title: Geiger counter

text: The first historical uses of the Geiger principle were to detect α- and β-particles, and the instrument is still used for this purpose today. For α-particles and low energy β-particles, the "end-window" type of a Geiger–Müller tube has to be used, as these particles have a limited range and are easily stopped by a solid material. Therefore, the tube requires a window which is thin enough to allow as many as possible of these particles through to the fill gas. The window is usually made of mica with a density of about 1.5–2.0 mg/cm.


title: Geiger counter

text: α-particles have the shortest range, and to detect these the window should ideally be within 10 mm of the radiation source due to α-particle attenuation. However, the Geiger–Müller tube produces a pulse output which is the same magnitude for all detected radiation, so a Geiger counter with an end window tube cannot distinguish between α- and β-particles. A skilled operator can use varying distance from a radiation source to differentiate between α- and high energy β-particles.


title: Geiger counter

text: The "pancake" Geiger–Müller tube is a variant of the end-window probe, but designed with a larger detection area to make checking quicker. However, the pressure of the atmosphere against the low pressure of the fill gas limits the window size due to the limited strength of the window membrane.


title: Geiger counter

text: Some β-particles can also be detected by a thin-walled "windowless" Geiger–Müller tube, which has no end-window, but allows high energy β-particles to pass through the tube walls. Although the tube walls have a greater stopping power than a thin end-window, they still allow these more energetic particles to reach the fill gas.


title: Geiger counter

text: End-window Geiger counters are still used as a general purpose, portable, radioactive contamination measurement and detection instrument, owing to their relatively low cost, robustness and relatively high detection efficiency; particularly with high energy β-particles. However, for discrimination between α- and β-particles or provision of particle energy information, scintillation counters or proportional counters should be used. Those instrument types are manufactured with much larger detector areas, which means that checking for surface contamination is quicker than with a Geiger counter.


title: Geiger counter

text: Geiger counters are widely used to detect gamma radiation and X-rays collectively known as photons, and for this the windowless tube is used. However, detection efficiency is low compared to alpha and beta particles.


title: Geiger counter

text: The article on the Geiger–Müller tube carries a more detailed account of the techniques used to detect photon radiation. For high energy photons the tube relies on the interaction of the radiation with the tube wall, usually a high Z material such as chrome steel of 1–2 mm thickness to produce electrons within the tube wall. These enter and ionize the fill gas.


title: Geiger counter

text: This is necessary as the low-pressure gas in the tube has little interaction with higher energy photons. However, as photon energies decrease to low levels there is greater gas interaction, and the direct gas interaction increases. At very low energies (less than 25 keV) direct gas ionisation dominates, and a steel tube attenuates the incident photons. Consequently, at these energies, a typical tube design is a long tube with a thin wall which has a larger gas volume, to give an increased chance direct interaction of a particle with the fill gas.


title: Geiger counter

text: Above these low energy levels, there is a considerable variance in response to different photon energies of the same intensity, and a steel-walled tube employs what is known as "energy compensation" in the form of filter rings around the naked tube, which attempts to compensate for these variations over a large energy range. A chrome steel Geiger-Müller tube is about 1% efficient over a wide range of energies.


title: Geiger counter

text: A variation of the Geiger tube is used to measure neutrons, where the gas used is boron trifluoride or helium-3 and a plastic moderator is used to slow the neutrons. This creates an alpha particle inside the detector and thus neutrons can be counted.


title: Geiger counter

text: The term "Geiger counter" is commonly used to mean a hand-held survey type meter, however the Geiger principle is in wide use in installed "area gamma" alarms for personnel protection, and in process measurement and interlock applications.


title: Geiger counter

text: A Geiger tube is still the sensing device, but the processing electronics will have a higher degree of sophistication and reliability than that used in a hand held survey meter.


title: Geiger counter

text: For hand-held units there are two fundamental physical configurations: the "integral" unit with both detector and electronics in the same unit, and the "two-piece" design which has a separate detector probe and an electronics module connected by a short cable.


title: Geiger counter

text: In the 1930s a mica window was added to the cylindrical design allowing low-penetration radiation to pass through with ease.


title: Geiger counter

text: The integral unit allows single-handed operation, so the operator can use the other hand for personal security in challenging monitoring positions, but the two piece design allows easier manipulation of the detector, and is commonly used for alpha and beta surface contamination monitoring where careful manipulation of the probe is required or the weight of the electronics module would make operation unwieldy. A number of different sized detectors are available to suit particular situations, such as placing the probe in small apertures or confined spaces.


title: Geiger counter

text: Gamma and X-Ray detectors generally use an "integral" design so the Geiger–Müller tube is conveniently within the electronics enclosure. This can easily be achieved because the casing usually has little attenuation, and is employed in ambient gamma measurements where distance from the source of radiation is not a significant factor. However, to facilitate more localised measurements such as "surface dose", the position of the tube in the enclosure is sometimes indicated by targets on the enclosure so an accurate measurement can be made with the tube at the correct orientation and a known distance from the surface.


title: Geiger counter

text: There is a particular type of gamma instrument known as a "hot spot" detector which has the detector tube on the end of a long pole or flexible conduit. These are used to measure high radiation gamma locations whilst protecting the operator by means of distance shielding.


title: Geiger counter

text: Particle detection of alpha and beta can be used in both integral and two-piece designs. A pancake probe (for alpha/beta) is generally used to increase the area of detection in two-piece instruments whilst being relatively light weight. In integral instruments using an end window tube there is a window in the body of the casing to prevent shielding of particles. There are also hybrid instruments which have a separate probe for particle detection and a gamma detection tube within the electronics module. The detectors are switchable by the operator, depending the radiation type that is being measured.


title: Geiger counter

text: In the United Kingdom the National Radiological Protection Board issued a user guidance note on selecting the best portable instrument type for the radiation measurement application concerned. This covers all radiation protection instrument technologies and includes a guide to the use of G-M detectors.


title: Geiger counter

text: In 1908 Hans Geiger, under the supervision of Ernest Rutherford at the Victoria University of Manchester (now the University of Manchester), developed an experimental technique for detecting alpha particles that would later be used to develop the Geiger–Müller tube in 1928. This early counter was only capable of detecting alpha particles and was part of a larger experimental apparatus. The fundamental ionization mechanism used was discovered by John Sealy Townsend between 1897 and 1901, and is known as the Townsend discharge, which is the ionization of molecules by ion impact.


title: Geiger counter

text: It was not until 1928 that Geiger and Walther Müller (a PhD student of Geiger) developed the sealed Geiger–Müller tube which used basic ionization principles previously used experimentally. Small and rugged, not only could it detect alpha and beta radiation as prior models had done, but also gamma radiation. Now a practical radiation instrument could be produced relatively cheaply, and so the Geiger counter was born. As the tube output required little electronic processing, a distinct advantage in the thermionic valve era due to minimal valve count and low power consumption, the instrument achieved great popularity as a portable radiation detector.


title: Geiger counter

text: Modern versions of the Geiger counter use the halogen tube invented in 1947 by Sidney H. Liebson. It superseded the earlier Geiger–Müller tube because of its much longer life and lower operating voltage, typically 400-900 volts.


title: London Bridge Is Falling Down

text: "London Bridge Is Falling Down" (also known as "My Fair Lady" or "London Bridge") is a traditional English nursery rhyme and singing game, which is found in different versions all over the world. It deals with the dilapidation of London Bridge and attempts, realistic or fanciful, to repair it. It may date back to bridge-related rhymes and games of the Late Middle Ages, but the earliest records of the rhyme in English are from the 17th century. The lyrics were first printed in close to their modern form in the mid-18th century and became popular, particularly in Britain and the United States, during the 19th century.


title: London Bridge Is Falling Down

text: The modern melody was first recorded in the late 19th century. It has Roud Folk Song Index number 502. Several explanations have been advanced to explain the meaning of the rhyme and the identity of the "fair lady" of the refrain. The rhyme is well known and has been referenced in a variety of works of literature and popular culture.


title: London Bridge Is Falling Down

text: The rhyme is constructed of quatrains in trochaic tetrameter catalectic, (each line made up of four metrical feet of two syllables, with the stress falling on the first syllable in a pair; the last foot in the line missing the unstressed syllable), which is common in nursery rhymes. In its most common form it relies on a double repetition, rather than a rhyming scheme, which is a frequently employed device in children's rhymes and stories. The Roud Folk Song Index, which catalogues folk songs and their variations by number, classifies the song as 502.


title: London Bridge Is Falling Down

text: A melody is recorded for "London Bridge" in an edition of John Playford's "The Dancing Master" published in 1718, but it differs from the modern tune recorded above and no lyrics were given. An issue of "Blackwood's Magazine" in 1821 noted the rhyme as a being sung to the tune of "Nancy Dawson", now better known as "Nuts in May" and the same tune was given in Richard Thomson's "Chronicles of London Bridge" (1827).


title: London Bridge Is Falling Down

text: Another tune was recorded in Samuel Arnold's "Juvenile Amusements" in 1797. E.F. Rimbault's "Nursery Rhymes" (1836) has the same first line, but then a different tune. The tune now associated with the rhyme was first recorded in 1879 in the United States in A.H. Rosewig's "Illustrated National Songs and Games".


title: London Bridge Is Falling Down

text: The rhyme is often used in a children's singing game, which exists in a wide variety of forms, with additional verses. Most versions are similar to the actions used in the rhyme "Oranges and Lemons". The most common is that two players hold hands and make an arch with their arms while the others pass through in single file. The "arch" is then lowered at the song's end to "catch" a player. In the United States, it is common for two teams of those that have been caught to engage in a tug of war. In England until the nineteenth century, the song may have been accompanied by a circle dance, but arch games are known to have been common across late medieval Europe.


title: London Bridge Is Falling Down

text: Five of nine versions published by Alice Gomme in 1894 included references to a prisoner who has stolen a watch and chain. This may be a late 19th century addition from another game called "Hark the Robbers", or "Watch and Chain". This rhyme is sung to the same tune and may be an offshoot of "London Bridge" or the remnant of a distinct game. In one version the first two verses have the lyrics:


title: London Bridge Is Falling Down

text: Similar rhymes can be found across Europe, pre-dating the records in England. These include "Knippelsbro Går Op og Ned" from Denmark, "Die Magdeburger Brück" from Germany, ""Pont chus"" from sixteenth-century France; and "Le porte", from fourteenth-century Italy. It is possible that the rhyme was acquired from one of these sources and then adapted to fit the most famous bridge in England.


title: London Bridge Is Falling Down

text: One of the earliest references to the rhyme in English is in the comedy "The London Chaunticleres", printed in 1657, but probably written about 1636, in which the dairy woman Curds states that she had "danced the building of London-Bridge" at the Whitsun Ales in her youth, although no words or actions are mentioned. Widespread familiarity with the rhyme is suggested by its use by Henry Carey in his satire "Namby Pamby" (1725), as:


title: London Bridge Is Falling Down

text: The oldest extant version could be that recalled by a correspondent to the "Gentleman's Magazine" in 1823, which he claimed to have heard from a woman who was a child in the reign of Charles II (r. 1660–1685) and had the lyrics:


title: London Bridge Is Falling Down

text: The earliest printed English version is in the oldest extant collection of nursery rhymes, "Tommy Thumb's Pretty Song Book", printed by John Newbery in London (), and has words very close to that. A version from James Ritson's "Gammer Gurton's Garland" (1784) is also similar but replaces the last verse with:


title: London Bridge Is Falling Down

text: The meaning of the rhyme is not certain. It may simply relate to the many difficulties experienced in bridging the River Thames, but a number of alternative explanations have been put forward.


title: London Bridge Is Falling Down

text: One hypothesis of origin is that the rhyme relates to the supposed destruction of London Bridge by Olaf II in 1014 (or 1009). The nineteenth-century translation of the Norse saga the "Heimskringla", published by Samuel Laing in 1844, included a verse by Óttarr svarti, that looks very similar to the nursery rhyme:


title: London Bridge Is Falling Down

text: However, modern translations make it clear that Laing was using the nursery rhyme as a model for his very free translation, and the reference to London Bridge does not appear at the start of the verse and it is unlikely that this is an earlier version of the nursery rhyme. Some historians have raised the possibility that the attack never took place. However, the original document detailing the attack was written only about 100 years after what would be a famous event in a highly populated area, leading the majority of historians to conclude that the account is at least relatively accurate.


title: London Bridge Is Falling Down

text: Alice Bertha Gomme (later Lady Gomme) put forward the hypothesis that the song refers to the burying, perhaps alive, of children in the foundations of the bridge. This theory was repeated by Iona and Peter Opie. This was based around the idea that a bridge would collapse unless the body of a human sacrifice was buried in its foundations and that the watchman is actually a human sacrifice, who will then watch over the bridge.


title: London Bridge Is Falling Down

text: Bodies were found beneath London Bridge in 2007 while building work was being carried out for the London Dungeons tourist attraction.


title: London Bridge Is Falling Down

text: Until the mid-eighteenth century the Old London Bridge was the only crossing on the Thames in London. It was damaged in a major fire in 1633, but in the fire of 1666 this damage acted as a fire break and prevented the flames from further damaging the bridge and crossing to the south side of the Thames. With its 19 narrow arches, it impeded river traffic and flow. Central piers were removed to create a wider navigational span. Widening and the removal of its houses was completed in 1763, but it remained relatively narrow and needed continual and expensive repairs. In the early nineteenth century it was decided to replace the bridge with a new construction. New London Bridge was opened in 1831 and survived until it was replaced in 1972. At that time, the 1831 bridge was dismantled and reconstructed in Lake Havasu City, Arizona.


title: London Bridge Is Falling Down

text: Several attempts have been made to identify the "fair lady", "lady gay", or lady "lee/lea" of the rhyme. They include:


title: London Bridge Is Falling Down

text: Since the late 19th century, the rhyme has been seen as one of the most popular and well known in the English-speaking world. It has also been referenced in both literature and popular culture – appearing, for example, at the climax of T. S. Eliot's "The Waste Land" (1922). The final line may have been the inspiration for the title of the 1956 musical "My Fair Lady", while the chorus of Brenda Lee's song "My Whole World Is Falling Down" (1963) is loosely based on "London Bridge Is Falling Down", the music on the first track of the Helloween's album "Walls of Jericho" (1985) are also based on "London Bridge Is Falling Down", and the traditional tune is often used by English football supporters as the basis for chants.


title: Artemisia Gentileschi

text: Artemisia Lomi or Artemisia Gentileschi (, ; 8 July 1593) was an Italian Baroque painter. Gentileschi is considered among the most accomplished seventeenth-century artists, initially working in the style of Caravaggio. She was producing professional work by the age of 15. In an era when women had few opportunities to pursue artistic training or work as professional artists, Gentileschi was the first woman to become a member of the Accademia di Arte del Disegno in Florence and she had an international clientele.


title: Artemisia Gentileschi

text: Many of Gentileschi's paintings feature women from myths, allegories, and the Bible, including victims, suicides, and warriors. Some of her best known subjects are "Susanna and the Elders" (particularly the 1610 version in Pommersfelden), "Judith Slaying Holofernes" (her 1614–1620 version is in the Uffizi gallery), and "Judith and Her Maidservant" (her version of 1625 is in the Detroit Institute of Arts).


title: Artemisia Gentileschi

text: Gentileschi was known for being able to depict the female figure with great naturalism and for her skill in handling colour to express dimension and drama.


title: Artemisia Gentileschi

text: Her achievements as an artist were long overshadowed by the story of Agostino Tassi raping her when she was a young woman and her participation in the trial of her rapist. For many years Gentileschi was regarded as a curiosity, but her life and art have been reexamined by scholars in the 20th and 21st centuries. She is now regarded as one of the most progressive and expressive painters of her generation, with the recognition of her talents exemplified by major exhibitions at internationally esteemed fine art institutions, such as the National Gallery in London.


title: Artemisia Gentileschi

text: Artemisia Lomi Gentileschi was born in Rome on 8 July 1593, although her birth certificate from the Archivio di Stato indicates she was born in 1590. She was the eldest child of Prudenzia di Ottaviano Montoni and the Tuscan painter Orazio Gentileschi. Orazio Gentileschi was a painter from Pisa. After his arrival in Rome, his painting reached its expressive peak, taking inspiration from the innovations of Caravaggio, from whom he derived the habit of painting real models, without idealising or sweetening them, instead transfiguring them into figures of powerful and realistic drama.


title: Artemisia Gentileschi

text: Baptised two days after her birth in the church of San Lorenzo in Lucina, Artemisia was primarily raised by her father following the death of her mother in 1605. It was likely at this time that Artemisia approached painting: introduced to painting in her father's workshop, Artemisia showed much more enthusiasm and talent than her brothers, who worked alongside her. She learned drawing, how to mix colour, and how to paint. By 1612, aged 18, Artemisia was known for her exemplary talents, with her father boasting that, despite having only practised painting for three years, Artemisia was peerless.


title: Artemisia Gentileschi

text: During this early period of her life, Artemisia took inspiration from her father's painting style, which had in turn been heavily influenced by the work of Caravaggio. Artemisia's approach to subject matter was different from that of her father, however, taking a highly naturalistic approach over her father's comparatively idealised works. At the same time, Artemisia had to overcome the "traditional attitude and psychological submission to this "brainwashing" and jealousy of her obvious talent". By doing so, she gained great respect and recognition for her work.


title: Artemisia Gentileschi

text: Her earliest surviving work, completed aged 17, is "Susanna and the Elders" (1610, Schönborn collection in Pommersfelden). The painting depicts the Biblical story of Susanna. The painting shows how Artemisia assimilated the realism of and effects used by Caravaggio without being indifferent to the classicism of Annibale Carracci and the Bolognese School of Baroque style.


title: Artemisia Gentileschi

text: In 1611, Orazio was working with Agostino Tassi to decorate the vaults of Casino delle Muse inside the Palazzo Pallavicini-Rospigliosi in Rome. One day in May, Tassi visited the Gentileschi household and, when alone with Artemisia, raped her. Another man, Cosimo Quorli, played a part in the rape. A female friend of Gentileschi, Tuzia, was present during the rape, but refused to help her.


title: Artemisia Gentileschi

text: With the expectation that they would marry in order to restore her virtue and secure her future, Artemisia started to have sexual relations with Tassi, but he reneged on his promise to marry her. Nine months after the rape, when he learned that Artemisia and Tassi were not going to be married, her father Orazio pressed charges against Tassi. The major issue of the trial was the fact that Tassi had violated the Gentileschi family's honor, and charges were not pressed for violating Artemisia.


title: Artemisia Gentileschi

text: During the ensuing seven-month trial, it was discovered that Tassi had planned to murder his wife, had engaged in adultery with his sister-in-law, and planned to steal some of Orazio's paintings. At the end of the trial, Tassi was exiled from Rome, although the sentence was never carried out. During the trial, Artemisia was tortured with thumbscrews for the purpose of verifying her testimony.


title: Artemisia Gentileschi

text: After her mother died, Artemisia had been surrounded mainly by males. When she was 17, Orazio rented the upstairs apartment of their home to a female tenant, Tuzia. Artemisia befriended Tuzia; however, Tuzia allowed Agostino Tassi and Cosimo Quorli to visit Artemisia in Artemisia's home on multiple occasions. The day the rape occurred, Artemisia cried out to Tuzia for help, but Tuzia simply ignored Artemisia and pretended she knew nothing of what happened. Art historian Jeanne Morgan Zarucchi compared Tuzia's betrayal and role in facilitating the rape to the role of a procuress who is complicit in the sexual exploitation of a prostitute.


title: Artemisia Gentileschi

text: A painting entitled "Mother and Child", discovered in Crow's Nest, Australia in 1976, may or may not have been painted by Gentileschi. Presuming that it is her work, the baby has been interpreted as an indirect reference to Agostino Tassi, her rapist, as it dates to 1614, just two years after the rape. It depicts a strong and suffering woman and casts light on her anguish and expressive artistic capability.


title: Artemisia Gentileschi

text: A month after the trial, Orazio arranged for his daughter to marry Pierantonio Stiattesi, a modest artist from Florence. Shortly afterward the couple moved to Florence. The six years she spent in Florence would be decisive both for Artemisia's family life and professional career. Artemisia became a successful court painter, enjoying the patronage of the House of Medici, and playing a significant role in courtly culture of the city.


title: Artemisia Gentileschi

text: Artemisia's career as an artist was very successful in Florence. She was the first woman accepted into the Accademia delle Arti del Disegno (Academy of the Arts of Drawing). She maintained good relations with the most respected artists of her time, such as Cristofano Allori, and was able to garner the favour and the protection of influential people, beginning with Cosimo II de' Medici, Grand Duke of Tuscany, and especially of the Grand Duchess, Christina of Lorraine. Her acquaintance with Galileo Galilei, evident from a letter she wrote to the scientist in 1635, appears to stem from her Florentine years; indeed it may have stimulated her depiction of the compass in the "Allegory of Inclination".


title: Artemisia Gentileschi

text: Her involvement in the courtly culture of Florence not only provided access to patrons, but it widened her education and exposure to the arts. She learned to read and write and became familiar with musical and theatrical performances. Such artistic spectacles helped Artemisia's approach to depicting lavish clothing in her paintings: "Artemisia understood that the representation of biblical or mythological figures in contemporary dress... was an essential feature of the spectacle of courtly life."


title: Artemisia Gentileschi

text: In 1615, she received the attention of Michelangelo Buonarroti the Younger (a younger relative of Michelangelo). Busy with the construction of the Casa Buonarroti to celebrate his noted great uncle, he asked Artemisia—along with other Florentine artists, including Agostino Ciampelli, Sigismondo Coccapani, Giovan Battista Guidoni, and Zanobi Rosi—to contribute a painting for the ceiling. Artemisia was then in an advanced state of pregnancy. Each artist was commissioned to present an allegory of a virtue associated with Michelangelo, and Artemisia was assigned the "Allegory of Inclination". In this instance, Artemisia was paid three times more than any other artist participating in the series. Artemisia painted her commission in the form of a nude young woman holding a compass. Her painting is located on the Galleria ceiling on the second floor. It is believed that the subject bears a resemblance to Artemisia. Indeed, in several of her paintings, Artemisia's energetic heroines appear to be self-portraits.


title: Artemisia Gentileschi

text: Other significant works from this period include "La Conversione della Maddalena" ("The Conversion of the Magdalene"), "Self-Portrait as a Lute Player" (in the collection of the Wadsworth Atheneum Museum of Art), and "Giuditta con la sua ancella" ("Judith and her Maidservant"), now in the Palazzo Pitti. Artemisia painted a second version of "Judith beheading Holofernes", which now is housed in the Uffizi Gallery of Florence. Her first "Judith Beheading Holofernes" (1612–13), smaller in size, is displayed in the Museo di Capodimonte, Naples. In fact, she was fascinated with this subject and six variations of "Judith Beheading Holofernes" by Artemisia are known to exist.


title: Artemisia Gentileschi

text: While in Florence, Artemisia and Pierantonio had five children. Giovanni Battista, Agnola, and Lisabella did not survive for more than a year. Their second son, Cristofano, died at the age of five after Artemisia had returned to Rome. Only Prudentia survived into adulthood. Prudentia was also known as Palmira, which has led some scholars to conclude erroneously that Artemisia had a sixth child. Prudentia was named after Artemisia's mother. It is known that Artemisia's daughter was a painter and was trained by her mother, although nothing is known of her work.


title: Artemisia Gentileschi

text: In 2011, Francesco Solinas discovered a collection of thirty-six letters, dating from about 1616 to 1620, that add startling context to the personal and financial life of the Gentileschi family in Florence. They show that Artemisia had a passionate love affair with a wealthy Florentine nobleman, named Francesco Maria Maringhi. Her husband, Pierantonio Stiattesi, was well aware of their relationship and he maintained a correspondence with Maringhi on the back of Artemisia's love letters. He tolerated it, presumably because Maringhi was a powerful ally who provided the couple with financial support. However, by 1620, rumours of the affair had begun to spread in the Florentine court and this, combined with ongoing legal and financial problems, led the couple to relocate to Rome.


title: Artemisia Gentileschi

text: Just as with the preceding decade, the early 1620s saw ongoing upheaval in Artemisia Gentileschi's life. Her son Cristofano died. Just as she arrived in Rome, her father Orazio departed for Genoa. Immediate contact with her lover Maringhi appeared to have lessened. By 1623, any mention of her husband disappears from any surviving documentation.


title: Artemisia Gentileschi

text: Her arrival in Rome offered the opportunity to cooperate with other painters and to seek patronage from the wide network of art collectors in the city, opportunities that Gentileschi grasped. One art historian noted of the period, "Artemisia's Roman career quickly took off, the money problems eased". Large-scale papal commissions were largely off-limits, however. The long papacy of Urban VIII showed a preference for large-scale decorative works and altarpieces, typified by the baroque style of Pietro da Cortona. Gentileschi's training in easel paintings, and perhaps the suspicion that women painters did not have the energy to carry out large-scale painting cycles, meant that the ambitious patrons within Urban's circle commissioned other artists.


title: Artemisia Gentileschi

text: But Rome hosted a wide range of patrons. Spanish resident, Fernando Afan de Ribera, the 3rd Duke of Alcala, added her painting of the Magdalen and David, Christ Blessing the Children to his collection. During the same period she became associated with Cassiano dal Pozzo, a humanist and a collector and lover of arts. Dal Pozzo helped to forge relationships with other artists and patrons. Her reputation grew. The visiting French artist Pierre Dumonstier II produced a black and red chalk drawing of her right hand in 1625.


title: Artemisia Gentileschi

text: The variety of patrons in Rome also meant a variety of styles. Caravaggio's style remained highly influential and converted many painters to following his style (the so-called "Caravaggisti"), such as Carlo Saraceni (who returned to Venice in 1620), Bartolomeo Manfredi, and Simon Vouet. Gentileschi and Vouet would go on to have a professional relationship and would influence each other's styles. Vouet would go on to complete a portrait of Artemisia. Gentileschi also interacted with the Bentveughels group of Flemish and Dutch painters living in Rome. The Bolognese School (particularly during the 1621 to 1623 period of Gregory XV) also began to grow in popularity, and her "Susanna and the Elders" (1622) often is associated with the style introduced by Guercino.


title: Artemisia Gentileschi

text: Although it is sometimes difficult to date her paintings, it is possible to assign certain works by Gentileschi to these years, such as the "Portrait of a Gonfaloniere", today in Bologna (a rare example of her capacity as portrait painter) and the "Judith and her Maidservant" today in the Detroit Institute of Arts. The Detroit painting is notable for her mastery of chiaroscuro and tenebrism (the effects of extreme lights and darks), techniques for which Gerrit van Honthorst and many others in Rome were famous.


title: Artemisia Gentileschi

text: The absence of sufficient documentation makes it difficult to follow Gentileschi's movements in the late 1620s. However, it is certain that between 1626 and 1627, she moved to Venice, perhaps in search of richer commissions. Many verses and letters were composed in appreciation of her and her works in Venice. Knowledge of her commissions during the time is vague, but her "The Sleeping Venus", today in the Virginia Museum of Fine Arts, Richmond, and her "Esther before Ahasuerus" now in the Metropolitan Museum of Art in New York, are testaments to her assimilation of the lessons of Venetian colourism.


title: Artemisia Gentileschi

text: In 1630, Artemisia moved to Naples, a city rich with workshops and art lovers, in search of new and more lucrative job opportunities. The eighteenth-century biographer Bernardo de' Dominici speculated that Artemisia was already known in Naples before her arrival. She may have been invited to Naples by the Duke of Alcalá, Fernando Enriquez Afan de Ribera, who had three of her paintings: a "Penitent Magdalene", "Christ Blessing the Children", and "David with a Harp". Many other artists, including Caravaggio, Annibale Carracci, and Simon Vouet, had stayed in Naples at some time in their lives. At that time, Jusepe de Ribera, Massimo Stanzione, and Domenichino were working there, and later, Giovanni Lanfranco and many other artists went to the city. The Neapolitan debut of Artemisia is represented by the "Annunciation" in the Capodimonte Museum. With the exceptions of a brief trip to London and some other journeys, Artemisia resided in Naples for the remainder of her career.


title: Artemisia Gentileschi

text: On Saturday, March 18, 1634, the traveller Bullen Reymes recorded in his diary visiting Artemisia and her daughter, Palmira ('who also paints'), with a group of fellow-Englishmen. She had relations with many renowned artists, among them Massimo Stanzione, with whom, Bernardo de' Dominici reports, she started an artistic collaboration based on a real friendship and artistic similarities. Artemisia's work influenced Stanzione's use of colours, as seen in his "Assumption of the Virgin", c. 1630. De' Dominici states that "Stanzione learned how to compose an "istoria" from Domenichino, but learned his coloring from Artemisia".


title: Artemisia Gentileschi

text: In Naples Artemisia started working on paintings in a cathedral for the first time. They are dedicated to "San Gennaro nell'anfiteatro di Pozzuoli" ("Saint Januarius in the amphitheater of Pozzuoli") in Pozzuoli. During her first Neapolitan period she painted the "Birth of Saint John the Baptist" now in the Prado in Madrid, and "Corisca e il satiro" ("Corisca and the Satyr"), today in a private collection. In these paintings, Artemisia again demonstrates her ability to adapt to the novelties of the period and to handle different subjects, instead of the usual "Judith", "Susanna", "Bathsheba", and "Penitent Magdalenes", for which she already was known. Many of these paintings were collaborations; "Bathsheba", for instance, was attributed to Artemisia, Codazzi, and Gargiulo.


title: Artemisia Gentileschi

text: In 1638, Artemisia joined her father in London at the court of Charles I of England, where Orazio had become court painter and received the important job of decorating a ceiling allegory of "Triumph of Peace and the Arts" in the Queen's House, Greenwich built for Queen Henrietta Maria. Father and daughter were working together once again, although helping her father probably was not her only reason for travelling to London: Charles I had invited her to his court. Charles I was an enthusiastic collector, willing to incur criticism for his spending on art. The fame of Artemisia probably intrigued him, and it is not a coincidence that his collection included a painting of great suggestion, the "Self-Portrait as the Allegory of Painting" (which is the lead image of this article).


title: Artemisia Gentileschi

text: Orazio died suddenly in 1639. Artemisia had her own commissions to fulfil after her father's death, although there are no known works assignable with certainty to this period. It is known that Artemisia had left England by 1642, when the English Civil War was just starting. Nothing much is known about her subsequent movements. Historians know that in 1649 she was in Naples again, corresponding with Don Antonio Ruffo of Sicily, who became her mentor during this second Neapolitan period. The last known letter to her mentor is dated 1650 and makes clear that she still was fully active.


title: Artemisia Gentileschi

text: In her last known years of activity she is attributed with works that are probably commissions and follow a traditional representation of the feminine in her works.


title: Artemisia Gentileschi

text: It was once believed that Artemisia died in 1652 or 1653; however, modern evidence has shown that she was still accepting commissions in 1654, although she was increasingly dependent upon her assistant, Onofrio Palumbo. Some have speculated that she died in the devastating plague that swept Naples in 1656 and virtually wiped out an entire generation of Neapolitan artists.


title: Artemisia Gentileschi

text: Some works in this period are the "Susanna and the Elders" (1622) today in Brno, the "Virgin and Child with a Rosary" today in El Escorial, the "David and Bathsheba" today in Columbus, Ohio, and the "Bathsheba" today in Leipzig.


title: Artemisia Gentileschi

text: Her "David with the Head of Goliath", rediscovered in London in 2020, has been attributed by art historian Gianni Papi to Artemisia's London period, in an article published in "The Burlington Magazine."


title: Artemisia Gentileschi

text: The research paper "Gentileschi, padre e figlia" (1916) by Roberto Longhi, an Italian critic, described Artemisia as "the only woman in Italy who ever knew about painting, coloring, drawing, and other fundamentals". Longhi also wrote of "Judith Slaying Holofernes": "There are about fifty-seven works by Artemisia Gentileschi and 94% (forty-nine works) feature women as protagonists or equal to men". These include her works of "Jael and Sisera", "Judith and her Maidservant", and "Esther". These characters intentionally lacked the stereotypical "feminine" traits—sensitivity, timidness, and weakness—and were courageous, rebellious, and powerful personalities (such subjects are now grouped under the name the Power of Women). A nineteenth-century critic commented on Artemisia's "Magdalene" stating, "no one would have imagined that it was the work of a woman. The brush work was bold and certain, and there was no sign of timidness". In Raymond Ward Bissell's view, she was well aware of how women and female artists were viewed by men, explaining why her works were so bold and defiant in the beginning of her career.


title: Artemisia Gentileschi

text: Feminist studies increased the interest in Artemisia Gentileschi, underlining her rape and subsequent mistreatment, and the expressive strength of her paintings of biblical heroines, in which the women are interpreted as willing to manifest their rebellion against their condition. In a research paper from the catalogue of the exhibition "Orazio e Artemisia Gentileschi", which took place in Rome in 2001 (and after in New York), Judith W. Mann critiques feminist opinion of Artemisia, finding that old stereotypes of Artemisia as sexually immoral have been replaced by new stereotypes established in feminist readings of Artemisia's paintings:


title: Artemisia Gentileschi

text: Because Artemisia returned again and again to violent subject matter such as Judith and Holofernes, a repressed-vengeance theory has been postulated by some art historians, but other art historians suggest that she was shrewdly taking advantage of her fame from the rape trial to cater to a niche market in sexually charged, female-dominated art for male patrons.


title: Artemisia Gentileschi

text: The most recent critics, starting from the difficult reconstruction of the entire catalogue of the Gentileschi, have tried to give a less reductive reading of the career of Artemisia, placing it in the context of the different artistic environments in which the painter participated. A reading such as this restores Artemisia as an artist who fought with determination—using the weapon of personality and of the artistic qualities—against the prejudices expressed against women painters; being able to introduce herself productively in the circle of the most respected painters of her time, embracing a series of pictorial genres that probably were more ample and varied than her paintings suggest.


title: Artemisia Gentileschi

text: Feminist interest in Artemisia Gentileschi dates from the 1970s when the feminist art historian Linda Nochlin published an article entitled "Why Have There Been No Great Women Artists?" in which that question was dissected and analysed. The article explores the definition of "great artists" and posited that oppressive institutions, not lack of talent, have prevented women from achieving the same level of recognition that men received in art and other fields. Nochlin said that studies on Artemisia and other women artists were "worth the effort" in "adding to our knowledge of women's achievement and of art history generally." According to the foreword by Douglas Druick in Eve Straussman-Pflanzer's "Violence & Virtue: Artemisia's Judith Slaying Holofernes", Nochlin's article prompted scholars to make more of an attempt to "integrate women artists into the history of art and culture."


title: Artemisia Gentileschi

text: Artemisia and her oeuvre became a focus again, having had little attention in art history scholarship save Roberto Longhi's article "Gentileschi padre e figlia (Gentileschi, father and daughter)" in 1916 and Bissell's article "Artemisia Gentileschi—A New Documented Chronology" in 1968. As Artemisia and her work began to garner new attention among art historians and feminists, more literature about her, fictional and biographical, was published. A fictional account of her life by Anna Banti, wife of critic Roberto Longhi, was published in 1947. This account was well received by literary critics, but was criticized by feminists, notably Laura Benedetti, for being lenient in historical accuracy in order to draw parallels between author and artist. The first full, factual account of Artemisia's life, "The Image of the Female Hero in Italian Baroque Art", was published in 1989 by Mary Garrard, a feminist art historian. She then published a second, smaller book entitled "Artemisia Gentileschi around 1622: The Shaping and Reshaping of an Artistic Identity" in 2001 that explored the artist's work and identity. Garrard noted that analysis of Artemisia's oeuvre lacks focus and stable categorization outside of "woman", although Garrard questions whether femaleness is a legitimate category by which to judge her art at all.


title: Artemisia Gentileschi

text: Artemisia is known for her portrayals of subjects from the Power of Women group, for example her versions of "Judith Slaying Holofernes". She is also known for the rape trial in which she was involved, which scholar Griselda Pollock has argued had unfortunately become the repeated "axis of interpretation of the artist's work". Gentileschi's status in popular culture is deemed by Pollock to be due less to her work than to the sensationalism caused by the persistent focus on the rape trial during which she was tortured. Pollock offers a counter reading of the artist's dramatic narrative paintings, refusing to see the Judith and Holofernes images as responses to rape and the trial. Instead, Pollock points out that the subject of Judith and Holofernes is not a revenge theme, but a story of political courage and indeed, collaboration by two women committing a daring political murder in a war situation. Pollock seeks to shift attention from sensationalism toward deeper analysis of Gentileschi's paintings, notably of death and loss, suggesting the significance of her childhood bereavement as a source of her singular images of the dying Cleopatra. Pollock also argues that Gentileschi's success in the seventeenth century depended on her producing paintings for patrons, often portraying subjects they selected that reflected contemporary tastes and fashions. She aims to place Gentileschi's career in its historical context of taste for dramatic narratives of heroines from the Bible or classical sources.


title: Artemisia Gentileschi

text: In another vein entirely, American professor Camille Paglia has argued that modern feminist preoccupation with Artemisia is misguided and that her accomplishments have been overstated: "Artemisia Gentileschi was simply a polished, competent painter in a Baroque style created by men." Nonetheless, according to The National Gallery, Artemisia worked "in Rome, Florence, Venice, Naples, and London, for the highest echelons of European society, including the Grand Duke of Tuscany and Philip IV of Spain".


title: Artemisia Gentileschi

text: Feminist literature tends to revolve around the event of Artemisia's rape, largely portraying her as a traumatised, but noble survivor whose work became characterised by sex and violence as a result of her experience. interpreted the film by Agnès Merlet as a typical example of the inability of popular culture to look at the painter's remarkable career over many decades and in many major centres of art, rather than this one episode. A literature review by Laura Benedetti, "Reconstructing Artemisia: Twentieth Century Images of a Woman Artist", concluded that Artemisia's work is often interpreted according to the contemporary issues and personal biases of the authors. Feminist scholars, for example, have elevated Artemisia to the status of feminist icon, which Benedetti attributed to Artemisia's paintings of formidable women and her success as an artist in a male-dominated field while also being a single mother. Elena Ciletti, author of "Gran Macchina a Bellezza", wrote that "The stakes are very high in Artemisia's case, especially for feminists, because we have invested in her so much of our quest for justice for women, historically and currently, intellectually and politically."


title: Artemisia Gentileschi

text: Feminist scholars suggest that Artemisia wanted to take a stand against the stereotype of female submissiveness. One example of this symbolism appears in her "Corisca and the Satyr", created between 1630 and 1635. In the painting, a nymph runs away from a satyr. The satyr attempts to grab the nymph by her hair, but the hair is a wig. Here, Artemisia depicts the nymph to be quite clever and to be actively resisting the aggressive attack of the satyr.


title: Artemisia Gentileschi

text: For a woman at the beginning of the seventeenth century, Artemisia being a painter represented an uncommon and difficult choice, but not an exceptional one. Artemisia was aware of "her position as a female artist and the current representations of women's relationship to art." This is evident in her allegorical self portrait, "Self Portrait as "La Pittura"", which shows Artemisia as a muse, "symbolic embodiment of the art" and as a professional artist.


title: Artemisia Gentileschi

text: Before Artemisia, between the end of the 1500s and the beginning of 1600s, other women painters had successful careers, including Sofonisba Anguissola (born in Cremona around 1530). Later Fede Galizia (born in Milan or Trento in 1578) painted still lifes, and a "Judith with the Head of Holofernes".


title: Artemisia Gentileschi

text: Italian Baroque painter Elisabetta Sirani was another female artist from this same time period. Sirani's painting "Allegory Painting of Clio" shares a common colour scheme with Artemisia's work. Elisabetta gained considerable success before her death aged 27.


title: Entertainment One

text: Entertainment One Ltd., trading as eOne, is an American-owned Canadian multinational entertainment company. Based in Toronto, Ontario, the company is primarily involved in the acquisition, distribution, and production of films and television series. The company was listed on the London Stock Exchange before it was acquired by Hasbro on December 30, 2019.


title: Entertainment One

text: The company has its origins in the music distributor Records on Wheels Limited (which was established in 1970), and the music retail chain CD Plus. The chain was in the process of acquiring other companies to bolster its wholesale operations in music and home video, leading to its purchase of ROW in 2001. Its vice president of operations, Darren Throop, had joined the company after CD Plus acquired his Halifax-based record store chain Urban Sound Exchange. The combined company later became known as ROW Entertainment, with Throop as president and CEO. The company listed itself on the Toronto Stock Exchange as an income trust, meaning that its taxes were paid by its shareholders, rather than the company itself.


title: Entertainment One

text: Afterward, ROW began to diversify its operations into content ownership. In June 2005, it acquired the American independent music distributor and home entertainment publisher Koch Entertainment. Afterwards, it was re-incorporated as Entertainment One Income Fund.


title: Entertainment One

text: In 2007, the company accepted a $188 million public equity takeover by Marwyn Investment Management to fund its expansion; the company was listed on London's Alternative Investment Market as Entertainment One Ltd.


title: Entertainment One

text: In 2007, Entertainment One acquired Montreal-based film distributor Seville Pictures and UK distributor Contender Entertainment Group. The same year, the company secured its first film output agreement with Summit Entertainment, handling distribution in Canada and the United Kingdom, and acquired British film distributor Contender Entertainment. Acquisitions continued in 2008 with the purchase of the Benelux distributor RCV Entertainment. The same year, eOne acquired the television studios Blueprint and Barna-Alper, and international television distributor Oasis International. Throop stated that the company was attempting to "replicate the success of Alliance Atlantis", with a focus on diversifying into production alongside distribution. Also in 2008, the company listed itself on the London Stock Exchange.


title: Entertainment One

text: In April 2011, eOne acquired Australian distribution company Hopscotch for £12.9 million. On May 28, 2012, eOne placed a bid to purchase the Canadian film distributor Alliance Films from Goldman Sachs Group and Investissement Québec. The deal was completed on January 9, 2013, giving eOne Canadian distribution rights for titles from The Weinstein Company, Lionsgate, CBS Films, FilmDistrict and Focus Features. On May 28, 2014, eOne announced a strategic investment in interactive agency Secret Location; the firm would continue to operate independently under the leadership of James Milward (President, Executive Producer and Founder), and partners Pietro Gagliano (Creative Director and SVP) and Ryan Andal (Technical Director and SVP). On June 2, 2014, eOne acquired Phase 4 Films; its CEO Berry Meyerowitz was named as head of eOne's U.S. film distribution business and North American family entertainment business. On July 17, the company acquired Paperny Entertainment. On August 28, 2014, eOne acquired Force Four Entertainment.


title: Entertainment One

text: On January 5, 2015, eOne acquired a 51% stake in Mark Gordon's self-named studio, with an option to acquire the remainder at a later date. The purchase was part of an effort by eOne to bolster its presence in the United States. On September 9, 2015, eOne revived the Momentum Pictures brand (which was previously used by Alliance UK) and announced that it had entered into a multi-picture deal with Orion Pictures to jointly acquire films for "specialized theatrical releases" in the U.S., and targeted international releases, focusing on ancillary and digital distribution.


title: Entertainment One

text: Marwyn Investment Management sold its 18% stake in Entertainment One to the Canada Pension Plan Investment Board (CPPIB) on September 16, 2015.


title: Entertainment One

text: On September 30, 2015, eOne acquired a 70% stake in British animation studio Astley Baker Davies—producers of the animated children's series "Peppa Pig". On December 16, 2015, eOne, Steven Spielberg, Reliance Entertainment, and Participant Media officially announced a joint venture known as Amblin Partners. eOne served as an investor, while the majority of its films would be distributed by Universal Pictures.


title: Entertainment One

text: On January 7, 2016, eOne made a strategic investment in Sierra Pictures and on January 20, 2016, the company acquired Dualtone Music Group. On March 8, 2016, eOne the acquired music recording, publishing and artist management company Last Gang, and announced that its founder Chris Taylor would join the company as president of music. In 2016, eOne acquired a majority stake in unscripted production company Renegade 83.


title: Entertainment One

text: In February 2016, Entertainment One reached a home media distribution deal with 20th Century Fox Home Entertainment to release eOne's titles on DVD and Blu-ray in the UK.


title: Entertainment One

text: On August 10, 2016, eOne rejected an offer to be acquired by British television broadcaster ITV plc for £1 billion ($1.3 billion US). eOne considered the offer to be "fundamentally undervalued".


title: Entertainment One

text: On August 17, 2016, eOne announced that it would acquire Secret Location outright for an undisclosed amount. On September 12, 2016, eOne announced its acquisition of UK-based music management company Hardlivings. That same year, eOne acquired music management company Nerve.


title: Entertainment One

text: On September 9, 2016, eOne reached a first look co-financing and international distribution deal with Tucker Tooley's Tooley Productions.


title: Entertainment One

text: In 2016, eOne entered into an agreement with Ole (now Anthem Entertainment) to administer its catalogue.


title: Entertainment One

text: eOne consolidated its film and television studios into a single structure in 2017, as part of an effort to reposition its operations towards production rather than acquisitions and "large output deals".


title: Entertainment One

text: In May 2017, eOne joined with Hollywood producer Brad Weston to launch global content creation studio MAKEREADY. The deal secured distribution rights for eOne in its territories and Universal in all other territories worldwide.


title: Entertainment One

text: In 2017, eOne joined Participant Media, Reliance Entertainment, Alibaba Pictures and Universal Pictures in backing Amblin Partners, a content creation company led by Steven Spielberg.


title: Entertainment One

text: On January 29, 2018, eOne acquired the remaining 49% in The Mark Gordon Co., and Gordon was named eOne's new president and chief content officer of film, television and digital.


title: Entertainment One

text: In March 2018, eOne acquired live entertainment company Round Room Live, which organizes major tours including PJ Masks among others.


title: Entertainment One

text: In April 2018, eOne acquired UK non-scripted production company Whizz Kid Entertainment. Later that year, eOne joined a round of investment in Jeffrey Katzenberg's short-form digital content venture "NewTV" (later renamed Quibi).


title: Entertainment One

text: On March 5, 2019, eOne's Benelux division was acquired by a new company named WW Entertainment, founded by Wilco Wolfers and Caspar Wenckebach. As a result, all eOne Benelux titles, including future releases, have since moved to WW. Later that month, Entertainment One ended their home media distribution agreement with 20th Century Fox Home Entertainment following Fox's purchase by The Walt Disney Company on March 20, 2019. eOne reached an agreement with Universal Pictures Home Entertainment to handle home media distribution of its films and television series in Australia, Canada, Germany, Spain, New Zealand, the US, and the UK.


title: Entertainment One

text: In 2019, eOne acquired UK-based unscripted company Daisybeck Studios. That same year, eOne acquired American long-form nonfiction producer BLACKFIN. Also in 2019, eOne Music acquired Audio Network, a British company involved in the production of music for film and television, for $215 million.


title: Entertainment One

text: On August 22, 2019, American toy and media company Hasbro announced that it had reached an agreement to acquire Entertainment One for US$4 billion. Throop cited that its goals to "unlock the power and value of creativity" were "[aligned] with Hasbro's corporate objectives", and would be enhanced by access to Hasbro's properties and merchandising capabilities. eOne's Canadian operations will be structured in such a way as to maintain eligibility for Canadian content classification. The deal was approved by the Ontario Superior Court of Justice. On November 21, 2019, the United Kingdom's Competition and Markets Authority (CMA) announced that it would investigate the purchase under British competition law, to determine if it would result in a lessening of competition. The sale was completed on December 30, 2019, with the company becoming a wholly owned subsidiary of the company. Throop remains CEO of eOne, reporting to Hasbro CEO Brian Goldner. The UK CMA cleared the acquisition the following month. On April 30, 2020, eOne had an untitled "Transformers" animated film in development.


title: Entertainment One

text: On October 9, 2020, eOne took over as Hasbro's new production arm and began development and distribution of content based on properties from the toy company, resulting in Allspark being absorbed into the acquired company. On February 10, 2021, it was announced that eOne would be laying off 10% of its film and television staff.


title: Entertainment One

text: On April 26, 2021, eOne announced that it would sell its music division to The Blackstone Group for $385 million. The acquisition was closed in June 2021, after which it was renamed MNRK Music Group.


title: Entertainment One

text: On August 22, 2022, it was reported that Hasbro was seeking to sell or restructure its media assets. On the same day, It was announced that CEO Darren Throop would be stepping down at the end of the year. On November 1, 2022, Hasbro confirmed that they would sell Irish animation studio Boulder Media to Australian animation studio Princess Pictures. On November 17, 2022, Hasbro announced they were putting the entirety of Entertainment One up for sale, including all of their non-Hasbro assets ranging from scripted and unscripted television and films, but would exclude the company's ex-children's properties like "Peppa Pig", which were already consolidated under Hasbro.


title: Entertainment One

text: The film division was initially involved primarily in acquiring films for international distribution, but has since shifted its resources towards producing and funding its own films.


title: Entertainment One

text: eOne Films was formed in 2007, and acquired the Montreal-based Séville Pictures soon afterwards. In 2012, the company announced that it would acquire Alliance Films for CDN$225 million, which also added the assets of Maple Pictures and Momentum Pictures to its holdings. eOne has also handled the Canadian distribution rights to the Miramax library, as well as the pre-2005 Dimension Films library.


title: Entertainment One

text: In May 2015, eOne consolidated its film production and international sales units into a new unit known as eOne Features, with a goal to self-produce and finance six-to-eight films per-year. On December 16, 2015, it was announced that eOne would be an investor in Amblin Partners, a joint venture between Steven Spielberg, Reliance Entertainment, Participant Media, and Universal Pictures. One of the first film projects under this banner was 2015's "Eye in the Sky".


title: Entertainment One

text: On September 23, 2016, Xavier Dolan's eOne-distributed film "Juste la fin du monde" was announced as Canada's entry in the Best Foreign Language Film category for the 89th Academy Awards.


title: Entertainment One

text: In January 2019, Universal Pictures acquired eOne's Australian and New Zealand self-distribution division. eOne distributed Universal's Best Picture winner "Green Book" in 2019. eOne has also distributed Best Picture winner "Spotlight" and Best Picture nominee "1917".


title: Entertainment One

text: eOne Television (formerly Barna-Alper Productions) is a television production company founded in 1980 by Laszlo Barna and Laura Alper and based in Toronto, Ontario. In April 2005, the company launched a distribution division, Barna-Alper Releasing. Entertainment One acquired Barna-Alper Productions Inc., Blueprint Entertainment, and distributor Oasis International in July 2008 to expand its television production and distribution capabilities. As part of a company-wide rebrand, the three companies were folded into E1 Television in January 2009.


title: Entertainment One

text: Notable television series distributed or produced by eOne and its subsidiaries have included the three Ilana Frank-produced series "Burden of Truth", "Rookie Blue" and "Saving Hope", "Bitten", "The Book of Negroes", "", "Call Me Fitz", "Cardinal", "Criminal Minds", "Designated Survivor", "Haven", "Klondike", "Mary Kills People", "Naked and Afraid", "Private Eyes", "The Rookie", "Siesta Key", "The Walking Dead", and the HBO series "Hung", "Run", and "Sharp Objects".


title: Entertainment One

text: In 2013, eOne reached an agreement with AMC Networks to handle the international distribution of its original scripted productions, beginning with "Halt and Catch Fire". The agreement expanded on existing pacts for the eOne-produced "Hell on Wheels", and international distribution for "The Walking Dead". The pact ended in May 2019 (with AMC having since expanded its in-house distribution business), although it will continue to handle international distribution for existing series, as well as "The Walking Dead" and "Fear the Walking Dead".


title: Entertainment One

text: eOne's Family & Brands division deals primarily in family-oriented intellectual property, including development, distribution, licensing, and marketing. The division has been seen growth credited to retail sales, licensing deals, and programming sales to broadcasters, accounting for US$202 million in revenue in 2018. It represented a year-over-year increase of 28%, with "Peppa Pig" and "PJ Masks" alone accounting for $114.9 million and $75.8 million respectively.


title: Entertainment One

text: After making an investment in the company in 2014, eOne acquired the Toronto-based digital content studio Secret Location in 2016, which specializes in virtual and augmented reality experiences. In 2015, Secret Location won a Primetime Creative Arts Emmy Award in "Outstanding User Experience and Visual Design" for a tie-in to the drama series "Sleepy Hollow". In 2020, the studio's first VR film "The Great C" won the Positron Visionary Award for Best Cinematic VR Experience at the 2020 Cannes XR Film Festival. That same year, Secret Location won the Outstanding Media Innovation Award by the Academy of Canadian Cinema & Television.


title: Entertainment One

text: Below is a list of productions eOne has been involved with either through production and/or distribution:


title: Nissan X-Trail

text: The is a compact crossover SUV produced by the Japanese automaker Nissan since 2000. Since its introduction, the X-Trail is positioned below the truck-based Xterra and Pathfinder.


title: Nissan X-Trail

text: Since the third-generation model, the X-Trail became the same vehicle as the North American market Rogue. For the first time, the X-Trail became available with three-row seating as an option. It also marked a departure in terms of design from a rugged boxy look to an urban-oriented crossover SUV design. The fourth-generation model introduced an e-Power series hybrid powertrain option, which became the sole option in Japan and Europe.


title: Nissan X-Trail

text: , the X-Trail is positioned between the smaller Qashqai – which the X-Trail shares platform with – and the larger Pathfinder in Nissan's global crossover SUV line-up.


title: Nissan X-Trail

text: The T30 series X-Trail was unveiled at the September 2000 Paris Motor Show. It uses the Nissan MS/M&S/FF-S platform, shared with the Nissan Almera and the Nissan Primera. It entered production in October, and sales in Japan commenced in November 2000. In June 2003, Nissan gave the car an interior and exterior facelift, while also upgrading the 2.2-litre turbodiesels with a variable turbocharger (2.2 dci rather than the earlier 2.2 Di), producing instead of the original . The external differences were slight, although the grille and the bumpers were redesigned and the Nissan logo was updated to the latest design.


title: Nissan X-Trail

text: The X-Trail's All-Mode 4x4 transmission transfer case enables the driver to select between 2WD, 4WD or 4WD Lock through an electronic switch on the dashboard. Nissan offered a hydrogen fuel cell model named the X-Trail FCV on lease to businesses.


title: Nissan X-Trail

text: The X-Trail was sold in Canada for the model years of 2005 and 2006 (but Nissan Canada continued to market it until 2007), and in Mexico since 2003.


title: Nissan X-Trail

text: In the United Kingdom, the first generation car was available in S, Sport and SE+ between launch and 2004. There was also a Fat Face special edition in 2005, only for the United Kingdom, which was based on the Sports. They made 1,998 of them to celebrate the year Fat Face was set up. The trim levels were then revised to SE, Sport, SVE and T-Spec.


title: Nissan X-Trail

text: In Australia, it was available in standard ST, mid spec ST-S, high spec Ti and luxury spec Ti-L, with limited editions ST-X, ST-R, ST-S 40th anniversary models. At this point, all models in the United Kingdom were equipped with full electric windows, electricity adjustable door mirrors (on SVE and T-Spec they were electrically folding also), climate control, single CD player, four airbags and remote central locking.


title: Nissan X-Trail

text: While in Australia all models were equipped with full electric windows, electric mirrors (electric folding on Ti-L), single CD player, two airbags and remote central locking. ST-S adds ST on sunroof and 16" alloy wheels. Ti adds ST on climate control, six disk CD player, fog lamps and 16" alloy wheels, and Ti-L adds Ti on leather and electric seats, sunroof, and optional DVD player. Limited edition ST-R adds ST on light emitting roof racks, with "ST-S 40th Anniversary" adding fog lamps to original ST-S.


title: Nissan X-Trail

text: From mid 2000 to 2007, Nissan launched a special edition AWD X-Trail equipped with the SR20VET petrol turbocharged engine, which produces . Named the X-Trail GT, it was offered only in Japan. This was the first SR20 Nissan ever produced which paired their famous high-flowing VE head (Variable Valve Lift - "VVL") with a turbo ("DET" internals also), in a transverse engine mounting configuration with AWD. It was only offered with a 4-speed automatic transmission and four-wheel-drive, model code is PNT30.


title: Nissan X-Trail

text: In 2003, Taiwanese Nissan distributor Yulon launched the Nissan X-Trail with a major design difference in the front end compared to the international version to fit the taste of the Taiwanese market. The design was done by Yulon Asia Technical Center under Yulon-Nissan Motors. The model was sold until 2006, when it received a minor facelift with new front bumper, grilles, headlamps, and LED tail lamps.


title: Nissan X-Trail

text: Due to the late facelift, Yulon-Nissan skipped the second generation X-Trail and continued the production of the facelifted Taiwanese Nissan X-Trail until 2008 and was replaced by the American imported first generation Nissan Rogue. The X-Trail nameplate did not return until 2015 when the third generation Nissan X-Trail returned and continued to be domestically produced in Taiwan.


title: Nissan X-Trail

text: In the Philippines, Nissan Motors launched the X-Trail in 2003. The only available trim that time was the "200X". It is powered by Nissan's 2.0L QR20DE inline-four engine mated to a 4-speed automatic transmission. It featured fabric upholstery, remote keyless entry, a roof rail, 2DIN 6 CD with 4 speakers audio system, immobilizer, & collapsible steering column.


title: Nissan X-Trail

text: By 2004, Nissan introduced an all-new trim the "250X". The "250X" is now powered by Nissan's 2.5L QR25DE engine mated to a standard 4-speed automatic transmission. It received redesigned 16-inch rims, baby fender mirror, rear spoiler (4x2 variant only), MP3 ready with 6 speaker audio system, angel-eye foglights, among other features.


title: Nissan X-Trail

text: In 2007 Nissan introduced another new trim the "Tokyo Edition 250X". It is powered by the same 2.0L QR20DE now with CVTC paired to a standard 4-speed automatic transmission. It came with redesigned interior & grill, new color options, chrome door handles, kenwood MP3 ready audio system, leather seats, automatic climate control & unique body stripes.


title: Nissan X-Trail

text: In 2006, Nissan Canada launched a Nissan X-Trail Bonavista Edition commercial, featuring a Nissan dealer speaking in an incomprehensible Newfoundland accent. The commercial itself backfired when Bonavista Mayor Betty Fitzgerald claimed it had portrayed people in Bonavista as people who cannot speak properly. To further expose the commercial's lack of linguistic authenticity, CBC News reported the sales rep was played by an actor from Cape Breton. That commercial was parodied by a local car dealer in St. John's, Newfoundland and Labrador, in a radio advert that takes shots at Ontario marketing companies and Premier Dalton McGuinty's "nondescript" personality.


title: Nissan X-Trail

text: Available only in the Japanese market is the SR20VET that produces 206 kW (276 hp) and is used in the X-Trail GT. The Australian model is powered by a QR25DE 2.5 L four-cylinder engine initially producing 132 kW (177 hp). From January 2006, the Australian spec engine was detuned to 123 kW (169 hp). Also available is the QR20DE four cylinder engine, producing 103 kW (140 hp) or 110 kW (150 hp) with manual or automatic transmission.


title: Nissan X-Trail

text: The biggest selling engine in the United Kingdom is the YD22DDTi, a 2.2-litre turbocharged common rail diesel.


title: Nissan X-Trail

text: The second generation X-Trail had its public debut at the Geneva Motor Show in March 2007, and went on sale in Japan in August 2007, Europe in the third quarter of that year, and Australia and Mexico towards the end of the year. Slightly larger than the previous model, it is based on the Renault–Nissan C platform. The second generation was not sold in the United States and Canada, where it was instead replaced by the Rogue.


title: Nissan X-Trail

text: The X-Trail GT SR20VET petrol turbocharged engine was not offered in the second generation X-Trail, due to the 2005 Japan vehicle emissions control. In September 2008, the 20GT became available in Japan, equipped with the M9R, a 2.0 litre turbocharged common rail diesel engine developed jointly with Renault. This was the first diesel X-Trail offered in the Japanese domestic market. The previous 2.2-litre dCI was replaced with two 2.0-litre dCI (M9R) versions, offering respectively.


title: Nissan X-Trail

text: A facelift second generation was released in Japan in July 2010. The Nissan X-Trail Platinum, with special features not seen on any other X-Trail, was released in a limited run of 200 vehicles for the United Kingdom in January 2012.


title: Nissan X-Trail

text: The second generation was replaced in October 2013, when the third generation X-Trail was unveiled in Japan. Only petrol engine variants were initially offered for Japan, with the diesel-engined second generation continuing to be available for the domestic market.


title: Nissan X-Trail

text: The second generation was released in Malaysia in 2010, where it was fully imported from Indonesia. Only one variant was made available, which consisted of the MR20DE engine paired to a CVT transmission. The facelift version was made available in Malaysia in April 2013.


title: Nissan X-Trail

text: In 2007, the X-Trail was offered with two engines, a 2.5 petrol and a 2.0 petrol powered by a CVT transmission and a 6-speed manual mode for the 2.5 engines. There were two trims available, the entry level S and top-of-the-line X model.


title: Nissan X-Trail

text: The Dongfeng Fengdu MX6 is a rebadged version of the X-Trail T31, featuring restyled front and rear bumpers produced by Zhengzhou-Nissan, and branded under the Dongfeng-Fengdu sub-brand of Dongfeng Motor Corporation. In March 2015, the model went on sale in China with 4WD and 2WD models available. The 2.0-litre "MR20DE" engine is standard along with a 6-speed manual or CVT gearbox. Trim levels are Standard, Excellence and Premium.


title: Nissan X-Trail

text: The third generation X-Trail was unveiled at the 2013 Frankfurt Motor Show. Based on an all-new CMF-CD platform shared with the Nissan Qashqai and Renault Koleos, the vehicle is a common successor for the second generation X-Trail and the Rogue that is offered in North America. It enables the model to be available in 190 countries around the globe, a projection Nissan made during its launch. It ditches the boxy SUV looks in favour of an urban crossover looks and softer lines inspired from the Hi-Cross Concept.


title: Nissan X-Trail

text: Although the new Nissan X-Trail has a larger surface area than the outgoing car, Nissan says weight has been reduced wherever possible. It features a tailgate dominated by plastic which saves 7 kg. Aerodynamics have also benefited from carefully shaped door mirrors as well as a spoiler that covers the exhaust box and rear panel.


title: Nissan X-Trail

text: The vehicle was also subsequently unveiled the 43rd Tokyo Motor Show 2013, and the 2014 Geneva Motor Show.


title: Nissan X-Trail

text: Production of the third-generation model continues in China alongside its successor, and it is sold as Nissan X-Trail Honor by Zhengzhou Nissan since 2021.


title: Nissan X-Trail

text: Japanese sales commenced on December 11, 2013. Early models include "MR20DD" engine, and an option of two or three rows of seats. Variants include 20S, 20X, 20X Emergency Brake Package, 20X X-TREMER X and 20X Emergency Brake Package X-TREMER X. In April 2015, Nissan announced that an X-Trail hybrid with claimed fuel economy of 4.9 L/100 km was coming to Japan.


title: Nissan X-Trail

text: On September 12, 2014, prior to the 22nd Indonesia International Motor Show, Nissan Motor Indonesia launched the third generation Nissan X-Trail. It is only available with three rows of seats at the time. It is manufactured in Purwakarta, Indonesia for domestic demand. The hybrid was unveiled at 23rd Gaikindo Indonesia International Auto Show and available only via special order. It was also launched in Thailand in November 2014 and it is manufactured in Samut Prakan, Thailand for Thai domestic demand.


title: Nissan X-Trail

text: In the Philippines, the third generation X-Trail was launched on 19 September 2014 during the 5th Philippine International Motor Show and is offered in two variants; 2.0L 2WD CVT and 2.5L 4WD CVT. The facelifted X-Trail was launched in the Philippines in September 2017. Engine choices remained the same as the pre-facelift model. It was also launched in Thailand in February 2019 where consumers had the choice between several variants powered by either a 2.5-litre petrol engine or a 2.0-litre hybrid powertrain.


title: Nissan X-Trail

text: The facelifted X-Trail was also launched in Indonesia on 18 July 2019 at the 27th Gaikindo Indonesia International Auto Show, and went on sale in August 2019. It is only available in VL trim and powered by a 2.5-litre petrol engine with CVT.


title: Nissan X-Trail

text: For the Malaysian market, the third generation X-Trail was launched in January 2015 with two variants: 2.0L 2WD (CVT) or 2.5L 4WD (CVT). Since launch, various editions have been made available namely Impul, Aero Edition and X-Tremer. All the various editions were/are sold alongside the regular X-Trail and like the regular X-Trail are available with either a 2.0L 2WD or 2.5L 4WD.


title: Nissan X-Trail

text: In March 2019, bookings were opened for the facelifted X-Trail with a media preview happening in March 2019 as well. The facelifted X-Trail has been available in Malaysia since April 2019, and available with four variants: 2.0L 2WD, 2.0L 2WD Mid, 2.5L 4WD and 2.0L Hybrid. All variants are only available with CVT.


title: Nissan X-Trail

text: Australian models went on sale in March 2014 with both petrol and diesel variants: ST 2.0 2WD 6-speed Manual, ST, ST-L and Ti 2.5 CVT and TS 1.6 dCi 2WD CVT, TS 1.6 dCi 4WD CVT, TL 1.6 dCi 2WD CVT and TL 1.6 dCi 4WD 6-speed manual. On ST and ST-L 2.5, third row seats are available. European models went on sale in July 2014, with the only engine available being a Renault-sourced 1.6 dCi R9M diesel engine with CVT or 6-speed manual.


title: Nissan X-Trail

text: For 2017, the Nissan X-Trail has been facelifted, with restyled headlights and tail lights which includes, restyled twin LED projector headlamps with High intensity discharge and LED Daytime Running Lights, which is now offered on SL trim levels with the Premium Package, while S, SV trim levels, and the SL trim levels without the Premium Package offers Halogen Headlamps with LED daytime running lights, and LED taillights are available on all trim levels. The 2.5L engine with 170 hp carries over from the previous model.


title: Nissan X-Trail

text: The new X-Trail went on sale in October 2016, and also has exterior and interior colours. A hybrid version of the vehicle premiered in January 2017 for the 2017 model year.


title: Nissan X-Trail

text: The 2017 model year hybrid features regenerative braking, pure drive hybrid emblems, energy monitor, hybrid battery status, under floor storage area replacing Divide-N-Hide@ Cargo System, a 2.0 litre four cylinder gasoline engine (power: 141 hp and torque: 141 lb-ft) and Xtronic CVT combined with an electric motor (power: 40 hp) and Lithium-Ion battery, for a combined power of 176 hp.


title: Nissan X-Trail

text: The Lithium-Ion battery is located below the thick flooring of the under floor cargo storage area. The X-Trail Hybrid is available in two trim levels, SV and SL, but the Nissan X-Trail Hybrid will not be available with third row seating (Family Package) and Divide-N-Hide@ Cargo System, due to the lithium-ion battery positioned under the boot.


title: Nissan X-Trail

text: On 27 October 2016, Nissan Motor Corporation announced the production of the next X-Trail at NMUK. In February 2019, these plans were cancelled, with production planned to remain in Japan, citing concerns about Brexit related uncertainty. The declining popularity of diesel cars was another factor.


title: Nissan X-Trail

text: Nissan's Sunderland plant in the United Kingdom has been in operation since 1986, and has around 7,000 employees. Sunderland will continue to manufacture several Nissan models and the company reaffirmed its commitment to manufacture the new Qashqai for 2020 at the plant in the United Kingdom. Both Nissan and British officials confirmed that no jobs would be lost due to the modified arrangement, which will see production of the X-Trail moved to Kyushu.


title: Nissan X-Trail

text: Assembly of the X-Trail in Indonesia ended in February 2019 and replaced with an imported version from Japan, followed by Thailand which halted production in September 2020 without any replacement.


title: Nissan X-Trail

text: The fourth-generation X-Trail was unveiled on 19 April 2021 at the Auto Shanghai in China and went on sale on the same day, nearly a year after its Rogue counterpart was launched in North America in June 2020.


title: Nissan X-Trail

text: The T33 X-Trail is taller, wider, shorter in length while the wheelbase is unchanged from the previous generation. The boot capacity is measured at 560L of storage capacity with the second row seats in place, a decrease of 5L.


title: Nissan X-Trail

text: For the e-Power model, the system combines the variable compression ratio 1.5-litre VC-Turbo three-cylinder petrol engine with the second-generation e-Power series hybrid powertrain. The second-generation hybrid system is said to be improved in terms of "power, smoothness, and quietness" compared to its predecessor. No diesel engine option will be offered for this generation.


title: Nissan X-Trail

text: The fourth-generation X-Trail was launched in Japan on 20 July 2022. It is only available with the e-Power series hybrid powertrain. Available grade levels are S, X, and G, with optional "e-4ORCE" electric four-wheel drive, and optional three-row seating for the X 4WD grade. An off-road style accessories package and Autech version is also offered.


title: Nissan X-Trail

text: The fourth-generation X-Trail was introduced in Australia in May 2022 with the 2.5-litre petrol engine. Available variants are ST, ST-L, Ti and Ti-L, with seven-seat all-wheel drive model offered as an option for the ST and ST-L variants while the Ti and Ti-L are five-seat all-wheel drive models.


title: Nissan X-Trail

text: The fourth-generation X-Trail for the European market debuted in September 2022. Powertrain options include a 1.5-litre mild hybrid turbocharged petrol with variable compression ratio, and an e-Power series hybrid with the dual-motor electric all-wheel drive as an option for the latter.


title: Miami-Dade County, Florida

text: Miami-Dade County is a county located in the southeastern part of the U.S. state of Florida. The county had a population of 2,701,767 as of the 2020 census, making it the most populous county in Florida and the seventh-most populous county in the United States. It is also Florida's third largest county in terms of land area, with . The county seat is Miami, the core of the nation's ninth largest and world's 34th largest metropolitan area with a 2020 population of 6.138 million people.


title: Miami-Dade County, Florida

text: Miami-Dade County is heavily Hispanic, and was the most populous majority-Hispanic county in the nation as of 2020. It is home to 34 incorporated cities and many unincorporated areas. The northern, central and eastern portions of the county are heavily urbanized with many high-rise buildings along the coastline, including Miami's Central Business District in Downtown Miami. Southern Miami-Dade County includes the Redland and Homestead areas, which make up the agricultural economy of the county. Agricultural Redland makes up roughly one third of Miami-Dade County's inhabited land area, and is sparsely populated, a stark contrast to the densely populated, urban portions of the county northern sections.


title: Miami-Dade County, Florida

text: The county also includes portions of two national parks. To the west, the county extends into the Everglades National Park and is populated only by a Miccosukee tribal village. Biscayne National Park and the Biscayne Bay Aquatic Preserves are located east of the mainland in Biscayne Bay.


title: Miami-Dade County, Florida

text: The earliest evidence of Native American settlement in the Miami region came from about 12,000 years ago. The first inhabitants settled on the banks of the Miami River, with the main villages on the northern banks.


title: Miami-Dade County, Florida

text: The inhabitants at the time of first European contact were the Tequesta people, who controlled much of southeastern Florida, including what is now Miami-Dade County, Broward County, and the southern part of Palm Beach County. The Tequesta Indians fished, hunted, and gathered the fruit and roots of plants for food, but did not practice agriculture. They buried the small bones of the deceased with the rest of the body, and put the larger bones in a box for the village people to see. The Tequesta are credited with making the Miami Circle.


title: Miami-Dade County, Florida

text: Juan Ponce de León was the first European to visit the area in 1513 by sailing into Biscayne Bay. His journal records he reached "Chequescha", a variant of "Tequesta", which was Miami's first recorded name. It is unknown whether he came ashore or made contact with the natives. Pedro Menéndez de Avilés and his men made the first recorded landing when they visited the Tequesta settlement in 1566 while looking for Avilés' missing son, shipwrecked a year earlier. Spanish soldiers led by Father Francisco Villarreal built a Jesuit mission at the mouth of the Miami River a year later but it was short-lived. After the Spaniards left, the Tequesta Indians were left to fend themselves from European-introduced diseases like smallpox. By 1711, the Tequesta sent a couple of local chiefs to Havana, Cuba, to ask if they could migrate there. The Cubans sent two ships to help them, but Spanish illnesses struck and most of the Tequesta died.


title: Miami-Dade County, Florida

text: The first permanent European settlers arrived in the early 19th century. People came from the Bahamas to South Florida and the Keys to hunt for treasure from the ships that ran aground on the treacherous Great Florida Reef. Some accepted Spanish land offers along the Miami River. At about the same time, the Seminole Indians arrived, along with a group of runaway slaves. The area was affected by the Second Seminole War, during which Major William S. Harney led several raids against the Indians. Most non-Indian residents were soldiers stationed at Fort Dallas. It was the most devastating Indian war in American history, causing almost a total loss of population in Miami.


title: Miami-Dade County, Florida

text: After the Second Seminole War ended in 1842, William English re-established a plantation started by his uncle on the Miami River. He charted the "Village of Miami" on the south bank of the Miami River and sold several plots of land. In 1844, Miami became the county seat, and six years later a census reported there were ninety-six residents in the area. The Third Seminole War was not as destructive as the second, but it slowed the settlement of southeast Florida. At the end of the war, a few of the soldiers stayed.


title: Miami-Dade County, Florida

text: Dade County was created on January 18, 1836, under the Territorial Act of the United States. The county was named after Major Francis L. Dade, a soldier killed in 1835 in the Second Seminole War, at what has since been named the Dade Battlefield. At the time of its creation, Dade County included the land that now contains Palm Beach and Broward counties, together with the Florida Keys from Bahia Honda Key north and the land of present-day Miami-Dade County. The county seat was originally at Indian Key in the Florida Keys; then in 1844, the County seat was moved to Miami. The Florida Keys from Key Largo to Bahia Honda were returned to Monroe County in 1866. In 1888 the county seat was moved to Juno, near present-day Juno Beach, Florida, returning to Miami in 1899. In 1909, Palm Beach County was formed from the northern portion of what was Dade County, and then in 1915, Palm Beach County and Dade County contributed nearly equal portions of land to create what is now Broward County. There have been no significant boundary changes to the county since 1915.


title: Miami-Dade County, Florida

text: The third-costliest natural disaster to occur in the United States was Hurricane Andrew, which hit Miami in the early morning of Monday, August 24, 1992. It struck the southern part of the county from due east, south of Miami and very near Homestead, Kendall, and Cutler Ridge (now the Town of Cutler Bay). Damages numbered over US$25 billion in the county alone, and recovery has taken years in these areas where the destruction was greatest. This was the costliest natural disaster in US history until Hurricane Katrina struck the Gulf region in 2005.


title: Miami-Dade County, Florida

text: On November 13, 1997, voters changed the name of the county from Dade to Miami-Dade to acknowledge the international name recognition of Miami. Voters were acting pursuant to home rule powers granted to Dade County, including the ability to change the name of the county without the consent of the Florida Legislature. The change in name also addressed a source of public dissatisfaction with the name "Dade" which was chosen to honor Francis L. Dade, who had been killed in the Dade battle in the 1830s. The massacre did not occur in South Florida, but in the west central part of the state, in present-day Sumter County, near Bushnell. There is also a Dade City, which is closer to the site of the massacre.


title: Miami-Dade County, Florida

text: Miami-Dade is the only hyphenated county name in the United States (although Alaska's Matanuska-Susitna Borough is similarly adorned).


title: Miami-Dade County, Florida

text: According to the U.S. Census Bureau, the county has an area of , of which is land and (21.9%) is water. It is the third-largest county in Florida by land area and second-largest by total area. Most of the water is in the Biscayne Bay, with another significant portion in the adjacent Atlantic Ocean.


title: Miami-Dade County, Florida

text: Miami-Dade County is only about above sea level. It is rather new geologically and is at the eastern edge of the Florida Platform, a carbonate plateau created millions of years ago. Eastern Dade is composed of Oolite limestone while western Dade is composed mostly of Bryozoa. Miami-Dade is among the last areas of Florida to be created and populated with fauna and flora, mostly in the Pleistocene.


title: Miami-Dade County, Florida

text: The bay is divided from the Atlantic Ocean by many barrier islands along the coast. The city of Miami Beach, home to the South Beach neighborhood and its Art Deco district, is built on these barrier islands. The archipelago of the Florida Keys, which extends in an arc to the south-southwest, is only accessible through Miami-Dade County, although most of the Keys are part of neighboring Monroe County. Miami is sixty-five miles from West Palm Beach, and thirty miles from Fort Lauderdale.


title: Miami-Dade County, Florida

text: Miami-Dade County includes 34 incorporated areas, 38 census-designated places, and 16 unincorporated regions.


title: Miami-Dade County, Florida

text: As of the 2020 United States census, there were 2,701,767 people, 912,805 households, and 633,834 families residing in the county.


title: Miami-Dade County, Florida

text: In 2010, Cubans made up the largest population of immigrants (with more than half of the population) with Colombians coming in second, Haitians in third, followed by Nicaraguans in fourth place, then Dominicans, Venezuelans, Peruvians, Jamaicans, Mexicans, and Argentinians among the highest group of immigrants.


title: Miami-Dade County, Florida

text: Miami-Dade has small communities of Brazilians, Portuguese, Spaniards, Ukrainians and Poles along with Canadians (including Francophone from the province of Quebec), French, Germans, other Europeans, British expatriates and Israelis.


title: Miami-Dade County, Florida

text: There were 867,352 households, out of which 30.6% had children under the age of 18 living with them, 43.8% were married couples living together, 18.8% had a female householder with no husband present, and 30.5% were non-families. 23.6% of all households were made up of individuals, and 8.4% (2.5% male and 5.9% female) had someone living alone who was 65 years of age or older. The average household size was 2.83 and the average family size was 3.33.


title: Miami-Dade County, Florida

text: The age distribution is 21.9% under the age of 18, 9.9% from 18 to 24, 28.6% from 25 to 44, 25.6% from 45 to 64, and 14.1% who were 65 years of age or older. The median age was 38.2 years. For every 100 females, there were 93.8 males. For every 100 females age 18 and over, there were 91.0 males.


title: Miami-Dade County, Florida

text: The median income for a household in the county was $43,605, and the median income for a family was $50,065. Males had a median income of $35,096 versus $29,980 for females. The per capita income for the county was $22,957. About 13.8% of families and 17.2% of the population were below the poverty line, including 22.0% of those under age 18 and 22.1% of those aged 65 or over.


title: Miami-Dade County, Florida

text: In 2010, 51.1% of the county's population was foreign born, with 48.7% being naturalized American citizens. Of foreign-born residents, 93.0% were born in Latin America, 3.2% were born in Europe, 2.7% born in Asia, 0.5% born in Africa, 0.5% in North America, and 0.1% were born in Oceania.


title: Miami-Dade County, Florida

text: As of the census of 2000, there were 2,253,362 people, 776,774 households, and 548,402 families in the county, with an average population density of . There were 852,278 housing units, with an average density of . The county's racial makeup was 69.7% White (49% White Hispanic, 20.7% Non-Hispanic White), 20.3% African American and Black (with a large part of Caribbean descent), 0.2% Native American, 1.4% Asian, <0.1% Pacific Islander, 4.60% from other races, and 3.8% from two or more races. 57.3% of the population were Hispanic or Latino of any race. In relation to ancestry (excluding the various Hispanic and Latino ancestries), 5% were Haitian, 5% American, 2% Italian, 2% Jamaican, 2% German, 2% Irish, and 2% English ancestry.


title: Miami-Dade County, Florida

text: There were 776,774 households, out of which 33.8% had children under the age of 18 living with them, 47.7% were married couples living together, 17.2% had a female householder with no husband present, and 29.4% were non-families. 23.3% of all households were made up of individuals, and 8.6% had someone living alone who was 65 years of age or older. The average household size was 2.84 and the average family size was 3.35.


title: Miami-Dade County, Florida

text: The age distribution is 24.8% under the age of 18, 9.1% from 18 to 24, 31.0% from 25 to 44, 21.7% from 45 to 64, and 13.3% who were 65 years of age or older. The median age was 36 years. For every 100 females, there were 93.5 males. For every 100 females age 18 and over, there were 90.2 males.


title: Miami-Dade County, Florida

text: The county's median household income was $35,966, and the median family income was $40,260. Males had a median income of $30,120 versus $24,686 for females. The county's per capita income was $18,497. About 14.5% of families and 18.0% of the population were below the poverty line, including 22.9% of those under age 18 and 18.9% of those age 65 or over.


title: Miami-Dade County, Florida

text: As of 2010, 28.1% of the population spoke only English at home, while 63.8% of the population spoke Spanish, 4.2% spoke French Creole (mainly Haitian Creole), 0.6% French, and 0.6% Portuguese. About 52% of the county residents were born outside the United States, while 71.9% of the population spoke a language other than English at home.


title: Miami-Dade County, Florida

text: In 2010 statistics, the largest religious group in Miami-Dade County was the Archdiocese of Miami with 544,449 Catholics in 65 parishes, followed by 96,749 non-denominational adherents with 197 congregations, 80,123 SBC Baptists with 313 congregations, 47,921 NBC Baptists with 44 congregations, 27,901 Seventh-day Adventists in 62 congregations, 25,244 AoG Pentecostals with 45 congregations, 14,628 LDS Mormons with 18 congregations, 12,569 TEC Episcopalians with 30 congregations, and 11,880 UMC Methodists with 32 congregations. There is an estimated 23,064 Muslims with 15 congregations, 3,069 Hindus with 20 congregations, and 1,342 Buddhist with 22 congregations.


title: Miami-Dade County, Florida

text: In 2005 the Jewish population of the county has decreased but stabilized at about 121,000 with a high percentage of retired and elderly persons (but less than in Broward and Palm Beach counties). There are more than 60 congregations, 34 Jewish educational institutions, and three Jewish community centers. The highest percentage and increase in Jewish population is in North Dade, especially in Aventura. Miami-Dade County hosts Florida's third largest Jewish population and the nation's tenth largest.


title: Miami-Dade County, Florida

text: Altogether, 39.8% of the population was claimed as members by religious congregations, although members of historically African-American denominations were underrepresented due to incomplete information. In 2014, Miami-Dade County had 731 religious organizations, the 14th most out of all US counties.


title: Miami-Dade County, Florida

text: Miami-Dade County has operated under a metropolitan system of government, a "two-tier federation", since 1957. This was made possible when Florida voters approved a constitutional amendment in 1956 that allowed the people of Dade County (as it was known) to enact a home rule charter. Prior to this year, home rule did not exist in Florida, and all counties were limited to the same set of powers by the Florida Constitution and state law.


title: Miami-Dade County, Florida

text: Unlike a consolidated city-county, where the city and county governments merge into a single entity, these two entities are separate. Instead there are two "tiers", or levels, of government: city and county. There are 34 municipalities in the county, the City of Miami being the largest.


title: Miami-Dade County, Florida

text: Cities are the "lower tier" of local government, providing police and fire protection, zoning and code enforcement, and other typical city services within their jurisdiction. These services are paid for by city taxes. The County is the "upper tier", and it provides services of a metropolitan nature, such as emergency management, airport and seaport operations, public housing and health care services, transportation, environmental services, solid waste disposal etc. These are funded by county taxes, which are assessed on all incorporated and unincorporated areas.