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212_11 | The soundtrack of Aegan was composed by Yuvan Shankar Raja as was the film score. It was noticeably, the third time Yuvan was scoring music for an Ajith Kumar film, after Dheena (2001) and Billa (2007), the songs of which had been very popular and went on to become chartbusters.
The soundtrack released on 9 October 2008, at a private ceremony at the Hello FM Studios by composer Yuvan Shankar Raja as the lead cast and the director were away shooting the video for the song in Switzerland. The album features 6 tracks overall, including one of the songs ("Hey Salaa") repeated at the end.
Release
The satellite rights of the film were sold to Kalaignar TV. The film was given a "U" certificate by the Indian Censor Board, and was released during the Diwali weekend on 25 October 2008. |
212_12 | Reception
Sify.com claimed that "the trouble with the film is that it looks like an amateurish attempt by debutant director Raju Sundaram" dismissing the climax as "a colossal embarrassment", but adding that "no film is perfect". Ajith Kumar was praised for being "at his best but look[ed] plump and stiff in some scenes where he need to be relaxed and natural", drawing comparisons with a similar feedback from his previous venture, Billa. Nayanthara was said to "look perfect as Mallika, a role that fits her like a glove" with her make-up and costumes "rocking". The reviewer added that "Piaa Bajpai is promising, Jayaram as Principal and Haneefa have been wasted and do little in the way of bringing smiles to the faces of the audience". The review also singles out the performance of rookie cinematographer, Arjun Jena, whose work is labelled as "eye-catching". |
212_13 | Similarly Rediff.com labelled the film as "watchable in parts", giving it negative feedback in comparison with Main Hoon Na. It like Sify, claims that "Aegan loses its spontaneity and meanders between humour and seriousness" in the second half. The reviewer praises Ajith claiming he looks as though he "really did enjoy himself on screen, after a really long time". The reviewer adds that "Nayantara's outfits get smaller and smaller, while the actress herself has nothing more to do than dance in transparent saris and high-heels. Sometimes she looks amused, at others, irritated and bored", comparing her unchallenging roles to previous roles in Sathyam and Kuselan. It criticizes Piaa Bajpai claiming she "hams it to glory", and "makes you want to watch Amrita Rao's naivety in the original", however, it praises Navdeep citing he is "far more natural, but you pity the fact that his role is so small". Rediff also criticized Suman and Sriman labelling their portrayals as "pathetic". In |
212_14 | reference to minor characters, Cochin Hanifa is praised while Suhasini Mani Ratnam's role is said to be "terribly dealt with, robbing her part of any sympathy". |
212_15 | References
External links
2008 films
Films set in Hong Kong
2008 action comedy films
Tamil remakes of Hindi films
Indian films
Films shot in Ooty
2000s Tamil-language films
Films shot in Hong Kong
2008 directorial debut films
2000s masala films
Indian action comedy-drama films |
213_0 | Management & Training Corporation or MTC is a contractor that manages private prisons and United States Job Corps centers, based in Centerville, Utah. MTC's core businesses are corrections, education and training, MTC medical, and economic & social development. MTC operates 21 correctional facilities in eight states. MTC also operates or partners in operating 22 of the 119 Job Corps centers across the country. They also operate in Great Britain, under the name MTCNovo.
Education and training
MTC contracts with the U.S. Department of Labor in operating or partnering in operating Job Corps centers in Washington, Oregon, Nevada, Minnesota, California, Utah, Kansas, Iowa, Illinois, Hawaii, Texas, Kentucky, Ohio, Pennsylvania, Delaware, District of Columbia, Georgia, Florida, and Mississippi. |
213_1 | Corrections and Immigrant Detention
MTC is the third-largest operator of correctional facilities in the U.S. with a capacity to serve more than 31,000 offenders.<ref name="Obituary Dr. Robert L. Marquardt">Obituary Dr. Robert L. Marquardt, Salt Lake City Tribune, January 15, 2012. Retrieved 19 August 2016.</ref> MTC's philosophy is 'rehabilitation through education'. It claims to offer inmates a wide variety of programming, including GED, adult basic education, substance abuse, life skills, and vocational training. |
213_2 | Twelve MTC correctional facilities have earned American Correctional Association accreditation ACA, meaning the facilities exceed national standards and implement state-of-the-art safety and security policies and procedures. Ten MTC correctional facilities exceed Correctional Education Association (CEA) standards for educational programming. Various MTC facilities are also accredited by the Licensed Substance Abuse Treatment Facility organization, the National Commission on Correctional Health Care, and The Joint Commission. |
213_3 | On August 18, 2016, Deputy U.S. Attorney General Sally Yates announced that the Justice Department intended to end its contracts with for-profit prison operators, because it concluded "...the facilities are both less safe and less effective at providing correctional services..." than the Federal Bureau of Prisons. In response, MTC's spokesperson, Issa Arnita, said, it was "disappointed" to learn about the DOJ's decision. "If the DOJ's decision to end the use of contract prisons were based solely on declining inmate populations, there may be some justification, but to base this decision on cost, safety and security, and programming is wrong."
Yates said in a memorandum, for-profit |
213_4 | ...prisons served an important role during a difficult period, but time has shown that they compare poorly to our own Bureau facilities. They simply do not provide the same level of correctional services, programs, and resources; they do not save substantially on costs; and as noted in a recent report by the Department's Office of Inspector General (O.I.G.), they do not maintain the same level of safety and security. The rehabilitative services that the Bureau provides, such as educational programs and job training, have proved difficult to replicate and outsource and these services are essential to reducing recidivism and improving public safety. |
213_5 | A Bloomberg News journalist questioned the findings, as did the National Review'', For-profit prison operators, including MTC, said that the DOJ report lacked objectivity. The O.I.G.'s report noted some difficulties with its conclusions, to wit: "Moreover, we were unable to compare the overall costs of incarceration between BOP institutions and contract prisons in part because of the different nature of the inmate populations and programs offered in those facilities." "We note that we were unable to evaluate all of the factors that contributed to the underlying data, including the effect of inmate demographics and facility locations." Yates's decision was reverted in 2017 by Attorney General Jeff Sessions under the new President Donald Trump administration. |
213_6 | A spokesman for the Texas Department of Criminal Justice said in December 2016 that the Utah-based Management & Training Corporation-operated South Texas Intermediate Sanction Facility will be closed and inmates will be relocated,"...in light of the declining offender population because of the success of the agency's treatment and diversion initiatives." It employed about 115 people.
The federal contract with MTC to operate the Willacy County Regional Detention Center in Raymondville, Texas will end in September 2021. The country is considering operating the facility by itself, which would still be permitted under federal restrictions. |
213_7 | MTC Medical
MTC Medical provides medical and dental care to prisoners at 14 facilities:
Marana Community Correctional Treatment Facility, Marana, Arizona
Taft Correctional Institution, Taft, California
Otero County Processing Center, Chaparral, New Mexico
Otero County Prison Facility, Chaparral, New Mexico
North Central Correctional Complex, Marion, Ohio
East Texas Treatment Facility, Henderson, Texas
Bridgeport Pre-Parole Transfer Facility, Bridgeport, Texas
Gadsden Correctional Facility, Quincy, FL
Giles W. Dalby Correctional Facility, Post, Texas
West Texas Intermediate Sanction Facility, Brownfield, Texas
South Texas Intermediate Sanction Facility, Houston, Texas
Willacy County Correctional Center, Raymondville, Texas
Imperial Regional Detention Facility, Calexico, California |
213_8 | Economic & social development
MTC created its Economic & Social Development division in 2004. MTC has provided technical assistance in multiple locations around the world. Work has included vocational assessments, small and medium-enterprise development, training for marginalized populations including women and youth, executive training, national skill set development, technical vocational education and training system design and implementation, among many others. Projects have included work in China, Haiti, Iraq, Palestine, South Sudan, Mongolia, Jordan, and Tunisia.
Background
MTC was founded in 1981 by Robert L. Marquardt, (1925-2012) when Morton Thiokol decided to divest its Job Corps training division. Marquardt, who worked for Morton, and his partners, borrowed $3.5 million to purchase the spin-off. |
213_9 | Reported incidents of violence, abuse and poor conditions
Low-security Eagle Mountain Community Correctional Facility in Eagle Mountain, California: On October 25, 2003, a 90-minute prison race riot erupted. Some 150 mostly Latino prisoners attacked black inmates with meat cleavers, kitchen knives, broom handles, dust pans, rocks, pipes, crutches and fire extinguishers. The private guards retreated, while state correctional officers were called in from distant state facilities. Two inmates were stabbed to death, seven others were critically injured, and dozens more were hurt. Eight short-term inmates were ultimately charged with and convicted of murder. The facility was closed by the end of the year. |
213_10 | Willacy Detention Center in Raymondville, Texas: In November 2007, four MTC employees were charged for using company vehicles to smuggle illegal immigrants through checkpoints. They were allegedly caught smuggling 28 illegal immigrants through the U.S. Border Patrol's Sarita checkpoint, approximately 100 miles north of Brownsville. The immigrants were from Mexico, the Dominican Republic, Honduras, Guatemala and El Salvador. |
213_11 | Arizona State Prison – Kingman - On 30 July 2010, three prisoners convicted of homicide escaped after MTC workers ignored alarms indicating a breached fence. Two MTC employees resigned afterward, a unit warden and a unit security chief. On September 20, the Arizona Department of Corrections reported the escape went undetected for an unknown period of time because the security system between the perimeter fences, which should have detected the prisoners passing through, had been incorrectly installed, and it had not worked properly for the previous two and a half years. |
213_12 | One escapee was captured 28 hours later after a shootout with law enforcement in Rifle, Colorado. He was eventually sentenced to 48 years in the Colorado prison system. The other two prisoners and their accomplice robbed, hijacked and kidnapped two truck drivers. Three days later, the ringleader hijacked, kidnapped, killed and incinerated two vacationers in New Mexico. He and his fellow escapee and their accomplice were captured within 20 days. A second escapee is now serving a life term in federal prison under an assumed name. In 2014, the jury rejected the death penalty for the ringleader who was sentenced to life, plus 235 years in federal prison. John "Charlie" McCluskey died at the age of 52 on March 7, 2017, at a maximum-security federal prison outside of Florence, Colorado. Their accomplice was sentenced to 40 years in federal prison and has been serving it at Fort Worth's Federal Medical Center, Carswell. |
213_13 | Subsequently, Arizona corrections officials stopped sending new inmates to the facility, which they said was "dysfunctional." MTC threatened to sue the state for breach of contract, which had guaranteed the facility 97% occupancy, and for the loss of $10 million in revenue from empty beds. The state renegotiated the contract and paid MTC $3 million.
Willacy Detention Facility in Texas: On June 22, 2011, MTC Security Officer Edwin Rodriguez was arrested, and subsequently charged with the sexual abuse of a female detainee.
Diboll Correctional Center in Texas: In July 2014, a portion of an internal ceiling collapsed in a dayroom. A number of inmates were taken to the hospital, where one was listed as being in critical condition. |
213_14 | Walnut Grove Correctional Facility in Mississippi: MTC was awarded the contract for this facility after the state cancelled that of GEO Group in the summer of 2012.
East Mississippi Correctional Facility (EMCF), the state prison for prisoners with mental illness: In 2013, the American Civil Liberties Union filed a lawsuit against the prison and MTC for intolerable conditions. The ACLU described this as an "extremely dangerous facility" where "basic human rights are violated daily." Many prisoners had reportedly been unable to access appropriate medical care, even for life-threatening conditions. The federal trial in April 2018 has been the scene of testimony from numerous prisoners of abuse, killings, suicide, and neglect at this facility. |
213_15 | In November 2014, MTC was named among numerous private firms in corruption charges during the arraignment of Mississippi Corrections Commissioner Christopher Epps; he was charged with receiving $1,900,000 in bribes in exchange for lucrative contracts to private prison and subcontractor firms, which had ties to Cecil McCrory, a Republican former state legislator. According to the indictment, the bribes occurred as the East Mississippi Correctional Facility was descending into "hellish chaos" with gang violence routine, medical care substandard, and corruption rampant among corrections officers. On February 25, 2015, Epps pleaded guilty to tax evasion and taking bribes. He took "about $2 million" in exchange for prison contracts. |
213_16 | After Epps was indicted, Mississippi Governor Phil Bryant quickly ordered renegotiation of the $60 million MTC contract to operate three state prisons: Walnut Grove Correctional Facility, East Mississippi Correctional Facility and Marshall County Correctional Facility, and a fourth, Wilkinson County Correctional Facility, which had been managed by the Corrections Corporation of America, now known as CoreCivic, all of which involved McCrory and Epps. MTC had been sued for mistreatment of inmates in two of those prisons. |
213_17 | After his indictment, McCrory had at first plea bargained to lesser federal charges. Before being hired as a consultant by MTC, he had begun working as a consultant to Cornell Companies and GEO, which had paid him $10,000 monthly. MTC subsequently won all four contracts and hired McCrory as a consultant. Upon the disclosure of the federal charges, MTC fired McCrory, claiming they knew nothing of his criminal activities. According to the indictments, MTC confirmed that it paid McCrory $12,000 a month and had hired him at Epps' recommendation. The company stated Epps had not forced it to hire McCrory. MTC spokesman Issa Arnita said that Epps "made us aware of the fee McCrory had charged in the past to other contractors" and had worked for GEO Group, the Boca Raton, Florida for-profit prison firm which held the contracts that were subsequently awarded to MTC. MTC denied any knowledge of alleged inappropriate relationships between Epps and McCrory. The indictment recounts a 2012 |
213_18 | conversation quoting Epps telling McCrory that he had persuaded MTC to hire him, with them to split MTC's payments after taxes. The indictment has Epps saying, "I got us $12,000 per month." |
213_19 | Epps was originally scheduled to be sentenced on June 9, 2015, but on June 8 federal authorities first announced that the sentencing was indefinitely delayed. McCrory, co-defendant in the Epps case, moved to withdraw his guilty plea and have a trial scheduled. Consequently, the sentencing of Epps was again postponed. The sentencing was delayed by the judge to allow defense lawyers additional time to review materials concerning how much money was gained by 15 corporations paying bribes to the pair. Prosecutors hoped to use the evidence to increase the recommended prison sentences for Epps and McCrory. |
213_20 | On May 25, 2017, Judge Wingate sentenced Epps to 235 months (19.6 years) in federal prison. Wingate, who was appointed to the federal bench in 1985 said, "This is the largest graft operation that certainly I have seen, and I have seen a lot." Wingate cited the Flowood incident as the reason why he gave a sentence that was longer than the 13 years recommended by prosecutors. By July 2017 Epps was moved to Federal Correctional Institution, Seagoville in Seagoville, Texas. Although Epps' sentencing was delayed, Wingate had set sentencing for his co-defendant, McCrory, for Dec. 21–22. |
213_21 | On December 21, 2016, Judge Wingate rejected McCrory's request to withdraw his plea, and set a new date for sentencing. The FBI had testified that McCrory had admitted in their first interview with him to laundering $40,000 in cash for Epps, and that he began wearing a recording device for his conversations with Epps. McCrory was free on bail, and was sentenced to years in prison on February 2, 2017. As of December 17, 2017, McCrory was being held at the Federal Correctional Institution, Talladega, Alabama, with an anticipated release date of April 24, 2025.
In mid-June 2016, in the face of declining prison populations and the removal of juveniles to more suitable facilities, the state announced it would close the Walnut Grove Correctional Facility. That was accomplished on September 16, 2016. It was anticipated to have a devastating effect on the local rural and small-town economy. |
213_22 | Arizona State Prison – Kingman: On January 19, 2015, 23-year-old inmate Neil Early died in a hospital in Las Vegas after being sexually and fatally assaulted in the MTC-operated prison located in Golden Valley, Arizona. A search there found numerous weapons, illegal cell phones, and a quantity of heroin. A guard working a 16-hour shift had been supervising 200 inmates at the time of the attack on Early. Early's parents filed suit for millions against the state, MTC, and a prison medical provider, alleging medical intervention had been delayed after Early was found beaten and sexually assaulted. |
213_23 | Willacy County Correctional Center "tent" prison in Willacy County, Texas: On February 21, 2015, nearly 2,000 inmates rioted over issues such as poor medical care. The prison was rendered "uninhabitable" according to the Federal Bureau of Prisons, which had contracted with MTC to manage 2,800 inmates. Intervention by federal, state and local law enforcement was required to suppress the riot. The Federal Bureau of Prisons soon removed some 570 inmates. MTC informed the state that all its employees would be laid off by March 9, 2015. In March, 2015, the bonds that paid for the construction of the prison were lowered to "junk" status by Standard & Poors. At the time of the closing, the bond debt balance was about $128 million, and the annual payments due for the bond debt were about $8 million a year. |
213_24 | Arizona State Prison-Kingman: On July 1, 2 and 4, 2015, riots broke out again here, during which nine guards and seven inmates were injured. The state brought in 96 members of its special tactical unit to quell the riot. In August 2015, Arizona governor Doug Ducey terminated the contract with MTC after an Arizona Department of Corrections investigative report revealed the company had "a culture of disorganization, disengagement, and disregard" of DOC policies. |
213_25 | Bids were sought and the state awarded a new contract to Florida's GEO Group, effective December 1, 2015. GEO had contributed $2,000 to Ducey's 2014 campaign for Governor, plus $50,000 more to an Independent expenditure Superpac that exclusively supported Ducey's candidacy. |
213_26 | About 100 Hopkins Park, Illinois residents demonstrated in July 2016 against an MTC proposed immigration prison there. Larger competitors had also been rejected: Corrections Corporation of America in Joliet and Crete, Illinois, and GEO Group in Hobart and Gary, Indiana due to similar protests. Protesters said that Arizona's cancellation of the MTC contract at Kingman state prison was reason not to do business with the company.
Correctional Alternative Placement Program (CAPP) in Kuna, Idaho: In a 24-month period ending in 2016, there were 175 incidents of violence requiring disciplinary action at this 430-bed facility. It is the last for-profit prison in the state since the Idaho Department of Corrections was forced to take over a prison operated by Corrections Corporation of America, following national coverage of massive, fraudulent overbilling, lack of oversight, and six-figure corporate campaign contributions to the incumbent governor. |
213_27 | Willacy County Correctional Center: Willacy County filed a federal lawsuit against MTC in December 2016 for "abysmal mismanagement" of this prison and terrible conditions. Prisoners had rioted in February 2015 (see coverage above.) The Federal Bureau of Prisons had originally contracted to house low-risk, non-U.S. citizen inmates at this CAR prison. In a lawsuit filed in early December, the county claimed MTC failed to properly "oversee, manage, and repair" the facility and "turned a blind eye to the enormous problems that plagued the Prison from its inception." The county had received revenues as high as $2.7 million a year from the prison operation, under its arrangement with the FBOP and MTC. |
213_28 | Before obtaining the CAR contract, the tent prison was an immigrant detention center that was alleged to harbor chronic sexual assault, physical abuse, and medical neglect. In 2011, months after immigration officials ended their contract with MTC, federal prison officials decided to send immigrants convicted of crimes (typically for criminal re-entry) to Willacy. The Texas ACLU had long alleged that private prison contractors running institutions such as Willacy cut corners in order to boost shareholder profits. That invariably led to medical under-staffing and extreme cost cutting, putting both prisoners and staff at risk. In 2014, the group documented complaints inside Willacy that caused it to be dangerous. A prisoner said,
They have a lot of people in here. Sometimes it smells. It's too many people. Some people even talk about burning this place down. They just don't have enough space for all of us here. Sometimes it makes me go crazy. |
213_29 | The suit pleadings said that inmates dealt with conditions so intolerable that some were forced to stay in solitary confinement. MTC posted only a solitary guard to oversee each housing pod on each shift. "The unacceptable conditions caused by mismanagement and its failure to take remediate them led to the riot on February 20, 2015." Ultimately, the BOP forced the prison to be vacated, declaring it "uninhabitable" due to MTC's failures. All 400 employees of the prison were discharged. The pleadings further claim MTC routinely failed to alert government officials about its problems there. |
213_30 | Gadsden Correctional Facility at Quincy, Florida: MTC had the contract since 2010. State Representative David Richardson, a legislative watchdog, made frequent surprise visits over a year and a half to the prison, which holds over 1,500 women. On his initial visit, he found many of the classrooms without teachers, others without required supplies, and he was determined to return. He also found its inmates had endured months deprived of heat and hot water, found their bathrooms flooded every day, and were subjected to water rationing because the sewage system was malfunctioning. |
213_31 | Though the facility had received approval of a $10,000 state-funded purchase of a new water heater, its warden never bothered to authorize the replacement. MTC spokesman Issa Arnita acknowledged that management a year earlier, became "...aware of hot water issues at the facility." He said, "While we've made short-term fixes, the entire system will ultimately need to be replaced." On February 23, 2017, Richardson returned for a scheduled visit accompanied by two other legislators and the director of the Florida Department of Management Services (DMS) which is responsible for overseeing the operations of, and conditions within, private prisons. In the two days before their arrival, institution work crews finally addressed many of the long-backlogged 495 repair orders. The state quickly replaced its on-site monitor. When Richardson returned with two investigators from the Florida Department of Corrections (FDOC), as requested by the DMS Office of the Inspector General, other problems |
213_32 | were revealed at the prison. Although prisoners said they had been intimidated against complaining to inspectors and feared retaliation, one had sent Richardson a detailed list of 23 serious plumbing problems in just a single housing unit. In February 2017, Richardson requested Governor Rick Scott to direct state officials to take over management of the prison, warning that the health and safety of inmates was at risk. |
213_33 | Mississippi state lawsuits
On February 8, 2017, Mississippi Attorney General Jim Hood filed suit against MTC, along with Cornell Companies, Wexford Health Sources, Global Tel Link, Sentinel Offender Services and many others for allegedly engaging in corrupt contracts with the Mississippi Department of Corrections and its former Commissioner, Chris Epps. The lawsuit claims the companies violated Mississippi public ethics, racketeering, and antitrust laws, and it was suing to recover costs and penalties of the corrupt contracts. On 24 January 2019, the Mississippi Attorney General's office announced it had collected a total of $27 million in lawsuits filed against companies accused of funneling bribes and kickbacks to Epps. That amount included $5.2 million from MTC.
See also |
213_34 | 2010 Arizona prison escape
Arizona SB 1070
Arizona State Prison – Kingman
Central North Correctional Centre
Eagle Mountain Community Correctional Facility
East Mississippi Correctional Facility
Estes Unit
Idaho Department of Correction
Incarceration in the United States
Kyle, Texas
List of detention sites in the United States
List of members of the American Legislative Exchange Council
Marana Community Correctional Treatment Facility
Marshall County Correctional Facility
Operation Mississippi Hustle
Red Rock Job Corps Center
Walnut Grove Correctional Facility
Wilkinson County Correctional Center
Willacy County Correctional Center
Willacy Detention Center
James A. Joseph
Lane McCotter
References
External links
1981 establishments in Utah
American companies established in 1981
Companies based in Utah
Davis County, Utah
Private prisons in the United States |
214_0 | Antoine Franklin McColister (born May 11, 1988), better known by his stage name Ace Hood, is an American rapper. He was born in Port St. Lucie, Florida and raised in Deerfield Beach, Florida. He was signed to record producer DJ Khaled's label We the Best Music Group in 2008, in a joint-venture with Def Jam Recordings. He has released four studio albums with his most successful of which being Blood, Sweat & Tears (2011) and Trials & Tribulations (2013). The albums contained his highest charting singles, "Hustle Hard" and "Bugatti" (featuring Future and Rick Ross), respectively. In 2016, McColister announced his departure from We the Best Music and is currently working as an independent artist. |
214_1 | Early life
Ace Hood was born in Port St. Lucie, Florida, and was raised by his mother, who is of Haitian origin, alongside his younger cousin Ty Barton Jr. in Deerfield Beach, part of Broward County. He graduated from Deerfield Beach High School. Following a football injury in the 10th grade, and after realizing he wouldn't be able to go pro, the Broward County native began to seriously consider rapping as a career. Hood teamed up with a local group called Dollaz & Dealz and released a single titled "M.O.E." in 2006. He also began promoting himself via open mic events and talent shows around town.
Musical career
2006–08: Career beginnings and Gutta |
214_2 | In 2007, he met DJ Khaled outside the office of the WEDR 99 Jamz radio station. After Hood gave Khaled an autobiography and his demo tape, Khaled asked Hood to do a freestyle over the instrumental of his song "I'm So Hood" from his second album, We the Best, and later signed Hood to his We the Best Music Group label. Hood was named, along with several others, on the Freshmen of '09 by XXL magazine. |
214_3 | His first album, Gutta, was released in 2008. Singles included "Cash Flow" featuring T-Pain and Rick Ross, and "Ride" featuring Trey Songz. Hood also released mixtapes called Ace Won't Fold and All Bets On Ace. He made a guest performance among several rappers on DJ Khaled's single "Out Here Grindin'", also featuring Akon, Rick Ross, Plies, Lil Boosie and Trick Daddy, which peaked at number 38 on the Billboard Hot 100. It is from Khaled's third studio album We Global, and was eventually certified gold by the RIAA. Ace Hood appeared on Wildstyle Radio on WUAG 103.1FM in Greensboro, North Carolina, on September 7, 2008, to promote his album, Gutta, along with DJ Khaled. The album debuted at number 36 on the Billboard 200, selling 25,000 copies its first week. |
214_4 | 2009–12: Ruthless and Blood, Sweat, & Tears
On June 30, 2009, seven months later, Hood released his second album, titled Ruthless, once again on Def Jam. The album's first single was "Overtime", which was produced by The Runners and featured Akon and T-Pain. The album's second single is "Loco Wit The Cake", which was produced by Schife, of the Palm Beach County Karbeen Mafia. The album's guest list includes Rick Ross, Ludacris, Jazmine Sullivan, The-Dream, Birdman, and Lloyd. The album debuted at number 23 on the Billboard 200, selling 20,000 copies its first week. |
214_5 | Hood confirmed that his third album will be called, Blood, Sweat & Tears. It was released on August 9, 2011. The first official single, "Hustle Hard", became Ace's highest charting solo single, peaking at number 60 on the Billboard Hot 100. The second official single is "Go 'N' Get It". Both tracks are produced by Lex Luger. The third single is "Body 2 Body" featuring Chris Brown and the song is produced by J.U.S.T.I.C.E. League. It peaked at number 65 on the Hot 100. The album features artists like T-Pain, Yo Gotti, Kevin Cossom, Rick Ross & Lil Wayne. The album debuted at number 8 on the Billboard 200, selling 26,000 copies, becoming the rapper's most successful album so far. He promoted the album with his first concert tour, the Hustle Hard Tour. He also appeared on three tracks from DJ Khaled's fifth studio album, We the Best Forever: "I'm Thuggin'", "Future", and the "Welcome to My Hood (Remix)". |
214_6 | Hood started 2012 by collaborating with Cash Money Records artist Bow Wow on a song called "We Going Hard". He will be appearing on Maybach Music's Self Made Vol. 2 album. Birdman and DJ Khaled signed Hood and We The Best Music Group to Cash Money Records. Hood will be recording his fourth studio album under We The Best and Cash Money Records. He has made guest appearances on tracks by other recording artists such s Talib Kweli, Jadakiss, Brisco, and "The Drill" by The Game, also featuring Meek Mill, which appears on his California Republic. |
214_7 | 2013–present: Trials & Tribulations |
214_8 | For his debut single on the We The Best & Cash Money label, he reunited with Trey Songz after 4 years, to make the early-2000s-styled love single known as "I Need Your Love". Hood released his mixtape Starvation 2 on January 10, 2013. The mixtape features guest appearances from Meek Mill, French Montana and Plies. On January 16, 2013, Hood announced his fourth studio album titled Trials & Tribulations and released the first single from the album titled "Bugatti" featuring Future and Rick Ross. The song is produced by Mike WiLL Made It. On February 6, 2013, the music video was released for "Bugatti" featuring Future and Rick Ross. The song made a hot-shot debut on the Hot R&B/Hip-Hop Songs chart at number 42. "Bugatti" has since peaked at number 33 on the Hot 100, becoming Hood's most successful single to date as a lead artist, and his first top 40 hit since "Out Here Grindin'". On February 19, 2013, it was announced that Trials & Tribulations would be released on July 16, 2013. |
214_9 | On April 7, 2013, in an interview on Power 99 Philly with Mina SayWhat about his "Trials and Tribulations" album, Hood opens up about his family and deciding to go a different route with this album, working with Anthony Hamilton and John Legend and plans to get Lil Wayne and Kendrick Lamar to feature on the album too. On May 6, 2013, Hood released the remix to "Bugatti" featuring guests DJ Khaled, Future, Meek Mill, T.I., Wiz Khalifa, Birdman, French Montana and 2 Chainz. On June 5, 2013, Hood released the second single called "We Outchea" featuring his Cash Money label-mate Lil Wayne. On June 26, 2013, the final track listing was revealed featuring appearances from Meek Mill, Anthony Hamilton, Chris Brown and Betty Wright. |
214_10 | Hood released his Starvation 3 mixtape on January 17, 2014. The free project included features from We The Best label-mates Vado and Mavado, as well as Betty Wright and Kevin Cossom. Production for the mixtape came from Cool & Dre, The Renegades, StreetRunner, and The Beat Bully, among others. Body Bag 3 was released on August 29. Two months after that, Hood would team up with Rich Homie Quan for a return single titled "We Don't".
In 2021, He joined Love & Hip Hop: Miami.
Personal life
Ace Hood is a Christian and states that he "highly believe[s] in God".
Hood and his previous girlfriend, Shanice Tyria Sarratt, had twin girls, Lyric and Sailor Blu McColister, on May 25, 2011. Lyric died shortly after birth due to health complications. He also has a son.
He proposed to longtime girlfriend Shelah Marie in April 2019; they got married on February 7, 2020.
Discography |
214_11 | Gutta (2008)
Ruthless (2009)
Blood, Sweat & Tears (2011)
Trials & Tribulations (2013)
Mr. Hood (2020)
M.I.N.D. (Memories Inside Never Die) (2022)
Awards and nominations
References
External links
Living people
African-American male rappers
Cash Money Records artists
Republic Records artists
Def Jam Recordings artists
Deerfield Beach High School alumni
People from Deerfield Beach, Florida
People from Port St. Lucie, Florida
Rappers from Florida
Southern hip hop musicians
Gangsta rappers
21st-century American rappers
21st-century American male musicians
African-American Christians
1988 births
21st-century African-American musicians
20th-century African-American people
American rappers of Haitian descent |
215_0 | American Type Founders was the largest producer of foundry type in the world, not only of in-house designs, but also from designs that came from merged firms. Many of its designs were created or adapted by Morris Fuller Benton, his father Linn, Joseph W. Phinney or Frederic Goudy. |
215_1 | ATF Designs
These foundry types were designed and produced by American Type Founders:
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Abbott Oldstyle (1901, Phinney)
Adonic (1930, Willard T. Sniffin)
Adscript (1914, Benton)
Ad Lib (1961, Freeman Craw)
Agency Gothic (1933, Benton), later digitized as Agency FB by Font Bureau
Agency Gothic Open (1934, Benton)
Alternate Gothic, Nos. 1,2,3 (1903, Benton)
American Backslant (1934, Benton)
American Text (1932, Benton)
Americana series (1965, Richard Isbell), this was the last face ever cut by ATF.
Announcement Roman + Italic (1918, Benton)
Antique Shaded (1914, Benton), cut on a new shading machine invented by Linn Boyd Benton.
Balloon series (1939, Max R. Kaufmann), originally as Speedball.
Balloon Light (Kaufmann)
Balloon Bold (Kaufmann)
Balloon Extrabold (Kaufmann)
Bank Gothic series
Bank Gothic Light (1930, Benton)
Bank Gothic Medium (1932, Benton)
Bank Gothic Bold (1932, Benton)
Bank Gothic Light Condensed (1933, Benton) |
215_2 | Bank Gothic Medium Condensed (1933, Benton)
Bank Gothic Bold Condensed (1933, Benton)
Baron's Boston News Letter (1904, Goudy), a private face cut for Joseph Baron's financial newsletter, matrices cut by Wiebking
Baskerville Roman + Italic (1915, Benton), after the Fry Foundry version.
Benton (1934, Benton), designed as Cambridge, released as Benton, reintroduced in 1953 as Whitehall.
Bernhard Fashion (1929, Lucian Bernhard)
Bernhard Gothic series (1929, Lucian Bernhard)
Bernhard Gothic Light (1929, Bernhard)
Bernhard Gothic Medium (1929, Bernhard)
Bernhard Gothic Light Italic (1930, Bernhard)
Bernhard Gothic Heavy (1930, Bernhard)
Bernhard Gothic Extra Heavy (1930, Bernhard)
Bernhard Gothic Medium Condensed (1938, Bernhard)
Bernhard Modern series (1937, Lucian Bernhard)
Bernhard Modern Roman + Italic (1937, Bernhard)
Bernhard Modern Bold + Italic (1938, Bernhard)
Bernhard Modern Condensed (1938, Bernhard)
Bernhard Tango (1934, Lucian Bernhard) |
215_3 | Bernhard Tango Swash Capitals (1939, Bernhard), known in Europe as Aigrette.
Bodoni series, first American revival of the faces of Giambattista Bodoni.
Bodoni (1909, Benton)
Bodoni Italic (1910, Benton)
Bodoni Book (1910, Benton)
Bodoni Book Italic (1911, Benton)
Bodoni Bold + Italic (1911, Benton)
Bodoni Bold Shaded (1912, Benton)
Bodoni Shaded Initials (1914, Benton)
Card Bodoni (1915, Benton)
Card Bodoni Bold (1917, Benton)
Bodoni Open (1918, Benton)
Bodoni Book Expanded (1924, Benton)
Ultra Bodoni + italic(1928, Benton)
Bodoni Bold Condensed (1933, Benton)
Ultra Bodoni Condensed + extra condensed (1933, Benton)
Engravers Bodoni (1933, Benton), designed in 1926.
Bold Antique (1904, Benton)
Bold Antique Condensed (1908/9 ?, Benton)
Bologna (1946), also cast by Stephenson Blake.
Bookman Series
Bookman swash letters (1936, Wadsworth A. Parker)
Bond Script (1905) |
215_4 | Bradley Text (1895, Phinney), developed from Will H. Bradley's lettering on the Christmas cover of Inland Printer Magazine by either Phinney or Herman Ihlenberg.
Broadway (1928, Benton), capital letters only.
Broadway Condensed (1929, Benton), capitals + lower-case
Brody (1953, Harold Broderson)
Brush (1942, Robert E. Smith)
Bulfinch Oldstyle (1903, Benton), commissioned by the Curtis Publishing Company and prepared by Benton for production from original designs by William Martin Johnson. The “house face” of Ladies’ Home Journal from 1903, offered for general use in 1905.
Re-issued as Whittin Black and Whittin Black Condensed (1960, Benton)
Bulletin Typewriter (1933, Benton)
Bulmer Roman (1926, Benton), based on a face cut by William Martin for the printer William Bulmer in 1790.
Bulmer Roman Italic (1927, Benton)
Canterbury (1926, Benton)
Card Roman (1925, Benton)
Caxton Initials (1905, Goudy), font included twenty-six capitals and one leaf ornament only. |
215_5 | Century series
Century Roman sub-series
Century Roman (1894, Linn Boyd Benton)
Century Broad Face (c. 1897, Linn Boyd Benton), also known as Century No. 2.
Century Expanded (1900, Benton)
Century Italic + Century Bold (1905, Benton)
Century Bold Condensed (1909, Benton)
Century Bold Extended (1910, Benton)
Century Oldstyle sub-series
Century Oldstyle + italic + bold (1909, Benton)
Century Oldstyle Bold Italic (1910, Benton)
Century Oldstyle Bold Condensed (1915, Benton)
Century Catalog sub-series
Century Catalog (1917, Benton)
Century Schoolbook sub-series
Century Schoolbook (1918, Benton), commissioned by textbook publishers Ginn & Company for maximum legibility.
Century Schoolbook Italic (1921, Benton)
Century Schoolbook Bold (1923, Benton)
Cheltenham series
Cheltenham (1903, Bertram Goodhue, Ingalls Kimball, Benton and/or Phinney)
Cheltenham Bold (1903, Benton)
Cheltenham Bold Condensed (1904, Benton) |
215_6 | Cheltenham Bold Italic + Cheltenham Bold Condensed Italic + Cheltenham Wide + Cheltenham Bold Outline (1905, Benton)
Cheltenham Bold Extra Condensed + Cheltenham Bold Extended (1906, Benton)
Cheltenham Inline + Cheltenham Inline Extra Condensed
Cheltenham Inline Extended (1907, Benton)
Cheltenham Oldstyle Condensed + Cheltenham Medium (1909, Benton)
Cheltenham Medium Italic + Cheltenham Extra Bold (1910, Benton)
Cheltenham Bold Shaded + Cheltenham Bold Italic Shaded + Cheltenham Extra Bold Shaded (1912, Benton)
Cheltenham Medium Condensed + Cheltenham Medium Expanded (1913, Benton)
Chic (1928, Benton)
Civilité (1922, Benton), a modern adaptation of Robert Granjon’s face cut in 1557.
Clearface series, designed with the help of his father, Linn Boyd Benton.
Clearface (1907, Benton)
Clearface Bold + Italic (Benton)
Clearface Heavy + Italic (Benton)
Clearface Italic (Benton)
Clearface Gothic (1910, Benton)
Cloister series |
215_7 | Cloister Old Style (1913, Benton), based on the 1470 Venetian face of Nicolas Jenson.
Cloister Italic (1913, Benton), based on the 1501 italic face of Aldus Manutius.
Cloister Bold Condensed (1917, Benton)
Cloister Initials (1918, Goudy)
Cloister Cursive (1922, Benton)
Cloister Lightface (1924, Benton)
Cloister Lightface Italic (1925, Benton)
Cloister Cursive Handtooled (1926, Benton), with Charles H. Becker.
Cloister Black (1904, Benton), usually credited to Phinney, but many authorities give full credit to Benton. It is an adaptation of Priory Text, an 1870s version of William Caslon’s Caslon Text of 1734. Lower-case letters are identical with Phinney's earlier Flemish Black.
Collier Old Style (1919, Goudy), a private type for Proctor & Collier, a Cincinnati advertising agency, matrices cut by Wiebking.
Contact (1944, F. H. Riley)
Commercial Script (1908, Benton)
Copperplate series A continuation of a series originally cast by Marder, Luse, & Co. |
215_8 | Copperplate Gothic Shaded (1912, Benton)
Craw Clarendon (1955-60, Freeman Craw)
Craw Modern (1958-64, Freeman Craw)
Cromwell (1913, Benton), uses capital letters from Benton’s Cloister Old Style.
Cushing (1897, Benton), design suggested by J. Stearns Cushing. (Cushing Antique was a Ludlow face.)
Della Robbia series
Della Robbia (Thomas Maitland Cleland)
Della Robbia Light (1913, Benton)
Devens Script (1898, Phinney)
Dom series (1950, Peter Dombrezian)
Dom Diagonal (1950, Dom)
Dom Casual (1951, Dom)
Dom Bold (1953, Dom)
Dynamic Medium (1930, Benton)
Eagle Bold (1934, Benton), a variant of Novel Gothic, designed for the National Recovery Administration, used on their Blue Eagle posters.
Elmora (1968)
Empire (1937, Benton), no lower-case.
Engravers Bold (1902, also cast by Barnhart Brothers & Spindler, Benton)
Engravers Old English (1906, Benton), based upon Caslon Text and designed in association with "Cowan" or perhaps Phinney. |
215_9 | Engravers Old English Bold (1910, Benton)
Engravers Shaded (1906, Benton)
Lithographic Shaded (1914, Benton + W. F. Capitian), a half-shaded version of Engravers Shaded.
Engravers Text (1930, Benton)
Flemish Black (1902, Phinney)
Franklin Gothic series, the patriarch of American sans-serif faces, named for Benjamin Franklin, America’s greatest printer.
Franklin Gothic (1903, Benton)
Franklin Gothic Condensed + Extra Condensed (1906, Benton)
Franklin Gothic Italic (1910, Benton)
Franklin Gothic Condensed Shaded (1912, Benton)
Freehand (1917, Benton)
Gallia (1927, Wadsworth A. Parker), some sources attribute this to Benton.
Garamond series, based upon the designs of 16th-century type founder, Claude Garamond.
Garamond (1919, Benton), with T.M. Cleland
Garamond Bold (1920, Benton)
Garamond Italic (1923, Benton), with T.M. Cleland
Garamond Open (1931, Benton) |
215_10 | Globe Gothic (c. 1900, Benton), a refinement of Taylor Gothic, designed by ATF vice-president Phinney in 1897 for Charles H. Taylor for the exclusive use of the Boston Globe.
Globe Gothic Condensed + Extra Condensed + Extended (c. 1900, Benton)
Globe Gothic Bold (1907, Benton), credited to Benton, though Goudy claims Phinney commissioned him to do it.
Globe Gothic Bold Italic (1908, Benton)
Goudy Old Style series
Goudy Old Style + Italic (1915, Goudy)
Goudy Title (1918, Benton)
Goudy Bold Italic + Goudy Catalog (1919, Benton)
Goudy Catalog Italic (1922, Benton), sometimes credited to Charles H. Becker or Wadsworth A. Parker by varying authorities.
Goudy Handtooled + italic (1922 Wadsworth A. Parker), alternately credited to either Charles H. Becker or Benton.
Goudytype (1928, Goudy), designed and cut in 1916, not cast and sold until later.
Gravure (1927, Benton)
Graybar (1930, Wadsworth A. Parker)
Grayda (1939, Frank H. Riley)
Greeting Monotone (1927, Benton) |
215_11 | Headline Gothic (1936, Benton), not to be confused with the Ludlow font of the same name.
Hobo (1910, Benton)
Light Hobo (1915, Benton)
Hollywood (1932, Willard T. Sniffin)
Heritage (1952, Walter H. McKay)
Huxley Vertical (Walter Huxley, 1935)
Invitation Shaded (1916, Benton)
Invitation (1917, Benton)
Jenson series
Jenson Oldstyle + italic (1893, Phinney), based on William Morris's Golden Type, matrices cut by John F. Cumming from drawings by Phinney.
Jenson Heavyface (1899, Phinney)
Jenson Condensed + Bold Condensed (1901, Phinney)
Jim Crow (1933), originally cast in 1850s by Dickinson Type Foundry as Gothic Shade. And also as Tombstone, following the ATF merger in 1894.
Kaufmann series (1936, Max R. Kaufmann)
Kaufmann Bold (Kaufmann)
Keynote (1932, Willard T. Sniffin)
Lexington (1926, Wadsworth A. Parker with Clarence P. Hornung)
Liberty Script (1927, Willard T. Sniffin)
Lightline Gothic (1908, Benton), essentially a News Gothic ultra light.
Louvaine series |
215_12 | Louvaine (medium) + Italic (1929, Benton)
Louvaine Light + Italic Louvaine Bold + Italic Lydian series (1938, Warren Chappell)
Lydian + Italic (1938, Chappell)
Lydian Bold + Italic (1938, Chappell)
Lydian Cursive (1940, Chappell)
Lydian Condensed + Italic (1946, Chappell)
Miehle Extra Condensed + Title (1905, Benton)
Missal Initials (1904, Will H. Bradley)
Modernique (1928, Benton)
Modernistic (1928, Wadsworth A. Parker)
Monotone Gothic (1907, Benton)
Motto (1915, Benton)
Murray Hill (1956, Emil J. Klumpp)
Murray Hill Bold (Klumpp)
National Old Style (1916, Goudy), quite similar to his Nabisco.
Newport (1932, Willard T. Sniffin)
News Gothic series
News Gothic (1908, Benton)
News Gothic Italic (Benton)
News Gothic Condensed (Benton)
News Gothic Extra Condensed (Benton)
News Gothic Extra Condensed Title (Benton)
News Gothic Bold (Benton)
News Gothic Condensed Bold (Benton)
Norwood Roman (1906, Benton), made for J. S. Cushing’s Norwood Press. |
215_13 | Novel Gothic (1928, Benton), completed from drawings by ATF matrix cuter Charles H. Becker.
Nubian (1928, Willard T. Sniffin)
Onyx (1937, Gerry Powell)
P.T. Barnum (1933)
Pabst Old Style or Pabst Roman (1902, Goudy), based on hand lettering done by Goudy for advertisements for the Pabst Brewing Company, though commissioned by Schlesinger & Mayer, a Chicago department store. Cast by Goudy with the proviso that the department store would have the exclusive use of the font for a time before it would be offered to the public. These were the first matrices cut by Robert Wiebking for Goudy.
Pabst Roman Italic (1903, Goudy)
Packard (1913, Benton), based on lettering by Oz Cooper
Packard Bold (1916, Benton)
Paramount (1929, Benton)
Park Avenue (1933, Robert E. Smith)
Parisian (1928, Benton)
Pericles (1934, Robert Foster)
Phenix (1935, Benton), originally called Acquitaine.
Piranesi series (1930, Willard T. Sniffin)
Piranesi Italic (1930, Benton) |
215_14 | Piranesi Bold Italic (1931, Benton)
Piranesi Bold (1933, Benton)
Poster Gothic (1934, Benton), essentially larger sizes (24 pt. +) of Bank Gothic Condensed Medium. Railroad Gothic (1906)
Raleigh Cursive (1930, Willard T. Sniffin)
Raleigh Gothic (Condensed) (1932, Benton)
Repro Script (1953, Jerry Mullen)
Rockwell Antique (1931, Benton), an updating of Inland Type Foundry’s Litho Antique, later revised yet again as Stymie Bold. Romani (1934, A. R. Bosco)
Rosetti (1931, Willard T. Sniffin)
Roycroft (c. 1898, Benton), inspired by lettering in the Saturday Evening Post and often credited to Lewis Buddy.
Rugged Roman (1917, Benton), designed 1909-11, patented in 1915, earliest showing 1917.
Satanick (1896, Phinney), based on William Morris's Troy and Chaucer, matrices cut by John F. Cumming from drawings by Phinney.
Souvenir (1914, Benton), later Ed Benguiat’s photo-type versions of this type would achieve huge popularity.
Schoolbook Oldstyle (1924, Benton) |
215_15 | Schoolbook Oldstyle Italic (1928, Benton)
Shadow (1934, Benton)
Spartan series (1939, John L. Renshaw), a knockoff of Futura.
Spartan Book + Italic (Renshaw)
Spartan Medium + Italic (Renshaw)
Spartan Heavy + Italic (Renshaw)
Spartan Black + Italic (Renshaw)
Spartan Extra Black (early 1950s)
Spartan Book Condensed (Renshaw)
Spartan Medium Condensed (Renshaw)
Spartan Black Condensed + Italic (Renshaw)
Sterling (1917, Benton)
Sterling Cursive (1919, Benton)
Stencil (1937, Gerry Powell)
Stymie series, cast up to 288 point, Stymie is believed to be the largest type ever to be cast in regular molds. The “W” alone weighed two pounds!
Stymie Bold + Light + Medium + Light Italic + Medium Italic (1931, Benton)
Stymie Bold Italic (Benton)
Stymie Compressed (1932, Wadsworth A. Parker)
Stymie Inline Title (1932, Wadsworth A. Parker) |
215_16 | Taylor Gothic (1897, Phinney), capitals only, lower-case based on Central Type Foundry of St. Louis' Quentell. Later re-worked by either Benton or Goudy as Globe Gothic. Thermotype (1931, Benton), with three widths on the same basic design they prefigured the failed Univers by some twenty years.
Thompson Quill Script (1953, Tommy Thompson), this was also made available for phototypesetting by Photo Lettering Inc.
Thunderbird (1920)
Touraine Oldstyle Italic (1898, Phinney)
Tower (1934, Benton), similar to Stymie Medium Condensed.
Typo Roman Shaded (1924, Benton)
Typo Roman (1926, Benton)
Typo Script + extended (1902, Benton), originally ‘‘Tiffany Script’’.
Typo Upright (1905, Benton), originally Tiffany Upright Vanity Initials (1927, Will H. Bradley)
Venetian + Italic (1911, Benton)
Venetian Bold (1913, Benton)
Wayside Roman (1900, Will H. Bradley)
Wedding Text (1901, Benton)
Wedding Text Shaded (1913, Benton)
Whedons Gothic Outline (1965, Whedon Davis)
}} |
215_17 | Barnhart Brothers & Spindler
These foundry types were originally cast by Barnhart Brothers & Spindler:
Bruce Type Foundry
These foundry types were originally cast by the Bruce Type Foundry:
Goldrush (c. 1885)
Central Type Foundry
These foundry types were originally cast by the Central Type Foundry of Saint Louis:
De Vinne (1898, Gustav Schroeder), named in honor of Theodore Low De Vinne, probably based upon Schelter & Giesecke's Romanisch.
De Vinne Roman](1898, Goudy), a book face based on Schroeder's display type.
Othello (1934, Benton), a revision of an 1884 Central Type Foundry face. |
215_18 | Dickenson Type Foundry
These foundry types were originally cast by Dickenson Type Foundry:
Camelot (1896, Goudy), Goudy designed only the capitals, lower-case letters were evidently added by Dickinson/ATF designer Phinney. A delicate display face with small wedge serifs.
Card Mercantile (1901, Benton), a redesign of the two smallest sizes of an 1890s Dickinson Type Foundry design that ATF had acquired when the companies merged in 1896. |
215_19 | Inland Type Foundry
These foundry types were originally cast by Inland Type Foundry and sometimes later modified:
Card Litho + Card Light Litho (1917, Benton), a modification of a 1907 ITF design that ATF had acquired when the companies merged in 1912.
American Caslon (1919, Benton), based on the foundry's Inland New Caslon, a version of a face originally cut by William Caslon in the 18th century.
Light Oldstyle (1916), probably an old font from ITF, but sometimes credited to Benton.
Litho Antique, later updated as Rockwell Antique.
Pen Print Open (1921, Benton), based on the ITF design of 1911.
Keystone Type Foundry
These foundry types were originally cast by Keystone Type Foundry:
John Hancock (1905)
Powell (1903, Goudy), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned Pabst Old Style for another store), and named after him. |
215_20 | Marder, Luse, & Co.
These foundry types were originally cast by Marder, Luse, & Co.:
Copperplate Gothic Series
Copperplate Gothic Heavy (1905, Goudy), originally designed for Marder, Luse, & Co., ATF immediately adopted it and made it the first in a hugely successful series.
P. T. Barnum (1938 + 1949) a revival of Marder, Luse, & Co.'s nineteenth century French Clarendon, also known as Italian Condensed.
H.C. Hansen Type Foundry
These foundry types were originally cast by H.C. Hansen Type Foundry:
Buffalo, originally cast in 1904 as Kolonial by the Woellmer Type Foundry, also cast as Columbia by the Amsterdam Type foundry.
Nineteenth Century Faces
These foundry types were cast before the consolidation by unspecified foundries:<ref>Lawson, Alexander S., Anatomy of a Typeface, David R. Godine, Publisher, Boston, Massachusetts, 1990, , p. 297.</ref>
Altona
Octic
Telescope
Turius |
215_21 | References
Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, .
MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, .
Rollins, Carl Purlington American Type Designers and Their Work. in Print, V. 4, #1.
American Type Founders |
216_0 | "Unity" is the 17th episode of the third season of the American science fiction television series Star Trek: Voyager, the 59th episode overall. The episode first aired on the UPN network on February 12, 1997, as part of sweeps week. It was written by producer Kenneth Biller, and is the second episode to be directed by cast member Robert Duncan McNeill. It marked the first major appearance of the Borg in Voyager, which were kicked off with a teaser ending in the prior episode. |
216_1 | Set in the 24th century, the series follows the adventures of the Starfleet and Maquis crew of the starship USS Voyager after they were stranded in the Delta Quadrant far from the rest of the Federation. In this episode, while on an away mission, Chakotay is taken in by a group of former Borg who seek help from the crew of Voyager to reactivate their neural link. The ex-Borg force Chakotay to reactivate a Borg cube (a large Borg spaceship), but, in their new-found "Co-operative", the ex-Borg make the cube self-destruct, saving Voyager. |
216_2 | Biller was influenced by the story of the Tower of Babel in writing the episode, and also considered the dissolution of the Soviet Union to be an influence. The crew re-used the make-up and costumes of the Borg designed for the film Star Trek: First Contact, but sets were not re-used. A new fully computer generated Borg cube was created for "Unity", and the storyline of the episode was intended as a hint to those in the later two-part episode "Scorpion". According to Nielsen ratings, it received a 5.4/8 percent share of the audience on first broadcast. "Unity" was received positively by critics, with praise directed at McNeill's direction as well as Biller's plot. |
216_3 | Plot
Commander Chakotay (Robert Beltran) and Ensign Kaplan (Susan Patterson) hear a distress call while scouting ahead for Voyager in a shuttlecraft. They land the vessel but come under fire from hostile aliens, killing Kaplan and injuring Chakotay. He wakes in a room with a woman called Riley Frazier (Lori Hallier). She informs him that she is part of a group of survivors on the planet from a variety of races. There are other groups nearby, including those that attacked him. She calls her group a "Co-operative". Meanwhile, the USS Voyager discovers a derelict Borg cube and Captain Kathryn Janeway (Kate Mulgrew) decides that an investigation is required in order to learn more about the Borg's technology. |
216_4 | An away team boards the cube, discovering that either an accident or another species disabled the vessel. They take a Borg drone back onto Voyager, where the Doctor (Robert Picardo) accidentally revives it. After being told by Frazier to remain where he is, Chakotay breaks out of his room where he sees that all the people around him on the alien planet possess Borg implant technology in their bodies. Frazier explains that an electro-kinetic storm broke their link with the Borg hive mind. Instead, the separated drones settled on a nearby planet. Chakotay's health gets worse, and the ex-Borg offer to connect him to a joint mind to heal his injuries, and he reluctantly accepts. Once part of the hive mind, he sees a montage of their memories. After Voyager arrives, Frazier and her group want Janeway to re-activate the neuroelectric generator on the damaged cube to extend a new joint mind across the entire planet. |
216_5 | Chakotay pleads their case, but Janeway decides not to help them. As Chakotay returns to Voyager on board a shuttle, the Co-operative use their telepathic link to force him to travel to the Borg cube with Voyager in pursuit. Both Chakotay and an away team board the cube, and despite a firefight, he manages to reactivate the generator. This creates the new joint mind as expected, but also activates the cube, which begins powering up to attack Voyager. Chakotay and the away team are beamed back to Voyager as the Co-operative trigger the cube's self-destruct before it can endanger the Federation ship. The planet's inhabitants thank Voyager, but as a result of their actions, Chakotay later questions the morality of the Co-operative's motives with Janeway, as it connected many of the former Borg together in a new hive mind without consulting them.
Production |
216_6 | Writing and background |
216_7 | The producers had wanted to bring the Borg into Voyager, which resulted in numerous pitches from a variety of writers. There were concerns from some of the crew that the events of the film Star Trek: First Contact effectively destroyed the Borg, but executive producer Rick Berman clarified both that the death of the Borg Queen in the film did not mean the destruction of the entire collective and that there were other Borg remaining in the Delta Quadrant. The alien race had made their first appearance in the Star Trek: The Next Generation episode "Q Who" and, at the time of the original broadcast of "Unity", had recently appeared in First Contact. The idea of Borg being separated from the collective had previously been seen in the episode of The Next Generation entitled "I, Borg" with the resultant effect seen in the two-part "Descent". "Unity" was written by producer Kenneth Biller, with the final version of the script being submitted on November 7, 1996. Though the film had not been |
216_8 | released at the time he drafted the episode, Biller had read the First Contact script before writing the "Unity" script. |
216_9 | Biller sought to give a more interesting look at the Borg, rather than simply focusing on their pursuit of assimilation. With this in mind, he thought of an idea based upon the Tower of Babel. He said that the Borg was a "incredibly interwoven, complex community" and "once you knocked it all down you would have all these people who spoke different languages, and couldn't communicate with each other. It occurred to me that a group of ex-Borg would be a very interesting community to explore." He wanted the potential reunification of the ex-Borg to be a moral dilemma. This was based on the growing favorable views of Communism in the Eastern bloc during the mid-1990s after the dissolution of the Soviet Union.
Direction and editing |
216_10 | "Unity" was the second episode of Voyager to be directed by Robert Duncan McNeill following "Sacred Ground" from earlier in the season. He felt a great deal of pressure working on the episode which introduced the Borg to Voyager, and complained to the producers that the aliens only appear on two and a half pages of the script. He felt pressure in trying to produce something significant regarding the Borg because of the release of First Contact a few months earlier, and wanted to do something equally as exciting but without being repetitive. Instead, he wanted to give the viewer a sense of suspense and mystery regarding the people that Chakotay meets even if they do not appear to be Borg. McNeill saw "Unity" as being a type of film noir, with Chakotay being seduced by the Devil during the course of the story, and wanted to have a strong focus on this direction throughout the episode. |
216_11 | This vision was included in the cinematography for the episode, with one scene having Captain Janeway stand over Chakotay's shoulder much in the same way that a guardian angel would. The set-up for that particular scene came from a collaboration between McNeill and actress Kate Mulgrew. From that, he developed a series of close-up shots to bring some intimacy to the scene. The montage scene in the episode was created by McNeill, Biller, Jeri Taylor, Bob Ledermen and Wendy Neuss using footage from the episodes "Q Who" in The Next Generation, "Caretaker" from Voyager, as well as both "Emissary" and "The Way of the Warrior" from Deep Space Nine. |
216_12 | McNeill also agreed with Biller's view that "Unity" was a metaphor for the break-up of the USSR, and McNeill read up on the subject before directing the episode, saying that "I think some of those ideas did come out in the story, even though it wasn't a really heavy, political episode. Yet there were some references and you could connect that to contemporary issues, individuality as opposed to group needs or desires." McNeill was very happy with the resulting episode, saying that the Borg "were not as one-dimensional as previously depicted, but still as evil as ever", and hoped to direct two or three more episodes in the following season. By the end of Voyager, he had directed four episodes overall; this signalled a change in direction for his career into directing full-time. |
216_13 | Design and special effects
To represent the ex-Borg colony on the planet, sets previously used for the episodes "The Chute" and "Fair Trade" from earlier in the season were used. This was further extended by the use of a computer generated matte painting created by freelancer Eric Chauvin. Borg sets from First Contact were not re-used, but instead a new set was built. This new set measured in length curved around in a semi-circle, and McNeill was unsatisfied with this size. He said "It was the smallest set that I've ever seen in my life. We had no room on the stage to build a big Borg ship, because the other sets took up so much room." He hoped that they had hidden this on camera, with it instead appearing as a series of separate corridors within the Borg vessel. McNeill explained that he had the actors walk the length of the set past the camera at the end, at which point a cut was made and they would go back to the start of the corridor to start filming again. |
216_14 | Despite not using the sets, the episode did re-use the Borg costumes from First Contact, which McNeill described as "the scarier Borg" compared to those seen previously in The Next Generation. This caused some problems with filming as an animatronic Borg arm used for the film was malfunctioning, leading to the production being stalled for several hours. For First Contact, the Borg had been re-designed by Michael Westmore and Deborah Everton. The former and his makeup team had worked on the look of the heads, which included a variety of different Borg appliances which could be mixed and matched to create an ongoing variety of looks. For example, Westmore's colleague Jake Garber had created ten different eye pieces. Everton, meanwhile, created the costumes for the Borg, and wanted them to be more elaborate than in previous appearances. This has been done with a view that individuals should look as if they had been transformed from the inside out, rather than the other way around. |
216_15 | "Unity" also saw the first use of a fully computer generated Borg cube on screen. Those previously seen in the Star Trek franchise had been physical models, including the version seen in First Contact. It was constructed by Emile Edwin Smith at Foundation Imaging, who mapped a cube with an image before creating raised areas with further detail. In order to make it look more three dimensional, he added interconnecting tubes and edge pieces to the model. He explained on the
Usenet newsgroup rec.arts.startrek.current that the episode used around 90 percent of shots featuring the new cube, while the remainder were stock footage created for earlier episodes. Visual effects supervisor Mitch Suskin was pleased with the explosion of the Borg cube at the end of the episode, saying that "the only element was the explosion, the rest was accomplished in the CG domain. It was a real breakthrough. That was the first show that I really had no reservations about."
Later influence |
216_16 | When later discussing the end of season episode "Scorpion" (part one), Brannon Braga said that the destroyed cube which appeared in "Unity" had a direct link to the action in that episode, as they wanted to hint at an alien species who could successfully fight the Borg. However, he also explained that there was no plans to bring back the "Co-operative" as seen in "Unity", saying that "The Co-operative is long gone, man. It's been months since we've seen the Co-operative. That's not to say we won't learn someday what happened to them. That's kind of an interesting question." They returned in "Delta Rising", an expansion for Star Trek Online, where they had grown to encompass a large number of liberated Borg, including their vessels. |
216_17 | It was originally intended to include a "Borg graveyard" in space in "Unity", similar to the vision of the destroyed Federation ships seen after the Battle of Wolf 359 in The Next Generation episode "The Best of Both Worlds". The scene was instead shown in the first part of "Scorpion". One link remained in the "Unity" script: Riley Frazier was stated to have been abducted by the Borg while she was on the USS Roosevelt during the battle.
Reception |
216_18 | Ratings
"Unity" was first broadcast on February 12, 1997, on the UPN network within the United States. According to the Nielsen ratings, it received a 5.4/8 share, meaning it was watched by 5.4 percent of all households and 8 percent of all households watching television at the time of broadcast. This broadcast was during sweeps week, a period used to calculate advertising revenue for the forthcoming quarter. During this time, networks will often attempt to maximise the potential ratings received by their programming. "Unity" was the highest rated episode of Voyager since the second part of "Future's End", broadcast on November 13, 1996. |
216_19 | In the United Kingdom, the episode was first broadcast on July 21, 1997 on Sky One where it was watched by 0.502 million viewers. This was the highest number of viewers for July for an episode of Voyager on that channel, the next best being "Coda" with 0.428 million. The most watched science fiction broadcast on the channel during that month was "Gethsemane", an episode of The X-Files, with 1.164 million viewers. |
216_20 | Critical and fan reception
David Bianculli, while previewing the episode for the New York Daily News, called the plot "clever" and the suggestion that another alien race had defeated the Borg an "interesting possible springboard for future episodes". Regarding the direction and the writing, he said that McNeil directed with "a flair and pace that enhances all of Biller's many plot twists", and said that it was the best part of the season so far. Jamahl Epsicokhan, writing on his website Jammers Reviews, praised the special effects seen in "Unity", and added that "McNeill's direction is effective, the story is fresh and implicitly complex, the production is impressive, and the action and suspense works. This is not the best episode of Voyager, but it's among them." He gave the episode a score of three and a half out of four. |
216_21 | The episode was given a score of eight out of ten in Dreamwatch magazine, with the review saying that it delivered a "philosophical meditation on the nature of power" asking "does the possession automatically corrupt the possessor?" It praised the nature of the episode, saying the plot was "very clever". But the review said that the ending was ambiguous about whether or not Chakotay agrees with what he is doing on behalf of the Co-operative. When reviewing the third season for the website DVD Talk, Holly E. Ordway described "Unity" as being "noteworthy as an episode with more depth and complexity than the typical Voyager episode thus far", and said that it was likely to be remembered by the fans as the episode which introduced the Borg to the series. She added that the plot was "well thought out" and that the ending left the viewer with a moral dilemma over whether it was the right thing to do. |
216_22 | In his book Delta Quadrant, David McIntee gave the episode a rating of seven out of ten, while Anna L. Kaplan—writing for the magazine Cinefantastique—rated "Unity" as three and a half out of four. Lou Anders reviewed the episode for Star Trek Monthly, saying that McNeill did an "excellent job in his second foray as director, bringing a very dark and exciting feeling to the episode." Anders gave "Unity" a score of three out of five. The fan reaction to the episode was mostly positive, with the exception of those who were pushing for an ongoing liaison between Chakotay and Janeway; such fans did not approve of the implied temporary romantic entanglement between Chakotay and the ex-Borg Riley. |
216_23 | Home media release
The first home media release of "Unity" was on a two-episode VHS cassette alongside "Darkling" on July 21, 1997 in the United Kingdom. The first VHS release in the United States was as a single episode release on September 3, 2002. "Unity" was released on DVD as part of the season three box set, released on July 6, 2004, in the United States. This was followed in the UK on September 6, 2004.
By the 2010s, this episode was also made available at various Internet streaming television providers of this period, including Netflix and CBS All Access.
Notes
References
External links
Star Trek: Voyager (season 3) episodes
1997 American television episodes
Television episodes about cyborgs |
217_0 | Red mud, now more frequently termed bauxite residue, is an industrial waste generated during the processing of bauxite into alumina using the Bayer process. It is composed of various oxide compounds, including the iron oxides which give its red colour. Over 95% of the alumina produced globally is through the Bayer process; for every tonne of alumina produced, approximately 1 to 1.5 tonnes of red mud are also produced. Annual production of alumina in 2020 was over 133 million tonnes resulting in the generation of over 175 million tonnes of red mud.
Due to this high level of production and the material's high alkalinity, if not stored properly, it can pose a significant environmental hazard. As a result, significant effort is being invested in finding better methods for safe storage and dealing with it such as waste valorization in order to create useful materials for cement and concrete. |
217_1 | Less commonly, this material is also known as bauxite tailings, red sludge, or alumina refinery residues.
Production
Red mud is a side-product of the Bayer process, the principal means of refining bauxite en route to alumina. The resulting alumina is the raw material for producing aluminium by the Hall–Héroult process. A typical bauxite plant produces one to two times as much red mud as alumina. This ratio is dependent on the type of bauxite used in the refining process and the extraction conditions. |
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