Podcasts about Avodah

It shouldn't surprise us. Our God, who is a God of order, design, and truth, has a clear answer for our priorities. Our Number 4 priority should be our work. Work is a gift from God, just as our relationships are. Work is necessary to shape our character and pay our bills. Work is designed to have a start and an end every day. Everything unravels when work is a higher priority than our families and God. Marriages struggle, kids struggle, and we become strangers with God. When Work is put in its proper place, it is a blessing that causes flourishing for us, our coworkers, bosses, employees, customers, and vendors. Avodah is the Hebrew word for Work and Worship. That is what God intended- for our work to be worship at the same time. Keep it in check, and life will be good. 

We hope you enjoy this shiur. If you would like to sponsor or dedicate any of our shiurim or help with the running costs please do not hesitate to get in contact with us at office@rabbiroodyn.com or WhatsApp +447791221449May Hashem heal the wounded, free the captives and lead our soldiers to a swift and painless victory.#jew #jewish #torah #torahfortoughtimes #rabbiroodyn #bringthemhome #rabbi #torahanytime #Judaism #Israel #shiur #responsetotragictimes #jewishunderstanding #elul #elulvation

The Good Heart & Safe Place for our Generations Survivors by understanding the importance of the Avodah of the Heart - Likutei Halachos through the revelation of Hashem through all levels of Torah including Chassidus from Kedem focused on 13 Midat Harachamim Lkovod Yom Kippur @ Shirat David… Going live  @shiratdavid  Efrat twice weekly -  @EliUnityGoldsmith  1. ​- We summarize the past 7 sessions - Thanking Hashem for our soul and soul mate. 2. ​Strengthening the good points in our self and partner & home with community.3. ​For this session we discussed the Shulchan Aruch with insight from Likutei Halachos how The #Tzaddick x Mercy from Hashem based on The Beit Yosef's path to Misgaber awake with strength from sleep or the more realistic path of Rachamei Hashem aspect of Moshe Rabbeinu kneged the Rama bringing a Shefa of Mercy to awaken our soul from sleep aka exile and keep us married & loyal etc…4. Today we focus so much on the #Nekudah #Tovah that the Black becomes our Beauty. The Good points is connected to the mitzvah of Shema Yisrael and bringing more oneness Yichud of Hashem Echad = Esmach Oid - Nekudah Tovot boosts our Relationship Flow in the deepest most impactful way!5. Remember ourselves for the good in all ways… also on this method learning only the positive paths.6. Gathering all the good spices for a pleasing aroma, i.e. all the good souls no matter what level to build the place for Hashem in the world.7. Choose life this #RoshHashana & always...8. Hashem is in Front of us Always, Good Points too even our soulmates lol

Harav Yussie Zakutinsky Shlita

Artspeak Radio, Wednesday, September 17, 2025, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes artists Pierre Owens, DeAnna Skedel, KE Griffin, Anna Marten, and filmmaker Jon Brick. JON BRICK- Experience the magic of Ronzo at an exclusive screening of Jon Brick's new feature documentary—a lively tribute to the man who turned a small Southern town into a creative mecca. Ronzo is a witty, heartfelt documentary about Ron Shapiro — affectionately known as Ronzo — who turned Oxford, Mississippi, from a conservative college town into an unlikely cultural mecca. His Hoka Theater became the beating heart of the town's creative underground — a sanctuary for misfits where college students mingled with literary giants like Willie Morris, John Grisham, and Barry Hannah. The Hoka hosted music, indie films, plays, and midnight adult film screenings, and drew counterculture icons like Abbie Hoffman, Allen Ginsberg and Hunter S. Thompson. It also helped launch the careers of artists and musicians, including members of Wilco, North Mississippi Allstars, and Widespread Panic. Outside the theater, Ronzo stirred up local politics, using wit and empathy to provoke dialogue and bridge divides. His legacy continues through Hoka Days, an annual celebration in his honor, culminating in a lively parade in Oxford. Though Ronzo's death left a void, his influence remains, reminding us of the power of creativity, inclusion, and the arts in shaping communities. Ronzo's story is told through the voices of his closest friends and family, including musicians from Wilco, Widespread Panic, and the North Mississippi Allstars; actress Joey Lauren Adams (Chasing Amy); renowned Southern writers; and TV and radio hosts Jim Dees, John T. Edge, Robert Gordon and Tom Franklin — to name a few. The screening is Saturday, September 27th, 7:30pm Grand Avenue Temple 206 E 9th Street KCMO, 64106 Tickets ($15) are available to purchase through the International Documentary Association, the film's fiscal sponsor with this link: https://ronzo.allyrafundraising.com/events/922 If you are unable to attend, we are accepting donations also through the International Documentary Association Fiscal Sponsorship Program: https://ronzo.allyrafundraising.com/ PIERRE OWENS- I'm an artist with Autism who started drawing when I was a young kid. I graduated from Paseo Academy in 2007 as a Creative Writing Major. I found my true calling back in 2009 while I did some job shadowing at AbilityKC. I was diagnosed with Autism at the age of two. Years later, he found my true love for movies. Movies have been a true part of my art. I come up with great movie ideas and create great movie posters for them. I'm an outsider artist with no art school education but has a God-given talent to create such beautiful portraits. The things that inspire me to draw are the people that I met, the places I've visited and the movies that I watched. I've done commissioned drawings for people across the country and some from around the world. My drawing style is very traditional and cartoonist-like. I mostly draw from pictures that I look at and from memory as well. Three years after I found my calling in the art world, I met professional artist Wes Benson and he inspired me to go further in my art career. In 2013, I started having my very first art show at his studio at The Bauer. In 2015, I showcased some of my drawings with Charles Mooneyham at an exhibit in St. Louis. In 2016, I presented a special drawing to former KC Mayor Sly James. In 2017, I had my first exhibit at the Bruce R. Watkins Center and it was a success. Months later, I was featured in an interview with former teacher Christopher Ulmer on his page called Special Books by Special Kids when I was showing off my ability to recall any movie release date. Right after that, drawing commissions started pouring in. They couldn't get enough of my work. In 2022, I had a second pop-up art fair at the Bruce R. Watkins Center. In 2024, I was featured in an exhibit with Harold Smith and other local artists at the Leedy-Voulkos Art Center. A few months after that, I had a couple of art fairs with fellow artist Trey Loomis at the City Market. In September of 2024, I participated in the 18th & Vine Arts Festival with Harold Smith, Trey Loomis and Crystal Major. Back in April of 2025, I participated in ArtsFusion KC and sold some art there as well. I'm currently participating in an exhibit called Digitalfiles/Flattiles at the Emily and Todd Voth Artspace. I have to say that being an artist can be tough sometimes but creating something beautiful can be the easy part. There were times I wanted to give up on my art but courage and the blessings from God has allowed me to never give up and to keep going. I had many ups and downs in my creative journey but I always come back up on top. Art will always be my true love.You can contact me for custom made drawings or previously drawn artwork by emailing at owenspierre81@yahoo.com or by calling or texting me at (816) 885-3772. ANNA MARTEN- In 2024, after nine years as a production illustrator who hand-painted signs and murals for a grocery store, I stepped away from my position and began to reimagine my creative process without the barriers of a corporate art world. I'm now getting reacquainted with the parts of myself that create for creation's sake. As an avid daydreamer, I acknowledge that memory plays tricks on us. If there's a boundary connecting memory, reality, and fantasy, then my art probably exists between all three. Lesser observed spaces draw my attention because I'm interested in the implied environment rather than the literal one. Whether there's a narrative to be uncovered or imagined, I enjoy recentering overlooked and candid moments as fantastical realities. Illustrating words was my primary livelihood for so many years, but I'm now more interested in exploring the conversation that exists between mediums. How do I conjure a story with both photography and painting? Can the two styles of communication work together while maintaining separate identities? In working together, is the result decipherable or purely fantastical? As an interdisciplinary creator, I'm open to learn or experiment with whichever mediums work best for each project. Anna Marten is a Kansas City-based multimedia illustrator with a BFA from the Kansas City Art Institute. She approaches traditional processes such as hand-lettering and painting with vibrancy. Her professional practice has incorporated hand-painted signs, murals, and displays into Kansas City businesses for over a decade. As an interdisciplinary artist, she has utilized screen printing, photography, acrylic paint, found objects, and sculpture for exhibition pieces. A few exhibit collaborators include the KC Fringe Festival, MCC, InterUrban Arthouse, and Vulpes Bastille. DEANNA SKEDEL has been an artist and professor in Kansas City since 2002. Her eclectic, wide-ranging studio practice has been akin to the practice of reading tea leaves: an act of both divination and meditation. DeAnna first began showing at the Ohio Craft Museum while still in undergrad. Graduate school at the School of the Art Institute of Chicago brought about some time working in theater. Sculpture and good friends presented opportunities at such venues as the US/UKContemporary Cast Iron SculptureProject and Overflow/Fluids (LA Art Girls) at the Getty Museum Los Angeles, California. She has been a Kansas City Avenue of Arts recipient, part of the Urban Culture Project, included in the book The Sixth Surface: Steven Holl Lights the Nelson-Atkins Museum and a member of the Kansas City chapter of the social justice organization, Avodah. Skedel has been honored by her peers at Metropolitan Community College-Blue River with the Missouri Governor's Award for Excellence in Teaching, and is honored by students who call her “some crazy combination of Mr. Miyagi and Bob Ross” and is happy her children do not find her too embarrassing. Skedel has been an artist and professor in Kansas City since 2002. Her diverse, expansive studio practice resembles ... cooking—a meditative process of infusion and maceration. Reflecting on her life, she says, "As an artist, academic, and a parent of neurodiverse teenagers, I navigate evolving social concerns, teaching and learning styles, all while experiencing a shifting identity. At times, it feels like I am experiencing a 'puberty of maturity,' where, despite societal invisibility and the many layers my roles add, my personal evolution is accelerating." KAREN E (KE) GRIFFIN -I am a creative, proactive and transformative textile and performing artist possessing the innovative ability to formulate fabrics and seams into wonderful stories. My visionary process evokes and informs viewers by exploring tangible and verbal artforms. The art quilts, abstracts and panels are constructed of music notes, adinkra symbols, feathers, beads, prints, patterns, denim and 2D. The textiles contain the following materials: paper, African or cotton fabric on canvas or wood panels. After four or more art pieces are completed, stories are implemented to embrace the art quilt or abstracts. For 21 days, I shut off my outer body to support me with framing a piece(s). After the layout(s) is unveiled, I hand-select prints, patterns and threads to depict breathtaking textiles. My concepts consist of complying black outline drawings, digital graphing, photography, crayon drawings on poster board and sewing. Machine sewing or hand-stitching fabric on paper, canvas or cotton is my form of meditating. When my mind is relaxed, my hands control the progress and final art piece. I enjoy joining seams with fabric to generate a story, depicting my ancestors' journey to and in America. It takes two or more months to produce an array of textiles and stories from an idea to wall hanging, art show or presentation. Researching and studying the journey of African-Americans play an important role in designing, displaying and promoting my textiles. The primary purpose of sewing seams and applying a story is design to engage, empower and educate viewers of my creations about the history of African-Americans. As a textile and performing artist, I am honored to teach and share the journey of enslaved Africans in America through art and storytelling. My first solo exhibition consisted of twenty-one textiles on clotheslines with rope, clothespins, fencing post, burlap, buckets and concrete. The exhibit was designed to inform all generations with exploring the journey of enslaves, seeking FREEDOM in America. This quote best expresses how I hope people feel when they view my work. “There are times people don't want to hear what you're saying, but they will relate and engage to what you express through ART”. Art by .E Lewis

As we get closer to Rosh Hashana we need to define what life is, if that is what we are asking for on Rosh Hashana. We delve into what it may seem to be but is in truth a fallacy. After an incredible story and much dreaming we hopefully gain clarity on a life worth living. 

Avodah Zara 7a-7b (Daf Yomi) by Rabbi Avi Zakutinsky

In this episode, join Rabbi Ori Strum on a journey to the moon…well sort of. You will be amazed at the connection between the Avodah of Elul, and Neil Armstrong's famous line as he took those first few steps in the moon: “That's one small step for man, a giant leap for mankind.”Small steps really do matter. A lot!#jewishthought #judaism #torah #moon #elul #shofar #inspiration #smallstepstosuccess #armstrong

When Connected with the White Fire our Black Fire Becomes Immortal.The Avodah of Rosh Hashanah Zohar

Avodah Zarah 71-76

On today's page, Avodah Zarah 76, we close a chapter on idolatry only to open a deeper one about the human soul. With Rabbi Dovid Bashevkin, we explore why the Torah warns against graven images, and how this commandment teaches us that our worth—like divinity itself—is always beyond what meets the eye. Why is invisibility the ultimate form of truth? Listen and find out.

Siyum Masechet Avodah Zarah is dedicated with love and pride to Terri Krivosha from her husband, Rabbi Hayim Herring, her children, Tamar, Avi and Shaina, and her grandchildren, Noam, Liba, and Orly, for completing her first Daf Yomi cycle. You embody the words of Micah 6:8, and “do justice, love goodness, and walk modestly with HaShem.” A contradiction arises between the Mishna and a Mishna in Zevachim regarding the proper method for kashering a spit. Several sages present different approaches, prompting five proposed resolutions—though many are ultimately rejected. When it comes to kashering knives, the Mishna recommends polishing as the preferred method. However, Rav Ukva offers an alternative: inserting the knife into the ground ten times. The Masechet concludes with an intriguing anecdote involving the Persian king Shabur Malka, Mar Yehuda, and a Canaanite slave named Bati bar Tuvi. Before serving Mar Yehuda, the king inserts the knife into the ground, adhering to Rav Ukva’s method. Yet he omitted this step before serving Bati previously. When Bati questions the discrepancy, the king responds with a dismissive remark, implying that Bati lacks the same level of halachic stringency. In an alternate version of the story, the king’s reply is even more pointed and accusatory.

How do we purify different kinds of vessels or utensils? Boiling water should do the trick. Or maybe "olive water." Plus time - whatever that may mean, given the vague term of "season." A minimum of half the day and half the night - that is, 12 hours, out of 24. Also, one who buys utensils from non-Jews who made them... prepare them for use after the handling by the non-Jews via immersing in a mikveh... or in boiling water...or....heating it to white-hot.... or polishing. The precursor to today's "toveling." Plus, when to use which method, or more than one.

A question from a mishnah in Zevachim that contradicts the text here - because of the purging, preparation of the vessels here. Specifically on how that which is absorbed is either permitted or forbidden - and whether that makes a difference. But are the sacrificial meat and the non-Jew's utensils really comparable? Also, a story to close the tractate - that highlights the discussions from the tractate - including non-Jewish practice, including the relationship and dynamic between Jew and non-Jew. Plus, the need for taking care with Halakhah - and making sure that you represent yourself well.

*מסכת עבודה זרה דף עו* (ליום ג) נדבת שכן טוב של המגיד שיעור שליט״א שיזכה לברכת ״א גוטן ישוב״ לע״נ מרת אסתר ב״ר שלמה יעקב ע״ה *פרנס השבוע* לזכות ישכר דוב בן שרה חיה מרים וכל משפחתו להצלחה בכל הענינים ‎*פרנס החודש* לזכות חיים צדוק אריה הכהן בן נחמה מרים ריזל וכל משפחתו להצלחה בכל הענינים — לנדב שיעור: https://bit.ly/Shiur23 לרכוש זכות פרנס השבוע או פרנס החודש: 646-535-8042 *מזל טוב לכל המסיימים!*

Avodah Zarah 76 1 Minute Intro

--00:00 - Singing01:37 - Good Morning02:20 - Emails11:19 - MDYsponsor.com13:58 - Amud Beis29:40 - Amud Aleph42:46 - Guests44:08 - Amud Aleph Con.52:34 - Amud Beis57:41 - Have a Wonderful Day!Quiz - http://Kahoot.MDYdaf.com

On today's pages, Avodah Zarah 74 and 75, the Talmud explores the delicate balance of protecting Jewish practice while still engaging with the larger world. Mark Oppenheimer, the Corduroy Rav, joins us to discuss what ancient keg-cleaning instructions can teach us about pluralism, coexistence, and the ever-present dangers of idolatry in modern forms. How do we seal our traditions without sealing ourselves off? Listen and find out.

Today's daf is sponsored by Lisa Elon in honor of her steadfast chevruta, Rhondda Ma Today's daf is sponsored by Lisa Elon in honor of her steadfast chevruta, Rhondda May, "May G-d grant us many more years of great learning together. " Today's daf is sponsored by Rachel Alexander Levy in memory of Jack Schuster, father of my chevruta, Rabbi Jordi Schuster. May his memory be for a blessing. Today's daf is sponsored by Adam Dicker in honor of Carolyn Hochstadter Dicker on her birthday. There is a debate between Rav and Shmuel regarding the kashering process known as niguv. In one version of the debate, Rav requires that ashes be used once during the process, while Shmuel requires them to be used twice. In another version, there is no actual disagreement—Rav simply omits the final step of rinsing with water, since its sole purpose is to remove the ashes. Shmuel, however, includes it as part of the process. How are wicker nets in a winepress kashered? Rabbi Avahu derives from the laws of purifying wicker nets that they require niguv. If the nets are made of reeds, which are more absorbent, they must be left unused for twelve months—or, according to Rabban Shimon ben Gamliel, until the next wine-making season. What is the practical difference between these two opinions? Rabbi Yossi offers an alternative to waiting a year: pouring boiling water over them. Rabban Shimon ben Gamliel cites Rabbi Yossi, suggesting instead that the nets be placed under running water for an onah. What is an onah? Some define it as either a day or a night, while others say it means twelve hours. Rav Shmuel bar Yitzchak explains that both interpretations ultimately mean the same thing. How? The strainer and baskets used in the winepress are kashered differently depending on the material they are made from, since the level of absorption varies. If grape clusters are placed in the winepress and surrounded by the juice from the grapes, are they considered a single unit for the purposes of impurity? This has practical implications: if an am haaretz—someone who may not be trusted regarding purity laws—touches one cluster, does that render all the surrounding clusters impure? If one purchases utensils from a non-Jew, how are they to be kashered? The method depends on how the utensil was used: if used with cold food, rinse with water; if used with hot water, perform hagala (boiling); and if exposed to direct fire, apply libun (burning with fire). A knife must be polished. All these utensils also require tevila—immersion in a mikveh. Two different phrases in Bamidbar 31:23, following the battle with Midian, are cited to derive the requirement for tevila. Why are both phrases needed? Rav Nachman explains that even new utensils purchased from a non-Jew require tevila, since kashered old utensils are considered equivalent to new ones. Borrowed utensils from a non-Jew do not require tevila, but a question arises regarding utensils given to a Jew as collateral. Metal and glass utensils require tevila, but earthenware does not. If an earthenware vessel is coated with a lead glaze, should it be treated as earthenware or as metal? If utensils were used without being kashered, is food prepared in them forbidden? The answer depends on when the vessel was last used and whether one holds that a substance imparting a bad flavor is permitted or prohibited.   y, "May G-d grant us many more years of great learning together. " Today's daf is sponsored by Rachel Alexander Levy in memory of Jack Schuster, father of my chevruta, Rabbi Jordi Schuster. May his memory be for a blessing. Today's daf is sponsored by Adam Dicker in honor of Carolyn Hochstadter Dicker on her birthday. There is a debate between Rav and Shmuel regarding the kashering process known as niguv. In one version of the debate, Rav requires that ashes be used once during the process, while Shmuel requires them to be used twice. In another version, there is no actual disagreement—Rav simply omits the final step of rinsing with water, since its sole purpose is to remove the ashes. Shmuel, however, includes it as part of the process. How are wicker nets in a winepress kashered? Rabbi Avahu derives from the laws of purifying wicker nets that they require niguv. If the nets are made of reeds, which are more absorbent, they must be left unused for twelve months—or, according to Rabban Shimon ben Gamliel, until the next wine-making season. What is the practical difference between these two opinions? Rabbi Yossi offers an alternative to waiting a year: pouring boiling water over them. Rabban Shimon ben Gamliel cites Rabbi Yossi, suggesting instead that the nets be placed under running water for an onah. What is an onah? Some define it as either a day or a night, while others say it means twelve hours. Rav Shmuel bar Yitzchak explains that both interpretations ultimately mean the same thing. How? The strainer and baskets used in the winepress are kashered differently depending on the material they are made from, since the level of absorption varies. If grape clusters are placed in the winepress and surrounded by the juice from the grapes, are they considered a single unit for the purposes of impurity? This has practical implications: if an am haaretz—someone who may not be trusted regarding purity laws—touches one cluster, does that render all the surrounding clusters impure? If one purchases utensils from a non-Jew, how are they to be kashered? The method depends on how the utensil was used: if used with cold food, rinse with water; if used with hot water, perform hagala (boiling); and if exposed to direct fire, apply libun (burning with fire). A knife must be polished. All these utensils also require tevila—immersion in a mikveh. Two different phrases in Bamidbar 31:23, following the battle with Midian, are cited to derive the requirement for tevila. Why are both phrases needed? Rav Nachman explains that even new utensils purchased from a non-Jew require tevila, since kashered old utensils are considered equivalent to new ones. Borrowed utensils from a non-Jew do not require tevila, but a question arises regarding utensils given to a Jew as collateral. Metal and glass utensils require tevila, but earthenware does not. If an earthenware vessel is coated with a lead glaze, should it be treated as earthenware or as metal? If utensils were used without being kashered, is food prepared in them forbidden? The answer depends on when the vessel was last used and whether one holds that a substance imparting a bad flavor is permitted or prohibited.

This week's learning is dedicated by Carolyn Hochstadter, Adam Dicker and family on the 17th yahrzeit of Fred Hochstadter, Ephraim ben Kayla v'Baruch this Monday, 8 Elul. "'Dad' was a holocaust survivor who was saved via the Kindertransport, came to Canada and met 'Ma' in Montreal. Together, they built a family, business, community, and legacy of support and love for Medinat Yisrael. We miss you and are managing to catch up on some of your reading material, including Menachem Elon's Mishpat Ivri — to which Hadran's Daf Yomi has given so much background and context. We continue to laugh at your jokes and follow your wise guidance. And also in honor of today's pidyon haben of our first Sabra grandchild, Zecharia Ami - Zach. Saba and Savta would be proud." Today's daf is sponsored by Rochel Cheifetz in commemoration of her husband’s, Aryeh Leib ben Yehuda, Lenny Cheifetz's,  33rd yahrzeit. "You were taken much too soon. But I thank HKB"H for the time we were blessed with your smile, goodness, sense of humor, and love. Yehi zichro baruch."  Today's daf is sponsored by Emma Rinberg for a refuah shlemah for her son Joseph, Yosef Yitzchak Nisan Ben Nechama Leah Esther, who is having surgery today to repair a broken femur after a bike accident. The Mishna lists various items that are forbidden to derive benefit from and remain prohibited even in the smallest amount when mixed with permitted substances. The Gemara asks and explains why certain items are not included in the Mishna’s list. If yayin nesech falls into a pit, the entire quantity of wine becomes forbidden. However, Rabban Shimon ben Gamliel ruled that the mixture may be sold, provided the value of the yayin nesech is deducted from the sale price. There is a debate among the amoraim about whether we rule like Rabban Shimon ben Gamliel in all cases, or only in specific situations—such as when a barrel of yayin nesech is mixed with a barrel of permitted wine, as opposed to a smaller quantity of forbidden wine that is mixed into a jug or barrel of permitted wine. To kasher a winepress that was used by or prepared by a non-Jew, the process depends on the material from which the winepress is made and whether it was lined with pitch.

On today's pages, Avodah Zarah 72 and 73, the rabbis dive into the logic of kosher: when does a forbidden flavor render food off-limits, and when does it not? Rabbi Dovid Bashevkin joins us to explain how this principle grew into the modern system of kosher certification. What does it really mean to trust the food we eat? Listen and find out.

The resolution to the second difficulty against Rav Ashi's position is rejected, and the Gemara concludes that pulling does affect acquisition for a non-Jew. The Mishna on Avodah Zarah 71 stresses the issue of agreement on price as a precondition for acquisition. Some situations arose regarding this issue in selling property. At first, Rav Yosef and Abaye disagree about whether or not the same principle applies in a sale, as the Mishna only discussed it about yayin nesech. However, the Gemara concludes that Abaye is correct, that the same logic applies for both, based on a ruling of Rav Huna, which was based on a Mishna in Bava Batra 85b. However, in a different case, there is a further debate about whether this holds, albeit under more unique circumstances. The Mishna discusses two cases. In the first case, a Jew pours wine through a funnel into the non-Jew's jug. If there are some droplets of wine in the funnel, they are prohibited. If the Jew pours wine from a vessel into another vessel, the wine in the first vessel is permitted, while the wine in the second vessel is prohibited. The Gemara first quotes a Mishna in Taharot 8:9 relating to the issue of nitzok, a stream of water, as regards impurity. If water that streams down becomes impure, i.e., is poured into an impure vessel, it does not affect the water at the top that has not entered the vessel. Rav Huna, however, ruled that the upper liquid would be forbidden in a parallel case of yayin nesech.  

The Mishna discusses the laws of nullification regarding yayin nesech (wine used for idolatry) that becomes mixed with permitted wine. It distinguishes between wine mixed with wine (min b’minu—same substance), which is forbidden in any amount, and wine mixed with water (min b’she’eino mino—different substance), which is prohibited only if it imparts taste. Rav Dimi quotes Rabbi Yochanan as saying that if one pours yayin nesech from a barrel into a pit of kosher wine, each drop is immediately nullified upon contact. The Gemara raises three challenges to Rav Dimi’s interpretation based on the Mishna, and resolves them by reinterpreting the cases in the Mishna. Rav Yitzchak bar Yosef offers a narrower understanding of Rabbi Yochanan’s ruling—limiting it to pouring from a jug into a barrel, but not from a barrel into a pit. Ravin also transmits a halakha in Rabbi Yochanan’s name regarding a mixture that includes a forbidden item combined with both a similar and a different substance. In such a case, the forbidden item is nullified by the different substance (e.g., yayin nesech mixed with wine and water), while the similar substance is viewed as if it is not there. Rav Shmuel bar Yehuda also quotes Rabbi Yochanan, but there are two versions of his statement. In one version, he disagrees with Ravin and limits the ruling to cases where the different substance was present first. In the other version, his comment refers to the Mishna, and he actually agrees with Ravin. A debate between Chizkiya and Rabbi Yochanan also concerns a case where a forbidden item is mixed with both a similar and a different substance. What is the underlying basis of their disagreement? Rav and Shmuel dispute the position of Rabbi Yochanan and Reish Lakish regarding whether the distinction between mixtures of the same type and mixtures of different types applies universally to all prohibited items, or only to yayin nesech and tevel (untithed produce). The Gemara explains why the rabbis would have adopted a stricter approach with those two prohibitions.

On today's page, Avodah Zarah 71, we encounter a grim teaching: a gentile thief could face death even for a tiny crime. The Talmud wrestles with the balance between law and compassion, and so do we. So today, we revisit a conversation with Sister Helen Prejean, a tireless voice against the death penalty. What can ancient law teach us about one of today's fiercest moral debates? Listen and find out.

On today's page, Avodah Zarah 70, the rabbis reflect on a strange case: thieves breaking into wine cellars. Instead of harsh judgment, they remind us to presume purity—even for those who stumble. Can transgression and hope coexist in the same breath? Listen and find out.

On today's page, Avodah Zarah 69, the rabbis debate how best to seal a barrel of wine to ensure it hasn't been tampered with. From corks to screw tops, what can this age-old conversation teach us about trust, preservation, and innovation? Listen and find out.

On today's pages, Avodah Zarah 67 and 68, the Talmud digs into beans, vinegar, and the science of taste. Rabbi Dovid Bashevkin joins us to show how the rabbis' rules of flavor transfer—through heat, salt, and soaking—mirror the ways we absorb spirituality. Can food metaphors help us understand how to infuse our lives with holiness? Listen and find out.