I am changing the format I used in the first interview by including the original member's question.
The interview was done Sunday over a cup of coffee overlooking the lake here in Austin. We thought it was pretty darn hot and found out it was 108 afterwards.
1. What's up with Alien Love Child? Who is in the band, and will there ever be a cd and tour?
Eric - "We're not doing anything right now. There is one cut with Bill Maddox and Chris Maresh from Alien that will be on the new record."
2. Has Eric ever thought of doing an album of nothing but cover tunes? It would take the pressure off him to write. I would love to hear him record Simon and Garfunkel's "April Come She Will"(which I've heard him do live), and a bunch of Hendrix.
Eric - " Yes, I've thought of doing that."
At this point I quizzed Eric about the accuracy of my posting in which I said that I thought there was little chance of seeing him put any Hendrix tunes on record.
Eric - "They're so beautiful the way they were done, and a lot of the fun I have is playing them note for note off the record. It's the way I pay tribute to something that inspires me. I've never really felt the urge to really redo a Hendrix song."
I have 2 questions for Eric.
1) At what age did he start playing guitar, and what kind of guitar was it?
Eric - "Eleven years old, and it was a 64 or 65 white Fender Musicmaster."
2) What is Eric's all time favorite song to listen to? I don't mean one of his own songs or songs that he plays.
Eric - " If I had to choose just one, it might be _For Free_ by Joni Mitchell."
Speaking of "Venus Reprise", I have a question for Park to ask Eric: Why did he only record an excerpt on Venus Isle, and not the whole song?
Eric - " I didn't feel I was singing it well in the studio and so I made it into an instrumental."
Do you tour internationally, ie Europe, South Africa (My home town) and the like? If not, Why?
Eric - "I do when we can. I would love to tour South Africa if the chance presented itself."
And do you hold guitar workshops?
by Marc Anthony Thompson for the Warner Brothers label in 1984. I wanted to see if this is accurate and if this record is still available.
Eric - " Did I? I'm not really sure or not." I might have done it during the time I was doing a lot of studio work."
2. This doesn't really have to do with the above question. I was wondering if Eric has published any of the songs that he did while he was known as Eric Johnson and the Avenue? Songs such as "All I Need" and "All Those Days". I was also wondering if Eric still talks to Rob Alexander?
Eric - " All of those songs are published, and I got a letter from Rob just the other day."
When and from where did Eric procure the 1954 Strat "Virginia"?
Eric - "I found it in the warehouse section of J. R. Reed Music in Austin in 1977 leaning up against the wall waiting to have some work done on it. I called the owner and asked if he was interested in selling it. He said no, but he might trade for a nice Gibson. I found a really nice SG a few days later and bought it in the hope he would like it. He did."
of a 12-string (if not the octaves).
Hey Park/Jerry - any fave pix/trix up Eric's sleeve in this vein?
Eric - "Nope. Other than sanding them down I really don't do anything in this vein."
At this point, since we had had such a long thread about who we would like to see Eric collaborate with, I asked him who he would like to work with.
Eric - "Peter Gabriel, Bryan Adams, B. B. King, Joni Mitchell, Paul Rodgers, Grady Tate and Nancy Griffith, just to name a few."
I have a question about Eric's practice space and his hearing. I read in an interview that he suffers from a condition that caused ringing in his ears. How is that condition now? Park - Sorry but I forgot to ask but I know it's much better.
Along with that, I was wondering about his practice space and sound. He said that he played in a little room with Marshalls on 10 for too many years. Did he use a special studio for that, or does he have a sound proof room in his home? Marshalls turned all the way up will rock any residential neighborhood.
Eric - "I play at much less volume now and practice in my studio, which has a large room."
The last part of this question is what does he do now? How does he get the volume that he needs to get the tone that he wants without putting his hearing in danger?
Eric -"Amp positoning helps. My volume is less than half what it used to be."
Park -"Are you happy with your tone and feedback?"
Eric -"Yes. I am finally getting it to sound much like it used to. It was really hard to get the sound at that lower level but it's pretty much come around."
Since we're on the subject of unreleased songs..... Back in 1993 on the Blues Festival Tour, EJ did a song he introduced as "World of Trouble", an instrumental blues number that sounded great!!!! Is this an original song by EJ or is it a cover he did for that tour?
Eric - "It's an original. I just cut it live in the studio and it will be on the next record."
Park: next time you talk to Eric, please ask him to seriously consider recording a more guitar-oriented version of Lone Star (the song he played on Stuart Hamm's 'The Urge' album). Eric's playing is mind-boggling on this song.
We've all discussed the Eric's ideas of good tone when it comes to creating and recording music. I'd like to know about his opinions on hi-fi. What hi-fi equipment does Eric prefer to listen to his stuff on? Is he has picky about his stereo equipment as he is his guitar equipment?
Eric - "My stereo is mostly 30 years old now. I lucked into some Mac (MacIntosh) tube equipment that I've used for years. There is some solid state equipment that I like too. I'm not that picky about stereo equipment."
How does he feel when he hears his stuff being played on inferior equipment?
Would Eric unofficially recommend any particular brand of equipment (speakers,amps, etc.) or style of equipment (planar speakers v. conical speakers,tube v. solid state amps, etc.).
What playback system does he use in-studio?
Eric - "BGW power amp and Yamaha NS10 speakers."
Could you get some recommendations of specific classical CD's that Eric enjoys? Particularly violin stuff that reminds him of his own lead playing.
Has Eric ever been tempted to ditch all the vintage gear and go 100% modern/digital to avoid the temperamental equipment thing (kind of like Eddie van Halen did years ago)?
Eric - "Sure. I think that eventually they will get computer sonic modeling together and I'll just plug into a computer that will go into the PA."
I'm curious to know whether Eric has ever gotten into Rush. I've never heard him comment on Lifeson's playing or Rush's music in general.
Park - Forgot to ask.
Has Eric ever taken a stab at playing flamenco/jazz style guitar, like Strunz & Farah?
Are there any guitar or music books which Eric has read/studied over the years which he would recommend to other guitarists?
Eric - "Chord Chemistry by Ted Greene."
Park - "Another Ted Greene plug. Why don't you have him open on tour sometime?
Eric - "I would _love_ to, if he would."
Has Eric's guitar playing improved in a series of quantum leaps, or has it been slow and steady improvement?
Eric - "It's been a steady slow process. The more I've worked at it the better I've gotten though."
Does Eric visualize music as he plays it (or listens to it?). Does he see his music as a shape or color or line or something?
Why isn't he on any of the Hendrix tribute CD's? I can't think of a better person to do a Hendrix song than EJ. I think it's a crime.
Park - This was answered previously. They just don't ask him.
Are there any of his recorded songs which he would be interested in re-recording from a different angle and putting on an upcoming CD?
I talked with Eric today and he said this was Venus Reprise. In the studio more and more kept getting cut from the song so it ended up being a lot shorter then when he started. Also he was never very happy with the vocal track so it was dumped.
Does it mean EJ gave up recording "...Mountain" or will he try again someday?
Eric - "I just never could get it on tape as beautiful as it was in my head. I don't know that I will ever get it the way I would like. The best thing I could do at the time was throw it on as a jam."
My question: Can Eric describe some peak moments he may have had playing music?
Eric - "I enjoyed the period right after Ah Via Musicom came out when we were able to play 2500 seat auditoriums and theaters, and people were really excited to come out. There was a certain eloquence about theaters as opposed to clubs. Good lights, good PAs, and people on the edge of their seats.
Is he trying any new 'gadgets' or 'off the wall' axe's on his Tone's for the new LP?
And finally, is 'Virginia' being used on this LP, or if not- what has replaced her?
Eric - "I haven't used it because it's been out of commission for a long time. It took a fall five years ago and ever since I've been trying to get it put back together. I will, I'm sure, use it on the record since I only own three Stratocasters now. I don't have 50 million of them. I used to own quite a few but I've gotten rid of a lot of guitars in the last few years.
Park - "So what guitars have you used on the record so far...the 335...the Les Paul?
Eric - Just the 335 so far. I'm sure I will be using the Les Paul and the other two Strats."
1: My favorite song is 'Manhatan'. What was his inspiration for the song?
Eric - "I used a Wes Montgomery lick off of Down Here on the Ground as a motif to write a kind of homage to Wes. Now it was never meant be a straight-ahead jazz tune, or to sound like a Wes Montgomery tune, only to have overtones of one."
Where (in the Austin/Houston area) do you enjoy performing the most? Why?
Park - "Hole in the Wall...right?"
Eric - "There's this great 7-11 over on... Music Hall's fine, La Zona Rosa is fun. I liked to play the BackYard sometime. My favorite thing about playing in Texas is the people are very important to me. It's a real honor for me to play for people I've grown up with and who have followed my career so long. It adds a special quality to playing here. ...I'd like to play more for them..."
Park - "I'd like to see you play at the Paramount or Symphony Square again."
I have a question for Eric. I don't think that it's personal. I wondered how autobiographical the song "Bristol Shore" is? The woman depicted in Eric's lyrics for me has always been a sort of mysterious image. "She works at sea,for the land propriety." I have wondered who she worked for and what she did. Eric has that knack for telling wonderful stories with his songs. So much so that even after having heard that song so many years on, I still wonder about "her" and if she in fact was a friend or acquaintance of EJ's. I had envisioned Bristol Shore to be perhaps somewhere along the coastline of Texas,but that's just a guess.
Eric - "I wrote it for a friend of mine who used to live in Galveston when she flew helicopters out to the oil rigs in the gulf. I guess it would be somewhere near Galveston. I looked on the globe for a name that would sing well."
The other question that I would like to ask is this: Is there any lighter fare of music that Eric grew up listening to and enjoying? The night of the show I saw him in Boston he mentioned he wouldn't be singing any Diana Ross tunes that evening, nor would he be doing any Burl Ives covers! I found that humorous and wondered what Eric likes to listen to in a lighter, unguarded moment. (Again, hoping this isn't too personal.) When all was said and done, he did "Red House" for everyone's delight! A memorable evening.
Eric - "My dad had very broad tastes so I listened to lots of swing, broadway musicals, he had a Jim Nabors record, Lawrence Welk, Tommy Dorsey, Frank Sinatra, Dean Martin..."
Park "Ok to end this I want to ask you for your ten desert-island-discs."
Eric - "That's really tough. OK here goes.
"Any of the Hayden discs by Glenn Gould"


In a continuing effort to partner its clients and support them to achieve their aspirations, Sri Lanka's leading retail bank, HNB PLC, announced that it would be reducing interest rates on all of its core personal financial products – spanning leasing, housing and personal loans.
"Over the recent past we have witnessed significant demand for loans, particularly in the demographic of young professionals, many of whom are seeking to buy a car, start a home, for professional studies or for any other investment activity, as these are important landmarks in our customers' lives and we want to do our part to make them a reality."
"At HNB we are committed in supporting our clients to achieve their dreams, and serve as a true partner in their journey to greater prosperity. Hence, when we saw an opportunity to pass on the benefits of current macroeconomic conditions to our customers we decided to move quickly to ensure that all of our customers gain from current market dynamics," HNB Head of Personal Financial Services Viraj Mendis said.
The bank currently offers up to 70% of the total market value as a loan on registered vehicles and 50% of the market value on new vehicles. Following the rate cut, interest rates on Personal Financial Service products will start as low as from 13.25% for professional category, for housing purposes.
He added that Sri Lanka's increasing affluence was also beginning to be demonstrated through increased demand for personal loans aimed at funding education and international travel, which the rate cut from HNB is ideally timed to facilitate.
"At this time of the year, many foreign universities start to open up applications, hence we tend to receive even greater applications for education loans. Similarly, travel loans also tend to spike towards the end of the year, with travel companies often offering discounts for pre-booking targeting the first and second quarters of 2018," Viraj Mendis explained.
He further noted that HNB will continue to offer these loans on fixed or floating rates, depending on the requirements and preference of each customer while further discounts and special rates would be rolled out to customers in the coming months as part of the bank's festive season campaigns. Further discounts are also available to HNB's Shanthi Housing Loyalty Cardholders from over 60 + selected merchants.


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Northumbria joins UK Reproducibility Network
Welcome to Northumbria University who have officially joined UKRN.
The main criterion for membership is that the University creates a senior academic role with responsibility for research improvement and integrity and to advance the adoption of open research practices and other relevant initiatives across the University.
Professor Thomas Pollet from Northumbria's Department of Psychology has taken on this role as Institutional Lead for the network. He said: "I am thrilled that Northumbria University has joined UKRN. Previously, I acted as Local Network Lead and I am very happy to be able to continue my work with UKRN and Northumbria University as Institutional lead. Given that reproducibility and replicability are core challenges across all disciplines, joining UKRN is an important step forward for us."
Joining UKRN and other initiatives such as the San Francisco Declaration on Research Assessment (DORA) represent Northumbria's commitment to upholding and developing robust open research principles and supporting a culture of research excellence. Further information, advice and guidance on the Northumbria's Open Access policy can be found on the Library's Open Access webpages.
Adapted from: https://www.northumbria.ac.uk/about-us/news-events/news/northumbria-joins-uk-reproducibility-network
Learn more about the UKRN community here.

redpajama_set_name: RedPajamaCommonCrawl


DNA testing can be useful for selecting replacement heifers, mating decisions, and marketing programs!
DNA testing does have limitations, like all predictions of genetic merit!
DNA testing should be used jointly with other selection criteria for replacement heifers!


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Is a "True" Dungeon Master a "Fire in Which Players are Consumed?"
Wednesday's Penny Arcade comic completed their "Conflux" storyline in which Tycho convinces Gabe to run a Pathfinder game for a group of 4th Edition D&D players. A theme of the storyline has presented a "Pathfinder is hardcore like older editions of D&D" narrative, one that ends with Gabe now knowing the horrors of edition wars and why they happen. We as players have preferences. We like what we are used to, and changes are sometimes hard to adapt to.
I have always found it interesting that most players I know are willing -- if not even tremendously eager -- to try new game systems, but will react in horror when their favorite role playing game is released in a new edition. With the exception of Call of Cthulhu, it seems that if a game has a new edition it has a schism within its player base. It has happened several times for D&D. It happened with Traveller, Hero System, Vampire/World of Darkness...and on and on.
In the case of D&D, some of those who disparage the newest edition of the game often wax nostalgic for an era in which the players and the DM were almost akin to foes. For these players, the past was an era where players died cruelly at the whims of a harsh Dungeon Master. It was the challenge of succeeding in spite of such DMs, or failing spectacularly because of them, that was what made the Old School Games so great. You can find such nostalgic tales throughout the OSR sphere. You can also find tales of how great it was when the game assumed that the players would backstab each other and betray each other at any given moment. It is this point of view that is expressed by Tycho in the Conflux storyline. To quote Tycho in the storyline's finale, "A True Dungeon Master is a Fire in Which Players are Consumed!"
This was certainly the attitude the first person who I ever had as a DM had. He didn't hesitate to transform my Wizard into an Axe-beak -- a bizarre combination of Ostrich and mythic beast. I felt humiliated. The character wasn't my own, my friend Sean had rolled the character up. He had named the character Gandalf, I had high hopes for the young mage. In all honesty, after this first gaming experience -- which I have blogged about before -- it is really a miracle that I play these games to this day.
But that adversarial DM was just playing the game the way it was intended to be played, right? Old School D&D is cutthroat and the DM is your enemy, right?
What do the old rule books actually say is the role of the DM?
One almost finds a quote supporting this position on page 9 of the first edition AD&D Dungeon Master's Guide. On that page, when discussing how to use "wandering monsters," Gary Gygax uses the phrase "if a party deserves to have these beasties inflicted upon them..." which seems to imply a cruel whimsy underlying the job of DM. But taking that phrase out of context leaves out his advocacy of making the game fun. To quote, "if your work as a DM has been sufficient, the players will have all they can handle upon arrival, so let them get there, give them a chance. The game is the thing, and certain rules can be distorted or disregarded altogether in favor of play."
It seems here that Gary Gygax is arguing that the DM's job is to make the game fun for the players...including by bending the rules in their favor. To quote page 110:
Now and then a player will die through no fault of his own. He or she will have done everything correctly, taken every reasonable precaution, but still the freakish roll of the dice will kill the character. In the long run you should let such things pass as the players will kill more than one opponent with their own freakish rolls at some later time. Yet you do have the right to arbitrate the situation. You can rule that the player, instead of dying, is knocked unconscious, loses a limb, is blinded in one eye or invoke an reasonably severe penalty that still takes into account what the monster has done. It is very demoralizing to the players to lose a cared-for-player character when they have played well.
Here Gygax argues to not let dice get in the way of a player's enjoyment. Though I find the use of player and character to be clumsy in the above paragraph. It is no wonder some people thought that D&D was about "real" magic, when you write that "a player will die through no fault of his own." Player?! Holy!
Okay, so the AD&D DMG has some comments on making sure the focus is on fun and not competition between the DM and players, but what about the other old school books?
The Underworld and Wilderness Adventures (Original D&D)
(p.6) The fear of "death," its risk each time is one of the most stimulating parts of the game. It therefore behooves the campaign referee to include as many mystifying and dangerous areas as is consistant (sic) with a reasonable chance for survival ...For example, there is no question that a player's character could easily be killed by falling into a pit thirty feet deep or into a shallow pit filled with poisoned spikes, and this is quite undersirable in most instances.
Even in the advice scarce Original D&D rulebook, Gygax goes out of his way to point out how traps with guaranteed lethality are "undesirable" in most instances.
Holmes Basic
(p.22) In setting up his dungeon, the Dungeon Master should be guided by...so that the adventurers have a reasonable chance of survival. (p.40) Traps should not be of the "Zap! You're dead!" variety...
It appears as if Dr. Holmes agrees with Gary that the adventures should be challenging, but not adversarial through his use of language.
Moldvay Basic
(p.B60) It is important that the DM be fair, judging everything without favoring one side or another. The DM is there to see that the adventure is interesting and that everyone enjoys the game. D&D is not a contest between the DM and the players! The DM should do his or her best to act impartially when taking the part of monsters or handling disputes between characters.
Unlike earlier quotes, the bold and italicized emphasis in the Moldvay quote are straight from the book. It's as if he is reacting to what he saw as a trend in the DM-ing styles he was seeing in the day.
I don't believe that the rules of D&D ever advocated an adversarial relationship between DM and players. I think they always viewed the DM as the arbiter of the rules and the facilitator of fun. In my opinion, it was individual egos, and the natural desire to win sometimes, that created the killer DMs who believe as Tycho shouts.
My own credo is that a great DM has to be a great loser. Yes, there are times when the monsters will win, but the DM is required to make it exciting for the players when the monsters are losing as well as when the monsters are winning.
By Christian Lindke at December 09, 2011
Labels: DnD, Dungeons and Dragons, Games, Gaming, Old School Revival, OSR, Role Playing Games, roleplaying games, Tom Moldvay
Thanks for compiling a lot of those sources. It's a pity that some people still hang on to these ideas that GMs ought to be so harsh. I get the impression that it's the GMs themselves that have these views though, not the players.
Victor Von Dave said...
Very interesting collection of source material - especially the sentiment that one of the DM's duties is to ensure the 'fun' of the game - an attitude that is most often associated with new school games and looked down on in a lot of the old school world.
Also, "My own credo is that a great DM has to be a great loser. Yes there are times the monsters will win...". This is some of the best DM advice I've read in a while. Seriously, this should be in the DMG.


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text:
Home /TV
'Sons of Anarchy' Star Charlie Hunnam Admits He Flirted His Way to His First Acting Gig
by Perry Carpenter twitter | More Articles: TV
Sons of Anarchy star Charlie Hunnam has an interesting story about how he was first discovered. The actor, who played Jax Teller on Kurt Sutter's hit biker drama, has appeared in several blockbuster films in recent years, including King Arthur: The Legend of the Sword and The Gentlemen. While most fans recognize Hunnam for his role in SOA, he actually flirted his way to his first acting gig on the British show Byker Grove back in the 1990s.
Charlie Hunnam | Pablo Cuadra/WireImage
Inside Charlie Hunnam's early roles
Hunnam was only 17 years old when he landed the part of Jason on Byker Grove. He appeared in three episodes in the series and used that to get a part in the 1999 movie, Whatever Happened to Harold Smith.
In a bid to take his acting career to the next level, Hunnam moved to the United States. He was cast in a recurring role on the show, Young Americans, before appearing on Undeclared as Lloyd Haythe. Hunnam got small parts in the feature films Abandon, Nicholas Nickleby, and Cold Mountain, before he moved back to the UK.
While he was back in the UK, Hunnam appeared as Pete Dunham in the popular 2005 film, Green Street Hooligans. He then landed a role in the movie, Children of Men, as Patric.
Although Hunnam was enjoying minor success in Hollywood, his big break came when Sutter cast him for the lead role in Sons of Anarchy. Hunnam played Jax for the entire run of the popular drama and received several nominations, including a Critics' Choice Television Award, three EWwy Awards, and one PAAFTJ Award.
Hunnam is best-known for playing Jax on SOA, but fans might be surprised to learn how he first broke into the acting business.
Hunnam opens up about how he landed his first acting gig
During an appearance on The Graham Norton Show in 2017, Hunnam opened up about how he got his first acting role. Although most people believe Hunnam's first big role was in Queer as Folk, Norton pointed out that his first part was actually in Byker Grove.
As the story goes, Hunnam got his break when he was Christmas shopping in a local sports store. Hunnam revealed that he had been drinking that night and was trying on some shoes for his brother when he noticed a woman was starring at him.
Not to let the opportunity pass him by, Hunnam flirted with the woman, who happened to be the production manager for Byker Grove.
"I was in JD Sports trying on some trainers for my brother having a bit of a dance around, drunk obviously, and there was a lady staring at me and so I blew her a kiss and gave her a little wink and it turned out she was the production manager of Byker Grove so she said I think you're quite lovely and I said I do too!" Hunnam shared.
The Sons of Anarchy star went on to say that the woman offered him a chance to audition for a part and the rest is history. Following his short stint on the show, Hunnam played Nathan Maloney in Russell T. Davies' popular series, Queer as Folk.
Kurt Sutter shares his thoughts on casting Charlie Hunnam for 'Sons of Anarchy'
While Hunnam has enjoyed plenty of noteworthy roles over the years, Sons of Anarchy remains his most popular part. Most SOA fans could not imagine the series without Hunnam at the helm, and Sutter once explained exactly why he cast the actor to play Jax.
According to Pop Culture, Sutter revealed that Hunnam's role in Green Street is what confirmed that he was the perfect fit for SOA.
"Yes. [Lexi Alexander's] powerful Green Street Hooligans was the first I saw of Charlie's work," Sutter stated. "His performance was brutally raw. I saw the very rare mix of danger and vulnerability that I knew Jax needed."
https://www.youtube.com/watch?v=UKXFJIB3YQM&t=4s
'Sons Of Anarchy' Star Charlie Hunnam Has Been In More Movies Than You Think
Sutter added that he saw Hunnam's footage before they first met. He also had no idea if Hunnam was still acting and discovered that he was living in LA working on his writing. After meeting up several times, Hunnam and Sutter got on the same page and "Jax came to life."
The SOA creator went on to say that he would love to work with Hunnam in the future, though he doesn't see them working on anything that closely resembles SOA.
After starring in The Gentlemen last year, Charlie Hunnam is set to appear in a film titled Last Looks as well as a new Apple TV show, Shantaram.
Tags:Charlie Hunnam Sons of Anarchy


text:
CAT–1 (Obelix) Európai Űrügynökség technológiai műhold.

Küldetés
Feladata tesztelni a rakéta alkalmasságát. A hasznos teher (CAT 01) élettartamát 8 fordulatra tervezték. Technikai adatokat szolgáltatott a rakétaindítás egyes repülőfázisairól.

Jellemzői
Gyártotta az Európai Űrügynökség (ESA), üzemeltette az ESA.

Megnevezései: CAT–1; Capsule Ariane Technologique (CAT–1); Obelix; COSPAR: 1979-104A; Kódszáma: 11645. ESA nyilvántartási szám: ESA/79/2.

1979. december 24-én a Guyana Űrközpontból, az ELA–1 indítóállomásról egy Ariane–1 (L01) juttatta magas Föld körüli pályára (HEO = High-Earth Orbit). Az orbitális egység pályája  perces,  fokos hajlásszögű, elliptikus pálya perigeuma  kilométer, az apogeuma  kilométer volt. Tömege  kilogramm.

1989. november 27-én  nap ( év) után befejezte aktív szolgálatát.

Program kezdete, következő műhold a CAT–3 (COSPAR: 1981-057C).

Források

Külső hivatkozások

Technológiai műholdak
Európai műholdak

redpajama_set_name: RedPajamaWikipedia


text:
Вы́боргская улица  — проезд в Выборгском районе Санкт-Петербурга. Проходит от Большого Сампсониевского до Лесного проспекта. Находится на территории МО «Сампсониевское».

История
Выборгская улица появилась на Выборгской стороне и получила название 25 июня 1882 года.

Пересечения
Выборгская улица на всём протяжении не имеет пересечений (от Большого Сампсониевского до Лесного проспекта).

Транспорт
 Ближайшая станция метро — «Выборгская» 1-й линии Петербургского метрополитена (вестибюль расположен в 640 м от пересечения Выборгской улицы с Лесным проспектом).
 Ближайшая остановка общественного транспорта «Выборгская улица» расположена на Лесном проспекте (автобусы № 86, 267).
 Также по Лесному проспекту проходит трамвайная линия; ближайшие к Выборгской улице остановки трамвая «Нейшлотский переулок» и «Улица Комиссара Смирнова», (трамваи № 20, 38).

Достопримечательности
 Дом № 1 (Большой Сампсониевский проспект, д. № 21) — доходный дом М. С. Плотникова в стиле модерн. Арх.: Л. В. Богусский, 1912—1913.
 Дом № 2 (Большой Сампсониевский проспект, д. № 23) — доходный дом. В 1890-х годах — Выборгское городское трехклассное училище (для мальчиков), в 1900-х годах — ясли с убежищем для бесприютных детей Выборгско-Охтинского отделения Общества попечения о бедных и больных детях. Арх.: А. Шнейдерович, 1899.
 Дом № 3 — здание бывшей 11-й мужской гимназии (в настоящее время — гимназия № 107). Арх.: Л. П. Шишко, 1914—1915. Гимназия основана в 1871 году, преобразована в 1899 году.
 Дом № 4 — доходный дом. Арх.: Б. Н. Басин, 1910.
 Дом № 5 (в настоящее время адрес дома — Лесной пр., д. № 16) — здание бывшей церкви Усекновения Главы Иоанна Предтечи. Арх.: Г. Г. фон Голи и Г. Д. Гримм, 1901—1903. Двухэтажная церковь на 2000 человек была выдержана в стиле русских церквей XVII века. При церкви существовало братство трезвости, библиотека и воскресная школа. В конце 1930-х годов здание перестроили в спортзал. В 1990-х годах здание было приватизировано и в нём устроен частный фитнес-клуб.
 Дом № 10 — доходный дом в стиле модерн. Арх.: Н. Н. Егоров, 1914. Реконструирован в 1995—1996 годах, арх.: А. Ю. Ананченко, А. А. Комарова.
 Дом № 10 корп. 2 — жилой дом в стиле ретроспективизм. Арх.: А. Ю. Ананченко, А. А. Комарова, 1995—1996.
 Дом № 12 — доходный дом в стиле модерн, 1906.
 Дом № 14 (Лесной проспект, д. № 18) — доходный дом в стиле модерн, арх.: Б. Я. Зонн, 1903.
 Стадион «Монолит»
 Выборгский сад — разбит на углу Большого Сампсониевского проспекта и улицы Комиссара Смирнова (в то время Ломанского переулка) в 1934 году. Территория сада доходит до Выборгской улицы.

Примечания

Литература

Ссылки

 Расположение улицы: Выборгская улица на карте Викимапии

Объекты, названные в честь Выборга


text:
Q: Cron Job Sends only one email at a time I have created a php file for cron job. I want To send Lecture details To Users Through this cron job. The code is as follows :
 <?
 $login=mysql_query("select * from table1 WHERE member_status = '1'  AND email_lecture_sent ='0' ");
 $datelogin=mysql_fetch_array($login);

 $current_date=date("Y-m-d H:i:s a");
 $objTotalRS=mysql_query("select * from  table2 where display_time >'".$current_date."' order by lecture_start asc limit 0,1");

  while ($data=mysql_fetch_array($objTotalRS))  {

        $date1= date("Y-m-d");
        $date2=date("Y-m-d",strtotime($data['lecture_start']));

        $dateDiff = strtotime($date2) - strtotime($date1);
        $fullDays = floor($dateDiff/(60*60*24));

          if($datelogin['email_lecture_sent'] = '0'){
    mysql_query(" UPDATE table1 SET email_lecture_sent = '1' WHERE reg_id =".$datelogin['reg_id']);

    }

    if($fullDays=="1" || $fullDays=="2"){
    ob_start();
       ?>

         email content containing lecture details along with user's data like username, password etc.. .

 <?
    $body=ob_get_contents();
    ob_end_clean ();

    $to = $datelogin["email"];
    $sub = "Our Next Live Session";

    $mail->IsHTML(true);
    $mail->Host = "mail.abc.com";
    $mail->From = "info@abc.com";
    $mail->FromName = "ABC";

    $mail->AddAddress($to);
    $mail->Subject = $sub;
    $mail->Body = $body;
    $mail->WordWrap = 50;
    if($mail->Send()){
    echo"Success...";
    }else{
        echo"oops";
    }

    $mail->ClearAddresses();
    $mail->ClearCCs();
    $mail->ClearBCCs();

        }

     }
         ?>

BUT problem is when I run this file, it sends only one email in one cron job and not to all with member_status='1' and email_lecture_sent='0'

A: Please remove ob_start(); function in you code.  Bcz if you use ob_start() function so it means you again start all objects.
if($fullDays=="1" || $fullDays=="2"){
ob_start(); ///// Remove this line.
   ?>
     email contents...
   <?
   rest email sending php code....
   }
}

Thanks.

A: I worked on above code and redesigned code as follows which worked for me perfectly..
updated code is -
<?php
$log= "select * from table1 WHERE member_status = '1' AND email_lecture_sent='0'";
$login=mysql_query($log);

while ($datelogin=mysql_fetch_array($login))  {

    mysql_query(" UPDATE table1 SET email_lecture_sent = '1' WHERE reg_id =".$datelogin['reg_id']);

    $current_date=date("Y-m-d H:i:s a");
    $objTotalRS=mysql_query("select * from  table2 where display_time >'".$current_date."' order by lecture_start asc limit 0,1");

    $data=mysql_fetch_assoc($objTotalRS);

        $date1= date("Y-m-d");
        $date2=date("Y-m-d",strtotime($data['lecture_start']));
        $dateDiff = strtotime($date2) - strtotime($date1);
        $fullDays = floor($dateDiff/(60*60*24));

         if ($fullDays=="2" || $fullDays=="1") {
          ob_start();
?>

Rest code as above
Thank you for support

redpajama_set_name: RedPajamaStackExchange


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The Antigua series features matte crackled surface on handcrafted smooth or deckled bisque, in a subtle palette of earth and neutral tones. These colors are beautiful used as a monochrome finish on our della Robbia and Embossed trims and decos,. The satiny surface, aged patina, and subtle color shifts will add elegance to any installation. Antigua tile should be sealed prior to grouting, and is not recommended for heavy traffic floor applications, or for countertop use.
The Vivant line is based on the beautiful floor in the Pope's Palace in Avignon, France. It features charming period 4x4 decos with creatures and botanicals, set with field tiles of varied texture in rich renaissance colors. The tile should be sealed prior to grouting. The glazes can be used on our extruded trim shapes.
Our Brocade patterns present fabric imagery on flat tile that can be used on walls or floors. Using the Tessera glaze colors, designs can be bold, bright, earthy or subtle. Used in combination with solid Tessera color trims and field, the Brocade series offers exciting new visual possibilities. Tessera and Brocade tile should be sealed prior to grouting. Brocade patterns are limited to 3/8'' thick field bisque in larger size formats.
The Campagne series presents a lovely antique gloss crackle finish on handmolded deckled or smooth bisque, appropriate for an 18th century European country look. The cheerful Campagne colors are the basis for our polychrome della Robbia trims and decos, and complement the Embossed trims and decos. Campagne tile is inked to reveal the crackle pattern, and when sealed, is stain and acid resistant. The high gloss finish will be slippery when wet in floor applications, and will scratch with heavy countertop use.
Architerra NW Della Robbia trims and decos feature deeply sculpted bas-relief designs, in a wide variety of sizes and patterns, with corners and stops to customize your job. They can be finished in polychrome colors, using the Campagne glazes, or monochrome, using the Antigua, Campagne, or Tessera glazes, and will dramatically highlight any installation.
Our embossed trims and decos offer incised design accents that sit flush with the field tile surface, unless noted otherwise by cross section in the Embossed section of the catalogue. This allows for inset floor patterns, and sleek, interesting details on walls or in backsplash applications. Architerra NW embossed trims and decos can be glazed with any of our glaze finishes.
Architerra NW has a large selection of available trim shapes that can be finished in any of our glazes. We offer incorners, outcorners, stops, upangles and downangles in all trim shapes, and can also make custom lengths for your special installation needs. Note that some trims are appropriate for our thinner bisque, and others more suitable to our thicker handcrafted bisque.
Tessera Colors are visually textural, with the beautiful variation of craftsman glazes.
The Tessera glazes can be used on our regular bisque, handcrafted bisque, della Robbia and Embossed trims and decos, and on our extruded trims. Tesera tile should be sealed prior to grouting.
The Tessera Patterns offer exciting design possibilities with bold shapes, in a wide palette of available colors. Design choices can be traditional or contemporary; the possibilities are huge for this line. Brocade patterns on the shapes give a quilt quality to the finished look. Tile can be provided loose or surface taped, and should be sealed prior to grouting. Think outside the grid!
Architerra NW produces soap and shampoo shelves in several configurations, toilet paper holders, towel bar ends, as well as large corbel shapes. These pieces are available in all of our finishes.


text:
Tyrese Maxey signs with Klutch Sports
He is among elite company.
By Jamie Boggs@jamiewboggs Apr 17, 2020, 6:00am EDT
Share All sharing options for: Tyrese Maxey signs with Klutch Sports
Twitter - @KlutchSports
Now that Kentucky's entire starting five has announced their intentions for the NBA Draft, we get to see the next steps they take in pursuit of a professional basketball career.
For players at this stage, perhaps the most important thing you can do is to lock down solid representation. Tyrese Maxey has done just that as he has officially signed with Klutch Sports Group.
We are excited to welcome @TyreseMaxey! #Klutch pic.twitter.com/8FPhGfz987
— Klutch Sports Group (@KlutchSports) April 17, 2020
Maxey is almost universally expected to be a lottery pick in the 2020 NBA Draft, probably being selected in the top 10. He averaged 14 points, 4.3 rebounds, and 3.2 assists per game in his only season in Lexington. He seemed to play his best when the lights were the brightest, and the spotlight will be on him wherever he is selected in the draft.
Klutch Sports is run by Rich Paul, LeBron James' long-time friend. In addition to James, the group represents elite players Anthony Davis, John Wall, Eric Bledsoe, and Ben Simmons. It is certainly a special group to be a part of, and Maxey will be well taken care of in his contract and endorsement negotiations.
Maxey had a strong season in Lexington, and many expected this team to make a run in March. With as well as Maxey played in big games throughout the season, it would have been great to see him on the grand stage of the NCAA Tournament. Since that opportunity is passed, the best we can do now is to wish him well moving forward. Once a Wildcat, always a Wildcat.
Kentucky Wildcats in the 2021 NBA Draft
Brandon Boston makes history in first contract with the Los Angeles Clippers
John Calipari reacts to EJ Montgomery leaving for NBA Draft


Wolves boss Mick McCarthy has targeted 12 more points from Wolves' 10 remaining games.
McCarthy's team have won only six games so far this season.
McCarthy also said that defeat to Burnley on Saturday would not be "the end of the world".
He said: "If we get 12 points out of it – and I don't know if that will be enough – then other teams have to get 12 points. That's four wins. If we can win four games, the others in the bottom four or five have to win four and draw another, because we have a better goal difference.
"Burnley is a huge game and I'm not going to try to play down the importance of it, but I'm not going to 'big it up' either by saying it's the end of the world if we get beat.
Sunderland are now immediately above Wolves after Wigan's 1-0 win over Liverpool last night. The Black Cats play Bolton Wanderers at the Stadium of Light tonight.
McCarthy added: "Burnley play Stoke tomorrow, so we could be in the bottom three before we play them. It doesn't matter – it's where we finish that matters. Burnley is a huge game for us. But if they draw tomorrow and beat us on Saturday, they'd be three points in front of us.
"Then we have two or three 'biggies.' West Ham is a big one. Who's to say we can't beat them? We've got Blackburn and Sunderland here, we have Fulham away and Stoke and Portsmouth to play.
My verdict: Wolves do have a favourable run-in and McCarthy should be confident of survival if the team can continue putting in performances as they did on Saturday. Wolves' key game in hand is away to West Ham on 23rd March. Personally I think it will take less than 12 points to survive and as little as eight points could do it.


John earned a Ph.D. in geology and worked for over 20 years in industry and academia. He is on the board of the Creation Research Society and is the geology editor for the Creation Research Society Quarterly. He has written or edited ten books and numerous articles.
The Red Sea Crossing: can secular science model miracles?


Upgrades: Upgrade and crossgrade purchases require you to enter your existing serial number during checkout.
Return Policy: If you are not satisfied with your Boris FX Online Store purchase, please e-mail orders@borisfx.com for a Return Material Authorization (RMA) within 14 calendar days of the product receipt.
Downloads: For full purchases, installer links and serial numbers will be emailed with your invoice. Upgrades and purchases that require manual order processing will be responded to no later than one business day. If you already have an installed Trial version, please use your serial number to activate. Need help? License instructions.
Sapphire, Mocha, and Continuum (BCC 10.0.5 and up) include Floating License support for Boris Continuum enterprise customers, using the same Reprise License Manager (RLM).
For past customers that own older versions of our products, we have legacy renewal options to get your license upgraded to the current shipping version.
Boris FX provides complimentary email and phone support for recent versions of Continuum, Sapphire, and Mocha within 12 months of your original date of purchase.
Support options for after your complimentary year of support has ended: visit our Forums, upgrade to the latest version, purchase an annual subscription, or purchase a one-time support case for a $195 fee.
Purchases of the most recent versions of Continuum, Sapphire, and Mocha full licenses and upgrades will come with 1 year of free upgrades.


text:
import { assert } from 'chai';

import testTypeIDs from '../test/test-type-ids';
import Undependent, { IUndependent } from '../test/undependent';
import Uninjectable, { IUninjectable } from '../test/uninjectable';
import UnnamedPrimitive, { IUnnamedPrimitive } from '../test/unnamed-primitive';
import UnvaluedPrimitive, { IUnvaluedPrimitive } from '../test/unvalued-primitive';
import DependencyRegistry from './dependency-registry';

describe('should register dependencies', () => {
    it('should add new dependency to dependency registry', () => {
        const dependencyRegistry = new DependencyRegistry()
            .registerDependency(testTypeIDs.UNDEPENDENT, Undependent);

        const undependent: IUndependent = dependencyRegistry.getInstance<IUndependent>(testTypeIDs.UNDEPENDENT);
        assert.equal(undependent.beBoring(), '...');
    });

    it('should throw error if undefined provided', () => {
        const badUndependentFactory = () => {
            const dependencyRegistry = new DependencyRegistry()
                .registerDependency(testTypeIDs.UNDEPENDENT, undefined);
        };

        assert.throws(
            badUndependentFactory,
            'Tried to register invalid value undefined for type ID: Symbol(UNDEPENDENT)',
        );
    });

    it('should throw error if dependency not injectable', () => {
        const notInjectableFactory = () => {
            const dependencyRegistry = new DependencyRegistry()
                .registerDependency(testTypeIDs.UNINJECTABLE, Uninjectable);
        };

        assert.throws(
            notInjectableFactory,
            'Class Uninjectable has not been made @injectable',
        );
    });

    it('should throw error if there is an unnamed primitive', () => {
        const unnamedPrimitiveFactory = () => {
            const dependencyRegistry = new DependencyRegistry()
                .registerDependency(testTypeIDs.UNNAMED_PRIMITIVE, UnnamedPrimitive);
        };

        assert.throws(
            unnamedPrimitiveFactory,
            'Parameter 0 of class constructor: UnnamedPrimitive must be named as it is primitive',
        );
    });

    it('should throw error if trying to construct class with unvalued primitives', () => {
        const unvaluedPrimitiveFactory = () => {
            const dependencyRegistry = new DependencyRegistry()
                .registerDependency(testTypeIDs.UNVALUED_PRIMITIVE, UnvaluedPrimitive);

            dependencyRegistry.getInstance<IUnvaluedPrimitive>(testTypeIDs.UNVALUED_PRIMITIVE);
        };

        assert.throws(
            unvaluedPrimitiveFactory,
            'Parameter named hmm of class UnvaluedPrimitive is primitive so a value must be provided',
        );
    });
});

redpajama_set_name: RedPajamaGithub


Reina is a decorative didone typeface created by Maximiliano Sproviero and published by Lián Types. Inspired by the calligraphy and typography masters of our past such as Didot, Bodoni and Herb Lubalin, Reina aims to incorporate the decorative accolades from black-letter and copperplate styles into a modern typeface. To achieve better printing results, Reina family consists of 3 different font sizes: Reina 72 Pro for display sizes, Reina 36 Pro for medium sizes and Reina 12 Pro for small size. For more details check out the Reina's User Guide by Lian Types.
A font description published on Monday, November 25th, 2013 in Fonts, Lián Types by Andrei that has 8,203 views.


text:
CE marking granted to Peikko's Lifting Systems
Peikko Group starts to CE mark its Lifting Systems used in precast concrete elements as of 1.7.2013. The CE marking of the products complies with the regulations of the EU Machinery Directive 2006/42/EC. Peikko is among the first companies in the branch to provide CE marking for a full range of standard Lifting Systems.
Because the EU Machine Directive does not clearly take into consideration concrete anchoring, and there is no direct and harmonized EN product standard (hEN) for lifting systems, the following standards are included as considered documents for EU Declaration of Conformity.
DIN EN ISO 12100:2011-03 Safety of machinery-Generals principles for design – Risk assessment and risk reduction
DIN EN 13155:2009-09 Cranes-Safety-Non fixed load lifting attachments
BGR106:1992 "Safety rules for transport anchors and –systems for precast concrete units"
Peikko's Lifting Systems already fulfill all technical requirements of the CE marking. The marking of the products is started gradually during spring 2013. The marking is attached to products or to documentation following the product. The CE marking applies to Peikko's complete range: Rapid Coupling (RR, KK and WRA Systems) and Threaded Lifting Systems (JENKA System).
"During years 2011 and 2012 Peikko has made extensive testing arrangements of its Lifting Systems. The testing consisted of more than 700 individual concrete tests and it was made with the Technische Universität Darmstadt, Germany. More than 165 m³ of concrete having a dead weight of 410 tons was used in the testing. We believe this is strong proof of the high quality and reliablity of our lifting systems." states Raimo Lehtinen, Director, Sales and Marketing of Peikko Group Corporation.
More information on CE marking and Peikko products can be found on our website at www.peikko.com/ce-marking.
Raimo Lehtinen, Director, Sales and Marketing, Peikko Group Corporation, Mobile +358 40 5209 290, raimo.lehtinen@peikko.com
Main media, Peikko websites
Peikko Group in brief:
Peikko Group Corporation is a leading global supplier of concrete connections and composite structures. Peikko's innovative solutions make the customers' building process faster, easier and more reliable. Peikko has subsidiaries in 30 countries in Asia-Pacific, Europe, the Middle East, and North America, with manufacturing operations in 9 countries. Peikko's net sales in 2012 were more than EUR 110 million. Peikko is a family-owned and run company with over 900 professionals. Peikko was founded in 1965 and is headquartered in Lahti, Finland. Further information: www.peikko.com.
February, 13, 2013


text:
Tachyoryctes audax é uma espécie de roedor da família Spalacidae. Endêmico do Quênia, é conhecido apenas da região de Aberdare.

MUSSER, G. G.; CARLETON, M. D. Superfamily Muroidea. In: WILSON, D. E.; REEDER, D. M. (Eds.). Mammal Species of the World: A Taxonomic and Geographic Reference. 3. ed. Baltimore: Johns Hopkins University Press, 2005. v. 2, p. 894-1531.
SCHLITTER, D.; CORTI, M.; AGWANDA, B. 2004. Tachyoryctes audax. In: IUCN 2007. 2007 IUCN Red List of Threatened Species. <www.iucnredlist.org>. Acessado em 20 de agosto de 2008.

Tachyoryctes
Mamíferos descritos em 1910


This thread is for reporting unprofessional behavior for both artists and clients.
This is only meant to help PJ members make their own decisions and do not necessarily mean Pixeljoint has verified these reports beyond some basics.
• Post your grievance here and provide link to project thread and member profile page.
• Give details of incident for PJ staff review. If valid the offending party will be listed in the official list below and if needed banning of the member.
• If you wish to report but not to be publicly listed as a reporter then PM any Mod with your issue. We do prefer transparency and prefer everyone list their name, tho.
• Clients and artists reported here are always welcome to state their side of the story or clarify any incident.
Thankyou for this wonderful and useful topic!
Made some work for him, finished saturday and sent to him,with no reply I contacted him again and got the exact following answer: "Yes, I have received, I found someone else for the job. I can not accept yours work in comparison, really sorry! :("
Honestly that is not how you deal in business.
First he should have waited and if he thought I was taking took long he should have contacted me to ask how thiongs are going or for an estimated delivery time.
Second he should have contacted me as soon as he found someone else.
Third if not happy with my work he should solve things with me first, as I am always willing to edit and change my work to fit the client´s needs and expectations, which I assume people who worked with me can say for my patience and effort.
Honestly I feel betrayed since I was not informed in time, wasted time and effort which I could have devoted to some other tasks, that was unprofessional and I can´t say someone with that atitude can be trusted. Saying sorry won´t bring back my wasted time.
sorry for not replying to your mails. Right now I'm looking into a possible scam by someone who was helping me alongside you and I somehow lost trust in working with people on the net. Unlike you I did pay him up in advance and my apologees for not comming out clear as soon as possible. Hence my few harsh emails I sent a few days ago and not replying to your latest emails and works. I did tell you do hold it off for now and not to work on, and I hope you didnt waste your time.
If we decide to continue I am willing to pay up a advance (50%) but right now I want to sort out this scam.
Refarding have warned me before to hold on things, which he only did after my second day working, he never mentioned the real issue, instead hge came like that "If you arent able to do it please dont waste your time but let me know. I hate to waste your time and not be satisfied in the end. The air shaft thing on the "shoulder" looks really cool together with the lines you did on same the thing."
By that I assume that I should only have stopped if I wouldn´t be able to complete the task, which on his last e mail pasted above, he reconized I could and that he was harsh in doubting my skills from first drafts.
I got everything on my e mail if prints are needed for either cases.
I forgot this topic was here, sorry.
I just thought I better warn anyone working on this game about the employers. This is the first time I've ever had to leave negative feedback after being active on these forums for several years now, I may not post too often in the rest of the forum but I get plenty of requests for work from my profile (http://www.pixeljoint.com/forum/forum_posts.asp?TID=11063) and believe I am very professional when dealing with clients. If I didn't I wouldn't be able to afford to eat.
That being said I was chosen to work on the tilesets and layout of this game and produced these two mock ups for the menu screen and main gameplay screen.
At which point I was offered a so called contract and statement of work and went on to produce the tileset needed to create this full-sized screen along with menu selection including all 20 flags from the G20, an animated highlight flash to show country selection and a full font for in game text.
"Flags were not their top priority" – even though the Statement of Work had no such priority listing and flags weren't' the only thing I produced.
On numerous occasions I asked for feedback on my work and if I was going in the right direction and each time I either received no reply or got another question rather than an answer to my own.
Whilst I do believe they feel like they are a professional set up and do have work to prove that is the case, there attitude towards me has been very unprofessional.
Basically if you can give them exactly what they want, when they want it, and how they want it without being actually told then you'll probably be paid.
As for me I'm now down $2000 as I got dropped from this project after a months' worth of correspondence and work.
If anyone might have a use for the tiles I do have then drop me an email ( mailto:matwek@hotmail.com - matwek@hotmail.com ) and we might be able to work out a discount on the stuff I have.
why don´t make the same forum but with recommended/reliable clients/artist?
You guys should ALWAYS be dealing with contracts, for any amount of paid work. For both artist and the client. Perhaps it would be more professional to start a thread about how to go about freelance work rather than a complaint thread listing people's information?
why don´t make the same forum but with recommended/reliable clients/artist?
I had almost an identical experience with Qemist/Leendert Oomen on the same project. Same strange communication, stories, and lack of payment. He apparently had a few of us working at once.
>>> I guess you're just out of my price range, sorry to waste your time."
>> to the sort of prices im looking at.
>>>WTF!!! YOU GO TO HELL LOSER!!!!
This experience is just one of the a few iv had while on this site trying to offer paid work to the community. It has reflected poorly on PixelJoint as a whole as well as its level of unprofessionalism.
"It has reflected poorly on PixelJoint as a whole as well as its level of unprofessionalism."
Not at all. What do you expect when you hire some random lurker without a gallery or established PJ-history.
I was linked with a portfolio and details of past works. Like i said it was one of a few incidents.
Others take well over a day to respond to messages on the site as well as answer emails when i respond to them within the hour (most the time instantly).
If there are any pixel artist on this site with a professional attitude i would love to meet them.
I've actually paid people who put out decent work I asked for. One of these is actually Dawnbringer.
When looking at your website I can remember the images but when looking back in my gmail I cant find anything you created for me at all.
I'm dutch and not a native. Communication isnt always easy so maybe thats why we gave up working together. I've paid various artists the amounts they have asked me for. Too bad theres these ghost stories around from artist that dont put in the time and efford you expect them to do.
Other then that as a salesadvisor for kitchens I dont have all the time in the world to reply on emails. I work from monday to sunday and only reply when im off work in the night hours.
If you really finished the product I would have paid. And since I dont see any product and cant remember seeing any I dont think you have?
My point is: If you go and buy a car you're not gonna pay for one that cant even start its engine. If you read Clest his post you can clearly see I pointed out that he probably couldnt fulfill my needs. To be less harsh and to give him direction of what kind of detailed work I was after I told him what I liked about his art.
With all the respect I'm sorry if it didnt work out. Theres quite a few freelancers I have great communications with and have paid for various jobs. Both parties are extremely happy and these ghost stories really make me more then sad.
You can follow the http://mmoccforum.com/Thread-META4-Mech-Multiplayer-MMOCC-ish - META4 PROJECT here incase you have any doubts. I never used any art from these two guys either.
Also Joshua Astorian didnt deliver me completed work at first. I've actually been in touch with him later and he has done a few commissions for me. Only after he finished them I paid and hes a great artist with great skills. Too bad I didnt have much faith in him before and feel bad for reporting him now.
Hes still reported here and I know why. Communication is hard for him. Hes in the same boat I'm about to be in.
I've worked for you before and I've had similar problems to other people. I do some trial pieces, make loads of tweaks and then when I start discussing quotes you disappear.
To be honest it's not doing the samples for free that bothers me, I do it quite often and anything I don't get paid for I usually use at a later date, it's the lack of professionalism that annoys people.
When you finally got back in contact you said you had stopped replying because you didn't want to pay my prices, rather than just emailing me to tell me that or try to negotiate. So then i said i could drop the prices if i also drop the quality a little and you emailed back to say you were happy to pay for decent work... A complete contradiction to what you had said earlier.
That fact that this is the second or third time you've posted for help on these boards for the same project is enough to put anyone off.
I'm gonna ask my artists that actually put out decent work that didnt charge for sample art I didnt like to post in my META4 topic.
I didn't charge for sample art, I did it for free but the moment I brought up the subject of money you disappeared and didn't reply to emails.
Whats the point in doing samples for someone to get a job if you don't even know what you're going to be paid if you're successful? Thats like turning up to a job interview with no idea what the salary is going to be.
I'm sure there are plenty of people out there that have worked for you and things have gone well but if they don't go well you have to treat potential cleients with a bit more respect otherwise you end up having the problem you have now.
And for anyone interested here is the (free) sample I did. I was trying to match the style of the purple floor so made up a few basic tiles for which I could add extra detail to.
I never expected to get paid unless I was offered the job. I just didn't expect to be ignored.
The point is that I allready have admitted earlier that I have been a bit sloppy at some point. Wich is because of my job and I should have emailed you with a sorry you didnt make it. The payment just made it seem like you felt you got the job.
Concluding that this subject keeps being brought up and right now I have jobs on hold because I want to pay someone before bringing in new art. I cant have anyone feel like they are not recieving a payment.
Again my apologee for not sending emails. I have been searching for good contacts and communication aswell as improving my own.
Looks like Joshua Astorian is a seasoned scammer.
I have to admit that I paid some money to him, and haven't received anything.
The reason I fell for it was that I did a quick search for his name + email (which he probably changed) and that did not lead me to this page, but to his linkedin profile. For some reason Adam Tierney of Wayforward left Joshua a positive recommendation knowing that Joshua is a fraudster (see http://www.wayofthepixel.net/index.php?topic=8561.0). Because of that recommendation I trusted him.
Also, his linkedin profile incorrectly states that he still works as a freelancer for Wayforward, but that's not the case. I've now contacted them asking to amend this information.
The point is that I allready have admitted earlier that I have been a bit sloppy at some point. Wich is because of my job and I should have emailed you with a sorry you didnt make it. The payment just made it seem like you felt you got the job.Concluding that this subject keeps being brought up and right now I have jobs on hold because I want to pay someone before bringing in new art. I cant have anyone feel like they are not recieving a payment.Again my apologee for not sending emails. I have been searching for good contacts and communication aswell as improving my own.
The problem for me is that I wasted a whole week working for you and only after that whole period you come to say my work was not good for you despite having said before that things were getting close to what you wanted, more than you disappearing it was the lame excuse you mentioned that "someone had scammed you so you couldn´t trust anyone to pay" now that is not my problem and it is not fair to screw others cause someone elswe screwed you.
I believe that even I am not the best spriter in the world my work is quite decent, now take note that to reach those results some of my clients had to be patient and direct me and criticize and ask for changes, which I was doing for you even with your rude comments and remarks, so yeah, on top of time wasted you gave me a week of stress for zero payment, that is WRONG and don´t say otherwise.
I have never been rude in any of my emails. All of the emails sent to you I kept and I just read them back.
As a artist you have to listen to your client. Im sorry to tell you but for some reason I felt like you didnt listen or even tried to understand me.
You where going to improve the mech I concepted. At first things seemed to go the right direction until it only got worse and worse because you didnt listen.
The end result made by someone else is exactly what we needed for around same price you where asking without too many issues what so ever.
And please.. if that what you sent me on the mail costs you a week then hiring you as a artist would cost me a fortune..
Please stop to bring me and the META4 project down by bringing up the fact that you didnt get the job.
We have paid artists many times before and just like all the others you did some small work to audition / qualify for a job and you didnt make it.
I think it would be better if pixeljoint or these who already doing some of the job could make a SOP (standar operation procedure) of how client and artist should progress on these kind of work rather than pointing who to blame..
Hopefully it could be a guideline for both client and artist to minimize misscom or scammer..
I pay half before and half on completion now.
I'm really into this idea actually. I'm new to freelance work and a guide to professional transactions would be great.
I recently i tried to work as a freelance artist, but I have surprised the amount of people looking for a pixel artist and do not value their work.
He needed 48 sprite, for your game(based on hunter x hunter game),I was in charge of the 24 sprite, while other pixel artist was responsible for the other 24 sprite.
Both of us would pay $ 100 usd for the job, but he repented, he did not want to have problems with copyright.
The problem is that, would not buy the sprite hunter x hunter and he decided to change the character sprite by others.
He has asked me that instead of the characters in hunter x hunter, wanted to make him 10 beasts (sprite with 4 directions each) and 10 rare items(that was random without specifications).
I cashed it for $5 usd for each spite (four directions), which is cheaper than a Pixel artist can charge(In total it would be $ 50 usd).
But he refused and wanted me to pay for each sprite $ 1 USD, which in total would be $ 20 usd.
I tried to negotiate the total was $35 USD, but to no avail, he said he only had $ 20 usd, so I did not accept.
The case in point is that there are people on the forums, that your first offer you get an acceptable value, but half the work done, change their minds.
Maybe there are customers who think that because I'm a Latino, my price for my work should be smaller than other artist,but actually the value of my work is like any artist, anywhere in this small world.
Regularly i charge for sprite $5 USD, $15 for Background, and $20 USD for animation or $15 usd per hour.
How can someone who can provide 100 USD ends up wanting to pay less than agreed?.
Pixelart_kid, I recommend either asking for some portion of the money before starting work.
Or decide to deliver work in batches. For example, if you're doing 40 sprites in total, do 10 first and when those 10 are paid for you start the next 10 sprites and so on.
If someone wants to hire you but is unhappy with that arrangement then that could mean they would be difficult about money after the work is done too.
I've had the displeasure of being stiffed out of money by my recent client Brandon Stone (email addy is beeblicon@gmail.com).
Brandon didn't say where he found my portfolio, but it was most likely these forums or Pixelation's forums so I wanted to give everyone a heads up, as he is likely out searching for a new artist now.
Brandon does not care that a contract is legally binding. The amount that is owed to me is not enough to warrant taking him to court, so I will have to just eat the losses. Be careful this doesn't happen to you also!
Avoid working with Brandon Stone at all costs!
Yes i know,I tried to ask half the advance, but to no avail, I spend only 10 usd, I thought that this was going to pay what we agreed, but did not.
Simple freelance case, when he had to pay, he fired me and said classic words "we will not use your content" and deleted my dropbox folder with my content. For the last content package he had to pay 390usd, but he did not do that.
He is not only bad client, he is a bad game developer. He was asking me to do animations with some special strange mechanichs(Josh believed that this will make animations good). He was approving my works, but a few weeks ago he started blaming me and saying that my content has very bad quality. He always ask for fixes and pay very small amounts of money, no matter is that fixes are global or small. It was very hard to work with this man, because he always blames me and does not understand what really need himself. Hard to understand position of this guy.
@Thu Do you even gave you an advance payment?.
I've been a freelance graphic designer for many years now, though I work on Logos/Flyers and the like, the mechanics of freelance business still apply here.
B) You should ALWAYS get 50% down payment on a contracted job. Once they say "Yes, I'd like to hire you for the job" You should immediately mention that you require 50% down payment, this way you know your time is valued, even if they back out in the end, you still put in time and effort and should be compensated for such. Any client that isn't ok with that isn't worth your time, as they are likely just fishing for ideas to steal, or will just give you a hard time in payment anyways.
C) Don't cut yourself short. As an artist, and especially if you have a strong portfolio, you should have a general concept of the value of your time. Be clear and honest with your clients, and discuss your expectations as well as theirs, to ensure that you're all on the same page. Clear and concise communication is important in the beginning stages of contracted art.
I Would say get a written contract as well, but I rarely do. With a 50% down payment, and clear email discussion of each parties expectations, you'll have enough of a 'written contract' to cover yourself should legal issues arise (breach of contract, ect).
I feel it is important as an artist to respect your trade, and to value your time, as your time IS valuable.
Above I read something about "Not buying a car if it won't start" and that's a very different ideal than working with art, and therefor a poor analogy. Artists put in TIME, TIME has VALUE.
remember artists: respect your craft and value it as it should be valued.
I contacted Valery on Jan. 24th 2014 asking if she could make some tilesets for our game (similar to this http://forums.tigsource.com/index.php?topic=38248.0 - post ). She responded by saying she could and that she could work very quickly, but I would have to pay 1/3 upfront.
After talking about the general work, I sent her a contract to sign. I received the signed contract one week later (Jan. 31), and 3 days later (Feb. 2) I sent an upfront payment of $75 via Western Union. At that point I expected her to start working very quickly considering the she herself said that she could get all the work done very quickly.
Unfortunately WU takes some time before the money gets transferred and she had stated that she would not work until she received the payment. I was fine with that but I suggested that she go through the asset list I sent her and ask me any question before hand.
The money arrived on Feb. 6 I didn't hear back from Valery until Feb. 10. She explained that her laptop was giving her issues and that she did not have time to work. She then said that she could work that night and start making progress. The next day I asked for a timeline of when she could finish the assets and received no response. Then on Feb. 12 she responded by saying her laptop was still giving her problems. She said she would have it sorted out soon and would be able to finish all of the assets I sent by the end of the next day (Feb. 13). On Feb. 14 she got back saying that the repair took a bit longer and that she would try to finish the following day. I contacted her on Feb. 15,16, and 17 and finally heard back on the 17th. She said that she finally finished the laptop repair, but still did not provide a timeline.
And that was the last I heard from Valery. I contacted her several times (via email, skype, sms) and received no response. I think it is a shame since her portfolio is really nice and well done, and she seemed professional. The worst aspect was the poor communication. I kept getting short sentences or one word answers when I felt that more detailed explanations were needed to explain the situation.
If you work with Valery, I would suggest not paying upfront especially since it is through Western Union, and you have no way to get that money back if the deal turns bad.
I've been working with my employer for the last 2 years.
with out inconviniences. It's hard to find good artists and employers as well when it comes to freelance contracts. but judging by your coments you tryed to work with some one who probably thinks tomuch of it self and gets pissed when some one else doesn't agree.
that's why experiences should allways be asked for with references included if you plan to pay for work.
sometimes i feel that people here think cuz it's pixel art it shouldn't be taken seriously or sometimes employers see it as someone who does it as a hobby. but the truth is that some of us make a living out of pixel art and those someones have work feedbacks, resumes, portafolios and take their work with seriousness ,word and respect.
I agree with you, many people think that being a work of pixels does not require much effort and many take it as a hobby, when doing work in pixels requires much effort, work and passion, for my, working with pixels is a job that requires taken seriously to give customers the excellent results, especially if this will be published commercially, either in a game, video, etc..
I think an artist who appreciates a job in pixels, for example, the art of Gods or Megaman X had challenge with limited color palette for systems, asset levels adaptations of art, It is no small job.
Even in our time, working with pixels is still a challenge, how to work with android devices ,for example, the amount of frame for animation, the amounts of asset art, you can greatly influence a project and both artist and developers must work together to solve this.
I posted a job offer. Joshua Astorian was one of the people who replied to me. Naturally, I was very impressed by his portfolio. However, before handing over my cash I decided to look around for his name, also noticing the one reply to my thread. Any success stories with this guy recently? I know he was homeless about six years ago. Whilst I can't say he is financially stable, I can say that he seems to be doing a lot better now and that he might be a "house husband". He seems to stay at home a lot, therefore he currently has no excuse to not be punctual.
I'm still worried about paying the guy even though his work is excellent. Are people still calling him a scammer? I really do want to hire the guy, but I certainly have the right to ask about this and also to deny upfront payment. He'd have to take my word on this, because it seems a lot of unsatisfied customers took his.
Hey Gene Starwind, check out http://www.pixeljoint.com/forum/forum_posts.asp?TID=18699 - this recent thread, you will find it very relevant.
Didn't get terribly far into the game, but finished the animations for a character, probably 20ish frames and the guy completely disapeared after having been extremely quick to communicate. Sent and invoice for the work completed and haven't heard from the guy since.
Topic: http://www.pixeljoint.com/forum/forum_posts.asp?TID=19222 - [PAID - Looking for a long term pixel artist.
skin tone, but also not with the animations.
because I dont think so.
pleas, and I find this a bit of a scam if I must be honest.
I will open everything to moderators regarding my e-mail conversation and Skype message archive if needed.
I believe the problems of these clients is that they are mostly very young people (students) who publish a job without having a capital and who want to develop games, however most repent and to see that they can not pay leave contact.
Possibly most of these people think that a 2D game (using Pixel art is very easy to develop or it will be very cheap.), but when they realize how hard it is, they get frustrated and boring, leaving all the "project" in the trash .
I think it should be a rule where customers have to publish a CV, project development website or blog, if they have worked before or not in game development, etc.
on the other hand it is hard for a student like me to get any with graphic/design related things paid.
I would be very happy to design a small simple image (640x480 max) even if it take me some hours. I would accept pay after deliviering the image.
And i also have to say that that some ( i hope few) poeple who do post job offers here, even small ones don`t respond even if its unpaid .
CV is not so an good idea. You do know why. You schouldn' t judge the persons by their CVS and their former experience. I do know some non pixel artist with experience, and their artwork is not getting better with time. However the persons who make the job offers could post their CV if they want to , to prove that they are serious.
Wow, I'm amazed by the guy who I was reported few months ago just return to the forum with a different username! BE CAREFUL fellow pixel artists, I warned you!
I waited two months since the end of my work. In this time I sent him e-mails that he just ignored. I don't know if he got the work from something else too, because he don't answer my mails.
Did not paid money for a first run. Firstly he hired me. Then send an asset list in which was said that I had to do around 12-15 animations with sprite itself in 3 directions in 2 hours. I noticed Chance that I will try to fit estimates. After spending 4 hours of work I was comepletly sure that I can not do this in that estimates. I have noticed Chance. After that we decided that I should stop. Then he said that he will pay me for that time. He said me to throw my paypal account, but I asked to wait for one-two days I was need to check my account and credit card. When I checked my card and everything were right I have said that he can send me money. After this moment he started dissapearing, I was not able to normally talk, he was always dissapearing, saying some kind of "I have a dinner, will be online in a few hours". After that he appears only on the next day.
When I started normal talk, he said that he wouldnt pay me that amount, He cant believe that I can spend so much time for that amount (15 sprited + 1 animation). He came up with some unexisted in our dialogue agreement that he should pay only for "usable" content. My content is usable, art that I have done is good-looking and fits already used game style.
I am so much offended with this behavior.
I do not recommend Chance Adamson as safe employer. He has decieved me.
I will delete this when he will pay me my money for a time that I have spent on him.
Forum Thread(s): Seems to have disappeared from forums.
TL;DR: Did not pay for delivered work or give feedback and then disappeared.
He wanted me to work on an Orc Portrait and 100 animation frames. He asked for a price which I quoted to him based on an hours breakdown. He did not negotiate or otherwise question my quote, but had me start working. No timeline was suggested.
3/15 - sent a page of a variety of best portrait drawings as he had not given much direction.
"Those are some great sketches, and I had a hard time choosing which one I liked most!
Number 5 would probably suit the game best, so I'll go with that."
3/22 - sent an about 2/3 complete large pixel portrait to show progress.
"This is really coming together nicely, I am so impressed! I think the background would be better if it was transparent, but I could always change that to save you the hassle. Everything you're doing is great, so just go ahead with whatever you have in mind for the armour, as you probably have more of an idea.
Excited to see what you come up with."
I can't wait for the small character version."
4/1 - sent an email to him asking for direction regarding the sprite. Did not receive a response.
4/7 - sent him an email stating I was going to go on ahead with a variety of experiment styles since he hadn't asked I aim for any specific sprite style(s).
4/9 - delivered a variety of drawings of different proportions and styles.
"Sorry that I haven't been contacting you recently. I've been caught up with some work I needed to do.
As for the designs, I really like number two.
This is the first sprite that is going to be done, so I don't know how many pixels it should overlap, I was hoping you could use your knowledge."
"I love how this is coming along!"
"I see, you are correct. I say keep the head how big it was."
through 4/21 - sent emails back and forth as I completed animations to clarify various things.
"These are exactly what I had in mind thanks! Looking forward to the finished product.
It's just a face wince.
Good idea with the side view, I hadn't thought of that."
"I haven't heard from you for a while.
I really love what you've done so far and if you could add it in to a big sheet, preferably the template I sent you to test would be brilliant.
I may even be able to give you access to the game if you would like."
"Very busy with work right now. Just saying I got the emails and I'm replying as soon as I can."
5/14 - I asked about the possibility of him paying me the first half of our agreed amount, or what he might consider fair, as I'd delivered the large portrait and a chunk of the animation frames.
I asked for more information about the game.
5/20 - sent him an update with nearly all animation frames complete minus any feedback or tweaks. Asked for him to contact me with any edits he felt things needed so I could finalize the frames.
5/27 - sent him another update with lots of polish fixes.
Asked him to contact me and insinuated it was a bit unprofessional to disappear for 3+ weeks and if he had a problem he needed to let me know. Also asked for another contact that he would check regularly if he wasn't able to check on email regularly.
I've had no response from him since the quick email on 5/6/15. I'm hoping he responds, but I have no idea whether he's extremely busy or just decided to skip out on the large amount of money that he'd owe me for the work. As his forum threads have disappeared I'm afraid he might have just skipped out? I'll be quite happy to take this down if he responds, but felt at this point I should post here.
I hold grudges against the same person as Iscalio. The person named Droth added me on skype as I applied for the job offer. I kept making stuff for him until he was satisfied and said it looked perfect. I sent him the items expecting him to send money as he said he didnt have an account on Paypal. I agreed thinking that as I had befriended him and we had trust, he would send money. The next moment I see he unfriended me and blocked me on Skype.
The work was worth only $15 but still...I do not like such attitude as it affects my attitude for future clients.
I spoke with him via forum messages and then email chain and discussed a pricing which he said was a little steeper than he expected, but he was sure it would be fine.
I completed a couple of things for him to show that I could deliver solid assets. Then when I asked for a list of work so I could complete things quickly, and attempted to discuss how he would pay me...he disappeared.
I haven't heard from him in over a month.
Created a shogun helm, gas mask combo with other suggested futuristic reference from him.
I also completed related sketches and color comps.
Emails are available if anyone wants further proof.
This person contacted me via email saying that they'd seen my work on Pixel Joint and asking if I could "perfect upon" 120 icons for a game forum.
After clarifying what they needed and getting samples of the old icons I worked out a rate that he agreed to and gave samples of finished icons that he was quite happy with.
We agreed I'd finish 25 icons, then I would meet with "Maya", who was in charge of the project I guess, and I assumed get any necessary feedback for alterations before proceeding further.
I completed 38 icons within 2-3 days and emailed him that I'd completed much more than 25%+ of the total and that I'd like any further feedback and suggested he now pay the first 25% of the agreed sum and then 25% after I delivered each future 25%.
I have now sent him 3 emails and he has not responded in about 2 weeks despite supposedly being in a hurry to see the work complete.
Not really a grievance but I didn't really know where else to post this.
I've noticed recently that there has been a lot of 'bumping' in the portfolio sub-forum.
I fully understand that if you work full-time as a freelance artist then you need all the jobs you can get, and so you will often update your portfolio, but bumping your topic just to put it back at the top of the feed seems a little disrespectful to other artists posting their portfolios.
I would say a portfolio update once a week seems a little excessive, although understandable, but a topic bump everytime you see someone else has jump above you in the feed is a little rude.
God, I wish I had checked this list. Scammed out of $100 dollars by Joshua Astorian.
Explained my price list and '50% advance payment' conditions to him. We agreed on a commission and I delivered the sprite-set, exactly following his very specific instructions (Altering an existing sprite).
He wasn't entirely satisfied, so I made some free edits.
He still stated he was not satisfied and that he now wanted something else / new instead.
(At this point I had a feeling he was trolling me but...) I made one view of the new sprite-set from scratch (as his new instruction was) and showed it to him. He still wasn't satisfied.
I suggested him to find a pixel artist more fitting for his taste then and dropped the claim to the 2nd 50% payment.
NOPE. He wants ALL the money refunded.
He also claimed he already had "problems with prior pixel artists / spriters" ... yeah I can see why.
I do not recommend working for that guy. More trouble than he pays for.


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