10:54 AM
Hobo code of ethics
An ethical code was created by Tourist Union #63 during its 1889 National Hobo Convention in St. Louis Missouri.[4] This code was voted upon as a concrete set of laws to govern the Nation-wide Hobo Body, it reads this way;
Decide your own life, don't let another person run or rule you.
When in town, always respect the local law and officials, and try to be a gentleman at all times.
Don't take advantage of someone who is in a vulnerable situation, locals or other hobos.
Always try to find work, even if temporary, and always seek out jobs nobody wants. By doing so you not only help a business along, but insure employment should you return to that town again.
When no employment is available, make your own work by using your added talents at crafts.
Do not allow yourself to become a stupid drunk and set a bad example for locals treatment of other hobos.
When jungling in town, respect handouts, do not wear them out, another hobo will be coming along who will need them as bad, if not worse than you.
Always respect nature, do not leave garbage where you are jungling.
If in a community jungle, always pitch in and help.
Try to stay clean, and boil up wherever possible.
When traveling, ride your train respectfully, take no personal chances, cause no problems with the operating crew or host railroad, act like an extra crew member.
Do not cause problems in a train yard, another hobo will be coming along who will need passage through that yard.
Do not allow other hobos to molest children, expose to authorities all molesters, they are the worst garbage to infest any society.
Help all runaway children, and try to induce them to return home.
Help your fellow hobos whenever and wherever needed, you may need their help someday.
Thursday, September 25, 2008
Monday, September 22, 2008
3:27 PM
Mauricio Kagel, an avant-garde composer whose often absurdist works blurred the boundaries between music, theater and film, died on Wednesday in Cologne, Germany. He was 76.
His death was announced by his music publishing house, C. F. Peters Musikverlag. No cause was given.
By temperament a dadaist and provocateur, Mr. Kagel drew on the musical examples of composers like John Cage and Karlheinz Stockhausen. In “Anagrama,” a work from the 1950s, singers and instrumentalists were called on to emit notes, squeaks, whispers and shouts corresponding to an elaborate system derived from the letters in a Latin palindrome.
In works like “Der Schall” (1968) and “Acustica” (1968-70), he made use of cash registers, car horns, ratchets and walkie-talkies to create bizarre aural effects, and in works he described as “instrumental theater” he prescribed specific attitudes and gestures for the performers to enact.
Mauricio Raúl Kagel grew up in Buenos Aires, where his parents had fled from the Soviet Union in the 1920s. Although he took private lessons on piano, organ and cello, as well as in singing, conducting and theory, he was self-taught as a composer.
After studying literature and philosophy at the University of Buenos Aires, he collaborated with an avant-garde group, the Agrupación Nuevo Mundo; helped found the Cinémathèque Argentine; and wrote film criticism. In 1955 he became the chorus director and rehearsal accompanist at the Teatro Colón.
At the encouragement of the composer Pierre Boulez, he left for West Germany in 1957 and settled in Cologne, where he conducted concerts of contemporary music with the Rhineland Chamber Orchestra and was a visiting lecturer at the Darmstadt summer courses for new music.
In 1969 he was named director of the Institute of New Music at the Rheinische Musikschule in Cologne and the successor to Stockhausen as the director of the Cologne Courses for New Music. He helped found the Cologne Ensemble for New Music. In 1974 he became the professor of new music and theater at the Musikhochschule in Cologne.
Among his more notable works are “Staatstheater” (1967-70) a disassembled opera, minus plot and libretto, consisting of nine sections to be performed in any order, and the film “Ludwig van” (1970), whose soundtrack derives from pages of Beethoven’s music plastered on the walls of a set representing the composer’s studio. Because the sheet music wraps around edges and curves, Mr. Kagel in effect held Beethoven up to a fun-house mirror.
Mauricio Kagel, an avant-garde composer whose often absurdist works blurred the boundaries between music, theater and film, died on Wednesday in Cologne, Germany. He was 76.
His death was announced by his music publishing house, C. F. Peters Musikverlag. No cause was given.
By temperament a dadaist and provocateur, Mr. Kagel drew on the musical examples of composers like John Cage and Karlheinz Stockhausen. In “Anagrama,” a work from the 1950s, singers and instrumentalists were called on to emit notes, squeaks, whispers and shouts corresponding to an elaborate system derived from the letters in a Latin palindrome.
In works like “Der Schall” (1968) and “Acustica” (1968-70), he made use of cash registers, car horns, ratchets and walkie-talkies to create bizarre aural effects, and in works he described as “instrumental theater” he prescribed specific attitudes and gestures for the performers to enact.
Mauricio Raúl Kagel grew up in Buenos Aires, where his parents had fled from the Soviet Union in the 1920s. Although he took private lessons on piano, organ and cello, as well as in singing, conducting and theory, he was self-taught as a composer.
After studying literature and philosophy at the University of Buenos Aires, he collaborated with an avant-garde group, the Agrupación Nuevo Mundo; helped found the Cinémathèque Argentine; and wrote film criticism. In 1955 he became the chorus director and rehearsal accompanist at the Teatro Colón.
At the encouragement of the composer Pierre Boulez, he left for West Germany in 1957 and settled in Cologne, where he conducted concerts of contemporary music with the Rhineland Chamber Orchestra and was a visiting lecturer at the Darmstadt summer courses for new music.
In 1969 he was named director of the Institute of New Music at the Rheinische Musikschule in Cologne and the successor to Stockhausen as the director of the Cologne Courses for New Music. He helped found the Cologne Ensemble for New Music. In 1974 he became the professor of new music and theater at the Musikhochschule in Cologne.
Among his more notable works are “Staatstheater” (1967-70) a disassembled opera, minus plot and libretto, consisting of nine sections to be performed in any order, and the film “Ludwig van” (1970), whose soundtrack derives from pages of Beethoven’s music plastered on the walls of a set representing the composer’s studio. Because the sheet music wraps around edges and curves, Mr. Kagel in effect held Beethoven up to a fun-house mirror.
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