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SA teen Thanasi Kokkinakis battles through to win his first Australian Open match
Source: HeraldSun
Thanasi Kokkinakis serves in his first round match against Igor Sijsling of the Netherlands during day two of the 2014 Australian Open. Picture: Michael Dodge. Source: Getty Images
AS the elder statesman bid farewell, the future of Australian tennis was arriving in the form of Thanasi Kokkinakis just a couple of courts away.
While Lleyton Hewitt's Australian Open ended on Rod Laver Arena, across the way on show court 3 the 17-year-old South Australian was producing a Hewitt-like performance to register a remarkable career breakthrough.
Battling cramp for most of the final set, Kokkinakis fought through the pain to defeat Dutchman Igor Sijsling 7-6 (4) 0-6 7-6 (3) 6-2.
His victory completed a landmark day for the new generation with his good friend Nick Kyrgios also progressing after a hard-fought victory over Germany's Benjamin Becker.
Kokkinakis, a wildcard entrant and the youngest player in the men's field, was only playing the second top level match of his career.
His first was in Brisbane a fortnight ago where he won a spot in the main draw through qualifying and was then defeated in the opening round by Hewitt.
Sijsling started an overwhelming favourite in the match given he is ranked No. 73 in the world but he couldn't capitalise even when his younger opponent was hurting.
Kokkinakis started to experience problems with his calf early in the fourth set and he could barely move at times yet somehow raced to a 3-0 lead.
The cramp started to move further up his leg later in the set but Kokkinankis held his nerve and easily broke Sijsling's serve to take out the victory in just over three hours.
The South Australian teen said he enjoyed the support from friends and Aussie tennis fans.
"I'm very excited. I had a fair few of my close mates all around," he said.
"I was trying to pick them out. When I kind of high fived my mates everyone else had their hand out, so I went around with it. It was good fun."
He admitted that he just managed to "hang in there" when the cramp set in.
"I don't actually know (how I got through) because, I mean, I started to feel it really early, maybe 5 6 in the third set," he said.
"I was like, 'Oh, this ain't going to end too well'. I just tried to make returns.
"I think he got a little tighter thinking what's down the other end.
"I was trying to hang in there and try to find the cheap points.
"I was shortening the points as much as I could, because when it was going for a while I wasn't having much success.
"I broke him early in the fourth, which he should have won that game. Somehow I came up with it. Kind of just tried to keep my serve."
He said he was sorry that some Aussies bowed out on day two but was optimistic about the state of the game.
"It's good for Australian tennis to have me and Nick (Kyrgios) through. Unfortunately Lleyton and Bernie obviously didn't get up.
"But, I mean, Matty (Ebden) is still in. James (Duckworth) I felt put in a good effort against Federer.
"So I think Australian tennis is on the up. Yeah, I know, it's exciting stuff."
Author GREEK WORLD MEDIAPosted on January 15, 2014 January 15, 2014 Categories Greek/Australian
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redpajama_set_name: RedPajamaCommonCrawl


It's been a while since we posted on the blog, so it's time to finally show everyone what we've been working on! (Unfortunately, it was not a hunt for the best fishing spots).
This July was filled with renovation projects around the lake. On Loch Island, we completely removed the old floor and countertops in the Fish Shack. We poured footings and put down new treated wood flooring with a non-slip finish, then moved the ice machine back in and built new countertops that will last for many more years of filleting. The sink now runs hot and cold water, treated for drinking as always. The result is a roomier Fish Shack. For convenience, we purchased a second ice machine that operates in the lodge, leaving you with a shorter walk back to Cabins #4, #5, and #6 or your gathering on the lodge deck.
This summer, we're completing the walkways on Loch Island so that all cabins will be joined to the docks and the lodge by wooden boardwalks. We know that this will make getting around the island much easier, especially when hauling coolers and luggage back and forth! The walkway leading from Cabins #2 and #3 is now joined up to the lodge deck, and another walkway branches off to the Duplex (Cabin #4 and #5), removing the stairs that were previously there. It is now possible to access the lodge and all of the cabins without using stairs.
We completed Cabin #3's deck last week. Cabin #2 will be getting the same size of deck put on this week, and we do plan to expand the small walkway/deck currently on Cabin #1. In the future, we will build a deck on the back of Cabin #6 and have access through French doors in its kitchen. We plan to put BBQs and patio tables on each deck in 2019 so that Housekeeping Plan and Modified American Plan groups have more options for cooking their food when the weather is pleasant. The trees will be trimmed back for a better view of Wabatongushi Lake so that you can sit outside and enjoy every sunset with a hot steak and a cold beverage!
Upcoming projects include replacing docks, replacing the Loch Island dining room and bathroom floors, putting new sturdy tin roofs on the Otter Island cabins, building new decks and walkways at Camp Lochalsh, and renovating the Sandy Bay kitchen (which now has a new propane fridge and stove). There is never-ending work around a fishing lodge, but every summer we are dedicated to making improvements for our guests.


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Former Ministry, This Mortal Coil Members Join pinksideofthemoon
Contact: Joel Gausten/ gaustenbooks@gmail.com
Legendary producer/mixer/guitarist/keyboardist John Fryer (This Mortal Coil) and former Ministry/RevCo producer/mixer/bassist Paul Barker have officially joined pinksideofthemoon, the "Electronica/Trip-hop/Space-Dub Dancefloor" project led by the Portland, OR-based husband-and-wife production/songwriting team of Lee and Jolee Popa. Now a quartet, pinksideofthemoon will focus their collective energies on new music and live performances during the final months of 2014.
One of the industry's most sought-after producers/mixers, John Fryer has worked with a stunning array of artists including Nine Inch Nails, Stabbing Westward, Cradle Of Filth, White Zombie, Depeche Mode, Cocteau Twins, Peter Murphy and HIM. As a musician, he is perhaps best known for his work with UK legends This Mortal Coil alongside 4AD Records co-founder Ivo Watts-Russell. His most recent project, DarkDriveClinic, released the album Noise in My Head in 2011. Lee and Jolee Popa (credited as pinksideofthemoon) created a remix for the DarkDriveClinic track "Find The Flaws" in 2012.
Originally with the Seattle-based Post-Punk band The Blackouts, Paul Barker was a member of Ministry alongside Al Jourgensen from 1986 to 2004, contributing songwriting and production to the band's most commercially successful period with albums like Psalm 69, The Mind Is A Terrible Thing To Taste and The Land Of Rape And Honey. His other projects have included Lead Into Gold, RevCo, Flowering Blight, Pink Anvil and U.S.S.A. Additionally, he produced two albums for the Texas-based act I Love You But I've Chosen Darkness.
A primary figure in the Industrial Rock scene since the late 1980s, Lee Popa served as live engineer for Ministry's legendary 1989/1990 The Mind Is A Terrible Thing To Taste tour (as documented on the 1990 live album, In Case You Didn't Feel Like Showing Up) and Killing Joke's 1990/1991 Extremities, Dirt & Various Repressed Emotions tour (as documented on the 2007 compilation Inside Extremities, Mixes, Rehearsals & Live). In addition to being an early member of the infamous Pigface, Popa's extensive resume as a remixer/producer/sound engineer includes work with Living Colour (recording and mixing their 1994 Japan-only live album Dread), Korn, Prong, White Zombie, Danzig, KMFDM, Queen, Bad Brains, Zilch (the band featuring late Japanese music legend "hide"), Phantom Planet, Gnarls Barkley, The Phunk Junkeez and Bush, among countless others. He was also the frontman of The Slammin' Watusis, a Chicago-based act that released two albums on Epic Records in the late '80s.
Known to perform wearing sunglasses and a veil, the enigmatic Jolee Popa rarely shows her true face on the public stage, choosing instead to let her lyrics, voice and music be her connection to the world around her. The mysterious past of this one-time Timothy Leary associate is said to include stints as a "life coach" to artists as varied as Ministry, British Harlem and Macy Gray, while her musical exploits include production work with UK Progressive Metal act The Dark Sinatras and former Professionals guitarist Ray McVeigh. While some artists clamor for attention, Jolee prefers to simply let her sounds do all the talking.
In addition to performing in Brixton in recent years, pinksideofthemoon have built a strong base of fans, friends and supporters in Japan. The band's 2007 Japanese tour included stops at Club Plug and the legendary Club Goodman, while they have developed strong relationships with Japanese acts OWKMJ, Hifana, Hataken (synthesizer genius) and Akeyama Toyoaki.
The group is looking forward to performing in Japan with their new four-piece configuration.
"We enjoy the culture of Japan and the interaction with the people tremendously," Lee says. "We can't speak the language, but we make music that transcends everything."
Launched in 2006, pinksideofthemoon released a self-titled debut CD in 2011 and the six-song darkmatter EP (featuring mixes by both Fryer and Barker, with assistance from Branden Harper and his arsenal of rare mid-century vintage drums with cutting-edge analog electronics) the following year. The EP can be streamed in its entirety at www.soundcloud.com/pinksideofthemoon. The band's official website is at www.pinksideofthemoon.info.
With Fryer and Barker now on board, pinksideofthemoon have arrived at their ideal lineup.
"We don't need to add anybody else into the equation," offers Lee. "These guys are our friends and family."
(Photo by Giancarlo Tenorio/85 Photography)
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Crafting the Perfect Album: Inside Jade Starling's Captive
photo by Gretchen Johnson Photography
Very few artists are ever fortunate enough to record a perfect song, but Jade Starling did it.
In 1987, Starling and her group Pretty Poison hit #8 on the Billboard Hot 100 with "Catch Me (I'm Falling)," one of the brightest moments in a decade full of incredible Pop music. The song (as well as its accompanying video) was inescapable that year, and appearances on TV and a spot on the soundtrack to the John Cryer film Hiding Out helped bring the song to #1 on the Billboard Hot Dance Club Play chart. And as fans of Breaking Bad know, the song still has a strong place in popular culture.
Now, the voice of one of the world's most revered tracks is back with Captive (Subpoena/Universal), her amazing EDM-driven solo debut. Due out August 12 and created with longtime musical partner/Pretty Poison bandmate Whey Cooler, Captive finds Starling working with some of the world's greatest DJs and remixers, including Lee Dagger of the hugely successful English remix team Bimbo Jones (Lady Gaga/Rihanna/Kylie Minogue), Laszlo (Selena Gomez/Kelly Clarkson/Justin Bieber/Nicki Minaj) and Franck Dona (Universal France). In addition to stellar tunes, Captive features stunning cover art and other photos taken at the Eastern State Penitentiary (including the actual cell that once housed infamous mobster Al Capone) by Gretchen Johnson Photography. A true labor of love and easily the best Dance album of 2014, Captive took close to two years to complete.
Captive's first single, "Insomniak," entered the Top 30 Billboard Dance Chart; the followup, "Think About U," was released on July 18. As soon as the first notes of these or any other song on Captive meet your ears, it will be obvious to you that Starling is making music that is relevant today.
"I think the Captive LP really runs the gamut of sounding new," she explains. "I guess you could classify it more in the EDM genre, but there is a lot of ear candy on there; there's a lot of great hooks and great songs. Some are about love, some are about breaking up and some are about frustrations and – after so many months of making the album – just wanting to get away."
The theme of "getting away" is especially evident on the "Place In The Sun," which was written during one of the coldest east coast winters in history.
"It just got to the point when I wrote that song, I was feeling like I needed a vacation really bad," she shares. "I just needed to see the sun; I hadn't seen it in months."
Starling conceptualized another Captive highlight, "Love Of A Lifetime," after witnessing what some friends who had loved ones serving overseas were going through.
"Love is such a universal thing," she observes. "I think for anybody who has had to deal with a loved one going away for any great length of time – not necessarily [with the] military, but whatever the case will be – "Love Of A Lifetime" will really touch [you] and tug at your heartstrings. It's a very beautiful song."
Love takes a darker turn on "Every Lil Beat," which finds Starling channeling the painful side of romance.
"'Every Lil Beat' is about loving someone so much that it's like an addiction," she says. "As you know, addiction can be detrimental. It's like any drug; if you're craving love from this person all the time, it becomes almost like an obsession. [The song] was about just the pain that you feel when you love someone so much, but you know it's not good for you.
"I think being hurt and having your heart broken are necessary in life, because it opens you up and makes you more aware," she adds. "Some people are afraid to feel pain or any type of emotion. I think feeling pain, feeling hurt and feeling love and any kind of emotion has made me a much better songwriter. I think when you dip into the deep-rooted emotions, that's what touches people and what makes them feel what you're feeling when you're singing it."
On a much lighter note, "Better And Better" is about pure animal attraction to another person – and the hunt that ensues.
"That's a sexy song," Starling says. "If you go to a club or a concert or whatever, you see somebody and just put your sights on them and want them so bad."
Although Starling and Cooler already had a proven track record under the Pretty Poison moniker, they decided to release Captive as a Jade Starling solo album.
"[Cooler] felt strongly about putting this record out as my solo record," she recalls. "He is as equally a part of it as any Pretty Poison record – he's a co-songwriter, producer and multi-instrumentalist on this record – but in order to get this out to a newer audience and have it be successful internationally, he felt it was best to put it out under my name. Since we're working with outside international DJs, remixes and producers, it has a much more international sound to it. I don't think the hardcore Pretty Poison fans will be disappointed at all, but I believe there is a new audience out there too that is totally ready for this record."
It would be a mistake to refer to Captive as Starling's "comeback," as she never really went away. For the past several years, she has performed (often as "Pretty Poison" or "Pretty Poison Featuring Jade Starling") as part of the Freestyle Explosion Tour, an ongoing arena package that also boasts regular appearances by the likes of Lisa Lisa, Expose and Stevie B. The events draw crowds in the thousands.
"There's a hardcore following for Freestyle music; there always has been," offers Starling, who is currently the only artist on the tour to have new music available. "Now, those kids who followed us in the late '80s through the '90s until now are bringing their kids to the show. There's another generation that's into it. It's so phenomenal to see these people just screaming and dancing, and they know all the words. It's an amazing feeling [to] play on a stage for a crowd that large."
Captive is the latest chapter in an intriguing career that has seen Starling and Cooler explore a variety of genres. Much closer to Siouxsie And The Banshees than to Stacey Q, the earliest incarnation of Pretty Poison was a Goth-tinged New Wave act that offered arresting originals ("Kill You") in addition to an amazing cover of "No Tears" by San Francisco/European cult act Tuxedomoon.
"I just liked the darkness of that song," says Starling of the track. "It was dark, hypnotic and had a really good dance beat to it, too. Our music's always been danceable, but in those days, it was definitely darker and more mysterious and underground. We just thought we were too cool for school back then. (laughs)"
By 1987, the band evolved into the unbeatable Dance Pop act that spawned one of the '80s greatest tunes. In hindsight, "Catch Me (I'm Falling)" had a far greater impact on American culture than simply being undeniably catchy.
"We were one of a handful of white artists to perform on Soul Train with Don Cornelius," remembers Starling. "'Catch Me (I'm Falling)' really did break down the color barriers because it was #13 on the R&B chart, and that was unheard of for a white group. From there, we did The Arsenio Hall Show twice. We were very accepted in R&B and Pop. There weren't that many groups back then that could honestly say they were accepted in so many genes."
Those were heady times for Starling and the rest of the group, with highlights including sharing a limo with Paula Abdul (who choreographed Pretty Poison's "Nighttime" video) to the Soul Train Awards and working with video director Bob Giraldi (Michael Jackson's "Beat It") on the "Catch Me (I'm Falling)" clip.
"It's pretty amazing to look back at the body of work that we've done, and the accomplishments," she says. "I feel very blessed to actually still be able to do what I do, and that people still like it. When I hear 'Catch Me (I'm Falling)' on the radio, I still get a thrill. It's still exciting to me."
Before making a live return to Pretty Poison in the late '90s, Starling pursued a decidedly different musical direction with Sex In Violets (S.I.V.), her Alternative Rock-fueled project with Cooler. Sex In Violets issued a CD circa 1994 called Deflowered that soon caught the attention of the Skater Kid contingent. It was Starling's chance to experience playing music to a completely different audience.
"A lot of people weren't putting the two [groups] together, and I wasn't bringing it to their attention," she recalls. "I was just trying to gauge it just by their reaction, and they were really loving it. But what happened was, in '97, we got called to do a tour with Pretty Poison."
Pretty Poison's return the spotlight saw the classic track "Let Freedom Ring" become a smash Dance hit and a powerful anthem within the LGTB community. This left little room for S.I.V. to continue.
"We kind of did an about face with the Rock thing," Starling says. "We had written over 100 Rock songs, and I had to abandon the group because people were calling for Pretty Poison. That was our first big introduction to the industry – no way were we going to turn our back on that opportunity."
With a powerful new album and legions of fans around the world, Jade Starling is ready to embrace the future. Naturally, that includes more work with Whey Cooler, who completes a truly special musical duo that has endured for decades.
"Creatively speaking, he is the Lennon to my McCartney," she says. "Sometimes, he can say 'black' and I can say 'white,' and then we put it together and it's gray and fantastic. I think great minds think alike, and we compliment each other. We have always just had a real talent to be able to make music and be creative together. I'm so happy that the relationship has lasted this long. Don't get me wrong; we do have our differences and we do fight and argue about stuff. I will argue a point 'til I'm blue in the face, but I respect him as a producer and songwriter. If he tells me I've got to sing it again or makes a suggestion, I will always give him the benefit of the doubt and try it. Sometimes, I end up liking [his idea] better. Sometimes, you really need somebody who's not going to 'yes' you, and I have to be thankful that he has been constructive in his criticisms. When I do something really good, [and] he praises it and says how great it is, I know that he really means it."
Jade Starling will perform live August 9 at the 2014 EDM Showcase at the Cutting Room in New York and August 11 at DJ Expo 2014 in Atlantic City. Following a wildly successful appearance before 15,000 people on the Los Angeles stop in June, two more dates have been added for her on Live Nation's Super Freestyle Explosion Tour in Orlando (Sept. 12) and Tampa (Sept. 13).
Jade Starling on the Web:
www.jadestarling.com
www.facebook.com/likejadestarling
www.twitter.com/jadestarling
www.youtube.com/user/jadeshouse
www.instagram.com/jadestarling#
www.soundcloud.com/jade-starling
Strange Dreams at the Speed of Life: Introducing Helio Parallax
As previously discussed on this website, legendary producer/musician Bill Laswell has an active hand in some of the world's most intriguing sounds. Naturally, it makes sense that the music released on his own M.O.D. Technologies label celebrates the kind of intriguing eclecticism that has become the man's trademark. A perfect example of the label's extensive aural palette comes in the form of the recently released self-titled debut collection by Helio Parallax.
Helio Parallax is the brainchild of bassist Josh Werner, whose extensive talents have been utilized by the likes of Lee "Scratch" Perry, Wu-Tang Clan and CocoRosie. Creating a musical core alongside Quincy Jones/Arto Lindsay collaborator Takuya Nakamura (bass/double bass, guitar, piano, programming, keys, trumpet, horn arrangements and vocals) and Dub Nomads/Chimp Beams/Shing02 beat maker Marihito Ayabe (dubbing, mixing/programming), Werner welcomes a slew of special guests to make Helio Parallax an instantly enjoyable collection of tunes from the Orb/Massive Attack school of groove.
Considering the sonic scenery the above description might invoke in one's mind, it might come as a surprise that the true stars of Helio Parallax are the horn players. Saxophonist Troy Simms brings the right amount of melancholia to the sedate "Nocturne of Secret Planets," while Doug Wieselman (Lounge Lizards/Antony and the Johnsons) adds a fantastic film noir vibe to "Frank's Lament."
Other highlights include Yoshio Kobayashi's driving beat on "Kilgore Trout Dub," the mellow presence of singer/songwriter Dustan Louque on "Strange Dream" and the smooth voice of impossible-to-dislike Reggae/Dancehall/Hip Hop/Dubstep artist Jahdan Blakkamoore on "Speed of Life." And of course, Werner's extraordinary bass playing is all over this thing (especially on the exceptional "Another Broken Human.")
Helio Parallax shows the world what is possible when a group of players of the highest-possible caliber come together to create the ultimate chill-out soundtrack. Go HERE to order.
Words for Tommy Ramone
I was still in grade school when my drum teacher – a high school kid from the neighborhood – gave me a mix tape labelled "Punk" and encouraged me to check it out. Riding home on my bike, I had no idea what "Punk" was, let alone what it would sound like. Sitting on my bed later that day, I put on my headphones and hit "Play" on my Walkman.
Out came "Blitzkrieg Bop."
In that instant, I learned that music wasn't just about entertainment – music could also be an indescribable, powerful force that could dramatically affect and influence the course of a person's life. My existence changed forever because of that one song.
Every band I've played in, every book and article I've written, every project I've ever undertaken has been the direct result of those 132 seconds.
The Ramones not only changed lives; they also saved them. Many of us know this to be true. There is no need for me to elaborate.
If you're a true Ramones fan, I know how it's been for you today. We've lost more than just the last original Ramone; we've lost something within ourselves.
All Ramones album are amazing, but Leave Home will forever be my favorite. The band's Pop sensibilities were never sharper; there was a bounce to the music on Leave Home that was never fully duplicated on future releases. There isn't a single note on that album that isn't utterly perfect. The greatest Punk album ever made. Nearly three decades (and thousands of records added to my collection) since I first heard it, Leave Home remains the album I've listened to the most in life. The album's co-producer? Tommy Ramone.
Fast-forward to my high school years, and Leave Home was joined by another irreplaceable album in my life, The Replacements' Tim. That band was never better. The album's producer? Tommy Ramone.
The evening before Tommy's passing, and with no prior knowledge of his illness and impending exit, I sat my 12-year-old stepson down and played him The Ramones for the first time. After all, it's my duty as a parent to steer him in the right direction in life. I explained to him how important this band was, and how they were responsible for so much of the music and culture around today. I told him that when he finds himself feeling down during life's many trials, The Ramones will save his ass every time.
I also gave him the best advice I'll ever offer as his stepfather: "Never trust anyone who doesn't like The Ramones."
Tommy is gone, but now the next generation of my family knows his work. I was finally able to pay Tommy – and Joey, Dee Dee and Johnny – back.
Goodbye, Tommy. Thank you for giving us a better world.
- Joel Gausten
Former Ministry, This Mortal Coil Members Join pin...
Crafting the Perfect Album: Inside Jade Starling's...
Strange Dreams at the Speed of Life: Introducing H...


text:
Safety Grenade
What started off as a simple gesture of goodwill has somehow taken over the internet, perhaps due to populist thinking or from a socialist tilting desire to establish a separate identity from the neoliberal nazi brigade which has assumed power in the western world all of a sudden. Here are some short sound bites gathered from the 'cyber' of what people think about the safety pin solidarity movement:
The "safety pin movement" began in the wake of Britain's vote to leave the European Union. Amid reports of post-Brexit hate crimes, an American living in London posted now-deleted tweets urging people to wear safety pins on their outer garments to show their willingness to protect people being abused. Within days, the hashtag #safetypin was trending on Twitter. The campaign caught on quickly in the United States after Trump won.
"This is meant to be more than just a symbolic gesture or a way for like-minded people to pat each other on the back. If people wear the pin and support the campaign they are saying they are prepared to be part of the solution. It could be by confronting racist behaviour, or if that is not possible at least documenting it. More generally it is about reaching out to people and letting them know they are safe and welcome." @Cheeah (Campaign Founder)
"I won't trust anyone just because they are wearing a safety pin. No, it won't give me any comfort. I will trust actions, nothing more, nothing less. I wear my blackness every single day, and people don't have to look for it to target me. Don't make me look for your symbol of support. Show it every day in your words and deeds. Yes, it's nice to tell marginalized populations that you won't hurt them, but it's even nicer to make sure that sexist White Supremacists know that they are not safe attacking me." @IjeomaOluo Ijeoma Oluo, named one of the Most Influential People in Seattle by Seattle Magazine.
"A safety pin is literally one of the most insignificant things one could wear. They are nothing but badges made for white people to assuage white guilt and declare themselves allies completely autonomously. It's convenient and puts the wearer under absolutely no scrutiny from their peers. It signifies almost nothing at all. It is a self-administered pat on the back for being a decent human being. Privilege at its finest." @MajorPhilebrity Phillip Henry is an actor, comedian, & singer
"The act is meant to show solidarity with women, Muslims, minorities, the LGBT community, and anyone else who fears what this new nativist chapter may mean for their safety and well-being." @mgustashaw Megan Gustashaw Contributing Fashion Editor at GQ
"When I'm sitting on a train and I see your safety pin, I don't think: 'Hurrah, now I feel safe.' My default expectation from you as a human being in society is to not be racist or call me a Paki on my morning commute. Wearing a safety pin just reminds me that I'm not safe, and telling me that you're on 'my side' just reinforces the idea of sides. I don't want sides. I want to go to work, do my job, go to the pub and not have to wear my race on my sleeve while doing it." @HuffPostPoorna Poorna Bell Executive Editor, The Huffington Post UK
"This really does nothing to dismantle racism/White Supremacy — You're not a special snowflake." @cjwilburn Courtney Wilburn, blogger from Philadelphia
"I know, I know, you're uncomfortable. You feel guilty. You think people are going to suspect you of being a racist, and you want some way to assuage that guilt and reassure your neighbors that you're one of the good ones. But you know what? You don't get to do that. You need to sit in your guilt right now. You need to feel bad. So do I, so do all of us. We fucked up. We didn't do enough to change the minds of our fellow White people" @keeltyc Christopher Keelty blogger from New York


Pivotal Commware has transferred its corporate headquarters from Bellevue, Washington, to a new building in Kirkland in a move to meet research requirements as the company works to expand its 4G and 5G wireless capabilities.
Brian Deutsch, CEO of Pivotal Commware, said in a statement published Monday the new headquarters will provide the company additional space to support testing work for Tier One operators and other clients.
Deutsch added the company also plans to hire new employees this year.
Pivotal Commware has developed the Holographic Beam Forming technology platform designed to broaden the spectral efficiency and capacity of 4G and 5G networks to meet wireless data needs through the use of software-enabled antennas.
The new corporate facility in Kirkland includes expanded laboratories for radiofrequency and digital system validation, outdoor test range for antenna testing and an anechoic chamber to support HBF antenna measurements.


text:
NCA sues Electronic Communications Tribunal for bias
Source: Daily Guide
Joseph Anokye is the NCA boss
The National Communications Authority (NCA) has sued the Electronic Communications Tribunal for what it describes as 'potential bias' against the authority by the chairman of the Tribunal Justice, Samuel Kofi Date-Bah.
In a writ filed at an Accra High Court, the NCA wants the court to bar the chairman of the tribunal whose resignation takes effect from July 1 this year from adjudicating on matters involving it that are before the tribunal.
The NCA argues that certain pronouncements by the chairman in his resignation letter give them reason to believe that he will not be fair in handling matters concerning the authority.
The NCA is also challenging the decision of the tribunal to set a date for the hearing of an application to 'stay' its closure of certain radio stations in the country although there is nothing to 'stay'.
The NCA, this year, shut down a number of private radio stations including Radio XYZ and Radio Gold for operating illegally.
The stations subsequently filed an application before the tribunal seeking the stay of execution with regard to the closure.
The NCA, however, contends that there is no execution to be stayed "when as a matter of fact, there was no pending execution, and thus there was nothing left to be stayed by the tribunal."
"That on 30th May, when the application of stay of execution pending appeal was heard, it was manifest to the tribunal through the various exchanges between the tribunal and counsel for Radio XYZ that as a matter of fact, the radio stations had already been closed down on 9th of May 2019, and therefore there was nothing left to be stayed. That based on the leading nature of the said exchanges…Counsel for Radio XYZ suggested to the tribunal that he 'would take a cue from the tribunal and file an application for suspension of the order that closed down the radio station.'"
The NCA is also challenging the decision of the tribunal to fix a date for the motion by the affected radio stations which have not been filed yet.
"That without any application before the tribunal for such suspension of the closing down of the radio station, the tribunal granted liberty for Radio XYZ Ltd to apply for a suspension of the impugned decision of the applicant, pending the hearing of the appeal. That notwithstanding, the absence of any pending application before the tribunal for suspension of the order closing down the radio station, the tribunal still went ahead to set timelines for the yet-to-be filed motion."
Based on this and some other reasons, the NCA believes that the current chairman of the tribunal will not be fair to them.
"That the contents of the letter of resignation of the tribunal chairman raises a strong likelihood of bias in the cases pending before the tribunal against the applicant (NCA) and therefore prays the court to prohibit him from continuing to hear any of the cases involving NCA at the tribunal," the NCA writ added.
US 'launched cyber-attack on Iran weapons systems'


text:
Sports: Bearse Becomes Gay Games Ambassador
Longtime film and TV star and Director, Amanda Bearse, has become the most recent Gay Games Ambassador, joining other athletes, artists and celebrities who are lending their support to the movement. The 7th quadrennial Gay Games will be held in Chicago July 15-22, 2006. Online registration for Gay Games VII began July 1 at GayGamesChicago.org.
Bearse, known around the world for her role as neighbor Marcy Rhoades D'Arcy on the 10-year hit comedy series Married ... With Children, was among the first Hollywood stars to come out of the closet. She held a press conference on National Coming Out Day in 1993—while Married ... With Children was still on the air.
'I believe in the life-changing experience that the Gay Games movement has fostered for thousands of gays and lesbians around the world,' Bearse said. 'Gays and lesbians have created their own families, their own communities, across many boundaries, and the Gay Games movement is an institution that has long been a major force for change.'
Bearse is a strong supporter of community causes, including the Human Rights Campaign, the Victory Fund, PAWS/LA and the Humane Association. In the past she served on the Board of Directors of the Los Angeles Gay and Lesbian Community Service Center.
'We are delighted to have Ms. Bearse join our family of Gay Games Ambassadors,' said Federation of Gay Games co-president Kathleen Webster of Philadelphia. 'When Amanda came out to the world in 1993, she risked her well-established career for the greater cause of civil rights. She helped set the stage for the coming out of other lesbian entertainers, such as Ellen DeGeneres in 1997.'
Bearse's TV acting debut was on the daytime soap opera All My Children in 1970. She starred in Married ... With Children from 1987-1997 and also directed more than 30 episodes. The show still airs twice a day in syndication in the U.S. and in translation in countries around the world. Since Married ... With Children, she has directed, written and starred in film and TV roles. One recent project was the award-winning Give or Take an Inch, a short film in which she plays a lesbian mom coping with her sister's coming out as transgender.
Bearse joins a list of Gay Games Ambassadors supporting the Gay Games movement in Chicago and beyond including baseball star Billy Bean, Olympic gold medal swimmer Bruce Hayes, photographer Tom Bianchi, actress Judith Light and former US Ambassador to Luxembourg James Hormel.


text:
using System.Collections.Generic;
using System.Diagnostics;

namespace Lucene.Net.Store
{

    using BytesRef = Lucene.Net.Util.BytesRef;
    using UnicodeUtil = Lucene.Net.Util.UnicodeUtil;

    /// <summary>
    /// Abstract base class for performing write operations of Lucene's low-level
    /// data types.
    ///
    /// <para/><see cref="DataOutput"/> may only be used from one thread, because it is not
    /// thread safe (it keeps internal state like file position).
    /// </summary>
    public abstract class DataOutput
    {
        /// <summary>
        /// Writes a single byte.
        /// <para/>
        /// The most primitive data type is an eight-bit byte. Files are
        /// accessed as sequences of bytes. All other data types are defined
        /// as sequences of bytes, so file formats are byte-order independent.
        /// </summary>
        /// <seealso cref="DataInput.ReadByte()"/>
        public abstract void WriteByte(byte b);

        /// <summary>
        /// Writes an array of bytes.
        /// </summary>
        /// <param name="b">the bytes to write</param>
        /// <param name="length">the number of bytes to write</param>
        /// <seealso cref="DataInput.ReadBytes(byte[], int, int)"/>
        public virtual void WriteBytes(byte[] b, int length)
        {
            WriteBytes(b, 0, length);
        }

        /// <summary>
        /// Writes an array of bytes. </summary>
        /// <param name="b"> the bytes to write </param>
        /// <param name="offset"> the offset in the byte array </param>
        /// <param name="length"> the number of bytes to write </param>
        /// <seealso cref="DataInput.ReadBytes(byte[], int, int)"/>
        public abstract void WriteBytes(byte[] b, int offset, int length);

        /// <summary>
        /// Writes an <see cref="int"/> as four bytes.
        /// <para/>
        /// 32-bit unsigned integer written as four bytes, high-order bytes first.
        /// <para/>
        /// NOTE: this was writeInt() in Lucene
        /// </summary>
        /// <seealso cref="DataInput.ReadInt32()"/>
        public virtual void WriteInt32(int i)
        {
            WriteByte((byte)(sbyte)(i >> 24));
            WriteByte((byte)(sbyte)(i >> 16));
            WriteByte((byte)(sbyte)(i >> 8));
            WriteByte((byte)(sbyte)i);
        }

        /// <summary>
        /// Writes a short as two bytes.
        /// <para/>
        /// NOTE: this was writeShort() in Lucene
        /// </summary>
        /// <seealso cref="DataInput.ReadInt16()"/>
        public virtual void WriteInt16(short i)
        {
            WriteByte((byte)(sbyte)((ushort)i >> 8));
            WriteByte((byte)(sbyte)(ushort)i);
        }

        /// <summary>
        /// Writes an <see cref="int"/> in a variable-length format.  Writes between one and
        /// five bytes.  Smaller values take fewer bytes.  Negative numbers are
        /// supported, but should be avoided.
        /// <para>VByte is a variable-length format for positive integers is defined where the
        /// high-order bit of each byte indicates whether more bytes remain to be read. The
        /// low-order seven bits are appended as increasingly more significant bits in the
        /// resulting integer value. Thus values from zero to 127 may be stored in a single
        /// byte, values from 128 to 16,383 may be stored in two bytes, and so on.</para>
        /// <para>VByte Encoding Example</para>
        /// <list type="table">
        ///     <listheader>
        ///         <term>Value</term>
        ///         <term>Byte 1</term>
        ///         <term>Byte 2</term>
        ///         <term>Byte 3</term>
        ///     </listheader>
        ///     <item>
        ///         <term>0</term>
        ///         <term>00000000</term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>1</term>
        ///         <term>00000001</term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>2</term>
        ///         <term>00000010</term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>...</term>
        ///         <term></term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>127</term>
        ///         <term>01111111</term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>128</term>
        ///         <term>10000000</term>
        ///         <term>00000001</term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>129</term>
        ///         <term>10000001</term>
        ///         <term>00000001</term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>130</term>
        ///         <term>10000010</term>
        ///         <term>00000001</term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>...</term>
        ///         <term></term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>16,383</term>
        ///         <term>11111111</term>
        ///         <term>01111111</term>
        ///         <term></term>
        ///     </item>
        ///     <item>
        ///         <term>16,384</term>
        ///         <term>10000000</term>
        ///         <term>10000000</term>
        ///         <term>00000001</term>
        ///     </item>
        ///     <item>
        ///         <term>16,385</term>
        ///         <term>10000001</term>
        ///         <term>10000000</term>
        ///         <term>00000001</term>
        ///     </item>
        ///     <item>
        ///         <term>...</term>
        ///         <term></term>
        ///         <term></term>
        ///         <term></term>
        ///     </item>
        /// </list>
        ///
        /// <para>this provides compression while still being efficient to decode.</para>
        /// <para/>
        /// NOTE: this was writeVInt() in Lucene
        /// </summary>
        /// <param name="i"> Smaller values take fewer bytes.  Negative numbers are
        /// supported, but should be avoided. </param>
        /// <exception cref="System.IO.IOException"> If there is an I/O error writing to the underlying medium. </exception>
        /// <seealso cref="DataInput.ReadVInt32()"/>
        public void WriteVInt32(int i)
        {
            while ((i & ~0x7F) != 0)
            {
                WriteByte((byte)unchecked((sbyte)((i & 0x7F) | 0x80)));
                i = (int)((uint)i >> 7);
            }
            WriteByte((byte)(sbyte)i);
        }

        /// <summary>
        /// Writes a <see cref="long"/> as eight bytes.
        /// <para/>
        /// 64-bit unsigned integer written as eight bytes, high-order bytes first.
        /// <para/>
        /// NOTE: this was writeLong() in Lucene
        /// </summary>
        /// <seealso cref="DataInput.ReadInt64()"/>
        public virtual void WriteInt64(long i)
        {
            WriteInt32((int)(i >> 32));
            WriteInt32((int)i);
        }

        /// <summary>
        /// Writes an <see cref="long"/> in a variable-length format.  Writes between one and nine
        /// bytes.  Smaller values take fewer bytes.  Negative numbers are not
        /// supported.
        /// <para/>
        /// The format is described further in <see cref="DataOutput.WriteVInt32(int)"/>.
        /// <para/>
        /// NOTE: this was writeVLong() in Lucene
        /// </summary>
        /// <seealso cref="DataInput.ReadVInt64()"/>
        public void WriteVInt64(long i)
        {
            Debug.Assert(i >= 0L);
            while ((i & ~0x7FL) != 0L)
            {
                WriteByte((byte)unchecked((sbyte)((i & 0x7FL) | 0x80L)));
                i = (long)((ulong)i >> 7);
            }
            WriteByte((byte)(sbyte)i);
        }

        /// <summary>
        /// Writes a string.
        /// <para/>
        /// Writes strings as UTF-8 encoded bytes. First the length, in bytes, is
        /// written as a <see cref="WriteVInt32"/>, followed by the bytes.
        /// </summary>
        /// <seealso cref="DataInput.ReadString()"/>
        public virtual void WriteString(string s)
        {
            var utf8Result = new BytesRef(10);
            UnicodeUtil.UTF16toUTF8(s, 0, s.Length, utf8Result);
            WriteVInt32(utf8Result.Length);
            WriteBytes(utf8Result.Bytes, 0, utf8Result.Length);
        }

        private const int COPY_BUFFER_SIZE = 16384;
        private byte[] copyBuffer;

        /// <summary>
        /// Copy numBytes bytes from input to ourself. </summary>
        public virtual void CopyBytes(DataInput input, long numBytes)
        {
            Debug.Assert(numBytes >= 0, "numBytes=" + numBytes);
            long left = numBytes;
            if (copyBuffer == null)
            {
                copyBuffer = new byte[COPY_BUFFER_SIZE];
            }
            while (left > 0)
            {
                int toCopy;
                if (left > COPY_BUFFER_SIZE)
                {
                    toCopy = COPY_BUFFER_SIZE;
                }
                else
                {
                    toCopy = (int)left;
                }
                input.ReadBytes(copyBuffer, 0, toCopy);
                WriteBytes(copyBuffer, 0, toCopy);
                left -= toCopy;
            }
        }

        /// <summary>
        /// Writes a <see cref="T:IDictionary{string, string}"/>.
        /// <para/>
        /// First the size is written as an <see cref="WriteInt32(int)"/>,
        /// followed by each key-value pair written as two consecutive
        /// <see cref="WriteString(string)"/>s.
        /// </summary>
        /// <param name="map"> Input <see cref="T:IDictionary{string, string}"/>. May be <c>null</c> (equivalent to an empty dictionary) </param>
        public virtual void WriteStringStringMap(IDictionary<string, string> map)
        {
            if (map == null)
            {
                WriteInt32(0);
            }
            else
            {
                WriteInt32(map.Count);
                foreach (KeyValuePair<string, string> entry in map)
                {
                    WriteString(entry.Key);
                    WriteString(entry.Value);
                }
            }
        }

        /// <summary>
        /// Writes a <see cref="string"/> set.
        /// <para/>
        /// First the size is written as an <see cref="WriteInt32(int)"/>,
        /// followed by each value written as a
        /// <see cref="WriteString(string)"/>.
        /// </summary>
        /// <param name="set"> Input <see cref="T:ISet{string}"/>. May be <c>null</c> (equivalent to an empty set) </param>
        public virtual void WriteStringSet(ISet<string> set)
        {
            if (set == null)
            {
                WriteInt32(0);
            }
            else
            {
                WriteInt32(set.Count);
                foreach (string value in set)
                {
                    WriteString(value);
                }
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
At-Tud (arabisch ; auch et-Tod, el-Tod oder el-Tôd; altägyptisch Djerti (Ḏrty); altgriechisch Touphion) ist ein Ort etwa zwanzig Kilometer südwestlich der Stadt Luxor in Ägypten. Er befindet sich im Gouvernement al-Uqsur (Luxor), in der Antike befand sich Djerti im 4. oberägyptischen Gau.

Geschichte

Der Month-Tempel

In at-Tud steht ein heute stark zerstörter Tempel des Gottes Month. Die Baugeschichte lässt sich bis in das Alte Reich zurückverfolgen, denn ein Pfeiler trägt die Kartusche Userkafs (5. Dynastie). Einige Blöcke weisen auf Bautätigkeiten von Königen der 11. Dynastie hin. Von einem Neubau des Tempels unter Sesostris I. ist noch das Fundament und eine Mauer erhalten. Neben einer Prozessionsstraße ließ Thutmosis III. eine Barkenstation mit Säulenumgang errichten und Ptolemaios IV. den Tempel durch eine Sphinxallee mit einer Kaianlage verbinden. Ptolemaios VIII. erweiterte dann den Tempel des Mittleren Reiches durch einen Hypostyl und einen Pronaos. Zum Tempel gehört außerdem ein 9 Meter tiefer Heiliger See.

Forschungsgeschichte
Fernand Bisson de la Roque führte zwischen 1934 und 1940 Grabungen in at-Tud durch. 1936 wurde im Fundament des Tempels der "Schatz von El-Tod" entdeckt, der aus vier Bronzetruhen Amenemhets II. mit zum Teil aus dem Vorderen Orient importierten Wertgegenständen bestand. Dieser Schatz befindet sich heute im Ägyptischen Museum Kairo und im Louvre in Paris. De la Roque und Jean Vercoutter setzten die Ausgrabungen in at-Tud von 1946 bis 1950 fort, Christiane Desroches-Noblecourt von 1979 bis 1991. Seit 1998 ist eine französische Mission unter der Leitung von Christophe Thiers mit der epigraphischen Aufnahme des Tempels beschäftigt.

Weblinks

Tud
Tud
Gouvernement al-Uqsur
Antike ägyptische Stadt

redpajama_set_name: RedPajamaWikipedia


text:
Q: Accessing JSON array after it has been streamed, Flash as3 I have the following code:
import flash.utils.describeType;
import flash.utils.getQualifiedClassName;
import flash.text.TextField;

stop();

var chartsURL : URLRequest = new URLRequest();
chartsURL.url="http://zagony.net/charts.php"
chartsURL.method=URLRequestMethod.GET;

var streamer:URLLoader=new URLLoader();
streamer.addEventListener(Event.COMPLETE, receive);
streamer.addEventListener(IOErrorEvent.IO_ERROR, missing);
streamer.load(chartsURL);

function receive (event : Event) : void
{
    var buttonsCount:int = 0;

    var json : String = event.target.data;
    var myResults:Object = JSON.parse(json);
    //trace(json);
    for each(var data:Object in myResults)
    {
        var listItem:ListItem = new ListItem();
        addChild(listItem);

        listItem.y = 200 + (buttonsCount * 400);

        buttonsCount++;
    }
}

function missing (event : Event) : void
{
    //trace("broken");
}

It successfully gets the JSON from the URL, but when it goes to add a symbol for each entry in the array, it simply does nothing.
This problem is only worsened by the fact that I'm using Flash 11 export in CS5, and therefore I can't use the built in Test Movie or trace to the console.
If anybody could point out what I'm doing wrong, it would be greatly appreciated. Thanks in advance.

redpajama_set_name: RedPajamaStackExchange


The Appellate Division of the Workers' Compensation Board was established by the 125th Legislature. [PL 2011 ch 647 � �19-21]. The division went into effect August 30, 2012.
Creation of the division changed the process for challenging a decision of a single Administrative Law Judge of the Board. Now, parties must first bring an appeal to the division, and not the Law Court. The Law Court has amended Maine Rule of Appellate Procedure 23 to eliminate discretionary appeals from decisions of a single Board Administrative Law Judge [Me.R.App.P 23] (see Rule 23 on page 52).
Appeals to the Appellate Division are "as of right" (i.e., not discretionary) and may be taken from any decision of a single Board Administrative Law Judge made pursuant to section 318 of the Workers' Compensation Act.
Any party may file an appeal with the division by submitting a "Notice of Intent to Appeal" (form WCB-240), along with a copy of the decision being appealed, to the division Clerk's office in Augusta, or to any Board Regional Office within 20 days of receiving the Administrative Law Judge's decision.
Cases on appeal will be heard by a panel of no fewer than three (3) of the Board's Administrative Law Judges (excluding the Administrative Law Judge whose decision is under review) appointed by the Board's Executive Director or designee. The panel will issue a written decision affirming, vacating, remanding, or modifying the original decree.
Appeals from a decision of the full Board pursuant to section 320 or from a decision of the Appellate Division may continue to be brought as discretionary appeals to the Law Court.


Meaning and definitions of attack, translation in Uzbek language for attack with similar and opposite words. Also find spoken pronunciation of attack in Uzbek and in English language.
What attack means in Uzbek, attack meaning in Uzbek, attack definition, examples and pronunciation of attack in Uzbek language.


text:
Wheeling Water Works
Several years after annexing Warwood, Wheeling city officials sought to further integrate the neighborhood and obtain a higher quality water. According to a Wheeling News-Register article from 1935, Warwood was listed as a town with the purest water in the country. So in 1925, the water works treatment plant was relocated from River Road to Warwood. The Art Deco filtration plant and pumping station (pictured) were designed by Pittsburgh's J.N. Chester Engineers. The filtration plant is slated for demolition in 2017.
Pumping station, facing SW, taken Feb 2017, photo courtesy of Christina Rieth
Filtration station, slated for demolition in 2017. Facing NW, taken Feb 2017, photo courtesy of Christina Rieth
Filtration station, slated for demolition in 2017. Facing SE, taken Feb 2017, photo courtesy of Christina Rieth
Up close shot of the filtration station front entrance (slated for demolition in 2017). Facing NW, taken Feb 2017, photo courtesy of Christina Rieth
Up close shot of the filtration station tower (slated for demolition in 2017). Facing NW, taken Feb 2017, photo courtesy of Christina Rieth
The treatment plant is located in Warwood, Wheeling's northern most neighborhood. the neighborhood is named after Henry Warwood, who founded the Warwood Tool Company in 1854 in Martins Ferry. The company was relocated to Warwood in 1907.
As early as 1795, Thomas Glenn is the first known owner of the land; he bequeathed the land to his son, William, sometime before 1795. Farmers initially settled in the region north of Wheeling for its rich, fertile soil.
Farmland in Warwood made way to industrial and residential development at the turn of the century. Foreseeing the potential of Warwood's future, R. J. McCullagh founded the Warwood Land Company in 1903. The company sold the lots at a very low price at the time, starting at $300 each. The land was far less susceptible to floods than other parts of Wheeling, and streetcars ran between Warwood and Wheeling every 15 minutes, which became excellent selling points for prospective residents. Working-class families who came to the area sought employment at the industrial plants and built their residences, businesses, and churches nearby. Coal mines were abundant in Warwood, and an oil boom hit Warwood in 1911.
Warwood became an incorporated community on May 26, 1911, and as part of the "Wheeling Greater Movement", Wheeling annexed the Warwood neighborhood in 1919.
Hinrichs Bissett, Mabel, & Bertha Cupp Jones. "Warwood: a History, 1669-1975." Ernest St. C. Benfield, 1993.
Jourdan, Katherine, and Laura Pfeifer. "West Virginia Historic Property Inventory Form". Feb 1991. http://services.wvgis.wvu.edu/SHPOdocs/PDFs/Architectural/OH-0001-1916.pdf. Jourdan, Katherine, and Laura Pfeifer. "West Virginia Historic Property Inventory Form". Feb 1991. http://services.wvgis.wvu.edu/SHPOdocs/PDFs/Architectural/OH-0001-1917.pdf.
Rieth, Christina. "Warwood: a Walking Tour of its History and Architecture". Wheeling Heritage, 2017.
A brief history of the Wheeling Water Works, prior to its relocation to Warwood
http://weelunk.com/recording-history-wheeling-water-works/
1500 Richland Avenue
Wheeling, WV 26003
Urban History
Created by Christina Rieth (Preservation Alliance of West Virginia) on July 18th 2017, 12:41:23 pm.
Warwood: a Walking Tour of its History and Architecture
This is a virtual walking tour includes 23 of Warwood's most historic sites. It features residences, businesses, churches, schools, and even an island. A brochure of the walking tour is available at the Wheeling Convention and Visitor's Bureau and the Wheeling Artisan Center.


text:
I Tried GitHub Copilot and it's the Best Thing Ever
Test Driven Development (TDD): How, What & Why
Delete Git tag
Tuesday 29 March 2022, 17:47
...the AI trained on open source which writes code for you!
Sunday 29 August 2021, 22:08
Write better software with a test-first lifecycle.
Tuesday 06 April 2021, 17:51
Delete a Git tag locally and remote
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