title: Spring, Texas

text: Harris County Precinct 4 operates parks in the Spring CDP. Southwell Park, a facility located at 27419 Nelson Street, includes the B.F. Clark Community Building, a picnic pavilion with tables and a barbecue pit, one lighted basketball pavilion, barbecue grills, toilets, and two playgrounds: one for children aged 2 through 5 and one for those aged 5 through 12. Bayer Park, a facility at 24811 West Hardy Road, includes four lighted softball fields, seven lighted baseball fields, and toilets. Pundt Park is a park at 4129 Spring Creek Drive that was being developed as of 2008. The park was to have a canoe launch, a pavilion facility with a meeting room and toilets, a playground facility, picnic areas, and a trail system connecting Bayer Park to the Spring Creek Greenway. Precinct 4 also operates the Mercer Arboretum and Botanic Gardens, south of and adjacent to the Spring CDP at 22306 Aldine Westfield Road. The facility includes the Baldwin Boettcher Branch Library, an endangered species garden with a beaver pond, a canoe launch, picnic areas, a playground for children aged 6 through 12, a tea house, a trail, and a visitor center.


title: Spring, Texas

text: The Cypresswood Golf club is located at 21602 Cypresswood Drive in the CDP. The club leases the land from Harris County and maintains the facilities.


title: Spring, Texas

text: A water park called Six Flags Hurricane Harbor SplashTown is located in Spring. Old Town Spring is a popular shopping area in Spring.


title: Spring, Texas

text: Old Town Spring is an old town with over 150 shops, restaurants, and art galleries in Spring, a community in unincorporated Harris County, Texas.


title: Spring, Texas

text: Old Town Spring is north of the city of Houston and outside Beltway 8. Many of the original buildings, some over a hundred years old, now house places to buy antiques, collectibles, clothing, and gifts.


title: Spring, Texas

text: The population in the Old Town Spring area started growing in the early 19th century when the Spanish and French came to trade with the local Akokisa (Orcoquisac) Indians. The small town grew consistently until the early 20th century. At one time the town had as many as five saloons and a gambling hall. The town thrived on the booming railroad business in South Texas and resulting industrialization.


title: Spring, Texas

text: After the Depression, Prohibition, and a relocation of the railroad headquarters, the small town slowly declined in population until Houston's Oil boom in the 1970s and 1980s brought merchants back to the area to make the town what it is today.


title: Spring, Texas

text: This town is rumored to have been a robbery victim of Bonnie and Clyde. Though the bank building still has bullet holes from several robberies in the 1920s and 1930s.


title: Spring, Texas

text: In 2015, a parish of the Greater Church of Lucifer opened in the town, which resulted in over a hundred protestors. The Greater Church of Lucifer in Old Town Spring closed in April 2016.


title: Obake

text: These words are often translated as "ghost", but primarily they refer to living things or supernatural beings who have taken on a temporary transformation, and these "bakemono" are distinct from the spirits of the dead. However, as a secondary usage, the term "obake" can be a synonym for "yūrei", the ghost of a deceased human being.


title: Obake

text: A "bakemono's" true form may be an animal such as a fox ("kitsune"), a raccoon dog ("bake-danuki"), a badger ("mujina"), a transforming cat ("bakeneko"), the spirit of a plant—such as a "kodama", or an inanimate object which may possess a soul in Shinto and other animistic traditions. "Obake" derived from household objects are often called "tsukumogami".


title: Obake

text: A "bakemono" usually either disguises itself as a human or appears in a strange or terrifying form such as a "hitotsume-kozō," an "ōnyūdō", or a "noppera-bō". In common usage, any bizarre apparition can be referred to as a "bakemono" or an "obake" whether or not it is believed to have some other form, making the terms roughly synonymous with "yōkai".


title: Obake

text: Due to the influence of a large number of Hawaiian population with Japanese ancestry, on the islands of Hawaii the term "obake" has found its way into the dialect of the local people. Some Japanese stories concerning these creatures have found their way into local culture in Hawaii: numerous sightings of "kappa" have been reported on the islands, and the Japanese faceless ghosts called "noppera-bō" have also become well known in Hawaii under the name "mujina". This name confusion seems to have stemmed from a story by Lafcadio Hearn titled "Mujina", a story about a badger ("mujina") which takes the form of a "noppera-bō", rather than being one itself, which first introduced the faceless ghost to the Western world.


title: Obake

text: Hawaiian folklorist Glen Grant was known for his "Obake Files", a series of reports he developed about supernatural incidents in Hawaii. The grand bulk of these incidents and reports were of Japanese origin or concerned "obake".


title: Robert Klein

text: Robert Klein (born February 8, 1942) is an American stand-up comedian, singer, and actor. He is known for his appearances on stage and screen. He has released four standup comedy specials: "A Child of the 50s" (1973), "Mind Over Matter" (1974), "New Teeth" (1975), and "Let's Not Make Love" (1990). The first two albums received Grammy Award for Best Comedy Album nominations. Klein hosted "Saturday Night Live" in its first season in 1975 and again in 1978. Klein made his Broadway debut in the 1966 production of "The Apple Tree" opposite Alan Alda. He earned a Tony Award for Best Actor in a Musical nomination for his performance in Neil Simon's musical comedy "They're Playing Our Song" (1979).


title: Robert Klein

text: He is known for his film roles in "The Owl and the Pussycat" (1970), "Mixed Nuts" (1994), "One Fine Day" (1996), "Primary Colors" (1998), "Two Weeks Notice" (2002), "How to Lose a Guy in 10 Days" (2003), and "Reign Over Me" (2007). He is also known for his recurring television roles in "" (2009-2012), "The Good Wife" (2013-2014), "Madam Secretary" (2014) and "Will & Grace" (2018-2019). He has received two Primetime Emmy Award nominations for his specials, "Child in his 50's" (2001), and "Unfair and Unbalanced" (2010). He was profiled in the Starz documentary "Robert Klein Still Can't Stop His Leg" (2016).


title: Robert Klein

text: Klein was born in the Bronx, the son of Frieda (née Moskowitz) and Benjamin Klein, and was raised in a "prototypical 1950s Bronx Jewish" environment, the grandson of Hungarian-Jewish immigrants who arrived in the USA early in the 20th century. He has an older sister, Rhoda.


title: Robert Klein

text: After graduating from DeWitt Clinton High School, Klein had planned to study medicine; however, he changed his mind during his studies at Alfred University, deciding to go into acting instead.


title: Robert Klein

text: While studying at the Yale Drama School, Klein learned about an opportunity to audition for The Second City. In a piece he wrote for the improvisational troupe's book, Klein recalled sitting in a room full of other hopefuls, including Fred Willard. Klein's audition consisted of an improvisation set with Willard about two guys in a nightclub, which was successful enough to get Klein and Willard hired by Second City. In the spring of 1965, Klein was chosen as a member of Second City. When he returned to New York City a year later, he was cast by Mike Nichols in the Broadway musical "The Apple Tree".


title: Robert Klein

text: Klein's first major appearance was as host of the 1970 summer replacement television series "Comedy Tonight", on which were introduced many of the routines that in the next few years would be released on record albums. His extensive routines about the Watergate scandal made him highly popular in the 1970s. In 1974, he appeared in an episode of "Paul Sand in Friends and Lovers".


title: Robert Klein

text: Klein starred in HBO's first stand-up comedy special in 1975 during the cable channel's early broadcast days and has continued to appear in several more one-man shows which have typically concluded with his "I can't stop my leg" routine. On 15 November 1975, during Season 1, and again in Season 3, on 28 January 1978, Klein hosted "Saturday Night Live". His skits included Tough Director in 1975, Nick The Lounge Singer Sings Star Wars Theme in 1978 and The Olympia Restaurant: Cheeseburger, Chips and Pepsi in 1978.


title: Robert Klein

text: In 1979, Klein starred in Neil Simon's musical comedy "They're Playing Our Song" opposite Lucie Arnaz. He received a Tony Award for Best Actor in a Musical nomination.


title: Robert Klein

text: In 1985, he starred in the "Wordplay" segment of "The Twilight Zone", which cast him against type in a dramatic role. In 1986, Klein had his own late-night talk show, "Robert Klein Time", which ran on the USA Network until 1988. The following year, Klein hosted "Monty Python Live at Aspen", a reunion and tribute show for the five surviving members of the British comedy troupe, in a special that appeared on HBO in 1998.


title: Robert Klein

text: Klein has released four comedy albums, "A Child of the Fifties" (1973), "Mind Over Matter" (1974), "New Teeth" (1975), and "Let's Not Make Love" (1990). The first two albums received Grammy Award for Best Comedy Album nominations.


title: Robert Klein

text: In "A Child of the Fifties" (1973, Brut/Buddah Records), shown as "Child of the 50s" (on the cover), Klein talks about his life as a child in the 1950s: about air raid drills, Johnny Mathis music, showing off condoms while at the high school dance, the high school lunch ladies, Senator Joseph McCarthy, Governor W. Averell Harriman (of New York), meeting Yankee stars, the Yankees losing the World Series, and much more. He also goes into other things that he has observed in his life, such as substitute teaching, 1970s FM radio disc jockeys, late-night delis, and annoying commercials (e.g., Geritol). He also performed two songs that he wrote himself: "Fabulous '50s"; and "Middle Class, Educated Blues".


title: Robert Klein

text: His next album, "Mind Over Matter" (1974), included extensive discussion of the Watergate scandal and another song—the title track—about a kid who turned to humor to become popular.


title: Robert Klein

text: Klein's follow-up album, "New Teeth" (1975, Epic/CBS Records), featured the comedian's on-stage work on tracks such as "Mother Isn't Always Right" and his transposition of George Carlin's "Seven Words You Can't Say On Television", titled "Six Clean Words You Can Say Anywhere," with studio-recorded material such as "Continental Steel" and "On the Bayou".


title: Robert Klein

text: Klein responded to the end of the sexual revolution with his 1990 album, "Let's Not Make Love", which contained many of the same routines as his 1984 HBO special "Child of the '50s, Man of the '80s" and his 1986 special "Robert Klein on Broadway".


title: Robert Klein

text: Klein has appeared in such films as "The Owl and the Pussycat" (1970), "Hooper" (1978), "The Last Unicorn" (1982), "Radioland Murders" (1994), "One Fine Day" (1996), "Primary Colors" (1998), "The Safety of Objects" (2001), "Two Weeks Notice" (2002), "How to Lose a Guy in 10 Days" (2003), and "Ira and Abby" (2006). Klein had a recurring role in the TV drama series "Sisters". In the 1970s, he hosted "Saturday Night Live" twice. He also appeared as a guest star in the animated series "Duckman", in the NBC sitcom "Family Ties", and on the CBS sitcom "The King of Queens".


title: Robert Klein

text: In March 2007, Klein once again collaborated with Adam Sandler (after appearing in "Mixed Nuts") in "Reign Over Me", and in September 2007 released a new DVD compilation of his eight live HBO specials, entitled "Robert Klein: The HBO Specials 1975–2005". Klein starred in "The Mysteries of Laura", a crime dramedy on NBC starring Debra Messing. In this series he played the father of the show's main character, Laura. He appeared alongside Messing again in the relaunched version of her sitcom "Will & Grace", playing the father of her character, Grace Adler. In 2014, Klein played the Canadian Ambassador on "Madam Secretary". Klein played the Mayor of New York City in "" (2014) and "" (2015).


title: Robert Klein

text: On 29 January 2018, producers announced that Klein would be playing Grace Adler's father Martin in the NBC revival of "Will and Grace" replacing Alan Arkin. Klein has authored an autobiography, "The Amorous Busboy of Decatur Avenue: A Child of the Fifties Looks Back" (2006).


title: Robert Klein

text: Klein is divorced from opera singer Brenda Boozer. They have a son, Alexander Stuart Klein, who goes by Allie Klein and performs standup comedy.


title: Robert Klein

text: Jerry Seinfeld has stated Klein's influences on him stating "He was "The Beatles" of Comedy to me". Various comedians including Bill Maher, Billy Crystal, Richard Lewis, and Jay Leno, all have also cited Klein as a comedic influence.


title: Great Disappointment

text: The Great Disappointment in the Millerite movement was the reaction that followed Baptist preacher William Miller's proclamations that Jesus Christ would return to the Earth by 1844, which he called the Second Advent. His study of the Daniel 8 prophecy during the Second Great Awakening led him to conclude that Daniel's "cleansing of the sanctuary" was cleansing the world from sin when Christ would come, and he and many others prepared. When Jesus did not appear by October 22, 1844, Miller and his followers were disappointed.


title: Great Disappointment

text: These events paved the way for the Adventists who formed the Seventh-day Adventist Church. They contended that what had happened on October 22 was not Jesus' return, as Miller had thought, but the start of Jesus' final work of atonement, the cleansing in the heavenly sanctuary, leading up to the Second Coming.


title: Great Disappointment

text: Between 1831 and 1844, on the basis of his study of the Bible, and particularly the prophecy of Daniel 8:14—"Unto two thousand and three hundred days; then shall the sanctuary be cleansed"—William Miller, a rural New York farmer and Baptist lay preacher, predicted and preached the return of Jesus Christ to the earth. Miller's teachings form the theological foundation of Seventh-day Adventism. Four topics were especially important:


title: Great Disappointment

text: Miller's approach was thorough and methodical, intensive and extensive. His central principle for interpreting the Bible was that "all scripture is necessary" and that no part should be bypassed. To understand a doctrine, Miller said one needed to "bring all scriptures together on the subject you wish to know; then let every word have its proper influence, and if you can form your theory without a contradiction you cannot be in error." He held that the Bible should be its own expositor. By comparing scripture with scripture a person could unlock the meaning of the Bible. In that way the Bible became a person's authority, whereas if a creed of other individuals or their writings served as the basis of authority, then that external authority became central rather than the teaching of the Bible itself. Miller's guidelines concerning the interpretation Bible prophecy was built upon the same concepts set forth in his general rules. The Bible, so far as Miller and his followers were concerned, was the supreme authority in all matters of faith and doctrine.


title: Great Disappointment

text: The Millerite movement was primarily concerned with the return of Jesus, literally, visually, in the clouds of heaven. The French Revolution was one of several factors that caused many Bible students around the world who shared Miller's concerns to delve into the time prophecies of Daniel using the historicist methodology of interpretation. They concluded, to their satisfaction, that the end of the 1,260-"day" prophecy of Daniel 7:25 in 1798 started the era of "time of the end". They next considered the 2,300 "days" of Daniel 8:14.


title: Great Disappointment

text: Miller tied the 2,300-day vision to the Prophecy of Seventy Weeks in Daniel 9 where a beginning date is given. He concluded that the 70-weeks (or 70-7s, or 490 days/years) were the first 490 years of the 2,300 years. The 490 years were to begin with the command to rebuild and restore Jerusalem. The Bible records 4 decrees concerning Jerusalem after the Babylonian captivity:


title: Great Disappointment

text: The decree by Artaxerxes empowered Ezra to ordain laws, set up magistrates and judges; i.e. to the restored Jewish state. And gave him unlimited funds to rebuild whatever he wanted at Jerusalem.


title: Great Disappointment

text: Miller concluded that 457 BC was the beginning of the 2,300 day/year prophecy, which meant that it would end about 1843–1844 (-457 BC + 2300 years = 1843 AD). And so, too, the Second Advent would happen about that time.


title: Great Disappointment

text: Although the word "cleansed" (KJV) is a mistranslation of the Hebrew word (to justify or vindicate), he assumed that the "cleansing of the sanctuary" represented purification of the earth by fire at Christ's Second Coming. Using an interpretive principle known as the day-year principle, Miller, along with others, interpreted a prophetic "day" to read not as a 24-hour period, but rather a calendar year. Miller became convinced that the 2,300-day period started in 457 BC. with the decree to rebuild Jerusalem by Artaxerxes I of Persia. His interpretation led Miller to believeand predict, despite urging of his supportersthat Christ would return in "about 1843." Miller narrowed the time period to sometime in the Jewish year 5604, stating: "My principles in brief, are, that Jesus Christ will come again to this earth, cleanse, purify, and take possession of the same, with all the saints, sometime between March 21, 1843 and March 21, 1844." March 21, 1844, passed without incident, but the majority of Millerites maintained their faith.


title: Great Disappointment

text: After further discussion and study, Miller briefly adopted a new date—April 18, 1844—one based on the Karaite Jewish calendar (as opposed to the Rabbinic calendar). Like the previous date, April 18 passed without Christ's return. In the "Advent Herald" of April 24, Joshua Himes wrote that all the "expected and published time" had passed and admitted that they had been "mistaken in the precise time of the termination of the prophetic period". Josiah Litch surmised that the Adventists were probably "only in error relative to the event which marked its close". Miller published a letter "To Second Advent Believers," writing, "I confess my error, and acknowledge my disappointment; yet I still believe that the day of the Lord is near, even at the door."


title: Great Disappointment

text: In August 1844, at a camp meeting in Exeter, New Hampshire, Samuel S. Snow presented a new interpretation, which became known as the "seventh-month message" or the "true midnight cry". In a complex discussion based on scriptural typology, Snow presented his conclusion (still based on the 2,300-day prophecy in Daniel 8:14) that Christ would return on "the tenth day of the seventh month of the present year, 1844". Using the calendar of the Karaite Jews, he determined this date to be October 22, 1844. This "seventh-month message" "spread with a rapidity unparalleled in the Millerites experience" amongst the general population.


title: Great Disappointment

text: October 22 passed without incident, resulting in feelings of disappointment among many Millerites. Henry Emmons, a Millerite, later wrote,


title: Great Disappointment

text: The Millerites had to deal with their own shattered expectations, as well as considerable criticism and even violence from the public. Many followers had given up their possessions in expectation of Christ's return. On November 18, 1844, Miller wrote to Himes about his experiences:


title: Great Disappointment

text: There were also the instances of violence: a Millerite church was burned in Ithaca, New York, and two were vandalized in Dansville and Scottsville. In Loraine, Illinois, a mob attacked the Millerite congregation with clubs and knives, while a group in Toronto was tarred and feathered. Shots were fired at another Canadian group meeting in a private house.


title: Great Disappointment

text: Both Millerite leaders and followers were left generally bewildered and disillusioned. Responses varied: some continued to look daily for Christ's return, while others predicted different dates—among them April, July, and October 1845. Some theorized that the world had entered the seventh millennium—the "Great Sabbath", and that therefore, the saved should not work. Others acted as children, basing their belief on Jesus' words in Mark 10:15: "Truly, I say to you, whoever does not receive the kingdom of God like a child shall not enter it." Millerite O. J. D. Pickands used Revelation 14:14–16 to teach that Christ was now sitting on a white cloud and must be prayed down. It has been speculated that the majority simply gave up their beliefs and attempted to rebuild their lives. Some members rejoined their previous denominations. A substantial number joined the Shakers.


title: Great Disappointment

text: By mid-1845, doctrinal lines among the various Millerite groups began to solidify, and the groups emphasized their differences, in a process George R. Knight terms "sect building". During this time, there were three main Millerite groups—in addition to those who had simply given up their beliefs.


title: Great Disappointment

text: The first major division of the Millerite groups who retained a belief in Christ's Second Advent were those who focused on the "shut-door" belief. Popularized by Joseph Turner, this belief was based on a key Millerite passage, Matthew 25:1–13; the parable of the ten virgins.


title: Great Disappointment

text: The shut door mentioned in Matthew 25:11–12 was interpreted as the close of probation. As Knight explains, "After the door was shut, there would be no additional salvation. The wise virgins (true believers) would be in the kingdom, while the foolish virgins and all others would be on the outside."


title: Great Disappointment

text: The widespread acceptance of the shut-door belief lost ground as doubts were raised about the significance of the October 22, 1844 date—if nothing happened on that date, then there could be no shut door. The opposition to these shut-door beliefs was led by Himes and make up the second post-1844 group. This faction soon gained the upper hand, even converting Miller to their point of view. Their influence was enhanced by the staging of the Albany Conference. The Advent Christian Church has its roots in this post-Great Disappointment group.


title: Great Disappointment

text: The third major post-disappointment Millerite group also claimed, like the Hale- and Turner-led group, that the October 22 date was correct. Rather than Christ having returned invisibly, however, they concluded that the event that took place on October 22, 1844, was quite different. The theology of this third group appears to have had its beginnings as early as October 23, 1844—the day after the Great Disappointment. On that day, during a prayer session with a group of Advent believers, Hiram Edson became convinced that "light would be given" and their "disappointment explained".


title: Great Disappointment

text: Edson's experience led him into an extended study on the topic with O. R. L. Crosier and F. B. Hahn. They came to the conclusion that Miller's assumption that the sanctuary represented the earth was in error. "The sanctuary to be cleansed in Daniel 8:14 was not the earth or the church, but the sanctuary in heaven." Therefore, the October 22 date marked not the Second Coming of Christ, but rather a heavenly event. Out of this third group arose the Seventh-day Adventist Church, and this interpretation of the Great Disappointment forms the basis for the Seventh-day Adventist doctrine of the pre-Advent Divine Investigative Judgement. Their interpretations were published in early 1845 in the "Day Dawn".


title: Great Disappointment

text: Members of the Baháʼí Faith believe that Miller's interpretation of signs and dates of the coming of Jesus were, for the most part, correct. They believe that the fulfillment of biblical prophecies of the coming of Christ came through a forerunner of their own religion, the Báb, who declared that he was the "Promised One" on May 23, 1844, and began openly teaching in Persia in October 1844. Several Baháʼí books and pamphlets make mention of the Millerites, the prophecies used by Miller and the Great Disappointment, most notably Baháʼí follower William Sears' "Thief in the Night".


title: Great Disappointment

text: It was noted that the year AD 1844 was also the Year AH 1260. Sears tied Daniel's prophecies in with the Book of Revelation in the New Testament in support of Baháʼí teaching, interpreting the year 1260 as the "times, time and half a time" of Daniel 7:25 (3 and 1/2 years = 42 months = 1,260 days). Using the same day-year principle as did William Miller, Sears decoded these texts into the year AH 1260, or 1844.


title: Great Disappointment

text: It is believed by Baháʼís that if William Miller had known the year 1844 was also the year AH 1260, then he may have considered that there were other signs to look for. The Baháʼí interpretation of chapters 11 and 12 of the Book of Revelation, together with the predictions of Daniel, were explained by 'Abdu'l-Bahá, the son of the founder of the Baháʼí Faith, to Laura Clifford Barney and published in 1908 in Chapters 10, 11 and 13 of ""Some Answered Questions"". The explanation provided in Chapter 10 draws on the same biblical verses that William Miller used, and comes to the same conclusion about the year in which to expect the 'cleansing of the sanctuary' which was interpreted by 'Abdu'l-Bahá to be the 'dawn' of a new 'Revelation' – AD 1844.


title: Great Disappointment

text: The Great Disappointment is viewed by some scholars as an example of the psychological phenomenon of cognitive dissonance. The theory was proposed by Leon Festinger to describe the formation of new beliefs and increased proselytizing in order to reduce the tension, or dissonance, that results from failed prophecies. According to the theory, believers experienced tension following the failure of Jesus' reappearance in 1844, which led to a variety of new explanations. The various solutions form a part of the teachings of the different groups that outlived the disappointment.


title: Bentley Mulsanne (2010)

text: The Bentley Mulsanne is a full-size luxury car that was manufactured by Bentley from 2010 to 2020. The car is named after the Mulsanne Straight of the Le Mans racing circuit, where Bentley race cars have won six times in the 24 hours racing format. Considered one of the few vehicles entirely developed internally at Bentley, the Mulsanne did not share a platform with vehicles from Rolls-Royce or Volkswagen Group.


title: Bentley Mulsanne (2010)

text: The Mulsanne nameplate was last used by Bentley for a four-door saloon that was built between 1980 and 1992. It was resurrected as the nameplate for what would become the replacement for the Arnage, Bentley's then flagship model. The new Mulsanne was unveiled at the 2009 Pebble Beach Concours d'Elegance held on 16 August, followed by the 2009 Frankfurt Motor Show, 2010 North American International Auto Show, and the 2012 Qatar Motor Show. At the time of its launch, a coupé and convertible variant were expected to follow at some point as replacements for the Arnage-based Brooklands and Azure respectively but the coupé never came to fruition, while a convertible has been made available towards the end of the production run. Like the Arnage, the Mulsanne retains the Bentley L Series V8 engine, modified to meet Euro V emissions regulations. The engine is lighter and features cylinder de-activation and variable cam phasing to improve fuel efficiency. Unlike the less expensive Continental Flying Spur and Continental GT, the Mulsanne shares fewer common components with other marques in the Volkswagen Group.


title: Bentley Mulsanne (2010)

text: The Mulsanne is the first flagship car to be independently designed by Bentley Motors in nearly 80 years. The last independently designed Bentley automobile was W.O. Bentley's 8 litre model in 1930, after which most Bentleys shared platforms with Rolls-Royce cars.


title: Bentley Mulsanne (2010)

text: The first Mulsanne produced, with chassis number 00001, was sold in 2009 at the Gooding & Company Pebble Beach auction for US$500,000 (US$550,000 after buyer premium) to an undisclosed bidder. Deliveries in England began in Summer 2010.


title: Bentley Mulsanne (2010)

text: Features include stainless steel knobs on the dashboard which control the vent plungers, which are electronic micro switches that control electric servos. The feedback remains that of a metal rod to control the damper.


title: Bentley Mulsanne (2010)

text: Customers have a choice of 114 exterior colors, 21 carpet colours, nine wood veneers, and 24 interior leather hides, as well as a choice to specify a customized color scheme. The rear seating area may be configured to accommodate either 2 or 3 passengers. A Naim Audio 2,200 watt audio system with MP3, Bluetooth, and an MMI capability is optional.


title: Bentley Mulsanne (2010)

text: Winter accessories were introduced in 2011. In 2012, several new features were made available on the 2013 model year; a new optional Bentley-designed luxury bottle cooler and rear cabin storage area, three flutes with white LED accent lighting (designed by David Redman of London), 21-inch five-spoke Sports alloy wheels and optional tinted glass sunroof in the front cabin.


title: Bentley Mulsanne (2010)

text: The Mulsanne Mulliner Driving Specification is a special version of the Mulsanne with 21-inch light aluminum alloy wheels with titanium fasteners, wheels in painted and polished finishes, 265/40 ZR21 tires, wing vents in cast polished stainless steel, Drive Dynamics Control system with 'Sport' setting, leather hide on the front and rear seats and door casings features a 'Diamond Quilting' pattern with indented leather headlining, interior door handles with 'knurled' or 'coined' surface finish, 'Organ Stop' air ventilation controls and gear lever, leather gear lever with Baseball-style cross stitch, accelerator and brake pedals finished in drilled alloy, choice of over 100 exterior colors, unbleached veneers (with two marquetry options), choice of 22 leather hides.


title: Bentley Mulsanne (2010)

text: The Mulsanne Mulliner Driving Specification was unveiled at the 2012 Geneva Motor Show, followed by the 2012 New York International Auto Show, 2012 Goodwood Festival of Speed, and 2012 Los Angeles Auto Show.


title: Bentley Mulsanne (2010)

text: The Comfort specification includes new comfort headrests with manually adjustable wings for lateral support, new footrests with trimmed in flat-cut cabin carpet and hide, fine duck down filled loose cushions seat and a new rear door armrest storage compartment as standard.


title: Bentley Mulsanne (2010)

text: The Premiere Specification includes ambient interior mood lighting, stainless steel external trim, flying 'B' radiator mascot, rear view camera, seat ventilation and massage function along with a veneered iPod drawer.


title: Bentley Mulsanne (2010)

text: The Entertainment specification includes picnic tables with iPad and keyboard compartment, an adjustable screen angle with an anti-trap sensor; two 8-inch LCD headrest screens, 20 GB hard drive and DVD player (played through a ‘Naim for Bentley’ audio system), two sets of Bluetooth headphones and a remote control.


title: Bentley Mulsanne (2010)

text: Other options include rear cabin privacy curtains, a Wi-Fi router with Universal Mobile Telecommunications System (UMTS) phone module and SIM card reader in glove box, a dedicated antenna housed in the boot lid outside of the vehicle's steel frame, three new colours (Dark Cashmere, Portofino and Damson) and three new hide colours (Damson, Saffron and Brunel).


title: Bentley Mulsanne (2010)

text: The Speed is the performance derivative of the Mulsanne and offers greater performance and more features compared to the standard model. The 6.75-litre twin-turbocharged V8 petrol engine is modified and is rated at and of torque (meanwhile the standard model's engine is rated at and of torque) and benefits from a 13% increase in efficiency as a result of a newly redesigned combustion system that promotes a faster and more controlled combustion process. This gives the Speed a 0– acceleration time of 4.8 seconds, which is 0.3 seconds faster than the standard model. Meanwhile, the top speed is increased by about 3.4%, from . Other features specific to the Speed include a Sports mode in the suspension system settings, more styling features such as a dark tint finish applied to the exterior stainless steel matrix grille, distinctive headlights, a "floating ellipse" design on the rear taillights, Bentley's first ever directional style wheel and tyre set, and twin rifled exhaust tailpipes. Interior features include a 'colour split' with new stitch lines that balances diamond quilted light-color hide with darker, smooth hide, a 60 GB on-board hard drive, electrically-operated tables with recesses and connections for iPads and matching keyboards, and a Wi-Fi hotspot.


title: Bentley Mulsanne (2010)

text: The Bentley Mulsanne Extended Wheelbase ("EWB") was unveiled during the 2016 Geneva Motor Show, and was designed with the rear-seat passenger in mind. The EWB features an additional of rear legroom over the standard model, airline-style extending legrests and a rear compartment sunroof. Bentley has developed optional airline-style electronic leg rests for the EWB which are integrated into the bases of the two rear seats. These extend out and pivot, giving the choice between upright, relaxed and reclined seating positions. The large-format sunroof features an Alcantara sunblind, is standard on the EWB, and can be controlled by the passengers or the driver. An optional center console, made from veneer, metal, glass and leather, can be ordered to divide the rear seats. The rear seats can also be specified with folding picnic tables. Electric privacy curtains are fitted as standard to the EWB and can be tailored with either a black or ivory colored lining. Headrests, Alcantara headrest cushions and a powered Alcantara roller blind are additional options unique to the EWB.


title: Bentley Mulsanne (2010)

text: The Mulsanne Grand Limousine was presented at the 2016 Geneva Motor Show. It is 1000 mm longer and has 79mm more headroom in the back than the standard Mulsanne. The car can seat 4 persons in the back thanks to the addition of 2 rear-facing seats. The front seats are separated from the rear ones by an electrochromic glass that can be toggled between transparent and opaque.


title: Bentley Mulsanne (2010)

text: The Mulsanne Diamond Jubilee Edition is a limited (60 units) version of the Mulsanne commemorating Queen Elizabeth II's birthday and Diamond Jubilee. Notable changes included bespoke embroidery to all four headrests using gold stitching, veneered picnic tables in the rear cabin decorated with a gold overlay depicting a royal carriage, hide cushions featuring the same motif, polished stainless steel treadplate plaques with 'Bentley Mulliner, England' script and 'Diamond Jubilee Edition'.


title: Bentley Mulsanne (2010)

text: The design of the Mulsanne Executive Interior was based on the Mulsanne Executive Interior Concept. The car is offered in two specifications, Theatre and iPad. The iPad Specification includes 2 electrically-deployed veneered picnic tables for rear passengers (colour-matched to the seats of the Mulsanne) and two iPads with wireless keyboards. Mulsanne Theatre Specification includes a 15.6-inch centrally located HD LED screen or 8-inch screens fitted within the front seat headrests and a boot-mounted Apple Mac computer.


title: Bentley Mulsanne (2010)

text: The Mulsanne Executive Interior with iPad Specification was unveiled at the 2012 Moscow International Auto Salon.


title: Bentley Mulsanne (2010)

text: The Mulsanne Le Mans Edition is a limited version (48 units per model) of the Mulsanne for the North American market, commemorating Bentley's six victories at the 24 Hours of Le Mans. Each car included a unique Le Mans Edition numbered badge, Le Mans Edition clock face, embroidered Le Mans badge to each headrest, tread plates with the limited edition name, unique Le Mans Edition wheels and specific interior veneers and exterior colors. The LeMans Edition consisted of six models, named after the winning drivers:


title: Bentley Mulsanne (2010)

text: The models were unveiled at the 2013 Pebble Beach Concours d'Elegance and went on sale in third quarter of 2013.


title: Bentley Mulsanne (2010)

text: The Shaheen is a Limited Edition version of the Bentley Mulsanne equipped with the Mulliner Driving Specification as standard. The Shaheen was unveiled at the 2013 Dubai Motor Show and specifically developed for the Middle East market, with design details inspired by the Shaheen eagle, a bird of prey found in the Middle East. Changes include Tungsten over Onyx paintwork inspired by the colourings of the Shaheen eagle, Magnolia and Beluga leather interior upholstery, Dark Stained Burr Walnut Veneer, a bespoke signature Mulsanne Shaheen logo on the rear iPad picnic tables using a gold overlay, iPad picnic tables, a Wi-Fi hotspot, a large tilt-opening tinted glass sunroof, and an electrically operated bottle cooler.


title: Bentley Mulsanne (2010)

text: The Mulsanne Seasons Collector's Editions (慕尚四季臻藏版) are limited (10 units for each of orchids (Spring), bamboo (Summer), chrysanthemums (Autumn), and plum (Winter); 1 unit for Golden Pine (Whole Year Edition)) versions of 2014 Bentley Mulsanne with Mulliner Driving Specification for China market, inspired China's culture. Designed with Lin Xi's interpretation of the Chinese 'Four Seasons', all models include 21-inch Mulliner Polished Wheel, twin picnic tables. Each model includes a season-specific theme (except Golden Pine):


title: Bentley Mulsanne (2010)

text: The vehicles were unveiled at the 2013 Guangzhou International Auto Show. The Golden Pine car was sold for 8,880,000 yuan, while other models were sold for 6,880,000 yuan.


title: Bentley Mulsanne (2010)

text: The Birkin Edition is a Limited Edition model of the Bentley Mulsanne equipped with the Mulliner Driving Specification and Entertainment Specification (twin 8-inch LCD screens in the rear of the seat headrests, a DVD player, a Wi-Fi hotspot, the Naim for Bentley audio system and iPads integrated into the hand-crafted solid wood picnic tables) as standard. The Birkin Edition was inspired by Sir Henry ‘Tiger’ Tim Birkin and limited to 22 units exclusively for the European market. Other features specific to this model include a choice of 3 body colour schemes (Ghost White, Damson, and a contrast of Fountain Blue and Dark Sapphire), numbered door sill plaques, a 21-inch wheel design inspired by those on the original Mulsanne concept car, a 3D 'Flying B' logo stitched into the vehicle headrests and inlaid into the wood of the front fascia and rear picnic tables, a luggage set individually numbered and hand-crafted to match with the interior of each car.


title: Bentley Mulsanne (2010)

text: The 95 is a Limited Edition version of the Bentley Mulsanne developed to celebrate the company's 95th anniversary, and limited to 15 units reserved for the UK market. Exterior colour options unique to the 95 include Britannia Blue, Empire Red or Oxford White over an interior of blue and white two-tone leather divided by red stitching. Other features specific to this model include the words ‘Ninety Five’ joined by Union Jack Flags on illuminated treadplates, the number ’95’ is also embroidered onto the front and rear seats, the Flying 'B' bonnet mascot with a darker tint, and wood veneer that Bentley claims is sourced from a fallen walnut tree aged between 300 and 400 years old.


title: Bentley Mulsanne (2010)

text: The "Blue Train" is a Limited Edition version of the Bentley Mulsanne Speed created to celebrate the 1930 Bentley Speed Six coupé that outran the so-called "Blue Train" Calais-Mediterranée Express from Cannes to Calais, going so far as to return to London four minutes before the train reached the English Channel. A total of four Bentley Mulsanne Speed "Blue Train" models would be built, in celebration of the four-minute victory. Two of the cars were rendered in Beluga (solid black) and the other two cars were open to custom paint schemes. Other features specific to this model include 21-inch black wheels with polished centers, a chrome grille surround with a black square-mesh insert evocative of the original Blue Train, a Bentley Driver's Club badge fixed to the grille, a retractable Flying 'B' engraved with the words "Blue Train 85 Years", Burnt Oak and Camel leather, door stitch patterns that mimic the original car, sill plates and headrests showcasing the original car's silhouette, and a rendering of the original car in the burr walnut passenger-side wood veneer. The first production unit featured a unique picnic set, trimmed with the same two-tone leathers as the interior of the car, containing Robbe & Berking silver cutlery, Haviland Limoges porcelain, 'champagne flutes', and an Angora picnic rug. The Mulliner team handcrafted the leather cutlery holders as well as the leather rug holder which featured "Blue Train" embroidery. The picnic set was offered as an option for the other three cars.


title: Bentley Mulsanne (2010)

text: The Mulsanne W.O. Edition was presented at the 2018 Geneva Motor Show as a 100th anniversary celebration of the founding of Bentley Motors by W.O. Bentley. Designed by Mulliner, each W.O. Edition is claimed to feature a piece of the crankshaft from W.O. Bentley's personal car, displayed in the arm rest in an integrated display case. The interior is upholstered in leather, and the dashboard contains the owner's signature. The signature is also present on the front bumper, and special badges are located on the sills and wheel centres.


title: Bentley Mulsanne (2010)

text: The exterior colour scheme is reminiscent of the Bentley 8 Litre, and features a two-tone paint scheme with chrome present on the radiator grille and bonnet strip. Production is limited to 100 units.


title: Bentley Mulsanne (2010)

text: Due to the increasingly stringent emission regulations, the Mulsanne was discontinued in 2020. Bentley unveiled the final edition of the Mulsanne called the "Mulsanne 6.75 Edition by Mulliner" which is limited to 30 units. This model marks the end of the Mulsanne production, the end of the Mulsanne as Bentley's flagship model, and the end of the world's longest continuously produced V8 engine, spanning 60 years. The 6¾-litre V8 engine, introduced in 1959 and heavily revised and updated in 2010, could not be updated any further to meet newer emission regulations, namely emissions. No replacement for either Mulsanne or 6¾-litre V8 engine is planned. Instead, the third generation Flying Spur would replace the Mulsanne as Bentley's flagship model.


title: Bentley Mulsanne (2010)

text: The Mulsanne Executive Interior Concept is a version of the Mulsanne demonstrating a new multimedia connectivity concept. It included two electric-powered, foldable wood veneer picnic tables in the rear cabin, each with Apple iPad and Apple Bluetooth keyboards; Apple Mac Mini stored in boot compartment, roof console with High Definition LED dropdown monitor, illuminated rear centre console fitted with twin individual armrests, rear console with Apple iPod (control panel), two cup holders, tissue box and large stowage area; Apple iPod controls (Rear Seat Entertainment (RSE) and audio system, Apple Media Centre, plays music and access to internet), 2 USB connectors provided for the Apple system and one Apple interface connector for the iPod, control keys on rear console operate picnic tables, reading lights, control HD LED screen and select video and audio options; Armrest with Tibaldi pen and 'Privacy Telephone handset', bottle cooler in rear centre console with illuminated double-glazed frosted glass door, additional multi-directional reading lights provided for each rear passenger and can be operated with Apple devices, mood lighting in the rear centre console (using multiple soft glowing LEDs), illuminated docking station and cup holders.


title: Bentley Mulsanne (2010)

text: The Bentley Grand Convertible is a four-seat, luxury convertible concept car from Bentley Motors. The car debuted at the 2014 LA Auto Show.


title: Bentley Mulsanne (2010)

text: Production of the Mulsanne began at the Crewe plant in Spring 2010 and ended in Summer 2020. Each car took about 400 hours to produce.


title: Bentley Mulsanne (2010)

text: As part of Mulsanne Seasons Collector's Editions launch, Breitling SA produced a Breitling for Bentley B04 GMT Mulsanne wrist watch.


title: Bentley Mulsanne (2010)

text: During the Mulsanne Seasons Collector's Editions launch in 2013 Guangzhou International Auto Show, the 1000th Chinese customer for Bentley Mulsanne was announced.


title: Agnes of Rome

text: Agnes of Rome () is a virgin martyr, venerated as a saint in the Catholic Church, Oriental Orthodox Church and the Eastern Orthodox Church, as well as the Anglican Communion and Lutheran Churches. St. Agnes is one of several virgin martyrs commemorated by name in the Canon of the Mass.


title: Agnes of Rome

text: She is, among other patronages, a patron saint of girls, chastity, virgins, victims of sex abuse, and gardeners. Saint Agnes' feast day is 21 January.


title: Agnes of Rome

text: Substantially the broader social circumstances of her martyrdom are believed to be authentic, though the legend cannot be proven true, and many details of the fifth century "Acts of Saint Agnes" are open to criticism. A church was built over her tomb, and her relics venerated.


title: Agnes of Rome

text: According to tradition, Agnes was a member of the Roman nobility, born in AD 291 and raised in an early Christian family. She suffered martyrdom at the age of twelve or thirteen during the reign of the Roman emperor Diocletian, on 21 January 304.


title: Agnes of Rome

text: A beautiful young girl from a wealthy family, Agnes had many suitors of high rank, and the young men, slighted by her resolute devotion to religious purity, submitted her name to the authorities as a follower of Christianity.


title: Agnes of Rome

text: The Prefect Sempronius condemned Agnes to be dragged naked through the streets to a brothel. In one account, as she prayed, her hair grew and covered her body. It was also said that all of the men that attempted to rape her were immediately struck blind. The son of the prefect was struck dead but revived after she prayed for him, causing her release. There commenced a trial from which Sempronius recused himself, allowing another figure to preside and sentence St. Agnes to death. She was led out and bound to a stake, but the bundle of wood would not burn, or the flames parted away from her, whereupon the officer in charge of the troops drew his sword and beheaded her, or, in some other texts, stabbed her in the throat. It is also said that her blood poured to the stadium floor where other Christians soaked it up with cloths.


title: Agnes of Rome

text: Agnes was buried beside the Via Nomentana in Rome. A few days after her death, her foster-sister, Emerentiana, was found praying by her tomb; she claimed to be the daughter of Agnes' wet nurse, and was stoned to death after refusing to leave the place and reprimanding the pagans for killing her foster-sister. Emerentiana was also later canonized. The daughter of Constantine I, Constantina, was said to have been cured of leprosy after praying at Agnes' tomb. She and Emerentiana appear in the scenes from the life of Agnes on the 14th-century Royal Gold Cup in the British Museum.


title: Agnes of Rome

text: An early account of Agnes' death, stressing her young age, steadfastness and virginity, but not the legendary features of the tradition, is given by Ambrose.


title: Agnes of Rome

text: Agnes was venerated as a saint at least as early as the time of St Ambrose, based on an existing homily. She is commemorated in the "Depositio Martyrum" of Filocalus (354) and in the early Roman Sacramentaries.


title: Agnes of Rome

text: Saint Agnes' bones are conserved beneath the high altar in the church of Sant'Agnese fuori le mura in Rome, built over the catacomb that housed her tomb. Her skull is preserved in a separate chapel in the church of Sant'Agnese in Agone in Rome's Piazza Navona.


title: Agnes of Rome

text: Because of the legend around her martyrdom, Saint Agnes is patron saint of those seeking chastity and purity. She is also the patron saint of young girls and girl scouts. Folk custom called for them to practise rituals on Saint Agnes' Eve (20–21 January) with a view to discovering their future husbands. This superstition has been immortalised in John Keats's poem, "The Eve of Saint Agnes".


title: Agnes of Rome

text: Since the Middle Ages, Saint Agnes has traditionally been depicted as a young girl with her long hair down, with a lamb, the symbol of both her virginal innocence and her name, and a sword (together with the palm branch an attribute of her martyrdom). The lamb, which is "agnus" in the Latin language, is also the linguistic link to the traditional blessing of lambs referred to below.


title: Agnes of Rome

text: On the feast of Saint Agnes two lambs are traditionally brought from the Trappist abbey of Tre Fontane in Rome in order to be blessed by the Pope. In summer the lambs are shorn, and the wool is used to weave the pallia which the Pope gives on the feast of Saint Peter and Paul to the newly appointed metropolitan archbishops as a sign of his jurisdiction and their union with the pope. This tradition of the blessing of the lambs has been known since the 16th century.


title: Agnes of Rome

text: The Congregation of Sisters of St. Agnes is a Roman Catholic religious community for women based in Fond du Lac, Wisconsin, US. It was founded in 1858, by Father Caspar Rehrl, an Austrian missionary, who established the sisterhood of pioneer women under the patronage of Agnes, to whom he had a particular devotion.


title: Agnes of Rome

text: In the historical novel "Fabiola or, the Church of the Catacombs", written by Cardinal Nicholas Wiseman in 1854, Agnes is the soft-spoken teenage cousin and confidant of the protagonist, the beautiful noblewoman Fabiola.


title: Agnes of Rome

text: The instrumental song "Saint Agnes and the Burning Train" appears on the 1991 album "The Soul Cages" by Sting.


title: Agnes of Rome

text: The song "Bear’s Vision of St. Agnes" appears on the 2012 album "Ten Stories" by rock band mewithoutYou.


title: Agnes of Rome

text: The St. Agnes Library is a branch of the New York Public Library located on the Upper West Side of Manhattan, on Amsterdam Avenue between West 81st and West 82nd Streets.


title: Barry Shabaka Henley

text: Barry Shabaka Henley (born Barry Joseph Henley; September 15, 1954) is an American character actor. Henley has appeared as a regular in a number of television series, has numerous film credits, and is a fixture in films by director Michael Mann, having worked with the director five times. Since 2019, he has co-starred in the CBS sitcom "Bob Hearts Abishola".


title: Barry Shabaka Henley

text: His stage name, Shabaka, is taken from a Pharaoh from Egypt's 25th dynasty, who ruled from 721 to 707 BC.


title: Barry Shabaka Henley

text: Henley was born in New Orleans, Louisiana. His mother was a dance teacher, and he often tagged along to watch recitals. During his childhood his family moved to San Francisco, and he attended the San Francisco Polytechnic High School, where he was taught by Johnny Land. Henley's first true audition came at age 17 when he heard that the Encore Theatre was looking for a certain type. He was given the script but did not think he was a good fit for the part and determined not to read it. But, Henley has said, "On the bus from 45th and Quintara to Mason and Geary, it hit me...You know what, I guess this guy wants me to memorize this stuff. So I memorized it on the bus." He spent the next several years acting on stage before moving to the screen. His early stage work included appearances with the San Francisco Mime Troupe, and a performance as "Factwino."


title: Barry Shabaka Henley

text: In "Ali", Henley played Herbert Muhammad. In "Collateral", he portrayed a sensitive jazz musician living on borrowed time. He played Buddy in the 1998 film "How Stella Got Her Groove Back" and Pokerface in the 1999 film "Life". In 2004 he appeared in Steven Spielberg's "The Terminal", playing an airport U.S. Customs Officer. He portrayed Crockett and Tubbs' boss Lieutenant Martin Castillo in the movie version of "Miami Vice" in 2006. He also appeared in the 2016 film "Paterson".


title: Barry Shabaka Henley

text: Henley appeared in the television series "Robbery Homicide Division" and "". From 2009 to 2010 he played FBI Agent Vreede in the television series "FlashForward". In 2010 Henley played Dr. Olson in the season 3 "Lie to Me" episode "Veronica". In 2011 he appeared as the murderer in the "Body of Proof" episode "Letting Go" and in 2012 he reunited with Michael Mann for the TV series "Luck", playing a parole officer. In 2015 he played a police detective in the "Breaking Bad" spin-off series "Better Call Saul".


title: Barry Shabaka Henley

text: In 2019, Henley joined the cast of "Agents of S.H.I.E.L.D.", part of the Marvel Cinematic Universe franchise.


title: Barry Shabaka Henley

text: Henley is a regular cast member on the CBS TV sitcom "Bob Hearts Abishola" (2019–present), appearing as Abishola's Uncle Tunde.


title: Barry Shabaka Henley

text: As a stage actor, Henley's honors include the Drama Desk, Obie, and Olivier Awards. He was also a member of the West Coast Black Repertory Theatre and the San Francisco Mime Troupe.


title: We Are Never Ever Getting Back Together

text: "We Are Never Ever Getting Back Together" is a song by American singer-songwriter Taylor Swift, taken from her fourth studio album, "Red" (2012). It was released for digital download and to U.S. pop radio as the lead single from "Red" on August 13, 2012, by Big Machine Records. Swift wrote and produced the song with Max Martin and Shellback. An incorporation of many pop styles, "We Are Never Ever Getting Back Together" contains pulsing synthesizers, processed guitar riffs, bass drums, and a spoken-word bridge. Its lyrics express Swift's frustration with an ex-lover who wants to rekindle their relationship. An alternate version was released to U.S. country radio on August 21, 2012.


title: We Are Never Ever Getting Back Together

text: Music critics praised the track for its catchy melody and radio-friendly sound, though some described its lyrics as subpar for Swift's songwriting abilities. The song appeared in year-end lists by "Rolling Stone", "Time", and "The Village Voice". "We Are Never Ever Getting Back Together" peaked atop the charts in Canada and New Zealand, and reached the top five in Australia, Ireland, Israel, Japan, and the U.K. On the U.S. "Billboard" Hot 100, the single debuted at number 72 and rose to number one the following week, registering one of the biggest single-week jumps in chart history. The single spent a record-breaking nine consecutive weeks topping the Hot Country Songs chart, and received multi-platinum certifications in Australia, Japan, New Zealand, and the U.S.


title: We Are Never Ever Getting Back Together

text: The music video for the song was released on August 30, 2012. The accolades that "We Are Never Ever Getting Back Together" received include a "Billboard" Music Award for Top Country Song, a Grammy Award nomination for Record of the Year, a CMT Music Award nomination for Best Music Video, and a People's Choice Award nomination for Favorite Song. Swift included the song on the set lists of three of her world tours: the Red Tour (2013–14), the 1989 World Tour (2015), and Reputation Stadium Tour (2018). A re-recorded version of the song is featured on "Red (Taylor's Version)", Swift's 2021 re-recording of her 2012 album.


title: We Are Never Ever Getting Back Together

text: After writing "Speak Now" (2010) entirely solo, Swift opted to collaborate with different songwriters and producers for "Red". Thus, she called Max Martin and Shellback, two songwriters and producers whose work she admired, to discuss a possible collaboration. The trio conceived the concept for "We Are Never Ever Getting Back Together" shortly after a friend of Swift's ex-boyfriend walked into the recording studio and spoke of rumors he heard that Swift and her former flame were reuniting. After the friend left, Martin and Shellback asked Swift to elaborate on the details of the relationship, which she described as "break up, get back together, break up, get back together, just, ugh, the worst". When Martin suggested that they write about the incident, Swift began playing the guitar and singing, "We are never ever...", and the song flowed rapidly afterwards. She described the process as one of the most humorous experiences she had while recording, and said the musical partners matched her expectations. An audio clip of her sarcastically speaking about breakups can be heard before the final chorus.


title: We Are Never Ever Getting Back Together

text: The single was the lead single from "Red". Swift premiered the single on August 13, 2012, during a live chat on Google+ with the song released on Google Play that day for digital download and to iTunes and Amazon.com the next day, August 14. A lyric video also premiered on Swift's official Vevo that same day. The song was released to Adult Contemporary radio stations on August 13, 2012 and to mainstream radio stations the next day. The song was released to country radio on August 21, 2012. The music video for the song premiered on August 30, 2012. A limited edition individually numbered CD single was released to Swift's official store and Amazon.com on September 4, 2012. The limited edition CD single was packaged with a "We Are Never Ever Getting Back Together" T-shirt and backpack. The CD single was also available for individual purchase. The CD single was released exclusively to US Walmart stores the same day.


title: We Are Never Ever Getting Back Together

text: "We Are Never Ever Getting Back Together" is three minutes and 12 seconds long. Swift wrote and produced the song with Max Martin and Shellback. Written in the key of G major, it has a common time signature and a tempo of 86 beats per minute, with Swift's vocals spanning from G to D. The production features prominent electronic elements—pulsing synthesizers, processed vocals, and a drum machine, alongside acoustic instruments of guitars and banjo. Musicologist James E. Perone noted that Swift's vocals on "We Are Never Ever Getting Back Together" are both robotic and humane, thanks to the balance between processed vocals during most of the verses and unprocessed vocals at the end of each refrain as well as in the bridge and the spoken interlude. The alternate version released to country radio incorporates a softer production.


title: We Are Never Ever Getting Back Together

text: In contemporary reviews, critics found "We Are Never Ever Getting Back Together" an incorporation of many pop-music styles. Jonathan Keefe of "Slant Magazine" and "Spin" described it as bubblegum pop, and AllMusic's Stephen Thomas Erlewine categorized the song as dance-pop. Meanwhile, "Entertainment Weekly" called it "a sublime explosion of Euro-pop glee". James Lancho, reviewing "Red" for "The Daily Telegraph", called the song "sassy pop-rock in the mould of Katy Perry", and Marc Hogan of "Spin" deemed the single "saucy electro-pop". Steve Hyden, reflecting on the single in a 2021 article for "The New York Times", characterized the song as electro-folk. Perone noticed influences of hip hop on the thumping bass drum, and commented that "We Are Never Ever Getting Back Together" is a musically flexible track, in that its song structure and melodic qualities resemble a conventional country song, but with modern influences of contemporary music that make it adaptable to many different genres.


title: We Are Never Ever Getting Back Together

text: The lyrics are about a protagonist's frustration over an ex-boyfriend who wants to rekindle their relationship. At one point, Swift sings, "And you would hide away and find your peace of mind/ With some indie record that's much cooler than mine," deriding the ex-boyfriend's pretentious music taste while referencing her own profession as a musical artist. Swift said that the cited lyrics were the song's most important detail because they reveal her real-life ex-boyfriend's judgement of her music, "It was a relationship where I felt very critiqued and subpar. He'd listen to this music that nobody had heard of ... but as soon as anyone else liked this band, he'd drop them." To this extent, she wrote "We Are Never Ever Getting Back Together" in hopes of commercial success to spite the ex-boyfriend, "Not only would it hopefully be played a lot, so that he'd have to hear it, but [also] it's the opposite of the kind of music that he was trying to make me feel inferior to."


title: We Are Never Ever Getting Back Together

text: Upon initial release, music critics commented on the single's pop production and related it to Swift's country-music identity. Robert Myers of "The Village Voice" felt that the song, while "good", was "not Swift at her best" and speculated that the decision to release it as a lead single was made for commercial reasons: "I doubt 'Never Ever' is even close to being the best song on "Red"; it's a teaser, an indication to her fans of what's coming up. That sounds like commercial calculation of the worst kind, but I don't think it is. Swift's connection with her audience is possibly more important than her connection with her boyfriends. And there is one brilliant touch: the spoken bit that comes after the middle eight." Grady Smith of "Entertainment Weekly" drew comparisons with Avril Lavigne and praised the "undeniable, instantly catchy hook". While describing the song as "joyous", he nevertheless expressed concern that the song's "juvenile sensibilities" marked a regression following Swift's work on "Speak Now". Jody Rosen of "Rolling Stone" noted that the song's "hooks, plural, have a zing that's more Stockholm than Nashville. But it's unmistakably Taylor: a witty relationship postmortem, delivered in inimitable girlie-girl patois. And this bit – "I'm just, I mean, this is exhausting. Like, we are never getting back together. Like, ever" – might be the most sublime spoken-word interlude in pop since Barry White died."


title: We Are Never Ever Getting Back Together

text: Marah Eakin of "The A.V. Club" commented on "what a good song it is": "With its thumping kick drum, clipped syncopation, and mildly snarky lyrics, it's a teen dream in the vein of Swift's other sing-along jams like "Love Story" or "You Belong with Me." Kevin Coyne of "Country Universe" gave the song a failing D grade, calling it a "huge step backward". James Montgomery of MTV felt the "fantastic" song may "represent a turning point in her career ... Swift no longer has any interest in being the victim ... [She] displays a defiant, liberated streak". He noted that the song seemed "custom-crafted to dominate radio ... all shiny, silvery guitars and walloping, whomping choruses". Amy Sciarretto of "Popcrush" praised Swift for capturing a "universal feeling in an upbeat, empowering song" and described it as "one of the catchiest tunes she's ever penned". Jonathan Keefe of Slant Magazine described "the melodic hook" as the song's best attribute but criticized Swift's "stilted phrasing". He described her vocal performance as a "complete misfire", pointing out that her voice was at its "most unpleasant and nasal". However, Keefe warned that it was "premature" to say the "full-on pop" song "signals anything more than a temporary breakup". David Malitz of "The Washington Post" found the song immature and remarked, "the chorus is catchy but if this is representative of what awaits on "Red", it's hard to be too excited". Glenn Gamboa of "Newsday" described it as "anthemic in a slick pop way, rather than her usual modern country way ... Part of T. Swizzle's charm is the way she makes her songs sound genuine and conversational and 'Never Ever' is no exception". Billy Dukes of "Taste of Country" stated that "[Swift] captures the anger of young love gone wrong better than anyone since, well…[Taylor] Swift" and that the song's melody is "difficult to embrace quickly." However, Camille Mann of CBS News considered the song to be "catchy".


title: We Are Never Ever Getting Back Together

text: "We Are Never Ever Getting Back Together" featured on 2012 year-end lists by "Rolling Stone" (second), "Time" (fourth), "The Guardian" (fifth), "The Village Voice"s Pazz & Jop critics' poll (sixth), "PopMatters" (11th), "NME" (24th), and "Consequence" (40th). The single was named the 169th best song of 2010–2014 on "Pitchfork"'s "The 200 Best Tracks of the Decade So Far (2010-2014)" list. It also received a Grammy nomination for Record of the Year for the 2013 Grammy Awards. In 2019, "Stereogum" ranked the song as the 71st best song of the 2010s. "Rolling Stone" ranked the song as the thirteenth-best female country song of the 2000s and 2010s. The "Tampa Bay Times" ranked it 4th on their list of the best 2010s pop songs. Critics have placed "We Are Never Ever Getting Back Together" highly on rankings of Swift's entire catalog; Hannah Mylrea from "NME" (2020) ranked it 15th out of 161 songs in Swift's discography, Nate Jones from "Vulture" (2021), 7th out of 179, and Sheffield (2021), 21st out of 206. Alexis Petridis from "The Guardian" ranked the track 11th on a 2019 ranking of Swift's 44 singles, deeming it "revitalised – smarter, snarkier and tougher" compared to the "artistically underwhelming" "Speak Now".


title: We Are Never Ever Getting Back Together

text: In the U.S., "We Are Never Ever Getting Back Together" debuted at number 72 on the "Billboard" Hot 100 chart week ending August 25, 2012, based on two days of airplay. It rose to number one the following week, registering one of the biggest single-week jumps in chart history. Giving Swift her first Hot 100 number one, it made Swift the country artist with the most top-ten chart entries (11, tying with Kenny Rogers). It spent three non-consecutive weeks at number one, becoming the first country song to spend three or more weeks at number one after Kenny Rogers's "Lady" (1980). The single stayed in the top ten for thirteen non-consecutive weeks. On the Radio Songs chart, "We Are Never Ever Getting Back Together" entered at number 25, the highest debut for a song by a female country artist. It peaked at number three for three non-consecutive weeks, giving Swift her fourth top-ten entry. On the Hot Digital Songs chart, "We Are Never Ever Getting Back Together" debuted at number one with first-week sales of 623,000 digital copies in the week ending September 1, 2012, setting a record for the fastest-selling digital single by a female artist in "Billboard" chart history.


title: We Are Never Ever Getting Back Together

text: The single debuted at number 13 on the Hot Country Songs chart week ending September 1, 2012, based on airplay alone. After "Billboard" changed the methodology for the chart, incorporating digital sales and streaming into chart rankings in addition to airplay, "We Are Never Ever Getting Back Together" ascended to number one for the chart dated October 20, 2012, giving Swift her seventh Hot Country Songs number one. This prompted industry debate over the status of Swift as a country artist, given that "We Are Never Ever Getting Back Together" received lukewarm reception at country radio and never reached the top ten of the Country Airplay chart, and was more favorably received at pop radio. It remained on the top spot of the Hot Country Songs for nine consecutive weeks, breaking the eight consecutive weeks record of Connie Smith's "Once a Day" (1965) for the longest unbroken run at number one for a female artist. The song spent a total of ten weeks at number one, a career best for Swift and a record for the longest-run at number one for a female artist.


title: We Are Never Ever Getting Back Together

text: "We Are Never Ever Getting Back Together" peaked within the top ten of "Billboard" airplay charts including Adult Contemporary, where it reached number ten for seven non-consecutive weeks, Adult Top 40, where it reached number seven, and Mainstream Top 40, where it peaked at number two for four non-consecutive weeks. Roughly two months after its release, the single surpassed two million U.S. digital sales by September 2012, making Swift the first country artist two have six digital singles each sell over two million copies. By July 2019, "We Are Never Ever Getting Back Together" had sold 4.1 million copies in the U.S. The Recording Industry Association of America (RIAA) certified the single six times platinum, denoting six million units based on sales and streaming. In neighboring Canada, the single peaked atop the Canadian Hot 100, Swift's second number one following "Today Was a Fairytale" (2010). It was certified gold by Music Canada (MC).


title: We Are Never Ever Getting Back Together

text: Outside North America, "We Are Never Ever Getting Back Together" peaked atop the record chart in New Zealand, where it was certified double platinum by Recorded Music NZ (RMNZ). The single peaked within the top ten on charts in Israel (number two), Australia (number three), Ireland (number four), the U.K. (number four), Norway (number six), Hungary (number nine), and Spain (number nine). It peaked at number eight on Euro Digital Song Sales, a "Billboard" chart monitoring digital singles across Europe. The track was certified platinum in Sweden and the U.K., and five times platinum in Australia. By October 2014, the single had sold over 616,000 digital copies in the U.K. In Japan, "We Are Never Ever Getting Back Together" was a major chart hit, peaking at number two on the Japan Hot 100 and remained on the chart until 2015, three years after its release. The Recording Industry Association of Japan (RIAJ) awarded the single a "Million" certification for selling over one million digital copies.


title: We Are Never Ever Getting Back Together

text: A music video for the song premiered on CMT, MTV and TeenNick on August 30, 2012, at 7:49 pm Eastern time, and later on MTV.com, CMT.com, and VH1.com the same day at 8:00 pm Eastern time. The video is directed by Declan Whitebloom, with whom Swift has worked on the music videos for both "Mean" and "Ours". The video was shot like a pop-up book using a Sony F65 CineAlta camera with Leica 25 mm Summilux-C lens in one continuous shot with no editing, and features five sets and Swift in as many outfits. It is also the first music video to be featured in 4K resolution. According to Swift, she wanted the video to be as "quirky as the song sounds" and stated that "There's just knitting everywhere; there's just random woodland creatures popping up." Prior to the video's release, a fourteen-second preview was released by CMT on their official YouTube on August 30, 2012. As of October 2022, it has over 700 million views on YouTube.


title: We Are Never Ever Getting Back Together

text: The video, which is done as one continuous shot, begins with Swift in colorful pajamas recounting the events of her off and on again relationship with her ex-boyfriend (played by Noah Mills). The video then segues into Swift going into her living room where her band is dressed up in animal costumes and Swift belts out the chorus of the song. The video then goes to a TV where Swift says "Like, ever." and then to the dining room where we see she returns to recounting the events of her relationship and receives a phone call from her ex who is calling her from a nightclub. Swift hangs up on him and he walks off screen into the nightclub. It then goes to the two in a truck having an argument then to them having a stroll in the park. Swift then runs off and we see her on the phone telling the person on the other line how she and her ex are not getting back together and her frustration of their entire relationship. The video then segues back to Swift's living room where a party is going on and her ex shows up unannounced trying to woo her back and she slams the door in his face. The video ends with Swift on her window ledge where she was at the beginning of the video, singing the last line of the song.


title: We Are Never Ever Getting Back Together

text: James Montgomery of MTV praised the video stating that the video is "truly a treat to watch". Jim Farber of the New York Daily News comment on the video was that "[Swift's] tone and demeanor in the clip is conversational and sarcastic, ideally suited to simulating intimacy with her massive teen girl fan-base." Carl Williott of Idolator commented on the video's content and stated "what more could you ask for in a visual for a #1 pop smash?" "Rolling Stone" called it "flinging strong-willed sass". David Greenwald of "Billboard" stated that the video "is a quirky celebration that finds Swift singing and dancing with band members in animal costumes in between relationship flashbacks -- all filmed in an elaborate long shot. Swift wears large glasses and a pair of printed pajamas as she shrugs off her not-so-nice ex-boyfriend, a scruffy, seemingly older musician-type with a penchant for drama."


title: We Are Never Ever Getting Back Together

text: Swift performed the song live for the first time at the 2012 MTV Video Music Awards on September 6, 2012, which was held at the Staples Center in Los Angeles. Swift was the last performance of the night and, wearing a red and white striped shirt and black shorts (reminiscent of a female circus ringmaster), began her performance in an area resembling a recording studio before taking the stage along with her back-up singers, dancers and band (in animal costumes) took the stage. Swift also performed the song live at the iHeartRadio Music Festival in 2012 and 2014. During her visit to Brazil, she performed the song on "TV Xuxa" and during a concert in Rio de Janeiro on September 13, 2012. "We Are Never Ever Getting Back Together" is the opening theme song of the reality TV show "", which began on October 12, 2012, and is included on some of its soundtracks.


title: We Are Never Ever Getting Back Together

text: Swift performed the song on the British version of "The X Factor" on October 14, 2012. She performed the song on the German TV show "Schlag Den Raab". On January 25, 2013, Swift performed "We Are Never Ever Getting Back Together" at the Los Premios 40 Principales in Spain. The next day, she performed it in Cannes, France, during the NRJ Music Awards. On February 10, 2013, Swift performed the song at the 2013 Grammy Awards, opening the ceremony. She performs the song on her Red Tour nightly as the finale. A rock version of the song was performed on The 1989 World Tour. More recently, the song was performed as a mashup with "This Is Why We Can't Have Nice Things" as the finale on Swift's Reputation Stadium Tour. Swift performed the song on the iHeartRadio Wango Tango on June 1, 2019. On December 8, she performed an acoustic version of the song at Capital FM's Jingle Bell Ball 2019 in London.


title: We Are Never Ever Getting Back Together

text: The song and video were parodied by teddiefilms in the style of "Breaking Bad". The parody, called "We Are Never Ever Gonna Cook Together," was uploaded to YouTube on October 18, 2012. The 22nd episode of "Grey's Anatomy" tenth season is titled "We Are Never Ever Getting Back Together". On September 8, 2012, YouTube star Shane Dawson, parodied the song, releasing a studio version and a music video on his YouTube channel.


title: We Are Never Ever Getting Back Together

text: Sky News remixed portions of speeches by David Cameron to make it appear as though he was reciting the chorus as promotion for their coverage of the 2014 Scotland Independence Referendum.


title: We Are Never Ever Getting Back Together

text: Swift re-recorded "We Are Never Ever Getting Back Together", subtitled "(Taylor's Version)", for her second re-recorded album, "Red (Taylor's Version)", released on November 12, 2021, through Republic Records.


title: We Are Never Ever Getting Back Together

text: Critics primarily focused on observations of Swift's delivery of certain phrases and words in the song. Some noted a dissimilarity between the "wee-ees"s of the original and re-recorded versions, with Olivia Horn of "Pitchfork" opining the re-recorded "wee-ee"s were more cloying than the original. Rob Sheffield of "Rolling Stone" stated that the song included "a little extra venom" when she delivered the words "trust me". According to Hannah Mylrea of "NME", Swift's vocal maturity can be observed in the spoken-word moments, including in the line: "With some indie record that’s much cooler than mine". "Variety" posed the question as to whether the delivery of "What?" on the track was more or less insolent.


title: Lazar Marković

text: Lazar Marković (, ; born 2 March 1994) is a Serbian professional footballer who plays as a winger for Turkish Süper Lig club Gaziantep.


title: Lazar Marković

text: He started his career at Partizan before moving to Benfica in 2013, where he won a domestic treble in his only season, after which he completed a £20 million move to Liverpool. He spent most of his time out on loan, at Fenerbahçe, Sporting CP, Hull City, Anderlecht and Fulham.


title: Lazar Marković

text: After playing for the youth selections of Borac Čačak, Marković joined Partizan in 2006 as a 12-year-old trainee. On 29 May 2011, coach Aleksandar Stanojević promoted Marković to the first team ahead of the final round of the 2010–11 SuperLiga, which Partizan played against Sloboda Užice. He was given the number 50 shirt. Marković was used as a second-half substitute for Joseph Kizito in his team's 2–1 win.


title: Lazar Marković

text: On 11 July 2011, together with Nikola Ninković, Marković signed his first professional contract with Partizan, for five years. Marković made his first appearance of the 2011–12 season in Partizan's opener against Shkëndija, in the qualifying round of the UEFA Champions League, playing the last three minutes of the match. He scored his first senior goal in a league match against Novi Pazar, on 13 August 2011. At the end of 2011, Marković was voted Partizan's Player of the Year in a poll on the club's website. In his first full senior season, Marković made 26 league appearances and scored six goals. Despite not scoring a goal in the second half of the championship, Marković earned 2011–12 SuperLiga Team of the Year selection.


title: Lazar Marković

text: As Partizan appeared in the group stage of an UEFA competition for the first time since 2010, Marković appeared in all group fixtures, impressing against the likes of Neftchi Baku, Rubin Kazan and Internazionale. In the group stage, he assisted Saša Marković against Rubin Kazan on 6 December 2012. By the end of the 2012–13 season, Marković appeared in 19 league games and scored 7 goals and earned a place in the SuperLiga's Team of the Year selection for the second-straight season. Additionally, Serbian sports portal "Mozzart Sport" rated Marković among the 25 best players in the SuperLiga that season.


title: Lazar Marković

text: On the morning hours of 10 June 2013, Partizan club president Dragan Đurić told "Sportski žurnal", "Chelsea wants to loan Marković to Benfica for two years, and honestly speaking, I hope to God that they don't come to an agreement so that Lazar can stay six more months at Partizan." This statement was later misinterpreted by several non-Serbian sports news outlets, which incorrectly cited Đurić stating, "It is true, Chelsea will send Marković on a loan for two years." Approximately eight hours after the article was published, Benfica's official website released a statement stating Marković had signed a five-year contract with the club, not mentioning any loan deal with Chelsea. The earlier statements regarding a potential loan deal with Chelsea caused great confusion among journalists and followers of the transfer saga alike.


title: Lazar Marković

text: On 25 August 2013, Marković made his debut for Benfica in 2–1 win against Gil Vicente, scoring a decisive goal at the 92nd minute that drew the game. On the third matchday of the 2013–14 Primeira Liga season, against Sporting CP at the Estádio José Alvalade, Marković scored the equalizing goal after a dribble past three players, as the match ended in a 1–1 draw. On 1 May 2014, in injury time of Benfica's 2013–14 UEFA Europa League semi-final second leg match against Juventus, Marković was sent off for a fight with his opponent Mirko Vučinić. Neither were on the field of play at the time, Marković having been substituted and Vučinić still on the substitutes' bench. Marković therefore missed the final through suspension; Benfica lost the final to Sevilla on penalties (4–2) after a 0–0 draw.


title: Lazar Marković

text: On 15 July 2014, Liverpool announced the signing of Marković from Benfica for £20 million. Benfica received €12.5 million for their 50% share of his economic rights. He made his competitive debut on 25 August in Liverpool's second match of the 2014–15 Premier League season, replacing Philippe Coutinho after 60 minutes of a 3–1 defeat at Manchester City. In Liverpool's final group stage match in the UEFA Champions League, on 9 December 2014 against Basel, Marković was shown a straight red card for violent conduct after he appeared to flick his fingers into the face of opponent Behrang Safari. The match ended in a 1–1 draw, which saw Liverpool drop into the UEFA Europa League. In February 2015, Marković was given a four-match European ban for this incident.


title: Lazar Marković

text: Marković scored his first goal for Liverpool against AFC Bournemouth in the League Cup quarter-finals on 17 December 2014, scoring in the 27th minute of a 3–1 victory. On 10 January 2015, he scored his first Premier League goal, netting in the eight minute for the only goal in a victory at Sunderland's Stadium of Light. On 10 February, he opened the scoring for Liverpool in a 3–2 win over Tottenham Hotspur, his first Premier League goal at Anfield.


title: Lazar Marković

text: On 30 August 2015, Marković joined Fenerbahçe on a season-long loan. He made his Süper Lig debut on 13 September, replacing Robin van Persie in the 62nd minute of a 1–0 win at Kasımpaşa, and scored his first goal on 10 December by opening a 1–1 draw against Celtic at the Şükrü Saracoğlu Stadium. The result advanced the "Yellow Canaries" to the last 32 of the 2015–16 UEFA Europa League.


title: Lazar Marković

text: On 21 January 2016, Marković scored his first goal in domestic Turkish football against Tuzlaspor in the group stage of the 2015–16 Turkish Cup, converting in extra time after coming on as a substitute. His season ended prematurely in February because of a hamstring injury.


title: Lazar Marković

text: On 31 August 2016, Marković returned to Lisbon to join Benfica's local rivals Sporting CP on a season-long loan. He made his debut on 10 September, replacing Gelson Martins for the final 30 minutes of a 3–0 home win over Moreirense, and scored his first goal three weeks later on his first start to open a 3–3 draw at Vitória de Guimarães.


title: Lazar Marković

text: In January 2017, Marković was recalled from his loan in Portugal and joined Premier League club Hull City for the remainder of the season. He made his first Hull appearance as a 59th-minute substitute for Jarrod Bowen in a 2–1 win over Manchester United in the 2016–17 EFL Cup semi-final second leg, as the "Tigers" lost 3–2 on aggregate. He scored his first goal for Hull by equalising in a 4–2 win at the KCOM Stadium against Middlesbrough on 5 April.


title: Lazar Marković

text: In January 2018, Marković again moved out on loan joining Belgian First Division A side R.S.C. Anderlecht for the second half of the 2017–18 season. It was admitted that upon Marković's arrival his fitness and condition was so poor that he would miss up to six weeks of game time in order to get up to standard. He played eight times for the club from Brussels and scored once, in a 2–1 loss at K.R.C. Genk on 21 April, after which he attacked Liverpool for their treatment of him.


title: Lazar Marković

text: On 31 January 2019, Marković moved to Fulham on a free transfer for the rest of the season, having been recommended to the club by international teammate Aleksandar Mitrović. He made his sole appearance for the team on 22 February as a half-time substitute for Jean Michaël Seri in a 3–1 loss at West Ham United. He did not make a further appearance following Claudio Ranieri's sacking, and after end the contract on 30 June 2019, he was released from the club.


title: Lazar Marković

text: On 3 September 2019, Marković signed a three-year contract with Partizan. On 15 September 2019, Marković scored his first goal of the second spell with Partizan in a 0–3 league win against Proleter Novi Sad.


title: Lazar Marković

text: In October 2009, Marković made his Serbia national under-17 debut in the qualification round for the 2010 UEFA European Under-17 Championship. In May 2011, he was part of the same team at the 2011 UEFA European Under-17 Championship, which Serbia hosted.


title: Lazar Marković

text: Marković skipped the national under-19 selection and was immediately invited to the Serbian under-21 team for their qualification matches for the 2013 UEFA European Under-21 Championship. He made his debut against Denmark on 11 October 2011.


title: Lazar Marković

text: On 24 February 2012, Marković was called up to the Serbian senior team for their friendly fixtures against Armenia and Cyprus. He debuted as a starter against Armenia on 28 February 2012, three days before his 18th birthday. He scored his first international goal for Serbia in a friendly match against Chile.


title: Lazar Marković

text: Marković's older brother, Filip, is also a footballer. An attacking midfielder, he too came through Partizan's youth setup and currently plays for Radnički Niš.


title: Azov

text: is a town in Rostov Oblast, Russia, situated on the Don River just from the Sea of Azov, which derives its name from the town. Population:


title: Azov

text: The mouth of the Don River has always been an important commercial center. At the start of the 3rd century BCE, the Greeks from the Bosporan Kingdom founded a colony here, which they called "Tanais" (after the Greek name of the river). Several centuries later, in the last third of 1st century BCE, the settlement was burned down by king Polemon I of Pontus. The introduction of Greek colonists restored its prosperity, but the Goths practically annihilated it in the 3rd century. The site of ancient Tanais, now occupied by the "khutor" of Nedvigovka, has been excavated since the mid-19th century.


title: Azov

text: In the 5th century, the area was populated by Karadach and his Akatziroi. They were ruled by Dengizich the Hun. Byzantium gave the land to the Hunugurs in the 460s; it became known as Patria Onoguria under his brother, Ernakh. Its Hun inhabitants became known as the Utigur Bulgars when it became part of the Western Turkic Kaghanate under Sandilch. Then in the 7th century Khan Kubrat, ruler of the Unogundurs established Old Great Bolgary there before his heir Batbayan surrendered it to the Khazars.


title: Azov

text: In the 10th century, as the Khazar state disintegrated, the area came under the control of the Slavic princedom of Tmutarakan. The Kipchaks, seizing the area in 1067, renamed it Azaq (i.e., lowlands), from which appellation the modern name is derived. The Golden Horde claimed most of the coast in the 13th and 14th centuries, but the Venetian and Genoese merchants were granted permission to settle on the site of modern-day Azov and founded there a colony which they called .


title: Azov

text: In autumn 2000, Thor Heyerdahl wanted to further investigate his idea that Scandinavians may have migrated from the south via waterways. He was on the trail of Odin (Wotan), the Germanic and Nordic god of the mythologies of the early Norse Eddas and Sagas. According to Snorri Sturluson, the Icelandic author of an Edda and as least one Saga, who wrote in the 13th century, Odin was supposed to have migrated from the region of the Caucasus or the area just east of the Black Sea near the turn of the 1st century CE. Heyerdahl was particularly interested in Snorri's reference to the land of origin of the Æsir people. Heyerdahl wanted to test the veracity of Snorri's claims and as a result organized the Joint Archaeological Excavation in Azov in 2001. He had wanted to undertake a second excavation the following year, but it never happened due to his death in April 2002.


title: Azov

text: In 1471, the Ottoman Empire gained control of the area and built the strong fortress of Azak (Azov). The fort blocked the Don Cossacks from raiding and trading into the Black Sea. The Cossacks attacked Azov in 1574, 1593, 1620, and 1626. In April 1637, three thousand Don Cossacks and four thousand Zaporozhian Cossacks besieged Azov. The Turks had four thousand soldiers and two hundred cannons. The fort fell on June 21 and the Cossacks sent a request to the Tsar for re-enforcements and support. A commission recommended against this because of the danger of war with Turkey and the poor state of the fortifications. In June 1641, Hussein Deli, Pasha of Silistria, invested the fort with 70,000–80,000 men. In September, they had to withdraw because of disease and provisioning shortfalls. A second Russian commission reported that the siege had left very little of the walls. In March 1642, Sultan Ibrahim issued an ultimatum and Tsar Mikhail ordered the Cossacks to evacuate. The Turks reoccupied Azov in September 1642.


title: Azov

text: The fortress, however, had yet to pass through many vicissitudes. During the Azov campaigns of 1696, Peter the Great, who desired naval access to the Black Sea, managed to recover the fortress. Azov was granted town status in 1708, but the disastrous Pruth River Campaign constrained him to hand it back to the Turks in 1711. A humorous description of the events is featured in Voltaire's "Candide". During the Great Russo-Turkish War, it was taken by the army under Count Rumyantsev and finally ceded to Russia under the terms of Treaty of Kuchuk-Kainarji (1774). For seven years Azov was a seat of its own governorate, but with the growth of neighboring Rostov-on-the-Don it gradually declined in importance. The Germans and Austrians occupied Azov in 1917–1918, during World War I. It was occupied by the Germans between July 1942 and February 1943 during World War II.


title: Azov

text: Within the framework of administrative divisions, Azov serves as the administrative center of Azovsky District, even though it is not a part of it. As an administrative division, it is incorporated separately as Azov Urban Okrug—an administrative unit with the status equal to that of the districts. As a municipal division, this administrative unit also has urban okrug status.


title: Azov

text: Sergey Bezdolny of the United Russia party was elected Mayor of Azov on April 3, 2005 and re-elected on October 11, 2009 by 72.9% of the voters.


title: Azov

text: The current head of administration (city-manager) Vladimir Rashchupkin holds office from December 2015.


title: Azov

text: Azov's climate is humid continental (Köppen climate classification "Dfa"), featuring hot summers, cold winters (though quite mild for Russia), and fairly low precipitation.


title: Azov

text: Built in 1799, the Powder Cellar Museum in Azov is the only remaining fortress of Catherine's time in all of what was once southern Russia. Fortresses she built in Rostov, Taganrog and elsewhere have been completely destroyed, so Asov's deserves to be considered an architectural monument to the art of military engineering in the 18th century. A wooden cellar served a quarter century, but in 1797 had become dilapidated, so it was dismantled, and replaced with a cellar made of stone. In 1799, in the bastion of St. Anne, a new powder cellar was built. From the beginning of the 19th to the 20th century the cellar was used to store of ice. From 1961 to 1965 the cellar was renovated and handed over to the Azov Museum of History, Archaeology and Palaeontology.


title: Azov

text: In 1967, to celebrate the 900-year anniversary of Azov, Soviet officials opened the exposition diorama


title: Azov

text: "The Taking of Azov by the troops of Peter the Great in 1696". The author of the diorama was the Russian artist Arseniy Chernyshov.


title: Azov

text: The Azov Fortress is a fortified complex overlooking the Don River and the Port of Azov to the north. It includes a rampart, watchtowers and gates.


title: Azov

text: Monument to Peter I is a bronze monument of Peter the Great in the center of Azov. It was designed by sculptors Oleg Komov and Andrey Kovalchuk. The opening ceremony took place on 19 July 1996 and was held in conjunction by the 300-year anniversary of the Russian Navy.


title: Azov

text: Monument to Aleksei Shein is a sculpture of Russian statesman, general, Boyar (from 1695), and the first Russian Generalissimo (1696) Aleksei Semenovich Shein. The monument was opened on June 12, 2009. The authors of the project were M. Lushnikov and V.P. Mokrousov.


title: Azov

text: Monument to the sailors of the Azov Flotilla is dedicated to the Flotilla, which heroically fought in Taganrog Bay and the Don Delta during the Great Patriotic war. The monument is considered to be an object of local cultural heritage.


title: Azov

text: The Azov Museum of History, Archaeology and Palaeontology is one of the biggest southern museums of Russia hosting the richest palaeontological collection in the south of Russia. The museum was established on 17 May 1917 by Michail Aronovich Makarovskiy.


title: Snake charming

text: Snake charming is the practice of appearing to hypnotize a snake (often a cobra) by playing and waving around an instrument called a pungi. A typical performance may also include handling the snakes or performing other seemingly dangerous acts, as well as other street performance staples, like juggling and sleight of hand. The practice was historically the profession of some tribesmen in India well into the 20th century but snake charming declined rapidly after the government banned the practice in 1972. Snake-charmer performances still happen in other Asian nations such as Pakistan,


title: Snake charming

text: Bangladesh, Sri Lanka, Thailand and Malaysia. The tradition is also practiced in North African countries of Egypt, Morocco, and Tunisia.


title: Snake charming

text: Ancient Egypt was home to one form of snake charming, though the practice as it exists today likely arose in India. It eventually spread throughout Southeast Asia, the Middle East, and North Africa. Despite a sort of golden age in the 20th century, snake charming is today dying out. This is due to a variety of factors, chief among them is the enforcement of the Wildlife Protection Act, 1972 in India banning ownership of snakes. In retaliation, snake charmers have organized in recent years, protesting the loss of their only means of livelihood, and the government has made some overtures to them. Snake charming is almost extinct in India.


title: Snake charming

text: Many snake charmers live a wandering existence, visiting towns and villages on market days and during festivals. During a performance, snake charmers may take a number of precautions. The charmer typically sits out of biting range and the snake is usually sluggish due to starvation or dehydration and reluctant to attack anyway. More drastic means of protection include removing the reptile's fangs or venom glands, or even sewing the snake's mouth shut. The most popular species are those native to the snake charmer's home region, typically various kinds of cobras, though vipers and other types are also used.


title: Snake charming

text: Although snakes are able to sense sound, they lack the outer ear that would enable them to hear the music. They follow the pungi that the "snake charmer" holds with his hands. The snake considers the person and pungi a threat and responds to it as if it were a predator.


title: Snake charming

text: The earliest evidence for snake charming comes from ancient Egyptian sources. Charmers there mainly acted as magicians and healers. As literate and high-status men, part of their studies involved learning the various types of snake, the gods to whom they were sacred, and how to treat those who were bitten by the reptiles. Entertainment was also part of their repertoire, and they knew how to handle the animals and charm them for their patrons.


title: Snake charming

text: One of the earliest records of snake charming appears in the Bible in Psalm 58:3–5: "The wicked turn aside from birth; liars go astray as soon as they are born. Their venom is like that of a snake, like a deaf serpent that does not hear, that does not respond to the magicians, or to a skilled snake-charmer."


title: Snake charming

text: Snake charming as it exists today probably originated in India. Hinduism has long held serpents to be sacred; the animals are believed to be related to the Nagas, and many gods are pictured under the protection of the cobra.


title: Snake charming

text: The earliest snake charmers were likely traditional healers by trade. As part of their training, they learned to treat snake bites. Many also learned how to handle snakes, and people called on them to remove snakes from their homes. Baba Gulabgir (or Gulabgarnath) became their guru since his legend states that he taught people to revere the reptiles and not fear them. The practice eventually spread to nearby regions, ultimately reaching North Africa and Southeast Asia.


title: Snake charming

text: The early 20th century proved something of a golden age for snake charmers. Governments promoted the practice to draw tourism, and snake charmers were often sent overseas to perform at cultural festivals and for private patrons. In addition, the charmers provided a valuable source of snake venom for creating antivenins.