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"Jose ben Halafta or Yose ben Halafta (or Halpetha) (Hebrew: רבי יוסי בן חלפתא; IPA: /ʁa'bi 'josi ben xa'lafta/) was a tanna of the fourth generation (2nd century CE). He is the fifth-most-frequently mentioned sage in the Mishnah.Drew Kaplan, "Rabbinic Popularity in the Mishnah VII: Top Ten Overall [Final Tally] Drew Kaplan's Blog (5 July 2011). Of the many Rabbi Yose's in the Talmud, Yose Ben Halafta is the one who is simply referred to as Rabbi Yose. Biography He was born at Sepphoris; but his family was of Babylonian-Jewish origin.Yoma 66b According to a genealogical chart found at Jerusalem, he was a descendant of Jonadab ben Rechab.Yerushalmi Ta'anit 4 2; Genesis Rabba 98:13 He was one of Rabbi Akiva's five principal pupils, called "the restorers of the Law,"Yevamot 63b who were afterward ordained by Judah ben Baba.Sanhedrin 14a He was also a student of Johanan ben Nuri, whose halakhot he transmittedTosefta, Kelim Bava Kamma 2:2; Tosefta Kelim Bava Batra 7:4 and of Eutolemus.Eruvin 35a; Rosh Hashanah 15a It is very likely that he studied much under his father, Halafta, whose authority he invokes in several instances.Bava Kamma 70a; Megillah 17b But his principal teacher was Akiva, whose system he followed in his interpretation of the Law.Pesahim 18a; Yevamot 62b After having been ordained in violation of a Roman edict,Sanhedrin, l.c. Jose fled to Asia Minor,Bava Metzia 84a where he stayed till the edict was abrogated. Later he settled at Usha, then the seat of the Sanhedrin. As he remained silent when his fellow pupil Simeon bar Yohai once attacked the Roman government in his presence, he was forced by the Romans to return to Sepphoris,Shabbat 33b which he found in a decaying state.Bava Batra 75b He established there a flourishing school; and it seems that he died there.Sanhedrin 109a; compare Yerushalmi Avodah Zarah 3:1. Jose's great learning attracted so many pupils that the words "that which is altogether just shalt thou follow"Deuteronomy 16:20 were interpreted to mean in part "follow Jose to Sepphoris".Sanhedrin 32b He was highly extolled after his death. His pupil Judah ha-Nasi said: "The difference between Jose's generation and ours is like the difference between the Holy of Holies and the most profane."Yerushalmi Gittin 6 9 Owing to Jose's fame as a saint, legend describes him as having met Elijah.Berakhot 3a; Sanhedrin 113b Jose, complying with the levirate law, married the wife of his brother who had died childless; she bore him five sons: Ishmael, Eleazar, Menahem, Halafta (who died in his lifetime), and Eudemus.Yerushalmi Yevamot 1 1 He exemplified Abtalion's dictum, "Love work";Pirkei Avot 1:10 for he was a tanner,Shabbat 49a a trade then commonly held in contempt.Pesahim 65a Teachings =Halakha= His legal decisions are mentioned throughout the greater part of the Mishnah, as well as in the Baraita and Sifra. The Babylonian Talmud says that in a dispute between Rabbi Jose b. Halafta and Rabbi Shimon Bar Yochai, the halakha follows Rabbi Jose b. Halafta. So, too, in any dispute between himself and his colleagues, Rabbi Yehuda b. 'Ilai and Rabbi Meir, the rule of practice is in accordance with Rabbi Jose.Babylonian Talmud, Yevamot 46b; Sanhedrin 27a; Yerushalmi Terumot 3:1; Eruvin 51a His teaching was very systematic. He was opposed to controversy, declaring that the antagonism between the schools of Shammai and Hillel made it seem as if there were two Torahs.Sanhedrin 88b For the most part, Jose adopted a compromise between two contending halakhists.Compare Terumot 10:3; Eruvin 8:5 (86a); Yoma, 4:3 (43b) Like his master Akiva, Jose occupied himself with the dots which sometimes accompany the words in the Bible, occasionally basing his halakhot on such dots.Pesahim 9:2 (93b); Menahot 87b. He was generally liberal in his halakhic decisions, especially in interpreting the laws concerning fastsTa'anit 22b and vows.Nedarim 21b, 23a =Aggadah= Jose was also a prominent aggadist. The conversation which he had with a Roman matron, resulting in her conviction of the superiority of the Jewish religion,Genesis Rabba 68:4 shows his great skill in interpreting Biblical verses. Jose is considered to be the author of the Seder Olam Rabba, a chronicle from the creation to the time of Hadrian, for which reason it is called also known as "Baraita di Rabbi Jose ben Halafta."Yevamot 82b; Niddah 46b; compare Shabbat 88a This work, though incomplete and too concise, shows Jose's system of arranging material in chronological order. Jose is known for his ethical dicta, which are characteristic, and in which he laid special stress on the study of the Torah.Compare Avot 4:6 A series of Jose's ethical sayingsIn Shabbat 118b shows his tendency toward Essenism. As has been said above, Jose was opposed to disputation. When his companion Judah desired to exclude Meïr's disciples from his school, Jose dissuaded him.Kiddushin 52a; Nazir 50a One of his characteristic sayings is, "He who indicates the coming of the Messiah, he who hates scholars and their disciples, and the false prophet and the slanderer, will have no part in the future world."Derekh Eretz Rabbah 11 According to BacherMonatsschrift, 42:505-507 this was directed against the Hebrew Christians. = Quotes = *Let your friend's money be as precious to you as your own, and prepare yourself for the study of the Torah since it (i.e. learning and knowledge) is not passed down unto you by way of an inheritance.Avot de-Rabbi Nathan 17:1 *If any man says to you, 'There is worldly wisdom to be found among the gentiles,' believe him. But if he says to you, 'The Divine Law (Torah) is to be found among the gentiles,' do not believe him.Lamentations Rabbah 2:9 *There are three things that can potentially cause death, and all three having been delivered unto the woman: The commandment of the menstruate (i.e. to separate herself from her husband during her natural purgation); the commandment of the dough offering (i.e. to separate the portion unto the priestly stock before eating the bread), and the commandment of lighting the [Shabbat] candle (i.e. before the Sabbath actually sets in).Jerusalem Talmud (Shabbat 2:6 [20a]) References Resources Schechter, Solomon and M. Seligsohn. "Jose ben Ḥalafta." Jewish Encyclopedia. Funk and Wagnalls, 1901–1906; which cites: *Bacher, Ag. Tan. ii. 150-190; **idem, Ag. Pal. Amor. ii. 158 et passim; *Brüll, Mebo ha-Mishnah, pp. 156-160, 178-185, Frankfort-on-the-Main, 1876; *Frankel, Darke ha-Mishnah, pp. 164-168; **idem, in Monatsschrift, iv. 206-209; *Joël, ib. vi. 81-91; *Weiss, Dor, ii. 161-164. Category:Mishnah rabbis Category:2nd-century rabbis "
"Composer Yuzo Koshiro The Streets of Rage series of beat 'em up action video games by Sega are known for their memorable in-game electronic music, produced by noted video game music composer Yuzo Koshiro. The series has inspired three soundtracks featuring music from the games. The soundtracks mainly consist of, often experimental, chiptune-based electronic dance music, encompassing electronic genres such as electro, house, techno, hardcore, jungle, ambient, breakbeat, gabber, noise, and trance. The music was produced using the Yamaha FM-synth sound chips of the Sega Mega Drive / Genesis video game console (YM2612) and NEC PC-88 computer (YM2608), along with Koshiro's own audio programming language "Music Love," a modified version of the PC-88's Music Macro Language (MML). The soundtracks have been critically acclaimed. They are considered ahead of their time, and as some of the best video game music of all time. The soundtracks have influenced a range of chiptune, electronica, grime and dubstep musicians through to the present day, including artists such as Ikonika, BT, Labrinth, Martyn, Joker, Darkstar, Childish Gambino, and Danger. Streets of Rage When Streets of Rage's development began in 1990, Koshiro was influenced by electronic dance music, or club music, specifically techno and house music, and wanted to be the first to introduce those sounds to chiptune and video game music. Many tracks also have a warm, Caribbean quality, and the soundtrack shows the influence of contemporary R&B; and hip hop music; Yuzo Koshiro said that he was influenced by black music, which was growing together with house and techno, so he "naturally began to think about taking them all in." He was particularly influenced by "the swinging rhythms that characterized breakbeats," especially the "ground beat" (used in Soul II Soul's "Keep On Movin'" in 1988 and Enigma's "Sadeness (Part I)" in 1989) which inspired "The Street of Rage" title track. Other artists who influenced him include Black Box, Maxi Priest and Caron Wheeler around the time of composing. The soundtracks for the Streets of Rage series were composed using then outdated PC-88 hardware alongside Koshiro's own original audio programming language. According to Koshiro: "For Bare Knuckle I used the PC88 and an original programming language I developed myself. The original was called MML, Music Macro Language. It's based on NEC's BASIC program, but I modified it heavily. It was more a BASIC-style language at first, but I modified it to be something more like Assembly. I called it ‘Music Love'. I used it for all the Bare Knuckle Games." Reprinted from The soundtrack versions of the tracks use the NEC PC-88's Sound Board II (Yamaha YM2608) sound chip rather than the Sega Mega Drive's Yamaha YM2612 chip. He said the most important element in recreating club music sounds for the games was to emulate the timbre and percussion sounds of Roland's rhythm machines (the most famous models being the TR-606, TR-707, TR-808, and TR-909), stating that "it wouldn't be an exaggeration to say that that sound defined the genre." In order to achieve this, he used the YM2612 sound chip's 8-bit PCM channel in conjunction with the other FM synthesis channels, with the Roland TR-909's kick and snare sounds sampled by the PCM, while the FM synth replicated the metallic sounds, hi-hat, and cymbal. He also replicated other percussion sounds such as the conga using detailed FM synth and MML programming. Beyond percussion, he also simulated the "unique, piercing" sounds of the Roland TB-303, an analog synthesizer that remains the most widely used bass synthesizer in club music (particularly acid and psychedelic music). He stated that it took "a good deal of painstaking work to recreate the sound of analog synths on FM synth, which lacks filter circuits, but I accomplished it using the same programming techniques as with the rhythm section." GamesRadar considers the soundtracks to have some of the best video game music ever composed. Streets of Rage 2 The soundtrack for 1992 video game Streets of Rage 2 was released in the United States. The tracks on this soundtrack are identical to the Japanese CD soundtrack known as Bare Knuckle II. It was mostly composed and played by Yuzo Koshiro, with a few tracks also composed by Motohiro Kawashima. The soundtrack is said to be one of Koshiro's greatest and it shows the power of the 16-bit Mega Drive/Genesis's YM2612 sound chip. The music was described by Koshiro as "hard-core techno." The game has also been noted as one of the first video games where the composer's name, Yuzo Koshiro, appears on the title screen. The soundtrack was influenced by electronic dance music, specifically house, techno, hardcore techno, progressive techno, breakbeat,Streets of Rage 2 on Discogs: * * funk, and ethnic music. Koshiro also attempted to reproduce the Roland TR-808 and TR-909 beats and Roland TB-303 synths using FM synthesis.http://daily.redbullmusicacademy.com/2014/09/yuzo-koshiro-interview The soundtrack for Streets of Rage 2 (1992) is considered "revolutionary" and ahead of its time, for its "blend of swaggering house synths," "dirty" electro-funk and "trancey electronic textures that would feel as comfortable in a nightclub as a video game." Square Enix Music Online praised the soundtrack for having "some of the baddest beats ever to grace a video game soundtrack" and its creative use of the Mega Drive/Genesis's limited sound chip, such as "panning in the left and right speakers" to keep "the melodic material briskly moving forward" in the first stage "Go Straight" track. "In the Bar" has been described as "dreamy" blues-influenced piece with "a briskly walking bassline" and "a semi-improvisational feel that adds a jazz mystique." The boss theme "Never Return Alive" is described as an "insane piece" where the "saw wave drills into your mind and serves as a nice syncopative measure to keep the edgy nature of the musical material intact throughout the piece's duration." The second stage "Spin on the Bridge" track, described as "hip hop on crack," has been praised for its "absolutely wicked breakbeats!" "Dreamer" has been described as a "dream-like" track with electronica arpeggiations, ethereal tones, and trance elements. "Alien Power" has been described as trip hop with "a bit of ethnic drum percussion," giving it a "strange and a bit creepy" feel. "Slow Moon" has been praised for its funk and call-and-response elements. "Jungle Base" has been described as a hard-hitting dance song. Another stand-out track is the seventh stage "Expander" theme, which was composed by Motohiro Kawashima and has been praised as a hard-hitting track with "raunchy synth bass, panning synths," and fast tempo. "Too Deep" has been described as an ambient track, though with sound effects that "sound like a ringing phone." When originally reviewing the game, MegaTech gave the sound a score of 98%, and said it was "the best music you've ever heard on the Megadrive."Streets of Rage II review, MegaTech magazine, EMAP, issue 13, January 1993 Streets of Rage 3 The music style of Streets of Rage 3 has a different feel to that of the first two games. Described by Yuzo Koshiro as "fast-beat techno like jungle," it was composed using his own "Automated Composing System," used to produce heavily randomized sequences. The soundtrack also had elements of abstract, experimental, gabber, and trance music. As with Streets of Rage 2, the soundtrack features tracks composed by both Koshiro and Motohiro Kawashima. Unlike the first two soundtracks, the tracks are not in the order that they appear in-game. The full title of this CD is Bare Knuckle 3: Iron Fist Scriptures. The disc itself is difficult to find today. For the soundtrack to Streets of Rage 3, Koshiro created a new composition method called the "Automated Composing System" to produce "fast- beat techno like jungle." It was the most advanced techno technique of the time, incorporating heavily randomized sequences. This resulted in innovative and experimental sounds generated automatically that, according to Koshiro, "you ordinarily never could imagine on your own." This method was very rare at the time, but has since become popular among techno and trance producers to get "unexpected and odd sounds." The game's experimental, abrasive noise- based, electronic music received a mixed reception upon release, but has since been considered to be ahead of its time. According to Mean Machines, the "music takes some getting used to – ironically it pre-dated the 'trance' era that came a short while after release." The experimental sounds and use of heavily randomized sequences are also considered ahead of its time. Streets of Rage 4 Streets of Rage 4, developed by Dotemu, Lizardcube, and Guard Crush Games, was composed by Olivier Deriviere, with additional compositions from Yuzo Koshiro, Motohiro Kawashima, Yoko Shimomura, Keiji Yamagishi, Harumi Fujita, Das Mörtal, and Groundislava. The soundtrack is structured so that Deriviere wrote the primary themes, while each boss fight's theme was written by one of the guest composers. Koshiro was not a part of the project from the start, but joined in June 2019 after playing a demo of the game at BitSummit, an indie game showcase in Japan. He cited fan requests and how the game was coming along as reasons for joining. Hideki Naganuma was also originally set to contribute, but dropped out of the project due to scheduling conflicts before being replaced by Fujita. The soundtrack was released digitally alongside the game's release on April 30, 2020 by Brave Wave Productions.http://www.bravewave.net/streetsofrage4/ost A limited vinyl disc print was also released by Limited Run Games.https://limitedrungames.com/products/streets-of-rage-4-signed- soundtrack-vinyl References Category:Streets of Rage Category:Video game soundtracks Category:Video game music discographies "
""Southampton Dock" is a song from Pink Floyd's 1983 album, The Final Cut. In World War II, many soldiers departed from Southampton to fight against the Germans. In the eighties, Southampton was again used as a departure base, this time for the Falklands War. The song describes a woman who waves the soldiers "Goodbye again". The song includes a snippet of the theme from the track "It's Never Too Late", a song originally written and recorded for The Wall but was cut before the final band production demo of August 12, 1979. "It's Never Too Late" was later reworked and the melody was incorporated into the second section of "Southampton Dock". Reception In a review for The Final Cut, Patrick Schabe of PopMatters described "Southampton Dock" as an example of where the album works best, and described the song's imagery as "subtle, poetic, and effective." Personnel *Roger Waters – acoustic guitar, bass and vocals with: *Michael Kamen – piano and orchestrations References External links * Category:1983 songs Category:Pink Floyd songs Category:Anti-war songs Category:Songs in memory of deceased persons Category:Songs written by Roger Waters Category:Song recordings produced by Roger Waters he:Southampton Dock "