Many trial lawyers have theories about who among a group of potential jurors is good or bad for them. In fact, sharp instincts and the confidence to rely on them are among the characteristics of a good trial lawyer.
However, research and post-trial jury interviews have actually shown such untested jury notions to be misguided and false, regardless of the years of experience of the person offering them.
Many attorneys love to tell war stories about individual jurors who turned out to be oddly favorable or unfavorable to their case; such stories are offered as anecdotal proof of how perceptive the attorneys were or how unreliable preconceived impressions about jurors can be. For example, a male juror nodded approvingly at everything a defense attorney did during trial, only to end up the single holdout against her client in deliberations. Jury-watching alone failed. In another case, a Hell's Angels biker with an eye patch ended up championing a chemical manufacturer's claim for payment from its insurer.
These were not random occurrences, but consequences of a logical theory about the case, including what kinds of jurors would accept or reject the trial team's reasoning. In the instance of the chemical manufacturing trial, how did the trial team know? We tested it before the fact. Pretrial jury research indicated that leniency toward the insured as to specifics omitted from its application for insurance would more likely come from anti-establishment types than from highly rule-governed people. This is intuitive and was confirmed.
Certain choices in assessing prospective jurors require little special knowledge and testing. Expecting dogmatic environmentalists to disfavor alleged polluters in toxic tort cases or strident feminists to favor female plaintiffs in sexual harassment suits seems logical, and therefore, not to merit jury consulting. Such jurors tend to be "spear throwers," i.e., extremists that anyone can easily spot as adverse and target for a strike. Assuming that they are obvious, you can identify and get rid of your side's worst jurors. But what if they are not obvious? What should you do with moderate jurors who remain and warrant proceeding with caution? The issue then becomes how to distinguish between shades of gray.
It takes more than experience to ferret out bad jurors from good ones. The clearest examples of how this can happen relate to counterintuitive factors: Will jurors similar to a plaintiff favor the plaintiff (due to "identification") or seek to distance themselves (due to "defensive attribution")? For example, in a case involving injury from riding double on an ATV, jurors who actually did this – despite clear warnings – were most critical of the Plaintiffs, not the manufacturer defendant, claiming "We all do that, but we know we are not supposed to."
There is no clear-cut way to predict this without researching that case with surrogate jurors. Different venues with the same fact pattern -- or slightly different fact patterns in the same venue -- have yielded opposite results, as found in pretrial research and confirmed in post-verdict interviews. For example, in a patent infringement case, tinkerers proved to be especially bad for an unknown, commercially unsuccessful patent owner suing for infringement against a technology giant. Why? Because technically oriented people like "new bells and whistles" regardless of their origin and thus appreciate the source that provides them, albeit an infringer.
In another case against a well-known wrestling entity, wrestling fans were the least sympathetic to the defense. Why? Because they felt betrayed by something they cared about: wrestling.
In each of these instances, the client benefited from the ability to identify these jurors as risks using very few questions in voir dire and maximizing the value of peremptory strikes. Without the benefit of pretrial profiling data, the clients might have struck their best jurors or kept their worst ones, based on apparent common sense and folklore.
These are only a few examples of how jury profiling can be counterintuitive or less obvious than guessing might predict. Without prior research, we cannot know whether favorable jurors will follow an intuitive or counterintuitive pattern, and we cannot know the crucial questions to ask to distinguish bad from good jurors.
Many attorneys ask trial consultants, "What kind of jury do we want?" Without an empirically based profile, the best one can do is to consider if "generic" juror profiles (which tend to describe jurors in tort litigation) apply to the case at hand. Using a generic profile is like a doctor using another patient's x-ray for your fracture. Maybe the bone will be set properly, but maybe it won't. With that caveat in mind, below are common traits of Plaintiff-oriented jurors.
These profiles are seductive, and it would be nice to have an all-purpose set of guidelines to use and re-use for every case. However, since cases are not tried in a vacuum and different themes appeal to different people, deciding who your best consumers are can only be determined specifically and reliably by knowing the "product" you plan to sell and how people actually react to it.
Generic characteristics may not apply to your specific case at all. For example, if instead of a plaintiff, a defendant is seen as the victim, then the generic "plaintiff-oriented" profile (i.e., describing jurors who favor victims) may well describe defense jurors better in that instance.
What else can one use if not traditional wisdom or experience? Information from actual jurors.
This is the fourth in a series of five posts on jury selection and trial consultants. Other parts are linked here: Part 1, Part 2, Part 3, Part 4 & Part 5.
Part 1 of this series. Part 2 of this series.
FREE DOWNLOAD: How to choose a jury consultant and what works.


It's nice to change up eggs and frankly, I get bored of the same-old of anything. I've eaten eggs in more different ways in the last 2 years than in my entire life. I hardly ate eggs in India because it wasn't as easy to get them. For that reason, I still don't eat a lot of eggs, but having an egg-loving husband changes everything.
I like the egg flavor best if there is something else more flavorful to counterbalance it. Hence my eggs are always loaded with vegetables and herbs or spices. Eggs are best eaten in moderation, anyway; I never understood the 3-egg omelette!
Quiche is something I've almost always had from a bakery, and only recently starting making at home. Partly I started baking more at home because it's economical and partly, because once you start making pies from scratch, quiche seems like a piece of cake 🙂 I make a couple of pie crusts when I do make them, then one can be a pie and another one a quiche!
Although I managed to photograph the most uninteresting-looking quiche this time, I have to say the flavor is otherwise. This one is with spinach and green onions, spices, and without cheese — nice and simple! Some of our other favorite combinations are potato & chard, mushroom & leeks, and pretty much whatever is in season or available in the fridge!
2. Roll out the crust in a pie or a removable tart pan, and blind bake. I like the inside of the crust to look slightly crisp and golden brown. Cool the crust completely!
3. Quick saute the spinach, garlic, chili flakes, and half the scallions in oil and let it cool as well.
4. Beat the eggs, milk, spices, and cooled spinach mixture.
5. Fill the crust carefully and slide into the oven. If you have a thin removable tart pan like mine, it's nice to use a larger baking sheet to hold the pan, so there are no spills in the oven.
6. Bake for about 25 minutes, reduce temperature and bake until the egg mixture is set. It usually puffs up when done, and will settle down when you turn the oven off.
7. Let it cool slightly, cut, garnish with more scallions, and serve while it's still slightly warm.
A last slice of quiche!


This BES Environmental ES2000 CDML Photostability Chamber is in good working order.
We get a look at the controls and function screen, then we get a look inside the BES Environmental ES2000 CDML Photostability Chamber.
Then circling to get a full 360 view getting closeups on all accessories and tags then going up top to see the heating/cooling system, then zoom out for a frontal view of the BES Environmental ES2000 CDML Photostability Chamber.


text:
Pagla övningsområde är ett militärt övningsfält som är beläget ca 3 km norr om Bodens centrum och ligger inom Bodens kommun.

Historik
Bakgrunden till skjutfältet går tillbaka till 1900, då det var en del av Bodens fästning och nyttjades av långskjutande batterier. Dåvarande uppgift var bland annat att kunna skjuta mot Lule älv. Efter att Bodens fästning börja tappa sin betydelse kom området istället att användas genom att skjutbanor anlades inom området, samt att även en anläggning för längdskidåkning samt skidskytte uppfördes.

Verksamhet
Övningsområdet är ett av Bodens garnisons övningsområden, bland annat genom de skjutbanor som finns. Inom området finns även den så kallade Radiobunkern som användes av Boden radio. Även den gamla ballonghallen finns i området.

Se även
Bodens garnison

Referenser

Noter

Externa länkar
 Avlysningar för Norrbottens regementes skjutfält

Svenska militära övningsfält
Bodens kommun

redpajama_set_name: RedPajamaWikipedia


text:
Q: Updating ember-moment element when reloading a route in Ember? I have an Ember app that uses ember-moment.
The application defines a model for site objects:
import DS from 'ember-data';

export default DS.Model.extend({
  lastPoll: DS.attr('date'),
  status: DS.attr('string')
});

The index route loads site #1 when activated:
import Route from '@ember/routing/route';

export default Route.extend({
  model(params) {
    return this.store.findRecord('site', 1);
  }
});

The template for this route is fairly simple:
{{moment-from-now model.lastPoll}}: {{model.status}}

All of this works as intended. However, I would like to reload the route every thirty seconds.
Thus, I have expanded the route as follows:
import Route from '@ember/routing/route';

export default Route.extend({
  model(params) {
    return this.store.findRecord('site', 1);
  },

  afterModel() {
    this.set('_timer',
      Ember.run.later(this, () => {
        this.refresh();
      }, 30 * 1000)
    );
  },

  deactivate() {
    Ember.run.cancel(this.get('_timer'));
  }
});

The status updates when the data returned by the API changes. However, the relative time displayed in the template does not change. I am assuming Ember sees that lastPoll has not changed and does not update the element containing the relative time, even though the current time has changed (and therefore the relative time as well).
What is the correct approach for ensuring that the relative time is updated when the route is reloaded?

redpajama_set_name: RedPajamaStackExchange


This beautiful place is nestled in the middle of Woodhaven. Located to both phases. Features common area to the rear, firepit, room addition, screen room, gravel drive, landscaping, tv antenna, patio area, 2011 custom built Heritage Park Model with knotty pine look throughout, all appliances, furniture, skirted, winter water, central air and heat, shed and a brick walk way. Must see to appreciate. This Property is located in a gated community at Woodhaven Lakes, yearly assessments paid by owners, must be accompanied by Real Estate Agent.


text:
package io.explod.testable.service;

import android.content.BroadcastReceiver;
import android.content.Context;
import android.content.Intent;
import android.content.IntentFilter;
import android.net.ConnectivityManager;
import android.net.NetworkInfo;
import android.support.annotation.NonNull;
import android.support.annotation.VisibleForTesting;

import io.explod.testable.service.base.InternetConnectivityService;
import io.reactivex.Observable;
import io.reactivex.subjects.BehaviorSubject;

import static io.explod.testable.App.getApp;

public class InternetConnectivityServiceImpl implements InternetConnectivityService {

	@NonNull
	private final BehaviorSubject<Boolean> mConnectionStatusSubject = BehaviorSubject.create();

	@NonNull
	private final BroadcastReceiver mConnectivityReceiver = new BroadcastReceiver() {
		@Override
		public void onReceive(@NonNull Context context, @NonNull Intent intent) {
			updateStatus(context);
		}
	};

	public InternetConnectivityServiceImpl() {
		Context context = getApp();
		updateStatus(context);
		registerReceiver(context);
	}

	private void updateStatus(@NonNull Context context) {
		ConnectivityManager connectivityManager = (ConnectivityManager) context.getSystemService(Context.CONNECTIVITY_SERVICE);
		NetworkInfo activeNetwork = connectivityManager.getActiveNetworkInfo();

		boolean connected = activeNetwork != null && activeNetwork.isConnected();
		mConnectionStatusSubject.onNext(connected);
	}

	private void registerReceiver(@NonNull Context context) {
		context.registerReceiver(mConnectivityReceiver, new IntentFilter(ConnectivityManager.CONNECTIVITY_ACTION));
	}

	@VisibleForTesting
	void unregisterReceiver() {
		getApp().unregisterReceiver(mConnectivityReceiver);
	}

	@Override
	public boolean isConnected() {
		return mConnectionStatusSubject.getValue();
	}

	@NonNull
	@Override
	public Observable<Boolean> connectionObservable() {
		return mConnectionStatusSubject.distinctUntilChanged();
	}
}

redpajama_set_name: RedPajamaGithub


The NZDUSD opens at 0.6842 (mid-rate) this morning.
Trade talk optimism led to an increase in risk appetite on Friday with major averages and risk linked currencies all pushing higher into the close.
Fridays mixed economic data reports has seen the USD give back some of its recent gains. A stronger-than-expected consumer sentiment rep[ort was more than offset by disappointing industrial production and manufacturing data releases.
The University of Michigan preliminary consumer sentiment index for the month of March spiked to 97.8 from February's final reading of 93.8. Economists had forecast the index to rise to 95.3.
The Federal Reserve industrial production report for the month of February showed production edged up by 0.1% well short of the expected 0.4% increase following on from January's upwardly revised 0.4% fall.
New York manufacturing activity has unexpectedly slowed in the month of March with the Federal Reserve Bank of New York reporting its general business conditions index plummeted to 3.7 in March after spiking to 8.8 in February. Market consensus was for the index to rise to 10.0.
The GBP was again higher on Friday after UK lawmakers passed a motion to delay the process of exiting from EU by at least three months and overwhelmingly rejected a call for a second referendum. UK Prime Minister Theresa May will again seek the backing of the house when she presents her revised withdrawal deal later this week.
Thursday morning's FOMC statement is likely to be the focal point for international investors while local attention will be on New Zealand's Q4 GDP report due for release later that morning.
Global equity market closed out the week higher, - Dow +0.54%, S&P 500 +0.50%, FTSE +0.60%, DAX +0.85%, CAC +1.04%, Nikkei +0.77%, Shanghai +1.04%.
Gold prices retraced Thursday's fall on Friday, gaining 0.44% closing out the week at $1,301 an ounce. WTI Crude Oil prices edged lower on Friday, down 0.2% closing at $58.52 a barrel.


I've been working on an interface to easily connection up Director and the Gameboy Advance, allowing the GBA to act as a joystick to a Director interface, as well as to transfer data between the two entitites. This would allow the GBA to send/grab data online, particularly for an attempt I'm making of adapting the Abstract Machine Game designer for the Gameboy. So far I've got Director talking to the Gameboy Advance and sending data back and forth. But my protocol is a little buggy and I sometimes (in particular instances) don't perfectly map activity on the Gameboy from within Director. I think it's the way I set up my bitmasks that screwed me up, I'm going to have to start all over, I think.
I've got far more information on this over at the PLAY+MOBILE website, although it's in French (sorry!). But there are more links for you to work off of. I've been using an FTDI chip which allows me to plug the Gameboy Advance directly into the USB port of and Mac or PC. I could also plug into Linux, but since Director doesn't run on Linux, it's sort of a moot point for me right now.


text:
Be affiliate
Secure VPN
OpenVPN vs L2TP
What you need to know about VPS storage
[Cloudron] Getting started with Cloudron
Changing language in Reseller Hosting packages
How to start using Site Builder in cPanel
How to set up Git in cPanel
Pre-sale questions (18)
Checkout & Billing (7)
Client Area (2)
Hosting (141)
VPS Hosting (64)
Emails (12)
SpamExperts SPAM filter (4)
SSL Certificates (4)
Can't find the answer you're looking for? Don't worry we're here to help!
Layer 2 Tunnel Protocol (L2TP) is a VPN protocol that doesn't offer any encryption. That's why it's usually implemented along with IPsec encryption. As it's built into modern desktop operating systems and mobile devices, it's fairly easy to implement. But it uses UDP port 500 — that means it can't be disguised on another port, like OpenVPN can. It's thus much easier to block and harder to get around firewalls with.
IPsec encryption is secure. However, this is a slower solution than OpenVPN. The traffic must be converted into L2TP form, and then encryption added on top with IPsec. It's a two-step process.
In Summary: It's easy to set up, but has trouble getting around firewalls and isn't as efficient as OpenVPN.
OpenVPN uses open-source technologies like the OpenSSL encryption library and SSL v3/TLS v1 protocols. It can be configured to run on any port, so you could configure a server to work over TCP port 443. The OpenSSL VPN traffic would then be practically indistinguishable from standard HTTPS traffic that occurs when you connect to a secure website. This makes it difficult to block completely.
It's very configurable, and will be most secure if it's set to use AES encryption instead of the weaker Blowfish encryption. OpenVPN has become a popular standard. There have been no serious concerns that anyone has compromised OpenVPN connections.
OpenVPN support isn't integrated into popular desktop or mobile operating systems. Connecting to an OpenVPN network requires a a third-party application — either a desktop application or a mobile app. Yes, you can even use mobile apps to connect to OpenVPN networks on Apple's iOS.
In Summary: OpenVPN is new and secure, although you will need to install a third-party application. This is the one you should probably use.
Comparison between OpenVPN and L2TP
OpenVPN L2TP/IPsec
VPN Security Authenticates data with digital certificates Checks data integrity and encapsulates the data twice.
Supported Environments Windows
iOS Windows
VPN Speed Best performing protocol. Fast speeds, even on connections with high latency and across great distances Requires more CPU processing to encapsulate data twice
Stability Most reliable and stable, even behind wireless routers, on non-reliable networks, and on Wi-Fi hotspots Stable on NAT-supported devices
Compatibility Supported by most desktop computer operating systems and Android mobile and tablet devies. Requires applications. Native in most desktop, mobile device and tablet operating systems.
Conclusion OpenVPN is the recommended protocol for desktops. Highest performance and security. More configuration options. Good choice when OpenVPN is not supported by used device. Less configuration required.
stunnel usage for tunneling VPN connection
How to configure L2TP VPN on Windows 10?
How to configure OpenVPN on Windows?
How to configure L2TP VPN on Windows?
How to configure OpenVPN on Android?
How to configure L2TP VPN on Android?
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All optical locations listed on the EyeBenefits website have been contracted directly with EyeBenefits. If an optical location is uncertain if EyeBenefits is in their system, please have them call EyeBenefits Provider Relations directly at 480-659-2850. EyeBenefits was established in 1987.
Please Note: EyeBenefits is not responsible or liable for any services or materials rendered by an EyeBenefits Optical location, LASIK Center, or Online Contacts Lens Order.
You can limit your Provider Search by entering more specific criteria. For example, to limit your search to ZIP codes that begin with 901, just enter 901 in the ZIP codes box. To see only the listings in Los Angeles, California, enter Los Angeles or Los Angin the City box and select the State of California.
Today, many people with vision problems may improve their eyesight through refractive surgery procedures – allowing greater freedom from glasses or contact lenses. Even people who do not totally eliminate their need for glasses may be able to reduce the thickness and strength of cumbersome eye wear that can interfere with an active lifestyle.
Refractive surgery is a general term for surgical procedures designed to improve or correct the focusing ability of the eye. It is estimated that nearsightedness and astigmatism affect over 60 million people in the United States. A person's inability to see clearly can be caused by nearsightedness (myopia), farsightedness (hyperopia), and/or astigmatism. In most cases, these three types of refractive errors can be corrected through refractive surgery.
Laser in situ keratomileusis (LASIK) is a highly effective surgical technique intended to reduce a person's dependency on glasses or contact lenses – in many cases allowing their elimination altogether. This technique has the broadest range of potential correction for myopia, or nearsightedness and astigmatism.
In this microsurgical procedure, a surgeon utilizes an Excimer laser and Microkeratome to permanently change the shape of the cornea. Anesthetic drops numb the patient's cornea so there is no feeling during surgery. Using a Microkeratome, a precision device used to create the "flap", the surgeon first fashions a thin flap in the cornea (see figure 1). The Excimer laser is used to remove subsurface tissue (see figure 2), and the surgeon replaces the flap (figure 3) which adheres so readily that stitches are not needed. There is little or no postoperative pain because the protective surface of the cornea is undisturbed.
Visual recovery is usually very quick after LASIK. Most patients see clearly and are back at work within the first 24 to 48 hours. Since LASIK does not remove the surface layer of the cornea (called the epithelium) there is rapid healing with minimal discomfort. Temporary side effects following LASIK are generally minimal. Patients may experience temporary symptoms such as slightly drier eyes and minor increases in light scattering. These effects are more common in people with very large pupils and high refractive corrections. These side effects generally diminish as the eye heals.
LASIK has the shortest time to vision recovery of all the refractive procedures. The protective corneal flap allows for overnight sealing of the corneal surface which brings an end to the typical scratchiness and irritation after surgery. Patients may be given protective transparent shields to wear over the eyes, so as not to inadvertently rub the eyes while sleeping, and topical eye drops are used for the first four to five days. Women are instructed not to wear mascara for two to four weeks to avoid disturbing the flaps and LASIK patients should avoid water sports for several weeks following the procedure to permit healing.
Follow up visits typically take place one day, one week, one month and three months after surgery, usually with your optometrist. Most patients are stable at three months, however, your optometrist may decide to continue tracking results for at least six and then again at twelve months.
Q. Will I need glasses after Lasik surgery?
Some patients will still need or want to wear glasses and/or contacts following refractive surgery even though almost everyone will see vastly better without glasses than they did before surgery. Not everyone will see as well without glasses as they did before surgery with glasses. In a few cases, patients will still need glasses or contact lenses to function adequately or safely in certain activities. For example, some people may still need corrective lenses to drive safely. Some patients, especially those over 40, will want to continue to wear glasses for close work such as reading, sewing, or computer use. Some patients will be able to see adequately, but may want to wear glasses to see better even though they can function adequately without them.
Q. How do I know if I'm a candidate for Lasik surgery?
For consideration, patients should be at least 18, and in some cases 21 years old, depending on the treatment and laser type. Patients must also show stability in their refractive prescription. It's best that patients do not have any significant diseases of the eye, like keratoconus or herpetic keratitis, nor any systemic conditions such as lupus, scleraderma, dermatomyositis, and depending on the severity, rheumatoid arthritis. Women will not be considered a candidate during or immediately following pregnancy.
For additional questions about Lasik and to determine if Lasik is right for you or members of your family, contact one of our Lasik partners or your Optometrist.


Strategic management has classically been depicted as a science of rational decision-making, where the importance of analysis and planning is emphasised, and conducted by managers metaphorically portrayed as commanders - those who make the optimal choice from a set of alternative courses of action. Yet, as the rules of competition shift towards faster cycles and a blurring of industry boundaries, it would seem that traditional approaches to strategic problem solving are no longer sufficient.
Since the early 1990s, there has been a progressive departure from this view of strategy as a science managed by commanders, towards a view of strategic management as an art. An art of reinvention, vision, and rethinking pathways, overseen by managers characterised as designers, concerned with creating and exploring new alternatives.
Commander and designer are more than just metaphors. They represent two fundamental ways of thinking, which in turn become ways of 'seeing' and even feeling.
Backcasting: we first depict a vision of a desirable future, and then sketch a plan depicting what we should be doing today in order to get there.
This combination of views is important, as the authors of MAST: Mental Ambidexterity in Strategic Thinking argue. For rather than trying to ascertain which perspective between the two is better, they argue the focus should be on incorporating a better balance between the two.
The authors introduce this notion of Mental Ambidexterity in Strategic Thinking (MAST) and define it as the ability to hold both views – both commander and designer – and utilise them simultaneously. MAST is a flexible, non-ideological, and fluid mode of cognition. At its core, it is characterised by switching flexibly back and forth between rational decision-making among alternatives, and the creation of new alternatives, between what is and what could be.
The article concludes that for too long the command view of management has been given precedence over the design view, and now is the time for accepting the latter as complementary to the traditional, as indeed many strategy consulting firms are beginning to do. The Mental Ambidexterity in Strategic Thinking (MAST) concept offers a resolution between the two views that could reveal new strategic intuitions to receptive managers.
The article MAST: Mental Ambidexterity in Strategic Thinking is available for download at the link below.


It was November 4, 2008 when Khecy's life turned upside down. It's safe to say that Christmas was her hardest ever.
After a few months of leprosy treatment the lesions on Khecy's face darkened. Fearful of the stigma, her family decided to keep her illness a secret.
With support from the staff and her family, Khecy slowly began to realize she was not alone in her battle. Concerned that she might get bullied at school, her parents decided to keep her illness a family secret. But after a few months of treatment, the lesions got darker and people started asking about it.
God has worked a transformation in Khecy's life, thanks to the support of people like you.
Thanks to the generous help and prayers of friends like YOU – Khecy is FREE of leprosy and has graduated from college! She is now a full-time nurse and making a good living – she even provides financial help to send her younger siblings to school. The trials have made her a stronger person – and she even joins beauty pageants to inspire others with her story!
God has truly worked a transformation in Khecy's life. But it never could have happened without friends like YOU making it possible for her to be cared for, counseled, cured and sent to college. Thank you for making this precious girl's dreams come true.


text:
Monday, 2nd September 2013
'She Was Lovin' Me'
Damien Shields.com has featured an exclusive article on Michael's work on his 'Invincible' album emphasising a song entitled 'She Was Lovin' Me,' which remains unreleased.
The article, written by Damien Shields, speaks of Michael's work in the studio, his incredible attention to detail and his search for perfection!
"On February 24th, 1999 the Shrine Auditorium in Los Angeles played host to the 41st Grammy Awards, attended by the music industry's biggest artists, producers and executives.
At the time Elliot Straite, a talented songwriter and producer better known in the music industry as "Dr. Freeze," was fortunate enough to have recently begun collaborating with the King of Pop, Michael Jackson, on ideas for his next album.
They recorded in several studios including The Hit Factory in New York and Record One in Los Angeles, as well as at Jackson's personal studio at his Neverland Ranch.
However, at the time of the 1999 Grammy Awards, the pair were working out of Marvin's Room – an iconic Hollywood recording studio owned by John McClain – a mutual friend of Freeze and Jackson.
Jackson's record label, Sony Music, was hoping to release the work-in-progress album at some stage before the new millennium, however after several postponements it became apparent that Jackson was not concerned with meeting their desired deadlines. As of early 1999 the label had not heard any of the new material.
But that was about to change.
Cory Rooney, Senior Vice President of Sony Music Entertainment at the time, recalls being invited to the studio by Jackson for a rare listening session with some of the Epic Records executives.
"Michael invited us to the studio to listen to some music because we were all out there for the Grammys."
The prospect of hearing what Jackson was working on was mouth-watering for the executives at the label.
"You know, for Michael to wanna unveil some music, that was a big treat for us because he never did anything like that," Rooney explained. "You would rarely get the chance to hear what he was working on."
Naturally the Epic Records team, including Rooney, took Jackson up on his extraordinary offer and attended Marvin's Room, where Jackson was set to debut the music for them.
"It was myself, Tommy Mottola, John Doelp, Polly Anthony and David Glew – all the top Epic Records people," recalls Rooney.
"So we walked in the studio and he played one record. Just one record."
The song Jackson showcased in the session was the Freeze-produced "Break Of Dawn" – a track that would ultimately be released on the 'Invincible' album two-and-a-half years later.
Although they went in expecting to be shown more than just one song, the Epic executives were thrilled with what they heard. Tommy Mottola in particular commented that if the rest of the record was as good as "Break of Dawn", they had a guaranteed smash hit album on their hands.
Mattola's appetite had been whet. He wanted to hear more.
"Michael promised us that he would send another record a few weeks later", tells Rooney.
During their flight home, from Los Angeles to New York, Mottola proposed that Rooney, who had been achieving huge success producing hits for a host of other artists, should produce a song with Michael.
Rooney jumped at the chance and got straight to work.
"So I got home, went in my house, and I created this song – 'She Was Lovin' Me'. I did the music at my house, then I brought the musical track to the Sony studios to work on the demo."
Rooney had barely finished piecing the track together when Mottola heard it for the first time.
"Tommy (Mottola) came in the studio with Danny DeVito," recalls Rooney. "It's funny; Danny was intrigued. He loved the track so much he was like, 'Play that again, play that again. Oh my god this is amazing!'"
Mottola was impressed as well, and insisted that Jackson hear the track as soon as possible.
"Tommy took a very, very nasty, rough, scratch demo, and he said, 'Man this is a great song I'm sending it to Michael right now.' And he sent it to him – just in it's rough stage."
Initially Rooney was apprehensive, concerned that sending Jackson his incomplete demo may deter Jackson from wanting to record the track.
"I was actually like, 'I don't know if that was a good idea', because, you know, if he's gonna hear it in its rough stage then I might have blown my opportunity."
Mottola sent Rooney's rough demo to Jackson that night, a Thursday. Jackson, who was still in Los Angeles at the time, got it the next morning.
"Tommy (Mottola) sent it on the Thursday, Michael heard it on the Friday, and I promise you by that Monday he was in New York", recalls Rooney. "He called my house and he said, 'I'm ready. I'm prepared. I'm ready to sing the song.' And he was ready. I was blown away."
Despite already being an accomplished producer, songwriter and record executive, the opportunity to work with the King of Pop was a humbling honor for Rooney.
"I had already had so much success in my career with Mariah Carey, Jennifer Lopez, Marc Anthony, Mary J. Blige and Destiny Child – then all of a sudden you've got Michael Jackson calling you and saying, 'I love your song.' I couldn't believe it."
The Hit Factory recording studio at 421 West 54th Street in New York City would become Jackson and Rooney's home for nearly a month, between late March and mid-April in 1999.
Rooney was anxious about what the experience might be like with Jackson, and what his creative process was when recording other people's songs.
"Sometimes guys like Marc Anthony will say they love the song, but, they wanna change this verse and they wanna change this melody."
To Rooney's surprise, Jackson came in the studio and expressed that he loved the demo exactly as it was, and did not want to make any changes.
"Rewind it. Rewind it. I like the way you phrase that. Hold on. Let me do that again. I wanna make sure I get the timing like you got it," Rooney remembers Jackson saying.
"I was blown away. I'm like, 'This is amazing!' For this guy to accept and love every inch of my song, every part of it, you know, it was so surreal. It makes you emotional."
When it came time to lay the vocals for the track, Jackson had just one request. Under the advice of his longtime singing coach, Seth Riggs, Jackson proposed that he record the vocals for track over two separate days.
"The song 'She Was Lovin' Me' goes from him singing really low in the verses to singing really high in the choruses," explained Rooney. "So it was two different types of vocals. It was like Michael Jackson's 'Billie Jean' voice and his 'Dirty Diana' voice in one record."
"He was very polite. He asked me, he said, 'Um, if it's okay with you I'd like to sing the verses today because I've warmed my voice up for the low part. And then I'd like to sing the high chorus parts tomorrow, because when I'm doing songs and I'm screaming up, like a 'Dirty Diana' type of thing, I like to warm my voice up for that in particular.'"
"I thought it was amazing that he was asking me if it was okay, and for my permission to do it that way when you know, here he is, he's Michael Jackson."
"In fact, I was expecting him to tell me how he works – what he does and what he doesn't do – because so many artists are like that. If this was Jennifer Lopez, or even Lindsay Lohan, they'd be giving me orders. But not Michael."
After about twenty minutes of warm-up exercises Jackson, dressed in a red button-down shirt and black pants, removed his sunglasses and stepped into the booth.
"He was in the vocal booth at The Hit Factory and we dimmed the lights for him just enough for him to be able to read his lyric sheet," recalls Rooney.
"I met her on the way to Chicago, and she was all alone, and so was I so I asked her for her name," sang Jackson in a sexy low tone to the sound of clicking fingers.
"His vocals were so smooth and so perfect, but the most amazing part about him being in the booth was his dancing. He danced between the takes. He danced through the takes. He snapped his fingers. He stomped his feet. You could barely hear a take without him snapping his finger or stomping his feet to the rhythm."
"When Bruce Swedien recorded Michael he would create a whole stage, like a platform, for him to stand on just so it doesn't pick up on the mic so much – so he's not standing on the same floor as the microphone," explained Rooney. "But I didn't have a platform like that at the time. On all of my takes, when you strip down the music, you hear him singing but you also hear him snapping his fingers, shuffling paper, you hear him stomping his feet and the rhythm just takes over him."
"Some singers are in and out of the vocal booth. In and out. In and out. But Michael stayed in the vocal booth until he got the job done."
Once they had completed the first session – the lower parts of the track and the background vocals – Jackson asked Rooney what time he should return the following day to record the choruses.
"I said, 'Michael what time would you prefer to work?' And he said, 'Cory it doesn't matter to me – you're the producer. I'm here to work with you. You're the boss. So you tell me what time you want me to be here. If you want me to be here at 7 in the morning I'll go home and get some rest and I'll be here for 7.' It was mind-blowing."
The next morning, Jackson didn't show up. He'd fallen ill and wasn't feeling well enough to attend the planned session.
"Normally, if you're working with someone like J-Lo or Mariah [Carey], you can be in the studio for days just waiting for them to show up. And they won't so much as call to let you know they're on their way, or running late, or not coming at all."
Michael Jackson, on the other hand, was not only courteous enough to call – he sent a gift package to express his apologies for missing the session.
"He sent me a basket so big that I had to call a truck service just to come take it home," recalls Rooney. "It was full of DVDs, a DVD player, a little popcorn maker, all of these cool little books on the movies – almost like comic books – like little vintage magazines about vintage movies and stuff. So that was really, really cool man."
Accompanying the basket was a hand-written note from Jackson.
"The note on it, which I still have, I still save, it was just something he sent me to say, 'Forgive me for not being able to come', because of his illness."
Rooney called Jackson to thank him for the package, and the two ended up talking on the phone for quite some time.
After a couple of days rest Jackson returned to the studio, again with singing coach Seth Riggs in tow.
Jackson would invite Riggs to every session, and he would warm Michael's voice up based on what type of sound he was aiming to achieve during the session. In this case, it was the gritty "rock" style for the chorus parts.
Jackson, a true professional, knocked out the vocals quickly and flawlessly.
"You could feel the magic in the room. Everyone was excited about it. It was crazy!" remembers Rooney.
Once all the vocals had been recorded the only thing left to do was to review and compile them.
"Michael comped the final vocal himself," revealed Rooney. "He comped all his own stuff. He sat there with a pen and paper and went through all his takes and picked out all his favourites. He pieced it all together. It took him about half an hour because he did multiple performances of it."
"If you go back and listen to the takes you can hear him say little things and imitate the instruments and sounds. We even used some of the vocals I recorded from his warm-up with Seth Riggs. We used them as ad libs in the middle of the song because they sounded so amazing. He was very pleased with it."
Once Jackson was satisfied with the vocal comp he referred Rooney to his trusted arranger, Brad Buxer, to polish the transitions. Buxer, a talented musician in his own right, is best known for his contributions to some of Jackson's most acclaimed pieces, including "Who Is It", "Stranger In Moscow" and "Earth Song".
"Michael sent me to meet with Brad Buxer, who helped me do a few little edits here and there to clean up what we had comped together as his vocal."
Although the recording process did not take long at all, Jackson and Rooney spent nearly a month in the studio working on the track.
"We spent so much time – I would say we worked for a good two weeks – on tweaking alone. Not just the vocals but different things, comps. And it took two weeks because we spent more time laughing and joking and talking and having such a good time in the studio. We stretched it out just to have fun. In the end we spent most of April in the studio kind of plotting and planning. We used that as our kind of headquarters to really get the record in line."
At one point during their sessions at the Hit Factory, Jackson and Rooney left the studio to watch magician David Blaine performing a stunt where he buried himself alive.
Blaine was laid to rest about six feet into the ground at a Donald Trump development, facing New York's elevated West Side Highway, by the Hudson River.
"It was like a big display and everyone was going to see him. You know, where you could look down at the ground and you could see him through the Plexiglas. And Michael was like 'Wow!' So we went down there."
Although it was Rooney's job to produce hit songs for artists, he felt that Jackson needed more than just his name at the top of the charts.
He felt Jackson needed both an ally at the record label, and a friend. "I could have taken advantage of the situation and tried to produce six songs and get Michael to record them, but I didn't care for that. I just wanted to give him anything at that time that he needed. And I felt like he needed to have fun and to have a friend more so than some guy trying to push songs on him. That was genuinely what I truly felt in my heart. We had a great time."
Six weeks earlier, back at the Marvin's Room studio in Los Angeles, Jackson had promised he would send Tommy Mottola more of his newly crafted material. True to his word, shortly after wrapping up the "She Was Lovin' Me" sessions with Rooney, Jackson sent Mottola another track.
"I was in Mottola's office talking to him about something, and he was eating lunch, and he said, 'Oh while you're here, Michael sent another record. Let's listen to it.'"
"So he puts in the CD and all you hear is, 'Your love is magical. That's how I feel.' It's, you know, the song 'Speechless'. It was just amazing. Tommy was like, 'Oh my god did you hear that voice? Now that's the Michael I'm talking about!' I mean that intro alone with just his voice blew Tommy away. And then it just drops in, 'Speechless, speechless, that's how you make me feel.' It just really blew his mind."
"Speechless" was just the second track from Jackson's new project that Mottola had heard. At this point he had not even heard Jackson's version of "She Was Lovin' Me".
Jackson was highly protective of the music he put his voice on, and although the vocals were complete, Rooney had not yet completed the final mix for the track.
However, it was at that time that the collaborative relationship between Jackson and Rodney "Darkchild" Jerkins took over.
"It was up to me to finish the music (for 'She Was Lovin' Me'), to make the music track better and stronger," explained Rooney. "And I completely lost the opportunity to do that because I got so caught up in trying to help Rodney Jerkins deliver for Michael."
"'She Was Lovin' Me' was a great song, but it wasn't going to be the first single. It wasn't what the record label was looking for. Michael wanted it to be a single at some point, but he wanted that big rhythmic thing for the lead single, you know, and we hadn't got that yet for the record."
Rooney strongly believed that Jerkins was the man who could deliver the type of track that Jackson was striving for. However, following their first meeting regarding a possible collaboration, Jackson was not convinced.
"It's not that he isn't talented – he is very talented", Jackson said of Jerkins, tells Rooney. "But his work sounds like everything else that's out right now. I need a new 'Michael Jackson' sound. I don't want to sound like Brandy and Monica. I want to take people somewhere they've never been sonically."
So, instead of polishing the music for "She Was Loving Me", Rooney spent a good part of the next year nurturing the relationship between Jerkins, his "Darkchild" writing/production team, and Jackson.
To point him in the right direction Rooney recalls giving Jerkins some advice which had previously been given to him by Carole Bayer Sager – a friend and a co-writer of Jackson's.
"Carole told me that Michael is a storyteller. She said Michael loves to tell stories in his music. If you listen to 'Billie Jean', it's a story. If you listen to 'Thriller', it's a story. If you listen to 'Beat It', it's a story. He loves to tell a tale."
And so Jerkins and his team put that advice into practice, writing stories in the forms of hard-hitting R&B songs for Jackson. The results included songs such as "Your Rock My World" (the first Darkchild track recorded by Jackson and ultimately the lead single from the 'Invincible' album two years later), "Unbreakable" (Jackson's personal preference for the lead single), "Heartbreaker", "Privacy" and "Threatened"; among others.
"Before you knew it, the record was done," recalls Rooney.
"Then [Michael] and Tommy (Mottola) started to fall out. And because everyone in the world knows that I worked so closely with Tommy, people started to try and put things between us."
"Mottola kind of like played a little game and pulled me so far off the MJ project, and started a Jennifer Lopez album, a Marc Anthony album, and a Jessica Simpson album at the same time. So, I was so caught up in that, that the 'Invincible' ship started to sail and I couldn't double back to finish 'She Was Lovin' Me'."
By the time 'Invincible' was due out in late October 2001, things had turned completely sour between Jackson and Sony.
Jackson's concepts, including an 18-minute short film for the track "Unbreakable", were being overlooked and marketing for the album was being kept to a minimum. Sony refused to buy an advertising slot during Jackson's 30th Anniversary Celebration concert, which would have been seen by 26 million Americans.
Later, Jackson accused Sony – namely label president Tommy Mottola – of sabotaging the album's sales, among other things. And because of Rooney's close working relationship with Mottola, all kinds of rumors began to swirl; including an allegation that Rooney was acting as Mottola's personal "spy".
Rooney insists these rumors were completely untrue, and tells that Jackson pleaded with him not to let the media and agenda-driven record executives ruin their friendship.
"Michael reached out to me personally and said, 'Cory, do not let these people do to us and our friendship what they do to everyone else.'"
Rooney maintains that he saw himself as perhaps Jackson's only true ally at the label.
Once the 'Invincible' album had been released, Rooney began to wonder what the fate of the unreleased "She Was Lovin' Me" would be.
"Every time I talked to him or ran into him after 'Invincible' came out he would bring up the song. He would say, 'Listen; whatever you do, do NOT give the song to the record label, because all they're gonna do is end up throwing it on some compilation.'"
"The last time I spoke to him was around eight months before he passed away. We talked about the track and laughed and joked about a couple of things. He told me that he was in Vegas and that he was going back and forth. I told him I was going to be in Vegas at a certain time and I was hoping we could meet when I got there. But I actually never made it out to Vegas."
"In that final conversation we talked about using 'She Was Lovin' Me' for his next project. He was talking about getting in a position where he was going to start lining up new songs and things like that. He said, 'This record is so good we gotta figure out something good to do with it.'"
Unfortunately Michael Jackson never had the chance to hear "She Was Lovin' Me" in its final state. Instead Rooney, with the help of Jackson's nephew, Taryll, brought the track's music to completion following his death. The pair have done an incredible job.
Jackson delivers an emotionally powerful vocal on the track, packed with pain and frustration. The verses gently tell the intimate story of Jackson's encounter with a woman whom he believes was into him, before unleashing a rage of guitar-infused fury in the choruses.
"Anyone who has heard that song says it's one of the best songs they've heard from Michael in the last ten years of his career," says Rooney – and they're right. It's the King of Pop rocking out at his best.
"She Was Lovin' Me" remains unreleased to this day.
Source: Damien Shields & MJWN, with special thanks to Paula Katsikas
Bruce Swedien's New Book


After I retire, I'll start collecting my pension benefits. Is it better to elect a single life annuity or a joint and survivor annuity?
How can you get affordable family health insurance if you are self-employed?
Is Lancer Insurance a Good Company?
What items does an inspector check for renewal of home policy?
I own a home, but my brother lives in it, I do not, can he carry homeowner's on it?


In celebration of March being Music in Our Schools Month, the middle school choir students each wrote an essay on the topic "What music means to me." Their essays were judged on grammar, structure, expression, and original thoughts. One middle school boy and one middle school girl were chosen winners. They each received an iTunes giftcard and a Hershey's Symphony candy bar. Congratulations to Derek Dobies (6B) and Daniela Limas (7G) for their outstanding essays!
← Teachers Surprise Performance at Talent Show!


As you enter the station, you'll need to interact with the computer that's near the save point. From the computer, turn around and you should see a shutter with a sign that says Keep Out on it, flip the switch that's on the wall next to it and crawl under.
Follow the path until you reach a cabinet that has fallen over. Firstly, go inside the Press Room that's just before the cabinet, and collect the Handgun Ammo that's left on the body in the middle of the room. Exit the room and hold [X]/[A] on the cabinet to free your path. Before proceeding to follow the path, head to the Bathroom to collect a First Aid Spray, then make your way to the Watchman's Room.
Inside the room, lift the shutter to attempt to aid the Officer on the other side. Due to the unfortunate events, you will receive the Officer's Notebook which will give you the combinations needed for the three Medallions. Quickly take the same path back to the Main Hall but beware, you'll encounter a few Zombies along the way.
Note: As you progress through the game you'll come across many Zombies, it's a good idea to shoot their legs until they start crawling. This way you can simply run past them to save precious ammo.
Once you've met Marvin for the first time you will be given a Combat Knife, you can use this to cut open the tape that's blocking your access to the switch for the shutter. Enter the Reception and collect the Green Herb from the boxes to your right along with the Handgun Ammo that's on the chair to the left, continue forward until you reach the Operations Room.
Note: Throughout the game you will collect different types of herbs, you can combine these in your inventory to give you improved herbs.
Inside you'll find some Handgun Ammo to your left, and the Record Of Events File that's placed on top of the blue desk in the back right corner while the Police Station 1F Map is pinned on the board in the back of the room. Climb through the cracked window to drop down into the corridor beyond.
From where you dropped down, turn around to collect some Handgun Ammo off the Zombie, then follow the corridor around to the Dark-Room where you'll find a Green Herb and a Wooden Board before you enter. Make use of the Typewriter in the Dark-Room to save your game.
Note: After you've recieved the Knife you can now unlock two Trophies/Achievements. The first can be unlocked by countering the Zombies attack with your knife. The second can be earned by killing the Zombie with your knife.
Tip: You'll need to revisit the Safe Rooms regularly throughout the game to Save and store items.
Inside the Dark-Room, you'll be able to find a Medicinal Benefits of Herbs File, some Gunpowder and more Handgun Ammo in the lockers. From the lockers, walk forward into the smaller room and collect the Red Herb (mix this with a Green Herb to recover more health than with a standard Green Herb).
Note: Any items with a red tick on it in the Inventory screen is safe to discard.
Tip: Combining two batches of Gunpowder together can create ammo for your Handgun however if you use different variants of Gunpowder, you can create ammo for other guns.
Use the Wooden Board you found eariler to patch up the window near the stairs, then make your way to the West Office, where you can find the Uses of Gunpowder File on the brown desk alongside some Gunpowder. From the desk, walk along the right side of the desks until you reach Elliot Edwards' table where you'll find the Operation Report File. Now walk to the brown desk that's nearest to the stairs where you'll find the Rookie's First Assignment File placed on top.
To open the desk you'll need to find two combinations to open both locks. There are three nameplates on each side of the desks, you will need to remember the first letter of all three plates and put them into the lock (for example, Neil, Elliot and David would make "NED").
The right side combination is MRG and the left side combination is NED. Inside will be a High-Capacity Mag for your Matilda Handgun, combine the gun with the custom part in your inventory. Before exiting the Office, shoot the Raccoon that's sitting on top of a cabinet for your first collectible.
Note: There are 15 Raccoons scattered across the game, finding all of these will not only unlock a Trophy/Achievement but also an infinite Combat Knife for future playthroughs.
From the West Office, head up the stairs near the Dark-Room and grab the Handgun Ammo off the Zombie at the top of the stairs. Continue right from the Zombie until you see the Red Herb next to the vending machine. Now head into the Men's Locker Room where you can find some Shotgun Shells in the locker on the right and a Portable Safe near the towels next to the lockers.
To open the Portable Safe, you need to press the buttons in the correct order until all the lights are on. Look at the safe as if it had numbers, so top left to bottom right would be 1, 2, 3, 4, 5, 6, 7 and 8, then try inputting 42317865. Inside you will receive your first Square Part to place on the terminal in the Safety Deposit Room.
Head back downstairs to the Safety Deposit Room and place the Square Part on the terminal before picking up the Storage Locker Terminal Memo from the brown desk to the left. Before leaving, open locker #106 to retrieve the Roll Film then head back to the Dark-Room. Place the Roll Film in the sink to receive the Commemorative Photo.
Head upstairs to the third floor, keep following the path until you reach a hole in the wall, step inside to grab the Spade Key from the brown desk. Continue through until you reach the end of the corridor where you'll find the To any survivors file, head for the West Storage Room and pick up the Gunpowder and Wooden Board, then walk to the west side of the room to find some Handgun Ammo, now make your way to the back of the room where you'll find a Hip Pouch and Some Guy's Scribblings on the table.
Head towards where the Zombie is hanging from the ceiling and go through the door to the Library. Go down the stairs and through the first door on your left to find the Police Station Upper Floors Map, Gunpowder and the Unicorn Statue. To find the correct combination for the statue, you'll need to take a look at the Officer's Notebook that you found at the beginning of the game.
The code for the Unicorn Statue is Fish, Scorpion, Pot Spilling Water. Go back into the Library and use the Spade Key to unlock the door back to the Main Hall. Before you enter the Main Hall however, remember to pick up the Red Book that's placed on the table.
In the Main Hall you'll find some Handgun Ammo on the second sofa to your right along with the Lion Statue sitting at the top of the stairs. The code for this Statue is Lion, Herb, Bird.
Note: You'll be able to find all the combinations for the three Medallion Statues in the Officer's Notebook.
With the Red Book you collected earlier, head to the other side of the Main Hall and enter the Waiting Room where there'll be a Green Herb sitting on the table and a Guide Pamphlet on the desk. Use your Spade Key to unlock the door and head down the corridor to enter the Art Room.
Inside you'll see the Art Article: "The Red Stone" and a Key Card on the table next to it. From the table, walk towards the Statue and collect the Statue's Left Arm off the table and combine it with the Red Book in your inventory. Now connect the Left Arm with Book to the Statue, which will give you the Scepter. With the Scepter in you possession, open up your inventory and examine it, then rotate the Scepter around until you see a switch, interact with it to gain the Red Jewel.
Make your way back to the Main Hall, towards the West Office and use your Spade Key to unlock the West Office door to gain access to a shortcut. Using the West Office shortcut, make your way to the Safety Deposit Room and use your Key Card on the terminal at the back of the room to retrieve the W-870 Shotgun and some Shotgun Shells.
Head back to the Waiting Room and go right at the corridor, before going through the door to the outside area however, remember to grab the Green Herb that's sitting on the window. After the reunion with Claire, turn to your right and grab the Handgun Ammo and the Cutting Tool.
Before heading through the door, grab the Wooden Board near the stairs and make your way back to the Operations Room, using your Cutting Tool to open the chained door. Inside you'll find an Electronic Gadget on the desk, the combination for the locker in the Locker Room written on the board along with a Flash Grenade on the tables and a Wooden Board leant against the step ladder.
Unlock the door and head back to where you spoke to Claire. Break the chain with your Cutting Tool and head to the East Office where you'll need to use your Cutting Tool again to break the chain. Once inside the Office, grab the Green Herb off the table, a Flash Grenade from the desk and some Handgun Ammo that was left on the Zombie. Now head to the other side of the row of tables and you will find some Gunpowder before continuing along until you reach the end of the tables where there will be an Electrical Part.
Head into the room in the southwest part of the office, where you'll find a Round Handle along with some High-Grade Gunpowder (Yellow). Remove the chair from the door to gain access to the corridor and go right until you reach a small storage room, inside you will find a Wooden Board and some Handgun Ammo. From the storage room, head towards the Main Hall and place the Electrical Part in the fusebox to open the shutter and gain access to the Main Hall.
Walk down the corridor until you reach the S.T.A.R.S Office. Once inside, collect the Red Herb that's sitting on top of some boxes to the right. Head to the room in the northwest corner of the office where you will see a Battery and the Internal Memo. Head back into the main area of the office where you'll be able to find some Shotgun Shells on the brown desk to the left, a Flash Grenade on a box between the left and middle desks and a First Aid Spray inside the medical bag between the middle and right desks alongside some High-Grade Gunpowder (Yellow).
Note: Later in the game you'll need to come back to the S.T.A.R.S Office with an item to access the computer.
Exit the office and head left down the corridor where you'll be introduced to a new enemy, the Licker. Avoiding Lickers is in your best interest because they can use up a lot of bullets/grenades to kill which can make the probability of dying very high.
If you're looking to avoid the Licker, walking very slowly past them is your best course of action. Once you see a door, you can sprint the rest of the distance before they manage to catch you. Try to carry Flash Grenades/Hand Grenades with you to stun them if you need be.
If however, you're willing take your chances with the Licker and fight it, consider using your strongest weapon (the Shotgun for Leon right now) and focusing on the Licker's head whilst using Flash Grenades to stun it in place.
After you've got past the Licker, head to the end of the corridor and unlock the door which will open a shortcut back to the Library. Now make your way to the West Office and head to the southwest corner of the room, where you'll find a safe. By looking at the Internal Memo you found earlier, input the combination Left 9, Right 15, Left 7 to retrieve your second Hip-Pouch.
with the Detonator in your inventory. Connect it to the C4 that's on the wall in the soutwest corner of the room to blast it wide open.
After the explosion, head through the hole to reach the Maiden Statue, input the combination Woman, Bow, Snake to retrieve the final Medallion and then make your way back to the Main Hall.
A Licker will chase you once you exit the room where you found the Maiden Statue.
Place all three Medallions you've found throughout your journey in the Police Station into the Goddess Statue that is located in the middle of the Main Hall to open a path down to the Underground Facility. Make sure to grab the Shotgun Shells and Gunpowder before saving.


text:
By RAMI HULAYYEL
Gulf Daily News
FRENCH team members are optimistic of their chances in the Gulf Energy World Junior Endurance Championship to be held in Bahrain from Thursday to December 18 in Sakhir. The team which arrived a week ago, headed by their chef de equipe Jean Louis Leclerc, consists of six riders. The team is presently training hard in the Zallaq area ahead of this prestigious event.
"We started preparations for this championship very late due to a problem with our federation which could not support us financially much earlier," said Leclerc.
But the team were fortunate to get the required support from the Sport Ministry in France. "We are very grateful to the Ministry of Sport. They gave us what we needed which was quite costly," he said.
By Endurance.Net - December 11, 2005


text:
Humibacter soli is a Gram-positive, short rod-shaped and non-motile bacterium from the genus Humibacter which has been isolated from soil.

References

External links
Type strain of Humibacter soli at BacDive -  the Bacterial Diversity Metadatabase

Microbacteriaceae
Bacteria described in 2016


text:
59.26(8)(b)5m.e. e. Whether the sheriff discovered substantial evidence that the deputy violated the rule or order as described in the charges filed against the deputy.
59.26(8)(b)5m.f. f. Whether the sheriff is applying the rule or order fairly and without discrimination to the deputy.
59.26(8)(b)5m.g. g. Whether the proposed discipline reasonably relates to the seriousness of the alleged violation and to the deputy's record of service with the sheriff's department.
59.26(8)(b)6. 6. The accused may appeal from the order to the circuit court by serving written notice of the appeal on the secretary of the committee within 10 days after the order is filed. Within 5 days after receiving written notice of the appeal, the board shall certify to the clerk of the circuit court the record of the proceedings, including all documents, testimony and minutes. The action shall then be at issue and shall have precedence over any other cause of a different nature pending in the court, which shall always be open to the trial thereof. The court shall upon application of the accused or of the board fix a date of trial, which shall not be later than 15 days after such application except by agreement. The trial shall be by the court and upon the return of the board, except that the court may require further return or the taking and return of further evidence by the board. The question to be determined by the court shall be: "Upon the evidence is there just cause, as described under subd. 5m., to sustain the charges against the accused?" No costs shall be allowed either party and the clerk's fees shall be paid by the county. If the order of the committee is reversed, the accused shall be forthwith reinstated and entitled to pay as though in continuous service. If the order of the committee is sustained it shall be final and conclusive.
59.26(8)(c) (c) The board of any county enacting the ordinance provided for in this subsection may provide that any deputy sheriff acting as such at the time of the enactment shall be eligible to such appointment without examination.
59.26(8)(cm) (cm) Any board may by a majority vote establish, by ordinance in connection with the enactment of an ordinance providing for civil service selection and tenure of deputy sheriffs under pars. (a) and (b) or by amendment to such an ordinance previously enacted, a traffic division of the sheriff's department and fix the number of deputy sheriffs as traffic patrolmen and other employees in said division in which case s. 83.016 shall become inoperative as to that county. The board in such ordinance shall further provide that the personnel in such traffic division of the sheriff's department shall be appointed and hold their positions in the manner and under the conditions set forth in pars. (a) and (b). The board may also provide that traffic patrolmen who have been appointed under s. 83.016 and who are employed by the county at the time of the enactment of the ordinance under this subsection establishing a traffic division in the sheriff's department and providing civil service therefor shall be appointed to positions in such traffic division without examination.
59.26(8)(d) (d) Enactment of the ordinances provided for by this subsection shall not preclude the board from thereafter amending or repealing such ordinances, but such amendment or repeal shall not be effective unless voted by the affirmative vote of three-fourths of the members-elect of such board. The civil service provisions of this section shall apply only to such deputies or traffic patrolmen who are regularly employed by the county or sheriff and shall not apply to honorary deputies. Notwithstanding the provisions of this subsection the board may enact a civil service ordinance for county employees under s. 59.52 (8) which civil service ordinance may include deputy sheriffs or traffic patrolmen, or both.
59.26(9)(a)(a) A deputy sheriff in any county may not be suspended or dismissed under sub. (8) or s. 59.52 (8) or 63.10 without pay or benefits, for any action taken that is within the scope of the deputy's employment, until the matter that is the subject of the suspension or dismissal is disposed of by the grievance committee or civil service commission or the time for appeal of that matter passes without an appeal being made.
59.26(9)(b) (b) An ordinance of any county or a collective bargaining agreement may not diminish or abridge a right of a deputy sheriff that is granted under par. (a). An ordinance of such a county or a collective bargaining agreement may supplement and expand such a right in a manner that is not inconsistent with par. (a).
59.26(9)(c) (c) If the matter that is the subject of the suspension or dismissal is decided adversely to the deputy sheriff by the grievance committee or the civil service commission, the time for appeal passes without an appeal being made or the deputy's appeal to the circuit court is decided adversely to the deputy, all pay and benefits received by the deputy sheriff between the time of his or her suspension or dismissal and the latest of an adverse ruling by the committee, the commission or the court or the time for appeal passes shall be returned to the county.
59.26(10) (10)
59.26(10)(a)(a) Notwithstanding the provisions in subs. (1) (intro.), (2), (3), and (8) (a), and subject to par. (b), if a county provides law enforcement services to a city or village under ss. 59.03 (2) (e) and 62.13 (2s) and if the sheriff appoints additional deputies under sub. (2) to provide the services, the sheriff shall, to the greatest extent possible, fill the additional deputy positions from the ranks of former police officers who lost their positions when their department was abolished under s. 62.13 (2s) (a). With regard to each contract that is entered into under s. 59.03 (2) (e), this provision does not apply on or after the first day of the 25th month beginning after the contract takes effect in the county.
59.26(10)(b) (b) Paragraph (a) applies only to the extent that it is not inconsistent with any collective bargaining agreement that is in effect between a county and its employees.
59.26 History History: 1975 c. 198; 1977 c. 26; 1983 a. 27; 1983 a. 192 ss. 125, 303 (1); 1989 a. 221; 1991 a. 39, 316; 1993 a. 53; 1995 a. 201 s. 273; Stats. 1995 s. 59.26; 1995 a. 225 ss. 154, 155; 2001 a. 9, 107; 2003 a. 33 ss. 1523, 9160; 2005 a. 40; 2009 a. 154; 2013 a. 20; 2015 a. 55; 2017 a. 207 s. 5.
59.26 Annotation Upon reinstatement of an unreasonably suspended deputy sheriff, the amount of pay due is to be reduced by amounts earned in other employment during the period of suspension. Klingler & Schilling v. Baird, 56 Wis. 2d 460, 202 N.W.2d 31 (1972).
59.26 Annotation The burden of establishing a lack of reasonable and diligent efforts by suspended deputy sheriffs to seek other employment and the availability of employment is on the employer. Schilling & Klingler v. Baird, 65 Wis. 2d 394, 222 N.W.2d 666 (1974).
59.26 Annotation A sheriff's assignment of a deputy to an undercover drug investigation falls within the constitutionally protected powers of the sheriff and could not be limited by a collective bargaining agreement. Manitowoc Co. v. Local 986B, 168 Wis. 2d 819, 484 N.W.2d 534 (1992).
59.26 Annotation Under s. 59.21 [now s. 59.26] (8) (b) deputies have civil service protections and tenure beyond their initial term of appointment under sub. (4) and also have protections under collective bargaining agreements not in conflict with the statutes. Heitkemper v. Wirsing, 194 Wis. 2d 182, 533 N.W.2d 770 (1995). See also Brown County Sheriff Dept. v. Employees Ass'n, 194 Wis. 2d 266, 533 N.W.2d 766 (1995).
59.26 Annotation Section 165.85 (4) (b) governs the terms of employment of a probationary sheriff's deputy so that the discipline procedures under s. 59.21 (8) (b) [now sub. (8) (b)] do not apply and an applicable collective bargaining agreement controls. Hussey v. Outagamie County, 201 Wis. 2d 14, 548 N.W.2d 848 (Ct. App. 1996), 95-2948.
59.26 Annotation The court of appeals lacks jurisdiction to hear an appeal of a circuit court order under sub. (8) (b) 6. In Re Discipline of Bier, 220 Wis. 2d 175, 582 N.W.2d 742 (Ct. App. 1998), 97-1621.
59.26 Annotation Under the Wisconsin Constitution, the sheriff has certain powers and prerogatives derived from the common law that cannot be limited by collective bargaining agreements. If a duty is one of those immemorial principal and important duties that characterized the office of sheriff at common law, the sheriff may choose the ways and means of performing the duty and cannot be limited by a collective bargaining agreement. Internal management and administrative duties fall within the "mundane and commonplace" duties not preserved at common law. Dunn County v. Wisconsin Employment Relations Commission, 2006 WI App 120, 293 Wis. 2d 637, 718 N.W.2d 138, 05-1917.
59.26 Annotation A collective bargaining agreement provision confining the powers of deputies serving as court security officers to the county judicial center and giving the clerk of courts priority over the sheriff in the scheduling, directing, and supervision of those deputies interferes with the sheriff's duty of attendance on the court, which is a duty preserved for the sheriff by the constitution. Dunn County v. Wisconsin Employment Relations Commission, 2006 WI App 120, 293 Wis. 2d 637, 718 N.W.2d 138, 05-1917.
59.26 Annotation The power to hire does not give character and distinction to the office of sheriff; it is not a power peculiar to the office. Certain duties of the sheriff at common law that are peculiar to the office and that characterize and distinguish the office are constitutionally protected from legislative interference, but the constitution does not prohibit all legislative change in the powers and duties of a sheriff as they existed at common law. Internal management and administrative duties that neither give character nor distinction to the office fall within the mundane and common administrative duties that may be regulated by the legislature. Hiring and firing personnel to provide food to inmates is subject to legislative regulation, including collective bargaining under s. 111.70. Kocken v. Wisconsin Council 40 AFSCME, 2007 WI 72, 301 Wis. 2d 266, 732 N.W.2d 828, 05-2742.
59.26 Annotation The assignment of deputies to transport federal and state prisoners to and from a county jail pursuant to a contract for the rental of bed space is not a constitutionally protected duty of the sheriff's office and is thus subject to the restrictions of a collective bargaining agreement. Ozaukee County v. Labor Association of Wisconsin, 2008 WI App 174, 315 Wis. 2d 102, 763 N.W.2d 140, 07-1615.
59.26 Annotation A sheriff may not be restricted in whom he or she assigns to carry out his or her constitutional duties if he or she is performing immemorial, principal, and important duties characterized as belonging to the sheriff at common law. Attending on the courts is one of the duties preserved for the sheriff by the constitution. When a sheriff effects the delivery of prisoners pursuant to court-issued writs, the sheriff is attending on the court and can contract with a private entity for the transportation of prisoners, rather than utilizing deputies employed by the sheriffs department. Brown County Sheriffs Dept. Non-Supervisory Labor Association v. Brown County, 2009 WI App 75, 318 Wis. 2d 774, 767 N.W.2d 600, 08-2069.
/statutes/statutes/59 true statutes /statutes/statutes/59/iv/255/2/f Chs. 59-68, Functions and Government of Municipalities statutes/59.255(2)(f) statutes/59.255(2)(f) section true


I wanted to share with you my lovely pets that inspire me when creating my rubber stamp designs! First is Bear, who is our 7 month old German Shepherd, Second is Cosmo our 2 year old Toy Chihuahua and Lastly our short haired cat Comet also know as "kitty"! I enjoy having all these animals though at times it does get a little hectic! I would love to hear what kinda of pets everyone has!
Thanks Lawren! Yeah my house sometimes does feel like a zoo! Your pets sound adorable too! Sorry to hear about your cat. I had a cat that lived to be 20 years old, he past away last year. My dad kept him at his house when I moved here. It is amazing how some how long some pets can live!
I do like how small chichuahua's are, but i wish mine wouldn't yap so much! lol Sandy, do yours always tend to bark at people?
How cute they are! You have so beautiful cats (I love cats:)) I have 3 cats myself and I can really understand, that they inspirates you so much.
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Bad Ass 2: Bad Asses (2014/Bluray/20th Century Fox) Review
A year or two ago Danny Trejo brought us a character that we could all cheer for and in some cases relate to. I for one really enjoyed the first Badass film and was excited when I heard they would be making a sequel, and it got me that much more excited when I heard that the awesome Danny Glover would be along the side of Trejo. Both actors I have loved no matter how big or small the film they have done was, each one always seems to stick out as an actor who can add a certain level likability to any film they appear in. The only thing I had some worry about when this film was announced was how they would go about doing the story. Let's get into this autopsy and see if this film makes a great addition to the first or it's just another failed attempt to catch lightening twice?!
Three years after the events of the first film Frank Vega is doing well and life seems to be good as he runs his own gym where he teaches teens and others how to box and keep them off the streets and out of jail. Things turn for the worst when one of his students who he is close to ends being murdered by a drug lord. It's now time for Frank to hunt down those who are involved in the kids murder. Local liquor store owner Bernie teams up with Frank in order to bring double the badass to the ones involved. Does Frank and Bernie have what it takes to get their revenge or are these two badasses out of their league this time around?!
When it comes to the acting I got exactly what I expected and I thoroughly enjoyed both characters very much. Danny Glover reminds me of a mix of his character from Predator 2 and Gone Fishin'. He basically takes the "ass kicker" part of Lt. Mark Harrigan (Predator 2) and mixes it with the comedic side of Gus Green (Gone Fishin') which makes for a very likable character that you can take serious, but not the whole time. If you have seen the first film you should know what to expect with Danny Trejo, he does not stray away from the character at all and really seems to enjoy doing the role. It may be just me but for the most part the rest of the characters feel very cliche of typical which is fine because in the end all you really will be drawn to are the two Danny's.
The overall plot of this sequel feels in ways like the first film and really is nothing too special and really would make the film nothing special if it was not for the talents of Trejo and Glover. Now that is not to say that it's a complete throwaway plot because there still is some saving graces in the form of the humor that is throughout. Which that leads me to the comedy aspect which does a good job and has them poking fun at one another about their ages. In ways you could say this is an action film version of Grumpy Old Men which had two great lead actors as well. In the end if you enjoyed the original film you will probably enjoy this one as well, but if not then just skip this one. Overall I really enjoyed this film and I certainly will be revisiting in a double feature with the original!
-Daniel "Damnation" Lee
Director: Craig Moss
Lead Actor/Actress: Danny Trejo & Danny Glover
Genre: Action/Drama/Comedy
Blu-ray Release Year: 2014
Theatrical Release Year: 2014
Time Length: 91 mins.
Region Code: Region A
Release Company: 20th Century Fox
Website: www.foxconnect.com


Baba Ram Dev flaunts his wrestling skills!
Yoga guru Baba Ramdev displayed his wrestling skills promoting his the Patanjali Powervita Pro Wrestling League (PWL) in New Delhi on Wednesday. Baba, sporting his usual saffron langot deafeats 2008 Olympic silver medalist Andriy Stadnik. Watch the yoga guru's best technical moves and wrestling skills in this video.