title: Neeti Mohan

text: Mohan's biggest release of 2015 came with Amit Trivedi's "Bombay Velvet", where she performed six jazzy tracks for the album. Trivedi was in search of a voice with an "Asha Bhosle meets Nina Simone" tonal quality for Anushka Sharma's Jazz singer character Rosie in the film, when he considered Mohan as the choice. According to "The Indian Express", "what has worked" in the song "Mohabbat Buri Bimari" is Mohan's extemporisation in the middle of the track—with all the hiccups, laughs and squeals in place. The film marks the first time she read a script before recording a track to the respective film. "I was asked to sing just like how I would perform live". She recorded the songs at the studio dressed like a jazz singer, with people around her to cheer her. For another track "Dhadaam Dhadaam", Mohan was locked up in a room and was asked to "feel the pain of someone who's going through a break-up". Describing her time recording the song, she said; "I ran a fever after that song and you can almost hear the tear in my voice towards the end". Additionally, Mohan recorded a track titled "Naak Pe Gussa" for the film, which was inspired by K. M. Nanavati v. State of Maharashtra case. Mohan again collaborated with Trivedi in "Shaandaar" where she performed both "Nazdeekiyaan" and "Senti Wali Mental" for the film.


title: Neeti Mohan

text: During the year, she teamed up with Ankit Tiwari for "Aalif Se" in "Mr. X" and worked with Shankar–Ehsaan–Loy for "Sarfira" in "Katti Batti", where R.M Vijayakar from "India West" stated that "Mohan stand out as the biggest thing in film". She collaborated with Rahman for the Tamil song "Mersalaayitten" included in the soundtrack of "I", performed along with Anirudh Ravichander. According to "International Business Times", Mohan "chips in" by rendering the title word in a "porsche" way. Later the year, Mohan was roped in to perform the song "Neeyum Nannum" from "Naanum Rowdydhaan" which was composed and co-sung by Ravichander. Besides she performed a low-pitch song "Kohila" from "Ko 2", co-sung and composed by Leon James. She was then heard in a Himesh Reshammiya's composition; "Tod Tadaiyya" from "Prem Ratan Dhan Payo". The last release of the year featured Mohan in an Amaal Mallik composition; a recreation of the song "Tumhe Apna Banane Ka" from "Sadak" (1991). Included in the album "Hate Story 3", she performed the song along with Armaan Malik. Applauding Mohan's rendition of the song, composer Mallik noted; "I made her sing completely baritone [with this song]. I made her sing like a sensuous goddess. She evoked a voice she never knew she had". On International Women's Day, she released her single "Udne De" which was composed, sung and co-written by herself, as a dedication to all women in the wake of the Nirbhaya incident.


title: Neeti Mohan

text: The following year, Mohan collaborated with Reshammiya in two other films; "Sanam Teri Kasam" and "Teraa Surroor". "Haal-E-Dil" from the former received acclaim from critics. "India West" praised Mohan in their review of the music album; "Her resonant timber moves to soothing and back to haunting in an instant with enviable skill". She garnered her second Filmfare nomination for Best Female Playback Singer for the song "Sau Aasmaan" from "Baar Baar Dekho". Composed by Mallik, the song was critically appreciated while Suanshu Khurana in her review wrote: "Mohan sing it in a voice we haven’t heard before—slightly operatic and falsetto singing". Apart from singing songs for films, Mohan performed alongside Mohit Chauhan in a music video of the TV show "Yeh Hai Aashiqui" and the duo was featured in some of the episodes in the series as musical narrators. She was also part of the music reality show "The Voice India Kids" as one of the mentors, along with Shaan and Shekhar Ravjiani. In the year end, she served as a coach in the second season of the Indian reality talent show "The Voice".


title: Neeti Mohan

text: In 2017, Mohan recorded "Khoobsurat Star Parivaar" alongside Jubin Nautiyal. She also performed two songs for the web series titled "Mixtape" produced by music label T-Series. The fusion of "Dua" from "Shangai" and "Saware" from "Phantom", performed along with Salim Merchant was received positively among critics. In spite of featuring in the single "Man Marziyan" she was heard in several tracks recorded for films. She was heard in an upbeat composition by Rahman, along with Arjun Chandy and Savithri R Prithvi for the soundtrack album "Ok Jaanu". Titled "Jee Lein", it received mixed reviews from critics. She was next heard in the Chirantan Bhatt's composed romantic track "Bawra Mann" performed with Nautiyal. The song was originally recorded for "Singh Is Bliing" (2015), but used in the soundtrack album "Jolly LLB 2" (2017), since it did not match with the theme of the former. Mohan collaborated with Pritam and Rochak Kohli for two albums; "Jab Harry Met Sejal" and "Lucknow Central" respectively, where she performed the song "Raula" with Diljit Dosanjh for the former. Additionally, she contributed to the music album of "Baadshaho" by performing a retro-contemporary fused item song "Piya More" with Mika Singh for an Ankit Tiwari-composition and also by recording the recreated version of "Keh Doon Tumhe" from "Deewaar" (1975). Titled "Socha Hai", it was removed from the film due to problems with music rights while "Piya More" was also altered slightly due to the legalities, since it does sounds "similar to what Tiwari has palmed off to another producer".


title: Neeti Mohan

text: In 2017 December, she voiced both speaking and singing parts of Rapunzel in the Hindi dub of "". In 2019 January, she sung for the series T-series Electrofolk where she was seen alongside Payal Dev performing the track "Aaoge jab". January 2019, Mohan released her single "Kithe reh gaya", which was shot in Amritsar and was her first video in which she herself danced. April 2019 saw her with two releases- "Aithey Aa" from the movie "Bharat" and "First Class" from the movie "Kalank". She also recorded two T-series mixtapes one with Shekhar Ravijiani and one with Vishal Dadlani. In February 2020, she (along with Aparshakti Khurana & Shekhar Ravjiani) hosted the 12th edition of Mirchi Music Awards Ceremony . In November 2020, she voiced the character of ‘Queen Poppy’ from Hindi dubbed version of popular animated musical comedy ‘Trolls World Tour’. Neeti has sung three songs for the character of Poppy that have been sung by Anna Kendrick in the English version - Koi Geet Gao (romantic track), Iss Pal Ko Jio (peppy rock track) & Trolls Toh Karenge Fun (peppy title track).


title: Neeti Mohan

text: Regarding Mohan's voice type, "The Indian Express" wrote that she has a "high pitched", "raw" vocal structure. According to Amitabh Bhattacharya, Mohan's voice has the "right kind of jazz sensibilities with a certain Hindustaniyat". Mohan mentioned that her classical training taught her how to approach a song in "different octaves". She explored more about texture of voice and harmony through her time at Aasma. Complimenting her Jazz vocals in "Bombay Velvet", "The Indian Express" stated "If "Ka Kha Gha" shows Mohan's range, "Dhadam Dhadam" gets melancholy a voice". During her career, she performed various genres of songs, though she loves "singing melodies the most". In an interview, Mohan expressed her keen to explore bhajans.


title: Neeti Mohan

text: Mohan has said that from childhood she has been influenced by Lata Mangeshkar, Asha Bhosle and Kishore Kumar. She considered Mangeshkar as her "greatest teacher for playback", while she credited A. R. Rahman for making her sustain her standard; "He is a task master but he gets the best out of you. His standards are very high, be it a recording or live performance". Mohan has also been influenced by many artists outside the country. She considered herself as a fan of John Mayer for his inspiring style of writing lyrics. Mohan credits the 1971 released song "Imagine" by John Lennon for inspiring on achieving her dreams with the "right kind of dedication".


title: Neeti Mohan

text: Besides her career in music, Mohan has also contributed to various charities. In October 2014, she performed at the "Hum Hain Umeed E Kashmir" concert in Ballia, in an appeal for donation to support rehabilitation of those who suffered during the Kashmir flood. The same month, Mohan took part in the musical concert held in New Delhi for raising funds for the flood affected people of Assam. In June 2016, she performed at Smile Foundation's charity gala dinner, to support the cause of empowerment of underprivileged children and youth. In January 2017, she collaborated with United Nations on a project aimed at empowering women, ending human trafficking and promoting gender equality. Her single "Udne De" was selected for the United Nations Voluntary Trust Fund Project titled "Music to Inspire-Artists united against Human Trafficking".


title: Gulfstream IV

text: The Gulfstream IV (or G-IV or GIV) and derivatives are a family of twinjet aircraft, mainly for private or business use. They were designed and built by Gulfstream Aerospace, a General Dynamics company based in Savannah, Georgia, United States, from 1985 until 2018. Aircraft power is provided by two Rolls-Royce RB.183 Tay turbofans.


title: Gulfstream IV

text: Upon delivery of the last G450, over 900 GIV/GIV-SP/G450 units had been produced. The last G450 was delivered on 19 January 2018 after 365 deliveries over 12 years, ending a 30-year production run, to be replaced by the G500.


title: Gulfstream IV

text: Gulfstream, in collaboration with Grumman, began work on the Gulfstream IV in March 1983 as a re-engined, stretched fuselage derivative of the Gulfstream III.


title: Gulfstream IV

text: The first GIV made its maiden flight on September 19, 1985. The model received type certification from the FAA on April 22, 1987. The G-IV entered into service with serial number 1000 in 1987 and was upgraded to the special purpose "GIV-SP" version at serial number 1214 in 1993. It was later redesignated "G400" at serial number 1500.


title: Gulfstream IV

text: In 2001, Gulfstream began work on an improved version of the GIV-SP, originally designated "GIV-X". It was later renamed "G450". The G450 is lengthened 1 ft (0.305 m) over the G400 and shares the forward fuselage and larger cockpit of the G550. Production of the G450 began in October 2004, replacing the G400. The G450 has better performance and comes with the PlaneView cockpit with four 14-inch (355 mm) liquid crystal displays and a Head up display (HUD). The shorter range G350 version of the G450 was developed and received certification in 2004.


title: Gulfstream IV

text: By 2018, 1990 to 1992 GIVs were for sale at $1.6-4.4 million, 1992 to 1999 GIVSPs were listed for $1.25-5.2 million, 15-year-old G300s and G400s were available for $4.5-7 million and 2006 to 2016 G450s at $9.95-23.75 million.


title: Gulfstream IV

text: Compared to the Gulfstream III, a decision to redesign the wing structure for weight reduction presented an opportunity for an aerodynamic redesign of the wing to reduce cruise drag and increase range. Wing contour modifications had to be restricted to the forward 65% of wing chord so that no redesign of the control surfaces would be necessary. Modification of the inboard wing would have entailed a redesign of the fuselage floor structure, consequently this region of the wing was not modified. Outboard wing modifications were aimed at reducing the peak subcritical pressure coefficient and moving it aft in an effort to reduce shock strength and increase shock sweep.


title: Gulfstream IV

text: At 12,420 lbs, the Rolls-Royce Tay fanjet engines provided more thrust than the 11,400 lbs of the Gulfstream III. Speed, noise levels, emissions, fuel economy, range, and cargo capacity were also markedly improved over the earlier model.


title: Gulfstream IV

text: The Gulfstream IV wing has a weaker, more swept outboard shock resulting in a lower cruise drag. Other benefits arising from this design are a lower root bending moment due to the more inboard center of pressure, a lower stall speed due to washout and a larger fuel volume due to increased chord. These aerodynamic improvements result in an increase in range of over 300 nautical miles.


title: Gulfstream IV

text: In addition to the wing redesign, the Gulfstream IV also became the first business jet to have an entire glass cockpit.


title: Gulfstream IV

text: The G400 has a large cabin, long range of 4,350 nautical miles (8,060 km) and the same comfort and design that characterize the G series. Maximum cruise height and speed are 45,000 ft and Mach 0.85. Earlier models were fitted with Honeywell's SPZ 8000 Avionics package. The SPZ 8400 Avionics Package was an option, becoming standard on later models. Its second-hand price was below $15 million in 2009. Gulfstream had also considered making a longer, 24-27 seat model for airline use.


title: Gulfstream IV

text: The National Oceanic and Atmospheric Administration (NOAA) operates a GIV-SP (N49RF) modified to fly scientists and crew members at 45,000 feet around tropical cyclones. The aircraft was modified to drop instruments called "dropsondes" to measure windspeed, barometric pressure, humidity, and temperature as they fall to the surface of the ocean. By sampling the cyclone with these dropsondes over a 4,000 mile track around the storm, the forecasters at NOAA's National Hurricane Center and Hurricane Research Division can better predict where the hurricane will be "steered" by the upper level winds. They also predict wind shear that will either increase or decrease a hurricane's strength. The GIV-SP is suited for this mission since it is fast, and can fly long distances with ample cabin space for the crew and instruments. In 2009, the NOAA GIV-SP was further modified by the addition of a side-scanning Doppler radar to the rear fuselage. This radar is used for storm cloud profiling.


title: Gulfstream IV

text: In June 1987 a Gulfstream IV set 22 world records in its class in flying west around the world in 45 hr 25 min. The next year another GIV set 11 world records flying east around the world. In 1990, Gulfstream CEO Allen Paulson and a Gulfstream flight crew set 35 international records for around-the-world flight in a GIV.


title: Gulfstream IV

text: The U.S. military variant of the IV, designated "C-20F/G/H/J Gulfstream IV" in Department of Defense service. The "C-20F" is a GIV model operated by the U.S. Army in a command/executive transport role.


title: Gulfstream IV

text: The "C-20G" aircraft may be configured for cargo operations, 26 passenger operations or combinations of the two. With passengers seats removed, it may be configured as three pallets with no passengers or two pallets and eight passengers or one pallet and fourteen passengers. With full seating, the aircraft is capable of accommodating up to twenty-six passengers and a crew of four. A hydraulically operated cargo door is installed on the starboard side of the aircraft, and a ball roller cargo floor is capable of accommodating palletized cargo. The C-20G is operated by Fleet Logistics Support Squadron Four Eight (VR-48) at Naval Air Facility, Andrews Air Force Base, Maryland and at VMR Detachment Kaneohe Bay, Marine Corps Air Station Kaneohe Bay, Marine Corps Base Hawaii. The C-20G is also known as the "Grey Ghost"


title: Gulfstream IV

text: The "C-20H" is a GIV-SP model operated by the U.S. Air Force in a command/executive transport role. The "C-20J" is a GIV-SP model operated by the U.S. Army in a command/executive transport role.


title: Gulfstream IV

text: The G450 is a designation for the model GIV-X, approved by the FAA on August 12, 2004, as is the G350, which has a reduced fuel capacity. Compared to the Gulfstream IV, its fuselage is 12 inches longer and the main entry door relocated aft. The Rolls-Royce Tay 611 engines are replaced by 611-8Cs with FADEC, redesigned thrust reversers, nacelles and pylons which increases range and payload, coupled with aerodynamic improvements. Many Gulfstream V-SP improvements are used: the Honeywell advanced flight deck display suite, electrical power generation, cabin temperature control and pressurization, nose and nose landing gear. It also has an improved APU and flap/stab actuation system, redesigned main landing gear wheels and brakes, flight control system hard-over protection system.


title: Gulfstream IV

text: By the end of the G450 production run, 365 aircraft were produced, with prices ranging from $15 million to $32 million.


title: Gulfstream IV

text: The aircraft is operated by private individuals, companies and executive charter operators, and in fractional ownership programs.


title: Marie de' Medici

text: Marie de' Medici (, ; 26 April 1575 – 3 July 1642) was Queen of France and Navarre as the second wife of King Henry IV of France of the House of Bourbon, and Regent of the Kingdom of France officially between 1610 and 1617 during the minority of her son, Louis XIII of France. Her mandate as regent legally expired in 1614, when her son reached the age of majority, but she refused to resign and continued as regent until she was removed by a coup in 1617.


title: Marie de' Medici

text: A member of the powerful House of Medici in the branch of the Grand Dukes of Tuscany, the wealth of her family caused Marie to be chosen by Henry IV to become his second wife after his divorce from his previous wife, Margaret of Valois. The assassination of her husband in 1610, which occurred the day after her coronation, caused her to act as regent for her son, Louis XIII, until 1614, when he officially attained his legal majority, but as the head of the "Conseil du Roi", she retained the power.


title: Marie de' Medici

text: Noted for her ceaseless political intrigues at the French court, her extensive artistic patronage and her favorites (the most famous are Concino Concini and his wife, Leonora Dori Galigaï), she ended up being banished from the country by her son and dying in the city of Cologne, in the Holy Roman Empire.


title: Marie de' Medici

text: Born at the Palazzo Pitti of Florence, Italy on 26 April 1575, Maria was the sixth daughter of Francesco I de' Medici, Grand Duke of Tuscany, and Archduchess Joanna of Austria. She was a descendant of Lorenzo the Elder –a branch of the Medici family sometimes referred to as the 'cadet' branch– through his daughter Lucrezia de' Medici, and was also a Habsburg through her mother, who was a direct descendant of Joanna of Castile and Philip I of Castile.


title: Marie de' Medici

text: Of her five elder sisters, only the eldest, Eleonora (born 28 February 1567) and the third, Anna (born 31 December 1569) survived infancy. Their only brother Philip de' Medici, was born on 20 May 1577. One year later (10 April 1578) Grand Duchess Joanna –heavily pregnant with her eighth child– fell from the stairs in the Grand Ducal Palace in Florence, dying the next day after giving birth to a premature stillborn son. A few months later, Grand Duke Francesco I married his longtime mistress Bianca Cappello; the marriage was officially revealed one year later, on 12 June 1579. In a few years, Maria also lost two of her siblings, Philip (died 29 March 1582 aged 4) and Anna (died 19 February 1584 aged 14).


title: Marie de' Medici

text: Maria and her only surviving sister, Eleonora (with whom she had a close relationship) spent their childhood at the Palazzo Pitti in Florence, placed under the care of a governess along with their paternal first-cousin Virginio Orsini (son of Isabella de' Medici, Duchess of Bracciano).


title: Marie de' Medici

text: After her sister's marriage in 1584 with Vincenzo Gonzaga, heir of the Duchy of Mantua, and her departure to her husband's homeland, Maria's only playmate was her first cousin Virginio Orsini, to whom she deferred all her affection. In addition, her stepmother brought a female companion to the Palazzo Pitti for Maria, a young girl named Dianora Dori, who would be renamed Leonora. This young girl, a few years older than Maria, soon gained great influence over the princess, to the point that Maria would not make decisions without talking to Leonora first.


title: Marie de' Medici

text: On the 19th and 20 October, in 1587, at the Villa Medici in Poggio a Caiano, Grand Duke Francesco I and Bianca Cappello died. They may have been poisoned, but some historians believe they were killed by malarial fever. Now orphaned, Maria was considered the richest heiress in Europe.


title: Marie de' Medici

text: Maria's uncle Ferdinando I de' Medici became the new Grand Duke of Tuscany and married Christina of Lorraine (granddaughter of the famous Catherine de' Medici, Queen of France) in 1589. Notwithstanding his desire to give an heir to his dynasty, the new Grand Duke gave his orphaned nephew and niece a good education. Maria was interested in science; she enjoyed learning about mathematics, philosophy, astronomy, as well as the arts. She was also passionate about jewelry and precious stones. Very devout, she was known to keep an open mind, and to depend on those around her for support.


title: Marie de' Medici

text: Close to the artists of her native Florence, Maria was trained in drawing by Jacopo Ligozzi, and she was reportedly very talented; she also played music (singing and practicing the guitar and the lute) and enjoyed theater, dance, and comedy.


title: Marie de' Medici

text: The wealth of the Medici family attracted many suitors, in particular the younger brother of her aunt Grand Duchess Christina, François, Count of Vaudémont and heir of the Duchy of Lorraine. But soon, a more prestigious suitor presented himself: King Henry IV of France.


title: Marie de' Medici

text: The marriage of Henry IV with Maria de' Medici represented above all, for France, a solution to dynastic and financial concerns: it was said that the French king "owed the bride's father, Francesco de' Medici, Grand Duke of Tuscany, who had helped support his war effort, a whopping 1,174,000 écus and this was the only means Henry could find to pay back the debt..." In addition, the Medici family –banking creditors of the Kings of France– promised a dowry of 600,000 "écus d'or" (2 million livres including 1 million paid in cash to cancel the debt contracted by France with the Medici bank), which earned the future Queen the nickname "the big banker" ("la grosse banquière") from her jealous rival, Catherine Henriette de Balzac d'Entragues, Henry IV's current "maîtresse-en-titre". Moreover, Maria de' Medici was the granddaughter of Ferdinand I, Holy Roman Emperor (in office: 1556-1564), thereby ensuring and reinforcing a legitimate royal descent for prospective future members of the House of Bourbon (the Catholic League and Habsburg Spain had questioned Bourbon legitimacy during the previous French Succession War of 1589 - 1593).


title: Marie de' Medici

text: After having obtained the annulment of his union to Margaret of Valois in December 1599, Henry IV officially started negotiations for his new marriage with Maria de' Medici. The marriage contract was signed in Paris in March 1600 and official ceremonies took place in Tuscany and France from October to December of the same year: the marriage by proxy took place at the Cathedral of Santa Maria del Fiore (now Florence Cathedral) on 5 October 1600 with Henry IV's favorite the Duc de Bellegarde representing the French sovereign. The celebrations were attended by 4,000 guests with lavish entertainment, including examples of the newly invented musical genre of opera, such as Jacopo Peri's "Euridice".Maria (now known by the French usage of her name, "Marie de Médicis") left Florence for Livorno on 23 October, accompanied by 2,000 people who made up her suite, and set off for Marseille, which she reached on November 3. Antoinette de Pons, Marquise de Guercheville and "Première dame d'honneur" of the new Queen, was responsible for welcoming her to Marseille. After her disembarkation, Marie continued her trip, arriving at Lyon on 3 December. She and Henry IV finally met on 9 December and spent their wedding night together. On 17 December, the Papal legate finally arrived, and gave his blessing to the religious wedding ceremony at the Cathedral of Saint-Jean-Baptiste de Lyon.


title: Marie de' Medici

text: Marie gave birth to her first child, a son, on 27 September 1601 at the Palace of Fontainebleau. The boy, named Louis, and automatically upon birth heir to the throne and Dauphin of France, was born to the great satisfaction of the King and France, which had been waiting for the birth of a Dauphin for more than forty years. Marie gave birth to five more children (three daughters and two more sons) between 1602 and 1609; however, during 1603–1606 she was effectively separated from her husband.


title: Marie de' Medici

text: Although the marriage succeeded in producing children, it was not a happy one. Marie was of a very jealous temperament, and she refused to accept her husband's numerous infidelities; indeed, he forced his wife to rub shoulders with his mistresses. She mostly quarreled with the "maîtresse-en-titre" Catherine de Balzac d'Entragues (whom Henry IV had allegedly promised he would marry following the death in 1599 of his former "maîtresse-en-titre", Gabrielle d'Estrées) in a language that shocked French courtiers; also, it was said in court that Henry IV took Marie only for breeding purposes exactly as Henry II had treated Catherine de' Medici. Although the King could have easily banished his mistress, supporting his wife, he never did so. Marie, in turn, showed great sympathy and support to her husband's banished ex-wife Marguerite de Valois, prompting Henry IV to allow her back to Paris.


title: Marie de' Medici

text: Another bone of contention concerned the proper maintenance of Marie's household as Queen of France: despite the enormous dowry she brought to the marriage, her husband often refused her the money necessary to pay all the expenses that she intended to carry out to show everyone her royal rank. Household scenes took place, followed by periods of relative peace. Marie was also very keen to be officially crowned Queen of France, but Henry IV postponed the ceremony for political reasons.


title: Marie de' Medici

text: Marie had to wait until 13 May 1610 to be finally crowned Queen of France. At this time Henry IV was about to depart to fight in the War of Succession over the United Duchies of Jülich-Cleves-Berg; the coronation aimed to confer greater legitimacy on the Queen from the perspective of a possible regency which she would be called upon to provide in the absence of the King. The very next day (14 May), Henry IV was assassinated by François Ravaillac - which immediately raised suspicions of a conspiracy.


title: Marie de' Medici

text: Within hours after Henry IV's assassination, Marie was confirmed as Regent by the Parliament of Paris on behalf of her son and new King, eight-year-old Louis XIII. She immediately banished her late husband's mistress, Catherine de Balzac d'Entragues, from the court. At first, she kept the closest advisers of Henry IV in the key court positions and took for herself (1611) the title of Governess of the Bastille, although she entrusted the physical custody of this important Parisian fortress to Joachim de Chateauvieux, her knight of honor, who took direct command as a lieutenant of the Queen-Regent.


title: Marie de' Medici

text: From the beginning, Marie was under suspicion at court because she was perceived as a foreigner and never truly mastered French; moreover, she was heavily influenced by her Italian friends and confidants, including her foster sister Leonora "Galigai" Dori and Concino Concini, who was created Marquis d'Ancre and a Marshal of France, even though he had never fought a single battle. The Concinis had Henry IV's able minister, the Duke of Sully, dismissed, and Italian representatives of the Roman Catholic Church hoped to force the suppression of Protestantism in France by means of their influence. However, Marie maintained her late husband's policy of religious tolerance. As one of her first acts, Marie reconfirmed Henri IV's Edict of Nantes, which ordered religious tolerance for Protestants in France while asserting the supremacy of the Roman Catholic Church.


title: Marie de' Medici

text: To further consolidate her authority as Regent of the Kingdom of France, Marie decided to impose the strict protocol from the court of Spain. An avid ballet performer and art collector, she deployed artistic patronage that helped develop the arts in France. Daughter of a Habsburg archduchess, the Queen-Regent abandoned the traditional anti-Habsburg French foreign policy (one of her first acts was the overturn of the Treaty of Bruzolo, an alliance signed between Henry IV's representatives and Charles Emmanuel I, Duke of Savoy), and formed an alliance with Habsburg Spain which culminated in 1615 with the double marriage of her daughter Elisabeth and her son Louis XIII with the two children of King Philip III of Spain, Philip, Prince of Asturias (future Philip IV) and Anne of Austria, respectively.


title: Marie de' Medici

text: Nevertheless, the Queen-Regent's policy caused discontent. On the one hand, Protestants were worried about the rapprochement of Marie with Spain; on the other hand, Marie's attempts to strengthen her power by relying on the Concinis deeply displeased part of the French nobility. Stirring up xenophobic passion, the nobility designated the Italian immigrants favored by Marie as responsible for all the wrongs of the kingdom. They are getting richer, they said, at our expense. Taking advantage of the clear weakness of the Regency, the "princes of the blood" under the leadership of Henri II, Prince of Condé, rebelled against Marie.


title: Marie de' Medici

text: In application of the Treaty of Sainte-Menehould (15 May 1614), the Queen-Regent convened the Estates General in Paris. The Prince of Condé failed to structure his opposition to royal power. However, Marie undertook to cement the alliance with Spain and to ensure respect for the theses of the Council of Trent. The reforms of the "paulette" and the "taille" remained a dead letter. The clergy played the role of arbiter between the Third Estate and the nobility who did not manage to get along: Civil lieutenant Henri de Mesmes declared that "all the Estates were brothers and children of a common mother, France", while one of the representatives of the nobility replied that he refused to be the brother of a child of a shoemaker or cobbler. This antagonism benefited the court, which soon pronounced the closure of the Estates General. The Regency was officially ended following the "Lit de justice" of 2 October 1614, which declared that Louis XIII had attained his legal majority of age, but Marie then became head of the "Conseil du Roi" and retained all her control over the government.


title: Marie de' Medici

text: One year after the end of the Estates General, a new rebellion of the Prince of Condé allowed his entry into the "Conseil du Roi" by the Treaty of Loudun (3 May 1616), which also granted him the sum of 1,500,000 livres and the government of Guyenne. During this time, the Protestants obtained a reprieve of six years to the return of their places of safety to the royal power.


title: Marie de' Medici

text: In 1616, the requirements of the Prince of Condé became so important that Marie had him arrested on 1 September and imprisoned him in the Bastille. The Duke of Nevers then took the leadership of the nobility in revolt against the Queen. Nevertheless, Marie's rule was strengthened by the appointment of Armand Jean du Plessis (later Cardinal Richelieu)—who had come to prominence at the meetings of the Estates General—as Secretary of State for Foreign Affairs on 5 November 1616.


title: Marie de' Medici

text: Despite being legally an adult for more than two years, Louis XIII had little power in the government; finally, he asserted his authority the next year. Feeling humiliated by the conduct of his mother, who monopolized power, the King organized (with the help of his favorite the Duc de Luynes) a coup d'état (also named "Coup de majesté") on 24 April 1617: Concino Concini was assassinated by the Marquis de Vitry, and Marie exiled to the Château de Blois.


title: Marie de' Medici

text: In the night of 21–22 February 1619, the 43-year-old Queen Mother escaped from her prison in Blois with a rope ladder and by scaling a wall of 40 m. Gentlemen took her across the Pont de Blois and riders sent by the Duc d'Épernon escorted Marie in his coach. She took refuge in the Château d'Angoulême and provoked an uprising against her son the King, the so-called "war of mother and son" ("guerre de la mère et du fils").


title: Marie de' Medici

text: A first treaty, the Treaty of Angoulême, negotiated by Richelieu, calmed the conflict. However, the Queen Mother was not satisfied and relaunched the war by rallying the great nobles of the Kingdom to her cause ("second war of mother and son"). The noble coalition was quickly defeated at the Battle of Ponts-de-Cé (7 August 1620) by Louis XIII, who forgave his mother and the princes.


title: Marie de' Medici

text: Aware that he could not avoid the formation of plots as long as his mother remained in exile, the King accepted her return to court. She then returned to Paris, where she worked on the construction of her Luxembourg Palace. After the death of the Duc de Luynes in December 1621, she gradually made her political comeback. Richelieu played an important role in her reconciliation with the king and even managed to bring the queen mother back to the "Conseil du Roi".


title: Marie de' Medici

text: From the time of her marriage to Henri IV, the Queen practiced ambitious artistic patronage, and placed under her protection several painters, sculptors and scholars. For her apartments at the Palace of Fontainebleau, the Flemish-born painter Ambroise Dubois was recruited to decorate Marie's "cabinets" with a series of paintings on the theme of the "Ethiopics" of Heliodorus, and painted for her gallery an important decoration on the theme of Diana and Apollo, mythological evocations of the royal couple. In the Louvre, the Queen had a luxurious apartment on the first floor fitted out, then moved in 1614 to a new apartment on the ground floor, which she had adorned with panels and paintings by Ambroise Dubois, Jacob Bunel, Guillaume Dumée, and Gabriel Honnet on the theme of "Jerusalem Delivered" of Torquato Tasso (whose translation by Antoine de Nervèze was Marie's first reading in French).


title: Marie de' Medici

text: The Queen also surrounded herself with portrait painters, such as Charles Martin and especially the Flemish Frans Pourbus the Younger.


title: Marie de' Medici

text: During and after the regency, Marie de Médicis played a major role in the development of Parisian artistic life by focusing on the construction and furnishing of the Luxembourg Palace, which she referred to as her "Palais Médicis". The site was purchased in 1612 and construction began in 1615, to designs of Salomon de Brosse. In particular, she tried to attract several large-scale artists to Paris: she brought in "The Annunciation" by Guido Reni, was offered a suite of "Muses" painted by Giovanni Baglione, invited the painter Orazio Gentileschi (who stayed in Paris during two years, during 1623–1625), and especially the Flemish painter Peter Paul Rubens, who was commissioned by her to create a 21-piece series glorifying her life and reign to be part of her art collection in the Luxembourg Palace. This series (composed between 1622–1625), along with three individual portraits made for Marie and her family, is now known as the "Marie de' Medici cycle" (currently displayed in the Louvre Museum); the cycle uses iconography throughout to depict Henry IV and Marie as Jupiter and Juno and the French state as a female warrior.


title: Marie de' Medici

text: The Queen-Mother's attempts to convince Pietro da Cortona and Guercino to travel to Paris ended in failure, but during the 1620s the Luxembourg Palace became one of the most active decorative projects in Europe: sculptors such as Guillaume Berthelot and Christophe Cochet, painters like Jean Monier or the young Philippe de Champaigne, and even Simon Vouet on his return to Paris, participated in the decoration of the apartments of the Queen-Mother.


title: Marie de' Medici

text: Marie continued to attend the "Conseil du roi" by following the advice of Cardinal Richelieu, who she introduced to the King as minister. Over the years, she did not notice the rising power of her protégé; when she realized it, she broke with the Cardinal and sought to oust him. Still not understanding the personality of her son and still believing that it would be easy for her to demand the disgrace of Richelieu from him, she tried to obtain the dismissal of the minister. After the "Day of the Dupes" ("Journée des Dupes") of 10–11 November 1630, Richelieu remained the principal minister, and the Queen Mother was constrained to be reconciled with him.


title: Marie de' Medici

text: Marie ultimately decided to withdraw from court. Louis XIII, judging his mother too involved in intrigue, encouraged her to retire to the Château de Compiègne. From there, she fled on 19 July 1631 towards the city of Étrœungt (in the County of Hainaut), where she slept before going to Brussels. She intended to plead her case there, but the escape was only a political trap set by her son, who had withdrawn the regiments guarding the Château de Compiègne. Now a refugee with the Spanish, enemies of France, Marie was thus deprived of her pensions.Her chaplain Mathieu de Morgues, who remained faithful to Marie in his exile, wrote pamphlets against Richelieu that circulated in France clandestinely. During her last years, Marie travelled to various European courts, in the Spanish Netherlands (the ruler of which, Isabella Clara Eugenia, and the ambassador Balthazar Gerbier tried to reconcile her with Richelieu), in England at the court of her daughter Queen Henrietta Maria for three years (staying en route to London in Gidea Hall) and then in Germany; with her daughters and sons-in-law where she tried again to form a "league of sons-in-law" against France, without ever being able to return, and her supporters were imprisoned, banished or condemned to death.


title: Marie de' Medici

text: Her visit to Amsterdam was considered a diplomatic triumph by the Dutch, as it lent official recognition to the newly-formed Dutch Republic; accordingly, she was given an elaborate ceremonial royal entry, of the sort the Republic avoided for its own rulers. Spectacular displays (by Claes Corneliszoon Moeyaert) and water pageants took place in the city's harbour in celebration of her visit. There was a procession led by two mounted trumpeters, and a large temporary structure was erected on an artificial island in the Amstel River especially for the festival. The structure was designed to display a series of dramatic tableaux in tribute to her once she set foot on the floating island and entered its pavilion. Afterwards she was offered an Indonesian rice table by the burgomaster, Albert Burgh. He also sold her a famous rosary, captured in Brazil. The visit prompted Caspar Barlaeus to write his "Medicea hospes" ("The Medicean Guest", 1638).


title: Marie de' Medici

text: Marie subsequently traveled to Cologne, where she took refuge in a house loaned by her friend Pierre-Paul Rubens. She fell ill in June 1642 and died of a bout of pleurisy in destitution on 3 July 1642, a few months before Richelieu. Her body was brought back to the Basilica of St Denis and buried without much ceremony on 8 March 1643, and her heart was sent to La Flèche, in accordance with the wish of Henry IV who wanted their two hearts to be reunited. Her son Louis XIII died on May 14.


title: Marie de' Medici

text: Honoré de Balzac, in his essay "Sur Catherine de Médicis", encapsulated the Romantic generation's negative view. She was born and raised in Italy and the French never really accepted her; hence, the negative reviews. However, Henry IV of Navarre was not a rich man and needed Marie's money. The French were still not pleased with his choosing an Italian wife.


title: The Mandalorian (season 1)

text: The first season of the American television series "The Mandalorian" stars Pedro Pascal as the title character, a lone bounty hunter hired to retrieve "The Child". It is part of the "Star Wars" franchise, set five years after the events of "Return of the Jedi" (1983). The season was produced by Lucasfilm, Fairview Entertainment, and Golem Creations, with Jon Favreau serving as showrunner.


title: The Mandalorian (season 1)

text: Work on a new live-action "Star Wars" television series was announced in November 2017. Favreau signed on in March 2018, with Pascal cast a month after filming began in October 2018 at Manhattan Beach Studios in California. Visual effects company Industrial Light & Magic developed the StageCraft technology for the series, using virtual sets and a 360-degree video wall to create the series' environments. In addition to this new technology, practical effects were emphasized for the series.


title: The Mandalorian (season 1)

text: The eight-episode season premiered on the streaming service Disney+ on November 12, 2019, and ran until December 27. It was met with positive reviews, was nominated for Outstanding Drama Series at the 72nd Primetime Emmy Awards, and won seven Primetime Creative Arts Emmy Awards. A second season was confirmed in July 2019.


title: The Mandalorian (season 1)

text: In November 2017, Disney CEO Bob Iger announced that Disney and Lucasfilm were developing a live-action "Star Wars" television series for the new streaming service Disney+. Jon Favreau pitched an idea for the series to Lucasfilm president Kathleen Kennedy, who suggested he discuss the idea with Dave Filoni, executive producer on the animated series "" and "Star Wars Rebels". In March 2018, Lucasfilm announced that Favreau would write and executive produce the series, with Filoni, Kennedy, and Colin Wilson also executive producing. In May, Favreau said he had written four of the series' eight episodes before being officially hired for the project.


title: The Mandalorian (season 1)

text: Favreau announced that the series was titled "The Mandalorian" on October 3, and revealed the premise of the show. Directors for the season were revealed the next day, including Filoni, Taika Waititi, Bryce Dallas Howard, Rick Famuyiwa, and Deborah Chow. Favreau was unable to direct any of the first season due to his commitments to "The Lion King" (2019), and wanted the series' directors to be a diverse group of filmmakers who could bring different perspectives to the series. The only prerequisite he had for the directors was that they love "Star Wars". According to Famuyiwa, Favreau described the group as a ""Dirty Dozen", "Magnificent Seven" type of crew". The season had a budget of $100 million.


title: The Mandalorian (season 1)

text: After being rumored to be cast in the title role, Pedro Pascal was confirmed to be portraying the Mandalorian in November 2018. Pascal initially thought he was being cast as the "Star Wars" character Boba Fett due to the visual similarities between that character and the Mandalorian, but the latter is actually a separate character named Din Djarin. Gina Carano and Nick Nolte joined the series' cast later in November. Lucasfilm announced the next month that Pascal would star alongside Carano, Nolte, Giancarlo Esposito, Emily Swallow, Carl Weathers, Omid Abtahi, and Werner Herzog. Favreau revealed in March 2019 that Taika Waititi would provide the voice for a bounty hunter droid in the series, believed to be the character IG-88. This was revealed a month later to be a new character, IG-11, when character details for other cast members were announced. Weathers' character, Greef Karga, was originally an alien that was killed off in the third episode; the prosthetic make-up was removed and the role extended during production.


title: The Mandalorian (season 1)

text: The footage shown at "Star Wars" Celebration in April 2019 revealed that Bill Burr and Mark Boone Junior had been cast in the season, with Burr portraying an outlaw. At the D23 Expo in August, it was revealed Ming-Na Wen would appear, and the next month, Julia Jones's casting was announced.


title: The Mandalorian (season 1)

text: Visual effects studio Industrial Light & Magic, a subsidiary of Lucasfilm, partnered with video game developer Epic Games to create a new system for the series named StageCraft, based on Epic's game engine Unreal Engine. StageCraft consists of large LED video screens on which digital environments can be rendered in real time for actors to perform in front of. During pre-production on the series, virtual photography was used to plan the series' filming and determine what environments would be needed on set. The digital environments were then created by ILM and added to StageCraft ready for live action photography with the actors. Some of these environments were based on location photography in countries such as Iceland and Chile. During filming, the digital environments were rendered on a video wall in real time, allowing the filmmakers and actors to see the environments. The images rendered on the video wall were often of a high enough quality to be used as final effects.


title: The Mandalorian (season 1)

text: Filming began during the first week of October 2018, with Filoni directing the first episode. The season was filmed at Manhattan Beach Studios in California under the working title "Project Huckleberry", with limited location filming in the Los Angeles area. This first and third episodes were filmed together as one block, with Filoni and Chow working on their episodes at the same time. George Lucas visited the series' set as a birthday surprise for Favreau on October 19. Several items described as "nothing of substance" were stolen from the series' set on October 25.


title: The Mandalorian (season 1)

text: Filoni made his live-action directorial debut with the series. He saw "The Mandalorian" as a chance to apply lessons he had learned from Lucas about live-action filmmaking during the making of the "Star Wars" animated series, and also described Favreau as a mentor who was furthering Filoni's education and could help him overcome challenges specific to live-action. Filoni also served as a second unit director for the other filmmakers, filming quick pick-up shots for them as needed while they were busy on other scenes. Favreau noted that the fourth episode of the series, "Sanctuary", was the most difficult to make due to its forest setting and action requirements, and joked that this was the reason that Howard, the most inexperienced of the first season's directors, was given that episode to direct. Howard felt protected by the experience of Favreau and Filoni, feeling comfortable to go to them with any questions about filmmaking and "Star Wars", respectively. Howard also felt she had creative freedom when directing the episode, something that surprised her father Ron Howard who directed the film "" (2018).


title: The Mandalorian (season 1)

text: Pascal's commitments to filming "Wonder Woman 1984" (2020) and performing in a Broadway production of "King Lear" resulted in stunt doubles Brendan Wayne and Lateef Crowder portraying the Mandalorian on set in Pascal's absence, with Pascal later dubbing the lines. Pascal said he felt uneasy about this when there were "more than just a couple of pages of a one-on-one scene [and not] being able to totally author" the performance. But he said it was "so easy in such a sort of practical and unexciting way for it to be up to" Wayne and Crowder. Wayne worked with Pascal to develop the movements of the character. Filming for the first season wrapped on February 27, 2019.


title: The Mandalorian (season 1)

text: Favreau and the series' directors put emphasis on using practical effects where possible, with Famuyiwa explaining that it was the combination of groundbreaking effects and a grounded world and characters that first drew him to "Star Wars" as a child. Favreau noted that the StageCraft technology used during filming allowed the filmmakers to use more traditional production techniques since they were working within an environment that they could see on set. Legacy Effects created practical armor for the series, as well as the animatronics for the alien creatures. Visual effects were used to remove puppeteers and control rods from scenes that used puppets. One of the modelmakers creating models and puppets for the series was Tony McVey, who worked on the original "Star Wars" films. In order to recreate techniques used on the original "Star Wars" films, "The Mandalorian"s prop master, Josh Roth, designed new weapons for the series based on real guns, as the original props had been modified versions of World War II gun props.


title: The Mandalorian (season 1)

text: "The Child" was created primarily with an animatronic puppet, which was augmented with visual effects. The production had originally expected to mostly use CGI for the character. Different puppeteers controlled its body and head movements, its eyes, and its ears. Other puppeteers moved it for walking scenes. During filming on the third episode, Chow and the visual effects team removed the puppet so they could film a version of a scene without it. This was in case they decided that the puppet was not convincing enough and would need to be replaced with CGI. Herzog called them cowards for not trusting the puppet, and encouraged them not to avoid visual effects. He proved to be right, as the production discovered that the puppet worked better than expected and began retooling scenes to work around its limitations rather than resort to CGI.


title: The Mandalorian (season 1)

text: Favreau wanted the series to feature "D-list" characters from the "Star Wars" films, which led to him creating the Ugnaught character Kuill. The species was first introduced in the background of "The Empire Strikes Back" (1980). Legacy's effects supervisor John Rosengrant explained that a performer could not emote through the heavy prosthetics required to portray an Ugnaught, so animatronics were added to the prosthetic head. Actress Misty Rosas wore the head and costume for the character while one puppeteer controlled the mouth movements and another controlled the eyebrows. The character's lines were recorded ahead of filming, with actor Nick Nolte providing two or three different readings for each line that could be played for the other actors. While performing, Rosas had to use physical signals to indicate to the puppeteers when she wanted the character speak.


title: The Mandalorian (season 1)

text: The series includes Blurrgs, alien creatures that were first introduced in the non-canon film "" (1985). Filoni introduced them into canon with "The Clone Wars" and "Rebels". They were primarily created with CGI, but the first time they are seen in the series, through the Mandalorian's binoculars, physical models were used. These were created by McVey and stop motion animated by Stoopid Buddy Stoodios. The stop motion movement informed the animation of the CGI Blurrgs. Legacy created a practical model of the droid assassin IG-11 as an on-set stand-in for lighting reference. It included the head, torso, and arms of the character, and basic puppeteering could be used to move the head. During filming, the awkward movement of the model was deemed to be a good fit for the character and it was used in more scenes than expected. The CGI version was moved in ways that would not be physically possible for a human performer, taking advantage of the character's inhuman appearance. This differed from K-2SO, a droid that animation director Hal Hickel had created for the film "" (2016), which was based on a motion capture performance.


title: The Mandalorian (season 1)

text: For "Rogue One", Hickel had collected various shots from the original "Star Wars" films of starships that had been created with physical models and motion control camera systems. He brought this collection to "The Mandalorian" as a style guide for how the Razor Crest should look and move. Favreau decided that he wanted a miniature model of the Razor Crest for lighting reference; the models for the series were created with a combination of 3D printing and hand sculpting. After seeing the model, Favreau suggested that a single shot be filmed using motion control techniques as further reference for the CGI. The series had not budgeted for this technique, which is more expensive than using CGI. ILM visual effects supervisor John Knoll built a new motion control rig for the series to use that he described as "garage operation style, quick and dirty". They went on to film 14 or 15 shots for the first season using the technique, and the remaining CGI shots of the Razor Crest in space were designed to emulate the model and motion control style.


title: The Mandalorian (season 1)

text: Shots of the child where visual effects were used instead of the puppet include some scenes where the character is walking, and a scene where he eats a frog. For these, the visual effects team studied the inner workings of the puppet to ensure that their version matched its physical limitations.


title: The Mandalorian (season 1)

text: Image Engine also created visual effects for the series, particularly in "Chapter 3: The Sin" and "Chapter 6: The Prisoner".


title: The Mandalorian (season 1)

text: Composer Ludwig Göransson first met with Favreau in November 2018, when Favreau showed Göransson concept art for the series and discussed his inspirations for the story and tone, including Western and samurai films. After they began discussing the series, Favreau sent the all of the season's scripts to Göransson. The composer worked on his own for a month, spending 10 hours a day in his studio "going from instrument to instrument" and experimenting with different sounds. He wrote five or six different pieces of music during this time as potential themes for the series. One of the first instruments Göransson experimented with was the recorder. He found a bass recorder that he felt sounded unique, and digitally manipulated it to make it more "futuristic". That became the beginning of the series' main theme. Favreau and Filoni both approved of Göransson's initial concepts, especially his use of the recorder which Göransson described as "a very original, distinct, lonely sound that follows this gunslinger on his journey."


title: The Mandalorian (season 1)

text: Favreau wanted the music to come from the perspective of the Mandalorian, serving as a replacement for the character's facial expressions since he is always wearing a helmet. The Mandalorian's theme that Göransson initially wrote for Favreau is used during the end credits, with Göransson writing different end credits cues for some of the episodes. The style of the series' end credits was designed around the score due to Favreau's love of Göransson's music. Göransson also wrote themes for supporting characters such as Greef Karga and Cara Dune, a theme for the Razor Crest, one for all the Mandalorians, and a travelling theme. When he first approached "The Child", Göransson wrote music closer to John Williams' work for the "Star Wars" films since he felt the character was the element of the series that was closest to the films. He also felt it was natural for the character's music to be "cute". However, Favreau did not want this to be the direction for the character since the Mandalorian does not consider the child to be cute. Elements of Göransson's original music for the child are introduced later on as the Mandalorian sees the child begin to use the Force. Göransson wanted to differentiate the sound of each episode, but also considered his score for the first season to be like a score for a single film with the main themes appearing in each episode and developing across the whole season.


title: The Mandalorian (season 1)

text: When Göransson began composing the music for specific scenes, he recorded himself playing the main instruments and then augmented those recordings with synthesizers and other digital manipulation. This was then combined with recordings of a 70-piece orchestra. The orchestra was recorded in Los Angeles from April to September 2019, and featured many musicians who were recording Williams' score for "" (2019) at the same time. Göransson oversaw the recording of the score with his wife, musician Serena McKinney. He wrote four hours of music for the first season. This was the most music he had written for a single project at that time, and he worked on the season longer than any other project at that point. A soundtrack album was released digitally alongside the debut of each episode featuring music from that episode.


title: The Mandalorian (season 1)

text: On October 4, 2018, the first promotional image from the series was released, featuring a Mandalorian with a rifle. About a week later, Favreau released a photo through his official Instagram account featuring a rifle with a two-pronged barrel, an apparent callback to Boba Fett's weapon in "The Star Wars Holiday Special". Jon Favreau, Dave Filoni, and the main cast hosted a panel for "The Mandalorian" at "Star Wars" Celebration Chicago on April 14, 2019, where the first footage premiered to fans in attendance. The first official poster and trailer were released at the D23 Expo on August 23, 2019. A second and final trailer was released on October 28, 2019. On November 11, a sneak peek was released during "Monday Night Football".


title: The Mandalorian (season 1)

text: Favreau chose not to reveal "The Child" in any marketing for the series after a discussion with Donald Glover during the making of "The Lion King" in which Glover noted that audiences appreciate being surprised since it does not happen very much (Glover gave the surprise release of a Beyoncé album as an example). Favreau stated that Disney was on board with this decision, even though it meant they were unable to begin work on merchandise featuring the character before he was revealed in the series premiere in November 2019. This was due to the potential for those merchandise plans to leak and reveal the character early, and meant that merchandise of the character could not be ready for the Christmas and holiday season. After the series premiered, "The Child" became a breakout character with more attention on social media and in news stories about it (1,161) than any of the Democrats running for president at the time. By the end of November 2019 there was huge demand for merchandise featuring the character. Disney's merchandising unit had begun planning for the character, but had only released T-shirts featuring concept art so far. Companies such as Hasbro had begun work on "The Child" merchandise as well, but it would not be ready until 2020. A large amount of unofficial merchandise began to appear ahead of the holiday season.


title: The Mandalorian (season 1)

text: The season premiered on Disney+ on the streaming service's United States launch day, November 12, 2019. The second episode was released on November 15, with weekly releases for subsequent episodes. The seventh episode was released early on December 18 so it could include a sneak preview of "Star Wars: The Rise of Skywalker", which was released on December 20. When Disney+ became available in several European countries in late March 2020, episodes of the season were again made available weekly despite the full season having already been released in other territories, an approach that James Whitbrook of "io9" described as "perplexing" and "dumb". The first two episodes were made available at launch in the countries on March 24, 2020, followed by the third on March 27, which each subsequent episode released weekly.


title: The Mandalorian (season 1)

text: The review aggregator website Rotten Tomatoes reported a 93% approval rating with an average score of 7.95/10, based on 337 reviews. The site's critical consensus reads, "Action-packed and expertly-crafted—if at times a bit too withholding—"The Mandalorian" is a welcome addition to the "Star Wars" universe that benefits greatly from the cuteness of its cargo." Metacritic, which uses a weighted average, assigned a score of 70 out of 100 based on 29 critics, indicating "generally favorable reviews".


title: The Mandalorian (season 1)

text: Zaki Hasan of the "San Francisco Chronicle" said the show "in essence allows the franchise to take a mulligan with Boba Fett. Take the look, take that ineffable 'cool,' and transfer it over to an entirely new character who offers an untouched canvas, while giving the audience something that feels familiar." He added, "Three episodes in, that's really all "The Mandalorian" is: a feeling. A good feeling, mind you, but rather than any specific storytelling quality, it's that feeling you're talking about. The visual effects, the sound effects, the overall look of the thing is all bang-on. This is a polished production that shows off every cent of its feature film budget on every frame of its run time." Writing for "The Ringer", Micah Peters said, ""The Mandalorian" may already be difficult to care about as something more than an installment that exists solely to set up the next installment. But there are still many enjoyable things about it, and also it's a Disney show with spaceships and giant sea slugs, so it doesn't need to be "Citizen Kane". It might, however, be the next great TV Western."


title: The Mandalorian (season 1)

text: Within four days of its release, "The Mandalorian" had stronger U.S. demand compared to four of 2019's biggest streaming originals: Netflix's "The Umbrella Academy", "When They See Us", "", and Amazon Prime Video's "Good Omens". However, it registered less than 40% of the demand of Netflix's "Stranger Things" and was behind other established shows such as DC Universe's "Titans", nor was it in the top 10 for the most in-demand shows across all TV networks and digital services for the week of November 10–16. TV Time, a popular app allowing users to track shows and movies they are watching (or want to watch), stated though that the number of people interested in "The Mandalorian" had doubled for the following week, and noted that it had the largest gain of any TV show.


title: The Mandalorian (season 1)

text: In April 2020, Disney announced an eight-episode documentary series titled "" (also known as "Disney Gallery / Star Wars: The Mandalorian"), which premiered on Disney+ on May 4, 2020, "Star Wars" Day. The series features interviews with the cast and crew of "The Mandalorian", behind-the-scenes footage, and roundtable conversations hosted by Favreau that explore the production of "The Mandalorian". Subsequent episodes of the series were released weekly on Disney+.


title: Ford Model A (1927–1931)

text: The Ford Model A (also colloquially called the A-Model Ford or the A, and A-bone among hot rodders and customizers) was the Ford Motor Company's second market success, replacing the venerable Model T which had been produced for 18 years. It was first produced on October 20, 1927, but not introduced until December 2. This new Model A (a previous model had used the name in 1903–04) was designated a 1928 model and was available in four standard colors. The vehicle was also sold in Europe, but was replaced by locally built cars such as the Ford Model Y.


title: Ford Model A (1927–1931)

text: By February 4, 1929, one million Model As had been sold, and by July 24, two million. The range of body styles ran from the Tudor at US$500 (in grey, green, or black) ($ in dollars ) to the town car with a dual cowl at US$1,200 ($ in dollars ). In March 1930, Model A sales hit three million, and there were nine body styles available.


title: Ford Model A (1927–1931)

text: Model A production ended in March 1932, after 4,858,644 had been made in all body styles. Its successor was the Model B, which featured an updated inline four-cylinder engine, as well as the Model 18, which introduced Ford's new flathead (sidevalve) V8 engine.


title: Ford Model A (1927–1931)

text: Prices for the Model A ranged from US$385 for a roadster to US$1,400 for the top-of-the-line town car. The engine was a water-cooled L-head inline four with a displacement of . This engine provided . Top speed was around . The Model A had a wheelbase with a final drive ratio of 3.77:1. The transmission was a conventional unsynchronized three-speed sliding-gear manual with a single speed reverse. The Model A had four-wheel mechanical drum brakes. The 1930 and 1931 models were available with stainless steel radiator cowlings and headlamp housings.


title: Ford Model A (1927–1931)

text: The Model A came in a wide variety of styles including coupes (standard and deluxe), business coupe, sport coupe, roadster coupes (standard and deluxe), convertible cabriolet, convertible sedan, phaetons (standard and deluxe), Tudor sedans (standard and deluxe), town car, Fordors (five-window standard, three-window deluxe), Victoria, town sedan, station wagon, taxicab, truck, and commercial. The very rare special coupe started production around March 1928 and ended mid-1929.


title: Ford Model A (1927–1931)

text: The Model A was the first Ford to use the standard set of driver controls with conventional clutch and brake pedals, throttle, and gearshift. Previous Fords used controls that had become uncommon to drivers of other makes. The Model A's fuel tank was situated in the cowl, between the engine compartment's fire wall and the dash panel. It had a visual fuel gauge, and the fuel flowed to the carburetor by gravity. A rear-view mirror was optional. In cooler climates, owners could purchase an aftermarket cast iron unit to place over the exhaust manifold to provide heat to the cab. A small door provided adjustment of the amount of hot air entering the cab. The Model A was the first car to have safety glass in the windshield.


title: Ford Model A (1927–1931)

text: The Soviet company GAZ, which started as a joint venture between Ford and the Soviet Union, made a licensed version from 1932–1936. This served as the basis for the FAI and BA-20 armored cars which saw use as Soviet scout vehicles in the early stages of World War II.


title: Ford Model A (1927–1931)

text: In addition to the United States, Ford made the Model A in plants in Argentina, Canada, Denmark, France, Germany, Italy, Japan and the United Kingdom.


title: Ford Model A (1927–1931)

text: In Europe, where in some countries cars were taxed according to engine size, Ford in the UK manufactured the Model A with a smaller displacement engine of , providing a claimed output of . However, this equated to a British fiscal horsepower of (compared to the of the larger engine) and attracted a punitive annual car tax levy of £1 per fiscal hp in the UK. It therefore was expensive to own and too heavy and uneconomical to achieve volume sales, and so unable to compete in the newly developing mass market, while also too crude to compete as a luxury product. European manufactured Model As failed to achieve the sales success in Europe that would greet their smaller successor in Britain and Germany.


title: Ford Model A (1927–1931)

text: From the mid 1910s through the early 1920s, Ford dominated the automotive market with its Model T. However, during the mid-1920s, this dominance eroded as competitors, especially the various General Motors divisions, caught up with Ford's mass production system and began to better Ford in some areas, especially by offering more powerful engines, new convenience features, or cosmetic customization. Also, features Henry Ford considered to be unnecessary, such as electric starters, were gradually shifting in the public's perception from luxuries to essentials.


title: Ford Model A (1927–1931)

text: Ford's sales force recognized the threat and advised Henry to respond to it. Initially he resisted, but the T's sagging market share finally forced him to admit a replacement was needed. When he finally agreed to begin development of this new model, he focused on the mechanical aspects and on what today is called design for manufacturability (DFM), which he had always strongly embraced and for which the Model T production system was famous. Although ultimately successful, the development of the Model A included many problems that had to be resolved. For example, the die stamping of parts from sheet steel, which the Ford company had led to new heights of development with the Model T production system, was something Henry had always been ambivalent about; it had brought success, but he felt that it was not the best choice for durability. He was determined that the Model A would rely more on drop forgings than the Model T, but his ideas to improve the DFM of forging did not prove practical. Eventually, Ford's engineers persuaded him to relent, lest the Model A's production cost force up its retail price too much.


title: Ford Model A (1927–1931)

text: Henry's disdain for cosmetic vanity as applied to automobiles led him to leave the Model A's styling to a team led by his son Edsel, even though he would take credit for it despite his son doing more of the work.


title: Ford Model A (1927–1931)

text: It was during the period from the mid-1920s to early 1930s that the limits of the first generation of mass production, epitomized by the Model T production system's rigidity, became apparent. The era of "flexible mass production" had begun.


title: Ford Model A (1927–1931)

text: The Model A was well represented in media of the era, since it was one of the most common cars. Model kits remain available from hobby shops as stock cars or hot rods. High quality die-cast Model As are represented in 1/24 scale by the Danbury Mint 1931 roadster and the Franklin Mint 1930 Tudor sedan.


title: Ford Model A (1927–1931)

text: Several Model As have obtained particular fame. The "Mean Green Machine", a green and black 1931 Tudor sedan, has been a staple of University of North Texas football games and special events since 1974, maintained by the spirit organization Talons since the 1980s. The "Ramblin' Wreck", a 1930 sport coupe, is the official mascot of the student body at the Georgia Institute of Technology and appears at sporting events and student body functions. "Ala Kart", a customized 1929 roadster pickup built by George Barris, won two straight "America's Most Beautiful Roadster" awards at the Oakland Roadster Show before making numerous film and television appearances. Between October 1992 and December 1994, Hector Quevedo, along with his son Hugo, drove a 1928 Model A from his home in Punta Arenas, Chile to Ford headquarters in Dearborn, Michigan. The car required minimal service, including a flat tire and transmission work in Nicaragua, and is now housed in the Henry Ford Museum. A 1930 Model A, used by the gangster John Dillinger to escape federal agents in 1934, was sold at auction in 2010 for $165,000.


title: Ford Model A (1927–1931)

text: Charlie Ryan's song "Hot Rod Lincoln" featured a modified Model A. The song has been covered several times since its original release.


title: Ford Model A (1927–1931)

text: The West Side Lumber Company of California converted several Model As into railcars which could carry 12 people. A few still see regular service on the Yosemite Mountain Sugar Pine Railroad, also in California, alongside Shays Nos. 10 and 15.


Large denominations of United States currency greater than were circulated by the United States Treasury until 1969. Since then, U.S. dollar banknotes have only been issued in seven denominations: $1, $2, $5, $10, $20, $50, and $100.


title: Large denominations of United States currency

text: Large-denomination currency (i.e., banknotes with a face value of or higher) had been used in the United States since the late 18th century. The first note was issued by North Carolina, authorized by legislation dated May 10, 1780. Virginia quickly followed suit and authorized the printing of and notes on October 16, 1780 and notes on May 7, 1781. High-denomination treasury notes were issued, for example during the War of 1812 ($1,000 notes authorized by an act dated June 30, 1812). During the American Civil War Confederate currency included and notes. The earliest (1861) federal banknotes included high-denomination notes such as three-year interest-bearing notes of , , and , authorized by Congress on July 17, 1861. In total, 11 different types of U.S. currency were issued in high-denomination notes across nearly 20 different series dates.


text: The obverse designs of United States banknotes generally depict either historical figures, allegorical figures symbolizing significant concepts (e.g., liberty, justice), or a combination of both. The reverse designs range from abstract scroll-work with ornate denomination identifiers to reproductions of historical art works.


text: Series 1934 gold certificates ($100; ; ; and ) were issued after the gold standard was repealed and gold was compulsorily confiscated by order of President Franklin Roosevelt on March 9, 1933 (see United States Executive Order 6102). Thus the series 1934 notes were used only for intragovernmental (i.e., Federal Reserve Bank) transactions and were not issued to the public. This series was discontinued in 1940. The series 1928 gold certificate reverse was printed in black and green (see History of the United States dollar).


text: Although they are still legal tender in the United States, high-denomination bills were last printed on December 27, 1945, and were officially discontinued on July 14, 1969, by the Federal Reserve System due to "lack of use". The and bills had effectively disappeared well before then.


text: The Federal Reserve began taking high-denomination currency out of circulation and destroying large bills received by banks in 1969. , only 336 bills were known to exist, along with 342 remaining bills and 165,372 remaining bills. Due to their rarity, collectors pay considerably more than the face value of the bills to acquire them, and some are in museums in other parts of the world.


text: For the most part, these bills were used by banks and the federal government for large financial transactions, which was especially true for gold certificates from 1865 to 1934. However, the introduction of electronic money systems has made large-scale cash transactions mostly obsolete, and along with concerns about counterfeiting and the use of cash for unlawful activities (such as drug trafficking and money laundering), it is unlikely that the U.S. government will reissue any large-denomination currency in the foreseeable future. According to the U.S. Department of Treasury website, "The present denominations of our currency in production are , , , , , and . The purpose of the United States currency system is to serve the needs of the public and these denominations meet that goal. Neither the Department of the Treasury nor the Federal Reserve System has any plans to change the denominations in use today."


text: The National Numismatic Collection at the Smithsonian Institution contains (among other things) the Bureau of Engraving and Printing (BEP) certified proofs and the Treasury Department collection of United States currency. Using a combination of proofs and issued notes, a nearly complete type set of high-denomination currency was compiled. Notably missing are several types of Compound and Interest Bearing Notes. Printed during the early to mid-1860s on very thin paper, these high-denomination notes are virtually non-existent. Their issuance (1861–65) predates the BEP's responsibility for U.S. currency (1870s), so it is fortunate that any proofs exist in the current archives.


title: Roatán

text: Roatán () is an island in the Caribbean, about off the northern coast of Honduras. It is located between the islands of Utila and Guanaja, and is the largest of the Bay Islands of Honduras. The island was formerly known in English as Ruatan and Rattan.


title: Roatán

text: The island consists of two municipalities: José Santos Guardiola in the east and Roatán, including the Cayos Cochinos, further south in the west.


title: Roatán

text: The island rests on an exposed ancient coral reef, rising to about above sea level. Offshore reefs offer opportunities for diving. Most habitation is in the western half of the island.


title: Roatán

text: The most populous town of the island is Coxen Hole, capital of Roatán municipality, located in the southwest. West of Coxen Hole are the settlements of Gravel Bay, Flowers Bay and Pensacola on the south coast, and Sandy Bay, West End and West Bay on the north coast. To the east of Coxen Hole are the settlements of Mount Pleasant, French Harbour, Parrot Tree, Jonesville and Oakridge on the south coast, and Punta Gorda on the north coast.


title: Roatán

text: The easternmost quarter of the island is separated by a channel through the mangroves that is 15 metres wide on average. This section is called Helene, or "Santa Elena" in Spanish. Satellite islands at the eastern end are Morat, Barbareta, and Pigeon Cay. Further west between French Harbour and Coxen Hole are several cays, including Stamp Cay and Barefoot Cay.


title: Roatán

text: Located near the Mesoamerican Barrier Reef, the largest barrier reef in the Caribbean Sea (second largest worldwide after Australia's Great Barrier Reef), Roatán has become an important cruise ship, scuba diving and eco-tourism destination in Honduras. Tourism is its most important economic sector, though fishing is also an important source of income for islanders. Roatán is located within of La Ceiba. The island is served by the Juan Manuel Gálvez Roatán International Airport and the Galaxy Wave Ferry with service to the city of La Ceiba twice a day and the Utila Dream ferry with service from Roatan to Utila to La Ceiba twice a day.


title: Roatán

text: The Indians of the Bay Islands are believed to have been related to either the Paya, the Maya, the Lenca or the Jicaque, which were the tribes present on the mainland. Christopher Columbus on his fourth voyage (1502–1504) came to the islands as he visited the neighbouring Bay Island of Guanaja. Soon after, the Spanish began trading in the islands for slave labour. More devastating for the local Indians was exposure to Eurasian infectious diseases to which they had no immunity, such as smallpox and measles. No indigenous people survived the consequent epidemics.


title: Roatán

text: Throughout the European colonial era, the Bay of Honduras attracted an array of individual settlers, pirates, traders and military forces. Various economic activities were engaged in and political struggles played out between the European powers, chiefly Britain and Spain. Sea travellers frequently stopped over at Roatán and the other islands as resting points. On several occasions, the islands were subject to military occupation. In contesting with the Spanish for colonisation of the Caribbean, the English occupied the Bay Islands on and off between 1550 and 1700. During this time, buccaneers found the vacated, mostly unprotected islands a haven for safe harbour and transport. English, French and Dutch pirates established settlements on the islands. They frequently raided the Spanish treasure ships, cargo vessels carrying gold and silver from the New World to Spain. In 1722 fisherman Philip Ashton was captured by the pirate Edward Low and managed to escape on a watering rendezvous on Roatan. His noted account of his subsequent year spent on the uninhabited island provides a glimpse of the island after the eradication of the Paya and before colonisation.


title: Roatán

text: During the War of the Austrian Succession, a British Army detachment under the command of John Caulfeild garrisoned the island from 1742 to 1749. The garrison originally consisted of two companies of Gooch's American Regiment, but these were eventually amalgamated into the 49th Regiment of Foot (later amalgamated as part of the Cardwell Reforms into the Royal Berkshire Regiment).


title: Roatán

text: In 1797, the British defeated the Garifuna, who had been supported by the French, in a conflict for control of the Windward Caribbean island of St. Vincent as part of the Second Carib War. The British then deported the Garifuna to Roatán. The majority of the Garifuna migrated to Trujillo on mainland Honduras, but a portion remained to found the community of "Punta Gorda" on the northern coast of Roatán. The Garifuna, whose ancestry includes Arawak and Maroons, remained in Punta Gorda, becoming the Bay Island's first permanent post-Columbian settlers. They also migrated from there to parts of the northern coast of Central America, becoming the foundation of the modern-day "Garífuna" culture in Honduras, Belize and Guatemala.


title: Roatán

text: The majority permanent population of Roatán originated from the Cayman Islands. They arrived in the 1830s shortly after the passage of the 1833 Slavery Abolition Act; the changes in the labour system disrupted the economic structure of the Caymans. The islands had a largely seafaring culture; natives were familiar with the area from turtle fishing and other activities. Former slaveholders from the Cayman Islands were among the first to settle in the seaside locations throughout primarily western Roatán. During the late 1830s and 1840s, former slaves also migrated from the Cayman Islands, in larger number than planters. All together, the former Cayman peoples became the largest cultural group on the island.


title: Roatán

text: For a brief period in the 1850s, Britain declared the Bay Islands its colony. Within a decade, the Crown ceded the territory formally back to Honduras. British colonists were sent to compete for control. They asked American William Walker, a freebooter (filibuster) with a private army, to help end the crisis in 1860 by establishing an independent, English-speaking government over the islands; he eventually fell into the custody of the Honduran government, which executed him.


title: Roatán

text: In the 20th century, there was continued population growth resulting in increased economic changes and environmental challenges. A population boom began with an influx of Spanish-speaking Mestizo migrants from the Honduran mainland. Since the late 20th century, they tripled the previous resident population. Mestizo migrants settled primarily in the urban areas of Coxen Hole and Barrio Los Fuertes (near French Harbour). Even the mainlander influx was dwarfed in number and economic effects by the overwhelming tourist presence in the 21st century. Numerous American, Canadian, British, New Zealander, Australian and South African settlers and entrepreneurs engaged chiefly in the fishing industry. Later, the diving industry, provided the foundation for attracting the tourist trade.


title: Roatán

text: In 1998, Roatán suffered some damage from Hurricane Mitch, temporarily paralysing most commercial activity. The storm also broke up the popular dive-wrecks "Aguila" and "Odyssey."


title: Roatán

text: At the time of the 2013 Honduras census, Roatán municipality had a population of 41,831. Of these, 52.06% were Mestizo, 20.97% Black or Afro-Honduran, 12.41% White, 11.19% Indigenous (3.73% Chʼortiʼ, 3.49% Lenca, 1.26% Miskito, 1.07% Pech) and 3.37% others.


title: Roatán

text: The English-speaking people who have been established in Northern Honduras (specifically, the Bay Islands) since the early 19th century are chiefly of European and British-Afro-Caribbean descent and are called "Islanders" or "caracoles" (snails). They are called "caracoles" by Spanish-Speaking Hondurans, a term deemed offensive by native Islanders who have a long-standing rivalry with Spanish-speaking Hondurans because of their differences in culture, language, beliefs and ideals. The region of the Bay Islands encompasses the three major islands of Roatán, Útila and Guanaja, the Hog Islands as well as the smaller islands or cays. These people are also called "Islanders", especially locally.


title: Roatán

text: English is the first language of native islanders, regardless of race, and Spanish is spoken second, whereas mainland Honduras is Spanish-speaking. It remains this way because of the islands' history as a British colony with some islanders claiming descent from the British Isles. With the steady influx of mainland Hondurans migrating to the islands in the late twentieth century, Spanish language use has increased. However, because of the tourism and cruise ship industry that supports the economy of the islands, English continues to be the first spoken and dominant language among all native island peoples.


title: Roatán

text: Over time, the form of English spoken by the Roatán Islanders has changed. The language differs mostly in morphology but also in pronunciation and accent and, to a lesser extent, in syntax and vocabulary, from the English spoken in other regions of the Commonwealth Caribbean, as evidenced by the usage of a wide variety of old standard English terms and words throughout the islands. They are similar enough to be mutually intelligible and understood throughout the entire Bay Islands. The language can also be learned, although it is not taught in the general sense, whilst the accent derives from the wide variety of expatriates living and working on the Islands from North America and Europe.


title: Roatán

text: Roatán lies on the southern edge of the Mesoamerican Barrier Reef System, the second-largest barrier reef in the world. Reef systems are very delicate and have experienced massive damage and degradation worldwide. On Roatán, unchecked tourism development and an increased population are putting a strain on its natural resources. Deforestation, run-off, poorly managed waste treatment, and pollution are the main threats to the terrestrial and marine environments.


title: Roatán

text: The capital city of Coxen Hole underwent a major reconstruction between the years of 2003 to 2005 adding new black water and septic lines as well as fresh water lines to accommodate the growing business sector and population. These lines are used in conjunction with the new water treatment plant and a waste management plant that recycles waste which are adjacent to the Roatán International Airport.


title: Roatán

text: A similar project has been completed and now serving West End Village (the Island's tourism, social and diving hub) with even greater success than its predecessors. Although the project was initially met with some skepticism and anger at a tax hike proposed to help fund the project, it has turned out to be an overwhelming success with a new state of the art road, pumping station, sewer lines and drainage system. The project and its facilities are currently maintained and operated by ACME sanitation and solutions. It was not that long ago where "sanitation" was provided by hundreds of out-houses located at the ends of short boardwalks over the water. In the smaller communities, this "system" may still be in use. The Island has also expanded, repaved and revamped both its major highway roads with the south and north side portions being completed by mid-2020.


title: Roatán

text: The Roatán Marine Park was the main force behind introducing recycling to the Island as well as the popular "Coastal clean up" projects that have become very popular among schools, residents and expatriate communities on the Island. The Marine Park is led by a team of professional divers, marine biologists and oceanographers. In 2019 the local government passed a law banning the use and sale of plastic bags, bottles, containers and styrofoam. The Island expects to continue passing comprehensive environmental and pollution reforms through 2020 and beyond.


title: Roatán

text: The Roatán Marine Park (RMP) is a grassroots, community-based, non-profit organization located on Roatán. The organization was formed in January 2005 when a group of concerned dive operators and local businesses united in an effort to protect Roatán's fragile coral reefs. Initially, the RMP's goal was to run a patrol program within the Sandy Bay-West End Marine Reserve (SBWEMR), to prevent over exploitation through unsustainable fishing practices. Over time, the organisation expanded the scope of their environmental efforts through the addition of other programs to protect Roatán's natural resources, including patrols and infrastructure, education, conservation and public awareness.


title: Roatán

text: The East End Chapter of the Roatan Marine Park was created in late 2017 in an effort to expand the RMP's efforts across the entire island. The initiative and volunteer efforts saw an increase in fish coverage and a 200% increase in turtle nesting for the 2019 season, and new goals include expanding education outreach and local alternative livelihood programs.


title: Roatán

text: The Roatan Institute for Marine Sciences (RIMS) was established in 1989 with the primary objective being the preservation of Roatán's natural resources through education and research. RIMS is located in Sandy Bay, specifically in Anthony's Key Resort, on the northwest coast of Roatán with over of fringing and barrier reefs, seagrass beds, mangroves, and shoreline. Over the past twenty five years, RIMS has established itself as a teaching institution and is visited by colleges as well as universities from abroad to study nearby tropical marine ecosystems and the bottlenose dolphins kept by the facility.


title: Roatán

text: All reef systems throughout the Bay Islands are protected by the local and central government with help from charitable donations and those on the front line. Through local donations to the Marine Park and the many causes along with a concerted effort from the resorts on the island weekly clean-ups are undertaken to insure no metals or plastics litter the reef system and beaches as well as all major dive shops doing clean-ups on most of their daily dives. There are still obstacles to be defeated but the Islanders and expatriates living on the islands have taken a united stand to conserve and educate.


title: Roatán

text: The Juan Manuel Gálvez International Airport (RTB) on Roatán is one of five airports able to receive international traffic that is in service in Honduras. The other airports in Honduras are the Ramon Villeda Morales International Airport (SAP) in San Pedro Sula, Toncontin International Airport (TGU) in Tegucigalpa, Goloson International Airport in La Ceiba (LCE), and Palmerola International Airport(XPL), in Comayagua.


title: Roatán

text: The island of Roatán airport has a terminal that is served with nonstop international flights to Roatán from Houston, Atlanta, Dallas/Fort Worth, Miami, New York City (Newark International Airport), Minneapolis/St. Paul, San Salvador, and Milan. Regional flights also operate to Puerto Lempira (PEU), Tegucigalpa (TGU), and San Pedro Sula (SAP). During the winter months, the island also receives international flights to Roatán from Montreal and Toronto. The Canadian-based charter airline, Air Transat, operates flights from mid November to mid April. West Jet started operations to the Island with Southwest airlines not far behind. Easy Sky also serves the island.


title: Roatán

text: Roatán contains a special economic zone “Zona de Empleo y de Desarrollo Económico” (ZEDE) or Zone for Economic Development and Employment, designated by Honduran constitutional provisions and legislation. The goal is to enable stable legal structures, physical environment, human rights, and taxation in order to encourage investment, migration, and economic development. This is the location of the private charter city of Próspera.


title: Bosnian language

text: Bosnian (; / , ) is the standardized variety of the Serbo-Croatian pluricentric language mainly used by ethnic Bosniaks. Bosnian is one of three such varieties considered official languages of Bosnia and Herzegovina, along with Croatian and Serbian. It is also an officially recognized minority language in Croatia, Serbia, Montenegro, North Macedonia and Kosovo.


title: Bosnian language

text: Bosnian uses both the Latin and Cyrillic alphabets, with Latin in everyday use. It is notable among the varieties of Serbo-Croatian for a number of Arabic, Persian and Turkish loanwords, largely due to the language's interaction with those cultures through Islamic ties.


title: Bosnian language

text: Bosnian is based on the most widespread dialect of Serbo-Croatian, Shtokavian, more specifically on Eastern Herzegovinian, which is also the basis of standard Croatian, Serbian and Montenegrin varieties. Therefore, the Declaration on the Common Language of Croats, Serbs, Bosniaks and Montenegrins was issued in 2017 in Sarajevo. Until the 1990s, the common language was called Serbo-Croatian and that term is still used in English, along with "Bosnian-Croatian-Montenegrin-Serbian" (BCMS), especially in diplomatic circles.


title: Bosnian language

text: Although Bosnians are, at the level of vernacular idiom, linguistically more homogeneous than either Serbians or Croatians, unlike those nations they failed to codify a standard language in the 19th century, with at least two factors being decisive:


title: Bosnian language

text: The modern Bosnian standard took shape in the 1990s and 2000s. Lexically, Islamic-Oriental loanwords are more frequent; phonetically: the phoneme /x/ (letter "h") is reinstated in many words as a distinct feature of vernacular Bosniak speech and language tradition; also, there are some changes in grammar, morphology and orthography that reflect the Bosniak pre-World War I literary tradition, mainly that of the Bosniak renaissance at the beginning of the 20th century.


title: Bosnian language

text: The name "Bosnian language" is a controversial issue for some Croats and Serbs, who also refer to it as the "Bosniak" language (, ). Bosniak linguists however insist that the only legitimate name is "Bosnian" language () and that that is the name that both Croats and Serbs should use. The controversy arises because the name "Bosnian" may seem to imply that it is the language of all Bosnians, while Bosnian Croats and Serbs reject that designation for their idioms.


title: Bosnian language

text: The language is called "Bosnian language" in the 1995 Dayton Accords and is concluded by observers to have received legitimacy and international recognition at the time.


title: Bosnian language

text: The International Organization for Standardization (ISO), United States Board on Geographic Names (BGN) and the Permanent Committee on Geographical Names (PCGN) recognize the Bosnian language. Furthermore, the status of the Bosnian language is also recognized by bodies such as the United Nations, UNESCO and translation and interpreting accreditation agencies, including internet translation services.


title: Bosnian language

text: Most English-speaking language encyclopedias (Routledge, Glottolog, Ethnologue, etc.) register the language solely as "Bosnian" language. The Library of Congress registered the language as "Bosnian" and gave it an ISO-number. The Slavic language institutes in English-speaking countries offer courses in "Bosnian" or "Bosnian/Croatian/Serbian" language, not in "Bosniak" language (e.g. Columbia, Cornell, Chicago, Washington, Kansas). The same is the case in German-speaking countries, where the language is taught under the name , not (e.g. Vienna, Graz, Trier) with very few exceptions.


title: Bosnian language

text: Some Croatian linguists (Zvonko Kovač, Ivo Pranjković, Josip Silić) support the name "Bosnian" language, whereas others (Radoslav Katičić, Dalibor Brozović, Tomislav Ladan) hold that the term "Bosnian language" is the only one appropriate and that accordingly the terms Bosnian language and Bosniak language refer to two different things. The Croatian state institutions, such as the Central Bureau of Statistics, use both terms: "Bosniak" language was used in the 2001 census, while the census in 2011 used the term "Bosnian" language.


title: Bosnian language

text: The majority of Serbian linguists hold that the term "Bosniak language" is the only one appropriate, which was agreed as early as 1990.


title: Bosnian language

text: The original form of The Constitution of the Federation of Bosnia and Herzegovina called the language "Bosniac language", until 2002 when it was changed in Amendment XXIX of the Constitution of the Federation by Wolfgang Petritsch. The original text of the Constitution of the Federation of Bosnia and Herzegovina was agreed in Vienna and was signed by Krešimir Zubak and Haris Silajdžić on March 18, 1994.


title: Bosnian language

text: The constitution of , the Serb-dominated entity within Bosnia and Herzegovina, did not recognize any language or ethnic group other than Serbian. Bosniaks were mostly expelled from the territory controlled by the Serbs from 1992, but immediately after the war they demanded the restoration of their civil rights in those territories. The Bosnian Serbs refused to make reference to the Bosnian language in their constitution and as a result had constitutional amendments imposed by High Representative Wolfgang Petritsch. However, the constitution of refers to it as the "Language spoken by Bosniaks", because the Serbs were required to recognise the language officially, but wished to avoid recognition of its name.


title: Bosnian language

text: Serbia includes the Bosnian language as an elective subject in primary schools. Montenegro officially recognizes the Bosnian language: its 2007 Constitution specifically states that although Montenegrin is the official language, Serbian, Bosnian, Albanian and Croatian are also in official use.


title: Bosnian language

text: The differences between the Bosnian, Serbian, and Croatian literary standards are minimal. Although Bosnian employs more Turkish, Persian, and Arabic loanwords—commonly called orientalisms— mainly in its spoken variety due to the reason that most of Bosnian speakers are Muslims, but it is still very similar to both Serbian and Croatian in its written and spoken form. "Lexical differences between the ethnic variants are extremely limited, even when compared with those between closely related Slavic languages (such as standard Czech and Slovak, Bulgarian and Macedonian), and grammatical differences are even less pronounced. More importantly, complete understanding between the ethnic variants of the standard language makes translation and second language teaching impossible."