text:
EC2 Client Notes
This section explains how to use 3rd-party EC2 and S3 clients with the Nimbus EC2 frontends, both SOAP and Query.
Uploading VM Images to Cumulus with Boto (#)
The python library boto can be used to upload images to Cumulus. Once a VM is staged into Cumulus it can be submitted for execution.
In order for Nimbus to efficiently find VM images in Cumulus a naming convention is used. Three pieces of information are needed to follow this convention:
- The repository bucket name By default this is Repo
- The image name prefix By default this is VMS
- Your canonical ID The site admin must provide this to you at the time of your account creation. It can also be found in your cloud clients configuration file (More Info)
That information is used to form a Cumulus url in the following way:
cumulus://<cumulus hostname>/<bucket name>/<prefix>/<canonical ID>/<image name>
Once you have the proper url formed you can use that information and boto to upload the image into the storage repository.
from boto.s3.key import Key from boto.s3.connection import OrdinaryCallingFormat from boto.s3.connection import S3Connection s3id="<Cumulus ID>" s3pw="<Cumulus password>" host="<Cumulus hostname>" port=<Cumulus port> canonical_id="<Canonical ID>" cf = OrdinaryCallingFormat() s3conn = S3Connection(s3id, s3pw, host=host, port=port, is_secure=False, calling_format=cf) bucket = s3conn.get_bucket("Repo") k = Key(bucket) k.key = "VMS/" + canonical_id + "/" + image_name k.set_contents_from_filename(path_to_image)
At this point your image will be ready for submission using the name image_name
Image Names
You may upload an image to any Cumulus name you wish and still submit it for run. This is described below. However, the above naming convention is strongly recommended in order to have a smooth and natural experience.
Uploading VM Images to Cumulus with s3cmd (#)
There is more information here.
Using the EC2 Query frontend from Python with Boto (#)
Nimbus supports the EC2 Query interface which is used by the excellent Python client, boto. In order to use this interface, you must have Query credentials from the cloud administrator. These are composed of an access identifier (usually the hash of your DN) and a shared secret key.
You also need the URL of the Query interface on the Nimbus service node. See the University of Chicago cloud for example.
Before you can launch a VM you must first upload it to Cumulus. That process is described here
import boto from boto.ec2.regioninfo import RegionInfo # first create a region object and connection region = RegionInfo(name="nimbus", endpoint="service.hostname.com") conn = boto.connect_ec2("YOUR_ACCESS_ID_HERE", "YOUR_SECRET_KEY_HERE", port=SERVICE_PORT_NUMBER, region=region) # then do something with the connection conn.run_instances("image_name")
Please refer to the boto documentation for more details on usage.
Image Names
Image names can be a full cumulus:// url, or simply the image name portion of the naming convention cumulus://<cumulus hostname>/<bucket name>/<prefix>/<canonical ID>/<image name>
A Full Example with Boto (#)
import boto from boto.s3.key import Key import time from boto.s3.connection import OrdinaryCallingFormat from boto.s3.connection import S3Connection from boto.ec2.connection import EC2Connection from boto.ec2.regioninfo import RegionInfo access_id="<Cumulus ID>" access_secret="<Cumulus password>" host="<Cumulus hostname>" port=<Service port: 8444> cumulusport=<Cumulus port: 8888> canonical_id="<Canonical ID>" region = RegionInfo(name="nimbus", endpoint=host) ec2conn = boto.connect_ec2(access_id, access_secret, region=region, port=port) cf = OrdinaryCallingFormat() s3conn = S3Connection(access_id, access_secret, host=host, port=cumulusport, is_secure=False, calling_format=cf) # upload the file according to the Nimbus naming convention bucket = s3conn.get_bucket("Repo") k = boto.s3.key.Key(bucket) k.key = "VMS/%s/%s" % (canonical_id, "my_image_name") k.set_contents_from_filename(<path to image file>) # now run the VM reservation = ec2conn.run_instances("my_image_name") instance = reservation.instances[0] # poll for status while instance.state != 'running': print 'instance is %s' % instance.state time.sleep(30) instance.update() # terminate the instance reservation.instances[0].terminate()
Using the EC2 SOAP frontend from the console (#)
When using a cloud running the EC2 frontend, you can download this EC2 client from Amazon or try a number of different client that are out there.
EC2 Upgrades
Amazon EC2 upgrades happen without warning and so there is sometimes a sync error between their default tools and the tools needed to work with particular Nimbus elastic services.
- Nimbus 2.7+ supports the "2010-08-31" WSDL (this EC2 client).
- Nimbus 2.3 - 2.6 supports the "2009-08-15" WSDL (this EC2 client) .
- Nimbus TP2.2 supports the "2008-05-05" WSDL (this EC2 client).
- The older Nimbus TP2.0 supports the "2008-02-01" WSDL (this EC2 client).
- So the default client may not always be the one to use. See a specific cloud's documentation for the definitive tools URL (for example, the Nimbus cloud). And see enhancement 6558.
With the client from Amazon, you need to adjust the following environment variables (using other clients, the configurations can vary).
- EC2_HOME - Set the base directory (such that $EC2_HOME/bin is valid)
- EC2_URL - Set the service endpoint to the Nimbus based service
- EC2_CERT - Set the public credential to your public .pem based cert
- EC2_PRIVATE_KEY - Set the private credential to an unencrypted .pem based key
The URL for EC2_URL will be provided to you by an administrator or some documentation (HOST:PORT in the example is a placeholder for an actual hostname and port number)
For example, see the Nimbus cloud docs for running EC2 clients.
If you have a problem, consult the troubleshooting guide.
Before being able to launch an instance, you will need to register a keypair like so:
$ MYPUBKEY=`cat .ssh/id_rsa.pub`
Check to make sure those contents look OK:$ echo $MYPUBKEY
Send the public key value to the service, labelling it "mykey"$ ec2-add-keypair "mykey||$MYPUBKEY"
List the available images in your personal directory:
Pick one, for example "hello-cloud". And with the "-k" argument, use the ssh key label you used above to register an ssh public key.
Check status:
After seeing 'pending' change to 'running', log in at the address printed:
Terminate using the "instance ID" printed when you first launched (and also available from ec2-describe-instances). It looks like "i-4662834e":
Using spot instances (#)
Amazon EC2 spot instances (SIs) introduces a new approach to purchase virtual machine instances on Infrastructure as a Service clouds. In this approach, the cloud provider reserves part of the unused capacity for auction, and clients bid on this capacity. Each available VM type has an associated Spot Price, that changes periodically based on supply and demand. Clients with bids that exceed current SP gain access to available VMs for as long as their bid exceeds that price. More information on Amazon EC2 spot instances can be found at https://aws.amazon.com/ec2/spot-instances/.
You may also be interested in the spot instances introductory material in the Nimbus administrator's guide.
Nimbus introduces an open source implementation of spot instances that will allow science cloud users to save allocation credits in non-critical tasks during low-demand periods. Currently, the spot instances features are available in Nimbus through the following interfaces: Amazon EC2 WSDLs and Amazon EC2 Query API. Moreover, developers may want to link their own applications with Nimbus' spot instances through the RM API.
The Nimbus' spot instances operations are compliant with the WSDL schema version 2010-06-15 and higher. You can follow the instructions above in order to connect your preferred EC2 client to a Nimbus cloud.
Before submitting a spot instance request you should define a maximum bid for that request. There is no exact formula for defining an ideal bid. It basically depends on your needs and how much are you willing to pay to run your tasks.
The "price" is represented in Nimbus as a discount applied to minutes charged to your account. Thus, you likely do not want to bid above "1.0" since regular requests will always trump spot instances but your spot instance requests will be more "expensive" than the regular ones (this is akin to bidding above the normal instance prices on EC2).
The spot price history is a valuable information in determining the maximum bid for your requests. A good way to start is to place your bid between the historical maximum and minimum spot prices. If you want your instances to have a good chance of being executed straight away, you should place your bid somewhere near the maximum historical spot price. In case your tasks are not so urgent and can wait a couple of days (or weeks) to get executed on a low cost, you should place your bid somewhere close to the minimum historical spot price.
The Spot Price history is available in the EC2 APIs through the Describe Spot Price History operation. The supported parameters of this operation are:
- Start time: Start date and time of the spot instance price history data. (optional). Date string should conform with the ISO 8601 standard.
- End time: End date and time of the spot instance price history data. (optional). Date string should conform with the ISO 8601 standard.
- Instance type: The instance type of the spot instance price history data (optional). Currently Nimbus only supports one type of spot instance per site. Please contact your administrator to know which spot instance type is supported in your site.
SOAP Client (Amazon)
Operation command and parameters:ec2-request-spot-instances image_id --price price [--instance-count count] [--type type] [--user-data data] [--key key-pair][--instance-type type]
This example creates a spot instances request for ten m1.small instances.
$ ec2-request-spot-instances --price 0.50 myimage.img --key MyKeypair --instance-type m1.small --instance-count 10 --type one-time SPOTINSTANCEREQUEST sir-f102a405 0.50 one-time active 2009-12-12T22:58:47+0200 i-3597b470 myimage.img m1.small default
Query Client (Boto)
Operation signature and parameters:boto.ec2.connection.request_spot_instances(price, image_id, count=1, type=None, key_name=None, user_data=None, instance_type='m1.small')
import boto from boto.ec2.regioninfo import RegionInfo # first create a region object and connection region = RegionInfo(name="nimbus", endpoint="service.hostname.com") conn = boto.connect_ec2("YOUR_ACCESS_ID_HERE", "YOUR_SECRET_KEY_HERE", port=SERVICE_PORT_NUMBER, region=region) # Creates a spot instances request for ten m1.small instances. request = conn.request_spot_instances(0.50, 'myimage.img', key_name='MyKeypair', instance_type='m1.small')
Retrieving spot instance Requests
Once submitted, you can check the status of your spot instance requests through the Describe spot instance Requests operation. Besides request launch information, this operation returns the request state (open, active, canceled or failed) and the id of the spot instance (in case the request is in the active state). Executing this operation without parameters will return information about all spot instance requests submitted by the user. Another way of using this operation is to request information about a single request or set of requests.
The supported parameter for this operation is:
- spot instance Request ID: Specifies the ID of the spot instance request to be described. (optional). This parameter can be a collection of spot instance request ids.
SOAP Client (Amazon)
Operation command and parameters:ec2-describe-spot-instance-requests [request_id [request_id...]]
This example returns information about current spot instance requests.
$ ec2-describe-spot-instance-requests sir-f102a405 SPOTINSTANCEREQUEST sir-f102a405 0.1 one-time active 2009-12-12T22:58:47+0200 i-3597b470 ami-7d3b6a38 m1.small default
Query Client (Boto)
Operation signature and parameters:boto.ec2.connection.get_all_spot_instance_requests(request_ids=None)
import boto from boto.ec2.regioninfo import RegionInfo # first create a region object and connection region = RegionInfo(name="nimbus", endpoint="service.hostname.com") conn = boto.connect_ec2("YOUR_ACCESS_ID_HERE", "YOUR_SECRET_KEY_HERE", port=SERVICE_PORT_NUMBER, region=region) # Create a spot instances request for ten m1.small instances. conn.request_spot_instances(0.50, 'myimage.img', count=10, key_name='MyKeypair', instance_type='m1.small') # Describe spot instance requests, and print id and state si_reqs = conn.get_all_spot_instance_requests() print 'Nr. of Requests: ' + str(len(si_reqs)) print 'Id: ' + siReqs[0].id + ' State: ' + si_reqs[0].state
Nr. of Requests: 1 Id: sir-f102a405 State: active
Canceling Spot Instance Requests
The Cancel spot instance Requests operation cancels spot instance requests in the "active" or "open" state. Canceled requests aren't considered for fulfillment. However, running instances from a canceled request, will remain running until they are explicitly terminated or the spot price rises above the request bid. This operation can cancel a single request, or a set of requests.
The supported parameter for this operation is:
- spot instance Request ID: Specifies the ID of the spot instance request to be canceled. This parameter can be a collection of spot instance request ids.
SOAP Client (Amazon)
Operation command and parameters:ec2-cancel-spot-instance-requests request_id [request_id...]
$ ec2-cancel-spot-instance-requests sir-ed3a2006 SPOTINSTANCEREQUEST sir-ed3a2006 canceled
Query Client (Boto)
Operation signature and parameters:cancel_spot_instance_requests(request_ids)
import boto from boto.ec2.regioninfo import RegionInfo # first create a region object and connection region = RegionInfo(name="nimbus", endpoint="service.hostname.com") conn = boto.connect_ec2("YOUR_ACCESS_ID_HERE", "YOUR_SECRET_KEY_HERE", port=SERVICE_PORT_NUMBER, region=region) # Creates a spot instances request for ten m1.small instances. spot_req = conn.request_spot_instances(0.50, 'myimage.img', count=10, type='one-time', key_name='MyKeypair', instance_type='m1.small') # Cancel the submitted spot request si_reqs = conn.cancel_spot_instance_requests([spot_req[0].id])
Managing Running Spot Instances
Spot instances perform exactly like ordinary Nimbus instances while running, and like other Nimbus instances, running spot instances can be managed (described or terminated) by the Nimbus Cloud Client and by usual EC2 API management operations, such as:
- ec2-describe-instances - Report on currently running instances.
- ec2-terminate-instances - Destroy currently running instances.
In the "Describe Instances" operation, spot instances will differ from ordinary running instances in the following attributes:
- Instance Life Cycle: 'spot' if the running instance is a spot instance, null or 'normal' otherwise.
- spot instance Request ID: the ID of the spot instance request, if the running instance is a spot instance, null otherwise.


text:
|Timepiece Archive, Categories
|Archive: Spare Parts, Materials (Timepieces, Jewelry)
|Timepiece Market
Fig. 1
Fig. 2
|3057: ETA 2834-2, Automatic Movement, New
Right from factory, quality Standard
Signature: Swiss Made, 25 Jewels
Day: German, at 12h, quickset
Date: at 3h, quickset
Data sheet
Condition: M0, new, ready for use
Attention! The return privilege is cancelled after opening the sealed package
Sold in Shop
Date 11-8-07
High bid EUR 78.90 (~CHF 77.55)
Reserve EUR 78.90 (~CHF 77.55)
Not for Sale!
The item presented here is not for sale. It was offered or sold as mentioned above a longer time ago. This archive is just a market overview and price guide, e.g. for evaluation of comparable items.
|bidfun-db 21.3 © 02-08-15, mtr-Ranfft
...the alternative - free of charge!

subset: commoncrawl


text:
A longtime talent evaluator chewed over the possibility of a $400 million deal for Mike Trout the other day, after reading this post, and mentioned that he blanched when he first saw the number.
"But then you think about it," he said. "Robinson Cano is a decade older than Trout and he just got $240 million. Trout is 22 years old and he's a better player than Cano right now."
Presumably Trout will be the better player for many years to come, based on his first two seasons, which have been unlike any others in the history of baseball. "He's like Babe Ruth, in how much better he is than the rest of baseball," said an evaluator. "If he stays healthy, buying Trout now is like buying Babe Ruth [at age 22]."
The Angels have the option of paying the modern-day Babe Ruth relative pennies in 2014, his last season before he becomes eligible for arbitration. Trout made minimum wage in 2012, and last year, the Angels bumped him to $510,000. By rule, they could do the same in 2014.
But the hammer will be passed over to Trout in 2015, after he becomes eligible for arbitration. The greatest first-time arbitration award belongs to Ryan Howard, who got $10 million in 2008, and given the passage of time and the fact that Trout has been demonstrably better than Howard as an overall player, evaluators expect Trout to obliterate Howard's record.
What's he worth already?
At the suggestion of editor Matt Meyers, we turned the Trout prism in another way to assess his value, and posed this question: If Trout was a free agent right now and told teams he would only sign a one-year deal, what would he get?
The responses to this purely hypothetical question, from club officials around MLB, invariably began with laughter Tuesday afternoon -- not at the mode of examination, but because the numbers would be so ridiculously enormous.


text:
Product Out of Stock
Sorry, this product is temporarily out of stock.
|Product Name
|1/8" ID Vinyl Air Tubing - 75' Roll
|Manufacturer Part Number
Your order means a lot to us. That's why we offer safe and reliable delivery options.Shipping Policy
Don't love the item? We offer easy returns through pre-paid labels.30-Day Return Policy
California Proposition 65 Warning
WARNING: This product contains chemicals known to the state of California to cause cancer and birth defects or other reproductive harm. For more information: www.p65Warnings.ca.gov


text:
Listing type:
Short Term Rental
Posted by:
Agent/Broker [River 2 River Realty Inc.]
Daniel Neiditch, 212-563-XXXX Click to view
Unfurnished Only
Kind of building:
Opportunity to renew:
Probably. Please confirm.
Brokerage Fee:
The poster of this listing is charging a brokerage fee.
Virtual Live Tours:
Yes, upon request
Pre-recorded video tour:
Year Built:
Last updated:
Jan 03, 2023
Our Atelier Rental Office is showing 7 days a week. Call us today for an immediate appointment to see our newest availability. Also, feel free to walk in to the building anytime Monday-Friday 10am-630pm or Saturday and Sunday 12pm-3pm without an appointment. Units come furnished or unfurnished for short or long term. Price of unit may vary with length of term and if unit is furnished. The Atelier has become a Manhattan luxury landmark. We are steps away from the Hudson Rail Yards Mall and Hi Line Park. Many celebrities call Atelier their home. All of our units are one of a kind. Many units have breathtaking unobstructed double exposure city and river views from floor to ceiling windows. The apartments feature stainless steel Bosch (dish washer, W/D, stove and microwave) and Sub Zero ( Fridge) appliances, white oak flooring , granite countertops in kitchen , marble bathrooms , washer/dryer in the unit , walk-in closets with white oak and glass pantries. The building amenities - 24-hour concierge/valet, free daily breakfast, Complimentary fitness center, Ice skating rink, tennis court, basketball court, residents' multi-media lounge and billiards room on the 47th floor, valet services ( laundry and dry cleaning on site) , office center, movie theatre , fully-landscaped terraces/sundeck , building-wide wireless Internet system for common areas , on-site storage available , bike storage , pet friendly , valet parking available , Large indoor and outdoor lap swimming pools (added cost) , sauna, free bicycle usage , BBQ Grill available , private dog run, kids playroom indoor/ outdoor kids playground and a free cross town shuttle bus. Images are of our model unit's stock photos and are NOT actual photos. NYC law requires 30 day min, inquires for anything less will not be responded to. PRICES LISTED ARE FOR ONE YEAR UNFURNISHED . CYOF
Midtown West, Manhattan (NYC) Building Address For Rent: 635 West 42nd Street, New York, NY, 10036
This apartment for rent is no longer available on our website.


text:
In Conversation with David S. Ware:Improvisation, Meditation and the Crystalline Idea Interview by William Sacks (November 1998)
Over the past 25 years, David Spencer Ware has proven himself a pioneering voice in American music. Drawing inspiration from the wellspring of late 1960's jazz expressionism and cultivating what is perhaps the current scene's most vital and intricate voice of free improvisation on the tenor saxophone, he has also garnered a reputation as a respected bandleader in an age when the value of the tradition and ideas he has dedicated himself to have faced poisonously dismissive resistance among club owners, recording company executives and members of the press. Ware's work has drawn a steadily expanding audience of fellow musicians and longtime fans of expressionist exploration over the course of a dozen releases in ten years (for five different labels) under his own name, including his most recent release entitled Go See The World (Sony). An exploration of his back catalogue reveals a musical mind whose preoccupations run toward intense lyricism in the service of metaphysical ideas about perception which insist on the broadest possibilities for their expansion.
Ware first came to prominence in the mid-1970's as a member of the Cecil Taylor Unit, a group whose existence is best documented on the brilliant 1976 concert recording Dark To Themselves; Taylor, regarded in knowledgeable jazz circles as one of the most challenging and undervalued compositional talents in the history of the music, is also known as a demanding leader whose visions of musical order helped to shape Ware's thinking about the necessities of pursuing compositional depth as the primary means of improvisation. Following his tenure with Taylor, Ware joined drummer Andrew Cyrille's Maono in 1978, and would remain within Cyrille's circle of players for the next decade. His work with Cyrille, captured on the albums Metamusician's Stomp from '78 and Special People from 1980, are evidence of an endurant voice which can essay power in a startling variety of traditional syncopations exercised in decidedly non-traditional contexts.
Ware's work as a leader has centered around a lasting quartet, including bassist William Parker and pianist Matthew Shipp, each of whom has been a prodigious contributor to the growing "free" tradition in his own right. Both players have returned to participate in each of Ware's projects out of sympathy for his ambitions and respect for his tremendous discipline, and their collective synergy has only grown more intense as their musical relationship as matured.
The following interview addresses in depth the historical background of David S. Ware's development from his earliest days as a music student; his reflections on some of his most lasting work, both as sideman and leader; and an explication of his beliefs about the nature and value of improvisational music. It is hoped that his candor and depth will be taken by the reader as a reflection of the sustained quality of his musical achievements.
PSF: You were born in Plainfield, New Jersey in 1949 and continue to live in that area today. Can you reflect on what the place means to you, and on some of your formative musical experiences?
Ware: Well, I was actually raised in Scotch Plains, and I've been here most of my adult life- the better part of 50 years now. I suppose I came back after periods in Boston and New York because this is where my family had been for several generations- most of my immediate family relocated to Georgia a few years ago, so my wife and I are really the only ones still here. Being in a place like this gives you a chance to breathe which you don't have, living in the middle of a large city.
As far as coming of age, musically speaking, I began playing around age 9, and eventually played in the various groups at my high school- the dance band, the marching band, the New Jersey All-State band. I took most of my lessons on tenor, studying classical music with a man named Joseph Grasso, but I was also switching off between alto and baritone; it was really a matter of what each group at the school needed. In fact, when I started high school they were needing an E Flat Clarinet, and I was willing to switch over if it meant I'd be able to play- it ended up that some chairs were moved around, and I stayed with the saxes.
PSF: What first attracted you to your instrument?
Ware: Well, as far as why I chose to focus on tenor, that was a decision I made when I moved to Boston to attend Berkelee (College of Music in Boston). To tell you the truth, the first thing I wanted to play was the drums- I've always felt that rhythm was my primary motivation, the first thing which I seek to represent musically, and I guess it felt that way very early on. But you see, my dad was a big, big music fan- he had hundreds of records, and though he wasn't a musician himself, he loved the great horn players especially. Lester Young, Coleman Hawkins, you know. So when I went to him and said, "I want to play the drums," well, he really steered me toward the tenor instead, and I think that as a result of that I got a better primary musical education than I would have if I'd become a drummer, just because of the attitudes toward drummers in the schools at the time. I mean, the classical basis wasn't there, and it wasn't like modern jazz was even being considered.
There was also this neighbor of ours, a friend of my father's who was into jazz, and his record collection was really up to date- I believe that I borrowed the first John Coltrane record I ever heard from him, and he definitely had most albums by Gene Ammons, Cannonball Adderley, Sonny Rollins, people like that. The records I heard coming from his house definitely helped to shape me, shaped my ambitions as a musician. I mean, by the time I turned 12 years old I had a pretty clear idea of what I wanted to do, you know? I really felt that music was a calling that I could answer, and those old records were a large influence on that choice.
PSF: When you think back on your day-to-day life at that time, what stands out? What was central New Jersey like for you?
Ware: Oh, man... I remember the GTO's... muscle cars were a big thing in that area at the time, and there was nothing else like the roaring of those engines out on the streets... I also remember that most of the streets were unpaved: the dust would kick up in the summertime and we'd be called off the streets sometimes because of it. I also remember the people at the Emmanuel Baptist Church in Scotch Plains, where my family attended services... A small place, pretty modest really, but it was relaxed in a way, too. Sometimes we'd drive into Newark to attend services at Hopewell Baptist, a much bigger congregation with more of a city feel. It was exciting, coming from a small town kid's perspective.
PSF: So when did you first decide that you needed to leave Jersey for points north?
Ware: It wasn't so much a conscious choice to leave New Jersey or my family as it was a matter of pursuing further musical education- finding teachers who were interested in modern jazz and could approach harmony or modality from that perspective. So anyway, I guess I was about midway through high school when I found out about schools where you could do that kind of studying, and that motivated me. I had also been taking trips up to New York City to catch gigs on a somewhat regular basis, seeing Coltrane at the old Vanguard, Sonny Rollins at the Five Spot, catching people like Archie Shepp right at the moment when the new thing was beginning to open up. There was incredible energy coming from New York at the time, and I knew that I was interested in the flow of the new music, in finding other musicians who shared that interest. So in that sense I knew where things were happening and wanted to be part of it... then I applied to Berkelee and got a scholarship, so my first stop was going to be Boston, which eventually turned out to be a good place to have gotten a start.
PSF: What was the scene around the Berkelee School like in the late '60s? What were some of the positives and negatives from your time there?
Ware: Well, you know, the first step I took was to drop the alto and baritone and concentrate on tenor exclusively, a decision I've never really looked back on with any regret. Another thing was that I was 17 when I moved up there, and my listening had really focused on freer music in the previous couple of years- Coltrane was playing with his expanded group, and everyone was listening closely to that, and we were into Shepp and Ayler as well.
As far as the negative sides of being at Berkelee... well, I was 17, you see. One of the first things they told me was, "If you can't notate it, it's not music," which is actually a very good way to think about things if you're open to the possibilities of notation, but at the age of 17 it was just like... I saw it as limiting at the time, and there were some people teaching there who regarded the new thing as something other than music. So, there was some healthy resistance, which made me focus on mastering the basic material they wanted you to master in order to give what I wanted to do some legitimacy, and I did well in my classes. The other thing about the atmosphere there was that- I think because the nature of the scene was changing so fast- there was attention paid to ideas about musical tension which proved to be very important to me later on. Herb Pomeroy, in particular, taught musical structure in terms of harmonic tension, and that had a great influence. At the time, I'm not sure I was completely able to appreciate the concept, but I definitely grew into those ideas as I developed musically. So, you know, I ended up doing 3 semesters there, spread out over two years, and I made honors, but in some sense those lessons became clearer years after.
The positives were all the learning experiences a young musician could have, both with other students and with the musicians working around Boston at that time. I really met my first mentors then, older men- most of them 10 years older- who were able to give me practical guidance about being a musician, and who also made time for listening, allowing us to listen to with them to all of the amazing things which were being recorded at that moment. Also, many of the students on the scene were very receptive listeners and players- Don Pate, Michael Brecker, Cedric Lawson, Bill Pierce, Stan Frank and lots of others who either came out of Berkelee or, in some cases, chose to move over to the New England Conservatory where the curriculum was more open, these people were all part of that early period for me, they were a big part of what made Boston interesting.
Probably my most important mentor, though, was a man named Joe Hanna who now goes by the name Abdul Hannan- he played sax, flute and clarinet when I first met him, and he had a very significant influence on my life. He was the person who introduced me to meditation and yoga in the early '70s, in 1973 in fact, and he had ideas about music's potential which appealed to me and shaped who I wanted to become.
Also, it was during this time in Boston, in the spring of 1968, that I put together my first group, a 5-piece performing original music which was my first real opportunity to explore some of the ideas I'd been learning about. We were called The Third World; we had electric piano, congas, violin and two saxophones. We made a tape- the first time I'd ever been recorded, really- in the living room of one guy's house, and this material was influenced by both the free players and some of the things we'd been hearing from African and Latin sources. Well, we sent that tape off to some magazine, which itself was owned by a record company if I remember correctly, I don't recall which one, but anyway we didn't hear from them for a time and then when we did get in touch with them, they told us that they hadn't listened to it because they didn't have the type of tape recorder we'd used. Can you imagine that? And then, I don't know, maybe a year later Gato Barbieri comes out with a record entitled "The Third World" which is very much in the same vein as what we'd been doing. I'm mentioning this because it was the first hard lesson about the nature of the recording business I learned, and that was while I was in Boston.
PSF: When did you decide that your time in Boston had come to an end? Was it primarily a musical decision?
Ware: Well, I was in and out of Boston, really. I got sick in '68 and stayed out of school for a semester, actually longer- I went back to New Jersey to get well, took a summer job, and then returned to Berkelee in September of 1969. I remained on there for one more semester, but I'd gone through some personal changes, and just felt like I couldn't get much more out of it. But I remained on in Boston, found a job there and settled into taking gigs where I could. I also began traveling to New York to play later in '69, playing a place called Madison's in particular, taking things in and trying to build a rapport within that community. I'd first met Cecil Taylor there in the summer of '67, got to know Sauhim Sluggs who hung out around the Washington Square area a few years after tha. As time went on, a move began to make more sense for many of us, just because there were more opportunities to have our music heard. In '71, I'd met Marc Edwards, Gene Aston and Chris Amberger (who went on to play with Art Blakey) for the first time, and we were all getting into collective improvisation in some depth, trying to take some steps toward getting things together, working together on a regular basis.
But in truth, what made the move possible was the rent-control. I moved to New York permanently in '73, at a time when the loft scene was beginning to really grow. This was a good time for jazz musicians, you know, because the rents were so cheap... We had a place at 501 Canal Street, the whole place actually, a storefront and four levels, and if I remember correctly the total rent was $550 a month. I shared an apartment with another musician and we paid a total of $125 for that share and a share of the collective space downstairs. We'd moved a piano in, we had a set of drums in there as well, and on one floor we'd set up a transient apartment for musicians who might be coming through and needed a place for a while. I remember this time as being very positive, the music was being played in some places where you might not have otherwise thought to look for it. I mean, we were holding down a Tuesday night gig at Sam Rivers's place, "Studio RivBea," we were playing at this place Andrew Cyrille had at the time, but I also remember that we did a series of afternoon spots at this pillow store on St. Mark's... they had a space in the back of store which they'd cleared for us, and we'd play a set for whoever happened to be coming by and wanted to stop in. It was places like that- unlikely places for music, but evidence of the kind of acceptance which the music was receiving.
PSF: What was your playing situation at that time?
Ware: Well, the situation at 501 Canal was somewhat flexible- there were many opportunities to play in new situations there, and we all took advantage of that. But as far as the group I led at the time, and this goes back to my time in Boston, it was originally a trio of tenor, bass and drums. Then, after I met Raphé Malik in '73, he eventually joined on trumpet. It was a good time, because I was able to work on my own musical ideas in greater depth than ever before, and was growing on my instrument as well. And it was important to me to have that regular contact with other players outside my own group- the loft scene allowed that to happen.
PSF: So how long did that situation last before you joined Cecil Taylor's group?
Ware: A little over a year, maybe a year and a half. Cecil had been teaching up in Madison, Wisconsin, and at one point asked me to relocate there, but that just wasn't for me. I had this situation in New York which I was very reluctant to move away from. But in '73 he received a Guggenheim fellowship, and that changed his situation so that he could consider more than just the occasional gig in New York- he could take a band out for longer tours, so he hired me and Raphé. We went all over with him, went to Europe with him several times- the audiences there treated Cecil's music with great respect.
PSF: Could you reflect on your experiences playing with Taylor and Andrew Cyrille's group? What did you learn from each of those situations, and how did you adapt to each leader's material?
Ware: Well, with Cecil Taylor, you know, we were working with long compositions, as long as any I'd ever played, really. You'd go to one of our shows, and that's what you'd hear, one piece of music. We never played more than that, and usually each musician only got to take one long solo in the course of a piece. Now, as far as adapting: when I joined Cecil's group, I was really playing from a more emotional angle, I was playing for the moment and going where I felt those emotions were, even if that meant abandoning the motif... which he did not appreciate. Cecil had intricate ideas written out for the flow of his music, he had the dynamics carefully thought through, and he wanted me to take more time to build my solos- to work the development of my solos through the motifs and think about the development, to focus on the development of the piece.
PSF: How did he go about telling you?
Ware: He didn't, not directly. Beaver Harris, who was drumming with us at the time, he was the messenger. He approached me early on, and because he was the voice I heard it from, he was the one I turned to on stage, to play off of and mediate where I was trying to take the band.
PSF: What was your relationship with [long-time Taylor altoist] Jimmy Lyons like?
Ware: Respectful, very respectful. I never really got to know him personally, but because he'd been with Cecil for so long, I knew that he had a say on the reed men hired into the band, so I knew he was supportive of my playing. Now, Jimmy and Raphé Malik were friends- they hung out all the time. Myself, I mostly hung out with Marc Edwards once he joined the group.
PSF: What about your on-stage, musical relations with Lyons in particular and the group in general?
Ware: I had something to prove at the time I started- I wanted my credentials as an improviser. You know, we had these long solo spaces to work with, and it was our job to take the band where we wanted it to go within that space, because that was the one opportunity you really had to bring a full expression to the audience. With the horns, for example- Cecil would go for 30, 40 minutes on his own solo, and what's going on in the background? Silence. So when it came time to step forward, there was an entrance you had to make, and learning how to make it was what I concentrated on for some time; it had to make sense as an outgrowth of whatever piece we were playing. That's what I learned from being on stage with that group: developing that sense, and then also making sure that I was always an instigator, there to boost the energy, to keep it at a consistent level for the tone of the piece.
Now, as far as my involvement with Andrew Cyrille, that was a different dynamic, closer to my own I guess. His material was settled in the blues, and you know that when Andrew wasn't working with Cecil Taylor himself he never used a piano, so we were in more a horn-oriented environment. It was Nick De Geronomo on bass, two horns and Andrew Cyrille, and the dynamic of that group was centered on building a blues sound in decibels, and doing it with different rhythmic accents within each piece. That gig really allowed me to get in touch with a whole other side of my personality, to focus on fundamentals. It was freer and bluesier than what I was playing with Cecil Taylor, and it was also more traditional in that the pieces were shorter and the motifs were more clearly derived from earlier jazz.
PSF: How was your own approach to composition effected by your tenure with those two groups? What did you learn about writing from each of those leaders?
Ware: From Cecil Taylor, I learned this: when you write music, pay attention to its details, deal with it from inside. Deal with the form, develop it so that it becomes a unique idea in itself, and then when you're playing it, take your cue from the form. Getting to the inner details of a piece was something I remember working on all the time, every time we played in fact.
With Cyrille, the style was very rhythmic, and I developed ways of playing with the rhythm and being caught in it. That group really moved together, rhythmically speaking, and we needed to be sensitive to changes in the rhythmic dynamic, to let that guide what we played. And learning to be caught by the rhythm, that's something which I've tried to apply to my own writing as well. I realized while I was with Cyrille that I really am motivated by rhythm, and Andrew himself is a great motivator- he catches everything, he's right there in every moment as a drummer, and he plays with you, you know? Shifting his timing with you as you go. Being part of that was a great experience.
PSF: It's interesting to hear you say that, because the drum seat is the only slot which has changed, three times now, in your own quartet over the past decade. Could you reflect on what each of your drummers has brought to the group, on how they were motivators for your own work as a leader?
Ware: When I started the group, Marc Edwards was our drummer, and he played with raw power. I always knew that he built tension with forté, that there would be great forward motion in his approach. With Whit Dickey, he looked for an overall concept within each piece, and then applied that concept- the variations in his playing from one performance to another are more subtle in that sense. Susie Ibarra, who's with us now, she has a tremendous arsenal of techniques at her disposal, and is still developing them- she applies some of them to what I call the efficient form, and others to the extended form, and as she grows musically those extended techniques become more involved, more sophisticated and more powerful as well.
PSF: Tell me about how your relationships with the other two members of your group developed, and what they bring to the current group.
Ware: William Parker I met for the first time in the mid '70s, while I was still living at 501 Canal Street- met him at a '74 Cecil Taylor show, in fact, so he's known me through a lot of my own development. In terms of what he brings to the group as bassist, William has a tremendous walking pulse- a lightning, fleeting touch which fundamentally shapes the extensions of the forms we play. You know, the traditional role for the jazz bassist is to provide the backbone of the form, to give the music some rhythmic anchor; William Parker will start in the extension, and work his way through the core motifs of a piece. When a bassist does this, it opens a whole other universe of sound, a whole new sense of the possibilities of extension on the rhythmic side of things. This is possible because we don't really play vamps- the bass is dealt with primarily as a voice rather than as a rhythmic border or guide, and when you're dealing with a player who can use the bow the way William does, well, you're in whole other strata both in terms of your rhythmic space and your possibilities with harmony. He has really given me the ability to compose in new ways, bringing extensions we've developed in one piece into focus as part of the form of some other piece- given me that added bass voice to hear a deeper harmony when I write.
Our pianist, Matthew Shipp, I first met in '89, and we just had this common understanding of the musical language which fit very naturally. It was just a shared approach to the energy of a piece and its possibilities, a very basic thing but also of the greatest importance to how the group sounds today. I think that this is because we'd come up listening to many of the same things- we shared an interest in the Coltrane sound, for example, which made our understandings of one another's outlook very clear.
PSF: How would you describe the development of your relationship to Coltrane's music over the course of your career? When you think about his legacy now, and how you may be reflecting it in your own work, what stands out for you?
Ware: Well, for me Coltrane was always about searching, he was always searching for new levels of expression and making total, thorough explorations at each stage in his thinking. And within each stage was a period of adaptation which is very important to keep in mind- it wasn't as if he had a fixed voice which he just applied to whatever new compositional idea he had. He made adjustments to the way he played at every stage. These are the things I try to do with whatever material I'm playing at the time, and whatever I'm thinking about as compositional possibilities as well.
I first discovered Coltrane's music in the late '50's- I was definitely still in grade school, coming to the end of it- and I think the first thing of his I heard was Giant Steps. You know, I mentioned that neighbor of ours, the friend of my father's- well, at one point I borrowed a whole stack of records from him, and that one was the record that grabbed me, the one I can still remember listening to at the time and thinking, "there it is." My sense of what modality was, modality in a broad sense- it began then. So I immediately dug back into the records he'd cut for Prestige as well, and began following the Impulse releases as they came out; I remember hearing his take of "Out Of This World" and being intrigued by the possibility that there were forms of music which hadn't even been discovered yet. This was right on the verge of the new thing, right around the time that he and Don Cherry did their Newport gig. For me, it was a time of complete immersion, and I still feel that it was the most important listening I did in my life, the listening I'm still immersed in.
PSF: So where has your listening lead you recently?
Ware: To be honest with you, I don't really listen to much recorded music anymore. I mean, really, I feel that I did my listening back in the '60s, that it was enough to last me the rest of my life. I mean, I was there, I heard it! Well, you know, I listened to the jazz show on WKCR last week, but that's because I was there in the studio- I go up and play there once or twice a year, and I get a decent sense of what else is happening in the process. But, you know, I've got at least 200 LPs here in my home, and people send me CDs fairly regularly, but it just seems as if I don't have the time to be constantly listening to recordings- I have to walk the dog, I do my yoga exercises and I meditate each day, and that takes time. It's time I feel I must take, because there is silence during those times and that silence makes what I do possible.
And I have to say that it frustrates me to listen to jazz radio because I feel like it represents a vacuum, a kind of very limited thinking which doesn't even include someone like Ornette Coleman. I saw so many people play when I was younger who changed my whole way of thinking about music, who opened up so many possibilities, and I want to live in a way which keeps those possibilities in the forefront. You know, I've been told that what I'm doing is too much for a place like the Village Vanguard! Now the Vanguard, that was a place I went to hear John Coltrane at a time when he was really going through changes, a place where Archie Shepp used to play all the time... but I'm too much for it? So, I've come to realize that those experiences back in the '60s... they were special times.
PSF: What do you try to give back to that '60s tradition, to build on what it offered you then and what it represents to you now?
Ware: Well, first and foremost is dedication to the tenor- virtuosity on the tenor is something I've aspired to keep up over time, to continue playing at the same level of intensity which first attracted my attention. That legacy is very important to what I'm trying to do with music.
Where writing is concerned, it's primarily a matter of projection- this is something I talk about in some of the liner notes to my records as well- and among the various things that projection involves is a consideration of how music has been freeing for me over time, how moments of expression have been a powerful force in my life and in the lives of other musicians I've known. And that can be thought of as a kind of tradition, though it's a very personal thing.
PSF: You've recorded four standards on four different titles in your career as a leader, including the version of "The Way We Were" which appears on the new disc. What is it about those few traditional numbers that appeals to you? What do you look for in a standard, and where do you try to take it?
Ware: As far as what I try to do with a standard, it's part of the same work that goes on with all the material- it's a search for an original modality, a way of thinking about the structure of harmony which asks whether there isn't some new side to sound, some new relationship between tones which working from a specific musical form can reveal. Think about what Coltrane did with "My Favorite Things"- no one had ever played that song in quite that way, and that's because he played it in a new modality. We are always on a method quest, a search for free flow method and that's what I try to do with all my music, not just the standards.
As for why I pick some older tunes, well, there's a level on which they just appeal to me as melodies, and on another level they're suggestive of intervals or motifs which seem to me to flow well within that tune, from which I can build something even more freely flowing- something the tune has always suggested without ever having been made explicit, and which comes forth once its motif has been freed of the original structure.
PSF: What are some sources which have inspired you to discover a new modality in the past?
Ware: Sometimes it's something as simple as a voice, sometimes it's the interplay of the musicians I'm with. In any situation, it requires mastery of whatever has been done with the interval or motif in the past, a sense that the complete past relation is right there, and once it's there it can be properly expanded. Take someone like Sonny Rollins: he was always able to take a piece of material and make it his own, because he made it his business to know what the past possibilities of the tune were, and then found a way to somehow expand on those possibilities through complete mastery. It's what true improvisation is about. Dealing with a melody on that level takes time- it takes time to know how to discard the bar lines and move through the forms in a new rhythm, and then again to use those rhythms you're playing in to bring out new tonalities of the individual notes.
PSF: Tell me about the strengths of your current quartet, specifically about how they interact in this searching after modalities.
Ware: Well, our forté is really the extension of the form. We succeed in situations where the platform of the melody is haunted, where it is inhabited very fully and we each find its spaces around that presence. You know, there has to be resistance to overcome in the pursuit of free flow, and when the spaces in a motif are not obvious, when the existing modality seems very complex, that's a kind of resistance which we know ways of exploring and finding our way through by listening to one another as we're thinking about the form. That's something else I learned from Cecil Taylor, by the way.
As far as what the group is capable of, I guess the answer is that we're investigators of form, that we come to each performance with a sense of what we might do with our material which our previous performances haven't fully realized. See, we're really still learning to play the material from Go See The World, in the sense that learning is investigation and that the only way to fully learn what the possibilities of any piece are for our group is to go through that process. And the more opportunities we have to play shows, the more thorough that process is allowed to become.
PSF: Your current recording and touring situation with Sony/Columbia is a new one for you. How did it come about, and how is your relationship with the company now?
Ware: Well, we were offered a contract on Sony by Branford Marsalis. He'd heard us play in Europe in the summer of 1995, and approached me after the show to express admiration for what we were doing. I didn't hear from him again for a while, but then he got back in contact with me last summer to tell me that he'd been made creative director of the jazz division at Sony, and wanted to record my group in our own setting, performing the music of our choosing. It was encouraging of course, and we were given total creative freedom in the studio, no compromises, and the promise of better distribution that we'd ever had before. I signed a 7-option deal with them, and so far the relations are very good.
PSF: In the past, some of your records like Cryptology (1994) and Tao (1996) have had conceptual frames which give the records an overt thematic continuity. What inspires these thematic developments?
Ware: Usually, it's certain compositions whose form draws my attention for a period of time, and in that time I try to isolate the musical concepts within the form and relate them to portions of whatever idea or observation inspired them. With a record like Cryptology, it was a matter of meditating on pace, on the pace at which ideas grow and the sense of their lasting effects at different stages of growing. It was also a record about channeling- a meditation on Coltrane's example of using music as a vehicle for transcendence. He believed that our essence was transcendence, a universe of transcendence which is parallel to the infinite relationships within music and is reflected by them. The goal, throughout the course of any sustained idea or theme, is to understand how the relationship to essence changes as we recognize that we are dealing with our lives in a different sense, that there are many different senses in which we can approach self-understanding, and the expression of those various understandings gives music its possibility. If we explore the ways in which our five senses can change, how their functions can be extended, then the whole function of thinking changes as the exploration takes place. The meaning of thinking, in particular thinking through music and how it can effect the senses... that meaning changes for us.
PSF: How have you come to recognize those moments of transcendence in music?
Ware: It's a matter of simple crystallizing, of a crystallized moment whose presence or structure we're aware of because it has given us some new idea about our own perception of sound, of that kind of motion. In some sense it's the result of recognizing an emptiness in a piece of musical writing, of recognizing what we thought of as an emptiness, and then we occupy it. I'll add that I've never really approached this as an intellectual pursuit; it's a matter of intuition, of trusting in the intuition as an extension of the senses and letting it guide the process that allows a musician to decide how a musical form should be approached and explored.
PSF: What is that decision process like for you?
Ware: It's the result of meditation, which is something I do every day. The inspiration to explore music comes from my meditation. Actually, it all comes from silence- silence is full of potential, and is the first space I try to reach. You might think about it in the same way you think about splitting the atom, about the components of the atom- all of the power which a musician wants to explore is inside the atom, and is the result of the relationships between its parts. Exploring those relationships means getting into spiritual examination, and finding modalities of expression in that.
That spirituality is what makes value, what makes a moment of expression valuable to anyone who is open to hearing it. The challenge is always finding new ways of thinking about the spiritual situation or condition, of realizing that when we talk about extensions of form we are talking about rethinking that situation, and being prepared to face the fact of the universe as a breathing intelligence. We become aware of the rhythms of that breathing in our expression, and in understanding that we, ourselves, are expressions of it, too.
See some of David's favorite music


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Thank you all for your sweet well-wishes. Rest assured that this is not a serious problem (my eye doctor confirmed it Friday). Nothing a little rest can't fix. Long walks, listening to books on my ipod, frequent naps and most importantly keeping my laptop closed when I'm not at work are doing me a world of good.
So I'll be quiet here a while longer. I just wanted to tell you that I appreciate your messages and that I'm doing fine.
Monday, September 14, 2009
Thank you
Posted by nicole 1 comments
Wednesday, September 9, 2009
A little rest...
Hello dear friends. Just a little note to say that you may not hear from me for a little while. My eyes are on strike, so I have to take a computer break. Loooong work hours in front of the screen + reading blogs and email + surfing the net + Ravelry = eyes that don't work so well.
I'm suffering from major eye strain (twitching, burning, trouble focusing), making it very difficult to work right now. Since I can't really stop bringing home the bacon, I'm going to have to cut my extra-curricular computer activity to a bare minimum, at least for a little while. I'm also going to have to slow down on knitting, quilting, drawing and reading, at least till my eyes recover. I'm not sure what I'm going to do with myself...
As soon as things calm down at work, I'll pop by again and say hello.
Until then, keep well!
Saturday, September 5, 2009
Good things come in threes
Some of you asked about the yarn I'm using for my golden vest. It's Fleece Artist Blue Face Leicester 2/8. To quote Rachel Zoe, this yarn is bananas. It's got the same lofty haloed look of Shetland, but it's so much softer.
I die.
Now to tell you about a delightful thing that happened to me. Believe it or not, I won another giveaway, the third this year! (Please don't hate me.)
Rebecca from the pretty Poshyarns was giving away a copy of the new fall Rowan.
It's the quintessential Rowan fall issue. Beautiful people in beautiful places wearing beautiful knits. Sigh... I love it.
I have enough Cocoon in my stash for this gorgeous thing.
I'm hoping to cast-on soon.
I'd love to knit this as a cardigan.
This is the PERFECT sweater for a walk in the autumn leaves, don't you think?
And can you imagine how luscious it would be, all those gorgeous colours of Felted Aran Tweed?
I would sell my soul for this girl's hair.
Even more lovely was what Rebecca included in the package:
A pretty fabric flower that she made. It's just the perfect thing for my fall coat. Thank you so much Rebecca! Check out her shop for more beautiful creations.
I promise, I'm not entering any more contests for at least a year. I even resisted this wonderful giveaway. But you shouldn't. So go see t.
Posted by nicole 1 comments
Thursday, September 3, 2009
Endless stockinette stitch is so restorative.
I'm test knitting a vest pattern for Veera (LOVE her knits!).
I can't wait till it's done. It'll be the perfect thing for fall.
But I won't wish away these last golden days of summer just yet...


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2009 study posted for filing
Contact: Michael Woods firstname.lastname@example.com 202-872-6293 American Chemical Society
Researchers have established the conditions that foster formation of potentially dangerous levels of a toxic substance in the high-fructose corn syrup (HFCS) often fed to honey bees. Their study, which appears in ACS' bi-weekly Journal of Agricultural and Food Chemistry, could also help keep the substance out of soft drinks and dozens of other human foods that contain HFCS. The substance, hydroxymethylfurfural (HMF), forms mainly from heating fructose.
In the new study, Blaise LeBlanc and Gillian Eggleston and colleagues note HFCS's ubiquitous usage as a sweetener in beverages and processed foods. Some commercial beekeepers also feed it to bees to increase reproduction and honey production. When exposed to warm temperatures, HFCS can form HMF and kill honeybees. Some researchers believe that HMF may be a factor in Colony Collapse Disorder, a mysterious disease that has killed at least one-third of the honeybee population in the United States.
The scientists measured levels of HMF in HFCS products from different manufacturers over a period of 35 days at different temperatures. As temperatures rose, levels of HMF increased steadily. Levels jumped dramatically at about 120 degrees Fahrenheit. "The data are important for commercial beekeepers, for manufacturers of HFCS, and for purposes of food storage. Because HFCS is incorporated as a sweetener in many processed foods, the data from this study are important for human health as well," the report states. It adds that studies have linked HMF to DNA damage in humans. In addition, HMF breaks down in the body to other substances potentially more harmful than HMF.
ARTICLE FOR IMMEDIATE RELEASE "Formation of Hydroxymethylfurfural in Domestic High-Fructose Corn Syrup and Its Toxicity to the Honey Bee (Apis mellifera)"
DOWNLOAD FULL TEXT ARTICLE http://pubs.acs.org/stoken/presspac/presspac/full/10.1021/jf9014526
CONTACT: Blaise W. LeBlanc, Ph.D. Carl Hayden Bee Research Center
Agricultural Research Service U.S. Department of Agriculture Tucson, Ariz. 85719 Phone: 520-792-1296 Fax: 520-792-1296 Email: firstname.lastname@example.com


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Managing physical changes due to breast cancer
Women treated for breast cancer may experience a range of long-term physical changes, symptoms and side-effects of treatment.
Physical changes associated with breast cancer can include changes in how the body looks, menopausal symptoms, fertility problems and lymphoedema.
This section describes some of the longer term physical changes associated with breast cancer treatment and what can be done to manage them.
Find out more about:
- Breast cancer and body image (includes information on breast prostheses and breast reconstruction as well as hair loss after treatment)
- Breast cancer and menopause
- Breast cancer and fertility
- Breast cancer and lymphoedema
Short-term side effects of treatment
For information about short-term side effects of different breast cancer treatments, see the treatment section.
Symptoms and side effects of metastatic breast cancer
For more information about symptoms and side effects of metastatic breast cancer, see the issues for women with metastatic breast cancer section.
General information
For more general information about physical changes due to cancer see:


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February 16
DON PEDRO II. of Portugal, when a child, had among his little pages a modest boy of rich and princely parents. Much had John de Britto—for so was he called—to bear from his careless-living companions, to whom his holy life was a reproach. A terrible illness made him turn for aid to St. Francis Xavier, a Saint so well loved by the Portuguese; and when, in answer to his prayers, he recovered, his mother vested him for a year in the dress worn in those days by the Jesuit Fathers. From that time John's heart burned to follow the example of the Apostle of the Indies. He gained his wish. On December 17, 1662, he entered the novitiate of the Society at Lisbon; and eleven years later, in spite of the most determined opposition of his family and of the court, he left all to go to convert the Hindus of Madura. When Blessed John's mother knew that her son was going to the Indies, she used all her influence to prevent him leaving his own country, and persuaded the Papal Nuncio to interfere. "God, Who called me from the world into religious life, now calls me from Portugal to India," was the reply of the future martyr. "Not to answer the vocation as I ought, would be to provoke the justice of God. As long as I live, I shall never cease striving to gain a passage to India." For fourteen years he toiled, preaching, converting, baptizing multitudes, at the cost of privations, hardships, and persecutions. At last, after being seized, tortured, and nearly massacred by the heathens, he was banished from the country. Forced to return to Portugal, John once more broke through every obstacle, and went back again to his labor of love. Like St. John the Baptist, he died a victim to the anger of a guilty woman, whom a convert king had put aside, and, like the Precursor, he was beheaded after a painful imprisonment.
Reflection.—"It is a great honor, a great glory to serve God, and to contemn all things for God. They will have a great grace who freely subject themselves to God's most holy will."—The Imitation of Christ.
Source: http://www.sacred-texts.com/chr/lots/
The above text was published in February 2017.
Read about lives of other saints
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Blithewold is an Arts and Crafts garden on Rhode Island's Narragansett Bay.


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Circles and Lines: Creating 3D Solid Primitives6 Aug, 2006 By: Lynn Allen
Take your first step into the world of 3D in AutoCAD.
By now you've heard that AutoCAD has made a serious effort to enter the world of 3D. You may be tempted to continue living in your 2D world and let all those cool 3D features linger by the wayside, but what fun is that? You'll find that designing in 3D is much more rewarding than living in a flat world. This month, we'll create 3D objects and continue down this series focused on 3D.
Last month I discussed how to properly set up your 3D environment. If you missed the installment, I recommend you read it now before going forward with this month's tutorial.
One Stop Shop
Open the ACAD3D prototype drawing and display the new Dashboard -- the one stop shop for all things 3D. Display it by choosing the new 3D Modeling Workspace, or by going to Tools / Palettes / Dashboard. I prefer to anchor my Dashboard to the side of the screen because I like as much screen real estate as I can have. To do this, right-click on the Dashboard bar and select Anchor right (or left).
Prepare your user interface before starting to draw in 3D.
Open and close a control panel by selecting the arrows.
All the Tools
This month, let's focus on the 3D Make panel that contains nearly all the tools you need to create 3D objects. Let's start with the primitives (cone, box, cylinder and the like) as they are the easiest to work with.
The 3D primitive commands feel very much like their 2D equivalent. For example, a cylinder is based on a circle and consequently there are similar options in both. You can select a center, radius, 2P, 3P and TTR as the base of your cylinder, just as you'd find in the Circle command. This makes it so much easier to learn the new 3D commands. As you provide input, you can see the objects as they are created ensuring you get the desired results.
Box. Let's start with the easiest of all -- Box. Here the options are similar to the ones found in the Rectang command. The default way to draw the box is to select the two opposite corners of the base, and then the height. A positive value for the height draws the box up the positive Z axis, a negative value draws the box down the negative Z axis.
- Command: Box
- Specify first corner or [Center]: Select a point or enter C for center
- Specify other corner or [Cube/Length]: Select the other corner of the box or enter an option
The Box command also gives you the option of creating a cube where all the sides are of equal length. If you prefer to indicate precise measurements for the length, width and height, you can use the Length option after you select the starting point of your box.
If you prefer to construct your box by selecting the Center of the box first, that's also an option.
It's easy to use grips to alter your box after the fact. Just select the box to display the grips and tug on the various grips to change the size of the box. The grip located in the center of the base of the box can be used to move the box. We'll get more into editing the 3D objects in a future column.
The new 3D grips make it easy to edit your 3D geometry.
Wedge works similar to Box.
Cones are simple to create by defining the base and the height.
- Command: Circle
- Specify center point of base or [3P/2P/TTR/Elliptical]: Select a point or enter an option
- Specify base radius or [Diameter] <default>: Specify a base radius by selecting or inputting a value, or enter d to specify a diameter
There are several ways to define the height of a cone. Simply select the top point and indicate with a value or select 2Point to select two new defining points to determine the height.
- Specify height or [2Point/Axis endpoint/Top radius] <default>: Specify a height by manually selecting a point or by keying in a value, or enter an option
Creating a top radius in the Cone command creates a cone frustrum.
Cylinder and Sphere follow along in the same footsteps as the Cone command. The Torus command creates your Krispy Kreme donuts and is also based on circular information. You must determine the position and size of the hole and the size of the tube. Even though we think of tubes as being hollow, the Torus command does generate a solid. And I'm sorry, there's no way to create a jelly donut -- inside diameter of 0.
Pyramid is new and is based on the good old Polygon command, consequently you select the number of sides (3 to 32), inscribed/circumscribed and you can indicate a top radius as well creating a pyramid frustrum if needed (sounds like a personality disorder to me).
Give these new solid primitives a try and you'll see how easy it is to get started in the world of AutoCAD 2007 3D. Next month, we'll continue down the 3D road as we explore more options in creating 3D objects.
Until then...Happy AutoCADing!
About the Author: Lynn Allen
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Two kinds of schooling
Type 1. You can take a class where you learn technique, facts and procedures.
Type 2. You can take a class where you learn to see, learn to lead and learn to solve interesting problems.
The first type of teaching isn't particularly difficult to do, and it's something most of us are trained to absorb. The first type of schooling can even be accomplished with self-discipline and a Dummies book. The first type of class is important but not scarce.
The second kind, on the other hand, is where all real success comes from. It's really tricky to find and train people to do this sort of teaching, and anytime you can find some of it, you should grab it.
The sad thing is that we often conflate the two. We think we're hiring someone to do the second type, a once in a lifetime teacher, someone who will change the outlook of stellar students. But then we give them rules and procedures and feedback that turn them into a type 1 teacher.
Even worse, we often pay as if we're getting the scarce and valuable type 2 teachers but we end up hiring and managing type 1 teachers.
I spend a lot of time in colleges and other teaching institutions. Over and over I see the same thing–organizations that have painted themselves into a corner, keeping themselves busy but refusing to do the difficult work of teaching people to see. The dean of one college was so stuck in his type-1ness that he couldn't even bring himself to participate in a session run by a gifted type 2 teacher.
Is there anything more important to you and your organization (or your kids or your town) than figuring out how to obtain and share the wisdom that real teaching can deliver?


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VILLEDONNÉ, ÉTIENNE DE, esquire, captain in the colonial regular troops, commandant at Fort Saint-Joseph, 1722–26; b. in Paris, c. 1666; d. in Quebec, 12 May 1726.
The son of Étienne de Villedonné, an attorney of the parlement of Paris, and Marie Vezins, he came to Canada in 1685 as either a cadet or a second lieutenant in the colonial regular tropps. Four years later he was taken prisoner by the Iroquois who, in the course of his captivity, chewed off one of his fingers and burnt his arm. In 1692, Villedonné managed to escape. Undaunted by the treatment he had suffered at the hands of the Five Nations, he participated in several expeditions against them in the years that followed. During the War of the Spanish Succession he campaigned in Newfoundland with a detachment commanded by Jacques Testard de Montigny which attacked the English settlements of Trinity and Bonavista in 1705.
Villedonné was named assistant town major of Quebec in 1712 and promoted to the rank of captain the following year. He was highly regarded by Philippe de Rigaud de Vaudreuil who appointed him commandant of Fort Saint-Joseph, off the southeastern tip of Lake Michigan, in 1722. By that time the Fox Indians had begun to attack the settlements of the Illinois country, and Villedonné became involved in the controversy between the post commandants of Canada and Louisiana who accused each other of not taking appropriate measures to end this war.
In Quebec in 1697 Villedonné had married Marie Damours, daughter of Mathieu Damours* de Chauffours and Marie Marsolet. She bore him three children and died in 1703. In 1715 he married his second wife, Françoise Roussel, daughter of the surgeon Timothée Roussel*; they had seven children.
AJQ, Greffe de Louis Chambalon, 28 sept. 1697. AN, Col., C11A, 12, 22, 24, 25, 28, 30, 56; D2C, 222. "L'expédition de M. de Montigny à Terreneuve en 1705," APQ Rapport, 1922–23, 290–98. A. Roy, Inv. greffes not., V, 321; XII, XVIII, XIX. P.-G. Roy, "Ce que Callières pensait de nos officiers," 328. Wis. State Hist. Soc. Coll., XVI, 444–51 (some of Villedonné's correspondence during his command at Fort Saint-Joseph). Tanguay, Dictionnaire, I, 154, 194, 530; III, 412. [Tanguay gives Villedonné's dates as 1663-1726. In 1701, however, Callière stated that Villedonné was 35 years old, which would place his birth in 1666. y.z.f.]
© 1969–2023 University of Toronto/Université Laval
Cite This Article
Yves F. Zoltvany, "VILLEDONNÉ, ÉTIENNE DE," in Dictionary of Canadian Biography, vol. 2, University of Toronto/Université Laval, 2003–, accessed October 3, 2023, http://www.biographi.ca/en/bio/villedonne_etienne_de_2E.html.
The citation above shows the format for footnotes and endnotes according to the Chicago manual of style (16th edition). Information to be used in other citation formats:
|Author of Article:
|Yves F. Zoltvany
|Title of Article:
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|Dictionary of Canadian Biography, vol. 2
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|Access Date:
|October 3, 2023


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Has anyone here put together a "Sleep" spell in the Dresden Files RPG yet? One of my PC wizards (we're playing a "Submerged", or high-powered game) has a sleep spell as a Rote, and I wanted to see if my implementation made sense to anyone else. Here's how it works:
She's got a Conviction of 4 an...
Pick one characteristic that is unique to your character and mark it on your card, for example:
a physicality: the henchman's hunched shoulders
an action: the shopkeep who plays with his earlobe
a held object: the duke who always is petting his cat
a verbal distinction: the knight with a stutte...
What good, popular setting you have used for "Pirates of the Caribbean" types of adventures? What makes it good for running a pirate game?


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I've been a Mac guy for almost my entire adult life. I wrote my first college papers on a typewriter, but by the end of my freshman year – almost 30 years ago – I was on an IBM PC. Then, in 1984, I found the Mac, and I never looked back.
Till now.
I'm not saying I'm switching, but I sure am open to a better solution. Because the past year or so has been dominated by the kind of computing nightmares that used to be the defining experience of my Windows-PC-wielding friends and colleagues. And it's not limited to the Mac – the iPhone is also a massive fail in what was once the exclusive province of Apple: Ease of use.
I'll caveat this post with the fact that I may be something of an outlier – I have thousands of contacts in my Apple contact database, and my iCal app is burdened with having to integrate with a multi-platform universe at work. And perhaps the fact that I love to take photographs, and have amassed more than 10,000 digital images, means that iPhoto has become mostly useless to me for anything other than as a storage vault. And that, apparently, is all my fault.
But my wife isn't an outlier. She has about 250 contacts. She tries to use iCal, but can't make it work. Her email breaks early and often. And she's spent the past two months in IT hell, trying to salvage her digital life from the clutches of Apple's self-centered, walled-garden update called the Lion operating system, which wiped out nearly all her previous settings and useful applications. Watching her struggles, and trying to help (and realizing I couldn't without bringing in expensive professionals) made me wonder – whatever happened to ease of use?
I am certain this post will elicit all manner of Apple fanboys who claim I'm a moron, that I've brought upon my own demise through stupid decisions. Well, let's review a few, and you can judge for yourself.
Honestly, where to start. How about with the iPhone itself? I have an iPhone 4, it's about a year or so old. The contract is for two years, and I don't feel like paying $400 to get a new phone. I figured this one must be good enough, right? Wrong.
The phone is pretty much useless now, because all of its storage is taken up. With what, you might ask? Well, it's a mysterious yellow substance – found, in a masterstroke of intuitive design, in iTunes – called "other." I was alerted to this issue when I couldn't take a photo because my storage was full. Oh, and I was also told my storage was too full to download any more mail. And I'm an inbox zero kind of guy!
WTF is all this "other" shit, I wondered to myself. Well, that's what Apple's self-hosted forums are good for (I've been there a lot lately, for any number of issues, only a few of which I'll detail in this post). So off to Google I headed – "what is the other in iphone storage" yielded this post, among a lot of others:
OK, so…should I restore the device from backup? How do you even do that? And if that doesn't work, then what? I have to "restore as new"?
Sounds dangerous, like I might lose all my settings and apps and such. There had to be a better fix. I spent a half hour or so reading various forums, blog posts, and the like about the problem, which seems quite prevalent. Many of the suggestions are summarized in this post, and included deleting your browser cache (that was pretty easy, I did it, no luck), deleting your entire email account and recreating it (a pretty drastic thing to do, but funnily enough, I've done it about ten times in the past year due to problems with our connection to work mail, and since I'd done it recently, I figured that couldn't be it), and my favorite:
Go to /var/mobile/Media/ApplicationArchives using SSH (requires jailbroken iPhone) or DiskAid and delete everything. This folder contains partially downloaded apps which never completed nor removed and were probably interrupted at some point in the middle of downloading.
Are you frickin' kidding me? I have to jailbreak my phone to fix this problem?
Oh wait, that blog post suggested one last thing I could do: If the above steps fail, do a full system restore :(.
Again, very drastic. But I was getting impatient. I wanted my storage space back. I found another site, one that looked pretty official, that said this:
Unfortunately, scouring available information sources and speaking with Apple hasn't led to any type of easy resolution.
If you're experiencing this issue under any version of iTunes, you'll need to restore your iPhone to reclaim the space occupied by Other. That is the only known solution at this time.
Well shit. I spent a few more fruitless hours trying to find another solution on the web. There wasn't one that didn't require pretty significant technical know-how (such as installing a utility, running it to reveal all files on the iPhone, then deleting each file one by one, even if you weren't sure what the file did). The only option that was relatively straightforward and seemed to work, according to many forums, was to restore the phone.
Which I did. And I lost all my apps save the ones that come preinstalled on the iPhone in the first place. And guess what? It didn't fix the problem.
OK, I'm going to stop on this example. Because the point isn't to try to fix the problem (I know I'm going to have to go to an Apple store, and get a "Genius" to deal with this. And I know this "Genius" is going to tell me that my phone is old, and that I need a new one with more storage, and by the way, I should really get an iCloud account, because if I had one then I wouldn't have a problem at all. In other words, Apple has architechted the iPhone in such a way as to insure that I spend much more money with Apple, and am committed to their cloud solution long term with my data. But that's another rant). Oh, and the fact that Apple doesn't respond in its forums about this (or any) issue? Ridonkulous.
My point is simply this: This. Ain't. Easy.
Another example: iPhoto. May I just say, and I won't be the first, that iPhoto is A Piece of Sh*t, in particular given how image-driven the company is in its own marketing. iPhoto is about as dumb as an application can be. Just launching the things often takes up my Mac's entire CPU, crushing performance on anything else I have open (and no, my Macbook Pro isn't old, it's one of the newer models). Photos are organized by date, and there's no easy way to change that. Album creation is utterly non-intuitive (again, I'm sure this is all my fault, Mr. Fanboy), and the "Faces" feature, which seemingly would fix a lot of these issues, is just plain useless.
Now, you Apple fanboys will scream at me: Hey Battelle, you wuss, don't you know about Some Expert Photo Editing and Organizing Photo App That You Can Buy For Hundreds of Dollars. Or Some Bitchin' Utility Written By A 19-Year-Old That Will Never Be Supported By Apple. Or something. Well I do, because I've searched high and low for help with iPhoto. Again, there are no easy solutions. I could take a class, yep. Or spend a few days manually tagging my photos. But wasn't the point of the Mac that you SHOULDN'T HAVE TO DO THAT?!!
Another example: Nearly all of Apple's built in "productivity" applications are terrible – email, contacts, calendaring, for starters. All of them are not ready for prime time. iCal is laughable as a shared calendar across platforms and the web – perhaps my IT department is filled with punters, but in five years, we've never been able to make iCal work seamlessly across pure Mac networks, not to mention with other solutions like Outlook or Google Calendar. And when we call Apple for support, it's as if Apple really doesn't care. Alas, we can't seem to find anything better, so we limp along…apologizing when things "fall off the calendar" or, worse, when appointments stay on my iPhone calendar long after they've been moved from my main iCal on the Mac.
And dont' get me started on Apple's "Address Book." As I said before, I have thousands of contacts. Is that so uncommon? Apparently it is. After months of trying to get my contacts to sync properly across my Mac, my assistant's Mac, and both of our iPhones, my IT department finally got someone at Apple to admit that, well, the Address Book just doesn't really work very well once you have more than about 1000 contacts. Seriously. Just – sorry, we don't have a solution for that. We have found a fix – we use Plaxo – but now we're dependent on Apple supporting Plaxo, which I'm not certain is a long term bet. Oh, and every time Plaxo syncs with Apple's contacts, about one in ten of the contacts are duplicated. Why? No one knows. Is there a fix? Nope.
(And what if you want to sync to – gasp – an Android phone?! Well only way to do that is through a total hack involving Gmail. Seriously.)
Let me repeat my refrain: This. Ain't. Easy.
Without going into detail, my little rant about Calendar, iPhoto, Address Book, et al goes for iTunes as well. I even bought a piece of software to try to fix iTunes myriad issues (Rinse). I can't figure out whether or not Rinse has fixed anything, to be honest, and so far, all it's managed to do is marry the wrong album art to about 100 or so songs which previously didn't have any imagery. Which is kind of funny, but a tad annoying. And just the fact that there's a market for something like Rinse kind of makes my point.
Oh, and then there's the vaunted Apple Super Magical User Interface. You know, the Insanely Great Revolutionary Change the World User Experience that everyone fawns over as if it were a fact.
Are you kidding me? If Apple's UI is magical, then I've got a Unicorn to sell you. Let's start with Mac Lion. There are so many Fails in this OS, it's hard to know where to start. You need a four-hour class just to understand all the contortions Apple seems to be doing in its attempt to make its desktop interface work the way the iPhone does. You know, pinch and swipe and app stores and mission controls and magic corners and all that. I've spent at least an hour figuring out how to turn most of that shit off. It just doesn't work.
It's really funny to watch my wife deal with all this, given she's not exactly one to dig deep into system settings (you know, the very consumer Apple initial designed for). When she got Lion, the way her mouse, her iChat (now "iMessage" or someshit), and of course all her applications worked changed in very dramatic ways. For instance, she could no longer IM me – all of a sudden, she was on "me.com" and her IMs came to my cell phone as texts. (In other words, Apple defaulted to its own iCloud services, and wiped out her AIM-based identity). I'm sure this is all her fault, naturally.
Oh, and every time she clicks her mouse to try to move a window around, a message about "Icons and Text" appears. WTF? Little irritations like this happen all over the place, piling one upon the other until it crescendos with a long, wailing lament – WHAT AM I USING HERE – WINDOWS?!
But we all know the future is mobile, right? And the iPhone and iPad are Perfect Expressions of Beauty, Ideal Combinations of Form and Function. Except they're Not.
Have you ever done a search in your iPhone contacts? You need the fingers of a poorly fed six-year-old to activate that search function. No, really, I must waste four or five minutes a day trying to make that damn thing work.
Seriously, how can an adult finger ever touch that little search icon without either hitting the "A" or the "+"????
And then there the precious internationalization feature of the keyboard (see image at right). I must turn my texts and emails into Kanji ten times a day. And this is a feature??!
There are countless other examples of irritating UI features on the iPhone. Inconsistent navigation is a primary one, but …OK. I'm going to really stop now. Because I know, learning how to use the tools of computing is MY job, and I'm clearly falling down on it. I know there are ton of tips and tricks that would make my life easier, if only I took the time to learn them. If only I spent hours a week on the Mac tips websites and such. If only I wasn't busy…writing rants like this one.
And I know that Andriod and Windows are hard to use too. And no, I'm certainly not going to install Linux.
My point is simply this: This stuff is too complicated. There has to be a better way. And while it used to be that Apple was the brand which uncomplicated computing, for me, anyway, that's simply no longer true. Does anyone out there have similar experiences, or am I really an outlier?


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Oh my goodness, I would love to go to Thailand! Beautiful beaches and delicious food. Mmm.
Does anybody else have recommendations for frugal international destinations? One of the most affordable vacations I've taken was to the Dominican Republic.
When you're trying to live frugally, plunking down several thousand dollars for a week's holiday is not always possible. A fancy vacation may not be in the cards, but you don't have to spend a lot of money to get away for a week of much-needed R&R. (See also: Best Travel Reward Crdit Cards)
Buenos Aires' elegant cafés, art galleries, tango, and fine dining are as fascinating as the greatest capitals of the Old World. The U.S. dollar does very well against the Argentine peso, making Argentina an excellent budget destination. There are a multitude of inexpensive hostels and guesthouses, and a stay in one of the nicer hotels is very reasonably priced. You can also eat and drink for cheap, with famous grass-fed Argentine steaks going for a fraction of the price you'd expect in the U.S. or in Europe. A trip to Argentina also offers the opportunity to visit the spectacular Iguazu Falls as well as other natural destinations, which can be accessed by rental car. Look for budget tours of Argentina that may offer better deals on transportation and hotel stays.
A lot of people are avoiding vacations south of the border these days, as news of drug wars dominates the headlines. In reality, however, resort destinations like Puerto Vallarta or Cancun are far from the chaos and quite safe. Take advantage of the tourism slow-down by snapping up great deals on vacations in these warm and sunny hot spots. You can rent a one-bedroom condo at less than what most hotel rooms cost and self-cater to save money. Or look for promotions at one of the all-inclusive resorts. If you live near LA, Miami, or other major cruise ports, you can get great deals on all-inclusive cruises down to Mexico — many at less than $100 per person per day — and you don't even have to shell out the airfare. (See also: Travel on Rewards Without Using Airline Miles)
If you can manage to find a cheap flight to Thailand, this country is one of the best places for budget travel, and the island of Ko Pha Ngan is one of the best budget destinations in the country. Located close to more heavily developed Ko Samui, Ko Pha Ngan has not yet exploded onto the tourist scene. You'll find the same soft white sand and warm turquoise water as more popular resort destinations in Thailand, with friendlier prices. Travel away from the touristy town of Hat Rin, and you'll find secluded resorts with landscaped gardens, glimmering pools, and Thai massages, all priced at the cost of a cheap hotel elsewhere.
Luangprabang, Laos is one of those gem-like towns that you'll end up treasuring in your heart for years to come. This UNESCO-protected city is Laos's greatest tourist attraction. Located on the mighty Mekong River and surrounded by jade mountains, the city melds traditional Lao culture with Indochina's colonial French heritage. Wake up early in the morning to see hundreds of saffron-robed monks collecting their alms for the day, and explore dozens of pristine Buddhist temples. Trek or take a boat up the river to one of numerous smaller villages, where you can lie in a hammock overlooking the Mekong for just a few bucks a night. Inns and hotels are extremely cheap, but clean and beautifully decorated with traditional handicrafts.
Can't afford to travel in Europe? Think again. Eastern Europe may not be as well known as its Western counterpart, but offers fascinating attractions, culture, food, and wine, all at budget-friendly prices. Destinations in the Ukraine and in Estonia have been seeing more tourism in the past couple of years as budget-conscious tourists flock to Eastern Europe. Cheap public transport, reasonably-priced hotels, and excellent dining options are available for travelers looking to make their dollars go further.
Where have you traveled lately? Any more tips on cheap places to travel?
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Oh my goodness, I would love to go to Thailand! Beautiful beaches and delicious food. Mmm.
Does anybody else have recommendations for frugal international destinations? One of the most affordable vacations I've taken was to the Dominican Republic.
You forgot El Salvador! US currency means that there is no beneficial exchange rate but it also means inflation is very low and prices dont jerk up and down.
I spent 12 days in Nicaragua, food, drinks and transportation are very inexpensive, $38/night for a small hotel in Granada (with a small pool) and $48.00 night (we rented two rooms) in the heart of San Juan del Sur.
I went to Turkey earlier this year, and it was much cheaper than I expected. Considering the dollar is more of value than the Turkish Lira, I lived like an king while in Istanbul. Also, the city is very historical, cultural, cheap, and has a thriving night life. Not to mention, it's the only city in the world to be placed in two continents (Europe/Asia). My plane ticket was only $500 roundtrip non-stop from NYC to Istanbul.