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In Episode 496 of the Reformed Brotherhood, Tony Arsenal and Jesse Schwamb open with a rich discussion on the theology of congregational singing — including the Trinity Psalter Hymnal, the Getty's Sing!, and why psalm-singing belongs at the heart of Christian worship. The main event, however, is the first installment of their study of the Parable of the Talents (Matthew 25:14–30). Tony and Jesse argue that this parable is widely misread as a lesson in personal productivity or spiritual gift deployment, when in fact its center of gravity is entirely eschatological and theological: the wicked servant's failure is not financial incompetence — it is a catastrophic misunderstanding of who the master is, and therefore, who he himself is as a servant of that master. Key Takeaways The parable is eschatological, not motivational. Situated in Matthew 25 as the second of three eschatological parables in the Olivet Discourse, the Parable of the Talents answers the disciples' question about the sign of Christ's coming — not a general lesson about using your abilities for God. "Talents" refers to an enormous monetary sum, not personal giftedness. A single talent represented roughly 20 years of a laborer's wages. Even the least-endowed servant received an immense, unearned gift — which makes the wicked servant's inaction all the more indefensible. The wicked servant's problem is theological, not financial. He doesn't bury the talent out of ignorance or fear alone — he actively mischaracterizes the master as exploitative and unjust. His failure is a failure of theology: he does not know who his master is. The commendation "Well done, good and faithful servant" is the basic reward of every believer, not a tiered prize for the most productive. The five-talent and two-talent servants receive identical commendations, suggesting the measure is proportional faithfulness, not absolute output. Faithful stewardship is active, not passive. Both faithful servants are marked by immediacy and energetic engagement. The parable does not explain how they doubled their talents because the mechanics are not the point — their disposition of active, risk-taking faithfulness is. The parable resists works-righteousness readings. Whether one is Augustine or an anonymous deathbed convert, every justified believer enters into the same joy of the master. The parable is not a theology of graduated heavenly rewards but a distinction between those who understand their master and those who do not. The talents represent the stewardship of the Gospel and the Kingdom itself. The master entrusting his servants with his property is a picture of Christ entrusting the church with the message of salvation — ownership remains with the master, the servants are stewards, not proprietors. Key Concepts The Wicked Servant's Problem Is Who He Thinks the Master Is The most common misreading of this parable locates the wicked servant's failure in laziness or timidity — he was simply too afraid to act. But Tony Arsenal argues compellingly that the servant's own words expose something far more serious. He says, "I knew you to be a hard man, reaping where you did not sow." This is not a confession of fear; it is an accusation. The servant has constructed a theology of his master as an exploitative, unjust overseer who doesn't deserve a return. What he catastrophically misses is that the very possession of 20 years' worth of wages — an unearned, unimaginable gift — is the master sowing into him. His refusal to act is, at its root, a refusal to acknowledge the master's generosity and authority. This is the parable's most penetrating theological edge. "Well Done" Is for Every Believer, Not Just the Most Productive One of the episode's most pastorally significant observations is Tony's argument that the commendation "Well done, good and faithful servant — enter into the joy of your master" is not reserved for spiritual high-achievers. Because the five-talent and two-talent servants receive word-for-word identical commendations despite wildly different absolute returns, the logical entailment is that the one-talent servant, had he been faithful, would have received the same words. This means the commendation is not calibrated to productivity — it is the basic inheritance of every believer who enters glory. The soul-winner and the deathbed convert, Augustine and the unknown faithful, all hear the same welcome. The parable is therefore not teaching a graduated hierarchy of heavenly reward, but a binary distinction: those who know their master and act accordingly, and those who do not. The Parable Cannot Be Detached from Its Eschatological Context Jesse Schwamb is careful to anchor the parable in its literary and theological context: this is the second of three eschatological parables in Matthew 25, all part of the Olivet Discourse, all delivered in direct response to the disciples' question about the sign of Christ's return and the end of the age. Detaching the Parable of the Talents from that frame — and reading it instead as a general productivity principle or a theology of spiritual gifts — drains it of what Jesse calls its "gravity." The master going away and returning after a long time is a direct image of the ascended Christ and his parousia. The servants' task during the interval is not self-improvement or career stewardship — it is watchful, active discipleship in the time between the first and second comings. Everything in the parable, including the staggering sums of money, is calibrated to that eschatological frame. Memorable Quotes The real difference is that the former servants understood that their master had trusted them with a task and expected something of them, and the unfaithful, wicked, lazy servant had a total misunderstanding of who the master was — and therefore what his role as the master's servant was. That's the point of this parable. — Tony Arsenal Well done, good and faithful servant — that's not a special commendation that only the most amazing Christian servants get. That's the basic commendation that every Christian who enters into glory will receive. Whether you have been the most productive soul-winner in the world... you're going to receive the same commendation as the person who dies, and on their deathbed the last thing that they think is, 'I trust Jesus.' — Tony Arsenal God's measure of faithfulness is proportional, not absolute. The two-talent servant is not judged by the five-talent standard. He is judged by what he received. — Jesse Schwamb Full Transcript [00:00:08] Tony Arsenal: that's not a special commendation that only the most amazing Christian servants get, right? That's the basic commendation that every Christian who enters into glory will receive. Whether you have been the most productive soul-winner in the world, whether you are the most, you know, the most sanctified Christian who's ever lived, whether you are, the most amazing person and millions of people have come to faith because of your ministry, you're going to receive the same commendation as the person who dies, and on their deathbed the last thing that they think is, I trust Jesus." Right. And they've produced no converts, no ministry, and maybe no one even knows that they were justified, because in their final moments before the lights went out, they trusted in Jesus, right? They hear the same well done, good and faithful servant when they enter into glory. Welcome to episode 496 of the Reformed Brotherhood. I'm Jesse.  And I'm Tony, and this is the podcast with ears to hear. Hey, brother.  [00:01:19] Jesse Schwamb: Hey, brother.  [00:01:21] Parable Teaser [00:01:21] Jesse Schwamb: You know, the parables just keep coming for us, like we've said. And on this episode, to, just to tee it up, to whet everybody's appetites, we've got three servants, one absent master, an uncomfortable amount of money. What could go wrong? Yeah. As it turns out, quite a bit, especially if you're the kind of person who responds to divine generosity by finding the nearest shovel. So we're gonna get to all of that in this, what I call, this now sandwich of eschatological parables or teachings of Jesus in Matthew 25. So hopefully you're curious, hopefully you're stoked. But you can go put your thumb right in the scriptures there, because you're gonna meet us there very, very, very, very shortly. But first we got business. It's always the business we must do, the part of the podcast where we affirm with something or deny against something. And as always, I'm really curious what you have, and now I understand you have a list, or you're keeping a list. So- I do ... never again will there be something like that falls to the cutting room floor, brothers and sisters. Tony is always gonna have for us whatever was- ... what came to his brilliant mind as an affirmation or denial at any point, day or night.  [00:02:29] Tony Arsenal: Yeah. Yeah. Do you, Jesse, do you ever have... I know the answer to this question is going to be yes- Yeah. That's good ... but I'm gonna ask it- All right ... mostly for rhetorical effect here. This is good podcasting.  [00:02:38] Psalm 67B Praise [00:02:38] Tony Arsenal: Do you have, do you have those situations where, like, the, the so- a song hits you, and it's just, like, the right combination of words, but also the right combination of, like, musicality?  [00:02:49] Jesse Schwamb: For sure.  [00:02:50] Tony Arsenal: Where it just, like, it just, it just feels- For sure like, right and good in every part of your being. So- All the time, yep ... I, I'm affirming, um, th- this is like the most Presbyterian thing ever. I'm affirming the, the arrangement in the Trinity, uh, psalter hymnal for Psalm 67B. Now, I'm not gonna try to sing it for you, but I wanna read the words, because obviously it's, it's a paraphrase of a psalm. So, like, that's the first thing. Like, people, like, calm down. Like, it's okay to sing paraphrases. It's okay to sing. No one is actually singing the Hebrew psalms. Right. Amen. So, like, just calm down a little bit. Amen. Uh, there is a place for us to dedicate specific focus to psalms and songs that are from the psalms, but that can be something like Better Is One Day. Like, that's a song from a psalm. Anyway, that's a whole different, that's a whole different thing. Yes, I'm affirming psalm singing. Uh, yes, I'm denying overly rigid understandings of what that is. But here's the words for Psalm 67, Setting B. That's important It's, "O God, show mercy to us and bless us with your grace and cause to shine upon us the brightness of your face, so that the whole world over may truly know your way and so that your salvation all nations see displayed. O God, let peoples praise you. Let all the peoples praise. Let nations come rejoicing and songs of gladness rise, raise." Then, um, stanza two, "For you will judge the peoples with perfect equity. To nations of the whole Earth a governor you'll be. O God, let the peoples praise you. Let all the peoples praise. The Earth has brought its bounty throughout its harvest days.  [00:04:24] Why Sing Psalms [00:04:24] Tony Arsenal: Since God our God will bless us, yes, God will blessing send, that all the Earth may fear Him to its remotest end." Now, there are lots of really great, uh, theologically sound, edifying hymns and worship choruses, but there's just something about the Psalms, right? It's inspired- Um- ... it's perfect. Again, like I said, nobody is singing the actual Hebrew Psalms, or even, I shouldn't say nobody, most people are not singing, like, the Psalms from the ESV, right? These are almost all paraphrases. They're, they're translations. But there's just something about the Psalms that I have grown so much to appreciate since joining a Presbyterian church. That's not to say other traditions don't sing Psalms in their own right, and again, like, we would sing Better Is One Day and other songs that were based on Psalms. Um, even, like, real direct translations or real direct versions of Psalms, like Better Is One Day or Create In Me A Clean Heart, there's all sorts of them. But there's just something about singing the Psalms, and this particular musical setting, it's triumphant, but not in the, like, fanfare kind of triumphant. Do you know what I mean, Jesse? Like- Mm-hmm ... it's, it's a triumphant melody, and it has, like, really interesting rises and falls and... So I, I'm gonna probably try to put this at the end of the episode. So listen. Hopefully I'll get the whole thing. Let me just, let me just do this. Hold on a second. It's just gorgeous. It's just beautiful. So I, I, I don't know what it was this morning. Uh, it's, I wasn't, like, promo- particularly emotional. It didn't, like, make me cry. Yeah. But all of that's fine. Like, I've been brought to tears in worship before, and that's, that's all good and well. There was just something about it that resonated, and I was like, "This is just good." Like, this is just good music. It's good singing. Something about hearing, uh, the whole congregation singing together. Like, it was just beautiful. It was just a beautiful moment. So if you are not in a psalm-singing church, first of all, why aren't you in a psalm-singing church? Uh, no worship leader on Earth, no, no person who is worth... Uh, when I say worship leader, I mean the person who's responsible for leading musical worship. No one who's leading worshipful music, worshipful? Worship music, if you approach them and say, "I would like to sing more songs that are based on the Psalms," if they say, "We don't wanna sing Psalms here," then you just go somewhere else. Like, someone who tells you, like, "We don't wanna s- we don't wanna sing God's Word," that doesn't make any sense to me.  [00:06:56] Jesse Schwamb: Right.  [00:06:56] Tony Arsenal: Um, now again, like, there's a way to do it. Sometimes musically they're challenging, especially if you're singing out of something like the hymnal. But again, there are plenty of really good modern style songs and hymn style songs that are either based on the Psalms or are paraphrases, very similar to what you get in the, in the Trinity Psalter Hymnal. Or most, most people who are leading in musical worship are competent enough to just sort of take the sheet music and figure out how to do it on guitar or figure out how to play it on piano. Um, they're not that difficult. So you will be edified if you do this. Your church will be edified. There's probably a lot of people out there responsible for musical worship that actually would really like to do this, and they're kind of probably, like, just waiting for that nudge, so you may even be benefiting them. But yeah, this, this psalm is beautiful. It's just a gorgeous arrangement, and it's, it's perfect, inspired words. Really was a, just a, a balm to my soul this morning.  [00:07:51] Jesse Schwamb: I love it. And o- of course, a lot of that is still happening, which is such a glorious gift to the church. The couple of times that I've had the privilege of writing music for my own church has been right from the scriptures, and for me recently that was, like, Ephesians 1 and Psalm 16. And that's mainly because, like, as a lyricist, I'm not that creative, and I'd rather go direct to the source. And all those end up being a paraphrase, like you said, anyway. Es- especially if you wanna get turn of phrase or if you wanna have a little bit of rhyming, which is always a beautiful thing. I love the Psalter, and my, my hot take on that is I sometimes find that I like, I don't wanna call them, like, the alternate, but, like, the other secondary arrangements-  Yeah and  lyrics better. I don't know why. I don't think that's purposeful, of course. It's probably just my taste. But I always find them to be, like, super fire. I, I don't know why. The, the B and C versions always kinda grab me, especially if... And here's another thing that I appreciate about the Psalter, as you know, is sometimes those B or C versions will be written in an alternate key or a minor key. Yeah. And that's even more awesome, because there's not a lot of, let's say, like, cla- I don't wanna say classic. Classic slash contemporary, uh, Christian music or wors- quote-unquote worship music that's written in minor keys. But it's good to lament, as we've talked about before. So- Yeah ... you're gonna get that full breath and scope in the Psalter there. [00:09:06] Tony Arsenal: Yeah.  [00:09:07] Beyond Music Styles [00:09:07] Tony Arsenal: A- and, you know, maybe let me put in one more little plug here. Um- I am not one of those people that is gonna say that there's like a particular style of music that's more godly than another. I've heard people try to make arguments that there's like certain kinds of rhythms or certain kinds of like beats that are- Right either, either more godly or somehow demonic or less godly. Um, I think there might be an argument to be made that some styles of worship are not suited well for congregational singing, so they may not be appropriate for like a, a congregational worship service. Like, you're probably not gonna go in and do a lot of hip hop and have the congregation be able to like stick with you. Right. That doesn't mean that you can't worship God through that or that it somehow is less like intrinsically beautiful. But, um, there are a lot of Let me just put it this way. In modern contemporary Western Christianity, uh, there's a lot of songs that are basically just the same thing musically. You know, you'll find, um, if you go to, like, YouTube, and, and maybe, like, be careful, 'cause sometimes some of these are, they're funny but they're a little bit crass. But if you look up, like, a video about how, like, every song is Pachel Bell's Canon. Right. Right? Every song follows the same basic arrangement of chords, and this gets even more pronounced when you're talking about modern worship music or contemporary mu- worship music, because it's designed to be able to be very simple and very easily played. Um, a lot of times worship directors are not super classically trained. Um, you think of, like, the youth pastor with the guitar around the campfire. Like, those kinds of songs have to be easy, 'cause they're not, like, classically trained guitar players. They probably picked up a chord book and figured out how to play a couple easy songs like Jesus, Lover of My Soul and things like that. That's how I learned how to play guitar. That's the extent of my skills, so I'm not, I'm not banging on that person. Um, but there are a lot, there's a lot more to music. Um, there's a lot more to singing, and there's a lot more to choral music than, you know, GCDC kind of like worship courses. Uh, and singing something like the Psalter, or even just singing out of a good hymnal- Right will actually expand your musical horizons. And there's something to be said about the creativity of our God being reflected in the creativity of His people that I do think we miss out on when we are locked into really simplistic worship styles. Um, again, like, I interpret Psalms, hymns, and spiritual songs to mean, like, sing in the vernacular of the people. Um, and I, you know, that's a different episode. We can talk about that sometime. But th- that, that requires the songs to be singable, and I think sometimes, uh, sometimes some of the song- some of the Psalters, some of the songs in the Psalter hymnals, and sometimes hymnals in general, are very difficult to sing. And so I think a congregation, the people leading in music need to be thoughtful of that. But I think you would do well to, like, open your horizons a little bit to something a little bit more challenging and a little bit off the beaten path. Like, this melody, I don't know the chords behind it. It may not be anything crazy, but that, like, musicality and that, that sort of, like, melody is not a typical... And this might be why it resonated with me. It's not a typical kind of melody you're gonna find in contemporary music. Um, it's, it's very different. It's older. It's more classically styled. The, it's, it's meant to sort of bring you up to these crescendos in ways that modern music is not necessarily. So enough about that. I don't know a lot about music theory, so I might be totally wrong and, and- ... people might be rolling their eyes. But I, I do think that there's something to it. Like, a lot of the older hymns- utilize chord progressions and melodies and harmonies and things like that that we're just not used to. You're not gonna get that listening to, you know, even something like, like the more musical kind, uh, more technically proficient music like something like Bethel or Hillsong, which is at times musically very good. Uh, I don't know that I would recommend listening to it, but the music is actually, like, technically very good in some instances. Uh, even there you're not gonna find a lot of this stuff. So instead of going there for, like, really nice sounding musical worship, just go to something like the Trinity Psalter app. You know, for $10 on a- on your iPhone you can sing with it. Um, yeah, enough about that. I, I, I could talk about how great the Psalms are and how great psalm singing is for an entire episode. We should do that episode- We should ... when we're done with the parables, 'cause I know we've done a lot of episodes on, like, uh, on, on, like, the regulative principle and- Right I, I think we're still both in the same spot that, like- Right ... exclusive psalmody is probably not where we would land. Right. But I think I'm coming to the conviction that the psalms should have a much greater portion of our worship diet, uh- Hmm ... than they do in most churches. Um, and I really only came to that conviction when I was in a church where psalm singing was the norm. Uh, I know that we try to have at least one s- one canonical psalm for every single worship service. Usually there's multiple, but, um, even in a, a, a setting where we normally wouldn't be so focused on that, we still try to have at least one, and it's been a, a really huge edifying thing to my soul.  [00:14:06] Jesse Schwamb: Yeah. I absolutely love that. You'll find no complaint from me on that. I think that that's a good reminder for all of us.  [00:14:13] Tony Arsenal: Yeah.  [00:14:14] Book Sing Recommendation [00:14:14] Tony Arsenal: Jesse, what do you have?  [00:14:15] Jesse Schwamb: Well, it's, we're not gonna stop this conversation, just so you know. Because we don't sync up on these things ever, but it just so happens that I'm affirming with a book that it's a really simple primer on congregational singing-  There you go that has  long been on my list and overdue to read, and I am coming in hot with a recommendation for this, and that is the book entitled Sing! How Worship Transforms Your Life, Family, and Church by Keith and Kristyn Getty. And really, it covers so many of the things that you already talked about. I, I think at the foremost, it's a reminder that God cares whether in what we sing, but he does not mind how well we sing. Yes. But it is, like, the, this... What's true is that our voices might not be of a professional standard, but they are of a confessional standard. Yeah. And so it is incumbent upon every Christian to sing. And if you need just, like, a little bit of inspiration, so to speak, or a reminder of why that's important, I highly commend this book to you. In fact, in the back they have what's called, like, these bonus tracks. It's like four or five separate chapters that they've written just to particular people in the church, pastors, laypeople, musicians, even the people that help produce the sound. I found that bit to be so lovely and pastoral. It, it's gentle, the tone is encouraging, but it is also strong, and I appreciate that. So a lot of it is some of the themes that we've just talked about, but my conviction grows all the time of just how important congregational singing is, and how everything you just said, the music, the liturgy that we bring forward- has to be of a deliberate kind to strengthen that exercise, to make it easy, so to speak. And that does come into practical things like if you look at the psalter, and I, I don't... I have it on my phone, but I don't know where my phone is, so I was gonna look at the one you were referencing. My guess is it's, it's in probably a key with a couple of sharps in it, because those are the ones that are easiest to sing. So even little things like that matter. What you hear on the radio often is, or radio? People still listen to the radio? What you hear, like, in, like, contemporary music, like, often is not necessarily for congregational singing just in its key, and, and that's okay. And so even in my own church, we transpose things to make it reasonable and approachable. But what I think was, like, the critical question put forward in this book that I absolutely loved as a great reminder was: how did the congregation sing? It's very interesting that they kind of bring forward this thesis that that's how you should be judging your music. How did the congregation sing? And I think if we started asking that, it might slightly tweak or maybe change altogether, to your point, the methods and the practices that we use when we undergo worship by way or through music. So this is really great. It's easily readable, and it's for everybody, and it, there's a chapter on family worship as well, how to bring singing into your home and music into your home all the time as an act of worship so that when you get to the Lord's Day, your kids are like, "Yeah, this is our jam." Uh, especially maybe even recognizing some of the pieces of music and be excited about that. So there was a lot that made me think about here. It's fantastic. And to your point, Tony, I would say the Gettys, especially in, like, "Christ Alone," some of the other things, this is probably the closest to what you're talking about, where they've taken and imported kind of the classical hymn structures-  [00:17:26] Tony Arsenal: Yeah [00:17:27] Jesse Schwamb: but modernized a little bit just the language while without sacrificing any of the theological richness or the musicality that draws your ear to those beautiful rising and falling melodies, the swelling of the vocal there, without, like, distracting from anything that's going on there. It's not emotionalism- Yeah but it certainly is filled with the emotion of what it means to be a Christian and to sing in response as an act of praise to God.  [00:17:50] Tony Arsenal: Yeah.  [00:17:52] Family Worship Singing [00:17:52] Tony Arsenal: Yeah, I mean, I can't underscore enough the importance of congregational singing. We, we've, we've actually talked about, about it in context of, like, how important it is for the men of the congregation to sing, which is something I, I really appreciate about my congregation, is, is the m- the men just go all out. Like, people are, like- Love it ... nobody is, nobody is ashamed of the fact that they squawk on a note that they're not used to or anything like that. And where this really pays out, um, at least in our congregation, but I'd, I'd be willing to bet if you go to any congregation where the, where the men particularly are passionate and active in musical worship, right? Um, I think where this plays out is you see the children very quickly picking up those songs and learning them and singing them. And the, the favorite part of my day, this is gon- any parent of toddlers is gonna be like, "What are you talking about?" Bedtime is one of my favorite times of day, not just because it means that, like, in a little while I'm gonna get a little peace and quiet. Like, that's part of it, too, but there are two songs that we sing almost every single night, and Augie leads them, which is really great. He always wants to start, and he always wants to sing, and it's the Doxology and the Gloria Patri. And these are songs that he has just picked up from being in the congregation, and, you know, I, I don't remember consciously teaching him any of these songs. And now, now Adeline, who is, uh, my two-year-old daughter, almost two, she's starting to pick those songs up, and she's starting to sing them, and she recognizes them, and she responds very differently to those songs than she does to other songs. Um, it's funny because I don't, I don't know where she got this. Neither my wife nor I are particularly, uh, charismatic, emotive people. Like, we don't raise our hands when we're singing, but she, she does. She, she, when we start singing- My girl ... the Gloria Patri or the Doxology, her hand is in the air, and she's looking at the sky, and she's waving her hands around. Yeah. And, um, she recognizes that those songs have a different place than a Miss Rachel song. She doesn't put her hands in the air and wave and look up at the ceiling when Miss Rachel comes on or when Baby Shark comes on. She knows those songs. She can sing those songs. Um, but she doesn't- Respond to those in the same way. And that is a direct result of the fact that congregational singing is an important thing in the life of our church and in the life of our family. And I think a book like Sing, I haven't read it, but I've heard very good things about it, and the, the Gettys are rock solid, like- Right ... theologically. Yes. Musically. They're, they're well within our Reformed tradition, at least broadly speaking. Um, and, and they have a, they have one of the strongest sort of theologies of praise music that you're gonna find. Mm-hmm. It's not quite like a liturgiology or something like that, but it's, it's, it's a theology of praise worship, praise and worship music. Right. Um, and that's not something that's super common, right? There's a lot of theology of liturgy. There's a lot of practical theology on liturgy. Um, the Gettys have developed a really unique kind of place in things in that they've really developed this idea that congregational singing has a specific theological import, and they've developed it in a way that's approachable. So yeah, I haven't read it and I sh- I probably should, but it, it sounds like a really great book. And, um, I c- just can't underscore it enough. And- Maybe this is my little plug. Like, uh, family worship is really tough, and it's not something I've mastered. Like, we don't, we, we don't have a regular rhythm. But what we do have is we have a consistent, uh, we consistently pray at night before bed, and we consistently sing one or both of those songs. And that by itself, like, the kids are learning and they are, they're absorbing that by osmosis. Um, they're picking up the phrasing, right? Augie can tell you who the three persons of the Trinity are, and that's partially 'cause we do catechism questions, but it's also partially, and I would actually argue probably more, because of the Trinitarian structure of those two songs. Right. He's picked up the language of the Father, the Spirit, and the Son from the Gloria Patri and from the doxology in ways that probably I wouldn't have been able to teach him otherwise. So yeah. Anyway, I, I just co-opted your affirmation. But, um, but yeah. I'm here for it. Congregational worship, family worship, singing, uh, to our Lord is commanded, and it's commanded for our good- Right and for his, his benefit and his blessing. Um, and so any book that is, is solid and will help you do that, I, I'm wholeheartedly behind.  [00:22:17] Jesse Schwamb: Yeah. This is... All that is fire. This is fire.  [00:22:19] Reclaim Congregational Song [00:22:19] Jesse Schwamb: God designed our psyche for singing, and we're probably, uh, I would say contractually obligated since Reformed is in the name of the title of the podcast- to remind ourselves and everybody else that one of the things the Reformation did was reclaim the singing of God's word by his own people. Yes. Taking it out of that performatory space back into literally the voice boxes of the people who are sitting in worship together. So sometimes we might have to do that again. You know, there is a little bit, I think, of... There, there is in some places, not everywhere, this kind of tilting of that time of worship through music to be vouchsafed or relegated to those who are, uh, let's say, like, the most, like, talented in doing that, and somehow we participate merely by observing or by- Yeah just, uh, you know, being an audience spectator of that, and that's totally backwards. So I get it. The thing is- We're all singers. We may not all be very good singers, but we're all created to be singers nonetheless. This is what the Bible tells us. So we need to lean into that. We need to invest in that. Yeah. And so I, I like, of course, what you're doing with, uh, your kids because you're not only teaching them to sing, and this makes me so happy, but you're teaching them to love singing to the Lord. Yeah. And so that is, I think, what a lot of our congregations miss, is sometimes we do it, and I'm among them often, but grudgingly. And so to get to a place where we come excited that our reasonable response, our reasonable preparation on the Lord's day is to sing together, to hear that gospel message in melody in the ear of our... You know, the voice of our neighbor in our own ear is a wild thing. It's just, like, un- unheard of. And it's like, uh, we gotta stop, right? It's one of those things also that, like- ... we've, we've talked about how it's just kind of otherworldly. Not, not only in the sense that it gives us this really kind of foundational sense of God's, you know, kind of transcendence, of what it means to participate in the worship of someone who is transcendent because it is all these voices together, but also this is something that rarely happens in any other way, especially in the Western culture anymore. This coming together to express and to participate in something where we're all reading literally from the same sheet music is just an entirely different experience, increasingly relegated to this kind of experience. So we, we must protect it, not only because God says that we ought to, but also because, again, it is, it is our reasonable response. Yeah. And it is something, like you've just said, that brings Him glory and is certainly for our good. So, uh, this is the Singcast, so everybody- ... everybody get to it. You can make your own music. God has commanded us to sing. So the sooner we just understand, like, hey, it's, it's... You know. Uh, but... And the last thing I'll say is this is one of those things that's, like, practice too. A- and I get it. Like, you may say, like, "Listen, I can only hit two notes, and that's all I'm gonna hit no matter what the music is." Well, then belt the two notes, and also know that, like, the more you practice that kind of thing, honestly, the better that you'll get and the more comfortable that you'll become. The voice is an instrument like any other instrument that takes, like, a little bit of practice and a little bit of work. But even that can cause, I think, great benefits and build a little bit of confidence. But just the example of singing and doing it from a heart that is keen to worship God and that is filled with passion to respond to Him with gratitude and, you know, adoration is really the key thing. And so I, I'd rather have a entire group full of worshipers that are singing off-key but, like, with just resounding passion than to have this performance of just a handful of voices because they feel like they're the most capable to do it. Yeah. I think we'd, we'd rather have everybody else, and to hear the congregation mixed as one of those instruments. So sing. Yeah.  [00:26:05] Everyone Can Sing [00:26:05] Tony Arsenal: Yeah, and y- you and I have made the point in the past, too, like- I, I don't think, uh, maybe I'm wrong. Uh, we are a top 50 healthcare podcast, so maybe some doctor- I'm sure you're correct ... is gonna... Right. Like, I don't think being tone deaf is actually a physical condition. Like- Mm. I, I mean, I, I mean, obviously, like, some people have hearing problems, and that means they have trouble singing. I hear what you're saying. But, like, the people who are like, "Well, I j- I just can't sing. I'm just not capable of that," uh, like, I think the, the physical conditions that would make you incapable of singing are not usually what people are talking about. Like- Right. Yeah ... you know, some people have, like, vocal fold disorders or they have hearing problems, and I guess maybe, like, if perfect pitch is a thing, which it, it is. Like, perfect pitch is a... I don't know what causes it, but some people are born with perfect pitch. I suppose in theory that means some people must be born with, like, the opposite of perfect pitch. But I think most people who say, like, "Well, I just, I'm just tone deaf. I can't carry a tone," that, that's probably not true. Like, it just means you need practice. Um, and some people's voices, like physically, their bodies are more, more designed by God to produce a pleasant sound than other people. But I, I think actually just about anybody with a little bit of practice, and mostly I think this is probably just the confidence to actually sing and a little bit of practice to learn how your body works, like how your voice works, um, could probably get to a point where singing is not only very relatively comfortable and easy, but it's something that is pleasant and is not overly challenging. This is actually something that I think we've lost in the church. We should... This, I mean, this is about to come the episode, but, um- ... something we've lost in the church when we have sort of changed from a true genuine congregational singing model, which was the norm- And I've heard people make arguments about the importance of hymnals, and I, I agree with those arguments, although I know some people have moved them into almost like a realm of, like, divine mandate- Right that you have to use hymnals because it trains people to teach. But we have lost something with both the sort of commercialization of worship music and the pro- like making it a professional thing, and we've lost congregational singing. The, the people in the church throughout history have learned to sing. Many of them have learned to read, learned the scriptures, learned theology, not in the seminary and not in the monastery, but in the pew as they sing God's word and as they sing- Right ... the great theological hymns of, of the church. There's so much you can learn through that process that I just think we've lost. And I think going back to something like a hymnal or the Trinity Psalter Hymnal or whatever, whatever standard music your church is gonna use, and I mean standard music. Like, whether this is a collection of worship choruses that has been curated for the church or it's a published hymnal or something like that, going back to something like that teaches the church how to sing. And I don't remember who wrote it, but the trellis and the vine, like the worship that we sing, I know Mike Horton makes this point. The worship that we sing is the tre- is the trellis that the vine of our wor- of our- Yes ... faith grows on, right? That's true. Like, what the, what the church lex credendi, lex orandi. Like, the church, what the church prays, the church believes. What the church sings, the church believes. So all of that to say, like, the, the importance of congregational singing can't be under-emphasized, and it's... I, I mean, I don't know that I would I don't know that most theologists say technically s- like, congregational singing is an element of worship, but praising the Lord through song certainly is. Yes. It's, it's evidence. Um, and, and so I think that's definitely something that the church has lost in general. Um, and I know there are churches... I- it's funny, when Ashley and I were between churches, uh, very briefly after, um, our previous church closed down, um, we went to a local sort of, like, high, high, uh, production, seeker-sensitive church, very Steven Furtick-esque, and we only lasted, like, 10 minutes in this, in this service. We went in and the production value was great, and the music sounded great, but we couldn't hear ourselves, we couldn't sing- Right ... and it was very performative, and we just left. We were only there for a few minutes, and we left. And I think that's something we've lost as we've sort of migrated worship to almost, like, a professional class. So yeah, bring it back to the pews. Bring it back to your- Bring it back ... bring it back to your house, bring it back to your kid's bedroom when you're tucking them in. Everywhere. Bring it back to the car on the way to work, in the bus. Right. Like, just let's everywhere we go, let's sing and worship the Lord. [00:30:30] Jesse Schwamb: Yeah, that's right.  [00:30:31] Train Your Voice [00:30:31] Jesse Schwamb: Uh, so as a final thing, let me compound your hot take and say that I agree with you, that I... And I think professionals would as well, and I'm gonna stand on a resource that I'm gonna recommend to everybody here in a second, that in fact the Getty say, "If you can speak, you can sing." And there are a f- a few conditions that would prevent you from doing that, of course. And even there, they wanna explore opportunities for you, for instance, signing, for instance, to ensure that you can participate in worship. Uh, the hot take is I do think that because the instrument that God has given us in the vocal cords is exactly that, that it can be trained, and that actually most people can sing. And if you're serious about that, if you think, "You know what? I'd like to be able to do that. How can I explore that?" Here's a book for you. It's called Set Your Voice Free by Roger Love. The full title is How to Get the Singing or Speaking Voice You Want. Roger Love is, like, this amazing behind-the-scenes vocal coach. He has coached, like, a ton of really talented recording artists, and this is his very contention in the book, is that everybody can sing. It's really about how much or little work you wanna put into it. And in fact, this book comes with, like, these exercises that you can listen to and then record yourself. And then he, from a distance basically, can give you some pointers based on allowing you to kinda evaluate what you hear in your own recording back. So if you really are the kind of person that's like, "Listen, I, I dare you. I cannot sing," I would challenge you, I would double dog dare you to get this book, Set Your Voice Free, and if you're really serious about wanting to try and see if it can make a difference, I, I think it can. And I've, I myself have enjoyed this book, gone back to it many times, use it in my own work and practice because I found it to be helpful. So there you go. Sing, sing, and sing again.  [00:32:06] Tony Arsenal: Yeah.  [00:32:07] Singing Apps and Practice [00:32:07] Tony Arsenal: And if you're not a reader, first of all, why are you listening to the podcast? But second of all, if for some reason you're not a reader I'm, I'm joking. I'm sure there are people that are listening to the podcast who are not readers. That was, like, a super smug thing to say. How dare you. I'm sorry about that. How dare you. Um, if for some reason you don't wanna read that book or you're not a reader, um, y- you can do something as simple as looking up Yousician on your Yousician, Y-O-U- Yeah ... S-I, like the word musician, but U instead of, like, Y-O-U instead of, uh, musician. Um, there are plenty of apps out there. I just, I mention Yousician just because I've used that on, like, a free trial basis with some guitar teaching, and it's a reputable source. They also have a vocal module. So, like, if you wanna learn to sing, there are plenty of resources out there who can help you train your voice. A- and it- Again, I'm not a doctor, I'm not a vocal coach, I'm not a professional singer. I'm not even that great of a singer, and I, I probably could be a better singer if I wanted to devote the time to it. Um, it doesn't take much to, to be able- Right ... to become a competent singer. Um, I think most of us, you pick up one s- just like I learned guitar, you pick one or two songs that you really like and you wanna learn, and you learn to sing those songs, and then those skills will develop over time. So enough about that, Jesse. We've got, speaking of talents- ... we've got some talents to talk about. There it is. Boom, bazinga. Baza-bazom. I'm  [00:33:27] Jesse Schwamb: back. There it is. Yeah, so- I was excited  [00:33:31] Tony Arsenal: about that one ...  [00:33:32] Jesse Schwamb: that, that was really good. And, and we should just h- honor everyone. That's it.  [00:33:37] Tony Arsenal: That's it. Tip your waiters and waitresses, folks. It  [00:33:39] Jesse Schwamb: was so good. We're here all week.  [00:33:41] Parable Context Setup [00:33:41] Jesse Schwamb: So we're in Matthew 25, uh, verses 14 through 28, and this is at least gonna be a two-parter for us. This goes by the name you might be familiar of, which is The Parable of the Talents. But before we get to it, just a quick reminder that we've been speaking about this parable, not like in a special way, but hopefully in the more contextual sense. So this is the second of three eschatological parables in Matthew 25. So the first was The 10 Virgins, which we went through. We're in The Talents, and then we're coming up to everybody's favorite, The Sheep and the Goats. All three are part of this Olivet Discourse, which is, of course, Jesus' final teaching block before his Passion. And I think it h- behooves us so that we do not get distracted from, like, the center of gravity of this thing, that this is delivered in response to the disciples' question about the sign of his coming and the age to come. Because I've heard so many, like, little talks, maybe homilies is more the right word, on this particular parable that lack gravity. So little gravity that basically NASA could train their astronauts in it. So we wanna stay away from that and I think get into, like, the, the proper context. So Tony, do you have it in front of you by any chance? And would  [00:34:50] Tony Arsenal: you- I do. I do, yeah. Yeah. Read it for us? I'll read it here.  [00:34:52] Reading the Parable [00:34:52] Tony Arsenal: So this is, uh, starting in, uh, Matthew 25 verse 14, and I'm gonna read down through, uh, the end of verse 30 here. So it, it reads here, "For it will be like a man going on a journey, who called his servants and entrusted them, entrusted to them his property. To one he gave five talents, to another two, and to another one, to each according to his ability. Then he went away. He who had received the five talents went at once and traded with them, and he made five talents more. So also he who had the two talents made two talents more. But he who had received the one talent went and dug in the ground and hid his master's money. Now after a long time, the master of those servants came and settled accounts with them. And he who had received the five talents came forward bringing five talents more, saying, 'Master, you delivered to me five talents. Here I have made five talents more.' His master said to him, 'Well done, good and faithful servant. You have been faithful over a little. I will set you over much. Enter into the joy of your master.' And he also who had the two talents came forward, saying, "Master, you delivered to me two talents. Here I have made two talents more." His master said to him, "Well done, good and faithful servant. You have been faithful over a little. I will set you over much. Enter into the joy of your master." He also who had received one talent came forward, saying, "Master, I knew you to be a hard man, reaping where you did not sow, and gathering where you scattered no seed. So I was afraid, and I went and hid your talent in the ground. Here, you have what is yours." But his master answered him, "You wicked and slothful servant. You knew that I reap where I have not sown and gather where I scattered no seed? Then you ought to have invested my money with the bankers, and at my coming, I should have received what was my own with interest. So take the talent from him who gave it, who give it to him who has 10 talents. For to everyone who has will more be given, and he will have an abundance. For, uh, but from the one who has not, even what he has will be taken away. And cast the worthless servant into the outer darkness in that place where there will be weeping and gnashing of teeth."  [00:36:56] Watchfulness and Stewardship [00:36:56] Jesse Schwamb: So it starts with that amazing connective, which we really spoke about in the last episode, in verse four- 14, starting with four. So it's tying, like we said, this parable directly to verse 13, which we know is in the, the parable of the ten virgins. But it's this idea of watchfulness. "Watch therefore, for you know neither the day nor the hour." So th- I think this is the point we really drove last time, that we really felt highly convicted about, that this parable is not like a detached economic lesson, but it's really like an expedition, exposition, not expedition- ... of what watchful discipleship actually looks like during the interval of the master's absence. Like, that's the whole setup here. So it's starting with this idea of like the master goes away, but here we have these slaves or these servants who are entrusted. And to me, again, that's like such a linchpin in this whole thing, 'cause it's, it's carrying the sense that of course, like, he's handing over stewardship. It's a deposit held on another's behal- I love this parable because it has some banking language in it. It's, it's a deposit held on another's behalf, and that's like the key covenant concept of the entire thing. Ownership remains with the master. The servants are stewards. They're not proprietors. And that language, I think, really anticipates, like, the entire New Testament theology of stewardship, which is developed by Paul. So like when Paul writes in 1 Corinthians, "This is how one should regard us, as servants of Christ and stewards of the mysteries of God. Moreover, it is required of stewards that they be found faithful." So like all of that, that's like just one verse for me. Like, that's an incredible setup.  [00:38:27] Tony Arsenal: Yeah.  [00:38:28] Common Misreadings [00:38:28] Tony Arsenal: Yeah, and you know, I think it bears saying, too, um, I wanna be careful how I say this because I don't wanna impugn, uh, poor motives or anything like that on, on the, the people that I'm about to speak to. And I say this a little bit tongue in cheek, but also I say this as someone who used to be deeply involved in youth ministry. There's kind of like a, a youth ministry, um- international version of the Bible, I guess, if you wanna put it that way, where, like, there are certain, certain passages and parables that s- for some reason seem really prone to misapplication- Sure in, in some context. And I would say, like, youth ministry is the one I have in mind. Like, um, one of them is, like, in Matthew 18 where it's like, "Where two or three are gathered in my name, there I am in the midst of them." Like, that's a, that's a statement about God's, God's presence in the judgment of the church and excommunicating an un- like, a, an unrepentant, uh, person who identifies with Christ. And, and ironically here, maybe not ironically, but, like, casting them into the outer darkness of excommunication, which is representative of casting them out into the actual inner darkness of damnation. Right. Like, th- there's a, there's a misapplication of that, that like, well, you know, like, if only a couple people came to youth group tonight, like, it's still worth meeting because where two or three are gathered, there I am in the midst of them. Um, this, this parable has a very similar kind of misapplication that is maybe a, a little bit less of a misapplication. Like, I think there is something to say in this parable about the fact that God entrusts us with abilities, talents, treasure, t- our time. Like, He's entrusted us with resources, and He does expect us to use those resources, uh, in a way that is honoring to Him and beneficial for the, for the gospel and for the kingdom. Um, that's true in a broad sense, but I don't think actually that this is what that... But, like, that's not what this passage- Mm ... is teaching. Right. I think I, I kinda joked last time, but, like, I've heard more than one sermon that draws the parallel between the word talent here and our talents in terms of, like, our spiritual gifts or our ability to play guitar or, like, to bounce a basketball and, like, thr- like, throw a free throw. Like, that's not the kinda talent we're talking about here. So I wanna, I wanna sorta, like, point that out just to sort of exclude that from the conversation. Yes, God gifts His people, and He expects His people to use those gifts for His glory and for their own benefit. Um, but that's not what this parable is talking about. This is a parable about the fact that God has entrusted the kingdom of heaven on Earth to His people.  [00:41:08] Jesse Schwamb: That's right.  [00:41:08] Tony Arsenal: And He expects His people to make use of that in a way that expands the kingdom and also in a way that does not... And this is, this is, I actually think, the main point of the parable. In a way that properly understands the nature of the king. The, the punchline or the main point of the parable here, it, just to sort of, like, I don't know, give away the ending or, like, unbury the lead, I don't know, whatever that is. The point of this parable- It's not that, like, it's a really good thing to double what God has resourced you with. The point of the parable, the reason that, just like the, um, just like it wasn't the virgins falling asleep in the last parable that was the problem because everybody fell asleep, in this instance, uh, the amount of money or the amount of return on investment that the servants produce is not the point of the parable. That's not the real difference between them. The real difference is that the former servants understood that their master had trusted them with a task and expected something of them, and the, the unfaithful, wicked, lazy servant had a total misunderstanding of who the master was- Right ... and therefore what his role as the master's servant was. That's the point of this parable, and I think, this is the last thing I'll say before I, I, I take a breath here. There's a lot of people that would look at this parable and might read some sort of works righteousness or, um, and this is more understandable and I think has a place within the Reformed tradition, although I don't necessarily hold this view. But would look at this as sort of like a theology which would, would argue that we receive some sort of enhanced rewards in heaven based on our faithfulness. There's plenty of good, faithful Reformed Bible teachers that would hold that position. I actually think whether or not that's true, this is still also not what this passage is getting at. [00:43:00] Jesse Schwamb: I, I totally agree with you there.  [00:43:02] Talents as Huge Wealth [00:43:02] Jesse Schwamb: I, I think one of the reasons that we know that is because we can look at some of these details and let the details speak to us about the magnitude in their representation, why they're given. So of course, whenever the scripture gives us detail, especially in a context like a parable, it can be helpful of cour- of course not to overanalyze them, but to respect their place in the context of the story, and that's why verse 15 I think is so important. So to one he gave five talents, to another two, to another one, to each according to his ability, then he went away. Now, this, this varies slightly, but there's a lot of, I think, very common historicity here that points us to understanding, like, the talents as a unit of monetary weight, and there is some discrepancy about its exact weight. But what we can say for sure is this: that we're talking about, as I teased at the beginning, a huge sum of money. So in other words, like, this is a gift from God himself. It's a divine gift. Yeah. It's something that's not earned. It's something that's given and something that's entrusted. So in the first-century Roman world, a talent was roughly equivalent to, like, 6,000 denarii, depending on who you talk to, which would mean that a single talent represented approximately, like, 20 years on average of a laborer's wages. So the sums then here we're talking about are staggering even at the lowest one. So the five-talent servant is receiving essentially approximately equivalent of a century's wages, and the one-talent servant is receiving 20 years' worth. There's no such thing as a small gift in Christ's economy, I think is the point here, and even the least endowment is immense beyond our reckoning. Yeah. So the distribution also is deliberately unequal. It's five, one, two, and the text doesn't offer any apology for this inequality. The master distributes to each according to his ability, which as I say that, I realize that could probably be its own episode, that we could talk about what that even means. Yeah. But he is matching and entrusting to capacity, and that's not arbitrary. Of course, that's wise and personal, and even the Greek here for this idea of capacity or power suggests the master knows his servants intimately and calibrates the stewardship accordingly. But nonetheless, it proves the point you're making here, which is not just about, like, well, do you have some kind of innate ability that's above average that God has endowed you with here? That's not even what we're talking about. Again, the whole point of this is to answer the question eschatologically about what the end means and when the time is coming and what good discipleship looks like. And so in that way, we understand then these talents to be these divinely appointed and massively generous gifts of God, essentially, like you said, the stewarding of the gospel in the story of salvation itself unto his people, and then to make something of that, so to speak, by the power of the Holy Spirit that earns a return for the kingdom, that is all empowered by God, that is under the volition of the person, uh, the Christian who says, "As a disciple, it is my responsibility to steward these gifts." That is really what we're after. So we do kind of get in this place where when you take this and say, "Well, what are you doing with," let's say- your home, if you have a nice home, are you being hospitable enough? If you have, let's say, a good singing voice by talent, are you using that to make sure that you're on the, quote-unquote, "praise and worship team," is not, like, entirely wrong, but it's not right either- Yeah to use this passage- Yeah ... for that purpose. There's a bigger theme here. There is, there's a much stronger and widescale framework that God is drawing us to and examine, and it's about the stewardship of the church itself.  [00:46:30] Tony Arsenal: Yes. Yeah, yeah, yeah.  [00:46:31] The Foolish Servant Exposed [00:46:31] Tony Arsenal: That's really key, and this is what struck me as, as you were speaking about that, is like we see in so many of the kinda like, uh, like the chump in the parable. Like, there's- Yeah ... a lot of these parables have like a chump- Right ... where like you're looking at and you're like, nothing about what you've decided to do makes any sense. We're talking about people who've been given, in the first case, 100 years worth of, worth of wages. Right. Right? Any one of these people, and again, we're talking about a timeframe where, like, you could just take that money and run and, like, nobody's gonna find you. There's no digital trail on any of this, right? If I stole, if I stole 100 years worth of labor from my manager or from my, my employer, they would find me, right? That's not the situation we're talking about. So even the chump who decided, "I'm not gonna do anything with this," he could've just take- taken off with the money and had 20 years worth of labor. Right. Just 20 years worth of wages. Right. This is a, this is a sum of money that makes all f- all three of these servants unimaginably wealthy instantly, right? The point of this is, in part, that the final servant has no idea the amazing blessing and responsibility that he's been given. And again, I come back to this. It's not because he is dumb or because he is, um, somehow less competent in a strict sense, right? It, it's so funny to me, like, we also gloss over the fact that, like, the guy who has five talents, he's got 100 years worth of money, 100 years worth of wages. Right. And he just goes and gets 100 more. Like- Right he just goes and trades and- Right ... comes up with 100 years worth of wages that he brings back. Like, that's, in itself is, like, phenomenally, amazingly outrageous. We ran into this too with the, um, the parable of the unmerciful servant, right? We've, we've got one guy who's got this unimaginable debt, like, like, thousands of years worth of, uh, worth of wages that he could never make up, and he thinks he's gonna somehow come up with it if you just give him enough time. It's kind of like the opposite here. This guy's got this unimaginable amount of instant wealth, and he just buries it in the ground. First of all, how much... We're also talking about an era where money was a physical, entirely physical.  [00:48:53] Jesse Schwamb: Right.  [00:48:53] Tony Arsenal: There were no, there were no digital banks. Like- No zeros and ones most of our money exists as ones and zeros in a computer program right now. Right. Like, in reality, like- Right ... my money doesn't exist. We don't have, like, a physical gold standard anymore in America. Jesse could probably s- I'm probably making dumb things up right now. No, that's that's- Like, it used- Right on to be that, like, every dollar that the United States government printed had, like, a piece of gold sitting at Fort Knox- Yes ... uh, like backing it up, but we just don't have that anymore. Most of the money that exists in our system is entirely imaginary. It's an entirely, like, made-up digital currency way before, like, Bitcoin was a thing. That's not the case in this timeframe. This dude who buried 20 years worth of money in the ground, that's a significant amount of labor in and of itself- Right ... to even be able to do that. So we're not talking about, like... And I think this is the thing we miss when we, when we read the word talents, and one, when we obscure it and we, like, we misappropriate the word talent to mean, like, abilities, 'cause it, that's a convenient, like, illustration tool. We're talking about a huge sum of probably gold or silver that this dude just buries in the ground, and then, like, digs it up when the master comes back.  [00:50:01] Jesse Schwamb: Right.  [00:50:01] Tony Arsenal: And I think, like- When we don't realize how much money this is, we miss the force of the master's like, "You stupid, dumb, wicked, slothful servant." Like, if you had even taken this money to the bank and done the least imaginable- Yes ... effort. Exactly. Like, if you had done anything at all, like how mu- how difficult, granted more difficult back in this age than it is now, but like if you had even done something as simple requiring as little labor as possible and just brought this to the bank and let them collect interest on it, we'd still be talking about a huge return. [00:50:35] Jesse Schwamb: That's right.  [00:50:36] Tony Arsenal: And he doesn't even do that, and that's, that's the point. There's the people who do, and they gloss over this. The parable totally glosses over the amazing effort and work that it must have taken to take 100 years worth of la- of wages and turn it into 200 years worth of wages. Right. Or to take 40 years worth of wages and turn it into 80 years worth of wages. That's an amazing, probably almost miraculous return on, on investment. Whatever they did is amazing, and the parable's like, "Yeah, they did that." They just took it to the traders and they brought back five more talents. Like, it's nothing. And then this idiot, and I say idiot in like the most like, like exegetically sound, idios, like, like foolish idiot person. [00:51:20] Jesse Schwamb: Right.  [00:51:20] Tony Arsenal: This idiot just buries it in the ground and doesn't even bother to bring it to the bank where he's gonna get some return on it. This is the picture of the fool who does not make use of the means of salvation. This is the picture of the fool who refuses to receive Christ as savior, who refuses to make use of the benefit and blessing of salvation that is available to all who will trust in Christ and turn to him. This is the same picture as the idiot virgins who didn't buy enough oil and just fell asleep when they knew that the bridegroom was coming, right? Right. It's not that they fell asleep, it's that they didn't do the most obvious, simple,

Hoy por Hoy Matinal Baza

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Población - 20.587 habitantes | Reclamo - el enfrentamiento con Guadix desde 1490 por la Virgen de la Piedad | Otras cosas típicas - la tranquilidad, los sitios para la gente joven y el gentilicio bastetano.

Co agent sprawdza zanim podpisze umowę z multiagencją? Omawiam porównanie pracodawcówCo agent ubezpieczeniowy sprawdza zanim podpisze umowę z multiagencją? To pytanie, które pada regularnie na grupach i forach branżowych — zadają je kandydaci szukający pierwszej pracy w ubezpieczeniach, ale też doświadczeni agenci rozważający zmianę multiagencji.W tym odcinku omawiam pierwsze w Polsce porównanie pracodawców branży ubezpieczeniowej — oparte na odpowiedziach samych pracodawców. Firmy Phinance, Progresja i RBG odpowiedziały na 35 konkretnych pytań dotyczących warunków współpracy z agentem ubezpieczeniowym. Omawiam każdą odpowiedź z perspektywy agenta oraz managera rekrutującego — bo ten materiał jest równie wartościowy dla obu stron.Jeśli prowadzisz multiagencję, rekrutujesz agentów lub budujesz strukturę sprzedażową — ten odcinek pokaże Ci dokładnie czego szukają kandydaci i jak na tle konkurencji wypadają warunki które oferujesz.---DLACZEGO TO WAŻNE DLA MANAGERA I WŁAŚCICIELA MULTIAGENCJI?Rekrutacja agentów ubezpieczeniowych to jeden z największych kosztów i wyzwań każdej multiagencji. Kandydaci przed rozmową rekrutacyjną coraz częściej sprawdzają warunki współpracy w różnych firmach — porównują prowizje, pytają o storno, szukają opinii o pracodawcach na grupach takich jak „Praca w ubezpieczeniach". Wiedza o tym czego szukają kandydaci — i jak odpowiadają na te pytania Twoi konkurenci — to realna przewaga w procesie rekrutacji. Możesz lepiej przygotować ofertę współpracy, lepiej komunikować swoje atuty i skuteczniej odpowiadać na obiekcje kandydatów podczas rozmowy rekrutacyjnej.---CZEGO DOWIESZ SIĘ Z TEGO ODCINKA?Podstawa zatrudnienia — czego oczekuje kandydat?Umowa o pracę, kontrakt B2B, umowa agencyjna czy zlecenie — każda forma współpracy ma inne konsekwencje dla agenta. Omawiam jak Phinance, Progresja i RBG podchodzą do tej kwestii i jak komunikują to kandydatom. Wyjaśniam też dlaczego forma umowy to jeden z pierwszych filtrów używanych przez kandydatów przy wyborze multiagencji.Własna działalność gospodarcza — bariera wejścia czy elastyczność?Wymóg założenia DG od pierwszego dnia współpracy to dla wielu kandydatów bariera, która skutecznie eliminuje ich z procesu rekrutacji. Firmy, które dopuszczają rozpoczęcie bez DG i uzależniają ten wymóg od wyników — mają realną przewagę rekrutacyjną. Omawiam jak każda z firm podchodzi do tego tematu i jak można to komunikować w ogłoszeniach o pracę.Koszty wejścia — egzamin KNF, licencja, OC agentaEgzamin przed Komisją Nadzoru Finansowego, koszty licencji i obowiązkowe ubezpieczenie OC agenta to realne koszty, które kandydat kalkuluje zanim zdecyduje się na zmianę pracodawcy. Firma, która pokrywa te koszty — ma silny argument rekrutacyjny. Omawiam jak Phinance, Progresja i RBG odpowiedziały na te pytania i jak można ten argument wykorzystać w komunikacji marketingowej multiagencji.Targety i plany sprzedażowe — największa obiekcja kandydatówPlany sprzedażowe to jeden z najczęstszych powodów rezygnacji agentów z dotychczasowego pracodawcy. Kandydaci pytają o targety na każdej rozmowie rekrutacyjnej. Omawiam jak trzy firmy odpowiedziały na to pytanie — i jak brak planów sprzedażowych można skutecznie komunikować jako atut rekrutacyjny.Klauzule lojalnościowe — temat który kandydaci sprawdzają coraz częściejKlauzule lojalnościowe i kary finansowe to temat, który pojawia się regularnie w dyskusjach na grupach branżowych. Kandydaci coraz częściej pytają o to wprost przed podpisaniem umowy. Omawiam jak porównywane firmy odpowiedziały na to pytanie i dlaczego transparentność w tym obszarze buduje zaufanie kandydatów.Prowizje — jak komunikować stawki których nie możesz ujawnić publicznie?Prowizje za sprzedaż polis życiowych, majątkowych, zdrowotnych, komunikacyjnych i produktów inwestycyjnych to temat, który interesuje kandydatów najbardziej — a pracodawców krępuje najbardziej. Omawiam jak trzy firmy odpowiedziały na pytania o prowizje, dlaczego część z nich nie ujawnia stawek publicznie i jak można komunikować atrakcyjność prowizji bez podawania konkretnych liczb.Pas startowy — argument który zamyka rekrutacjęGwarantowane wynagrodzenie na początku współpracy to jeden z najmocniejszych argumentów rekrutacyjnych w branży ubezpieczeniowej. Omawiam czy Phinance, Progresja i RBG oferują pas startowy — i jak można ten argument wykorzystać w ogłoszeniach o pracę oraz podczas rozmów rekrutacyjnych.Storno — jak rozmawiać z kandydatem o zwrotach prowizyjnych?Zwroty prowizyjne, czyli storno, to temat który kandydaci obawiają się poruszyć na rozmowie rekrutacyjnej — ale który realnie wpływa na ich decyzję o wyborze pracodawcy. Omawiam jak każda z firm odpowiedziała na to pytanie i jak manager może transparentnie komunikować zasady storna nie tracąc przy tym kandydata.CRM i narzędzia — argument który niedoceniają rekruterzySystem CRM, narzędzia porównawcze, kalkulatory, wsparcie marketingowe — to obszar, który kandydaci coraz częściej sprawdzają przed podjęciem decyzji. Omawiam jakie narzędzia oferują Phinance, Progresja i RBG — w tym wewnętrzny system PhiDoradca oraz INSLY — i jak można ten temat lepiej komunikować w procesie rekrutacji.Leady ubezpieczeniowe — czy firma dostarcza klientów?Dostęp do leadów to argument, który dla nowych agentów często przeważa szalę przy wyborze multiagencji. Omawiam które z porównywanych firm dostarczają leady i jak ten argument wypada w zestawieniu z innymi warunkami współpracy.Baza klientów — pytanie które kandydaci zadają coraz częściejCo dzieje się z bazą klientów po zakończeniu współpracy? To pytanie, które jeszcze kilka lat temu było rzadkością na rozmowach rekrutacyjnych — dziś pada coraz częściej. Omawiam jak każda z firm odpowiedziała na to pytanie i dlaczego transparentna odpowiedź na to pytanie buduje przewagę rekrutacyjną.Wdrożenie i szkolenia — jak to komunikować kandydatom?Proces wdrożenia, dostęp do platformy szkoleniowej, wsparcie managera i regularne szkolenia po wdrożeniu to obszar, który kandydaci oceniają jako jeden z kluczowych przy wyborze multiagencji. Omawiam jak Phinance, Progresja i RBG opisują swój proces wdrożenia i jak można ten temat skuteczniej komunikować w materiałach rekrutacyjnych.Możliwości awansu i budowania strukturyŚcieżki kariery, programy mentoringowe i możliwość budowania własnej struktury sprzedażowej to argumenty szczególnie ważne dla ambitnych kandydatów z potencjałem managerskim. Omawiam co oferują porównywane firmy i jak można te argumenty wykorzystać w rekrutacji ukierunkowanej na kandydatów z potencjałem liderskim.---MOJE WNIOSKI — CO WYRÓŻNIA NAJLEPSZE OFERTY WSPÓŁPRACY DLA AGENTÓW?Po omówieniu wszystkich odpowiedzi dzielę się własnymi wnioskami z perspektywy eksperta rynku pracy w branży ubezpieczeniowej. Wskazuję które elementy oferty współpracy mają największy wpływ na decyzję kandydata — i które multiagencje komunikują swoje atuty najskuteczniej.---PEŁNA TABELA PORÓWNAWCZA NA INSURJOBS.PLPełne porównanie pracodawców ubezpieczeniowych — wraz z odpowiedziami wszystkich firm na wszystkie 35 pytań — dostępne jest na insurjobs.pl, pierwszym polskim portalu pracy dedykowanym wyłącznie branży ubezpieczeniowej.Jeśli prowadzisz multiagencję ubezpieczeniową i chcesz dołączyć do porównania — wypełnij ankietę na insurjobs.pl lub napisz do mnie bezpośrednio. Porównanie jest regularnie aktualizowane o nowych pracodawców.---O PODCAŚCIE „MARKETING I SPRZEDAŻ DLA AGENTA UBEZPIECZENIOWEGO"Podcast „Marketing i sprzedaż dla agenta ubezpieczeniowego" to nagrania poświęcone praktycznym aspektom marketingu, sprzedaży i rekrutacji w branży ubezpieczeniowej. Omawiam tu tematy ważne dla agentów ubezpieczeniowych, managerów sprzedaży, właścicieli multiagencji i dyrektorów sprzedaży w towarzystwach ubezpieczeniowych.---O PROWADZĄCYMMarcin Kowalik — ekspert rynku pracy i marketingu w branży ubezpieczeniowej, twórca insurjobs.pl — pierwszego polskiego portalu pracy dedykowanego wyłącznie branży ubezpieczeniowej. Autor książki „Jak sprzedawać ubezpieczenia. 100 historii agentów ubezpieczeniowych". Prowadzący podcastów „Praca w ubezpieczeniach" oraz „Marketing i sprzedaż dla agenta ubezpieczeniowego". Od ponad 10 lat obserwuje, dokumentuje i analizuje rynek pracy oraz marketing sprzedaży w polskiej branży ubezpieczeniowej.

Baza Muganga yo ku wa 05 z'ukwa gatandatu 2026

"Polska kładzie na stół ofertę stałej bazy - dla nas jest to niezwykle ważne. Zgłaszamy gotowość, by na stałe przyjąć amerykańskich żołnierzy w Polsce, ale nic nie jest jeszcze przesądzone. Musimy pamiętać o tym, że Amerykanie zapowiadają redukcję liczby żołnierzy w Europie, w związku z tym to nie są łatwe rozmowy" - powiedział w Popołudniowej rozmowie w RMF FM wiceminister spraw wewnętrznych i administracji Czesław Mroczek.

Jesús Manuel de la Cruz Martín, especialista en historia antigua acaba de publicar “Damas, ibéricas”, una historia de poder con nombre de mujer, en la Esfera de los libros y nos cuenta la importancia que tuvieron las mujeres en la cultura íbera y en otras culturas como la tartessica, sin perder de vista la información que se ha conseguido gracias a descubrimientos como la dama de marfil, la dama de Elche, la dama de Baza y tantas otras que aportan información sobre su posición social y la cultura de su pueblo.

Baza Muganga yo ku wa 22 z'ukwa gatanu 2026

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Masz swój ulubiony kanał na YouTube, z którego czerpiesz wiedzę, ale gubisz się w morzu opublikowanych tam filmów? Sam widzę to po swoim kanale, gdzie są już setki godzin materiałów edukacyjnych publikowanych w różnych interwałach. Na szczęście jest metoda na zmianę fragmentarycznej wiedzy z filmików w usystematyzowaną bazę wiedzy. Właśnie o tym jest dzisiejszy odcinek. Z pomocą narzędzia NotebookLM oraz jednej wtyczki do przeglądarki Chrome, nauczysz się błyskawicznie przeszukiwać wiedzę z dowolnego kanału. Zamiast oglądać godziny nagrań, będziesz w stanie odpytywać całą bazę filmów naraz i otrzymywać gotowe instrukcje wdrożeniowe oparte na metodologii omawianej przez Twoich ulubionych twórców.Z tego odcinka dowiesz się:jak zainstalować i skonfigurować wtyczkę YouTube to NotebookLM – jedyny brakujący element, by połączyć wideo z bazą wiedzy AI;czym jest NotebookLM i jak prowadzić konwersacje z własnymi plikami – od PDF-ów po transkrypcje z sieci;jak stworzyć gotową procedurę krok po kroku na podstawie setek filmów – bez konieczności ich ponownego oglądania;dlaczego selekcja źródeł jest ważniejsza niż wielkość okna kontekstowego – jak filtrować wiedzę, by AI przestało „śmiecić” i halucynować;czy w dobie AI oglądanie filmów ma jeszcze sens – o procesie dochodzenia do prawdy, którego nie zastąpi sam wynik wypluty przez algorytm.Do 14 maja trwają zapisy do drugiej edycji programu kohortowego AI_Marketers 2. Sprawdź szczegóły na ⁠⁠https://www.aimarketers.pl/⁠⁠Chcesz zaprezentować swoje rozwiązanie AI w jednym z odcinków mojego programu? Napisz na czesc@arturjablonski.com______________________________________________

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Baza Muganga yo ku wa 8 z'ukwa gatanu 2026

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Laura Garavaglia"Europa in Versi"Festival Internazionale di Poesia"L'aura del gioco: poesie in campo aperto"XVI EdizioneDa venerdì 8 a domenica 10 maggio 2026ComoIncontri, reading e una passeggiata poetica sulle rive del lago di Como  Torna a Como, dall'8 al 10 maggio 2026, il Festival Internazionale di Poesia "Europa in Versi", organizzato dall'Associazione La Casa della Poesia di Como ODV e diretto da Laura Garavaglia.Il titolo della sedicesima edizione, “L'aura del gioco: poesie in campo aperto”, apre un dialogo originale tra sport e poesia: due linguaggi solo apparentemente lontani, ma uniti da ritmo, disciplina, tensione verso un traguardo, capacità di superare il limite e di parlare a pubblici, culture e generazioni diverse. Nel gesto atletico come nel verso poetico convivono misura, energia, concentrazione e ricerca di armonia. Lo sport, con le sue regole condivise e il suo valore universale, diventa metafora di incontro e confronto; la poesia, con la forza della parola, apre uno spazio di ascolto, relazione e riconoscimento reciproco.Non è casuale che il Festival si svolga nei giorni della Festa dell'Europa: sport e poesia incarnano il motto dell'Unione Europea, “Uniti nella diversità”, trasformando la competizione in dialogo e il campo di gioco in uno spazio aperto alle differenze. Laura Garavaglia, curatrice del Festival e direttrice della Casa della Poesia di Como, commenta: «Lo sport e la poesia condividono un elemento fondamentale: il ritmo. Nel gesto atletico come nel verso poetico c'è una ricerca di misura, armonia e superamento del limite. Con questa edizione di Europa in Versi vogliamo raccontare lo sport come una forma di epica contemporanea e la poesia come uno spazio libero in cui le culture possono incontrarsi e dialogare».  A rafforzare il carattere di dialogo della manifestazione sarà anche il gemellaggio culturale con il Fondo Verri di Lecce, che unisce idealmente Nord e Sud d'Italia in un unico percorso poetico. Le parole della poesia attraverseranno così la penisola con gli interventi di Dario Goffredo, Ritanna Attanasi, Mario Badino, Rita Greco, Gianni Minerva, Cristina Carlà, Andrea Siano, Francesco Aprile, Claudia Di Palma, Gionata Atzori e Vanni Schiavoni. I POETI INTERNAZIONALI: DALL'UNGHERIA, DALLA FRANCIA E DAL MESSICOIn primo piano ci sono tre importanti voci internazionali: dall'Ungheria Pál Dániel Levente, dalla Francia Emmanuelle Malhappe e dal Messico Laura Hernández Muñoz. Tre presenze che confermano la vocazione internazionale di "Europa in Versi" e portano a Como geografie poetiche, lingue e tradizioni diverse, in un confronto aperto tra corpo, parola, memoria e identità culturale. PÁL DÁNIEL LEVENTE, dall'UngheriaPál Dániel Levente è poeta, autore, drammaturgo e librettista. Autore di otto volumi in lingua ungherese, con opere tradotte in oltre venti lingue, ha un percorso che intreccia letteratura, editoria, teatro e arti performative. È stato cofondatore e vicedirettore della rivista d'arte e casa editrice PRAE, direttore editoriale della ELTE University Press e direttore generale dell'Agenzia Culturale e Fondo Letterario ungherese “Petőfi”. Dopo un decennio come interprete e regista in gruppi indipendenti di teatro e performance, oggi lavora presso il Circo stabile di Budapest, dove ha contribuito a oltre 60 produzioni. Ha ricevuto premi letterari, artistici e professionali in numerosi Paesi. EMMANUELLE MALHAPPE, dalla FranciaEmmanuelle Malhappe è autrice, studiosa e psicoanalista. Dopo aver insegnato letteratura del XVIII secolo e poetica dei testi all'Università Sorbonne Nouvelle di Parigi, ha proseguito la propria ricerca sul linguaggio attraverso la pratica psicoanalitica e la scrittura. Ha pubblicato teatro, racconti, saggi, rubriche radiofoniche e poesia. Nel 2025 sono uscite una raccolta poetica per Éditions L'Harmattan, una raccolta tra poesia e filosofia per Ubik-Art Moresa e, con Antonio Rodriguez Yuste, una nuova raccolta poetica.  LAURA HERNÁNDEZ MUÑOZ, dal MessicoPoetessa, narratrice, saggista, storica e drammaturga, è Fondatrice dell'Asociación de Literatura Infantil y Juvenil de México; è membro del Seminario de Cultura Mexicana, ambasciatrice letteraria dell'Observatorio de la Diplomacia del Regno di Spagna, membro del PEN e vicepresidente del Patronato della Filarmonica di Jalisco. Tra i riconoscimenti ricevuti figurano la Menzione d'Onore al VII Premio Internazionale di Poesia Dama de Baza, il Premio Escridunde a Madrid, la Medaglia d'Oro al Concorso di Poesia Mahatma Gandhi della WWCP di Chennai e il Premio di Teatro Miguel Marón. Ha partecipato a oltre 60 antologie e 50 opere collettive. LE VOCI POETICHE ITALIANELa sezione italiana riunisce voci significative della poesia contemporanea italiana. Tra questi, saranno presenti Mario Santagostini, una delle figure più autorevoli della poesia italiana contemporanea, autore di numerose raccolte e traduttore di classici tedeschi e latini, più volte premiato per la sua opera critica e poetica. Accanto a lui, Marco Corsi, poeta e studioso della poesia contemporanea, autore di diverse raccolte e recentemente selezionato tra i finalisti del Premio Strega Poesia con il libro Nel dopo (Guanda, 2025). Sarà inoltre presente Vincenzo Guarracino, poeta, saggista e traduttore, noto anche per le sue edizioni e studi dedicati ai classici della letteratura italiana e latina. Completa il gruppo degli autori italiani Kamil Sanders, artista e poeta veneziano attivo tra poesia e arti visive, vincitore della sezione giovani del Premio "Europa in Versi e in Prosa" nel 2024 e autore per "i Quaderni del Bardo Edizioni" di Stefano Donno della silloge dal titolo "Sillabario del terribile incanto".Ad affiancare il percorso del Festival Milo De Angelis, tra le voci più riconosciute della poesia italiana contemporanea; Roberto Galaverni, critico letterario e giornalista; Gianmarco Gaspari, docente dell'Università degli Studi dell'Insubria; e Fabio Tavelli, giornalista sportivo di Sky TV, che curerà l'incontro “Quando ero Cassius”, dedicato al rapporto tra immaginario sportivo, parola e racconto.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Baza Muganga yo ku wa 24 z'ukwa kane 2026

Białe spodnie to must-have na lato 2026. Będziemy je nosić w każdej możliwej odsłonie – od haremek po flare. Klucz? Kontrast. Czarne buty dodają charakteru i elegancji, świetnie budując stylizację. Sprawdzamy, jak łączyć najmodniejsze fasony białych spodni z czarnymi modelami obuwia. Autorka: Paulina Klepacz Artykuł przeczytasz pod linkiem: https://www.vogue.pl/a/biale-spodnie-czarne-buty-stylizacje-lato-2026-jak-laczyc

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Baza Muganga yo kuri uyu wa 17 ukwezi kwa 4 uyu mwaka 2026

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El Orden Mundial analiza las 21 horas de negociaciones entre EEUU e Irán que han terminado sin acuerdo y explican por qué el régimen de los ayatolás es quien sale más beneficiado de esta ausencia de acuerdo.

El Orden Mundial analiza las 21 horas de negociaciones entre EEUU e Irán que han terminado sin acuerdo y explican por qué el régimen de los ayatolás es quien sale más beneficiado de esta ausencia de acuerdo.

Un Menudo Castillo histórico Hace solo unos días estuvimos en el alucinante Museo Arqueológico Nacional. Está en Madrid y es un rincón único en el que aprender sobre la historia de España y del mundo. Pero no solo eso, gracias a este rincón del multiverso, podemos aprender mucho sobre nuestro presente y sobre nuestro futuro. Gracias a Mercedes Roa y a María Jesús Rubio, conservadoras del museo, pudimos vivir un programa de radio realmente alucinante. Hasta el museo fuimos con parte del grupo de nuestro taller de radio de Villaviciosa de Odón. Recorrimos los recuerdos de Egipto, de Grecia y Roma, estuvimos delante de la Dama de Elche y de la Dama de Baza... y, claro, grabamos un programa de radio de los nuestros. Lo pasamos muy bien, aprendimos muchísimo y pusimos en algún pequeó apuro a nuestras dos invitadas. ¿Conoces el alucinante Museo Arqueológico Nacional? Si la respuesta es no, no te lo pienses mucho más, ¡ve a conocerlo! Te va a sorprender muchísimo. Y te va a encantar, claro.

Un jurnalist și o fotografă caută subiectul pentru reportajul care va descrie România la Centenar, în 2018. De aici pornește Augustin Cupșa în cel mai recent roman al său, „3300 de perechi de palme” (Editura TREI). Totodată, căutările protagoniștilor se concentrează pe planul personal și, în paralel cu sondările lor profesionale și personale, se derulează povestea unui locotenent român care s-a întors de la Stalingrad pe jos, în Al Doilea Război Mondial. Iar titlul cărții, „3300 de perechi de palme”, face referire la ultimul congres al Partidului Comunist Român, din noiembrie 1989, cînd Ceaușescu a fost aplaudat de 3300 de perechi de palme, la realegerea sa ca șef al partidului. Am vorbit cu Augustin Cupșa despre roman, despre personajele lui și perspectiva narativă.„3300 de perechi de palme” este nominalizat la premiul Radio România Cultural pentru proză.  Augustin Cupșa: „Ei au două perspective complet diferite. El e un bărbat în jurul vîrstei de 40 de ani, ajuns într-o criză profundă, profesională, existențială, identitară. Un tip marcat de cifre și de statistici și de încăpățînarea jurnalistică de a găsi un adevăr măsurabil sau de a caracteriza România prin date istorice, cifre, fapte. Pe cînd ea vine cu o perspectivă a iubirii sau pur și simplu a naturaleții și a apropierii sentimentale față de lucruri. Iar cei doi se află în antiteză, în opoziție tot timpul.”Cartea e plină de descrieri amănunțite, de detalii infinitezimale, ca și cum ochiul narativ vrea să absoarbă tot ce se poate absorbi, descrieri de natură, de peisaj urban, de interioare... Care e miza acestor scene prezentate în amănunt? Augustin Cupșa: „Înfățișarea realității. E ca un film făcut cu un buget restrîns, cel mai ieftin film cu putință, cel care se scrie pe hîrtie. (...) Mi se pare important să simți și să transpui experiența trecerii corpului prin lume ca singură istorie adevărată, ca istorie reală și politică. Experimentarea stărilor în realitate, de la cele banale, să zicem, de cald, frig..., e pînă la urmă o abordare fenomenologică și ăsta este adevărul cu care te alegi în viață: experiența corpului care, bineînțeles, la un moment dat devine idee, devine gînd, devine emoție. Baza întregii noastre gîndiri e corpul.”Apasă PLAY pentru a asculta întreaga discuție!O emisiune de Adela GreceanuUn produs Radio România Cultural

Jak łączyć eleganckie spodnie z T-shirtem? Przedstawiamy 5 praktycznych, szykownych i modnych propozycji. Miniony sezon należał do szykownych spodni, zwłaszcza o klasycznym kroju. Stały się one ważnym elementem nawet bardziej swobodnych stylizacji i dziś są jednym z najbardziej pożądanych elementów współczesnej garderoby.   Autorki: Lucrezia Malavolta, Laura Tortora   Artykuł przeczytasz pod linkiem: https://www.vogue.pl/a/eleganckie-spodnie-prosty-t-shirt-stylizacje-wiosna-2026-triki-bledy-digitalsyndication

Jakie były najciekawsze kosmiczne wydarzenia marca 2026? Wybieramy te najważniejsze i omawiamy - Radek Grabarek z ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠WNMS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ i Kuba Hajkuś z ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ToJakisKosmos!⁠⁠⁠⁠⁠⁠⁠⭕ Lubisz nasze podcasty Space XYZ? Wesprzyj Radka i Kubę poprzez Patronie: ⁠⁠⁠⁠⁠https://patronite.pl/wnms⁠Tematy odcinka:Space R - rosyjski progres i regres w kosmosieSpace N - NASA ogłasza spektakularne plany na następne 10 latSpace A - ostatnie przygotowania przed startem misji Artemis II na KsiężycSpace O - ogłoszenia - te wideo warto zobaczyćSpace X - postępy w budowie kolejnych Starshipów oraz... Nowa giga fabryk chipów AISpace S - statystyki startów rakiet w marcuWesprzyj nas na Patronite!Nie zmieściło się w odcinkuZapowiedź kwietnia

Baza Muganga yo kuri uyu wa 27 ukwezi kwa 3 uyu mwaka 2026

Iranul a lansat rachete balistice asupra unei baze militare americane și britanice din Oceanul Indian. Israelul declară că atacurile Iranului „se vor intensifica semnificativ”, în timp ce Trump vorbește despre o „reducere” a forțelor armate din Orientul Mijlociu. Presa internațională analizează evenimentele. După cum observă NBC News, ”distanța la care s-a aflat tentativa de atac ar putea indica faptul că Iranul are capacități pentru lovituri la distanță lungă pe care le-a negat anterior, baza fiind la aceeași distanță de Iran ca o mare parte din Europa Centrală. Nu este clar, însă, dacă rachetele transportau o sarcină utilă sau cât de departe ar putea ajunge cu adevărat un astfel de atac, deoarece niciuna dintre rachete nu și-a atins ținta”. Le Figaro notează că simplul fapt că Iranul a încercat să atace la o asemenea distanță confirmă faptul că aceasta deține rachete balistice capabile să lovească mult dincolo de sfera sa de influență regională. ”Cu alte cuvinte, Teheranul poate viza baze occidentale chiar și în zone foarte îndepărtate, departe de Orientul Mijlociu”. După cum relatează Times of Israel, ”rachete cu o astfel de rază de acțiune ar plasa cea mai mare parte a Europei Occidentale în raza de acțiune a arsenalului de rachete al Iranului. Iranul a declarat până acum că are o limită autoimpusă pentru programul său de rachete balistice de  2.000 de kilometri. Cu toate acestea, oficialii americani au susținut de mult timp că programul spațial al Iranului i-ar putea permite să construiască rachete balistice intercontinentale”. O bază strategică După cum transmite Euronews, Diego Garcia este cea mai mare insulă din arhipelagul Chagos, baza de aici fiind amplasată strategic în Oceanul Indian. ”Deși teritoriul se află sub suveranitate britanică, baza este operată de SUA și are o infrastructură critică, inclusiv o pistă lungă pentru a găzdui bombardiere mari și un port natural adânc, potrivit pentru submarine nucleare și nave de război. Baza găzduiește o prezență militară semnificativă, subliniind rolul său în securitatea globală. Statele Unite staționează permanent acolo bombardiere strategice B-52 și B-1 și găzduiește, de asemenea, Escadrila 15 de Supraveghere Spațială pentru monitorizare prin satelit. Citeste siSurpriza și îndrăzneala Iranului. De ce ar trebui să fie îngrijorată Europa (Interviu) Prezența britanică, deși limitată ca număr, menține autoritatea administrativă și supravegherea juridică internațională asupra tuturor operațiunilor lansate de pe atol”. Iranul ar putea „destabiliza” Marea Roșie și Strâmtoarea Bab al-Mandab dacă SUA atacă Insula Kharg, a declarat o sursă militară, transmite BBC. Strâmtoarea Bab al-Mandab - cunoscută și sub numele de Poarta Lacrimilor - este un canal lat de 32 km care se află între Yemen, pe Peninsula Arabică, și Djibouti și Eritreea, pe coasta africană. Traseul duce până la Canalul Suez. Iar ziarul libanez L'Orient-Le Jour constată că în actualul context, Țările din Golf sunt împinse să exploreze noi alianțe și rute comerciale. Arabia Saudită și-a activat astfel conducta petrolieră Est-Vest, care leagă Golful de Marea Roșie prin portul Yanbu, permițându-i să ocolească complet Strâmtoarea Hormuz. Acest coridor ar putea deveni o axă strategică care leagă Oceanul Indian de Marea Mediterană, transformând echilibrul geopolitic și economic.

Nie ma chyba drugiej osoby, która dysponowałaby taką liczbą klipów z analizami drużyn polskiej Ekstraklasy oraz I ligi jak on. Oprócz pracy w sztabie Miedzi Legnica, Mateusz Stopka śledzi również zespoły, z którymi może mu być dane zmierzyć się dopiero… w kolejnym sezonie, po ewentualnym awansie. Stopka to analityk Miedzi, który trafił do niej z…

Silicon Bites Ep287 | 2026-02-17 | “Bad things are coming for Russia”: Z-Patriot Maxim Kalashnikov goes full doom-monger on the crisis of statehood enveloping Russia. Today's warning siren isn't coming from liberal Moscow, Navalny's team or TV Rain. It's coming from the other side of the ideological trench: the Z-Patriot ecosystem. And one of its loudest, most apocalyptic voices — Maksim Kalashnikov — is now saying the quiet part out loud: Russia isn't just losing momentum in a war, it's sliding into a crisis of statehood.----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtain----------SOURCES:Kalashnikov posts (primary, verified text captures)- Telemetr capture of Roy TV Telegram channel posts dated 17 Feb 2026 (includes “crisis of statehood” + “difficult decisions” list): https://telemetr.me/content/roy_tv_mkTelegram restriction / backlash context (authoritative reporting)- Reuters (11 Feb 2026): Russia's Telegram curbs, backlash, Mironov quotes:https://www.reuters.com/world/russias-curbs-telegram-prompt-concern-about-impact-soldiers-2026-02-11/- The Guardian (11 Feb 2026): Telegram slowdown, “sovereign internet”, Durov statement, milblogger reactions:https://www.theguardian.com/world/2026/feb/11/russian-crackdown-telegram-app-criticism-soldiers-pro-war-bloggers- The Guardian (9 Feb 2026): Starlink curtailment affecting Russian forces, milblogger quotes:https://www.theguardian.com/world/2026/feb/09/russia-scrambles-starlink-access-deactivated-elon-musk-space-xApril 1 Telegram-ban reporting / official non-denials- RBC (17 Feb 2026): Baza claim + Roskomnadzor “nothing to add”:https://www.rbc.ru/technology_and_media/17/02/2026/69942e849a7947f5560a652b- Novaya Gazeta Europe (17 Feb 2026): Baza claim + regulator response framing:https://novayagazeta.eu/amp/articles/2026/02/17/russia-to-block-telegram-from-1-april-as-crackdown-on-foreign-owned-apps-continues-en-news- TASS factbox (17 Feb 2026): “no official confirmations” + Duma committee commentary:https://tass.com/economy/2087879----------SILICON CURTAIN LIVE EVENTS - FUNDRAISER CAMPAIGN Events in 2025 - Advocacy for a Ukrainian victory with Silicon Curtainhttps://buymeacoffee.com/siliconcurtain/extrasOur events of the first half of the year in Lviv, Kyiv and Odesa were a huge success. Now we need to maintain this momentum, and change the tide towards a Ukrainian victory. The Silicon Curtain Roadshow is an ambitious campaign to run a minimum of 12 events in 2025, and potentially many more. Any support you can provide for the fundraising campaign would be gratefully appreciated. https://buymeacoffee.com/siliconcurtain/extrasWe need to scale up our support for Ukraine, and these events are designed to have a major impact. Your support in making it happen is greatly appreciated. All events will be recorded professionally and published for free on the Silicon Curtain channel. Where possible, we will also live-stream events.https://buymeacoffee.com/siliconcurtain/extras----------

2026-02-18 | UPDATES #135 | Putin's mobilisation rumour machine. Is this why the ban is dropping on Telegram in Russia? If you want to understand where Putin's regime thinks the real danger lives, don't look at the front line first. Look at the phone in your pocket. Putin is more afraid of the power of phones and the messaging apps they contain, as a platform for the coordination of resistance to his regime, than he is of losing personnel and territory on the battlefield. ----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformation----------A REQUEST FOR HELP!I'm heading back to Kyiv this week, to film, do research and conduct interviews. The logistics and need for equipment and clothing are a little higher than for my previous trips. It will be cold, and may be dark also. If you can, please assist to ensure I can make this trip a success. My commitment to the audience of the channel, will be to bring back compelling interviews conducted in Ukraine, and to use the experience to improve the quality of the channel, it's insights and impact. Let Ukraine and democracy prevail! https://buymeacoffee.com/siliconcurtain/extrashttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformationNONE OF THIS CAN HAPPEN WITHOUT YOU!So what's next? We're going to Kyiv in January 2026 to film on the ground, and will record interviews with some huge guests. We'll be creating opportunities for new interviews, and to connect you with the reality of a European city under escalating winter attack, from an imperialist, genocidal power. PLEASE HELP ME ME TO GROW SILICON CURTAINWe are planning our events for 2026, and to do more and have a greater impact. After achieving more than 12 events in 2025, we will aim to double that! 24 events and interviews on the ground in Ukraine, to push back against weaponized information, toxic propaganda and corrosive disinformation. Please help us make it happen!----------SOURCES: Reuters (18 Feb 2026): Shadayev claims foreign spies can see Telegram messages; troops won't lose access “for now”; MAX push.Novaya Gazeta Europe (17 Feb 2026): Baza claim of full Telegram block from 1 April; Roskomnadzor “nothing to add.” Ukrainian Pravda (17 Feb 2026): Summary of Baza report; Roskomnadzor response. TASS factbox (17 Feb 2026): Duma figures call April 1 talk premature/unconfirmed. The Guardian (11 Feb 2026): Rare criticism from soldiers/pro-war bloggers; Telegram's military utility; Durov response. Amnesty International (10 Feb 2026): “Slowing down” Telegram as digital repression / free expression blow. The New Voice of Ukraine (17 Feb 2026): Yigal Levin links Telegram move to fear of unrest; mobilisation speculation mentioned. The Moscow Times (6 Feb 2026): January deficit; oil & gas revenue drop; Reuters-sourced deficit-risk estimates; Inozemtsev quote on war funding into 2027. Kyiv Independent (12 Feb 2026): Ukraine-linked claim losses exceeded recruitment for second month.Japan Times / Bloomberg (17 Feb 2026): UK says Russia relying more on foreign fighters. RFI / France 2 interview coverage (5 Feb 2026): Zelenskyy on two years / Donbas cost framing.----------

Cum ne modelează copilăria relațiile de la vârsta adultă? Gáspár György ne ghidează prin stadiile dezvoltării psihologice și bagajele cu care venim din familia de origine: nevoi neîndeplinite, mecanisme de adaptare, părți greu accesibile ale sinelui.Gáspár György este psiholog clinician, psihoterapeut relațional și autorul a șase cărți, între care Copilul Invizibil și Când Conflictul Are Sens. Co-fondator al comunității Pagina de Psihologie și al Academiei de Terapie Imago din România, Gáspár este una dintre cele mai cunoscute voci care promovează sănătatea relațională în spațiul public din România.Acesta este primul episod dintr-un sezon integral dedicat relațiilor, realizat împreună cu Pagina de Psihologie. Acest episod este produs și distribuit cu susținerea PPC România.În acest prim episod discutăm despre:Cele patru stadii de dezvoltare psihologică din perspectivă relațională (conectare, explorare, identitate, competență)Bagajele cu care venim în relații: nevoi neîndeplinite, adaptări, părți pierdute ale sinelui, tipare de relaționareTranziția de la sinele autonom la sinele relațional și metapersonalCele patru adevăruri despre relații și competența relaționalăResurse menționate în conversație:Carte: Terapia Imago — Știința Relațiilor de Harville Hendrix și Helen LaKelly HuntCarte: Copilul Invizibil de Gáspár GyörgyCarte: Când Conflictul Are Sens de Gáspár GyörgyCarte: Dăruiește Iubirea Care Vindecă, de Hendrix și HuntCarte: Păstrează Iubirea Pe Care Ai Găsit-o de Hendrix și HuntCarte: Lost Connections de Johann HariAutor: Carlo Rovelli (mecanică cuantică relațională)Autor: Carol Dweck (growth mindset)Autor: Lisa Feldman BarrettAutor: Daniel Siegel Intră live alături de noi în înregistrarea episoadelor și primește răspunsuri la ce te interesează cel mai mult. Vino în Comunitatea Membrilor Mind ArchitectTimestamps & Capitole"(00:00) Introducere""(02:10) Cine este Gáspár György și de ce un sezon despre relații""(04:41) Stadiile de dezvoltare psihologică: perspectiva relațională""(05:50) Etapa de conectare și atașamentul evitant, anxios, securizant""(08:30) Adaptare și stil de atașament vs. natura noastră reală""(12:06) Etapa de explorare (2–3 ani): îndrăgostirea de lume""(14:26) Esther Perel, sinele erotic și explorarea în viața adultă""(15:00) Baza de siguranță și dansul dintre conectare și explorare""(18:29) Ce se întâmplă când explorarea e blocată sau nesusținută""(22:03) Cum deosebim temperamentul introvert de adaptarea evitantă""(23:55) Etapa de identitate (3–4 ani): cine sunt eu?""(25:35) De ce copiii au nevoie de oglindire, nu de corectare""(28:19) Copilul testează un rol problematic: cum răspundem""(32:26) Granițe rigide vs. difuze: cele două extreme""(37:41) Adaptări funcționale în copilărie dar disfuncționale ca adult""(38:37) Etapa de competență și putere (4–6 ani): feedback și perfecționism""(43:17) Pericolul comparației și al criticii în dezvoltarea copilului""(45:19) Cum ne influențează feedbackul din copilărie alegerile de viață""(49:22) Pasivitate sau perfecționism: adaptări la lipsa de încurajare""(52:02) Recomandări pentru aprofundarea subiectului""(53:20) Bagajele cu care venim în relații: nevoi, adaptări, maximizare și minimizare""(56:18) Avem nevoie să simțim, nu doar să auzim acceptarea""(01:01:05) Părți pierdute ale sinelui: cum pierdem bucăți din cine suntem""(01:06:30) Cum recunoaștem o parte pierdută: recurența ca indicator""(01:11:15) Tipare de relaționare inconștiente: ce am învățat despre relații acasă""(01:19:05) Respingerea unei părți a sinelui ca reacție la experiențele trăite""(01:24:27) Trei perspective asupra sinelui: autonom, relațional, metapersonal""(01:29:26) Cercetări: cu cât ești mai izolat, cu atât crește nefericirea""(01:34:39) Practici concrete pentru conectarea la sinele metapersonal""(01:40:12) Cele patru adevăruri despre relații""(01:53:05) Relația ca entitate vie: demonstrația cu foaia de hârtie și competența relațională"

Basti, fue una de las grandes ciudades de los íberos pre‑romanos, famosa por la Dama de Baza, una obra que nos sigue hablando desde hace más de 2 400 años. Esta majestuosa escultura íbera del siglo IV a.C., representa a una mujer de la alta élite sentada en un trono alado, con detalles que reflejan tanto su estatus social como las influencias mediterráneas en el arte ibérico. Su función como urna cineraria, y el rico ajuar funerario encontrado junto a ella, revelan la importancia de figuras femeninas en aquella sociedad antes de la llegada de Roma. Y descubre más historias curiosas en el canal National Geographic y en Disney +.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

☕ Przysłowiową "kawę" można postawić Ilonie tutaj: https://buycoffee.to/ilonaarte

08 09-02-26 LHDW Julián Álvarez tiene pinta de jugar en el Barça la próxima campaña. Baza electoral. Mata al Racing, delantero de urgencia ante las bajas

Ester Ledecká, oro como esquiadora y snowboardista, gran baza checa en JJ.OO. de Cortina | El argentino Luis Scafati ilustra nueva edicion checa de El Castillo de Kafka

To get live links to the music we play and resources we offer, visit www.WOSPodcast.comThis show includes the following songs:Caz Gardiner - Everybody FOLLOW ON SPOTIFYMegan Burback - Brighter Days FOLLOW ON SPOTIFYFrances Ancheta - The Place Where I Need To Be FOLLOW ON SPOTIFYTown Of Trees - Selfish FOLLOW ON SPOTIFYNY Podcat - Cut Me Clean FOLLOW ON SPOTIFYEva Snyder - Turkeys FOLLOW ON SPOTIFYThe Laurel Lowlifes - August FOLLOW ON SPOTIFYDwayna Litz - My Minds On You FOLLOW ON SPOTIFYELLE FOX - Class of 2020 FOLLOW ON SPOTIFYMinni Verse - Love That Breathes FOLLOW ON SPOTIFYLucy Gallant - Bad Boy FOLLOW ON SPOTIFYFellowship of Earthlings - From Hope To Despair FOLLOW ON SPOTIFYNicole-Marie - Interference FOLLOW ON SPOTIFYEmily How - I Hope I Die Inside a Fire FOLLOW ON SPOTIFYAnthea Jewels & The Blues Bazaar of NAARM - Second Line FOLLOW ON SPOTIFYFor Music Biz Resources Visit www.FEMusician.com and www.ProfitableMusician.comVisit our Sponsor Susie Maddocks at susiemaddocks.comVisit our Sponsor Michelle McIntosh at open.spotify.com/artist/7Chvc6lb6L3tCvl6UtOy4Z?si=IjCLrZmIQWOqWfVzx9xh6QVisit our Sponsor Laura Suarez at laurasuarez.comVisit our Sponsor 39 Streams of Income at profitablemusician.com/incomeVisit www.wosradio.com for more details and to submit music to our review board for consideration.Visit our resources for Indie Artists: https://www.wosradio.com/resourcesBecome more Profitable in just 3 minutes per day. http://profitablemusician.com/join

Cześć, w najnowszym odcinku serii nawiązuję do ostatnich wydarzeń na świecie. Stany Zjednoczone od dawna interesowały się Grenlandią, która miała i ma nadal dla nich kluczowe znaczenie strategiczne. Ta ogromna wyspa, położona między Europą a Eurazją, stanowiła potencjalny korytarz ataku na Amerykę Północną. Amerykańska generalicja doskonale zdawała sobie z tego sprawę już wiele dekad temu.Aby uprzedzić przeciwnika i zapewnić sobie dogodną pozycję do odparcia ewentualnego uderzenia, Waszyngton już w czasie II wojny światowej rozpoczął działania zmierzające do objęcia wyspy militarną kontrolą. Specjalne porozumienie z Danią utrzymano także po zakończeniu wojny. W kolejnych latach Stany Zjednoczone w tajemnicy próbowały rozmieścić na Grenlandii broń jądrową.Jeden z najbardziej ambitnych projektów zakładał budowę ogromnego systemu militarnego opartego na 600 pociskach nuklearnych. Projekt Iceworm przewidywał stworzenie sieci podlodowych tuneli na obszarze porównywalnym z powierzchnią Grecji. W ukrytych pod lodem silosach miały znajdować się rakiety jądrowe, gotowe do natychmiastowego użycia w razie ataku ze strony ZSRR.Więcej na ten temat w najnowszym odcinku serii Powojnie.