Jail officials across Pa. sound alarm as mental health crisis puts people at risk, survey finds - LebTown

This article is shared with LebTown by content partner Spotlight PA.

By Danielle Ohl of Spotlight PA and Brittany Hailer of the Pittsburgh Institute for Nonprofit Journalism

County jails across Pennsylvania lack the resources to address a growing mental health crisis, putting some of the most vulnerable incarcerated people at heightened risk, according to a statewide survey by Spotlight PA and the Pittsburgh Institute for Nonprofit Journalism.

Responses from more than 20 Pennsylvania jails serving the majority of the state population described similar situations: a growing number of incarcerated people with serious mental health needs, a lack of medical staff, and a complex system for accessing the few resources available from the state.

Wardens, medical professionals, and other jail officials wrote frankly about the challenges they face in providing health care for thousands of Pennsylvanians awaiting their day in court.

“We simply are not trained…nor have a facility to hold those requiring mental health treatment,” said Angela Kern, deputy warden of treatment for Fayette County Prison, in response to the survey.

“It’s frustrating, stressful on all — the deteriorating individual and the staff.”

Spotlight PA and PINJ sent the survey to every jail in Pennsylvania to understand the state of mental health resources for people behind bars. The 25-question survey asked officials to describe their staffing levels, their ability to provide adequate health care, and any additional challenges they faced caring for people with mental health needs.

The 20 officials that responded represent jails housing roughly 13,000 people.

The survey also asked jails to rank their ability to address the mental health needs of detainees on a scale of one to five, with one being not at all equipped and five being very well equipped. Only six counties — Allegheny, Centre, Chester, Huntingdon, Lawrence, and Philadelphia — rated themselves a four or higher.

More illness, fewer resources

The number of Pennsylvanians with mental illnesses has increased over the past decade, but the services needed to treat them have not kept up, wrote Jeffery Fewell, warden of the Washington County Correctional Facility.

As a result, he said he’s seen more people with more severe mental health needs in his facility.

“This population is severely addicted and is mentally ill,” he wrote. “Over 50% of our current population has a dual diagnosis of mental illness and addiction with high rates of suicide ideation.”

District Attorney Peter Acker serves as president of the prison board in Mercer County, where he said nearly half of the people incarcerated in the local jail are taking psychiatric medication. But other facilities told Spotlight PA and PINJ they have had difficulty achieving even that level of care.

“When individuals are not medicating, we have very little success in getting them started,” wrote William Schouppe, warden at the Beaver County Jail. “Many have been degrading, and we do not have the resources to care for those folks.”

Officials described a justice system that funnels people into jails even when their criminal behavior may be a symptom of their mental illness.

“The jail acts as a de facto social worker,” wrote David Kratz, director of corrections in Bucks County. “If services in the community are not easily available to law enforcement, jail is the easier alternative. Police do not have the time to spend often over 12 hours trying to obtain services.”

Officials in nearby Chester County said they train staff to recognize the difference between “willful disobedience and the inability to follow rules due to mental status.”

“While our county and involved stakeholders are continually making strides in appropriate diversion for the seriously mentally ill, the criminalization of this population continues throughout the United States,” wrote Rebecca Brain, a spokesperson for the county.

“The manifestations of [serious mental illness] in jail might translate to disciplinary infractions, while the same behaviors in a therapeutic setting would be viewed as symptoms of that illness.”

Others were more blunt.

“We appear to be a ‘dumping ground,’” wrote Scott Robinson, warden of the Snyder County Prison. “It is very difficult to get detainees with serious mental health issues into an institution where they can receive proper care. Some can not even control bodily functions and it is a serious drain, mental and physical, on our staff.”

Staffing varies widely

Every jail that responded to the survey said they employ staff or contractors to treat mental health needs among incarcerated people. Yet the survey found that the level of staffing and resources varies by county, creating an uneven landscape where the level of care someone receives in jail largely depends on where they’re arrested.

Most of the metropolitan and suburban jails said they have full-time medical staff, including psychiatrists or psychologists, nurses, and licensed counselors.

The Philadelphia Department of Prisons, for example, runs four jails housing 4,400 people and employs about 325 clinical staff, “a third of whom are behavioral health clinicians,” said Bruce Herdman, chief of medical operations.

The department also runs a psychiatric hospital within the jail system and has real-time access to city records. This allows staff to consider a patient’s treatment history when determining a new course of care.

Mid-sized counties such as Bucks, Chester, Montgomery, and Westmoreland said they have dedicated in-house staff that are employed by the jail or provided by PrimeCare or another company.

But many of the smaller counties said they have just one or two staff members, some working part time, who handle all mental health needs, including initial screenings and follow-up. Some have doctors available via telehealth, but not in-house.

“Oh, do I wish we had a psychiatrist in house!” wrote Kern, the Fayette County deputy warden.

Even facilities with access to a large network of health care professionals identified problems with recruiting and retaining staff, a problem they said worsened during the COVID-19 pandemic.

“Our facility is suffering like most facilities: Staff are hard to find and keep,” wrote Westmoreland County Commissioner Douglas Chew, who also chairs the county prison board.

Fewell, warden of the Washington County jail, echoed his colleagues’ concerns: “Staffing is everything.”

Long waits for few resources

County jails shoulder an additional responsibility if a person’s mental or intellectual condition affects their ability to stand trial.

If the court finds someone “incompetent,” that individual may require specialized treatment before they can participate in any legal proceedings. This treatment is usually provided at two state-run hospitals with extremely limited beds.

Nearly every jail said it currently or recently housed someone who needs this treatment. About 70% of facilities scored themselves at a three out of five or lower for their ability to address competency issues.

In candid answers — some hundreds of words long — jail officials detailed the difficulties of trying to help their most vulnerable residents get the court-ordered treatment they need.

Officials said the process is frustrating and lengthy, and often extends incarceration for people who might not even understand why they’re in jail in the first place. They called on the state to provide alternatives to jail or increase the number of hospital beds available to treat people with competency issues.

When asked to describe the challenges they face helping someone deemed incompetent get treatment, Philadelphia called the process “quite cumbersome.” Beaver County wrote that after waiting months for state hospital beds for two people, jail officials took matters into their own hands and contracted with a company that would come to the jail to provide treatment.

“The system is broke,” wrote Robinson, the Snyder County warden. “It takes too long to get people the help they need. Jails are not equipped to handle serious mental health issues.”

This story is a collaboration between Spotlight PA and the Pittsburgh Institute for Nonprofit Journalism, published as part of a Pittsburgh Media Partnership project.

WHILE YOU’RE HERE… If you learned something from this story, pay it forward and become a member of Spotlight PA so someone else can in the future at spotlightpa.org/donate. Spotlight PA is funded by foundations and readers like you who are committed to accountability journalism that gets results.

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This Sound Event Series Encourages Angelenos to Explore Their Surroundings and Listen to Everything - KCET

One Sunday afternoon in May, the sounds of Oakland-based singer and producer Tyler Holmes and local artist San Cha drifted through the air at L.A. State Historic Park, intermingling with barking dogs and shouting children, colliding with '90s hip-hop at the end of a mound that separated the concert from a roller skate meet-up.

As Holmes' set went on, their music became part of the rich, aural tapestry of this public space, something that could be enjoyed whether you were actually attending the event or if you were, like plenty of people that day, simply spending some downtime at the park. Holmes' performance was a meditative affair — a world away from the pomp and circumstance of attending a concert; instead, its mood and style fit with the promise of Floating, a year-old outdoor sound event series that aims to allow everyone to "actively participate in the art of deep listening."

At its core, Floating operates with a mission of bringing people together outside for events that range from jazz performance to experimental electronic concerts to sound baths. Since its inception in August of 2021, though, Floating has become a means of encouraging both artists and audiences to interact with their immediate surroundings and explore the varied corners of the greater Los Angeles area. Helmed by a team with extensive experience in event production, Floating has lured crowds into Bronson Canyon and out to Zorthian Ranch. The organizers have hosted shows against the spectacular views from Baldwin Hills Scenic Overlook and Griffith Park's Wisdom Tree. Plus, Floating is actively working to bring more unexpected locations to Southern California audiences looking for a different kind of sound experience; they're hoping to extend their reach from Ojai to Joshua Tree.

"The idea was that everyone should spend more time outside," says Floating founder Brian Schopfel on a recent Zoom call from Chicago. "You get so many physiological and psychological benefits from simply stepping outdoors, music or not. That was the original impetus for even starting this."

Fode Sissoko performs at the Wisdom Tree in Griffith Park. | Courtesy of Floating

There is a lot of research indicating that spending time outside is good for us for myriad reasons, including, according to an article from the American Psychological Association, reducing stress and improving cognition. Schopfel himself found that going outside was beneficial while recovering from "massive burnout" after years working on experiential projects in the advertising and brand space. He had this initial idea in 2019, launched a precursor to Floating at the end of 2020 and tried a few different approaches to bringing people together before landing on sound. "The thing that felt best was sound," he explains. "Consuming sound outdoors feels really good."

"Feel" is a word that Schopfel and Floating collaborators Jessyca Estrada and Noah Klein use a lot during this interview. That makes sense. Sound is about more than hearing. Consider how your body responds to certain rhythms, how familiar riffs and melodies trigger memory or how specific tones, like the ping of your phone's text notifications, can instantly impact your mood. Sound is powerful, even when we aren't conscious of the force it has over us.

Nailah Hunter performs at Storrier Stearns Japanese Garden. | Courtesy of Floating

Floating officially began its series of what Schopfel calls "nomadic, involuntarily meditative sound experiences" on Aug. 8, 2021 at Storrier Stearns Japanese Garden in Pasadena with performances from Dustin Wong and Jeremiah Chiu and Yialmelic Frequencies. "That was so incredibly joyous, being able to see so many of L.A.'s arts communities come together, as well as people who truly had no idea what was happening," says Klein, who has previously produced events for MOMA PS1 and MOCA's Geffen Contemporary, "they just heard about a really nice musical gathering in a green space that was new to them."

On a Thursday evening in July, a multi-generational crowd filled up the courtyard at the Philosophical Research Society's Los Feliz campus. The event? A performance from vocalist Amirtha Kidambi and saxophone player Darius Jones based on the writings of Sun Ra. Before Kidambi and Jones played, guests had the chance to step inside PRS's library, a treasure trove of texts related to philosophy, spirituality and mythology, or visit the Hansell Gallery situated behind the back parking lot, to see the current exhibition from artist Elizabeth T. Vazquez. The performance itself provided an opportunity to listen as Kidambi and Jones' music resonated with the architecture of this 1930s building, an L.A. historic cultural monument designed by Robert Stacy-Judd that incorporates elements of Mayan design.

While sound at Floating events can be a catalyst for people to get out and explore locations they may not already know, the opposite holds true as well. With their events held in public spaces, like the Tyler Holmes/San Cha show at L.A. State Historic Park last May, Floating becomes part of a larger soundscape made by and for the public in that location at that moment. This is one way Floating differs from traditional outdoor concerts. The performances don't overpower the rest of the sounds occurring in the space at that time. Instead, they're made to converge with their surroundings.

Audience members at a Floating sound event at Storrier Stearns Japanese Garden in Pasadena. | Courtsy of Floating

"In a world of festivals, where we're oversaturated with giant stages and PAs being blasted into our faces and that's all you hear, going and hearing the natural soundscapes around you…it's a breath of fresh air," says Estrada, who previously spent over 20 years in event and festival production and helped build Goldenvoice's festival division.

There are two branches of Floating events. There are the Soundscapes, which are the concert-like gatherings, such as the Tyler Holmes/San Cha show at L.A. State Historic Park and the Amirtha Kidambi and Darius Jones performance in the Philosophical Research Society courtyard. Then there are the sound baths, where practitioners use instruments like singing bowls that are more commonly associated with meditation practices. Schopfel uses the sound baths at Pasadena's Arlington Gardens, where the audience might hear other people in the space or helicopters hovering above them, as an example of how the performance and the destination intersect. "Every sound adds one thing or another because it's really about feeling present and acknowledging we're here," he explains. "We're being here. There's nothing to do, we're just here."

Carlos Niño, Nate Mercereau and Surya Botofasina at perform at Sylvan Amphitheatre in Eagle Rock. | Courtesy of Floating

All of this creates a unique listening experience. For performers, this can present an opportunity to play with the acoustics of non-traditional spaces and play in ways that they haven't in other settings. For listeners, it means that the experiences will include every surrounding chirp, rustle and buzz, all of which can vary based on the season, the weather and any seemingly unrelated activity that might be happening in one pocket of Los Angeles on any given day.

As Schopfel says, "The whole soundscape is the environment that we're in."

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WHS stages 'Sound of Music' - Waupaca County News

Students get back on the stage after a long pandemic hiatus. “The Sound of Music” will be performed at the Waupaca High School Performing Arts Center with students from all schools in the Waupaca school district participating. The lead roles will be performed by Nevaeh Johnson as Maria and Tyler Smidt as the Captain. The musical is directed by Holly Saunders. Submitted Photo

Waupaca students make post-Covid comeback

By James Card

The last time Waupaca students performed on stage was the production of “Mamma Mia!” in 2019.

For two years, students lost the opportunity to stand in front of an audience but they are making up for lost time in the upcoming production of “The Sound of Music.”

More than 40 students are making the return to live theater.

The musical will be held at the Waupaca High School Performing Arts Center at 7 p.m. Thursday through Saturday, Nov. 3-5. A matinee performance will be held at 2:30 p.m. Sunday, Nov. 6.

Sunday Nov. 6 The performance spans across all schools: Waupaca Learning Center, Waupaca Middle School, Chain Exploration Center and Waupaca High School. The ages range from third graders to high school seniors.

“They are getting back into shape. Audiences are out of shape, too. It’s been a long time and things have changed. We’ve been fortunate so far that we haven’t had a lot of sickness. We did choose to double cast because we were afraid of what might come this fall with the flu or a virus. That means two casts of children will be used and it give them more opportunity to perform. So we chose two different groups of people to play the von Trapp family children so there are a ton of children involved from all the district schools,” said director Holly Saunders.

Costumes were a problem with so many young performers involved. Some costumes in the wardrobe were utilized and others had to be made from scratch. The time period of the musical is set in pre-World War II.

The sets were designed by Monica Reeves and the lead construction was done by Aaron Strebe. There is a huge staircase, a front door unit, windows that open from multiple rooms and the fly system is rigged with more props. There is a gazebo scene and a terrace scene and one secret scene that Saunders is keeping for a surprise.

“We’re trying to do this in a very classic way so that people that love the movie are not going to be disappointed. Everybody that has watched the movie will get exactly what they are hoping for,” said Saunders.

Saunder has directed many shows for community theatre but this is her first time directing a school district performance. She is also the new middle school choir director and has 25 years of experience as a musician and as a teacher in Waupaca.

The lead roles will be performed by Nevaeh Johnson as Maria and Tyler Smidt as the Captain. Music will be performed by student players and the piano will be by Wanda Eikenbary. The concert choir is directed by Anna Lussier and the wind ensemble is directed by Brianna Hepfler.

“If anybody can whip a show together it’s Holly,” said John Kelley, who recently directed the Waupaca Community Theatre’s production of “The Little Mermaid.”

Tickets are $10 for adults and $5 for students and tickets can be purchased by calling 715-258-4131 extension 1028.

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Samsung HW-S800 review: Dolby Atmos sound from an ultra sleek 'bar - Tom's Guide

Specifications: Samsung HW-S800

Price: $899 / £749 / AU$999
Colors: Black
Ports: 1x HDMI-micro (ARC); USB (for servicing)
Speakers: 10
Audio channels: 3.1.2
Audio formats: Dolby Atmos; Dolby Digital; DTS; DTS:X
Power output: 330W
Wireless: AirPlay 2; Bluetooth SBC; Spotify Connect
Smart assistant: Alexa
Subwoofer: Dedicated
Dimensions: 1.5 x 45.7 x 1.6 inches (soundbar); 9.4 x 9.5 x 9.4 inches (subwoofer)
Weight: 3.1 pounds (soundbar); 14.1 pounds (subwoofer)
Wall mountable: Yes

Getting full-scale home cinema audio performance out of a single speaker unit has long been the ambition of many electronics companies — but Samsung, naturally enough, has decided to go one further. With the HW-S800, it wants to deliver full-on 3.1.2 Dolby Atmos spatial audio from a soundbar that’s so long and thin it barely looks like a soundbar at all. The subwoofer that ships in the same box is pretty small by prevailing standards, too, but next to the soundbar it looks like Goliath.

Control options are numerous, build quality is unarguable, and in quite a few ways the HW-S800 performs admirably — certainly it’s as good a pound-for-pound soundbar where Dolby Atmos sound is concerned as we’ve heard. 

Physical connectivity is severely curtailed, though, and there are aspects of its audio performance that irritate just as surely as some aspects satisfy. Which means its appeal, in the final analysis, will probably be restricted to those for who getting sound from as small a speaker as possible is just as important as the actual quality of the sound they get.

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(Image credit: Tom's Guide)

 Samsung HW-S800 review: Price and availability 

The Samsung HW-S800 Dolby Atmos soundbar is on sale now, and it’s priced at $899. That translates to £749, and AU$999. It's available finished in black only and can currently be found discounted to $649 on Best Buy (opens in new tab) and for a fraction less on Amazon (opens in new tab).     

In terms of price, there’s no shortage of rivals for the Samsung. The Sonos Arc is the most obvious, given that it’s also a Dolby Atmos device and widely acclaimed as one of the best Dolby Atmos soundbars. The Arc doesn't come with a subwoofer, mind you, which might color your judgment one way or the other.

As far as being remarkably narrow and slender, though, the HW-S800 currently seems to have the field clear. If you want what promises to be full-fat performance from a skinny soundbar, the HW-S800 looks to be your only choice right now.

(Image credit: Tom's Guide)

Samsung HW-S800 review: Design and build

Soundbar? Soundstick, more like. If you’ve one of those design-led televisions that sits low on its stand or feet, you know that a soundbar is going to get in the way and foul the bottom of your screen. Well, all soundbars except this one.

The soundbar portion of the HW-S800 is 1.5 x 45.7 x 1.6 inches (HxWxD). This means that it’s long enough to look a bit silly beneath a screen of less than 55in, but compact enough in the other two directions to sit happily (and unobtrusively) on the same shelf as any TV at all — even one that sits very low indeed on its stand.

And what there is of it is very nicely built and finished. The front plane is basically all perforated grille, and there are some more perforations at the curved ends of the soundbar and at the edge of the top surface too — it wraps around the curved ends of the soundbar smoothly. Cutaways for connectivity are neatly concealed at the back of the cabinet.

(Image credit: Tom's Guide)

Samsung HW-S800 review: Configuration

The HW-S800 is designed to deliver a 3.1.2 variation of spatial audio sound — that translates a three forward-firing channels of information, the subwoofer and two upward-facing channels bringing the all-important sonic height. To this end, the soundbar features two tweeters, three passive radiators and four full-range drivers to deliver the ‘3’ and the ‘2’.

The subwoofer is less attention-grabbingly small, but at 9.4 x 9.5 x 9.4 inches (HxWxD) it’s certainly no bloater — and it too is quite impressively presented. The matte black finish of the curvy cabinet looks and feels good, the 6.5in driver and 8in passive radiator on either side of the box offer a rather purposeful appearance, and the fact that it connects wirelessly to the subwoofer means it can be stashed out of sight if the looks don’t do anything for you. It’s packing 200 watts of power, which really ought to be ample.

As well as Dolby Atmos, the HW-S800 is equipped with a few different listening modes: ‘night’ (which squashes dynamic range), ‘game’ (quite the opposite) and ‘DTS:X Virtual’ (which tries to extract a sensation of spatial audio from stereo information).

(Image credit: Tom's Guide)

Samsung HW-S800 review: Connectivity

It’s inevitable that Samsung, having gone all-in on delivering the slenderest soundbar it possibly could, had to make a few compromises. And that’s perhaps more evident where connectivity is concerned than anywhere else.

For wireless streaming, there’s Bluetooth 4.2 and Wi-Fi — the former is compatible with a wide selection of codecs, including AAC, WAV and FLAC, while the latter brings Apple AirPlay 2 as well as Spotify Connect compatibility via the SmartThings control app. The soundbar also communicates wirelessly with the subwoofer. And if you’ve an appropriate Samsung TV, the HW-S800 can connect wirelessly to it — and exploit Samsung’s Q Symphony audio feature at the same time.

Physical connectivity is a little less predictable and slightly more problematic. In addition to an input for mains power, there’s a microUSB socket for servicing and an HDMI ARC input. It’s a Micro HDMI input, though — and not only does the user manual seem to take more pleasure than is really necessary telling you the cable you’ll need is not supplied, it states the connection is ‘Mini HDMI’. It’s not — it’s Micro HDMI. 

So there’s no HDMI passthrough and, as the Micro HDMI input isn’t eARC, the Dolby Atmos sound you get to hear will be of the lossy variety. That’s fine if you’re deriving your Atmos content from the likes of Netflix (which streams lossy Atmos anyway), but if you’re discerning enough to be using a 4K UHD Blu-ray player you won’t be hearing quite as much as it’s capable of delivering.

(Image credit: Tom's Guide)

Samsung HW-S800 review: Controls

The HW-S800 ships with a little remote control that’s rechargeable via USB-C. It’s slender and feels a little low-rent in the hand, but it incorporates plenty of functions: balancing the volume of the soundbar against the subwoofer, selecting input, cycling through sound mode options and plenty more besides. The soundbar itself responds either by altering the status of the little row of LEDs behind its grille and/or with an altogether too assertive voice confirming the action you’ve taken.

(Image credit: Tom's Guide)

The HW-S800 is compatible with Samsung’s SmartThings control app, too — which, as long as you’re comfortable with it knowing much more about you than any other control app seems to require, is a good thing. Here’s where you can integrate Spotify, enable Amazon Alexa voice-control, make EQ adjustments and plenty of other (less compelling) functions too.

Alexa itself is sharp-eared and responsive. There are a few touch-controls on the top surface of the soundbar, and one of them is ‘mic on/off’ in case you don’t wish to be overheard. 

(Image credit: Tom's Guide)

Samsung HW-S800 review: Sound quality

What’s most immediately impressive about the way the HW-S800 performs — and what may quite conceivably seal the deal for anyone who’s attracted by its physical dimensions — is the size of the sound it delivers.

With the lossy Dolby Atmos soundtrack to Bird Box delivered via Netflix to the Samsung’s HDMI ARC input, the scale of the soundbar’s presentation is quite startling. It reaches quite a long way on the left/right axis, and offers a more convincing sensation of height than quite a few similarly priced competitors we could mention. ‘Dolby Atmos from a soundbar’ is more often an ambition than a reality, but the HW-S800 offers a sound that reaches high above the top bezel of your TV — and is quite immersive as a result. Focus is good, as is separation — so the stage the Samsung creates is easy to understand. Effects move around it with confidence and positivity.

(Image credit: Tom's Guide)

The subwoofer does good work in almost all circumstances, digging respectably deep and hitting with well-controlled resolve. The bass sounds it produces are textured and detailed, and there’s sufficient authority to ensure blurring into or out of low-frequency sounds is kept to a minimum. There’s a pleasant solidity to the subwoofer’s output that adds to the strength of the sonic foundation it creates.

No matter if you’ve used the ‘SpaceFit’ algorithm in the SmartThings control app to allow the HW-S800 to adjust its output relative to the room it’s positioned in, or taken care of business yourself using the remote control handset, achieving a smooth handover from the subwoofer to the soundbar is one of the trickier tasks you can set yourself. The crossover point between the two devices is always apparent, and no matter how you might seek to finesse it, it seems the point at which the subwoofer hands over to the soundbar or vice versa will always be evident.

The midrange is detailed and communicative when things are relatively calm — voices are granted plenty of character and are given a decent amount of space in which to work. The same is true of the top of the frequency range, which is crisp and substantial without getting in any way hard or coarse. But when the on-screen action ramps up, not only does the HW-S800 demonstrate considerable dynamic headroom but it also allows the midrange to get subsumed by the high- and low-frequency activity going on around it. Both ends of the frequency range seem to get a whole lot of ill-deserved confidence when the going gets raucous, and while this doesn’t affect the size of the Samsung’s presentation it has quite an impact on its coherence. There’s nothing linear about the way the HW-S800 handles big changes in dynamics.

Samsung HW-S800 review: Verdict

For some customers, the fact the HW-S800 makes any kind of sound at all will be all the justification they require to invest in the tidiest, neatest soundbar around. And the fact it makes good(ish) on its promise of Dolby Atmos spatial audio will lure in some waverers, too. But as far as achieving a nice linear response to big shifts in volume or attack, or a smooth interface between soundbar and subwoofer, the Samsung HW-S800 is still a work in progress. 

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