“Hãy theo đuổi đam mê, thành công sẽ theo đuổi bạn.”

“Hãy theo đuổi đam mê, thành công sẽ theo đuổi bạn.”

Câu nói rất đơn giản của chàng Rancho trong bộ phim nổi tiếng của Ấn Độ – Three Idiots ( 3 Chàng Ngốc ) nhưng nó lại là chìa khóa cho những ai đang đi tìm kiếm sự thành công thật sự trong cuộc sống.

Chúng ta bị lôi cuốn bởi những dục vọng của sự thành công như: tiền bạc, danh vọng, địa vị,…

Chúng ta theo đuổi những ước mơ lớn: Tôi sẽ trở nên giàu có? Tôi sẽ trở nên nổi tiếng? Tôi sẽ tạo ra sự khác biệt?

Nhưng rồi chúng ta càng đuổi theo những điều đó thì lại càng mệt mỏi và kết quả cuối cùng là chúng ta bỏ cuộc.

Tại sao vậy?

Đơn giản đó là do chúng ta làm công việc chúng ta không đam mê, vì thế năng lượng của chúng ta không được tái tạo và tăng lên. Nó ngày càng yếu đi.

Nếu làm công việc chúng ta đam mê, năng lượng sẽ được tăng lên. Làm càng nhiều, cảm hứng càng lớn, năng lượng càng tăng. Mỗi ngày chúng ta đều khao khát được làm việc. Chúng ta cảm thấy hạnh phúc với công việc.

Hãy nghe những người thành công, nổi tiếng và giàu có trên thế giới như Bill Gates; Steve Jobschia sẻ về thành công:

“Trở thành người giàu nhất thế giới trong nghĩa trang không có gì là quan trọng đối với tôi. Đi ngủ vào ban đêm và nghĩ rằng mình đã làm được 1 cái gì đó thật tuyệt vời… điều đó mới quan trọng đối với tôi”.

( Steve Jobs)

Tony Bourdain New Show on CNN

Tony Bourdain via Bon App, not Andrew Zimmern

Here's a funny interview/PR plug from CNN via Bon App with Tony Bourdain talking about his new show on CNN, but not mentioning the water thrown through the windows after the train leaves Yangoon. This show will obviously have much larger budgets than his efforts at his previous channel, which will remain unnamed, so we hope for the best. He's funny and a former junkie. What's not to love?

The folks at Bon App have apparently never heard of a paragraph or page break, so this is the unedited mess they posted on their website. Editors, where are you? Note: I've cleaned up most of the copy, and this is a much more readable post than the link I have provided above. Tony could care less, but I like to keep things clean.

Anthony Bourdain's new show, Parts Unknown, premieres on CNN this Sunday. And right from the get-go, it's a little more ambitious than No Reservations, his long-running show on the Travel Channel. The first season has Bourdain traveling to places like Burma, Libya, and the Democratic Republic of the Congo. Not exactly anyone's idea of a dream vacation.

The show itself sounds fascinating, but when you're trying to make television in locations that are that war-ridden, remote, and possibly dangerous--Bourdain has already called the Congo episode "the most terrifying, stressful, physically difficult shoot of my life"--you know there have to be some good behind-the-scene stories.

So we called up Tom Vitale, the director who went with Bourdain to shoot the Burma, Libya, Congo, and Spain episodes of Parts Unknown, to ask a few questions about what it's like to make a food show in some of the world's most precarious locations.

What was the biggest punch you had to roll with for this new season?
Burma is sort of just opening up right now, and there are a lot of tourists going there. Not a lot compared to any other country in the region, but the infrastructure in Burma is totally not capable of handling the people who want to go. So even though we planned very early, we couldn't get plane tickets for the whole crew to get to Bagan, Burma's ancient capital. Which meant that half of us had to take an overnight train, which I thought was pretty cool, and we could actually film that. We were told it was a ten-and-a-half-hour ride, but it ended up being 19 hours, all pure terror. It seemed like there had been no work on the infrastructure there since the British left. We were bouncing around so much, it was a million times more terrifying, exciting, and fun than any roller coaster you would go on. We've been on a lot of old trains around the world, but this one certainly takes the cake. You would literally fly out of your seat when it was going fast, bouncing over twisted, warped, tracks with old train carriages. We had sleeping cars, and you'd wake up in mid-air only to, two seconds later, whack back down into your berth.

Was it hard to shoot in Burma?
Because they have this repressive government in Burma, we thought it would be hard to shoot there, but the access there was very cool. We had no minder, at least as far as we could tell, unlike China.

"As far as you could tell"?
The only reason I say "as far as we could tell" is that we were shocked that nobody seemed to be watching us. I mean, even just a couple years ago, if you were seen talking to a westerner in Burma, someone would take down your name, and there would be a knock on your door at 2 in the morning.

Do you typically have government minders?
In nicer places, like Vietnam, without as much political strife, you always have a minder, it's just one of those communist things. But there didn't seem to be one in Burma, unless it was someone who was very sophisticated and never got in our way. But it's sort of paranoid to think that was happening. They knew where we were going, and we stayed in the confines of the tourist triangle, not the ethnic regions on the border, where fighting's still going on.

It was really just shocking there, not just because the government wasn't involved but because the people were so involved. If you compare Burma to some places in Eastern Europe where they haven't had a communist government in 20 years but people are still paranoid, people in Burma were so open with us. We went in prepared for people to button up anytime politics came up, but that did not happen at all.

How did the decision get made to shoot in the Congo?
Part of the reason Tony's always wanted to go there is because of Heart of Darkness, which was written about the Congo River itself. Tony was a sort of armchair traveler long before he dreamt that he would see the world, and he likes a real literary adventure. So the Congo was always on his list because people wouldn't think it was possible, or give us money to go there, which made him want to go all the more. So we started in Goma, you have to go through Rwanda to get to the eastern part of the country, and then went to Kisangani, which was Inner Station, where Kurtz was, though that was obviously a long time ago. It's a big city now.

What was filming in the Democratic Republic of the Congo like?
Congo was definitely one of the more challenging locations we've worked in, but we had a great fixing team of locals who helped us get what we want. Goma was a really heartbreaking place that made Port-au-Prince in Haiti look like Club Med; I was surprised by how rough that was. But Kisangani, in the center of the country, it was still an unstable place, definitely, but one of the big surprises was how nice and friendly everyone was, considering all the shit they've had to deal with, for, I mean, 100 years.

What was the food like?
Congo is not a food lover's land, but the piri-piri peppers were excellent, spicy. There' s a lot of grilled meat you'll have, because it's one of the safe ways to not get sick, because it's cooked right there in front of you. The lack of plumbing in a place like the Congo presents a lot of issues when it comes to food safety. We never got sick, but we're all pretty good at that. You have to have a cast-iron stomach to make it on this show.

In more remote locations like that, does the crew tend to draw crowds?
In a place like the Congo, on the street, you do draw a lot of attention and people do swarm the cameras at that point, but going back to how we roll with the punches, we got a lot of interesting footage trying to get regular street scenes. Within 30 seconds, there would be about 50 kids trying to get up in the camera lens, so it just becomes a part of the show.

In Europe, nobody cares, which makes it a very easy place to film. In Asia, people know who Tony is because he's very popular there. You have a problem with people interrupting scenes for an autograph or picture. He's very gracious about it, more so than me--I just want to get back to shooting. In Congo, it wasn't about us, it was just six white people, which is a pretty rare sight for them, especially with cameras, at least in Kisangani. Goma gets more foreigners, but really very few people go to Kisangani.

Have people ever really harassed the crew, or tried to steal equipment?
The only time I've ever had a camera stolen was in Naples, and we're talking 70 shows at least. It was in the back of the van, and the driver was supposed to be watching things, but he was on the phone or something--the city is notorious for pickpockets, anyway.

Do you get much hostility from the people who live where you're filming?
In general, people treat us really really well, even in places where they don't particularly like Americans. I think it comes back to the food: we're interested in being there, we're not going there to exploit people. Tony generally wants to share a meal with people, and food is how a lot of people express a better part of themselves.

Europe is probably one of the places where we're not treated as nicely, not that we're treated poorly, but nobody cares. There's a lot of "You're not going to inconvenience our restaurant, I don't care about your TV show."

How about in Libya?
Libya was a shockingly friendly place. I think because for so long, Qaddafi was telling everyone how awful the West was and how evil they were, and everyone was just so sick of Qaddafi. Western culture in Libya, unlike some other places in the Middle East, is viewed as a beacon of freedom. We went to one restaurant, Uncle Kentaki, it was a complete rip-off of KFC-slash-McDonald's, such a bizarre place. And you see people really gravitating towards western culture there, you see that in the music and what people are wearing.

How was the food there?
When you say Libya, people think of a desert country, but most of the population is on the Mediterranean coast, and it just has this amazing bounty of unbelievable seafood. We killed, or, not we personally, but we killed a sheep at a barbecue in Misrata, which was a lot of fun. And they actually have pasta--some people claim that it's where pasta was invented, but it's more likely a holdover from the days of Italian colonialism under Mussolini. We had a very interesting sheep ragu pasta.

What's it like making a food show in places where some people might not have enough to go around?
Well, there's food everywhere. Even in the Congo, people are still eating. The question is, is it varied and different, will it look good on TV, is it colorful, will people watching at home think I want to eat that versus That's brown mush. In a place like Congo, people are eating, but they don't really have the luxury to have a lot of fun with the food. That was the thing about Burma, the country's quite poor, but still the food that we saw people eating there was really, really good. People put a lot of thought and effort into it.

Are there any places you've shot that you definitely want to go back to?
Vietnam is probably one of the most magical places I've ever been, and I'd definitely relish the opportunity to go back there anytime. There might be one day when this magical trip around the world ends, and I do something other than stay in my own bed for vacation. When you do what I do for a living, getting on an airplane is not what you do on vacation. Especially because I'm terrified of flying.

You're terrified of flying?!
Half of the crew is. That's often the most nerve-racking part of a shoot, just getting on Cathay Pacific to go to Hong Kong.

How have you stayed in this job for so long?
Compared to somebody giving you an all-expenses-paid ticket around the world, the fear isn't that bad. You just have to get over it. The fear of flying is definitely awful, and doesn't get any better, but I wouldn't let it stop me from going somewhere.

Does it mean that you tend to go for more car rides than small prop plane flights, though?
Generally the smaller planes are a little less terrifying, because you're not in this tube 70 rows back from the pilot in this claustrophobic way. The exception is places like the Congo or the Amazon where bad weather factors in, because bad weather in a small plane is really fucking terrifying.

We took a really weird prop plane in Congo, because Congo has something like the worst commercial aviation safety record on the planet. Planes go down all the time, it's really bad there. When we were trying to get from Kisangani back to Goma, we had three options: a commercial plane, a private plane, or drive. Driving was not going to work, because it takes four days through all kinds of rebel-controlled areas. And our fixer, Dan McCabe, who's a documentary filmmaker working in the Congo, asked us: "Do you want to be in a Boeing going 500 miles an hour when you crash, or a bush plane going 75?"

So we chose the bush plane. It was a very old airplane, and they told us that it was formerly Queen Victoria's flying wardrobe, which would carry her clothes when she flew around the world. That is clearly not true, since Queen Victoria died in 1901, before airplanes were invented. So then they updated it to Queen Elizabeth's flying wardrobe, but we haven't been able to verify. It was a really strange plane, just a box.

Did the flight go okay?
We had a great pilot, but just as we were about to take off, this intense thunderstorm rolled up, so we had to get out. We made it to Goma, but three days later, a big commercial plane crashed right into the city in similar weather, very close to the hotel we were staying in. So we were quite happy we took the bush plane.

Are there any locations where you still want to go, but can't?
Iran and North Korea are probably places we definitely can't go. But CNN really does open up a lot of doors, as far as what they have an appetite for, like Libya and Congo. But Tony doesn't really want to go to places just because they're dangerous, he wants to go because there's a story to tell, or a place that fascinated him. I'm sure a place like North Korea would be very interesting, but the government would have to fall first, because they're very strict about film crews. There wouldn't be much of a point in going now--there would be a minder, and they would show us a very limited cross section of the country. We do our best work when we're down with the people.

The first episode of Parts Unknown, which takes Bourdain (and Tom) to Bruma, airs this Sunday at 9 PM on CNN.

Read More http://www.bonappetit.com/blogsandforums/blogs/badaily/2013/04/bourdain-behind-the-scenes.html#ixzz2QD4mr0kC

The Sad Decline of Rough Guides

Link to Original Story

Google has bought Frommers. That rang a bell: an industry insider told me recently that Penguin quietly tried to sell Rough Guides to Frommers a couple of years ago, but “wanted too much” for it. Ho-hum. Travel publishing is in a really tricky place.

Now I’m not an industry analyst, and I’m not in travel tech, so if you want reasoned, insightful comment, stop reading now and click the links. I’m just a guidebook author. I whinge.

Disclosure: I’ve never written for Frommers. Apart from a bit of freelance editing, in 17 years I’ve never worked for any travel publishers other than Rough Guides.

Back when I started, Rough Guides were huge. They had massive brand recognition in the UK, chiefly on the back of the “Rough Guide to…” TV series – presented most famously by Magenta Devine and Sankha Guha – which ran in the late 80s & early 90s, catching people’s imagination like no TV travel show (arguably, no travel idea in any media) before or since. Lonely Planet had books everywhere, of course, but they were kind of boring, a bit earnest and mundane.

Lonely Planet was Microsoft. Rough Guide was Apple.

Then the Rough Guide founders sold the company to Penguin Books in a two-stage deal, completed in 2002. In ten years since, Penguin killed the brand. Rough Guides went from being a big fish in the small sea of travel publishing to a minnow in the ocean that is the Pearson media conglomerate. Penguin already owned DK, with a huge and globally successful travel brand of its own; RGs became an add-on, with fewer resources and a succession of managing directors who tried to crowbar it into a corporate strategy that was less and less interested in anything that didn’t sell in Jamie Oliver quantities.

Sales reps had bigger fish to fry than the 7th edition of the RG to Farflungistan, so the books – frustratingly, virtually impossible to find outside the UK anyway – began to fade from view in their home market. Cartography and other production processes were hived off to Penguin’s Delhi office: cheaper, but not better. Spinoff pocket guide series came, failed and went. Every year or two came another promise to revamp the RG website to bring it up to LP’s standard; it never happened. RGs remain pretty much invisible online. Ebooks? Digital publishing of any kind? Electronic rights? Negligible.

Those ten years have poleaxed RGs, turning it from a leader into a follower. There’s been a cull of titles, with several dozen 2012/2013 updates “postponed” (read: cancelled): one desperate author has had five of his six titles pulled. The website remains an embarrassment, with the promise of something better to be unveiled, er, sometime soon. The books have been redesigned, though – RGs now feature colour pictures throughout, just like it’s 2003.

The thing that made Rough Guides cool (or, if you prefer, successful) – the voice – has gone. Authors are punch-drunk. Editors are overworked. Even though guidebooks remain trusted (intriguingly, see here for an opposite spin) their raison d’etre has been called into question. What travel brands are cool? None. Content isn’t cool anymore: there’s too much of it.

Devices are cool. Content is just content.

Travel Writer Ad or Joke?

Link to Travel Writers Wanted

Welcome to the fourth installment of the “Worst travel writing jobs” series. This doozy is so doozicable that I could write 500 words on the absurdity of the title alone, but it gets better.

Write 3000 unique articles on Travel, Entertainment, Beauty and Shopping topics

Only 3000? Because I was just thinking the other day that there aren’t nearly enough articles about travel, entertainment, beauty and shopping on the internet. And is it just me or could the divorce of Tom Cruise and Katie Holmes benefit from a little delving?

Job Description

Write 3000 unique articles on Travel, Entertainment, Beauty and Shopping topics (IT, PORT, DUTCH LANGUAGES).

Just to clarify, you want 3000 articles on a wide variety of topics in three languages? Off the top of my head, I’d say this job will take a team of six highly skilled polyglots about 6.5 months to complete, assuming no one takes vacation or gets sick or sneaks off for a giant poo.

Each article must be different, between 250 and 3300 words each. No repetition in articles, no spinning, scraping or similar.

But ‘scrinning’ is cool, right? How about ‘spaping’?

All articles must be written in English. Each article must pass Copyscape Premium, be free of grammar and spelling errors. Example topics include the following, but more will be added along the fields mentioned.

Grammar and spelling errors be deal breakers, but incoherence along the fields mentioned is donkey?

Please PM a sample article on one of the above topics otherwise your bid will not be considered. Any articles submitted will have its copyright pass to me upon lodging your bid.

You’re claiming copyright of the sample article I submit on the outside chance you bestow this monster job on me?

OK, fine. Here’s my original, unique sample article that you now own:

“Experts say shopping for beauty while traveling is good entertainment. Studies have shown that entertaining shopping is good for beauty and travel, but too much entertaining beauty is travel shopping.”

Do I get the gig?

Forty-six days to write 3000 articles? That’s just over 65 articles per day. Good thing I have Mr. Spock, Commander Data and Rain Man chained to desks in my basement, or this job might seem unreasonable. Still, turnaround is a bit tight. I’ll feed them energy drinks every hour for luck.

Payment will be $1 per article – so $3000 for 3000 articles. Please only bid if you accept this pay rate.

OK, forget the energy drinks. I’ll just force feed them sugar water and expired peanuts.

Payment will be made for articles upon completion.

So, essentially you want 3000 articles written on spec? No one in the history of the written word has ever accepted those terms, but OK.

Also we need same amount of articles to be produced in the following languages
- Italian
- Dutch
- Portugues (Brazil)

Good call on getting those 3000 articles written in Dutch. That will like, what?, literally double the number of articles written in Dutch on the internet? Ka-ching!

Writing as a Profession

A former Wall Street Journal writer talks about the state of writing today.

Former WSJ Writer at CJR

For several years as an editor at The Wall Street Journal I was invited by my college alumni association to speak about journalism to undergrads at the group’s annual Career Night. This involved a panel discussion with three or four others in the field talking about what we did, how we did it and—of primary interest to the audience—how we got our first jobs.

My regular panel mates worked at CBS News, The New Yorker, and the AP, and they’d talk about great stories they’d covered and great places they’d been on the company dime. When it was my turn, I felt it was important to paint a more realistic picture for people just starting in the business, so my advice was that they could learn everything they needed to know about my field—newspapers—by reading Sherlock Holmes.

In The Man With the Twisted Lip, the great detective solves the case of a guy who has “disappeared” in London. Neville St. Clair was a reporter who disguised himself as a disfigured beggar to research a story on life in the streets. He set up shop near the Bank of England, capered and quoted Shakespeare, and he quickly found he could make far more money panhandling than as a journalist. So without telling his wife, he quit the paper and became a beggar full time, moving his family to the suburbs and commuting to “business interests” in the city.

On hearing this and its relation to the laughable pay and benefits at the small papers where they’d likely land their first jobs, most of the kids hustled down the hall to workshops on med school and investment banking.

But not everyone. College grads still flock into journalism—or at least until very recently they did—ambitious, well-educated, and hopeful that despite the career carnage all around them they’ll be the exception to the rule. They’ll wrangle internships at big papers and get hired by small ones, where they’ll get direction but little training at a bit over minimum wage when calculated by the hours they’re expected to work, supplying their own cars and, at many papers out in flyover country, even their own cameras. Some will make it, some won’t, and the beat goes on.

Despite this kind of dedication—or stupidity—by the worker bees, many publishers these days find they still can’t make a buck. Gradually, this is an industry that has collapsed into itself. Long enjoying monopoly markets, low levels of debt, high profit margins, and an apparently bottomless labor pool, most publishers were loath to give up a good thing, and consequently failed to recognize the forces for change building around them. When they did, they often reacted with half measures or they over-reacted, lurching from fad to fad hoping for salvation: hyperlocal coverage, “civic journalism,” ads on the front page, “sponsored” news pages on issues of interest to local advertisers, joint ventures with local broadcast outlets, blogs, blogs on blogs, the list goes on. Trendiness, thy name is Gannett.

Amid all the angst and hand wringing, though, I keep reminding myself it’s the business model that’s failed, not the journalism. In a fully wired, 24/7 world, news has never been more available and probably has never been more important than now. The audience—readers, listeners, people—still look for and respond to information on developments that affect them, their families, or their communities. And the press’s watchdog role is still vital to the workings of government and democracy. Surrounded by a free press, Americans can be unmindful or even neglectful of it. But those who doubt its importance need only look to Tibet, Cuba, or Zimbabwe.

Unpaid Writers Still Need to Feed Their Kids

Another Look at the Nate Thayer Story

I've written before about the outrageous proposal made to writer Nate Thayer by The Atlantic, which expected him to write for free. He politely told them to go fuck themselves. Writers, professional writers, make their living by charging reasonable fees for their work, and they never give away their work for free, for fame, for internet distribution.

People who make their living by writing for publication had good reason to follow the recent hoo-hah over publishers who think paying writers for their work is optional.

What happened was that The Atlantic magazine, a marquee name in the world of words, approached a well-established freelancer named Nate Thayer and asked him about "repurposing" work he'd done for an online site, NKNews.org. The Atlantic was interested in a 1,200-word rendering of a longer article of Thayer's pegged to ex-basketball star Dennis Rodman's bizarre visit to North Korea.

When Thayer asked about terms, the magazine indicated it wasn't proposing to actually pay him, at least not in cash money, but noted that its website reached 13 million readers per month, suggesting that exposure on that scale is worth a lot.

Thayer wasn't persuaded. He replied: "I am a professional journalist who has made my living by writing for 25 years and am not in the habit of giving my services for free to for-profit media outlets so they can make money by using my work and efforts by removing my ability to pay my bills and feed my children."

Word of the affair zipped around the Internet, triggering a flood of comment. The Atlantic apologized "if we offended him" - the way institutions apologise without contrition - and in the aftermath, dozens of other journalists chipped in their own tales of the wretched treatment and soup-kitchen pay they get, even from flourishing websites.

It's not much consolation to point out that for the most part, they still get something,
unlike, say, professors. The latest indignity from publishers of academic journals, it seems, is to make writers pay them to have articles posted online. For junior-college faculty - who need not only to publish but to be cited by other scholars in order to qualify for advancement - the threat of being kept offline is like having their careers held for ransom. And incidentally, they get no money from print publication either. Not a dime.

Getting back to the Thayer affair, the arguments over rights and wrongs pivoted on fairness, on the demise of professionalism, on the benefits of a higher profile, on the long-term consequences of underpayment on the volume and quality of significant journalism.

But I want to drag another consideration into the foreground: If the publications aren't paying for the journalism they publish, who is? I mean, all labour incurs costs. Somewhere in our marvellous market system, those costs are being covered. Somebody's paying to feed Nate Thayer's kids, even if The Atlantic won't.

So we meet, once again, the insidious problem of hidden subsidy, one of the most perplexing ethical problems of journalism in the Internet age. True, undisclosed subsidy is a long-standing issue. It popped up in the op-ed pages of traditional newspapers. There, articles written by outsiders for little or no pay offered policy perspectives under the guise of expert analysis, when they actually were sponsored by clients and paymasters who were rarely identified (and often weren't even known).

The arrangement opens vast areas of potential corruption. But now, with the continuing failure of online advertising and subscription payments to replace declining offline revenues, publishers have quietly installed invisible subsidy as a routine, and unacknowledged, element of their operations.

Those writers who are being denied a fair wage for their work - who's paying their rent? Someone is. They're making money from somewhere. And it's that money that gives them the wherewithal to produce the journalism they're not being paid enough for.

So which of their stories are thank-yous to previous clients, or concessions to existing ones, or auditions for work they hope to get in the future? Those are questions about ethics, but, more important, they are acknowledgements of the reality these freelancers are trying to negotiate.

And they're questions that force onto centre stage a fundamental problem that won't be set right until the people who are being served - that's you - start paying for what they get. The readers and viewers who benefit from the news and commentary they devour need to pick up the tab, instead of letting themselves be beguiled by the fiction that such work is "free", or is magically proffered by invisible benefactors with no agendas of their own.

There are bills that have to be paid. The reality is, one way or another we end up paying. We can pay with money, and some outlets are inviting people to do just that. The alternative is to pay through a continuing decline in the quality and trustworthiness of the content we get. That's the invisible cost we're all bearing right now.

Andy the Hobo Travel Writer

Hobo Traveler at Machu Picchu

Andy, the Hobo Traveler, has been on the road for over 15 years, perhaps the longest of any living human being. I once watched his video as he walked down Khao San Road in Bangkok, and thought it was brilliant.

Andy Lee Graham, aka Hobo Traveler Bio

Andy's Hobo Traveler Blog Homepage

Andy Lee Graham from Orland, Indiana USA is Homeless

I have written over 7000 commentaries about the world on this page. You can learn the truth about the world by reading this page. I want to enjoy life, and everything that life offers. I plan on wandering slowly around the whole world, with no plan, on when, and where I will be. I will collect topics, ideas, experiences, and friends, that will teach me what is important to travelers.

Always taking the time to enjoy my adventure. I will not allow time, to rule, but will change the route, or go slower if necessary to enjoy my discoveries. I will make a "Hobo home on the internet" where all travelers, for free can find information about traveling anywhere in the world. Providing a forum for travelers to submit information.

There are many reasons why people travel and I encounter different types of travelers daily with a big world of differences. HoboTraveler.com and other Hobo sites is your home for travel. I invite you! This site is not for sale, it is for people to find some Hobo truth.

I am Andy Lee Graham from Orland, Indiana in the USA, I started traveling in March of 1998, and I live the good life, it a life of luxury, on a Hobo Budget. I have now traveled perpetually for the for 15 years and visited 90 countries. I am grateful to the good Gods for allow me this lifestyle, to live abroad and spend my days walking around looking at our beautiful planet.

I am not "Crazy," I am a World Citizen work Location Independent.

I am an endlessly curious person, and have the self-esteem to handle the world on the world's terms, I do not need a home, car, and daily routine to be happy. I can find reasonably priced places to live at lighting speed because of my travel skills, and live within my mean in any city on the planet.

Andy Lee Graham (Born October 25, 1955) is an American "Extreme Adventure Traveler," travel writer, and photographer. Graham is CEO of Dot-com company, location independent HoboTraveler.com Travel Network of 100 live abroad expatriate portals. Graham became a perpetual traveler in March, 1998, and has visited 90 countries.

How Andy Graham Started to Travel?

I, Andy Lee Graham became homeless after a six-week Christmas trip to Acapulco, Mexico. While lying in a hammock I realized I never wanted to go home. Confused and excited I returned to the USA, sold all my possessions and took off to visit new friends in other countries. Unknown to me, Andy Graham at the time, is that travel is an addiction, after six month I knew I was hooked and after two years, it was hopeless. 14 years later, I am still perpetually wandering the planet.

Current Activities

Graham travels the world 365 days per year "Chronicling the real world" with photos, videos and daily missives about his journey on his

Andy Lee Graham writes a Free Daily Travel Blog
http://www.hobotraveler.com/blogger.html

Andy writes free travel reports, stories, photos, videos, and travel tips for readers explaining the geopolitical and cultural differences of countries from the eyes of an Indiana Farm Boy. He funds his travel by revenue received from Google Adsense.

Andy Graham of HoboTraveler.com has Travel Blogged 7000 times, and written 211 Newsletters, and uploaded over 20,000 photos, and 600 plus videos to the Internet. Andy Graham of HoboTraveler.com is homeless, he has made a "Hobo Home on the Road," and he lives a "Life Less Normal," one of the few perpetual travelers on Planet Earth. Many people go live in other countries; however few earn enough money to continuously travel, he says, "if you stay in one city longer than three months, you live there, you have stopped traveling."