage cars designed to run on leaded petrol. The iron-containing deposits formed from ferrocene can form a conductive coating on spark plug surfaces. Ferrocene polyglycol copolymers, prepared by effecting a polycondensation reaction between a ferrocene derivative and a substituted dihydroxy alcohol, has promise as a component of rocket propellants. These copolymers provide rocket propellants with heat stability, serving as a propellant binder and controlling propellant burn rate.


title: Ferrocene

text: Ferrocene has been found to be effective at reducing smoke and sulfur trioxide produced when burning coal. The addition by any practical means, impregnating the coal or adding ferrocene to the combustion chamber, can significantly reduce the amount of these undesirable byproducts, even with a small amount of the metal cyclopentadienyl compound.


title: Ferrocene

text: Ferrocene derivatives have been investigated as drugs, with one compound ferrocerone approved for use in the USSR in the 1970s, though it is no longer marketed today. Only one drug has entered clinical trials in recent years, Ferroquine (7-chloro-N-(2-((dimethylamino)methyl)ferrocenyl)quinolin-4-amine), an antimalarial, which has reached Phase IIb trials. Ferrocene-containing polymer-based drug delivery systems have been investigated.


title: Ferrocene

text: The anticancer activity of ferrocene derivatives was first investigated in the late 1970s, when derivatives bearing amine or amide groups were tested against lymphocytic leukemia. Some ferrocenium salts exhibit anticancer activity, but no compound has seen evaluation in the clinic. Ferrocene derivatives have strong inhibitory activity against human lung cancer cell line A549, colorectal cancer cell line HCT116, and breast cancer cell line MCF-7. An experimental drug was reported which is a ferrocenyl version of tamoxifen. The idea is that the tamoxifen will bind to the estrogen binding sites, resulting in cytotoxicity.


title: Ferrocene

text: Ferrocifens are exploited for cancer applications by a French biotech, Feroscan, founded by Pr. Gerard Jaouen.


title: Ferrocene

text: Ferrocene and related derivatives are used as powerful burn rate catalysts in ammonium perchlorate composite propellant.


title: Ferrocene

text: Ferrocene analogues can be prepared with variants of cyclopentadienyl. For example, bisindenyliron and bisfluorenyliron.


title: Ferrocene

text: Carbon atoms can be replaced by heteroatoms as illustrated by Fe("η"-CMe)("η"-P) and Fe("η"-CH)("η"-CHN) ("azaferrocene"). Azaferrocene arises from decarbonylation of Fe("η"-CH)(CO)("η"-pyrrole) in cyclohexane. This compound on boiling under reflux in benzene is converted to ferrocene.


title: Ferrocene

text: Because of the ease of substitution, many structurally unusual ferrocene derivatives have been prepared. For example, the penta(ferrocenyl)cyclopentadienyl ligand, features a cyclopentadienyl anion derivatized with five ferrocene substituents.


title: Ferrocene

text: In hexaferrocenylbenzene, C[("η"-CH)Fe("η"-CH)], all six positions on a benzene molecule have ferrocenyl substituents (R). X-ray diffraction analysis of this compound confirms that the cyclopentadienyl ligands are not co-planar with the benzene core but have alternating dihedral angles of +30° and −80°. Due to steric crowding the ferrocenyls are slightly bent with angles of 177° and have elongated C-Fe bonds. The quaternary cyclopentadienyl carbon atoms are also pyramidalized. Also, the benzene core has a chair conformation with dihedral angles of 14° and displays bond length alternation between 142.7 pm and 141.1 pm, both indications of steric crowding of the substituents.


title: Ferrocene

text: The synthesis of hexaferrocenylbenzene has been reported using Negishi coupling of hexaiodidobenzene and diferrocenylzinc, using tris(dibenzylideneacetone)dipalladium(0) as catalyst, in tetrahydrofuran:


title: Ferrocene

text: The yield is only 4%, which is further evidence consistent with substantial steric crowding around the arene core.


title: Ferrocene

text: Ferrocene, a precursor to iron nanoparticles, can be used as a catalyst for the production of carbon nanotubes. The vinylferrocene can be made by a Wittig reaction of the aldehyde, a phosphonium salt, and sodium hydroxide. The vinyl ferrocene can be converted into a polymer (polyvinylferrocene, PVFc), a ferrocenyl version of polystyrene (the phenyl groups are replaced with ferrocenyl groups). Another polyferrocene which can be formed is poly(2-(methacryloyloxy)ethyl ferrocenecarboxylate), PFcMA. In addition to using organic polymer backbones, these pendant ferrocene units have been attached to inorganic backbones such as polysiloxanes, polyphosphazenes, and polyphosphinoboranes, (–PH(R)–BH–), and the resulting materials exhibit unusual physical and electronic properties relating to the ferrocene / ferrocinium redox couple. Both PVFc and PFcMA have been tethered onto silica wafers and the wettability measured when the polymer chains are uncharged and when the ferrocene moieties are oxidised to produce positively charged groups. The contact angle with water on the PFcMA-coated wafers was 70° smaller following oxidation, while in the case of PVFc the decrease was 30°, and the switching of wettability is reversible. In the PFcMA case, the effect of lengthening the chains and hence introducing more ferrocene groups is significantly larger reductions in the contact angle upon oxidation.


title: Palmer Method

text: The Palmer Method of penmanship instruction was developed and promoted by Austin Palmer in the late 19th and early 20th centuries. It was largely created as a simplified style of the "Spencerian Method", which had been the major standardized system of handwriting since the 1840s. The Palmer Method soon became the most popular handwriting system in the United States.


title: Palmer Method

text: Under the method, students were taught to adopt a uniform system of cursive writing with rhythmic motions.


title: Palmer Method

text: The method developed around 1888 and was introduced in the book "Palmer's Guide to Business Writing" (1894). Palmer's method involved "muscle motion" in which the more proximal muscles of the arm were used for movement, rather than allowing the fingers to move in writing. In spite of opposition from the major publishers, this textbook enjoyed great success: in 1912, one million copies were sold throughout the United States. The method won awards, including the Gold Medal at the Panama Pacific Exposition in San Francisco, in 1915, and the Gold Medal at the Sesquicentennial Exposition in Philadelphia, in 1926.


title: Palmer Method

text: Proponents of the Palmer Method emphasized its plainness and speed, that it was much faster than the laborious Spencerian Method, and that it allowed the writer to compete effectively with the typewriter. To educators, the method's advocates emphasized regimentation, and that the method would thus be useful in schools to increase discipline and character, and could even reform delinquents.


title: Palmer Method

text: The Palmer Method began to fall out of popularity in the 1950s and was eventually supplanted by the Zaner-Bloser Method, which sought to teach children print writing (also called "manuscript printing") before teaching them cursive, in order to provide them with a means of written expression as soon as possible, and thus develop writing skills. The D'Nealian Method, introduced in 1978, sought to address problems raised by the Zaner-Bloser Method, returning to a more cursive style of print writing. The Palmer company stopped publishing in the 1980s.


title: Palmer Method

text: In radar engineering, a Palmer Scan is a scanning technique that produces a scanning beam by moving the main antenna and its feed in a circular motion. The name was derived from the looping circles practiced by students of the Palmer Method.


title: Theatre Royal, Drury Lane

text: The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Drury Lane. The building is the most recent in a line of four theatres which were built at the same location, the earliest of which dated back to 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London (meaning spoken plays, rather than opera, dance, concerts, or plays with music).


title: Theatre Royal, Drury Lane

text: The first theatre on the site was built at the behest of Thomas Killigrew in the early 1660s, when theatres were allowed to reopen during the English Restoration. Initially known as "Theatre Royal in Bridges Street", the theatre's proprietors hired prominent actors who performed at the theatre on a regular basis, including Nell Gwyn and Charles Hart. In 1672, the theatre caught fire and Killigrew built a larger theatre on the same plot, renamed the "Theatre Royal in Drury Lane"; it opened in 1674. This building lasted nearly 120 years, under the leaderships of Colley Cibber, David Garrick and Richard Brinsley Sheridan, the last of whom employed Joseph Grimaldi as the theatre's resident Clown.


title: Theatre Royal, Drury Lane

text: In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794. This new Drury Lane survived for 15 years before burning down in 1809. The building that stands today opened in 1812. It has been the residency of well known actors including Edmund Kean, comedian Dan Leno and the musical composer and performer Ivor Novello. From the Second World War, the theatre has primarily hosted long runs of musicals, including "Oklahoma!", "My Fair Lady", "42nd Street" and "Miss Saigon", the theatre's longest-running show. The theatre is owned by the composer Andrew Lloyd Webber. Since January 2019, the venue has had ongoing renovations, and in July 2021, the theatre reopened after over two years' of extensive work and closures related to the COVID-19 pandemic. Disney's "Frozen" made its West End debut at Drury Lane on 27 August, with general shows starting from 8 September 2021.


title: Theatre Royal, Drury Lane

text: A playhouse known as the Cockpit Theatre used by Queen Anne's Men on Drury Lane was targetted by rioting apprentices on 4 March 1617. After the eleven-year-long Puritan Interregnum, which had seen the banning of pastimes regarded as frivolous, such as theatre, the English monarchy was restored to the throne with the return of Charles II in 1660. Soon after, Charles issued Letters Patent to two parties licensing the formation of new acting companies. One of these went to Thomas Killigrew, whose company became known as the King's Company, and who built a new theatre in Drury Lane. The Letters Patent also granted the two companies a shared monopoly on the public performance of legitimate drama in London; this monopoly was challenged in the 18th century by new venues and by a certain slipperiness in the definition of "legitimate drama," but remained legally in place until 1843. The new playhouse, architect unknown, opened on 7 May 1663 and was known from the placement of the entrance as the "Theatre Royal in Bridges Street." It went by other names as well, including the "King's Playhouse." The building was a three-tiered wooden structure, long and wide; it could hold an audience of 700. Set well back from the broader streets, the theatre was accessed by narrow passages between surrounding buildings.


title: Theatre Royal, Drury Lane

text: The King himself frequently attended the theatre's productions, as did Samuel Pepys, whose private diaries provide much of what we know of London theatre-going in the 1660s. The day after the Theatre Royal opened, Pepys attended a performance of Francis Beaumont and John Fletcher's "The Humorous Lieutenant". He has this to say in his diary:


title: Theatre Royal, Drury Lane

text: Performances usually began at 3 pm to take advantage of the daylight: the main floor for the audience, the pit, had no roof in order to let in the light. A glazed dome was built over the opening, but according to one of Pepys' diary entries, the dome was not entirely effective at keeping out the elements: he and his wife were forced to leave the theatre to take refuge from a hail storm. Green baize cloth covered the benches in the pit and served to decorate the boxes, additionally ornamented with gold-tooled leather, and even the stage itself. The backless green benches in the pit were in a semicircular arrangement facing the stage, according to a May 1663 letter from one Monsieur de Maonconys: "All benches of the pit, where people of rank also sit, are shaped in a semi-circle, each row higher than the next." The three galleries formed a semicircle around the floor seats; both the first and second galleries were divided up into boxes.


title: Theatre Royal, Drury Lane

text: The King's Company was forced to commission the technically advanced and expensive Theatre Royal playhouse by the success of the rival Duke's Company, which was drawing fascinated crowds with their "moveable" or "changeable" scenery and visually gorgeous productions at the former Lisle's Tennis Court at Lincoln's Inn Fields. Imitating the innovations at Lincoln's Inn Fields, the Theatre Royal also featured moveable scenery with wings or "shutters" that could be smoothly changed between or even within acts. When not in use, the shutters rested out of sight behind the sides of the proscenium arch, which also served as a visual frame for the on-stage happenings. The picture-frame-like separation between audience and performance was a new phenomenon in English theatre, though it had been found on the Continent earlier. Theatre design in London remained ambivalent about the merits of the "picture-box" stage, and for many decades to come, London theatres including Drury Lane had large forestages protruding beyond the arch, often including the thrust stages found in the Elizabethan theatres. The players could still step forward and bridge the distance between performer and audience, and in addition, it was not unusual for audience members to mount the stage themselves.


title: Theatre Royal, Drury Lane

text: Killigrew's investment in the new playhouse put the two companies on a level as far as technical resources were concerned, but the offerings at the Theatre Royal nevertheless continued to be dominated by actor-driven "talk" drama, contrasting with William Davenant's baroque spectacles and operas at Lincoln's Inn Fields. Internal power structures were the main reason for this difference: while Davenant skilfully commanded a docile young troupe, Killigrew's authority over his veteran actors was far from absolute. Experienced actors Michael Mohun (who Pepys called "the best actor in the world") and Charles Hart held out for shares and good contracts in the King's Company. Such a division of power between the patentee, Killigrew, and his chief actors led to frequent conflicts that hampered the Theatre Royal as a business venture. Nevertheless, it was mostly at the struggling Theatre Royal, rather than at the efficiently run Lincoln's Inn Fields, that the plays were acted that are classics today. This applies especially to the new form Restoration comedy, dominated in the 1660s by William Wycherley and the Theatre Royal's house dramatist John Dryden. Actors such as Hart and Charles II's mistress Nell Gwyn developed and refined the famous scenes of repartee, banter and flirtation in Dryden's and Wycherley's comedies. With the appearance of actresses for the first time at Drury Lane and Lincoln's Inn Fields in the 1660s, British playwrights wrote parts for outspoken female characters, daring love scenes and provocative breeches roles. In any case, the competition between the King's Company and the Duke's was good for the rebirth and development of English drama.


title: Theatre Royal, Drury Lane

text: The Great Plague of London struck in the summer of 1665, and the Theatre Royal, along with all other public entertainment, was shut down by order of the Crown on 5 June. It remained closed for 18 months until the autumn of 1666, during which time it received at least a little interior renovation, including widening of the stage. Located well to the west of the City boundary, the theatre was unaffected by the Great Fire of London, which raged through the City in September 1666, but it burned down six years later on 25 January 1672.


title: Theatre Royal, Drury Lane

text: During the 20th century, one illustration was repeatedly – and wrongly – published as "Christopher Wren, design for the Theatre Royal Drury Lane, 1674". Since 1964, this presumption has been disputed by scholars. Careful inspection of the drawing at All Souls' College, Oxford Library shows that it has one pencil inscription: "Play house" , which may have been added by a librarian or by anyone else. No sign of a signature (by Wren or anyone else) or a date appears anywhere on the drawing. Robert D. Hume of Penn State University explained that use of the drawing "rests almost entirely on the "supposition" that the so-called "Wren section" at All Souls represents this theatre. It could just as easily be a discarded sketch unconnected to Drury Lane in any way."


title: Theatre Royal, Drury Lane

text: Comparative evidence for Drury Lane's 1674 design can be found in the Theatre Royal, Bristol, built in 1766, whose design was modelled, in part, on Drury Lane's. The site measured east-west and north-south. The building was smaller than this, as reliable surveys and maps of the period show three passageways measuring between wide surrounding the Theatre Royal on three sides. The building probably measured between wide (the average width of all "Restoration" Theatres) and between long. Architect Robert Adam designed Drury Lane's 1674 interior. The theatre was managed, from 1747 to Adam's retirement in the 1770s, by David Garrick.


title: Theatre Royal, Drury Lane

text: The King's Company never recovered financially from the loss of the old Theatre Royal Bridges Street. The cost of constructing the new theatre, replacing their costumes and scenery lost in the fire and competitive pressure from the rival Duke's Company contributed to its decline. Eventually, in 1682, the King's Company merged with the Duke's. The 1674 Theatre Royal building contained a warren of rooms, including storage space and dressing rooms used by the management and performers, nearly seventy people in total, as well as some fifty technical staff members. Additionally three rooms were provided for scripts, including a library for their storage, a separate room for copying actors' parts and a special library for the theatre's account books, ledger books and music scores. This jumble of rooms often made communication among various departments difficult, a problem that Garrick corrected during his tenure as manager. The entire complex occupied bounded by Drury Lane (east), Brydges Street (west), Great Russell Street (north) and Little Russell Street (south).


title: Theatre Royal, Drury Lane

text: From 1674, theatregoers accessed the Drury Lane via a long ten foot wide passageway from Bridges Street. The passageway opened onto a yard (previously a "Riding Yard") in which the theatre stood. It's likely that the yard remained open to the sky at this date, on three sides of the Theatre Royal walls. Henri Misson, a visitor from France, offers a description of the theatre in 1698: his use of the word "amphitheatre" supports the view that Drury Lane had a circular line of boxes surrounding its pit:


title: Theatre Royal, Drury Lane

text: As Misson points out, the seating was divided by class, and tickets were priced accordingly. Box seats, used by the nobility and wealthy gentry, cost 5 shillings; the benches in the pit where some gentry sat, but also critics and scholars, cost 3 shillings; tradesmen and professionals occupied the first gallery with seats costing 2 shillings, while servants and other "ordinary people", as Misson refers to them, occupied the 1 shilling seats of the upper gallery. Seats were not numbered and were offered on a "first come, first served" basis, leading many members of the gentry to send servants to reserve seats well ahead of performances. The stage was wide and deep with a raked floor from the footlights to the backdrop. The angle of the rake rose one inch for every of horizontal stage. The stage floor included grooves for wings and flats in addition to trap doors in the floor. The proscenium arch covered the stage equipment above the stage that included a pair of girondels – large wheels holding many candles used to counteract the light from the footlights. Towards the latter part of the 18th century, doors were placed on either side of the stage, and a series of small spikes traced the edge of the stage apron to prevent audiences from climbing onto the stage. At the very back of the stage, a wide door opened to reveal Drury Lane.


title: Theatre Royal, Drury Lane

text: An added difficulty for Killigrew and his sons Thomas and Charles was the political unrest of 1678–1684 with the Popish Plot and the Exclusion Bill crisis distracting potential audiences from things theatrical. This affected both the King's and the Duke's companies, but most of all the King's which had no profit margin to carry them through the lean years. In 1682, the companies merged, or rather, the King's was absorbed by the Duke's. Led at the time by Thomas Betterton, the United Company, as it was now called, chose Drury Lane as their production house, leaving the Duke's Company's theatre in Dorset Garden closed for a time. In 1688, Betterton was removed from managerial control by Alexander Davenant, son of William Davenant, the original patent holder for the Duke's Company. Davenant's management (with Charles Killigrew) proved brief and disastrous, and by 1693 he was fleeing to the Canary Islands in the wake of embezzlement charges. The Theatre Royal found itself in the hands of lawyer Christopher Rich for the next 16 years.


title: Theatre Royal, Drury Lane

text: Neither Davenant's nor Killigrew's sons were much better than crooks, and Rich attempted to recoup their depredations of the company's resources by cost-cutting tyranny, pitting actor against actor and slashing salaries. By 1695, the actors, including day-to-day manager and acting legend Thomas Betterton, were alienated and humiliated enough to walk out and set up a cooperative company of their own. Nine men and six women departed, all of them established professional performers, including such draws as tragedian Elizabeth Barry and comedian Anne Bracegirdle, leaving the United Company – henceforth known as the "Patent Company" – in "a very despicable condition," according to an anonymous contemporary pamphlet:


title: Theatre Royal, Drury Lane

text: A private letter from 19 November 1696 reported that Drury Lane "has no company at all, and unless a new play comes out on Saturday revives their reputation, they must break." The new play is assumed to have been John Vanbrugh's "The Relapse", and it turned out the success the company needed. Christopher Rich continued as its head until 1709, when the patent in question was actually revoked amid a complex tangle of political machinations. A lawyer named William Collier was briefly given the right to mount productions in Drury Lane, but by 1710 the troupe was in the hands of the actors Colley Cibber, Robert Wilks, and Thomas Doggett – a triumvirate that eventually found themselves sharply satirised in Alexander Pope's "Dunciad". In 1713, Barton Booth replaced Doggett. On 2 March 1717 was the premiere of the ballet The Loves of Mars and Venus choreographed by John Weaver, and was the first ballet to be performed in England.


title: Theatre Royal, Drury Lane

text: Cibber was the "de facto" leader of the triumvirate, and he led the theatre through a controversial but generally successful period until 1733, when he sold his controlling interest to John Highmore. It is likely that the sale was at a vastly inflated price and that Colley's goal was simply to get out of debts and make a profit (see Robert Lowe in his edition of Cibber's "Apology"). Members of the troupe at the time were most displeased; an actor's revolt was organised and executed; Charles Fleetwood came to control the theatre. Fleetwood's tenure was tumultuous; his abolition of the practice of allowing footmen free access to the upper gallery led to riots in 1737, and Fleetwood's gambling problems entangled the theatre in his own financial difficulties. It was during this period that actor Charles Macklin (a native of Inishowen in County Donegal in Ulster) rose to fame, propelled by a singular performance as Shylock in an early 1741 production of "The Merchant of Venice", in which he introduced a realistic, naturalistic style of acting, abandoning the artificial bombast typical of dramatic roles prior.


title: Theatre Royal, Drury Lane

text: In 1747, Fleetwood's playhouse patent expired. The theatre and a patent renewal were purchased by actor David Garrick (who had trained under Macklin earlier) and partner James Lacy. Garrick served as manager and lead actor of the theatre until roughly 1766, and continued on in the management role for another ten years after that. He is remembered as one of the great stage actors and is especially associated with advancing the Shakespearean tradition in English theatre – during his time at Drury Lane, the company mounted at least 24 of Shakespeare's plays. Some of Shakespeare's surge in popularity during this period can be traced to the Licensing Act of 1737, which mandated governmental approval of any play before it could be performed and thereby created something of a vacuum of new material to perform. Garrick shared the stage with company including Peg Woffington, Susannah Cibber, Hannah Pritchard, Kitty Clive, Spranger Barry, Richard Yates and Ned Shuter. It was under Garrick's management that spectators were for the first time barred from the stage itself.


title: Theatre Royal, Drury Lane

text: Garrick commissioned Robert Adam and his brother James to renovate the theatre's interior, which they did in 1775. Their additions included an ornate ceiling and a stucco facade facing Bridges Street. This facade was the first time any structure that might be considered part of the theatre proper actually abutted the street: the building, like the 1663 original, had been built in the centre of the block, hemmed in by other structures. The narrow passage from Bridges street to the theatre now became an interior hallway; some theatre office space also went up behind the new facade.


title: Theatre Royal, Drury Lane

text: With a series of farewell performances, Garrick left the stage in 1776 and sold his shares in the theatre to the Irish playwright Richard Brinsley Sheridan. Sheridan and his partners, Thomas Linley the elder and Doctor James Ford (court physician to King George III), completed their purchase of Drury Lane two years later, and Sheridan owned it until 1809. Sheridan premiered his own comedy of manners "The School for Scandal" in 1777. Active management of the theatre was carried out by several parties during Sheridan's ownership, including himself, his father Thomas, and, from 1788 to 1796 and 1800 to 1802, the popular actor John Philip Kemble. Linley took up the post of Musical Director at the theatre, receiving a retainer of £500 per annum.


title: Theatre Royal, Drury Lane

text: Sheridan employed dozens of children as extras at Drury Lane including Joseph Grimaldi who made his stage debut at the theatre in 1780. Grimaldi became best known for his development of the modern day white-face clown and popularised the role of Clown in many Pantomimes and Harlequinades. Towards the end of the 1790s, Grimaldi starred in "Robinson Crusoe", which confirmed him as a key Christmas pantomime performer. Many pantomimes followed, but his career at Drury Lane became turbulent, and he left the theatre for good in 1806.


title: Theatre Royal, Drury Lane

text: The theatre was in need of updating by the end of the 18th century and was demolished in 1791, with the company moving temporarily to the new King's Theatre, in the Haymarket. A third theatre was designed by Henry Holland and opened on 12 March 1794. In the design of the theatre boxes, Henry Holland asked John Linnell for assistance. The designs by Linnell survive in the V&A Print Room – there are also designs by Henry Holland and Charles Heathcote Tatham who were involved in the design process. This was a cavernous theatre, accommodating more than 3,600 spectators. The motivation behind building on such a large scale? In the words of one owner:


title: Theatre Royal, Drury Lane

text: New technology facilitated the expansion: iron columns replaced bulky wood, supporting five tiers of galleries. The stage was large, too: wide and deep. Holland, the architect, said it was "on a larger scale than any other theatre in Europe." Except for churches, it was the tallest building in London.


title: Theatre Royal, Drury Lane

text: The "very popular notion that our theatres ought to be very small" proved hard to overcome. Various accounts from the period bemoan the mammoth size of the new theatre, longing for the "warm close observant seats of Old Drury," as one May 1794 theatre-goer put it. Actress Sarah Siddons, then part of the Drury Lane company, called it "a wilderness of a place" (and left Drury Lane along with her brother John Philip Kemble in 1803). Not only was any sense of intimacy and connection to the company on stage lost, but the very size of the theatre put a great deal of the audience at such a distance from the stage so as to make hearing a player's voice quite difficult. To compensate, the productions mounted in the new theatre tended more toward spectacle than the spoken word. An example of such a spectacle is a 1794 production that featured real water flowing down a rocky stream into a lake large enough on which to row a boat. This water issued from tanks in the attics above the house, which were installed – along with a much-touted iron safety curtain – as proof against fire.


title: Theatre Royal, Drury Lane

text: Richard Sheridan continued as theatre owner during the entire lifetime of this third building. He had grown in stature as a statesman during this time, but troubled finances were to be his undoing. The 1794 rebuilding had cost double the original estimate of £80,000, and Sheridan bore the entirety of the debt. Productions were more expensive to mount in the larger structure, and increased audience revenues failed to make up the difference.


title: Theatre Royal, Drury Lane

text: An assassination attempt against King George III took place at the theatre on 15 May 1800. James Hadfield fired two pistol shots from the pit toward the King, sitting in the royal box. The shots missed by inches, Hadfield having been jostled by a Mr Dyte. Hadfield was quickly subdued, and George, apparently unruffled, ordered the performance to continue.


title: Theatre Royal, Drury Lane

text: The comedy actor John Bannister became acting-manager in 1802. With Sheridan's son Tom, and in the circle of Richard Wroughton (stage-manager), William Dowton, Michael Kelly, Tom Dibdin and their likes, he helped to see the Theatre Royal through its next catastrophe. On 24 February 1809, despite the previously mentioned fire safety precautions, the theatre burned down. On being encountered drinking a glass of wine in the street while watching the fire, R.B. Sheridan was famously reported to have said: "A man may surely be allowed to take a glass of wine by his own fireside." Already on the shakiest financial ground, Sheridan was ruined entirely by the loss of the building. He turned to brewer Samuel Whitbread, an old friend, for help. As well as investing strongly in the project, Whitbread agreed to head a committee that would manage the company and oversee the rebuilding of the theatre, but asked Sheridan to withdraw from management himself, which he did entirely by 1811.


title: Theatre Royal, Drury Lane

text: The present Theatre Royal in Drury Lane, designed by Benjamin Dean Wyatt on behalf of the committee led by Whitbread, opened on 10 October 1812 with a production of "Hamlet" featuring Robert Elliston in the title role. The new theatre made some concessions toward intimacy, seating 3,060 people, about 550 fewer than the earlier building (though this size is still considered an extremely large theatre). On 6 September 1817, gas lighting was extended from the audience area to the stage, making it the first British theatre to be gaslit throughout. In 1820, the portico that still stands at the theatre's front entrance on Catherine Street was added, and in 1822 the interior underwent a significant remodelling. The colonnade running down the Russell Street side of the building was added in 1831.


title: Theatre Royal, Drury Lane

text: Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of "Cataract of the Ganges" had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by hydraulic apparatus that reportedly could discharge 39 tons of water.


title: Theatre Royal, Drury Lane

text: There were those concerned that the theatre was failing in its role as one of the very few permitted to show legitimate drama. Management of the theatre after it reopened in 1813 fell to Samuel James Arnold, overseen by an amateur board of directors and a subcommittee focusing on the theatre as a centre for national culture. (Lord Byron was briefly on this subcommittee, from June 1815 until leaving England in April 1816.) Actor Edmund Kean was the on-stage highlight; like Macklin before him, he made his reputation as Shylock, premiering in the role in 1814. Kean remained until 1820 through praise and notorious disputes with local playwrights such as Charles Bucke.


title: Theatre Royal, Drury Lane

text: Elliston leased the theatre from 1819 until he went bankrupt in 1826. An American, Stephen Price of New York City's Park Theatre, followed from 1826 to 1830.


title: Theatre Royal, Drury Lane

text: Through most of the remainder of the 19th century, Drury Lane passed quickly from one proprietor to another. A colonnade was added to the Russell Street frontage, in 1831, by architect Samuel Beazley. In 1833, Alfred Bunn gained control of both Drury Lane and Covent Garden, managing the former from 1833 to 1839, and again from 1843 to 1850. Following the lead of the Lyceum Theatre, London, Bunn championed English opera, rather than the Italian operas that had played earlier at the theatre. These included "Fair Rosamond" and "Farinelli" by John Barnett; a series of twelve operas by Michael Balfe including "The Maid of Artois" and "The Bohemian Girl"; "Maritana" and others by William Vincent Wallace and several by Julius Benedict. In 1837, actor-manager Samuel Phelps (1804–1878) joined the company at Drury Lane, appearing with William Charles Macready, the gifted actor-manager in several Shakespeare plays. He also created the role of Captain Channel in Douglas Jerrold's melodrama, "The Prisoner of War" (1842), and of Lord Tresham in Robert Browning's "A Blot in the 'Scutcheon" (1843). Macready was briefly manager in 1841–1843, putting significant reforms in place. Nevertheless, most productions there were financial disasters.


title: Theatre Royal, Drury Lane

text: The theatrical monopoly first bestowed by Royal Letters Patent 183 years earlier was abolished by the Theatres Act 1843, but the patent had been largely toothless for decades and this had little immediate effect. On the other hand, other theatres, used to presenting musical entertainments, continued to do so, and Drury Lane continued as one of the most accepted venues for legitimate theatre. The 19th-century run of financial and artistic failures at Drury Lane was interrupted by four plays produced over a twenty-five-year period by the actor-playwright Dion Boucicault: "The Queen of Spades" (1851), "Eugenie" (1855), "Formosa" (1869), and "The Shaughraun" (1875). But this period of general decline culminated with F. B. Chatterton's 1878 resignation; in his words, "Shakespeare spells ruin, and Byron bankruptcy." During the 19th century, Drury Lane staged ballet as well, with performers including Italy's Carlotta Grisi.


title: Theatre Royal, Drury Lane

text: One famous musical director of Drury Lane was the eccentric French conductor and composer of light music Louis-Antoine Jullien (1812–1860), who successfully invited Berlioz to visit London and give concerts in the Theatre.


title: Theatre Royal, Drury Lane

text: The house's fortunes rose again under the management of Augustus Harris from 1879. In the 1880s and 1890s, the theatre hosted many of the productions of the Carl Rosa Opera Company. Harris focused increased resources on the theatre's annual pantomime, beginning at Christmas 1888, adding a well-known comedian, Dan Leno. These spectacular Christmas shows were a major success, often playing into March. They were choreographed by the theatre's dance master, John D'Auban. Many of the designs under Harris were created by the imaginative designer C. Wilhelm, including the spectacular drama, "Armada" (1888), and many of the pantomimes. Productions relying on spectacle became the norm at Drury Lane under the managements first of Harris, from 1879 to 1896, and then of Arthur Collins from 1896 to 1923. Examples include the 1909 play, "The Whip", which featured not only a train crash, but also twelve horses recreating the 2,000 Guineas Stakes on an on-stage treadmill. Jimmy Glover, Director of Music from 1893 to 1923, was a significant figure at the theatre during the Collins years and wrote books which record much more than its musical life.


title: Theatre Royal, Drury Lane

text: In 1922, under the ownership of managing director Sir Alfred Butt, the theatre underwent its last major interior renovation of the 20th century. At a cost of £150,000, it became a four-tiered theatre able to seat just over 2,000 people. It was decorated with one of the most notable interiors produced by the specialist ornamental plasterwork company of Clark and Fenn. Composer and performer Ivor Novello, immensely popular in his time though little-remembered today, presented his musicals in Drury Lane from 1931 to 1939.


title: Theatre Royal, Drury Lane

text: The theatre was closed in 1939 because of the outbreak of the Second World War. During the war, it served as the headquarters for the Entertainments National Service Association, sustaining some minor bomb damage. It reopened in 1946 with Noël Coward's "Pacific 1860".


title: Theatre Royal, Drury Lane

text: In 2000, Theatre Royal Drury Lane was purchased by Andrew Lloyd Webber. , it has been owned and managed by LW Theatres, Lloyd Webber's management company. The seating plan for the theatre remains the same and the auditorium is still one of the largest in London's West End. It is one of the 40 theatres featured in the 2012 DVD documentary series "Great West End Theatres", presented by Donald Sinden.


title: Theatre Royal, Drury Lane

text: On 15 May 2013, Lloyd Webber revealed a £4 million restoration of the theatre to mark its 350th anniversary. Using a team of specialists, the detailed restoration has returned the public areas of the Rotunda, Royal Staircases and Grand Saloon, all of which were part of the 1810 theatre, to their original Regency style.


title: Theatre Royal, Drury Lane

text: Four of Rodgers and Hammerstein's musicals made their London debuts in Drury Lane, holding the stage almost continuously for nearly a decade, including "Oklahoma!" (1947–1950), "Carousel" (1950–1951), "South Pacific" (1951–1953) and "The King and I" (1953–1956). American imports also included Lerner and Loewe's "My Fair Lady", which began a five-year run in 1958. Productions in the 1960s included "Camelot" (1964–1965), "Hello, Dolly!" (1965–1967) and "The Great Waltz" (1970–1972). In 1974, Monty Python recorded an album at the theatre, "Live at Drury Lane".


title: Theatre Royal, Drury Lane

text: Later long runs at the theatre include productions of "A Chorus Line" (1976–1979), "42nd Street" (1984–1989), "Miss Saigon" (1989–1999, the theatre's longest-running show), "The Producers" (2004–2007), "The Lord of the Rings" (2007–2008), "Oliver!" (2009–2011) and "Shrek The Musical" (2011–2013). "Charlie and the Chocolate Factory the Musical" played from 2013 through January 2017.


title: Theatre Royal, Drury Lane

text: The author Tom Ogden calls the Theatre Royal one of the world's most haunted theatres. The appearance of almost any one of the handful of ghosts that are said to frequent the theatre signals good luck for an actor or production. The most famous ghost is the "Man in Grey", who appears dressed as a nobleman of the late 18th century: powdered hair beneath a tricorne hat, a dress jacket and cloak or cape, riding boots and a sword. Legend says that the Man in Grey is the ghost of a knife-stabbed man whose skeletal remains were found within a walled-up side passage in 1848. Various people have reported seeing the ghost, including W. J. MacQueen-Pope, who described its usual path as starting at the end of the fourth row in the upper circle and then proceeding via the rear gangway to the wall near the royal box, where the remains were found.


title: Theatre Royal, Drury Lane

text: The ghosts of actor Charles Macklin and clown Joseph Grimaldi are also supposed to haunt the theatre. Macklin appears backstage, wandering the corridor which now stands in the spot where, in 1735, he killed fellow actor Thomas Hallam in an argument over a wig ("Goddamn you for a blackguard, scrub, rascal!" he shouted, thrusting a cane into Hallam's face and piercing his left eye). Grimaldi is reported to be a helpful apparition, purportedly guiding nervous actors skilfully about the stage on more than one occasion. The comedian Stanley Lupino said he had seen the ghost of Dan Leno in a dressing room.


title: Julio Urías

text: Julio César Urías Acosta (born August 12, 1996), nicknamed "El Culichi", is a Mexican professional baseball pitcher for the Los Angeles Dodgers of Major League Baseball (MLB). The Dodgers signed him in 2012, and he made his MLB debut in 2016.


title: Julio Urías

text: Urías is the son of Carlos Urías and Juana Isabel Acosta. He played with the Mexico national youth team in his early teens. At age 14, Urías met Los Angeles Dodgers scout Mike Brito, who had first scouted Fernando Valenzuela in the late 1970s. In June 2012, the Dodgers discovered 15-year-old Urías at a showcase in Oaxaca, on the same scouting trip in Mexico on which they signed Yasiel Puig. The Dodgers signed him on August 12, his 16th birthday. The Dodgers paid a signing fee of US$450,000, most of which went to the Diablos Rojos del México of the Mexican League.


title: Julio Urías

text: Urías made his professional debut on May 25, 2013, for the Great Lakes Loons in the Midwest League as the youngest player in the league, striking out six batters over three shutout innings. He made a total of 18 starts and finished the season 2–0 with a 2.48 ERA, recording 67 strikeouts in 54.1 innings. He spent 2014 with the Rancho Cucamonga Quakes of the California League. In 25 appearances (20 of which were starts), he was 2–2 with a 2.36 ERA. He struck out 109 batters while walking only 37.


title: Julio Urías

text: Urías was selected to play for the World team at the 2014 All-Star Futures Game and was selected as the Dodgers organizational "Minor League Pitcher of the Year" for 2014. He received an invitation to attend the team's 2015 major league spring training camp. After pitching in two games, for a total of two innings and a 4.50 ERA, he was the first to be cut from the roster and was reassigned to the team's minor league camp on March 14, 2015.


title: Julio Urías

text: Urías was ranked by MLBpipeline.com as the top left-handed pitching prospect in all of baseball entering the 2015 season. MLB.com ranked him the 8th-best prospect in baseball, and "Baseball America" named him the #10 prospect in 2015. The Dodgers assigned him to the AA Tulsa Drillers of the Texas League to start the 2015 season. He was 3–4 with a 2.77 ERA in 13 starts for Tulsa.


title: Julio Urías

text: Urias was promoted to the AAA Oklahoma City Dodgers on August 31, 2015. He struggled in his first AAA action, allowing nine runs in innings over two starts. He also allowed six runs, including a grand slam homer, in just one inning in his one start in the Pacific Coast League playoffs. He was again invited to attend Dodgers spring training. He was assigned to AAA to begin the season, where he was 4–1 with a 1.10 ERA in seven starts. He also had a 27-inning scoreless streak during May for Oklahoma City.


title: Julio Urías

text: Urías was promoted to the Los Angeles Dodgers to make his major league debut against the New York Mets on May 27, 2016. At 19, he was the youngest starting pitcher to debut in the Majors since Félix Hernández in the 2005 season and the second youngest Dodgers starting pitcher to debut since 18-year-old Rex Barney in the 1943 season. (Joe Moeller at 19 years and 55 days is the youngest LA Dodger starting pitcher). Urias struggled in his debut, lasting only innings while allowing five hits, three runs and four walks. He did strike out three, including the first batter he faced, Curtis Granderson. He was optioned back to AAA after the game. Three days later, he was returned to the active roster after starter Alex Wood went on the disabled list. Urías made his second start on June 2 against the Chicago Cubs. In 5 innings pitched, he gave up 6 runs (5 earned), including 3 home runs. He allowed 8 hits, and struck out 4. He picked up his first major league win, against the Milwaukee Brewers, on June 28, 2016, when he allowed two runs on two hits in six innings. He was the first teenage Dodger pitcher to throw 100 pitches in a game since Joe Moeller in 1962. He pitched in 18 games for the Dodgers, 15 of them starts, and was 5–2 with a 3.39 ERA, 84 strikeouts and 31 walks. He led the major leagues in pickoffs, with six.


title: Julio Urías

text: Urías pitched two innings of relief in game five of the 2016 National League Division Series, picking up the win. At 20 years, 62 days old he became the youngest Dodgers pitcher to ever pitch in the postseason. He was two weeks younger than Don Drysdale was in game four of the 1956 World Series. He was also the fourth-youngest pitcher in MLB postseason history, behind Ken Brett (1967 World Series), Bert Blyleven (1970 ALCS), and Don Gullett (1970 NLCS and 1970 World Series). He became the youngest pitcher ever to start a postseason game when he started game four of the 2016 National League Championship Series. He allowed four runs in only innings in the game.


title: Julio Urías

text: The Dodgers chose to keep Urías in extended spring training rather than having him on the opening day roster to start 2017, with the goal of limiting his innings so he would be able to pitch more later in the season. He rejoined the major league starting rotation on April 27. He made five starts for the Dodgers and was 0–2 with a 5.40 ERA. He was optioned back to the minors on May 21. In June while pitching for Triple-A Oklahoma City, Urías tore the anterior capsule in his left shoulder, which ended his 2017 season and required surgery.


title: Julio Urías

text: Urías spent most of the 2018 season recuperating from his injury and didn't begin rehabbing in the minors until July 30. He made three appearances for the Dodgers during the regular season, pitching four scoreless innings in September. Despite that, he was added to the Dodgers roster for the 2018 NLCS and 2018 World Series. He allowed one run in innings against the Milwaukee Brewers in the NLCS and one run in three innings against the Boston Red Sox in the World Series.


title: Julio Urías

text: Urías was scheduled to begin 2019 in the bullpen to reduce his innings in the early going, but injuries to Clayton Kershaw and Rich Hill led to him beginning the season in the rotation. He started four times, including a nine-strikeout game (in six innings) while allowing only one hit against the Brewers on April 18, after which he joined the bullpen. He picked up his first career save on May 6 against the Atlanta Braves.


title: Julio Urías

text: Urías was placed on paid administrative leave on May 14 as a result of a domestic battery investigation, but was reinstated on May 21. On August 17, Urias was suspended for 20 games.


title: Julio Urías

text: He wound up appearing in 37 games, with eight starts, and was 4–3 with a 2.49 ERA and 85 strikeouts. Balls hit against him had the lowest average exit velocity (83.2 mph) of those hit against all major league pitchers. Urías appeared in three of the five games of the NLDS against the Washington Nationals, allowing three runs to score in innings and recording the loss in Game 4.


title: Julio Urías

text: Urías agreed with the Dodgers on a one-year, $1 million contract for 2020, avoiding arbitration. In the pandemic-shortened 2020 season, he became a full-time starter for the Dodgers and went 3–0 with a 3.27 ERA in 11 games. Urías picked up the win in the Dodgers' first playoff game of the season, the opener of the Wild Card Series against the Milwaukee Brewers, pitching three scoreless innings (with five strikeouts) in relief of Walker Buehler. In the NLDS against the San Diego Padres, he appeared in Game 3, working five innings, including one unearned run, to pick up the series-clinching win. In the NLCS against the Atlanta Braves he was the winning pitcher in the two games in which he appeared. Urías started Game 3 and allowed one run on three hits in five innings and then pitched the final three innings of the series-deciding Game 7, allowing no runners to reach base. Urías then started Game 4 of the 2020 World Series against the Tampa Bay Rays, pitching 4.2 innings and allowing two runs on four hits while striking out nine. In Game 6, Urìas entered in the 7th inning and pitched scoreless innings to record the save and was on the mound when the Dodgers clinched their championship.


title: Julio Urías

text: Starting more than 20 games in a season for the first time in his career, Urías enjoyed his best season to date. He ended his 2021 campaign starting in 32 games, pitching innings with 195 strikeouts, a 2.96 ERA, and a 20–3 record, the best in the league. He became the first pitcher in the National League since Max Scherzer in 2016 to collect 20 wins in a season, which was the most in the majors in 2021 and only the fourth 20-win season by a Mexican-born pitcher.


title: Julio Urías

text: Urías started the second game of the 2021 NLDS against the San Francisco Giants, and allowed only one run on three hits in five innings with five strikeouts to pick up the win. He also pitched in the deciding fifth game of the series, entering in the third inning after the Dodgers decided to use two openers. He pitched four innings and allowed one run on three hits as the Dodgers won the series. He next appeared in a relief role in Game 2 of the 2021 NLCS against the Atlanta Braves, where he allowed two runs to score on three hits in only one inning, blowing the lead in a game the Dodgers lost. He then started, three days later, in Game 4 of the series, where he struggled, allowing five runs on eight hits in five innings to record the loss.


title: Julio Urías

text: Urías signed a one-year, $8 million contract with the Dodgers for 2022, in his second season of salary arbitration.


title: Julio Urías

text: Continuing on his excellent form from the previous season, Urías kept his place on the Dodgers starting rotation. Despite owning a 3–4 record at the end of May after 10 starts, he compiled a solid 2.89 ERA, 42 strikeouts, and only 12 walks in that span. He went 3-1 in 5 June starts, achieveing a 2.20 ERA for the month, and lowering his overall ERA down to 2.64. He tossed a combined 12 innings in which he only allowed one earned run and two in total, in two victories against the Cleveland Guardians and the Atlanta Braves. Despite his solid numbers, Urías was not elected to the All-Star Game. Following the All-Star break, he went 4-0 in five starts in July, achieving a 2.71 ERA for the month.


title: Julio Urías

text: To start August, he pitched a combined 18 innings in three wins against the Giants, Twins, and Brewers, in which he only allowed a single run: a Gilberto Celestino single that brought in Gio Urshela against Minnesota on August 9. He ultimately went 4–1 in the month, with a superb 0.90 ERA to go with 34 strikeouts in 30 innings pitched.


title: Julio Urías

text: For the season, Urías finished 17–7 with 166 strikeouts and led the National League in ERA with 2.16.


title: Julio Urías

text: Urías' primary pitch is a fastball with a typical velocity between 90 and 95 miles per hour, peaking at 97. He also throws a low-80s changeup, curveball, and slider. His curveball initially had primarily horizontal movement, resembling a slurve. During the 2016 season, he altered his grip to add vertical movement. He began using the slider in 2015. Urías is also known for his pickoff move, leading the major leagues in his rookie season with six pickoffs.


title: Julio Urías

text: Urías underwent three surgeries on his left eye during his youth to remove a benign mass. As a result, his left eye is nearly closed, but he is able to see through it. When asked about his eye condition, Urías, a devout Roman Catholic, said, "That's how God works. He gave me a bad left eye but a good left arm." On May 19, 2015, he had elective surgery to correct the condition.


title: Julio Urías

text: In May 2019, Urías was arrested for domestic battery. The LA city attorney deferred prosecution on the condition that Urías participate in a hearing, not commit acts of violence against anyone, and complete a 52-week domestic violence counseling program in person.


title: Vibhuti

text: In Hinduism, vibhuti (), also called bhasma or thiruneeru, is sacred ash made of burnt dried wood, burnt cow dung and/or cremated bodies used in Agamic rituals. Hindu devotees apply "vibhuti" traditionally as three horizontal lines across the forehead and other parts of the body to honour Shiva. "Vibhuti" smeared across the forehead to the end of both eyebrows is called "tripundra".


title: Vibhuti

text: According to the "Shiva Purana", the particles of ash which cling to the skin when "tripundra" is applied are to be considered to be individual lingams. The scriptures further state that "bhasma" purifies the soul and elevates the devotee of Shiva, and that works done without wearing "bhasma" are fruitless. There are various methods for the application of the ashes, according to the "Shiva Purana", and various mantras to be recited during application.


title: Vibhuti

text: Another meaning of "vibhuti" is a 'glorious form', in contrast with avatar, a reincarnation of Brahman.


title: Vibhuti

text: Vaishnava theology describes a "vibhuti" as 'incarnation of power', a temporary occasional manifestation such as when holy men are infused with divine virtues and qualities are infused.


title: Vibhuti

text: Sri Aurobindo mentions a "vibhuti" as "the hero of a race's struggle towards divine achievement, the hero in the Carlylean sense of heroism, a power of God in man."


title: Girl before a Mirror

text: Girl before a Mirror is an oil on canvas painting by Pablo Picasso, which he created in 1932. The painting is a portrait of Picasso's mistress and muse, Marie-Thérèse Walter, who is depicted standing in front of a mirror looking at her reflection. It is housed in the collection of the Museum of Modern Art in New York City.


title: Girl before a Mirror

text: This painting was produced in 1932, a significant year in Picasso's artistic career. By this point in his life, Picasso had already reached the age of 51 and had established his reputation as an important artist. In 1932, Galerie Georges Petit presented a retrospective exhibition of his work, which was an unusual event for an artist, with Picasso taking control of the curation. This was also a highly productive year for Picasso, in which he focused many of his works on his 22-year-old mistress and muse Marie-Thérèse Walter. His 1932 portraits of her were the first public display of their secret affair during his marriage to Olga Khokhlova.


title: Girl before a Mirror

text: Several months after completing this portrait, Picasso stated, "The body of work one creates is a form of diary", alluding to the autobiographical nature of the work. Alfred H. Barr, Jr., Director of The Museum of Modern Art, reported that Picasso had said that he "preferred this painting to any of the others in the long series he had completed that spring".


title: Girl before a Mirror

text: Walter was Picasso's mistress from January 1927 until 1941. Their first meeting occurred outside Galeries Lafayette in Paris, when Walter was aged 17 and Picasso was 45. He introduced himself by saying, "You have an interesting face, I would like to do a portrait of you. I am Picasso". His marriage to Olga Khokhlova was strained, due to his infidelities. As a result, Picasso's affair with Walter had to initially remain a secret.


title: Girl before a Mirror

text: Françoise Gilot, Picasso’s partner from 1944 to 1953, commented, "I could see that she was certainly the woman who had inspired Pablo plastically more than any other. She had a very arresting face with a Grecian profile. The whole series of portraits of blonde women Pablo painted between 1927 and 1935 are almost exact replicas of her".


title: Girl before a Mirror

text: In 1930, Picasso decided to purchase Château de Boisgeloup, a country house 45 miles northwest of Paris. This allowed him to spend time with Walter away from his wife on weekends. Despite being unaware of Picasso's relationship with Walter, Olga eventually uncovered the truth in a series of nude portraits that Picasso showcased at the retrospective exhibition at Galerie Georges Petit in October 1932. Many of Picasso's portraits of his mistress contained symbolism which was sexually charged, most notably in "Le Rêve." By 1934, Olga's rage reached a crisis point and she left the apartment in Paris. In the same year on Christmas Eve, Walter informed Picasso that she was pregnant and he promised that he would file for divorce. She eventually gave birth to a daughter, Maya, on 5 September 1935. The couple stayed in a relationship for more than ten years, but never married.


title: Girl before a Mirror

text: "Girl Before a Mirror" is portrait of Picasso's mistress, Marie-Thérèse Walter, which he created on 14 March 1932. It is signed by Picasso in white paint in the top left corner and dated on the reverse. The painting measures 162.3 cm x 130.2 cm and was created using oils on canvas. It is an image of a woman looking at her reflection in a mirror, which reveals a darker version of herself. The woman's face has been divided into two halves, one of which is presented in a calm, lilac hue, while the other is painted roughly in bright, yellow paint. The reflection offers another representation of the subject, in which she appears to be older and her face sunken, perhaps as an image of her mortality. In the background a vivid diamond pattern completes the scene, which is reminiscent of the harlequin with which Picasso so often identified in previous works.


title: Girl before a Mirror

text: The composition is a complex arrangement of luminous colours and lines, compartmentalised into sections, which has resulted in the painting being likened to a stained-glass window or cloisonné enamel. Multiple layers in the paint show that it was reworked by Picasso to produce the final dense and compressed image. In this composition, Picasso used elements of Cubism to break apart the form of the woman. She is portrayed from the side, yet her reflection depicts her from the front. The organic nature of this portrait also displays a Surrealist style dating from the 1920s and 1930s.


title: Girl before a Mirror

text: Picasso's use of bright colours in this painting is reminiscent of the work of other artists. This period in his artistic career is often referred to as his "Gauguin phase", due to the use of the harmonising tones of lavender and yellow used in the woman's face, which can be seen in Paul Gauguin's artwork. The patterns and bright colours present in this painting have also been likened to the work of Henri Matisse.


title: Girl before a Mirror

text: "Girl Before a Mirror" is an illustration of Picasso's departure from traditional painting techniques, such as texture and tonality in the representation of the subject. In contrast to these traditions, Picasso depicted his muse with flat blocks of colour covering an entire spectrum. There is little use of light and dark that would normally be used to convey the volume of objects and no representation of texture, such as the woman's hair or skin. Picasso instead emphasised the two-dimensional nature of the canvas and paint. The image is abstract, as it depicts the woman's form unrealistically, using curvilinear lines and circular shapes to convey the fullness of her anatomy and her fertility. The composition has been carefully constructed to offset the curvilinear forms of the woman's figure with the geometric diamond pattern that frames her.


title: Girl before a Mirror

text: "Girl Before a Mirror" has been noted for its complex symbolism. The art historian Robert Rosenblum drew attention to the duality of the subject's face, which on one side has been painted smoothly in a delicate tone and, on the other side, with a garish, bright colour. This has been considered as contrasting references to youth and old age or light and darkness. Rosenblum states that Picasso is "merging... one of the most pervasive cultural myths about women inherited from the nineteenth century, the polarity between virgin and whore, archetypes that haunted Picasso from his earliest years."


title: Girl before a Mirror

text: Anne Umland comments on the relationship between the woman and her reflection, remarking that the image "reinvents the time-honored artistic theme of a woman before her mirror in radically modern terms, tinged by the mortal associations of traditional Vanity images and by powerful psychic overtones.


title: Girl before a Mirror

text: Picasso's rendering of the reflection in the mirror has been described by Debbie Goldberg at the Museum of Modern Art as a depiction of Death. Picasso made reference to other artworks within his compositions and may have been influenced by a painting belonging to a friend which was an image of Death holding up a mirror to a woman. The prevailing theme of this is "memento mori" or "remember that life is brief". Picasso also combined the elements of sex and death in his works, most notably in "Les Demoiselles d’Avignon." To illustrate this theme, Picasso depicted the subject reflected in the mirror as both somber and voluptuous, indicating a transformation of the traditional subject of vanitas by combining sensuality and death.


title: Temozolomide

text: Temozolomide (TMZ), sold under the brand name Temodar among others, is a medication used to treat brain tumors such as glioblastoma and anaplastic astrocytoma. It is taken by mouth or via intravenous infusion.


title: Temozolomide

text: The most common side effects with temozolomide are nausea, vomiting, constipation, loss of appetite, alopecia (hair loss), headache, fatigue, convulsions (seizures), rash, neutropenia or lymphopenia (low white-blood-cell counts), and thrombocytopenia (low blood platelet counts). People receiving the solution for infusion may also have injection-site reactions, such as pain, irritation, itching, warmth, swelling and redness, as well as bruising.


title: Temozolomide

text: Temozolomide is an alkylating agent used to treat serious brain cancers; most commonly as second-line treatments for astrocytoma and as the first-line treatment for glioblastoma. Olaparib in combination with temozolomide demonstrated substantial clinical activity in relapsed small cell lung cancer.


title: Temozolomide

text: In the United States temozolomide is indicated for the treatment of adults with newly diagnosed glioblastoma multiforme concomitantly with radiotherapy and subsequently as monotherapy treatment; or adults with refractory anaplastic astrocytoma who have experienced disease progression on a drug regimen containing nitrosourea and procarbazine.


title: Temozolomide

text: In the European Union temozolomide is indicated for adults with newly diagnosed glioblastoma multiforme concomitantly with radiotherapy and subsequently as monotherapy treatment; or children from the age of three years, adolescents and adults with malignant glioma, such as glioblastoma multiforme or anaplastic astrocytoma, showing recurrence or progression after standard therapy.


title: Temozolomide

text: Temozolomide is contraindicated in people with hypersensitivity to it or to the similar drug dacarbazine. The use of temozolomide is not recommended in people with severe myelosuppression.


title: Temozolomide

text: The most common side effect is bone marrow suppression. The most common non-hematological adverse effects associated with temozolomide are nausea and vomiting, which are either self-limiting or readily controlled with standard antiemetic therapy. These latter effects are usually mild to moderate (grade 1 to 2). The incidence of severe nausea and vomiting is around 4% each. Patients who have pre-existing or a history of severe vomiting may require antiemetic therapy before initiating temozolomide treatment. Temozolomide should be administered in the fasting state, at least one hour before a meal. Antiemetic therapy may be administered before, or following, administration of temozolomide.


title: Temozolomide

text: Lactating women should discontinue nursing while receiving the drug because of the risk of secretion into breast milk.


title: Temozolomide

text: One study indicated that women that have taken temozolomide without concomitant fertility preservation measures achieve pregnancy to a lesser rate later in life, but the study was too small to show statistical significance in the hypothesis that temozolomide would confer a risk of female infertility.


title: Temozolomide

text: In male patients, temozolomide can have genotoxic effects. Men are advised not to father a child during or up to six months after treatment and to seek advice on cryoconservation of sperm prior to treatment, because of the possibility of irreversible infertility due to temozolomide therapy.


title: Temozolomide

text: As temozolomide is not metabolized in the liver and has a low affinity to plasma proteins, it is expected to have a low potential for interactions. An analysis of patient data showed no interactions with a range of other drugs; the exception is valproic acid, which slightly slows down temozolomide elimination from the body. Combining the drug with other myelosuppressants may increase the risk of myelosuppression.


title: Temozolomide

text: The therapeutic benefit of temozolomide depends on its ability to alkylate/methylate DNA, which most often occurs at the N-7 or O-6 positions of guanine residues. This methylation damages the DNA and triggers the death of tumor cells. However, some tumor cells are able to repair this type of DNA damage, and therefore diminish the therapeutic efficacy of temozolomide, by expressing a protein "O"-alkylguanine DNA alkyltransferase (AGT) encoded in humans by the "O"-6-methylguanine-DNA methyltransferase ("MGMT") gene. In some tumors, epigenetic silencing of the "MGMT" gene prevents the synthesis of this enzyme, and as a consequence such tumors are more sensitive to killing by temozolomide. Conversely, the presence of AGT protein in brain tumors predicts poor response to temozolomide and these patients receive little benefit from chemotherapy with temozolomide.


title: Temozolomide

text: Temozolomide is quickly and almost completely absorbed from the gut, and readily penetrates the blood–brain barrier; the concentration in the cerebrospinal fluid is 30% of the concentration in the blood plasma. Intake with food decreases maximal plasma concentrations by 33% and the area under the curve by 9%. Only 15% (10–20%) of the substance are bound to blood plasma proteins. Temozolomide is a prodrug; it is spontaneously hydrolyzed at physiological pH to 3-methyl-(triazen-1-yl)imidazole-4-carboxamide (MTIC), which further splits into monomethylhydrazine, likely the active methylating agent, and 5-aminoimidazole-4-carboxamide (AIC). Other metabolites include temozolomide acid and unidentified hydrophilic substances.


title: Temozolomide

text: Temozolomide is an imidazotetrazine derivative. It is slightly soluble in water and aqueous acids, and decomposes at . It was recently discovered that temozolomide is an explosive, tentatively assigned as UN Class 1.


title: Temozolomide

text: Mirroring its medicinal use as an alkylating antineoplastic agent, temozolomide has been reported to be a comparatively safe and stable "in situ" source of diazomethane in organic synthesis. In particular, its use as a methylating and cyclopropanating reagent was demonstrated.


title: Temozolomide

text: The agent was discovered by Simon Langdon, Niel Gibson and John Hickman at Aston University in Birmingham, England. The molecule was synthesised by PhD student Robert Stone, in a project directed by Malcolm Stevens to find anti-allergens. Its preclinical activity was reported in 1987 in "Cancer Research". Stevens then directed its development with the late Edward Newlands at Charing Cross Hospital.


title: Temozolomide

text: It was approved for medical use in the European Union in January 1999, and in the United States in August 1999. The intravenous formulation was approved in the United States in February 2009.


title: Temozolomide

text: Laboratory studies and clinical trials have started investigating the possibility of increasing the anticancer potency of temozolomide by combining it with other pharmacologic agents. For example, clinical trials have indicated that the addition of chloroquine might be beneficial for the treatment of glioma patients. Laboratory studies found that temozolomide killed brain tumor cells more efficiently when epigallocatechin gallate (EGCG), a component of green tea, was added; however, the efficacy of this effect has not yet been confirmed in brain-tumor patients. Preclinical studies reported in 2010 on investigations into the use of the novel oxygen diffusion-enhancing compound trans sodium crocetinate (TSC) when combined with temozolomide and radiation therapy and a clinical trial was underway .


title: Temozolomide

text: While the above-mentioned approaches have investigated whether the combination of temozolomide with other agents might improve therapeutic outcome, efforts have also started to study whether altering the temozolomide molecule itself can increase its activity. One such approach permanently fused perillyl alcohol, a natural compound with demonstrated therapeutic activity in brain cancer patients, to the temozolomide molecule. The resultant novel compound, called NEO212 or TMZ-POH, revealed anticancer activity that was significantly greater than that of either of its two parent molecules, temozolomide and perillyl alcohol. Although , NEO212 has not been tested in humans, it has shown superior cancer therapeutic activity in animal models of glioma, melanoma, and brain metastasis of triple-negative breast cancer.


title: Temozolomide

text: Because tumor cells that express the MGMT gene are more resistant to the effects of temozolomide, researchers investigated whether the inclusion of "O"-benzylguanine ("O"-BG), an AGT inhibitor, could overcome this resistance and improve the drug's therapeutic effectiveness. In the laboratory, this combination indeed showed increased temozolomide activity in tumor-cell culture in vitro and in animal models in vivo. However, a recently completed phase-II clinical trial with brain-tumor patients yielded mixed outcomes; while there was some improved therapeutic activity when "O"-BG and temozolomide were given to patients with temozolomide-resistant anaplastic glioma, there seemed to be no significant restoration of temozolomide sensitivity in patients with temozolomide-resistant glioblastoma multiforme.


title: Temozolomide

text: Some efforts focus on engineering hematopoietic stem cells expressing the "MGMT" gene prior to transplanting them into brain-tumor patients. This would allow for the patients to receive stronger doses of temozolomide, since the patient's hematopoietic cells would be resistant to the drug.


title: Temozolomide

text: High doses of temozolomide in high-grade gliomas have low toxicity, but the results are comparable to the standard doses.


title: Temozolomide

text: Two mechanisms of resistance to temozolomide effects have now been described: 1) intrinsic resistance conferred by MGMT deficiency (MGMTd) and 2) intrinsic or acquired resistance through MMR deficiency (MMRd). The MGMT enzyme is the first line of repair of mismatched bases created by TMZ. Cells are normally MGMT proficient (MGMTp) as they have an unmethylated MGMT promoter allowing the gene to be expressed normally. In this state, TMZ induced DNA damage is able to be efficiently repaired in tumor cells (and normal cells) by the active MGMT enzyme. Cells may grow and pass through the cell cycle normally without arrest or death. However, some tumors cells are MGMT deficient (MGMTd). This is most commonly due to abnormal methylation of the MGMT gene promoter and suppression of gene expression. MGMTd has also been described to occur by promoter rearrangement. In cells with MGMTd, DNA damage by TMZ activates the next stage of repair in cells with a proficient Mismatch Repair enzyme complex (MMRp). In MMRp the MMR protein complex identifies the damage and causes cells to arrest and undergo death which inhibits tumor growth. However, if cells have combined MGMTd and MMR deficiency (MGMTd + MMRd) then cells retain the induced mutations and continue to cycle and are resistant to effects of TMZ.


title: Temozolomide

text: In gliomas and other cancers MMRd has now been reported to occur as primary MMRd (intrinsic or germline Lynch bMMRd) or as secondary MMRd (acquired - not present in the original untreated tumor). The latter occurs after effective treatment and cytoreduction of tumors with TMZ and then selection or induction of mutant MSH6, MSH2, MLH1, or PMS2 proteins and cells which are MMRd and TMZ resistant. The latter is described as an acquired resistance pathway with hotspot mutations in glioma patients (MSH6 p.T1219I). Other resistance pathways are also likely to exist.


title: Navan

text: Navan ( ; , meaning "the Cave") is the county town of County Meath, Ireland. In 2016, it had a population of 30,173, making it the tenth largest settlement in Ireland. It is at the confluence of the River Boyne and Blackwater, around 50 km northwest of Dublin.


title: Navan

text: Navan is a Norman foundation: Hugh de Lacy, who was granted the Lordship of Meath in 1172, awarded the Barony of Navan to one of his knights, Jocelyn de Angulo, who built a fort there, from which the town developed.


title: Navan

text: Inside the town walls, Navan consisted of three streets. These were Trimgate Street, Watergate St. and Ludlow St. (which was once called Dublingate St.).


title: Navan

text: The orientation of the three original streets remains from the Middle Ages but the buildings date from the Victorian and Edwardian periods. The town's Post Office on Trimgate Street office was built in 1908 on the site of an earlier post office. In 1990, the post office was relocated to Kennedy Road. The building of a new shopping centre re-oriented the town's centre. The onetime post office was acquired as the site of the town's first McDonald's restaurant.


title: Navan

text: Variants of "Navan" had been in use since Norman times. It is thought to come , a variant of its more common Irish name "an Uaimh". In 1922, when the Irish Free State was founded, "an Uaimh" was adopted as the town's only official name. However, it failed to gain popularity in Irish and in 1971 the name was reverted to "Navan" in English.<ref name="SI200/1971"></ref>


title: Navan

text: Navan is served by several bus routes. The town has no central bus station; there are four separate stops in the town, with different routes serving each (Market Square, Mercy Convent, Shopping Centre and Fire Station). The majority of routes are operated by Bus Éireann. The most frequent route is the 109 to Dublin, which departs from Abbey Road.


title: Navan

text: Sillan also serve the town. Royal Breffni Tours provide services to Dundalk Institute of Technology. Streamline Coaches provide services to NUI Maynooth.


title: Navan

text: Navan has a number of secondary schools, including private denominational and public inter-denominational and non-denominational. St. Patrick's Classical School is a Roman Catholic boys-only school. Loreto Secondary School, St. Michael's at the Loreto Convent, and St. Joseph's Secondary School at the Mercy Convent are both girls-only Roman Catholic convent schools. Coláiste na Mí is a VEC-run school in Johnstown that opened in 2013. Beaufort College is a large state-owned inter-denominational vocational school. The Abylity Secondary College was a parent-owned fee-paying non-denominational school.


title: Navan

text: Navan and the surrounding area has a number of primary schools, including the town's Catholic boys' primary school Scoil Mhuire, which was originally run by the De La Salle Brothers. Pierce Brosnan was a former pupil of St. Anne's Loreto, which is situated beside St. Mary's Catholic Church and near to St. Joseph's Mercy. There are also St. Paul's, St. Ultan's, and St. Oliver's primary schools. Scoil Éanna is the town's only gaelscoil. The town's only Church of Ireland secondary school, Preston School, closed in the 1970s. It is now the site of the shopping centre in the town. There is a Church of Ireland primary school known as Flowerfield School, on the Trim rd a new site. It was originally situated at the Flowerfield area of the town, on the main thoroughfare to Drogheda, in a building that has been sympathetically converted into private accommodation. There is also a multi-denominational Educate Together primary school in the town, sited at Commons Road.


title: Navan

text: Páirc Tailteann is located in Navan and is home of the Meath Gaelic football and Navan Hibernians GAC Hurling teams.


title: Navan

text: Navan R.F.C. won over 186 trophies in the 1960s and currently compete in the All Ireland League (AIL) Division 1B


title: Navan

text: Knockharley Cricket Club was founded in 1982 and are the only cricket club in County Meath competing in the Leinster Cricket Union, the club's most recent success came in 2006 when the 1st XI won the Middle 2 Leinster Cup defeating Mullingar at North Kildare.


title: Navan

text: Parkvilla Football Club was founded in 1966 and currently plays in North East Football league Premier Division and their reserve team competes in Division 3B.


title: Navan

text: Public art and sculptures in Navan include "Sniomh", by Betty Newman Maguire, which sits in front of Navan Fire Station. This sculpture is reputedly inspired by the movement of water and the merging of the rivers Boyne and Blackwater.


title: Navan

text: Another public sculpture, "The Fifth Province" by Richard King, is located on the Navan Bypass. This sculpture is composed of four branches and a central upright stem that symbolises the flowering of hope and peace.


title: Navan

text: "The Bull", designed by sculptor Colin Grehan, is a prominent piece of public art. Situated in the market square of the town, this is a 16 tonne limestone statue of a bull being held back by two handlers and commemorates the historic bull markets that took place in the area. The statue was surrounded by controversy over its cost, an estimated €8.7 million, and its location. Local man Paddy Pryle noted that "anybody coming up Timmons Hill, which is one of the main entrances into the town, will be entering Navan via the bull's arse. It is one of the most crazy things I have seen put up yet," Objections to the statue delayed its erection by 8 years.


title: Navan

text: According to local folklore a Souterrain was discovered near the Navan Viaduct in 1848. The location of its entrance has since been lost.


title: Navan

text: Another folk tale involves the ghost of Francis Ledwidge. According to the story an old friend of Ludwidge was working at the Meath Chronicle, the local news printer, when he heard the sound of Ledwidge's motorcycle outside. His friend was confused as he believed Ledwidge was fighting on the Western Front, upon going out to greet him the friend found that Ledwidge had disappeared. The story claims that this ghostly apparition appeared at the same moment he died.


title: Navan

text: In the Fenian cycle of Irish mythology, Fionn mac Cumhaill studied under the druid Finegas along the river Boyne. He is believed to have caught the Salmon of Knowledge in what is now Navan.


title: Nadia Bjorlin

text: Bjorlin was born on August 2, 1980 in Newport, Rhode Island. She is the second eldest child of Swedish composer and conductor Ulf Björlin and Fary Björlin ( Dadashi), an Iranian interior designer.


title: Nadia Bjorlin

text: Bjorlin is fluent in English, Swedish, and Farsi and is also schooled in French, Italian, and Russian.


title: Nadia Bjorlin

text: Bjorlin's family moved to her father's native country of Sweden while she was still an infant. She has described her childhood as "wonderful" with "loving parents and siblings to lean on", although Bjorlin recalls being "oblivious" to racial tensions going on in Sweden. Although she never attended school there, a few of her siblings did and she remembers them talking about how they "experienced some torment" from classmates due to being half-Iranian. Being born after the Revolution of Iran, Bjorlin says she "grew up in a time where Iranians were looked down upon in places of the world".


title: Nadia Bjorlin

text: Bjorlin's family moved back and forth between the States and Sweden before she was seven years old. They moved a few times because of her father's work, living in Stockholm, Los Angeles and Palm Beach Florida. For her education, she attended the Interlochen Center for the Arts and the Boston University Tanglewood Institute, where she was honored for her excellence in theatre, voice, music and dance. Along with her brothers Ulf and Jean Paul, Bjorlin attended the Palm Beach County School of the Arts (now Dreyfoos School of the Arts) for her first 2 years of high school. During her time there, Bjorlin sang with the Palm Beach Opera and in 1996, she competed in a large international vocal competition in Verona, Italy, where she was part of the choir who won the gold medal. While she was a junior in high school her family moved, this time to New York City. Bjorlin was able to attend the Professional Children's School, where she studied alongside other famous actors and actresses, including Julia Stiles, Gaby Hoffmann, and Macaulay Culkin. In May 1999, Bjorlin won first place in the Metro Lyric Opera Competition, taking place in NYC. When she graduated from high school, she decided to shift her focus from singing to acting.


title: Nadia Bjorlin

text: Bjorlin's first major role was in April 1999 as Chloe Lane on the soap opera "Days of Our Lives". In late 1999, she appeared as a go-go dancer in the music video for Ricky Martin's song "Shake Your Bon-Bon".


title: Nadia Bjorlin

text: Bjorlin left "Days" in June 2003 to concentrate on her singing career but returned later in December 2003. In September 2005, Bjorlin left "Days of our Lives" again and joined the cast of the UPN series "Sex, Love & Secrets". The show was canceled by the network, but Bjorlin continued to make guest appearances on television series such as "Jake in Progress" and "Out of Practice".


title: Nadia Bjorlin

text: Bjorlin appeared in the 2007 independent feature film "If I Had Known I Was a Genius", starring Markus Redmond, Whoopi Goldberg, Sharon Stone, and Tara Reid. The film was screened at the 2007 Sundance Film Festival.


title: Nadia Bjorlin

text: Bjorlin was also cast as the female lead of the Chicago Pictures' feature film, "Redline". Produced by her then fiancé, Daniel Sadek, who used his soon to fail subprime lending firm as his source of funding, the intent was to help Bjorlin break out of the soap opera scene. Released in April 2007, review aggregator website Rotten Tomatoes shows the film with a rare approval rating of 0%meaning no favorable reviews whatsoever. Bjorlin returned to "Days of Our Lives" in November 2007.


title: Nadia Bjorlin

text: In 2010, Bjorlin had a small role in "NCIS" as a suburban housewife wearing a bikini during a door-to-door canvasing by one of the NCIS investigators. That same year she guest starred on the CBS sitcom "Two and a Half Men" as Evelyn Harper's (Holland Taylor) lesbian lover, Jill.


title: Nadia Bjorlin

text: In 2011, Bjorlin was one of the stars of the reality television series "Dirty Soap" which gave viewers a behind-the-scenes view of Nadia's departure from "Days of Our Lives", and afterward, including a bit of insight into the tenuous relationship between Nadia's live-in boyfriend and her mother who doesn't like him because she believes that he doesn't treat her well enough.


title: Nadia Bjorlin

text: Bjorlin returned to her role on "Days of Our Lives" as Chloe for a two-episode stint on August 3, and 4, 2013, to commemorate the 50th anniversary of the daytime serial.


title: Nadia Bjorlin

text: Bjorlin guest starred on "2 Broke Girls" as the owner of a cat found by the girls in an episode aired on October 7, 2013.


title: Nadia Bjorlin

text: Bjorlin dated Los Angeles radio personality Frank Kramer around 2000 or 2001; Kramer would often refer to her on his show as "Tuesday". She also dated Bruce Willis around 2001–2002. Bjorlin was once engaged to subprime lending tycoon Daniel Sadek, who produced her film "Redline". Bjorlin had been in a relationship with her "Days of Our Lives" co-star Brandon Beemer for seven years until 2013.


title: Nadia Bjorlin

text: Bjorlin became engaged to boyfriend Grant Turnbull, a property developer and home builder, in August 2014. Bjorlin married Turnbull on May 15, 2015 in Palm Springs. The couple have two sons, Torin Mathias, and Viggo Sebastian.


title: Nadia Bjorlin

text: Bjorlin's father Ulf Björlin died in 1993 at age 60 due to Leukemia. Since then, Bjorlin has been involved in several charities and fundraisers to help raise awareness and money for research on this type of cancer. She has even formed her own team; "Nadia's Cancer Crusaders" to help find a cure for this disease. On June 15, 2013, Bjorlin and her then-boyfriend Brandon Beemer participated in and hosted the Leukemia & Lymphoma Society's annual "Light the Night" walk at the Skirball Cultural Center in Los Angeles, California with the goal of raising $500,000 for Leukemia research and to help people fight the disease. On October 5, 2013, Bjorlin again participated in the "Light the Night" at Sunset Gower Studios in Hollywood.


title: Nadia Bjorlin

text: In 2017, Bjorlin's sister Kamilla, also an actress, was investigated by the U.S. Securities and Exchange Commission for heading up a pump and dump scheme.


title: Nadia Bjorlin

text: Apart from singing and acting, Bjorlin is also a musician and plays the flute, harp, guitar, and piano.


title: Class of '83

text: Class of '83 is a 2020 Indian Hindi-language crime thriller film produced by Red Chillies Entertainment and directed by Atul Sabharwal for Netflix. The film is based on the book "The Class of 83" and tells the story of a hero policeman shunted to a punishment posting as the dean of the police academy. "Class of '83" is Netflix's third collaboration with Red Chillies Entertainment, following the original series "Bard of Blood" and "Betaal". The film premiered on 21 August 2020 on Netflix.


title: Class of '83

text: Class of 83, which is based on a book authored by leading crime journalist Hussain Zaidi, is set in Bombay in the 1980s when the underworld’s stranglehold on the city was becoming hard to break. Dozens of young men rendered jobless as a result of the ongoing mill strike were being lured into joining local gangs, and the nexus between powerful politicians and criminal gang leaders made it hard for the police to weed out the problem. With this as the backdrop, the film follows an ideological cop-turned-trainer who moulds five cadets into encounter specialists.


title: Class of '83

text: Yanked off the field for doing his job with more integrity than those in power would like him to, upright officer Vijay Singh (Bobby Deol) lands a ‘punishment posting’ as the dean of the Police Training Centre in Nashik. Convinced that the only way to restore order in a flawed system is to fix it from the inside, he handpicks a clutch of bold young officers and trains them to bend the law in service of the larger good.


title: Class of '83

text: Inspired from real accounts of the city’s first encounter specialists, the film depicts how the officers shrewdly planned and executed hits while staying within the system and following all necessary protocols. But then it quickly slips into a predictable rise-and-fall-and-rise narrative with egos and corruption breaking up the friends, and a last-ditch shot at redemption triggered by their mentor.


title: 777 (number)

text: 777 (seven hundred [and] seventy-seven) is the natural number following 776 and preceding 778. The number 777 is significant in numerous religious and political contexts.


title: 777 (number)

text: 777 is an odd, composite, palindromic repdigit. It is also a sphenic number, with 3, 7, and 37 as its prime factors. Its largest prime factor is a concatenation of its smaller two; the only other number below 1000 with this property is 138.


title: 777 (number)

text: According to the Bible, Lamech, the father of Noah lived for 777 years. Some of the known religious connections to 777 are noted in the sections below.


title: 777 (number)

text: According to the American publication, the Orthodox Study Bible, 777 represents the threefold perfection of the Trinity.


title: 777 (number)

text: 777 is also found in the title of the book "777 and Other Qabalistic Writings of Aleister Crowley" pertaining to the law of thelema.