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Human Rights, International, Media, News, Politics, Random
The United States of Prisons
16/11/2011 iaoj	1 Comment
– 21st-Century Slaves: How Corporations Exploit Prison Labor
In the eyes of the corporation, inmate labor is a brilliant strategy in the eternal quest to maximize profit.
By Rania Khalek
There is one group of American workers so disenfranchised that corporations are able to get away with paying them wages that rival those of third-world sweatshops. These laborers have been legally stripped of their political, economic and social rights and ultimately relegated to second-class citizens. They are banned from unionizing, violently silenced from speaking out and forced to work for little to no wages. This marginalization renders them practically invisible, as they are kept hidden from society with no available recourse to improve their circumstances or change their plight.
They are the 2.3 million American prisoners locked behind bars where we cannot see or hear them. And they are modern-day slaves of the 21st century.
Incarceration Nation
It's no secret that America imprisons more of its citizens than any other nation in history. With just 5 percent of the world's population, the US currently holds 25 percent of the world's prisoners. "In 2008, over 2.3 million Americans were in prison or jail, with one of every 48 working-age men behind bars," according to a study by the Center for Economic and Policy Research(CEPR). That doesn't include the tens of thousands of detained undocumented immigrants facing deportation, prisoners awaiting sentencing, or juveniles caught up in the school-to-prison pipeline. Perhaps it's reassuring to some that the US still holds the number one title in at least one arena, but needless to say the hyper-incarceration plaguing America has had a damaging effect on society at large.
The CEPR study observes that US prison rates are not just excessive in comparison to the rest of the world, they are also "substantially higher than our own longstanding history." The study finds that incarceration rates between 1880 and 1970 ranged from about "100 to 200 prisoners per 100,000 people." After 1980, the inmate population "began to grow much more rapidly than the overall population and the rate climbed from "about 220 in 1980 to 458 in 1990, 683 in 2000, and 753 in 2008."
The costs of this incarceration industry are far from evenly distributed, with the impact of excessive incarceration falling predominantly on African-American communities. Although black people make up just 13 percent of the overall population, they account for 40 percent of US prisoners. According to the Bureau of Justice Statistics (BJS), black males are incarcerated at a rate "more than 6.5 times that of white males and 2.5 that of Hispanic males and "black females are incarcerated at approximately three times the rate of white females and twice that of Hispanic females."
Michelle Alexander points out in her book The New Jim Crow that more black men "are in prison or jail, on probation or on parole than were enslaved in 1850." Higher rates of black drug arrests do not reflect higher rates of black drug offenses. In fact, whites and blacks engage in drug offenses, possession and sales at roughly comparable rates. ….
Read more » AlterNet
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World War II old bomb explodes in Manipur
Home N-E STATES ARUNACHAL PRADESH Cong team lines up visits to assess China's position Along Arunachal: Report...
Cong team lines up visits to assess China's position Along Arunachal: Report 21Aug 2022
Cong team lines up visits to assess China's position Along Arunachal, A congressional delegation will visit the India-China border in Arunachal.....
Cong team lines up visits to assess China's position Along Arunachal
Cong team lines up visits to assess China's position Along Arunachal
A congressional delegation will visit the India-China border in Arunachal Pradesh to assess the situation on the ground following reports of Chinese troop infiltration in the border state.
The decision was made at a Northeast Congressional Coordinating Committee (NECCC) meeting held here on Thursday.
Last Saturday, the AICC had reconstituted the NECCC with former Chief Minister of Arunachal Pradesh and MLA Nabam Tuki as Chairman and Assam Lok Sabha MP Pradyut Bordoloi as convener.
Bordoloi told The Telegraph on Saturday that the BJP-led Center's silence on information about Chinese infiltration has triggered the border yatra.
"We want to know about the border situation after the infiltration reports but the government is silent. So we want to see the situation on the ground for ourselves. Even a BJP MP from Arunachal Pradesh, Tapir Gao Ji, had raised the issue of parliament infiltration. According to him, the Chinese entered three districts of the border state," Bordoloi said.
Of Arunachal Pradesh's 26 districts, 12 share a porous 1,080 km border with China, which claims the border state is part of southern Tibet, ignoring the McMahon Line as a border. The border line also led to the Indochina War of 1962, in which China consolidated its position in the border areas.
Bordoloi, a former minister from Assam, said: "I myself tried three times to get an answer from the government about the alleged infiltration. Other members of the opposition did the same. But my questions were rejected. The government has refused to share any position. Why is the government silent? That is why we have decided to visit the border areas to check the reports of infiltration.
Also Read:- Leopard havoc in Arunachal Pradesh's Changlang district: Report 25Jun 2022
The opposition Congress had demanded in July a two-day debate in Parliament on alleged Chinese incursions, as well as a white paper on the border situation.
Bordoloi said the date of the visit and the areas to be covered in Arunachal Pradesh will be defined at the next NECCC meeting in Shillong on September 7.
The effective border between India and China is the Line of Actual Control (LAC) which separates the Indian-controlled areas from the Chinese-controlled areas along the disputed border. China had referred to the LAC as the border in 1959, but India accepted it only in 1993 to keep the peace along the LAC. However, skirmishes continue, as evidenced by the ongoing border standoff in eastern Ladakh.
Although Tapir Gao could not be reached, he told The Telegraph in September 2020 that Chinese troops continued to infiltrate areas such as Chaglam in Anjou district, Andrela in Dibang valley, and Thongda Hara and Ashapila in Upper district. Subansiri.
Also Read:- 1 dead and 3 missing due to landslides, floods in Arunachal Pradesh: Report 21Jun 2022
Gao raised the issue of infiltration and occupation in Parliament in 2019.
Gao also told this newspaper that China had invaded 60 km of "our land from the border" and that "we must continue to build infrastructure along the border so that we have enough space to demonstrate our presence in the area." .
However, Lt. Gen. RP Kalita, head of the Army's Eastern Command, said in May that there had been no Chinese incursion into Arunachal Pradesh since 1959.
Over the years, the Center has accelerated the development of border districts to facilitate the movement of armed forces and prevent exodus from the border.
#cong team lines up visits to assess china #cong team lines up visits to assess china #cong team lines up visits to assess china #cong team lines up visits to assess china
Also Read:- Rare lipstick plant rediscovered after 100 years in Arunachal Pradesh's Anjaw: Report 8Jun 2022
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First climber from Arunachal Pradesh to conquer Everest goes missing: Report 29Aug 2022 | NEWS EAST INDIA August 29, 2022 At 6:56 PM
[…] Cong team lines up visits to assess China's position Along Arunachal:… […]
World War II old bomb explodes in Manipur Imphal: Security forces on Saturday destroyed an old World War II bomb found during excavation in Manipur's...
Three children injured in accidental grenade blast in Arunachal Pradesh :...
News East India - March 13, 2022 0


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Wednesday morning's WVIK newscast talks about the Quad Cities Community Foundation's name change.
The Community Foundation of the Great River Bend has been rebranded. Today, it announced that the organization will now be called the Quad Cities Community Foundation.
The Community Foundation of the Great River Bend has a new name that emphasizes its Quad-City mission.


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What Was 22's Spark in 'Soul'? The Disney Movie's Powerful Ending Explained
Queue And A
Chris D'Elia On His New Netflix Comedy Special, Embracing His Great Childhood, And Why He Can't Growl At Babies Anymore
By Joel Keller Twitter @joelkeller Apr 14, 2020 at 9:30am
Photo: Getty images; Illustration: Christopher Dillen Phelps
Chris D'Elia: No Pain
Chris D'Elia's comedy seems to consist of mainly facial contortions and lots of arm-waving and kicking. But his "dudebro" approach to his comedy belies some deeper thought underneath, and an ability to spin out a story while going over multiple topics at once. He's such a student of comedy that he actually felt bad that he didn't have a crappy childhood like a lot of comedians do.
"Coming up as a comedian, I would feel insecure that I didn't have that story, that I just had parents that were together, and how they're still together," he told Decider. In fact, in his latest Netflix comedy special, Chris D'Elia: No Pain, which debuts on April 14, he examines the fact that he had a pretty good childhood, as if that was something weird.
D'Elia has certainly come a long way since his first days as a stand-up in the mid-2000s. After starring in two sitcom roles (Whitney and Undateable) tailored for him, he now tours the country (or he did until our collective quarantine started), has a podcast that has a listenership in the six figures, and over 2 million followers on Instagram. He sits down with Decider to talk about the special, how he honed his comedy persona, and why he'll never do a multicamera sitcom as just a regular character.
DECIDER: How are you passing the time during the quarantine?
CHRIS D'ELIA: Well, I have a newborn, so it's actually not the worst, because at least I can hang with him, and you know?
That's how I felt when I had my newborn, but now she's five, so she's a lot more active.
Right. Yeah, so it's probably a lot more tiring for you now, at this point, having to stay isolated.
What have you thought about your fellow comedians and talk-show hosts trying to pass the time doing things like Facebook Live, Instagram Live, that kind of thing? Do you think that's been helping?
Well, I've noticed a lot of people have asked me to, like, do stuff like go live; fans and stuff. I haven't really done it too much. I don't think I've done anything more than normal. As a matter of fact, I think I've probably done less, but I've noticed, definitely, more comedians have been doing it because, I think they're bored. I mean, and it's funny to see, that ramp up, because they need to perform in some way, because they need to get it out, and they're not able to get onstage in front of a bunch of people now.
Once we get out of this, do you think this might change change how comedians do their promotion?
I think the true comedians will go back to doing stand-up and all that. I mean, also, that's their bread and butter, it's how they make money, but I think that, yeah, I think that social media is a valuable tool. I think that every comedian knows that at this point, but I think that any stragglers that are still up in the air about it, this is the time where they'll be like, okay, I see I have to do it now. So, I think this'll get the last of them.
How do you think you've utilized social media to your advantage?
I mean, look, I like just having an audience whether or not I'm onstage in front of 300 or 200 people, or 2,000 people. I also like to have an audience — I have over two million followers on Instagram — and to be home during the day, or after the show late at night, and think about how I can post something and put it out to my audience that's just an extension of my show, is, I mean… it's just something that charges me. I love it, it's a great thing, but for me, the bottom line was the only reason why I wanted to grow my online audience is so they would fill seats in a real audience.
With No Pain, it feels like you had a bit of a goal in mind. Is it how it started?
So, well, I appreciate you saying that, first of all. [My last special] meant something to me, Man of Fire. To me, it was where I was in my life, and at that point in my life, and I really like that about that special. When I re-watch it, not that I ever do, but if I were, like, you know, have my son now, if I ever want to show it to him, it's going to be where I was and what I was going through. And you know, it's what I thought was funny, and thought was important in the world of comedy.
Coming up with material is not necessarily the hardest part to me, because I have a podcast every week; I go on and I talk about stuff I think is funny, and it's not really well-thought out. I'm often figuring it out as I'm talking on the podcast. But to me, if I'm going to come out with an hour special, that has to be where I am in my life, and it all pertains to very, very general idea. It doesn't have to be too specific, because then it would be either too hard or too specific, and people wouldn't relate to it.
But this special is where we are in the world and where I fit, and where I feel like my comedy is in this world, where, with the whole "everyone's getting offended," which is not, it's not a crazy, wild, new idea. I mean, a lot of comedians are talking about this, but it's my take on it, and if I'm going to come up with a bit, it's only going to make the special if it fits in with that, even in a small way.
Like when I talk about growling at the baby, that has to do with me because of the stand-up that I've been doing for a while, and now I feel numb to certain things, and that's where I am in my life, and I remember that, and I want to remember that. So, now that I've put it in the special, you know, it'll be a marker for that for me. I would do that joke, and people would get offended, and I was like, "Something is here with this," and then I wanted to talk about that, because that happened at the show, and people would blog about it, when I was at a college, about how it was offensive, and I was like, "All right, this is all funny. This is all where we are in the world, and this is why I growl at the baby." Do you know what I'm saying?
Was it really an audience in Boulder, Colorado that got offended, or did you just pick that city out of the air?
No, it was definitely Boulder, man. I did it two nights, I did a show two nights in a row. You know, some people laughed, but you can tell, when you do this every night, it's like, you can tell what a full laugh is. At the first show, I was like, "That's funny it's Boulder, because you think of them as being so granola and liberal," and then on the second night, I was like, "It's these motherfuckers, dude." And then, a month or two later, I was talking about it, and I would say, "Yeah, I did it at this show," and I was like, "Why am I not saying it happened in Boulder? Fuck that. Fuck them. I'm going to do it. I'm going to put, they're in the special now. They fucked up."
I don't know if this pertains to anything, but I always say, the best audiences, at least in the past year, have been the cities that you would think are the worst audiences, because you think that you're going to offend them because they're so uptight. But like, for instance, Salt Lake City, Utah, you'd think that you'd go in there, and you do all these jokes, and they'd be offended, just because it's Salt Lake City, but they have this attitude where it's like, "Okay, we got to prove to this comedian that we're not like that. So, let's show him we're cool with it."
Are you surprised at the fact that now, when we're in this era where people do get offended at every little thing, that people can come to your show and be like, "Fuck it, I don't care, this guy's funny, I'm just going to laugh"?
I just think that, for people who say, "Hey, I'm dealing with a lot, That's a subject that I'm dealing with on a personal level, and it hurts my feelings," for everybody who says that, there's one or two people that say, "Okay, well, I deal with that situation through comedy, and making fun of it." I mean, my family, whenever we had a problem… Look, I'm not the guy to talk to if you want to come to about… I called a special No Pain because I had a great childhood, and I'm not the guy to come to if you're going to talk about, you know, problems, but I've had my problems, and my family's had our problems. We make fun of each other about it, [and that's] how we dealt with it. So, who are you to tell me I can't talk about that, if that's how I deal with it?
So, that's how a lot of audience members deal with it. I mean, I get people in my DMs that are just like, "Hey, you know, I know you were joking around and it helped," and that means the world to me. That's amazing.
When you're doing the bit about the fact that you had a great childhood, and you were, you know, you finally came to the realization that you're a white man only a few years ago, are you trying to subvert that usual picture of a comedian?
It started with me literally being, you know, coming up as a comedian, I would study it, and I read about comedians. When I would read or think about comedy and comedians, when I read their childhood, or their stories — I read books on Charlie Chaplin, on Steve Martin and how much pain he went through. Because of that, he would deal with it, and be, and he used his comedy to [deal with it], and I never really did that on a huge level.
Like I said, I had a good childhood. Coming up as a comedian, I would feel insecure that I didn't have that story, that I just had parents that were together, and how they're still together. And I was like, "Well, what do I talk about?", and I would start laughing onstage. That's something I do [where] people talk about, and I would try to not laugh onstage, because I thought that wasn't the right thing to do. And once I came into my own, I was like, "Fuck it, it's funny to me. I'm having a good time," and just because I wasn't, you know, going through hardship doesn't mean I can't be funny. That's the dumbest thing I ever heard.
It was a thing that kind of came organically. Like, I wanted to talk about me and my childhood, because I finally felt like, you know, fuck it, it's funny to me, and the stuff about subverting the other stuff is just, I don't know, it's a weird kind of thing. Like, I felt like I wasn't important enough in that way to do stand-up, and once I realized that it doesn't matter, funny is funny, and who cares if it comes from pain or not, it became something that I thought was kind of important, you know? So I added it to the special.
I am a fucking FITNESS INFLUENCER. (Also it's cool how I almost passed out to do this joke.) #manonfire #johnnyhipscry #fitspo #inspiration #workout #motivation #neverbackingdown #chicken
A post shared by Chris D'Elia (@chrisdelia) on Apr 4, 2020 at 8:27pm PDT
How do you go about building out a story like the "growling at a baby" one, where it's 20 minutes of jokes within the jokes within the jokes, and you circle back out? I've talked to Mike Birbiglia about it, he said it's a very theatrical thing that he does in his one-man shows.
Those are my favorite kind of jokes to watch and tell in person, when you're hanging with your friends. I like it a lot because when I'm hanging with my friends, and we're telling a story, you get interrupted, and the story goes somewhere, and then you go back to the story. I like that [kind of storytelling], because it feels like I'm hanging out with you, if I'm onstage telling stories like that. Also, it's more interesting to me; a bit within a bit is more interesting to me.
So, coming back to it full circle also at the end, to me, makes it feel like it's more of a full bit, and it's more special to me, because the longer I can make a bit, the better. I mean, a lot of people don't like that. I get comments online where it's like, "All right, bro, you're talking about the same thing for 20 minutes," but to me, that's fucking my goal. I like doing that, because it's like, you're finding out all of the things that are funny about the bit to you. But it's also, I think a lot of it, to be honest, has to do with laziness. I don't want to come up with a whole new bit that I have to start talking about' I'll just milk this old one for as long as I can, and see how long I can make it.
Is this the type of thing you think you could've done eight or nine years ago, or ten years ago?
I don't think so. No, because it's too much to even think about and wrap your head around for a beginner. As a beginner, you're like, "What's funny, okay, I went to Verizon, it's funny when you go to the cell phone place and they do this," but you don't think about it beyond that. You're like, "Okay, next bit," but to me, the goal is, especially in a special, is, how does that bit about a cell phone relate to all the other things that I'm talking about in my hour?
How long ago did you record the special?
I did it in November, in Minneapolis.
You knew you were going to become a father at that point?
I did. Yeah, I did, yeah.
How did that color what you wanted to do for the special? And do you think being a dad is going to color what you're doing to be doing from here on out?
Well, I'll tell you, I found out I was going to be a dad, and then, I knew I had that bit where I was growling at a baby, and I was like, "I got to do this before my kid comes." I know once I had the kid I was going to start talking about that kind of stuff. I mean, and I couldn't wait, but I had to get this special out before that. So, this special, a lot of it was solidified or thought up before I even knew I was going to be a dad.
How do you think the dad-version of Chris is going to be different?
I don't even know. For the first time in my life, there's something else that's more important than [me]. I'm a selfish guy, I'm very self-centered, and I think as a comedian, part of you has to be, you know? You're going onstage, you're neglecting your real life, and you're going onstage to try and tell jokes to seven people, sometimes. And for the first time, there's something that's more important than me in my life, and as sad as that is, and as fucked up that is to say, it's how I feel.
Like, he's all of a sudden, immediately become, you know, my whole life. So, I don't know. There's this notion of, being a dad is not… cool, or something. It's like, "You're such a dad joke, such a…" But I think that that's dumb. I think that that's short-minded. It's cool if you're cool, and it's funny in the way that you think it's funny, and my humor, I think, now having a kid, will just be my humor about my kid. I don't necessarily think it'll change in any dad sort of way, you know?
How would you classify your stage persona? Is it an enhanced version of you?
I would say that it's definitely me, but… it's me at first thought. Like, when I'm out, and something happens, I'll have the thought of, "What the fuck is this shit," and then about a minute later, "I'll be like, okay, I overreacted." It's actually not all that big of a deal, but that, to me, my comedy is the first minute of me reacting to something in a well-thought out way.
I like how, like, you have no shame in saying that you're the guy who would run away from a fight despite the fact that you're acting like you would get into that fight. Had that always been your way of presenting yourself onstage?
I think that, again, I'm six-two and tall; I feel like I had a joke in my last special where it was that I look like the guy that would be that way. But I always say, you are who you are in your head, and in my head, like, I'm an outsider, and I'm nervous in situations, and that's who I am. I think comedically, that helps.
You're from New Jersey, but moved west when you were in middle school. How much Jersey attitude do you still have in you?
I think I still have it. You know, like, I call people "asshole" out of love. Like, I mean, if I'm making fun of you, it's because I feel comfortable enough, and I like you. I don't think that's a very west coast thing. I think it's more of an east coast thing. Not to say that there aren't people on the west coast that do that, but you know, if I call someone an asshole, it's because they're part of the crew, and I feel like, that I have that still in me. And then, when I start screaming, the accent comes out a little bit. I don't mind it coming out during stand-up, but whenever I have to play roles, I'm wary of it. You know, I don't want to come off as the "Jersey guy" in the movie, or whatever.
Your parts in Whitney and Undateable had similar vibes. Do you think some of that attitude came out? It felt like you were doing, maybe not improvisation, but you brought yourself to those roles.
Yeah. A lot of it was. With Whitney, you know, [Whitney Cummings] knew me so well, so, already, so, they kind of would write for me, and then I would say, "What about this, what about that," but for Undateable, it was even more that way. For Undateable, the creator Adam Sztykiel, and Bill Lawrence, they knew me, and they wanted to rewrite the pilot for me, and they were very, like, "Well, what do you think that you would do here, what's funny for you here?" So, I would just be like, "Why don't you do a bit about me, you know, doing this?" I mean, they would literally take stuff from my stand-up and put it in there, as long as I was comfortable with it. And a lot of it was improv. A lot more was improv than it should've been, considering it was a multi-camera, live sitcom.
If you were to go on another sitcom, and they said, "We want you just to do this," and not to be pieces of yourself, how do you think you'd be able to do that?
On a sitcom, I wouldn't do it. I would do it in a movie, or a TV show that was a single-camera, but in a sitcom, I just wouldn't do it. It would be less fun for me. I told my agents after Whitney, I was like, "I don't know if I would do another sitcom," and then this one came along, Undateable, which was, like, the perfect one. Those were, like, my dream job sitcoms. Yeah, I mean, just playing a role, and not bringing myself into it, would be totally fine. I would love to do that, but not on a sitcom.
Is it because of the audience?
Yeah, it's the audience. If there's an audience there and I'm going to make them laugh, I'm going to think of something as me the comedian to make them laugh. I'm not going to be a role and making them laugh. Like, that doesn't feel right to me.
Where does that instinct come from? Does that come from growing up, or does that come from something that's more recent?
CD: It's a little bit of both. You know, I would say it comes from growing up, but then I've honed it. I mean, now, I've been doing stand-up for 14, 15 years, I don't even know, and there's no way I can't do that. If there's an audience there, I'm going to try and be Chris D'Elia and make them laugh. I'm not going to try and be, you know, Joey Tribbiani or whatever the role, whatever the hell role I'm playing, you know?
You do a lot of physical stuff in your comedy, the facial expressions, the movement, that kind of thing, but you're also doing a more artistic kind of stand-up, where the audience has follow along, and wait for the long payoff, and things like that. Is it something that at some point you just said, "This is how I'm going to do it," or did it develop naturally, just by practice?
I think it was a natural thing, but it's definitely a conscious thing as well. I think that naturally, it just, the natural order of things is, you know, my first special was very silly. My second special was also very silly, and at the end, I think I made a few more points in there than I made in the first special, and one of my friends said, the funniest part about that special is, whatever moment it was, it was a moment that he thought was funny because he knew me.
I thought it was interesting, because it wasn't necessarily a part that I thought was the funniest part in the special, but I was like, it is the funniest part if you know me, and I was like, well, why can't I do that with my audience? Why can't I just make my audience know me more, and then find it funnier because it's me? And so, for the third special, Man on Fire, that was what I focused on, and it becomes fuller and it's more satisfying, because you're creating this world. I do it on my podcast every week, and I see it online: People are talking about my podcast every week, and other people who don't listen to my podcast are like, "What the fuck are these people talking about?" It's because it's my humor, and they don't get it yet. That's awesome, because if you can create a world and make people laugh within that world, there's nothing better than that, man. That's the best.
The truth. From episode 62 of Congratulations.
A post shared by Chris D'Elia (@chrisdelia) on Apr 1, 2020 at 10:34am PDT
How would you know someone who knows your podcast? Like, what references would they make?
Let me tell you how I know that if you're onboard with my humor or not: I'm not good at Twitter. So, if I put something out in my voice on Twitter, it's written, and if it becomes a viral tweet, people who know me think it's funny because they think, "Yeah, that's what Chris says," but if you don't know me and you're just reading this out of context, and you don't know who I am, sometimes I seem like, exactly what I was saying, a fucking asshole. But it's not that. If you listen to my podcast, you know I'm not an asshole.
But if you see a short clip, or if you see a tweet, or my Instagram, I don't really get much hate. On Twitter, I get hate, because sometimes it's just me writing this shit, and people don't know who I am, but you know my humor if you could see my face, at least a little better than if you were to read the words. So, that's how I know, I think, that it works for me.
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What do you see for yourself, once we get past this quarantine?
I can't imagine I won't want to jump onstage as soon as this quarantine thing is lifted. I had, like, 25 minutes of new material before this lockdown thing started happening. I'm setting dates, I don't want to say who yet, because it's not out, but I'm going to do a tour with another comedian, and it's going to be a really big one, in the fall. And so, I'm going to do that. I have a movie coming out in the end of the year, and then, I have some other TV shows that I'm working on developing. I don't know how many specials or whatever you want to call them, hours of stand-up I want to have out there in my life. Some comedians do it every year; what, are you going to have 40 of them by the time you're 80? That's too many.
I don't see myself doing that, but I think always returning to the stage at some point will be something that I want to do. I just love it so much, and it's also my social life, man. I don't hang out, I don't go out. I just, I go to the club, I say hey to everybody, I do my set, and then we go to the diner, and then I come home.
Joel Keller (@joelkeller) writes about food, entertainment, parenting and tech, but he doesn't kid himself: he's a TV junkie. His writing has appeared in the New York Times, Slate, Salon, VanityFair.com, Playboy.com, Fast Company.com, RollingStone.com, Billboard and elsewhere.
Stream Chris D'Elia: No Pain On Netflix
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Home Street Sheet > Uncategorized > Stopping Sweeps Can End the Cycle of Trauma. This Clinical Social Worker Tells Us How.
Stopping Sweeps Can End the Cycle of Trauma. This Clinical Social Worker Tells Us How.
by TJ Johnston
https://www.stolenbelonging.org
With encampment sweeps in San Francisco becoming as common a sight as street dwellings themselves, some things are easily observed: large Public Works trucks pulling up, police officers enforcing the operations and unhoused residents scrambling to hold onto what's left of their possessions that isn't already thrown in the trucks.
Video still of Diana Valentine by Jin Zhu
What's less visible are the traumatic effects unsheltered San Franciscans suffer long after the streets are cleared of sidewalk habitation. Encampment sweeps traumatize those they displace, exacerbating existing mental health conditions.
Diana Valentine, a licensed clinical social worker who has worked with unhoused people in a variety of San Francisco nonprofits for 20 years, discussed at length the harmful impacts of the City's ongoing efforts to sweep people from corner to corner in an interview with the Stolen Belonging project.
"I would say, absolutely, the sweeps are traumatic," she said. "The sweeps are using force to remove people, they are using force that creates psychological and physical harm."
That psychological harm takes the form of post-traumatic stress disorder (PTSD), Valentine said, and she is not alone in her assertion. Describing the impacts of sweeps in a recent lawsuit against the City, an unhoused woman identified as Mia said, "DPW, they're feared in a way. When they move you, it's kind of cruel. People will have their pile of personal belongings and then their pile of trash and I've seen them [DPW] go behind people's back and take stuff in their personal belongings pile and throw it away. … I would imagine a lot of people on the street would have PTSD."
Researchers from the Urban Institute and the University of Hawai'i, among other institutions, also support what Valentine has seen on the ground.
Public records obtained by the Lawyers' Committee for Civil Rights show that the City didn't have enough shelter beds available on most days when workers forced residents out of camps from January 1, 2021 to June 30, 2021. Usually, the Healthy Streets Operating Center (HSOC), the multi-agency unit tasked with clearing encampments, estimates having available beds for only 40% of the people they displace at any given site.
Valentine added that trauma from sweeps could make people wary of such offers—especially placements in shelters and navigation centers—even when they're available.
"There is a dearth of services in the city, and anybody who utilizes services or provides services is aware of that," she said. "In addition, the services that are offered are oftentimes harmful or retraumatizing and unsafe."
Trust between residents and outreach workers who tag along with HSOC crews is undermined by these inadequate offers, according to Valentine. The Coalition on Homelessness, the homeless advocacy organization that publishes Street Sheet, has observed HSOC's operating procedure: Outreach staff arrive around 7 a.m. to collect information from residents for shelter placements while cleaning crews or police order residents to pack up their stuff, then start breaking down tents. By 9:30 a.m., when outreachers learn how many beds are actually available, the sweep is already finished. Few placements, if any, are available to residents who stick around. When that pattern occurs repeatedly, it's "once bitten, twice shy," according to Valentine.
"When you add in the impact of the sweeps and you add in the impact of multiple sweeps," she continued, "What you're doing is further retraumatizing a person, further demonstrating to them that the support cannot be trusted, that support is essentially a threat."
The City has launched three special units for behavioral health outreach since 2020—a veritable alphabet soup made up of the Street Crisis Response Team (SCRT), Street Overdose Response Team (SORT) and Street Wellness Response Team (SWRT). The Fire Department and the Department of Public Health staff SCRT and SORT to respond to 911 dispatches involving mental health crises and overdoses. SF Homeless Outreach Team and Fire Department comprise SWRT to answer wellbeing calls. A fourth, the peer-led Compassionate Alternative Response Team (CART), has been budgeted but not yet activated.
To Valentine, the creation of these teams confirms her belief in the City's knowledge of the brunt borne by unhoused residents in sweeps.
"There is a push by city departments to have crisis workers and crisis teams involved," she said. "They already know the impact and the high potential for people going into mental health crises as a result of the sweeps. It's already a known factor that this will have an enormous impact on people. So much so that there's a lot of movement to have support teams and to have crisis teams on alert."
The trauma from watching others trash one's dwelling and possessions is compounded by knowing that precious mementos will also be lost and never replaced. Valentine noted that these items are a connection to one's history—and perhaps to someone no longer with them—and they keep them grounded.
"Oftentimes," she said, "We sustain our past relationships that have ended or changed or that we're estranged from by having an object, a memory, a ring, a childhood photo, something from someone dear to us. And this is how we sustain relationships that aren't current or active. And when someone's unhoused, especially for a sustained period of time, those objects become particularly meaningful."
How does that cycle of trauma end, especially when its cause is systemic? What restitution is available? How is justice restored? Whatever form it takes, Valentine said that acknowledging the harm and ceasing it is key, and that those who were harmed must be involved.
"The first step in accountability is to stop perpetuating the harm and to stop the sweeps immediately. The second part is to issue a verbal statement of accountability. And a third might be to convene and support the people impacted, for them to determine what does a reparation look like, what does accountability look like? Does that mean financial accountability? What does that look like? And have the people who are experts in this experience, the people who've been swept, have them determine what accountability looks like."


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Microsoft Exchange 2016 brings a new set of technologies, features, and services to Exchange Server. Its goal is to support people and organizations as their work habits evolve from a communication focus to a collaboration focus. At the same time, Exchange 2016 helps lower the total cost of ownership . Enterprise Exchange 2016 offers business-grade email, calendar and contacts. Fully integrated and mobile, it unlocks the power of Outlook to help make your business more competitive and agile.


Richard Porson, (born Dec. 25, 1759, East Ruston, Norfolk, Eng.—died Sept. 25, 1808, London), British master of classical scholarship during the 18th century, the most brilliant of the English school that devoted itself to the task of freeing Greek texts from corruption introduced through the centuries. His special critical talent lay in his insight into Greek metre and his unusual appreciation of the fine points of Greek diction.
Porson began his serious critical studies at Trinity College, Cambridge, which he attended from 1778 to 1785, and was appointed professor of Greek there in 1792. His edition of the plays of Aeschylus was printed in Glasgow the same year. He later edited four plays of Euripides: Hecuba (1797; reprinted with a famous critical supplement in 1802), Orestes (1798), Phoenissae (1799), and Medea (1801). Porson drank to excess, was addicted to late hours, took no care of his health and appearance, and could be rude and boorish in company; however, his friends delighted in his wit and learning and his store of anecdotes and quotations and admired him for his devotion to truth, his indifference to worldly success, and his readiness to communicate knowledge. His work is marked by a sureness of touch and economy of expression that give the impression of effortlessness and conceal the hard work that lay behind it.


text:
// --------------------------------------------------------------------------------------------------------------------
// <copyright file="DbCommandExecutor.cs" company="">
//
// </copyright>
// <summary>
//   The db command executor.
// </summary>
// --------------------------------------------------------------------------------------------------------------------

#region using directives

using System.Data;

using RabbitDB.Contracts.Reader;
using RabbitDB.Contracts.Storage;
using RabbitDB.Materialization;
using RabbitDB.Reader;

#endregion

namespace RabbitDB.Storage
{
    /// <summary>
    ///     The db command executor.
    /// </summary>
    internal class DbCommandExecutor : IDbCommandExecutor
    {
        #region Fields

        /// <summary>
        ///     The _db provider.
        /// </summary>
        private readonly IDbProvider _dbProvider;

        #endregion

        #region Construction

        /// <summary>
        ///     Initializes a new instance of the <see cref="DbCommandExecutor" /> class.
        /// </summary>
        /// <param name="dbProvider">
        ///     The db provider.
        /// </param>
        internal DbCommandExecutor(IDbProvider dbProvider)
        {
            _dbProvider = dbProvider;
        }

        /// <summary>
        ///     Initializes a new instance of the <see cref="DbCommandExecutor" /> class.
        /// </summary>
        /// <param name="dbProvider">
        ///     The db provider.
        /// </param>
        /// <param name="nullValueResolver">
        ///     The null value resolver.
        /// </param>
        internal DbCommandExecutor(IDbProvider dbProvider, INullValueResolver nullValueResolver)
            : this(dbProvider)
        {
            NullValueResolver = nullValueResolver;
        }

        #endregion

        #region  Properties

        /// <summary>
        ///     Gets or sets the null value resolver.
        /// </summary>
        public INullValueResolver NullValueResolver { get; set; }

        #endregion

        #region Public Methods

        /// <summary>
        ///     The execute reader.
        /// </summary>
        /// <param name="dbCommand">
        ///     The db command.
        /// </param>
        /// <typeparam name="T">
        /// </typeparam>
        /// <returns>
        ///     The
        ///     <see>
        ///         <cref>EntityReader</cref>
        ///     </see>
        ///     .
        /// </returns>
        public virtual IEntityReader<T> ExecuteReader<T>(IDbCommand dbCommand)
        {
            IDataReader dataReader = dbCommand.ExecuteReader();

            return new EntityReader<T>(dataReader, _dbProvider, new EntityMaterializer(NullValueResolver));
        }

        /// <summary>
        ///     The execute command.
        /// </summary>
        /// <param name="dbCommand">
        ///     The db command.
        /// </param>
        public void ExecuteCommand(IDbCommand dbCommand)
        {
            try
            {
                dbCommand.ExecuteNonQuery();
            }
            finally
            {
                _dbProvider.Dispose();
            }
        }

        /// <summary>
        ///     The execute reader.
        /// </summary>
        /// <param name="dbCommand">
        ///     The db command.
        /// </param>
        /// <returns>
        ///     The <see cref="IDataReader" />.
        /// </returns>
        public IDataReader ExecuteReader(IDbCommand dbCommand)
        {
            return dbCommand.ExecuteReader();
        }

        /// <summary>
        ///     The execute scalar.
        /// </summary>
        /// <param name="dbCommand">
        ///     The db command.
        /// </param>
        /// <typeparam name="T">
        /// </typeparam>
        /// <returns>
        ///     The <see cref="T" />.
        /// </returns>
        public T ExecuteScalar<T>(IDbCommand dbCommand)
        {
            try
            {
                return (T)dbCommand.ExecuteScalar();
            }
            finally
            {
                _dbProvider.Dispose();
            }
        }

        #endregion
    }
}

redpajama_set_name: RedPajamaGithub


The availability of 3D™ imaging for biopsy guidance facilitates the localization and accurate targeting of lesions, including those that can be challenging to detect with conventional imaging techniques. In addition, this new biopsy technology from Hologic has several key advantages over standard X-ray biopsy procedures, including faster targeting and fewer X-ray exposures, resulting in shorter patient procedure time and reduced patient dose.
The Dorothy Mangurian Comprehensive Women's Center at Holy Cross HealthPlex is the first Southeast Florida center to offer 3D™-guided breast biopsy, an advanced, minimally invasive technique utilizing the Hologic® Affirm™ Prone Breast Biopsy System. Call 954-202-0277 to schedule your appointment.


All American brand Coach always delivers the trendiest handbag styles of the season. Whether you're simply admiring it's more popular member or giving in to one of its revamped classics, each season, we anticipate the arrival of Coach's latest accessories, particularly the handbags.
The highlighted handbag right now over at Saks Fifth Avenue is this stunning Fall/Winter 2015 debut by no other than Coach. This elegant handbag features some of the brands most classic features such as structured and durable leather, traditional gunmetal hardware, and an all-around striking metallic finish that embezzles the handbag alone.
Coach keeps the user on-the-go in mind which is why their handbags portray comfortable wear. This day-to-night satchel features double rolled leather handles and a very practical (and removable) shoulder strap.
The Coach Swagger Satchel is featured in Metallic Blue, but you can choose the warm tone version of Cherry Red, which is just as striking in its elegant metallic finish. This satchel appears way more expensive than its retail value of $450. The Swagger is also available in so many other material options, such as pebbled leather and patchwork.
With such a discrete, logo-less and striking appearance, you're sure to receive compliments from all types of handbag devotees.


Early on Victorian jewelry enjoyed a few mystic with hidden connotations being popular. The construction bracelets where the first notification of each gemstone spelled anything of friendship were popular. For example a bracelet set with Lapis, Opal, Vermeil [hessonite garnet] and Emerald would spell Love. The Art Neuf period once again saw changes to fashion and jewelry. Chameleons and serpents entwined themselves around bracelets. The mystical Egyptian scarab was found on bracelets and rings. Other popular animals included dragonflies, butterflies, bees, peacocks, swans, and even bats. This was a very figural period attached to nature. If gems did not depict creatures it depicted flower blossoms or flower buds.
Usefulresults - How to paint melamine: 12 steps with pictures wikihow. How to paint melamine melamine is a synthetic resin made by mixing melamine and formaldehyde, and it is a common binder for house or furniture paint this paint is durable, so it is often used to paint laminate surfaces, such as cabinets. How to paint melamine kitchen cabinets o fusion TM mineral paint. Learn how to paint melamine kitchen cabinets with fusion mineral paint ikea cabinets are often melamine and you can update with fusion tips, video tutorial and more about how to makeover your kitchen or bathroom cabinets with paint. How to paint melamine kitchen cabinets. Paint melamine kitchen cabinets with a paint sprayer what you will need to paint melamine kitchen cabinets electric paint sprayer this needs to have a powerful compressor or be rented from lowes or home depot; melamine undercoat, tinted to the color of your choice melamine paint, in the gloss and color of your choice. How to paint melamine and laminate surfaces the spruce. Painting laminate or melamine is a cheap and easy way to give your countertop or cabinet surfaces a second life learn what to use and how to do it painting laminate or melamine is a cheap and easy way to give your countertop or cabinet surfaces a second life learn what to use and how to do it. How to paint white melamine kitchen cabinets hunker. Several paint products on the market cover plastics such as melamine very well and are easy to use most melamine cabinets on the market today are white if you simply want to refresh the white finish and hide scarring or defects, take a cabinet door or drawer front to your paint specialist and he can match the color. Painting melamine kitchen cabinets the decorologist. Painting melamine kitchen cabinets the decorologist i have to honestly say, i have never had the guts to recommend that a client paint melamine, thermofoil, or laminate kitchen cabinets this type of cabinetry is often. How to paint melamine furniture ehow. How to paint melamine furniture melamine is a strong resin that is commonly used to create furniture, cabinets, counter tops and whiteboards made of a combination of urea and formaldehyde, melamine is widely used in the production of formica melamine's heat resistant nature makes it suitable for counter tops and other kitchen surfaces that are. How to reface melamine cabinets home guides sf gate. Paint melamine cabinets start the painting process by coating the melamine surfaces on the cabinets as well as the doors and drawers with a primer primers vary on their drying time; some may. How to repair and paint plastic coated melamine cabinets. Some bathroom and kitchen cabinets are covered with a plastic melamine coating, which can separate from the substrate over time if the plastic melamine coating has only come loose in a few areas, you can reattach it using an instant adhesive, such as super glue or krazy glue. What is a melamine paint? youtube. "catch on what is a melamine paint? list of related videos of what is a melamine paint? in this channel : what is a melamine paint? https: w.


text:
Work Of First African American Painter With International Reputation Explored
Published September 7, 2021 at 6:00 AM CDT
Photograph of Henry Ossawa Tanner in 1907.
I just met Henry Ossawa Tanner. Nice trick, since he died in 1937. Tanner was the first African American artist with an international reputation. His paintings are in many museums, but I've walked past them countless times. Now, preparing for this column, I got to know a bit about his life and times (as well as new revelations about his artistic thinking) and thought I'd make the introductions.
Quite the gentleman. Born in Pittsburgh, 1859. Grew up in Philadelphia. Died an expatriate in Paris. "He saw right away that he could do better in France," says Dallas Museum of Art curator Sue Canterbury.
He was having trouble getting into the art classes he wanted — and finding teachers who'd take him on. In France, skin color didn't matter as much. He told a magazine writer, "in Paris no one regards me curiously. I am simply M[onsieur] Tanner, an American artist. Nobody knows or cares what was the complexion of my forebears."
The French liked his work. In 1897, the government bought one of his pieces for the state collections. With that rare honor his reputation soared. Museums started buying Tanners. By 1900, when mass reproductions of Christ's portrait and books on his life were circulating, curator Canterbury says, "Tanner was considered the leading European painter of religious scenes."
/ Dallas Museum of Art
Henry Ossawa Tanner, Christ and His Mother Studying the Scriptures, c. 1908, oil on canvas, Dallas Museum of Art
It's a lovely image, with what came to be called "Tanner blue" — a color that became his signature. Tanner's models were his wife, Jessie Olsson (Swedish American from San Francisco; she was studying opera when Tanner met her in Paris), and their son Jesse. Family influence is at the heart of Tanner's religious works. His father was a minister in the African Methodist Episcopal church. The family was highly educated, and Canterbury says their home was "a center of black cultural life," in Philadelphia.
Christ and his Mother Studying the Scriptures is one of two Tanners on view at the Dallas Museum of Art through early January. Conservation work was done on both, and X-rays and infrared photography revealed surprises and insights into the artist's thought process.
X-radiograph of Christ and His Mother Studying the Scriptures showing underlying abandoned composition.
"Conservation never gets old," says conservator Laura Hartman. "There's always an 'aha!' moment." In this one, when the painting was turned horizontally, x-rays showed another composition underneath. Two draped figures in a landscape. Aha! Nobody had seen them before. Tanner gave up on them, and turned to the Holy Family instead.
The other Tanner in Dallas (both paintings presented in conjunction with the Art Bridges Foundation) was done early in his career. Scholars call this a "genre" painting — a glimpse of ordinary daily life.
Religion plays a role in this piece, too. The old man reaches for the heavens with his praying hands. His prayer of thanks is so intense. The boy also concentrates, but I wonder if he doesn't fidget a little. See how the bench he sits on tilts forward?
Hartman's discoveries here show Tanner working on composition.
Henry Ossawa Tanner, The Thankful Poor, 1894, oil on canvas, with drawn overlay
He moved plates and postures around to highlight the old man's hands. Once conservator Hartman removed the darkened coat of varnish, she revealed Tanner's use of many colors — bright blues, oranges, layered, scraped, sanded and textured.
Detail (photomicrograph) showing multiple colors in a marbled paint stroke from The Thankful Poor
When he was 11 years old, Henry Ossawa Tanner spotted a man painting in a Philadelphia park. The boy decided he wanted to paint, too. His parents gave him 15 cents, and he bought — his words — "dry colors and a couple of scraggy brushes." Eventually he became well known and an inspiration. Working in his Paris studio, he was a role model for other painters.
Canterbury says "any African American artist who went to Europe had to make a pilgrimage to see Tanner." They saw an artist succeeding in spite of prejudice, who encouraged and helped them with advice, even money. Those first 15 cents ended up becoming a very good investment.
Art Where You're At is an informal series showcasing online offerings at museums you may not be able to visit.
Corrected: September 6, 2021 at 11:00 PM CDT
A previous version of this story misidentified the curator at the Dallas Museum of Art. Her name is Sue Canterbury, not Cunningham.
See stories by Susan Stamberg


text:
Q: decimal scale persisting in viewmodel I have a viewmodel which seems to be persisting the scale set in the database.  I have 3 updateable fields in SQL stored as a decimal(18,4) to represent money.
I wish to format the values in my viewmodel as 2 decimal places to make it look cleaner.
my viewmodel looks like this:
   [DisplayFormat(DataFormatString = "{0:F2}",ApplyFormatInEditMode=true)]
    [DisplayName("Value 1")]
    public decimal Value1 { get; set; }

my view looks like this:
<%:Html.EditorFor(m => m.Value1)%>

the values are given a default value of 0 so when I come to display the value in a text box, the value still retains the scale set in the database...
so my output looks like:
Value 1: 0.0000
Value 2: 0.0000
Value 3: 0.0000

if you know why this is happening or how I can resolve it in the view?

A: If you want metadata such as the [DisplayFormat] attribute to be used you need the EditorFor/DisplayFor helpers in your views:
<%= Html.EditorFor(x => x.Value1) %>

or:
<%= Html.DisplayFor(x => x.Value1) %>

instead of:
<%= Html.TextBoxFor(x => x.Value1) %>

redpajama_set_name: RedPajamaStackExchange


text:
BRETT KEISEL
TEAM: Pittsburgh Steelers
POSITION: RDE
Brett Keisel attended Greybull High School in Wyoming. He was a four-year letter winner in football and basketball. He also lettered twice in track. Brett was a four-time All-Conference selection and earned All-State honors playing tight end and linebacker. Some of his high school awards include winning Wyoming Player of the Year from USA Today, Sportslink Player of the Year, and Conference Player of the year.
Keisel was red shirted his freshman year at BYU. He played defensive end his sophomore year and then the following year transferred to Snow College. He then returned to BYU to finish his college football career. Keisel had a total of 66 tackles, with 39 being solo tackles, 9 quarterback sacks, and 19 stops behind the line of scrimmage. Keisel racked up more athletic awards during college. He was a Super Team Selection (The NFL Draft Report),and he received All-Mountain West Conference Honorable Mention.
Brett was drafted in 2002 by the Pittsburgh Steelers. Steelers fans took notice as he made 7 solo special teams tackles. He also recovered a fumble on a punt, which led to a Steelers TD. Since then he continued to excel for the Steelers. He missed one season due to an injury, but came back the next year playing both on both defense and special teams. He continues to play RDE and is a big part of the Steelers defensive attack.
Follow Brett's stats : NFL.com
Keisel was recently selected as an inductee into the 2007 class of the Wyoming Sports Hall of Fame, as athlete of the year for football.
All of this information was obtained through the Pittsburgh Steelers official website, the BYU athletic website, and the Wyoming Sports Hall of Fame website.
A glimpse at Brett's career with the Steelers:
Brett Keisel was drafted by the Steelers in 2002 during the seventh-round. He played as a special teams player and, in five games and two postseason games, finished with seven solo special teams tackles. One highlight of Brett's first year came in the Carolina game. He recovered a fumble on a punt that led to a Steelers touchdown, and also had three solo special teams tackles.
In 2003, Keisel was placed on injured reserve and missed the season.
Brett returned to the field in 2004, and continued his special teams play, but he also was getting some time on the field with the defense. Keisel has talked about watching how defensive end Aaron Smith played, in order to learn the position he would later start at for the Steelers.
2005 would prove to be a big year for Brett. He continued to be a special teams player and was also listed as a reserve defensive end. In the Baltimore game, he made one of the biggest plays of the game when he sacked quarterback Anthony Wright on third down on the Ravens' final drive. It was Keisel's first NFL career sack. In a game against the Bengals, Brett returned one kickoff for 11 yards. Another first for #99 came during a game against Cleveland. Brett had a two-sack game, and a forced fumble. He was making his presence known both to his coaches and opposing players. Brett saved one of his best games for the AFC Championship game in Denver. He picked a great place to do this, not only was it the last hurdle the team needed to leap before reaching the Superbowl, but Keisel had his own cheering section there. His parents, Connie and Lane Keisel, along with about 15 other family members and friends were in attendance to cheer him and his team on to victory. And Brett certainly gave them reason to cheer!
During the AFC Championship game, Keisel was a beast on the field. He compiled four solo tackles, including two sacks. The sacks totaled a loss of ten yards for Denver. Brett also had one forced fumble during the game.
"We just thought, 'Oh my gosh, that was Brett, he did it again!' What a game for him to shine in," Connie Keisel said. (From an interview with Scott Allen, Star Tribune). Click here to read the whole story.
In the Hard Hat award article written Jan. 24, following the Steeler win over the Broncos, the sports writer said, ".. backup DE and special teamer Brett Keisel had a gritty effort in the win. He provided good relief to Smith and twice stormed into the Bronco backfield to hit or disrupt Plummer. On one play he simply bulled and shoved LT Matt Lepsis back into the quarterback, something no one else on the right side of the defense was able to do, and then pulled him down with one hand for the sack. Keisel also chipped in with some tough coverage on special teams. "
The sacks and forced fumble were firsts for him during the postseason. Keisel had many firsts during his 2005 season, but the biggest first was yet to come. The win in the AFC Championship game earned Keisel and the Steelers a spot in Superbowl XL in Detroit.
The Steelers were headed to the Superbowl to take on the Seattle Seahawks. The players had to get ticket orders and travel arrangements in place for their family and friends. Brett, coming from a large and very close family, had a lot of work to do in order to get all the arrangements completed. His parents headed to Detroit, along with two of Brett's brothers, three of his sisters, Brett's wife (Sarah) and her parents and brother. Once travel arrangements were finalized Keisel would begin game preparation for his first Superbowl.
In an interview with Marlys Good, Greybull Standard News, Brett talked about what it felt like to be heading to his first SB appearance: "To be able to play in the biggest game in the world – everyone is watching you – is a dream come true. It still feels like I'm in a dream. "This has been an unbelievable ride." To read the whole interview, click here.
The team headed to Detroit, where they were greeted by millions of fans. Steelers Nation always travels well, and they showed up in full force for the big game. The team was treated to a meal at the home of Jerome Bettis' parents and had many events they were able to attend. But, Keisel didn't mention any of that when he spoke of what he was looking forward to on Thursday of SB week. He kept a SB diary for the Tribune Review.
Mike Prisuta, printed parts of the diary and this is what Brett mentioned being excited about:
"My wife Sarah's coming in tonight, and I'm really excited to see her. She wanted to come out Monday, but she's a working woman, and she had a few things she had to take care of. I'm really excited to have her out here. "I'll get to see her tonight, and then after practice is over, we can hang out tomorrow night.
In front of his wife, parents and numerous other family members and friends, Keisel won his first Superbowl. The team won 21-10 and Keisel had two solo tackles and one solo special teams tackle.
Keisel's next big news came in March of 2006. He was signed to a new four-year contract with the Steelers. The seventh-round draft pick had moved from a special teams and reserve DE to a starting position with the Steelers.
From an interview with Dale Lolley, Steelcityinsider.com:
"When (Steelers negotiator) Omar (Khan) called me and we got on a conference call and we all came to agreement on this thing, I hung up the phone and I was just like, 'Man, I can't believe it. This is what I worked so hard for, just to get this opportunity. Now it's time to get to work and prove it.'"
In 2006, Keisel started all 16 games in his first season as a starter. He finished with 58 tackles, with 37 of those being solo tackles. He posted 5.5 sacks and had one fumble recovery. It was apparent that Keisel was a perfect fit in his starting position at DE. He said he wanted to prove he would work hard for this opportunity and he did just that!
Keisel kept up the hard work and during the 2007 season he started all 16 games at DE for the second consecutive season (32 straight starts). Brett finished the season with 49 tackles and two sacks. He was the team leader in QB pressures with 31 and had a forced fumble.
Also in 2007, Keisel received an award from his hometown. He was the Wyoming Sports Hall of Fame's athlete of the year. To read about this honor, click here.
In 2008, Keisel started the season as a new father. Tribune-Review writer, Scott Brown, in his column, View from the Press Box, reported that Brett, and his wife Sarah, welcomed to their family a baby boy. Brown wrote, "Defensive end Brett Keisel is a daddy.The glow on Keisel's face when he talked about his son, who was born in March, is all you need to see to conclude that fatherhood agrees with him."
Brett talks about fatherhood with Scott Brown::
"It made me realize how important my job is, to not only myself but to my family. It just made me work that much harder to be that much better of a player."
Keisel had a couple injuries which caused him to miss some playing time, but he still finished the season with 34 tackles, 24 being solo and one sack. He had a big game against the Giants, with 11 tackles to tie James Farrior for the team lead, and he also had two of the Steelers' four tackles for loss. He was named the Steelers Digest Player of the Week after his performance.
Keisel and the Steelers defense were ranked #1 throughout 2008.
After rolling through the postseason with victories over San Diego and Baltimore, Brett was headed to his second Superbowl. He finished the postseason with 12 tackles (eight solo) and one sack. The team would face the Arizona Cardinals in Superbowl XLIII.
Keisel's family and friends were there to cheer him on, along with his son who would have the opportunity to see his father win a Superbowl. Brett once again had a great game, with five tackles (four solo), one QB pressure and a fumble recovery which sealed the win for the Steelers!
Brett's current contract was due to expire after the 2009 season. But, the Steelers organization were aware of how fortunate they were to have #99, and they realized what a valuable asset he was to the team. So, on August 31, 2009 he was awarded a new contract that will keep him with the team through 2013.
From Mr. Keisel:
"I am extremely happy for a lot of reasons- One I have the opportunity to play my entire career with one team. Two, this team, I can't say enough about how I feel about it. I genuinely love and appreciate the players I play with and have gotten a great relationship with the players too. To be able to stay here and be a part of hopefully more Super Bowls was a dream of mine and it's surreal that it's going to happen."
The above information obviously does not include all of Brett's accomplishments with the team. It is just a brief highlight of his time with the Steelers. Check out the articles and news here on the site for a more in-depth look at his career so far. You can also read about his college career.
Brett has accomplished so much in his career, including two Superbowl victories. He came to the Steelers as a seventh-round draft pick, and worked his way from special teams player and reserve defensive end, to starting defensive end through dedication and hard work. With his new contract there will be more accomplishments and victories to look forward to for Brett!
The news was compiled from various sources. Most of the statistical information came from Steelers.com.
Brett has represented the Steelers well throughout his career, on and off the field. He and his wife sponsor many charitable events and attend other events for causes supported by his teammates. News of their causes and charities is listed throughout the site.


Normally, ext4 allows an inode to have no more than 65,000 hard links.
count might exceed the maximum count limit.
the maximum height of the hashed b-tree used to store the directory entries.
feature while it is mounted.
this mount option is ignored.
.B and jqfmt are backwardly compatible with ext3 or ext2.
The journal_checksum option enables checksumming of the journal transactions.
in the kernel. It is a compatible change and will be ignored by older kernels.
use of mbcache for deduplication adds unnecessary computational overhead.
The prjquota mount option enables project quota support on the filesystem.
You need the quota utilities to actually enable and manage the quota system.