Podcasts about hebrew

Our time in Leviticus comes to a close today, as the Lord explains the institutions of Sabbath years and the year of Jubilee. Israel is to work the ground for six years, then on the seventh year they are to rest. After 49 years (7x7) they are to celebrate a year of Jubilee where debts are cancelled and Hebrew servants relieved from their service. Finally, if Israel fails to observe the Lord's commands, they will be cut off from the Lord, and their sacrifices will no longer be pleasing to God. Instead of turning toward the nation of Israel in power and with unmatched favor, the Lord will turn against them in wrath and they will be scattered and overtaken by another nation. Leviticus 25 - 1:19 .  Leviticus 26 - 11:04 .  Leviticus 27 – 19:59 .  Proverbs 20 - 25:31 .  :::Christian Standard Bible translation.All music written and produced by John Burgess Ross.Co-produced by Bobby Brown, Katelyn Pridgen, Eric Williamson & the Christian Standard Biblefacebook.com/commuterbibleinstagram.com/commuter_bibletwitter.com/CommuterPodpatreon.com/commuterbibleadmin@commuterbible.org

www.dailybreadmoms.com Now coming to busy moms all over the world as a daily podcast! Daily Bread follows the weekly Torah Portion, one part each day, together with a healthy balance from the rest of Scripture — all in one year. More than just a one-year Bible reading plan, Daily Bread is designed as a journal, with a comprehensive Hebrew calendar. To support the podcast - www.patreon.com/dailybreadmoms Check out the Daily Bread Torah Class, LIVE from Israel! Join anytime. larsenarson.com/torah The Journals are available here: arielmedia.shop/

Share a commentAsh fell like gray snow while a lifetime of labor melted into pools of metal. That's where we meet William Carey—not in a triumphant portrait, but in the ruins of a printing press that held ten Bible translations, handcrafted type, and years of hope. We walk through his journey from a little shop bench to the beating heart of India's cultural and spiritual life, and we watch how one quiet verse steadied his hands: “Be still and know that I am God.”We share why a poor cobbler plastered maps over his workbench, taught himself Hebrew and Greek, and dared to challenge church leaders who said sending missionaries was impossible. Carey's story opens into a wide landscape: launching a missions society from scratch, recruiting a few bold “rope holders,” and then pouring himself into dictionaries, schools for girls, a newspaper, agricultural reform, and the largest press in India. He fought to end widow burning and the burning of lepers, proving that gospel conviction can change both hearts and laws. Along the way, grief was real—mental illness in the family, a child's death, years of ridicule, and that devastating fire.What turned the tide was not bravado but a biblical rhythm of resilience. Psalm 46 offers a map for storms: pause more, panic less; remember a present refuge and a promised peace. We unpack the Hebrew nuance behind “be still,” a chosen cease-fire with our need to control, and show how surrender cleared Carey to act with sharper focus. England's opposition softened, support surged, and within months the press roared again. The takeaways are practical: name your “although,” anchor your “therefore,” and practice moving forward while sitting still—quiet heart, active hands, steady steps.If stories of faith, history, and hard-won courage spark something in you, join us for this deep dive. Subscribe, share this episode with a friend who needs strength for a setback, and leave a review to help others find the show. What's your next step while sitting still?_____Stephen's latest book, Legacies of Light, Volume 2, is our gift for your special donation to our ministry. Follow this link for information or to donate:https://www.wisdomonline.org/mp/legaciesSupport the show

Share a commentAsh fell like gray snow while a lifetime of labor melted into pools of metal. That's where we meet William Carey—not in a triumphant portrait, but in the ruins of a printing press that held ten Bible translations, handcrafted type, and years of hope. We walk through his journey from a little shop bench to the beating heart of India's cultural and spiritual life, and we watch how one quiet verse steadied his hands: “Be still and know that I am God.”We share why a poor cobbler plastered maps over his workbench, taught himself Hebrew and Greek, and dared to challenge church leaders who said sending missionaries was impossible. Carey's story opens into a wide landscape: launching a missions society from scratch, recruiting a few bold “rope holders,” and then pouring himself into dictionaries, schools for girls, a newspaper, agricultural reform, and the largest press in India. He fought to end widow burning and the burning of lepers, proving that gospel conviction can change both hearts and laws. Along the way, grief was real—mental illness in the family, a child's death, years of ridicule, and that devastating fire.What turned the tide was not bravado but a biblical rhythm of resilience. Psalm 46 offers a map for storms: pause more, panic less; remember a present refuge and a promised peace. We unpack the Hebrew nuance behind “be still,” a chosen cease-fire with our need to control, and show how surrender cleared Carey to act with sharper focus. England's opposition softened, support surged, and within months the press roared again. The takeaways are practical: name your “although,” anchor your “therefore,” and practice moving forward while sitting still—quiet heart, active hands, steady steps.If stories of faith, history, and hard-won courage spark something in you, join us for this deep dive. Subscribe, share this episode with a friend who needs strength for a setback, and leave a review to help others find the show. What's your next step while sitting still?_____Stephen's latest book, Legacies of Light, Volume 2, is our gift for your special donation to our ministry. Follow this link for information or to donate:https://www.wisdomonline.org/mp/legaciesSupport the show

Rabbi Gordon studies one chapter a day from Maimonides' classic legal work of Mishneh Torah. The original Hebrew text is read and then translated and clearly explained in English.

These classes teach the day's section of the weekly Torah portion. The lesson is taught using the original Hebrew text with the indispensable commentary of Rashi—both translated and elucidated so that anyone can follow along.

This week we're diving in to some deep controversy, and we gotta say: come on in, the water's fine. First, we're looking at biblical literalism. There are a lot of Christians out there these days who claim that they believe that the Bible is to be taken exactly at face value. It's literally true exactly as it is, no interpretation needed. Well, if you've been with us for any amount of time, you already know that's a position that's not going to work around here. But what is biblical literalism really? When you boil it down, what are the literalists really saying? Is literalism a dogma that goes back to beginning of Christianity, or is it relatively new? Then, we're going crazy with orthography! Or maybe scriptology? Or maybe even grammatology? Whatever it is, we're looking at Hebrew letters. What could be so interesting about letters, you might ask? Well, according to an onslaught of online Christian influencers, the Hebrew letters in the Bible have coded messages that all point to (brace for the shock): Jesus! Does the Hebrew Bible have a whole second level of meaning to decode when you look not at the words, but at the letters? Well, no. But the topic of how Hebrew (and English) got its letters is fascinating, so we're going to talk about it! ---- For early access to an ad-free version of every episode of Data Over Dogma, exclusive content, and the opportunity to support our work, please consider becoming a monthly patron at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/DataOverDogma⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠      Follow us on the various social media places: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/DataOverDogmaPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitter.com/data_over_dogma⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Have you ordered Dan McClellan's New York Times bestselling book ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Bible Says So⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ yet??? Learn more about your ad choices. Visit megaphone.fm/adchoices

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How do you build a creative life that spans music, writing, film, and spiritual practice? Alicia Jo Rabins talks about weaving multiple creative strands into a sustainable career and why the best advice for any creator might simply be: just make the thing. In the intro, backlist promotion strategy [Written Word Media]; Successful author business [Novel Marketing Podcast]; Alliance of Independent Authors Indie Author Bookstore; Bones of the Deep – J.F. Penn This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights, and the full transcript is below. Show Notes Building a sustainable multi-disciplinary creative career through teaching, performance, grants, and donations Trusting instinct in the early generative stages of creativity and separating generation from editing Adapting and reimagining religious and cultural source material through music, writing, and performance The challenges of transitioning from poetry to long-form prose memoir, including choosing a lens for your story Making an independent film on a shoestring budget without waiting for Hollywood's permission Finding your creative voice and building confidence by leaning into vulnerability and returning to the practice of making You can find Alicia at AliciaJo.com. Transcript of the interview with Alicia Jo Rabins Joanna: Alicia Jo Rabins is an award-winning writer, musician, performer, as well as a Torah teacher and ritualist. She's the creator of Girls In Trouble, a feminist indie-folk song cycle about biblical women, and the award-winning film, A Kaddish for Bernie Madoff. Her latest book is a memoir, When We Are Born We Forget Everything. So welcome to the show, Alicia. Alicia: Thank you so much. I'm delighted to be here. Joanna: There is so much we could talk about. But first up— Tell us a bit more about you and how you've woven so many strands of creativity into your life and career. Alicia: Yes, well, I am a maximalist. What happened in terms of my early life is that I started writing on my own, just extremely young. I'm one of those people who always loved writing, always processed the world and managed my emotions and came to understand myself through writing. So from a very young age, I felt really committed to writing. Then I had the good fortune that my mother saw a talk show about the Suzuki method of learning violin—when you start really young and learn by ear, which is modelled after language learning. It's so much less intellectual and much more instinctual, learning by copying. She was like, that looks like a cool thing. I was three years old at the time and she found out that there was a little local branch of our music conservatory that had a Suzuki violin programme. So when I was three and a half, getting close to four, she took me down and I started playing an extremely tiny violin. Joanna: Oh, cute! Alicia: Yes, and because it was part of this conservatory that was downtown, and we were just starting at the suburban branch where we lived, there was this path that I was able to follow. As I got more and more interested in violin, I could continue basically up through the conservatory level during high school. So I had a really fantastic music education without any pressure, without any expectations or professional goals. I just kept taking these classes and one thing led to another. I grew up being very immersed in both creative writing and music, and I think just having the gift of those two parts of my brain trained and stimulated and delighted so young really changed my brain in some ways. I'll always see the world through this creative lens, which I think I'm also just set up to do personally. Then the last step of my multi-practice career is that in college I got very interested in Jewish spirituality. I'm Jewish, but I didn't grow up very religious. I didn't grow up in a Jewish community really. So I knew some basics, but not a ton. In college I started to study it and also informally learned from other people I met. I ended up going on a pretty intense spiritual quest, going to Jerusalem and immersing myself after college for two years in traditional Jewish study and practice. So that became the third strand of the braid that had already been started with music and writing. Torah study, spiritual study, and teaching became the third, and they all interweave. The last thing I'll say is that because I work in both words and music, and naturally performance because of music, it began to branch a little bit into plays, theatre, and film, just because that's where the intersection of words, performance, and music is. So that's really what brought me into that, as opposed to any specific desire to work in film. It all happened very organically. Joanna: I love this. This is so cool. We are going to circle back to a lot of this, but I have to ask you— What about work for money at any point? How did this turn into more than just hobbies and lifestyle? Alicia: Yes, absolutely. Well, I'm very fortunate that I did not graduate college with loans because my parents were able to pay for college. That was a big privilege that I just want to name, because in the States that's often not the case. So that allowed me to need to support myself, but not also pay loans, which was a real gift. What happened was I went straight from college to that school in Jerusalem, and there I was on loans and scholarship, so I didn't have to worry yet about supporting myself. Then when I came back to the States, I actually found on Craigslist a job teaching remedial Hebrew. It was essentially teaching kids at a Jewish elementary school who either had learning differences or had just entered the school late and needed to be in a different Hebrew class than the other kids in their grade. That was my first experience of really teaching, and I just absolutely fell in love with it. Although in the end, my passion is much more for teaching the text and rituals and the wrestling with the concepts, as opposed to teaching language. So all these years, while doing performance and writing and all these things, I have been teaching Jewish studies. That has essentially supported me, I would say, between 50 and 70 per cent. Then the rest has been paid gigs as a musician, whether as a front person leading a project or as what we call a sideman, playing in someone else's band. Sometimes doing theatre performances, sometimes teaching workshops. That's how I've cobbled it together. I have not had a full-time job all these years and I have supported myself through both earned income and also grants and donations. I've really tried to cultivate a little bit of a donor base, and I took some workshops early on about how to welcome donations. So I definitely try to always welcome that as well. Joanna: That is so interesting that you took a workshop on how to welcome donations. Way back in, I think 2013, I said on this show, I just don't know if I can accept people giving to support the show. Then someone on the podcast challenged me and said, but people want to support creatives. That's when I started Patreon in 2014. It was when The Art of Asking by Amanda Palmer came out and— It was this realisation that people do want to support people. So I love that you said that. Alicia: It's not easy. It's still not easy for me, and I have to grit my teeth every time I even put in my end-of-year newsletter. I just say, just a reminder that part of what makes this possible is your generous donations, and I'm so grateful to you. It's not easy. I think some people enjoy fundraising. I certainly don't instinctively enjoy it, but I have learned to think of it exactly the way that you're saying. I mean, I love donating to support other people's projects. Sometimes it's the highlight of my day. If I'm having a bad day and someone asks for help, either to feed a family or to complete a creative project, I just feel like, okay, at least I can give $36 or $25 and feel like I did something positive in the last hour, even if my project is going terribly and I'm in a fight with my kid or something. So I have to keep in mind that it is actually a privilege to give as well as a privilege to receive. Joanna: Absolutely. So let's get back into your various creative projects. The first thing I wanted to ask you, because you do have so many different formats and forms of your creativity—how do you know when an idea that comes to you should be a song, or something you want to do as a performance, or written, or a film? Tell us a bit about your creative process. Because a lot of your projects are also longer-term. Alicia: Yes. It's funny, I love planning and in some ways I'm an extreme planner. I really drive people in my family bonkers with planning, like family vacations a year in advance. In terms of my creativity, I'm very planful towards goals, but in that early generative state, I am actually pure instinct. I don't think I ever sit down and say, “I have this idea, which genre would it match with?” It's more like I sit on my bed and pick up my guitar, which is where I love to do songwriting, just sitting on my bed cross-legged, and I pick up my guitar and something starts coming out. Then I just work with that kernel. So it's very nebulous at first, very innate, and I just follow that creative spirit. Often I don't even know what a project is, sometimes if it's a larger project, until a year or two in. Once things emerge and take shape, then my planning brain and my strategy brain can jump on it and say, “Okay, we need three more songs to fill out the album, and we need to plan the fundraising and the scheduling.” Then I might take more of an outside-in approach. At the beginning it's just all instinct. Joanna: So if you pick up your guitar, does that mean it always starts in music and then goes into writing? Or is that you only pick up a guitar if it's going to be musical? Alicia: I think I'm responding to what's inside me. It's almost like a need, as opposed to, “I'm going to sit down and work.” I mean, obviously I sit down and work a lot, but I think in that early stage of anything, it's more like my fingers are itching to play something, and so I sit down and pick up my guitar. Sometimes nothing comes out and sometimes the kernel of a song comes out. Or I'm at a café, and I often like to write when I'm feeling a little bit discombobulated, just to go into the complexity of things or use challenging emotions as fuel. I really do use it as a—I don't know if therapeutic is the word, but I think it maybe is. I write often, as I always have, as I said before, to understand what I'm thinking. Like Joan Didion said—to process difficult emotions, to let go of stuck places. So I think I create almost more out of a sense of just what I need in the moment. Sometimes it's just for fun. Sometimes picking up a guitar, I just have a moment so I sit down and mess around. Sometimes it's to help me struggle with something. It doesn't always start in music. That was a random example. I might sit down to write because I have an hour and I think, I haven't written in a while. Or I do have an informal daily writing thing where I'll try to generate one loose draft of something a day, even if it's only ten pages. I mean, sorry, ten words. Joanna: I was going to say! Alicia: No, no. Ten words. I'm sorry. It's often poetry, so it feels like a lot when it's ten words. I'll just sit down with no pressure, no goal, no intention to make anything specific. Just open the floodgates and see what comes out. That's where every single project of mine has started. Joanna: Yes, I do love that. Obviously, I'm a discovery writer and intuitive, same as you. I think very much this idea of, especially when you said you feel discombobulated, that's when you write. I almost feel like I need that. I'm not someone who writes every day. I don't do ten lines or whatever. It's that I'll feel that sense of pressure building up into “this is going to be something.” I will really only write or journal when that spills over into— “I now need to write and figure out what this is.” Alicia: Yes. It's almost a form of hunger. It feels to me similar to when you eat a great meal and then you're good for a while. You're not really thinking of it, and then it builds up, like you said, and then there's a need—at least the first half of creativity. I really separate my generation and my editing. So my generative practice is all openness, no critique, just this maybe therapeutic, maybe curious, wandering and seeing what happens. Then once I have a draft, my incisive editing mind is welcome back in, which has been shut out from that early process. So that's a really different experience. Those early stages of creativity are almost out of need more than obligation. Joanna: Well, just staying with that generative practice. Obviously you've mentioned your study of and practice of Jewish tradition and Jewish spirituality. Steven Pressfield in his books has talked about his prayer to the muse, and I've got on my wall here—I don't talk about this very often, actually — I have a muse picture, a painting of what I think of as a muse spirit in some form. So do you have any spiritual practices around your generative practice and that phase of coming up with ideas? Alicia: I love that question, and I wish I had a beautiful, intentional answer. My answer is no. I think I experience creativity as its own spiritual practice itself. I do love individual prayer and meditation and things like that, but for me those are more to address my specifically spiritual health and happiness and connectedness. I'm just a dive-in kind of person. As a musician, I have friends who have elaborate backstage rituals. I have to do certain things to take care of my voice, but even that, it's mostly vocal rest as opposed to actively doing things. There's a bit of an on/off switch for me. Joanna: That's interesting. Well, I do want to ask you about one of your projects, this collaboration with a high school on a musical performance, I Was a Desert: Songs of the Matriarchs, and also your Girls in Trouble songs about women in the Torah. On your website, I had a look at the school, the high school, and the musical performance. It was extraordinary. I was watching you in the school there and it's just such extraordinary work. It very much inspired me—not to do it myself, but it was just so wonderful. I do urge people to go to your website and just watch a few minutes of it. I'm inspired by elements of religion, Christian and Jewish, but I wondered if you've come up against any issues with adaptation—respecting your heritage but also reinventing it. How has this gone for you. Any advice for people who want to incorporate aspects of religion they love but are worried about responses? Alicia: Well, I have to say, coming from the Jewish tradition, that is a core practice of Judaism—reinterpreting our texts and traditions, wrestling with them, arguing with them, reimagining them. I don't know if you're familiar with Midrash, but just in case some of your listeners aren't sure I'll explain it. There's essentially an ancient form of fanfic called Midrash, which was the ancient rabbis, and we still do it today, taking a biblical story that seems to have some kind of gap or inconsistency or question in it and writing a story to fill that gap or recast the story in an interestingly different light. So we have this whole body of literature over thousands of years that are these alternate or added-on adventures, side quests of the biblical characters. What I'm doing from a Jewish perspective is very much in line with a traditional way of interacting with text. I've certainly never gotten any pushback, especially as I work in progressive Jewish communities. I think if I were in an extremely fundamentalist community, there would be a lot of different issues around gender and things like that. The interpretive process, even in those communities, is part of how we show respect for the text. When I was working with the high school—and I just want to call out the choir director, Ethan Chen, who has an incredible project where he brings in a different artist every two years to work with the choir, and they tend to have a different cultural focus each time. He invited me specifically to integrate my songwriting about biblical women with his amazing high school choir. I was really worried at first because most of them are not Jewish—very few of them, if any. I wanted to respect their spiritual paths and their religious heritages and not impose mine on them. So I spent a lot of time at the beginning saying, this project has religious source material, but essentially it is a creative reinterpretive project. I am not coming to you to bring the religious material to you. I'm coming to take the shared Hebrew Bible myths and then reinterpret those myths through a lens of how they might reflect our own personal struggles, because that's always my approach to these ancient stories. I wanted to really make that clear to the students. It was such a joy to work with them. Joanna: It's such an interesting project. Also, I find with musicians in general this idea of performance. You've written this thing—or this thing specifically with the school—and it doesn't exist again, right? You're not selling CDs of that, I presume. Whereas compared to a book, when we write a book, we can sell it forever. It doesn't exist as a performance generally for an author of a memoir or a novel. It carries on existing. So how does that feel, the performance idea versus the longer-lasting thing? I mean, I guess the video's there, but the performance itself happened. Alicia: I do know what you mean. Absolutely. We did, for that reason, record it professionally. We had the sound person record it and mix it, so it is available to stream. I'm not selling CDs, but it's out there on all the streaming services, if people want to listen. I do also have the scores, so if a choir wanted to sing it. The main point that you're making is so true. I think there's actually something very sacred about live performance—that we're all in the moment together and then the moment is over. I love the artefacts of the writing life. I love writing books. I love buying and reading books and having them around, and there's piles of them everywhere in this room I'm standing in. I feel like being on stage, or even teaching, is a very spiritual practice for me, because it's in some ways the most in-the-moment I ever am. The only thing that matters is what's happening right then in that room. It's fleeting as it goes. I'm working with the energy in the room while we're there. It's different every time because I'm different, the atmosphere is different, the people are different. There's no way to plan it. The kind of micro precision that we all try to bring to our editing—you can't do that. You can practice all you want and you should, but in the moment, who knows? A string breaks or there's loud sound coming from the other room. It is just one of those things. I love being reminded over and over again of the truth that we really don't control what happens. The best that we can do is ride it, surf it, be in it, appreciate it, and then let it go. Joanna: I think maybe I get a glimpse of that when I speak professionally, but I'm far more in control in that situation than I guess you were with—I don't know how many—was it a hundred kids in that choir? It looked pretty big. Alicia: It was amazing. It was 130 kids. Yes. Joanna: 130 kids! I mean, it was magic listening to it. And yes, of course, showing my age there with buying a CD, aren't I? Alicia: Well, I do still sell some CDs of Girls in Trouble on tour, because I have a bunch of them and people still buy them. I'm always so grateful because it was an easier life for touring musicians when we could just bring CDs. Now we have to be very creative about our merch. Joanna: Yes, that's a good point because people are like, “Oh yes, I'll scan your QR code and stream it,” but you might not get the money for that for ages, and it might just be five cents or whatever. Alicia: Streaming is terrible for live musicians. I mean, I don't know if you know the site Bandcamp, but it's essentially self-publishing for musicians. Bandcamp is a great way around that, and a lot of independent musicians use it because that's a place you can upload your music and people can pay $8 for an album. They can stream it on there if they want, or they can download it and have it. But, yes, it's hard out there for touring musicians. Joanna: Yes, for sure. Well, let's come to the book then. Your memoir, When We Are Born We Forget Everything. Tell us about some of the challenges of a book as opposed to these other types of performances. Alicia: Well, I come out of poetry, so that was my first love. That's what I majored in in college. That's what my MFA is in. Poetry is famously short, and I'm not one of those long-form poets. I have been trained for many years to think in terms of a one-page arc, if at all. Arc isn't even really a word that we use in poetry. So to write a full-length prose book was really an incredible education. Writing it basically took ten years from writing to publication, so probably seven years of writing and editing. I felt like there was an MFA-equivalent process in the number of classes I took, books I read, and work that went into it. So that was one of my main joys and challenges, really learning on the job to write long-form prose coming out of poetry. How to keep the engine going, how to think about ending one chapter in a way that leaves you with some torque or momentum so that you want to go into the next chapter. How many characters is too many? Who gets names and who doesn't? Some of these things that are probably pretty basic for fiction writers were all very new to me. That was a big part of my process. Then, of course, poets don't usually have agents. So once it was done, I began to query agents. It was the normal sort of 39 rejections and then one agent who really understood what I was trying to do. She's incredible, and she was able to sell the book. The longevity of just working on something for that long—I have a lot of joy in that longevity—but it does sometimes feel like, is this ever going to happen, or am I on a fool's errand? Joanna: I guess, again, the difference with performance is you have a date for the performance and it's done then. I suppose once you get a contract, then for sure it has to be done. But memoir in particular, you do have to set boundaries, because of course your life continues, doesn't it? So what were the challenges in curating what went into the book? Because many people listening know memoir is very challenging in terms of how personal it can be. Alicia: Yes, and one thing I think is so fascinating about memoir is choosing which lens to put on your story, on your own story. I heard early on that the difference between autobiography and memoir is that autobiography tries to give a really comprehensive view of a life, and memoir is choosing one lens and telling the story of a life through that lens, which is such a beautiful creative concept. I knew early on that I wanted this to be primarily a spiritual memoir, and also somewhat of an artistic memoir, because my creativity and my spirituality are so intertwined. It started off being spiritual, and also about my musical life, and also about my writing life. In the end, I edited out the part about my writing life, because writing about writing was just too navel-gazing. So there's nothing in there about me coming of age as a writer, which used to be in there, but that whole thing got taken out. Now it's spiritual and musical. For me, it really helped to start with those focuses, because I knew there may be things that were hugely important in my life, absolutely foundational, that were not really going to be either mentioned or gone deeply into in the book. For example, my husband teases me a lot about how few pages and words he gets. He's very important in my life, but I actually met him when I was 29, and this book really mainly takes place in the years leading up to that. There's a little bit of winding down in the first few years of my thirties, but this is not a book about my life with him. He is mentioned in it. That story is in there. Having those kinds of limitations around the canvas—there's a quote, I forget if it was Miranda July, but somebody said something like, basically when you put a limitation on your project, that's when it starts to be a work of art. Whatever it is, if you say, “I'm taking this canvas and I'm using these colours,” that's when it really begins, that initial limitation. That was very helpful. Joanna: It's also the beauty of memoir, because of course you can write different memoirs at different times. You can write something about your writing life. You can write something else about your marriage and your family later on. That doesn't all have to be in one book. I think that's actually something I found interesting. And I would also say in my memoir, Pilgrimage, my husband is barely mentioned either. Alicia: Does he tease you too? Joanna: No, I think he's grateful. He is grateful for the privacy. Alicia: That's why I keep saying, you should be grateful! Joanna: Yes. You really should. Like, maybe stop talking now. Alicia: Yes, exactly. I know. Marriage, memoir—those words should strike fear into his heart. Joanna: They definitely should. But let's just come back. When I look at your career— You just seem such an independent creative, and so I wondered why you decided to work with a traditional publisher instead of being an independent. How are you finding it as someone who's not in charge of everything? Alicia: It's a great question. The origin story for this memoir is that I was actually reading poetry at a writing conference called Bread Loaf in the States. This was 16 years ago or something. I was giving a poetry reading and afterwards an agent, not my agent, came up to me and said, you know, you have a voice. You should try writing nonfiction because you could probably sell it. Back to your question about how I support myself, I am always really hustling to make a living. It's not like I have some separate well-paying job and the writing has no pressure on it. So my ears kind of perked up. I thought, wait, getting paid for writing? Because poetry is literally not in the world. It's just not a concept for poets. That's not why we write and it's not a possibility. So a little light turned on in my brain. I thought, wow, that could be a really interesting element to add to my income stream, and it would be flexible and it would be meaningful. For a few years I thought, what nonfiction could I write? And I came up with the idea of writing a book about biblical women from a more scholarly perspective, because I teach that material and I've studied it. I went to speak to another agent and she said, well, you could do that, but if you actually want to sell a book, it's going to have to be more of a trade book. So if you don't want an academic press, which wouldn't pay very much, you would have to have some kind of memoir-like stories in there to just sweeten it so it doesn't feel academic. So then I began writing a little bit of spiritual memoir. I thought, okay, well, I'll write about a few moments. Then once I started writing, I couldn't stop. The floodgates really opened. That's how it ended up being a spiritual memoir with interwoven stories of biblical women. It became a hybrid in that sense. I knew from the beginning that this project—for all my saying earlier that I never plan anything and only work on instinct, I was thinking as I said that, that cannot be true. This time, I actually thought, what if, instead of coming from this pure, heart-focused place of poetry, I began writing with the intention of potentially selling a book? The way my fiction writer friends talked about selling their books. So that was always in my mind. I knew I would continue writing poetry, continue publishing with small presses, continue putting my own music out there independently, but this was a bit of an experiment. What if I try to interface with the publishing world, in part for financial sustainability? And because I had a full draft before I queried, I never felt like anyone was telling me what to write. I can't imagine personally selling a book on proposal, because I do need that full capacity to just swerve, change directions, be responsive to what the project is teaching me. I can't imagine promising that I'll write something, because I never know what I'll write. But writing at least a very solid draft first, I'm always delighted to get notes and make polish and rewrite and make things better. I took care of that freedom in the first seven years of writing and then I interfaced with the agent and publisher. Joanna: I was going to say, given that it's taken you seven to ten years to do this and I can't imagine that you're suddenly a multimillionaire from this book. It probably hasn't fulfilled the hourly rate that perhaps you were thinking of in terms of being paid for your work. I think some people think that everyone's going to end up with the massive book deal that pays for the rest of their life. I guess this book does just fit into the rest of your portfolio career. Alicia: Yes. One of the benefits of these long arcs that I like to work on is, one of them—and probably the primary one—is that the project gets to unfold on its own time. I don't think I could have rushed it if I wanted. The other is that it never really stopped me from doing any of my other work. Joanna: Mm-hmm. Alicia: So it's not like, oh, I gave up months of my life and all I got was this advance or something. It's like, I was living my life and then when I had a little bit of writing time—and I will say, it impacted my poetry. I haven't written as much poetry because I was working on this. So it wasn't like I just added it on top of everything I was already doing, but it was a pleasure to just switch to prose for a while. It was just woven into my life. I appreciated having this side project where no one was waiting for it. There were no deadlines, there was no stress around it, because I always have performances to promote and due dates for all kinds of work. It was just this really lovely arena of slow growth and play. When I wanted a reader, I could do a swap with a writer friend, but no one was ever waiting for it on deadline. So there's actually a lot of pleasure in that. Then I will say, I think I've made more from selling this than my poetry. Probably close to ten times more than I've ever made from any of my poetry. So on a poetry scale, it's certainly not going to pay for my life, but it actually does make a true financial difference in a way that much of my other work is a little more bit by bit by bit. It's actually a different scale. Joanna: Well, that's really good. I'm glad to hear that. I also want to ask you, because you've done so many things, and— I'm fascinated by your independent film, A Kaddish for Bernie Madoff. I have only watched the trailer. You are in it, you wrote it, directed it, and it's also obviously got other people in, and it's fascinating. It's about this particular point in history. I've written quite a lot of screenplay adaptations of my novels, and I've had some various amounts of interest, but the whole film industry to me is just a complete nightmare, far bigger nightmare than the book industry. So I wonder if you could maybe talk about this, because it just seems like you made a film, which is so cool. Alicia: Oh yes, thank you. Joanna: And it won awards, yes, we should say. Alicia: Did we win awards? Yes. It really, for an extremely low-budget indie film, went far further than my team and I could ever have imagined. I will say I never intended to make a film. Like most of the best things in my life, it really happened by accident. When I was living in New York— I lived there for many years—the 2008 financial collapse happened and I happened to have an arts grant that gave a bunch of artists workspace, studio space, in essentially an abandoned building in the financial district. It was an empty floor of a building. The floor had been left by the previous tenant, and there's a nonprofit that takes unused real estate in the financial district and lets artists work in it for a while. So I was on Wall Street, which was very rare for me, but for this year I was working on Wall Street. Even though I was working on poems, the financial collapse happened around me, and I did get inspired by that to create a one-woman show, which was more of a theatre show. That was already a huge leap for me because I had no real theatre experience, but it was experimental and growing out of my poetry practice and my music. It was a musical one-woman show about the financial collapse from a spiritual perspective, apparently. So I performed that. I documented it, and then a friend who lives in Portland, Oregon, where I now live, said, “I'm a theatre producer, I'd like to produce it here.” So then I rewrote it and did a run here in Portland of that show. Essentially, I started to tour it a little bit, but I got tired of it. It was too much work and it never really paid very much, and I thought, this is impacting my life negatively. I just want to do a really good documentation of the show. So I wanted to hire a theatre documentarian to just document the show so that it didn't disappear, like you were saying before about live performance. But one of the people I talked to actually ended up being an artistic filmmaker, as opposed to a documentarian. She watched the archival footage, just a single camera of the show, and said, “I don't think you should do this again and film it with three cameras. I think you should make it into a feature film. And in fact, I think maybe I should direct it, because there's all this music in it and I also direct music videos.” We had this kind of mind meld. Joanna: Mm. Alicia: I never intended to make a film, but she is a visionary director and I had this piece of IP essentially, and all the music and the writing. We adapted it together. We did it here in Portland. We did all the fundraising ourselves. We did not interface with Hollywood really. I think that would be, I just can't imagine. I love Hollywood, but I'm not really connected, and I can't imagine waiting for someone to give us permission or a green light to make this. It was experimental and indie, so we just really did it on the cheap. We had an amazing producer who helped us figure out how to do it with the budget that we had. We worked really hard fundraising, crowdfunding, asking for donations, having parties to raise money, and then we just did it and put it out there. I think my main advice—and I hear this a lot on screenwriting podcasts—is just make the thing. Make something, as opposed to trying to get permission to make something. Because unless you're already in that system, it's going to be really hard to get permission to make it. Once you make something, that leads to something else, which leads to something else. So even if it's a very short thing, or even if it's filmed on your phone, just actually make the thing. That turned out to be the right thing for us. Joanna: Yes, I mean, I feel like that is what underpins us as independent creatives in general. As an independent author, I feel the same way. I'm never asking permission to put a book in the world. No, thank you. Alicia: Exactly. We have a vision and we do it. It's harder in some ways, but that liberation of being able to really fully create our vision without having to compromise it or wait for permission, I think it's such a beautiful thing. Joanna: Well, we're almost out of time, but I do want to ask you about creative confidence. Alicia: Hmm. Joanna: I feel I'm getting a lot of sense about this at the moment, with all the AI stuff that's happening. When you've been creating a long time, like you and I have, we know our voice and we can lean into our voice. We are creatively confident. We'll fail a lot, but we'll just push on and try things and see what happens. Newer creators are struggling with this kind of confidence. How do I know what is my voice? How do I know what I like? How do I lean into this? So give us some thoughts about how to find your voice and how to find that creative confidence if you don't feel you have it. Alicia: I love that. One thing I will say is that I always think whatever is arising is powerful material to create from. So if a lack of confidence is arising, that's a really powerful feeling to directly explore and not just try to ignore. Although sometimes one has to just ignore those feelings. But to actually explore that feeling, because AI can't have that, right? AI can't really feel a crisis of confidence, and humans can. So that's a gift that we have, those kinds of sensitivities. I think to go really deep into whatever is arising, including the sense that we don't have the right to be creating, or we're not good enough, or whatever it is. Then I always do come back to a quote. I think it might have been John Berryman, but I'm forgetting which poet said it. A younger poet said, “How will I ever know if I'm any good?” And this famous poet said something like—I'm paraphrasing—”You'll never know if you're any good. If you have to know, don't write.” That has been really liberating to me, actually. It sounds a little harsh, but it's been really liberating to just let go of a sense of “good enough.” There is no good enough. The great writers never know if they're good enough. Coming back to this idea of just making without permission—the practice of doing the thing is being a writer. Caring and trying to improve our craft, that's the best that we can have. There's never going to be a moment where we're like, yes, I've nailed this. I am truly a hundred per cent a writer and I have found my voice. Everything's always changing anyway. I would say, either go into those feelings or let those feelings be there. Give them a little tea. Tell them, okay, you're welcome to be here, but you don't get to drive the boat. And then return to the practice of making. Joanna: Absolutely. Great. So where can people find you and your books and everything you do online? Alicia: Everything is on my website, which is AliciaJo.com, and also on Instagram at @ohaliciajo. I'd love to say hello to anyone who's interested in similar topics. Joanna: Brilliant. Well, thanks so much for your time, Alicia. That was great. Alicia: Thank you. I love your podcast. I'm so grateful for all that you've given the writing world, Jo.The post Creative Confidence, Portfolio Careers, And Making Without Permission with Alicia Jo Rabins first appeared on The Creative Penn.

When we individually speak up and stand up for truth, we're collectively building the kingdom of God. Today's guest, Tammy Uzelac Hall, shares her experience learning that as we pay the price to study the doctrine of the gospel and really know the stories of the women in scripture who came before us, our spiritual confidence grows and our declarations of truth become even more powerful. With this kind of faith, we're able to boldly share testimony, and like they did, accomplish what the Lord needs of us. "Sisters, we need your voices teaching the doctrine of Christ. We need your ability as women to detect deception and to articulate truth. We need your inspired wisdom in your family, ward, and stake councils, as well as in other places of influence throughout the world. Your family, the Church, and the world need you!" President Russell M. Nelson, "The Influence of Women" Our voices are needed—and they matter! Tammy Uzelac Hall is the host of the Sunday On Monday podcast. She loves all things scripture and is a lifelong student of the Hebrew language. Both her bachelor's and master's degrees are from BYU. Notes: "The Influence of Women," 2024 Relief Society Devotional address by President Russell M. Nelson Sunday on Monday is a weekly Come, Follow Me podcast where Tammy and guests dig into the scriptures together. It is a Deseret Book Bookshelf+ exclusive. Full episodes can be accessed with a Bookshelf+ subscription. Start your free 30-day trial! Listen to other Magnify podcast episodes with Tammy! Joy Brings us Mission and Purpose You are on the brink of something wonderful! How to count it all for joy Cheering for Peace

Welcome to Day 2808 of Wisdom-Trek. Thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom. Day 2808 – Wisdom Nuggets – Psalm 117:1-2 – Daily Wisdom Wisdom-Trek Podcast Script - Day 2808 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day two thousand eight hundred eight of our Trek. The Purpose of Wisdom-Trek is to create a legacy of wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. The Title for Today's Wisdom-Trek is: The Shortest Song with the Largest Stage – Calling the Nations Home Today, we are undertaking a fascinating and entirely unique stage of our journey. We are stepping into the absolute center of the Bible to explore Psalm One Hundred Seventeen, covering its entirety—which is just verses one through two, in the New Living Translation. This is a milestone for a couple of reasons. First, Psalm One Hundred Seventeen holds the distinct title of being the shortest chapter in the entire Bible. It consists of only two verses and, in the original Hebrew, a mere seventeen words. Second, it is widely considered the middle chapter of the Protestant Bible. But do not let its brevity fool you. What this psalm lacks in word count, it makes up for in cosmic, earth-shaking theology. In our previous trek through Psalm One Hundred Sixteen, we listened to an intensely personal, intimate testimony. We heard the voice of a single, desperate individual who had been wrapped in the terrifying cords of death. We saw Yahweh, the Most High God, stoop down from heaven to listen to one man's whispered cry for help. It was a beautiful picture of individual salvation, ending with the psalmist paying his vows in the temple courts of Jerusalem. Today, the camera pans out. We move from the microscopic to the macroscopic. The single voice of the rescued individual in Psalm One Hundred Sixteen suddenly turns into a megaphone, broadcasting a summons to the entire planet. Psalm One Hundred Seventeen is still part of the "Egyptian Hallel," the songs sung during the Passover festival. But here, the focus breaks completely out of the borders of Israel. It is a trumpet blast directed at the pagan world. It is a declaration of cosmic warfare, and a radical invitation of grace. So, let us unpack these two massive, monumental verses together. The First Segment is: The Cosmic Summons: Reclaiming the Disinherited. Psalm One Hundred Seventeen: verse one. Praise the Lord, all you nations. Praise him, all you people of the earth. The psalm explodes right out of the gate with a command: "Praise the Lord, all you nations." To modern ears, this sounds like a standard, generic call to worship. But to the Ancient Israelite, singing this in the courts of the temple, this was a jaw-dropping, radical statement. It requires us to look through the lens of the Ancient Israelite Divine Council worldview, as taught by scholars like Dr. Michael S. Heiser. We must go all the way back to Genesis Chapter Eleven and the Tower of Babel. At Babel, humanity rebelled against Yahweh, refusing to spread out and fill the earth. In response, God judged the nations. But He didn't just confuse their languages; He disinherited them. According to Deuteronomy Chapter Thirty-two, verses eight through nine, God divided the nations and placed them under the authority of lesser spiritual beings—the "sons of God," or the divine council. Yahweh then stepped back and started over with one man, Abraham, to create His own special portion: Israel. From that moment on, the "nations" (the goyim) were viewed as foreign territory. They were under the jurisdiction of rebel gods, hostile principalities, and dark spiritual forces. They worshipped idols of wood and stone, which we saw mocked so thoroughly back in Psalm One Hundred Fifteen. So, when the psalmist stands up and shouts, "Praise Yahweh, all you nations!" he is doing something incredibly audacious. He is crossing enemy lines. He is essentially serving an eviction notice to the rebel gods. He is looking at the people of Egypt, Babylon, Philistia, and Assyria, and he is saying, "Your gods have failed you. They are dead. The time of your exile from the Creator is coming to an end. Yahweh is calling you back!" The parallel phrase, "Praise him, all you people of the earth," uses the Hebrew word ummim, which refers to tribes, clans, and people groups. The psalmist leaves no one out. The invitation is universal. God is not content to simply be the local deity of a small strip of land in the Middle East. He is the Maker of Heaven and Earth, and He demands, and invites, the adoration of every human being on the planet. This is why the Apostle Paul quotes this exact verse in Romans Chapter Fifteen, verse eleven. Paul uses Psalm One Hundred Seventeen to prove to the early church that the inclusion of the Gentiles—the non-Jewish people—was not a New Testament "Plan B." It was God's plan all along. The ultimate goal of choosing Israel was to create a beacon of light that would eventually draw all the disinherited nations back into the family of God. The Second Segment is: The Gravity of Grace: Why the Nations Should Sing. Psalm One Hundred Seventeen: verse two. For his unfailing love for us is powerful; the Lord's faithfulness endures forever. Praise the Lord! If verse one is the Command, verse two provides the Reason. Why should the pagan nations, who have spent centuries worshipping other gods, suddenly turn and praise Yahweh? The psalmist gives two reasons, rooted in two of the most important words in the Hebrew Bible: Unfailing Love (Hesed) and Faithfulness (Emet). Let us look closely at the first phrase: "For his unfailing love for us is powerful." Hesed is God's loyal, covenant-keeping, relentless love. But notice the direction of this love. The psalmist says His love for "us" is powerful. "Us" refers to Israel. This raises a fascinating question. Why should the nations praise God for the love He showed to Israel? If you are a Babylonian, why do you care that God loves the Jewish people? The answer lies in the promise given to Abraham in Genesis Chapter Twelve: "I will bless you... and all the families on earth will be blessed through you." Israel was never meant to be a reservoir of God's grace; they were meant to be a river. God's Hesed toward Israel—rescuing them from Egypt, giving them the law, protecting them from enemies, and bearing patiently with their constant rebellion—was the vehicle through which salvation would reach the rest of the world. When the nations look at how Yahweh treated Israel, they see a God who keeps His promises. They see a God who does not annihilate His people when they mess up. And they realize, "If this God is that intensely loyal and loving to Israel, maybe there is hope for us, too. Maybe we can be grafted into that same covenant." Furthermore, the word translated as "powerful" (gabar) is an incredibly muscular word. It means to prevail, to be mighty, or to overwhelm. It is the same word used in the story of Noah's Ark, when the floodwaters "prevailed" over the tops of the highest mountains. The psalmist is saying that God's unfailing love is a flood. It cannot be contained by the borders of Israel. It prevails over human sin. It prevails over the rebellious spiritual principalities of the Divine Council. It overtops the highest mountains of human resistance, and spills out to cover the entire globe. The Third Segment is: The Eternal Echo: Truth That Outlasts Time. The second half of the reason is just as anchoring: "...the Lord's faithfulness endures forever." The word for faithfulness is Emet, which means truth, reliability, and stability. In a world governed by chaotic pagan gods who were unpredictable, petty, and easily angered, the concept of a God whose truth "endures forever" was revolutionary. The gods of the nations rose and fell with their empires. Where is Marduk today? Where is Baal? They are buried in the dust of history, remembered only in museums and archaeological digs. But the faithfulness of Yahweh remains. His truth does not have an expiration date. Because His love is overwhelmingly powerful, and His truth is eternally stable, the nations have a solid rock upon which to stand. They are invited to leave the shifting sands of the world's chaos, and step into the eternal security of the Creator's household. The psalm concludes with the great bookend of the Hallel: "Praise the Lord!" Or, Hallelujah! When Jesus sang this psalm with His disciples on the night of the Last Supper, He knew exactly what He was about to do. He was about to walk to the cross to demonstrate the ultimate, prevailing power of God's Hesed. He was...

www.dailybreadmoms.com Now coming to busy moms all over the world as a daily podcast! Daily Bread follows the weekly Torah Portion, one part each day, together with a healthy balance from the rest of Scripture — all in one year. More than just a one-year Bible reading plan, Daily Bread is designed as a journal, with a comprehensive Hebrew calendar. To support the podcast - www.patreon.com/dailybreadmoms Check out the Daily Bread Torah Class, LIVE from Israel! Join anytime. larsenarson.com/torah The Journals are available here: arielmedia.shop/

What kind of mom puts her baby in a river? A faithful one. In this episode of the Gather Moms Podcast, we continue our Bible Moms series with the powerful story of Jochebed — Moses' mother — and what her courage teaches us about doing what we can… and trusting God with the rest. Her story (Exodus 1:22–2:10) unfolds under a terrifying decree: every Hebrew baby boy is to be thrown into the Nile. Jochebed hides her son for three months. When she can't hide him any longer, she builds a waterproof basket, places him strategically among the reeds, and stations her daughter nearby to watch. This isn't reckless surrender. It's intentional faith. And here's the detail you may have never noticed: the word used for “basket” is the same word used for Noah's ark. Moses is placed into a mini-ark — another story of God rescuing someone through water in the midst of evil. Hebrews 11 tells us she acted by faith. She did not fear the king's edict. She feared God more. And though she gets her son back for a season, she eventually has to release him again — raising him only to let him go. Her story holds both grief and joy in the same hand.This episode is for moms learning to surrender outcomes they can't control. You may not determine the ending — but you can build the basket. In this episode, we talk about: The second step of Bible study: interpretation — what does it mean? Why the Holy Spirit is our greatest guide when reading Scripture The powerful “mini-ark” connection between Moses and Noah The difference between being a strategic mom and a steamroller mom How to hold grief and joy at the same time Where you may need to “shore up protection” in your child's life What it means to trust God more than cultural pressure Scripture referenced: Exodus 1:22–2:10; Hebrews 11:23–24; 1 Corinthians 2:11 Next steps:Join us on Gather Moms Patreon as we continue our “Luke for Lent” series. It's not too late to jump in! This simple, doable reading plan is designed especially for busy moms who want to grow in their understanding of God's Word. Download the Patreon app and search Gather Moms to join us — we would love to walk through this season with you. We're also so excited to partner with Sky Ranch Camps in Van, Texas. If you're looking for an unforgettable overnight camp experience for your child (ages 6–16), Sky Ranch offers screen-free fun, lifelong friendships, and incredible godly mentors. Get $200 off your child's first week of overnight summer camp with code GATHERMOMS at skyranch.org. Come see the difference where camp is crazy fun with a powerful purpose. Gather Moms: Instagram | Twitter | Facebook Kate Henderson: Instagram | Facebook Rebecca Bradford: Instagram | Facebook

In this episode of the Jewish Inspiration Podcast, Rabbi Aryeh Wolbe shares a profound insight on Parshas Tetzaveh, inspired by a D'var Torah from Rabbi Blachman (Jerusalem). The Parsha describes the High Priest's vestments twice mentioning the names of the 12 tribes: once on the Choshen (breastplate) with individual stones over the heart, and again on the Avnei Shoham (shoulder stones of remembrance). Why the duplication? The sages explain it as a model for every Jew, especially the Kohen: the heart must first hold deep love and concern for every fellow Jew (as exemplified by Aharon, the ultimate lover and pursuer of peace – ohev shalom v'rodef shalom), feeling their pain and joy internally. But love alone is insufficient; the shoulders must carry their burdens – sharing grief, challenges, and responsibilities as one's own ("you're my brother, you ain't heavy").Rabbi Wolbe illustrates this with stories: Aharon reconciling disputants through empathy; Reb Chaim Shmulevitz's Yom Kippur teaching that one who hasn't lost sleep over the Jewish people's spiritual/physical plight has no business praying; feeling Hashem's "pain" over estranged children; carrying joy (dancing alone for a distant student's wedding); and practical empathy (e.g., yellow ribbons for hostages as reminders to feel others' pain). He stresses avoiding desensitization in a news-saturated world, pursuing peace without quarrels (a Kohen in conflict couldn't serve), and living beyond oneself – feeling others' burdens while maintaining joy (as the Shechinah rests only in simcha). The episode ends with a discussion on positive communication (e.g., the Still Face experiment, praise boosting performance) and responding to children's needs through listening rather than waiting for tantrums._____________This Podcast Series is Generously Underwritten by Peter & Becky BotvinRecorded at TORCH Centre in the Levin Family Studios (B) to a live audience on February 27, 2026, in Houston, Texas.Released as Podcast on March 2, 2026_____________Listen, Subscribe & Share: Apple Podcasts: https://podcasts.apple.com/us/podcast/jewish-inspiration-podcast-rabbi-aryeh-wolbe/id1476610783Spotify: https://open.spotify.com/show/4r0KfjMzmCNQbiNaZBCSU7) to stay inspired! Share your questions at aw@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback, please email: awolbe@torchweb.org_____________Support Our Mission:Our Mission is Connecting Jews & Judaism. Help us spread Judaism globally by sponsoring an episode at torchweb.org.Your support makes a HUGE difference!_____________Listen MoreOther podcasts by Rabbi Aryeh Wolbe: NEW!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#JewishInspiration, #Parsha, #Tetzaveh, #Choshen, #Shoham, #Aharon, #Shalom, #CarryTheBurden, #KlalYisrael, #PursuePeace, #Empathy, #OneNationOneSoul, #JewishUnity ★ Support this podcast ★

Rabbi Gordon studies one chapter a day from Maimonides' classic legal work of Mishneh Torah. The original Hebrew text is read and then translated and clearly explained in English.

These classes teach the day's section of the weekly Torah portion. The lesson is taught using the original Hebrew text with the indispensable commentary of Rashi—both translated and elucidated so that anyone can follow along.

#top .av-special-heading.av-gs9o3p-940c48908dd744f2fd32cee5a019e8c7{ padding-bottom:10px; } body .av-special-heading.av-gs9o3p-940c48908dd744f2fd32cee5a019e8c7 .av-special-heading-tag .heading-char{ font-size:25px; } .av-special-heading.av-gs9o3p-940c48908dd744f2fd32cee5a019e8c7 .av-subheading{ font-size:15px; } Through My Bible Yr 03 – March 02Genesis 7:1 – 8:19 LISTEN HERE Through My Bible – March 02 Genesis 7:1 – 8:19 (EHV) https://wels2.blob.core.windows.net/tmb-ehv/03-0302db.mp3 See series: Through My Bible Genesis 7 1 The Lord said to Noah, “Come into the ark, you and your entire household, for I have seen that you are righteous before me in this generation. 2 From every clean animal take with you seven pairs, [1] a male and his female. From the animals that are not clean, take two, a male and his female. 3 Also from the ⎣clean⎦ birds of the sky take seven and seven, male and female, ⎣and of all the unclean birds, one pair, a male and a female⎦ [2] to keep their offspring alive on the face of the whole earth. 4 In seven days I will cause it to rain on the earth for forty days and forty nights. Every living thing that I have made, I will wipe off the face of the earth.” 5 Noah did everything that the Lord commanded him. The Flood 6 Noah was six hundred years old when the flood [3] came, and water covered the earth. 7 Noah went into the ark with his sons, his wife, and his sons' wives, because of the waters of the flood. 8 Clean animals, animals that are not clean, birds, and everything that creeps on the ground 9 went into the ark with Noah two by two (male and female), just as God had commanded Noah. 10 After seven days, the waters of the flood came on the earth. 11 In the six hundredth year of Noah's life, in the second month, on the seventeenth day of the month, on that very day, all the fountains of the great deep burst open, and the floodgates [4] of the sky were opened. 12 The rain came down on the earth for forty days and forty nights. 13 On that same day Noah, Noah's sons Shem, Ham, and Japheth, Noah's wife, and the three wives of his sons along with them entered the ark. 14 They went in with every animal according to its kind, all the livestock according to their kinds, every creeping thing that creeps on the earth according to its kind, and everything that flies according to its kind, flying birds of every sort. 15 Pairs of all the animals [5] that have the breath of life in them went to Noah in the ark. 16 A male and female of each animal that breathes went in, just as God had commanded Noah. Then the Lord shut Noah in. 17 The flood kept coming on the earth for forty days. The waters became deeper and lifted up the ark until it floated high above the earth. 18 The water kept increasing and overwhelmed the earth, and the ark was carried along on the surface of the water. 19 The water overwhelmed the earth. All the high mountains that were under the entire sky were covered. 20 The waters rose more than twenty feet above the mountains and covered them. 21 All living creatures [6] that moved on the earth perished, including birds, livestock, wild animals, every creeping thing that crawls on the earth, and all mankind. 22 Everything that breathed the breath of life through its nostrils, that is, everything that was on the dry land, died. 23 Every living thing that was on the face of the earth was wiped out, including mankind, livestock, creeping things, and birds of the sky. They all were wiped off the earth. Only Noah was left, as well as those who were with him in the ark. 24 The waters overwhelmed the earth for one hundred fifty days. Genesis 8 1 God remembered Noah, as well as all the animals and all the livestock that were with him in the ark. So God caused a wind to pass over the earth, and the waters subsided. 2 The fountains of the deep and the floodgates of the sky were also closed, and the rain from the sky was restrained. 3 The waters kept receding from the earth. After the end of one hundred fifty days the waters had decreased. 4 In the seventh month, on the seventeenth day of the month, the ark came to rest on the mountains of Ararat. 5 The waters receded continuously until the tenth month. In the tenth month, on the first day of the month, the tops of the mountains were visible. 6 Then at the end of forty days Noah opened the window he had made in the ark. 7 He sent out a raven, and it kept flying back and forth, until the waters were dried up from the earth. 8 Then he sent out a dove to see if the waters had receded from the surface of the ground, 9 but the dove found no place to rest its foot, and it returned to him in the ark, because there was water on the surface of the whole earth. Noah reached out his hand, took the dove, and brought it back to him in the ark. 10 He waited another seven days. Then he sent the dove out of the ark again. 11 The dove came back to him at evening, and there in its mouth was an olive leaf it had just plucked. So Noah knew that the waters had receded from the earth. 12 He waited another seven days and sent the dove out again. This time it did not return to him anymore. 13 And so in the six hundred first year, in the first month, on the first day of the month, the waters were dried up from the earth. Noah removed the covering of the ark and looked out. He saw that the surface of the ground was dry. 14 In the second month, on the twenty-seventh day of the month, the earth was dry. 15 God spoke to Noah. He said, 16 “Go out of the ark—you, your wife, your sons, and your sons' wives with you. 17 Bring out with you every living thing of every sort that is with you, all flesh, including birds, livestock, and every creeping thing that creeps on the earth, so that they may swarm over the earth, and be fruitful and multiply on the earth.” 18 Noah went out with his sons, his wife, and his sons' wives along with him. 19 Every animal, every creeping thing, every bird, and whatever swarms on the earth went out of the ship, species by species. [7] Footnotes Genesis 7:2 Literally by sevens. There is a difference of opinion whether seven pairs of each clean animal were to be taken onboard or seven of each clean animal: three pairs and one extra for sacrifice. Genesis 7:3 The words in the half-brackets are not present in the Hebrew text but are in the Greek Old Testament. It seems the Hebrew copyist's eye might have jumped from the occurrence of female before the first half-bracket to the occurrence of female before the second half-bracket. The loss of this phrase would lead to the removal of the word clean near the beginning of the verse. Genesis 7:6 Or deluge Genesis 7:11 Or windows Genesis 7:15 Literally all flesh Genesis 7:21 Literally all flesh Genesis 8:19 Literally by their families. Species here is not a narrow technical term as it is in present-day science. #top .hr.hr-invisible.av-aocsdx-89cb4ca21532423cf697fc393b6fcee0{ height:10px; } The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved. #top .hr.hr-invisible.av-4vzadh-3f04b370105df1fd314a2a9d83e55b26{ height:50px; } Share this entryShare on FacebookShare on LinkedInShare by MailLink to FlickrLink to InstagramLink to Vimeo

www.dailybreadmoms.com Now coming to busy moms all over the world as a daily podcast! Daily Bread follows the weekly Torah Portion, one part each day, together with a healthy balance from the rest of Scripture — all in one year. More than just a one-year Bible reading plan, Daily Bread is designed as a journal, with a comprehensive Hebrew calendar. To support the podcast - www.patreon.com/dailybreadmoms Check out the Daily Bread Torah Class, LIVE from Israel! Join anytime. larsenarson.com/torah The Journals are available here: arielmedia.shop/

The opening speeches of Deuteronomy recount suspiciously Maccabean chapters. Could this Moses be based on a real life "bigger than life" Hebrew hero? Join our tribe on Patreon! Check out these cool pages on the podcast's website:Home PageWho wrote the Bible: Timeline and authorsAncient maps: easy to follow maps to see which empire ruled what and whenClick here to see Exodus divided into "sources" according to the Documentary Hypothesis The podcast is written, edited and produced by Gil Kidron

Rabbi Gordon studies one chapter a day from Maimonides' classic legal work of Mishneh Torah. The original Hebrew text is read and then translated and clearly explained in English.

These classes teach the day's section of the weekly Torah portion. The lesson is taught using the original Hebrew text with the indispensable commentary of Rashi—both translated and elucidated so that anyone can follow along.

#top .av-special-heading.av-gs9o3p-8bf44820085cc3ff0d6342e1093100b9{ padding-bottom:10px; } body .av-special-heading.av-gs9o3p-8bf44820085cc3ff0d6342e1093100b9 .av-special-heading-tag .heading-char{ font-size:25px; } .av-special-heading.av-gs9o3p-8bf44820085cc3ff0d6342e1093100b9 .av-subheading{ font-size:15px; } Through My Bible Yr 03 – March 01Genesis 6 LISTEN HERE Through My Bible – March 01 Genesis 6 (EHV) https://wels2.blob.core.windows.net/tmb-ehv/03-0301db.mp3 See series: Through My Bible The World Descends Into Evil 1 This is what happened when mankind [1] began to multiply on the face of the earth. [2] When daughters were born to people, 2 the sons of God [3] saw that the daughters of men were beautiful, and they took as wives for themselves any of them they chose. 3 The Lord said, “My Spirit will not struggle [4] with man forever, because he is only flesh. [5] His days will be 120 years.” 4 The Nephilim [6] were on the earth in those days. After that, the sons of God went to the daughters of men, who bore children for them. Those became the powerful, famous men of ancient times. 5 The Lord saw that the wickedness of mankind was great on the earth, and that all the thoughts and plans they formed in their hearts were only evil every day. 6 The Lord regretted that he had made man on the earth, and his heart was filled with sorrow. [7] 7 The Lord said, “I will wipe out mankind, whom I have created, from the face of the earth, along with the animals, the creeping things, and the birds of the sky, because I regret that I have made them.” 8 But Noah found favor in the eyes of the Lord. Noah and the Ark 9 This is the account about the development of Noah's family. Noah was a righteous man, a man of integrity in that generation. Noah walked with God. 10 Noah became the father of three sons: Shem, Ham, and Japheth. 11 In the sight of God the earth was morally corrupt, and the earth was filled with violence. 12 God looked at the earth and saw that it was corrupt, for all flesh was corrupt in all their ways on the earth. 13 So God said to Noah, “I have decreed the end of all flesh, because the earth is filled with violence because of them. Now I am going to destroy them along with the earth. 14 “Make an ark [8] of gopher wood. [9] Make rooms in the ark. Seal it inside and outside with pitch. 15 This is how you are to make it: The length of the ark is to be 450 feet, its width 75 feet, and its height 45 feet. 16 Make a roof for the ark, and leave an eighteen-inch opening just under the roof. Place a door on the side of the ark. Make it with lower, second, and third decks. 17 “I myself am about to bring a flood of waters on the earth, in order to destroy all flesh under the sky that has the breath of life. Everything that is on the earth will die, 18 but I will establish my covenant [10] with you. You shall come into the ark—you, your sons, your wife, and your sons' wives with you. 19 You shall bring a pair (male and female) of every kind of living flesh into the ark with you to keep them alive. 20 Include the birds according to their kinds, the livestock according to their kinds, every creeping thing on the ground according to their kinds. Two of every sort shall come to you, so you can keep them alive. 21 Take with you every type of food that is eaten, and store it for yourself, so it can be used as food for you and for them.” 22 So that is what Noah did. He did everything that God commanded him, just as he had been told. Footnotes Genesis 6:1 Literally the adam. The rendering of adam may be man, men, or mankind. Genesis 6:1 The adamah, the soil or ground Genesis 6:2 The sons of God were the descendants of Seth. They were marrying the daughters of the ungodly line of Cain and of those who followed in Cain's way. Genesis 6:3 Or remain Genesis 6:3 Flesh may refer to both sinfulness and mortality. Genesis 6:4 Nephilim is simply a transliteration of the Hebrew word. Its meaning is uncertain, but it is explained by the last sentence of the verse. There can be no direct connection with the Nephilim in Canaan after the flood. Genesis 6:6 The exact force of the two verbs in this verse is difficult to render in English. God's regret and grief are not simply his sorrow over sin and its consequences, but that he will now change his course of action. Genesis 6:14 An ark is a box. The ark was apparently more like a floating box than like a ship. Genesis 6:14 Gopher is simply a transliteration of the Hebrew word. Many versions translate it as cypress, but we do not know what kind of wood it was. Genesis 6:18 Or agreement #top .hr.hr-invisible.av-aocsdx-89cb4ca21532423cf697fc393b6fcee0{ height:10px; } The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved. #top .hr.hr-invisible.av-4vzadh-3f04b370105df1fd314a2a9d83e55b26{ height:50px; } Share this entryShare on FacebookShare on LinkedInShare by MailLink to FlickrLink to InstagramLink to Vimeo

www.dailybreadmoms.com Now coming to busy moms all over the world as a daily podcast! Daily Bread follows the weekly Torah Portion, one part each day, together with a healthy balance from the rest of Scripture — all in one year. More than just a one-year Bible reading plan, Daily Bread is designed as a journal, with a comprehensive Hebrew calendar. To support the podcast - www.patreon.com/dailybreadmoms Check out the Daily Bread Torah Class, LIVE from Israel! Join anytime. larsenarson.com/torah The Journals are available here: arielmedia.shop/

Friday Bible Study (2/20/26) // Ezra 8:1-20 (ESV) // *Genealogy of Those Who Returned with Ezra*// 8 These are the heads of their fathers' houses, and this is the genealogy of those who went up with me from Babylonia, in the reign of Artaxerxes the king: 2 Of the sons of Phinehas, Gershom. Of the sons of Ithamar, Daniel. Of the sons of David, Hattush. 3 Of the sons of Shecaniah, who was of the sons of Parosh, Zechariah, with whom were registered 150 men. 4 Of the sons of Pahath-moab, Eliehoenai the son of Zerahiah, and with him 200 men. 5 Of the sons of Zattu,[a] Shecaniah the son of Jahaziel, and with him 300 men. 6 Of the sons of Adin, Ebed the son of Jonathan, and with him 50 men. 7 Of the sons of Elam, Jeshaiah the son of Athaliah, and with him 70 men. 8 Of the sons of Shephatiah, Zebadiah the son of Michael, and with him 80 men. 9 Of the sons of Joab, Obadiah the son of Jehiel, and with him 218 men. 10 Of the sons of Bani,[b] Shelomith the son of Josiphiah, and with him 160 men. 11 Of the sons of Bebai, Zechariah, the son of Bebai, and with him 28 men. 12 Of the sons of Azgad, Johanan the son of Hakkatan, and with him 110 men. 13 Of the sons of Adonikam, those who came later, their names being Eliphelet, Jeuel, and Shemaiah, and with them 60 men. 14 Of the sons of Bigvai, Uthai and Zaccur, and with them 70 men.Ezra Sends for Levites15 I gathered them to the river that runs to Ahava, and there we camped three days. As I reviewed the people and the priests, I found there none of the sons of Levi. 16 Then I sent for Eliezer, Ariel, Shemaiah, Elnathan, Jarib, Elnathan, Nathan, Zechariah, and Meshullam, leading men, and for Joiarib and Elnathan, who were men of insight, 17 and sent them to Iddo, the leading man at the place Casiphia, telling them what to say to Iddo and his brothers and[c] the temple servants at the place Casiphia, namely, to send us ministers for the house of our God. 18 And by the good hand of our God on us, they brought us a man of discretion, of the sons of Mahli the son of Levi, son of Israel, namely Sherebiah with his sons and kinsmen, 18; 19 also Hashabiah, and with him Jeshaiah of the sons of Merari, with his kinsmen and their sons, 20; 20 besides 220 of the temple servants, whom David and his officials had set apart to attend the Levites. These were all mentioned by name.Footnotesa. Ezra 8:5 Septuagint; Hebrew lacks of Zattub. Ezra 8: 10 Septuagint; Hebrew lacks Banic. Ezra 8: 17 Hebrew lacks andWebsite: ⁠⁠⁠⁠⁠⁠⁠⁠https://mbchicago.org⁠⁠⁠⁠⁠⁠⁠⁠ FOLLOW USFacebook: ⁠⁠⁠⁠⁠⁠⁠⁠  / mbc.chicago  ⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠  / mbc.chicago  ⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠  / mbc.chicago  ⁠⁠⁠⁠⁠⁠⁠⁠ TO SUPPORT US Zelle to: info@mbchicago.org Website: ⁠⁠⁠⁠⁠⁠⁠⁠https://mbchicago.org/give⁠⁠⁠⁠⁠⁠⁠⁠ Venmo: ⁠⁠⁠⁠⁠⁠⁠⁠https://venmo.com/mbchurch⁠⁠⁠⁠⁠⁠⁠⁠ DAF Donations: ⁠⁠⁠⁠⁠⁠⁠⁠https://every.org/mbc.chicago⁠⁠⁠⁠⁠⁠⁠⁠ PayPal: ⁠⁠⁠⁠⁠⁠⁠⁠https://paypal.com/donate/?hosted_but...⁠⁠⁠⁠⁠⁠⁠⁠

Rabbi Gordon studies one chapter a day from Maimonides' classic legal work of Mishneh Torah. The original Hebrew text is read and then translated and clearly explained in English.

These classes teach the day's section of the weekly Torah portion. The lesson is taught using the original Hebrew text with the indispensable commentary of Rashi—both translated and elucidated so that anyone can follow along.

Want more exclusive content?! http://prometheuslens.supercast.com to sign up for the "All Access Pass" and get early access to episodes, private community, members only episodes, private Q & A's, and coming documentaries. We also have a $4 dollar a month package that gets you early access and an ad free listening experience!====================About:Join us in season 2 of The Dig Bible Podcast as we take a look at the name of God. Many people seem to put a lot of stock on the importance of the name. Does God care what you call him? Is it like a spell that must be spoken correctly for him to hear you? Join us for this discussion and the sacred. name crowd. Enjoy!====================

In this episode, Avram and Thora interview Matthew L. Bowen, a professor of Religious Education from Brigham Young University-Hawaii. Bowen has published numerous studies on ancient wordplay in the Book of Mormon. Bowen discusses his study recently published in Interpreter: A Journal of Latter-day Saint Faith and Scholarship which explores Mormon's use of the Hebrew root ḥayil/ḥêl, a root that has a wide range of meanings, including “wealth,” “abundance,” and “army.” Bowen argues that Mormon deploys this in a variety of ways in his portrayal of the people of Helam in Mosiah 23, providing new perspectives on the idea of prosperity in the Book of Mormon. Building off of Bowen's paper, this episode talks about how this helps us better understand other ancient aspects of Nephite culture like orality and the centrality of the Exodus narrative. The post Conversations with Interpreter Episode 5: Matthew Bowen, “Naming and Narrative Irony in Mosiah 23” first appeared on The Interpreter Foundation.

Rabbi Gordon studies one chapter a day from Maimonides' classic legal work of Mishneh Torah. The original Hebrew text is read and then translated and clearly explained in English.

Fluent Fiction - Hebrew: Embracing Chaos: A Holiday Shopping Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2026-02-28-08-38-20-he Story Transcript:He: בחורף קר בעיר סואנת, איתן ומירה נכנסו לסופרמרקט.En: In a cold winter in a bustling city, Eitan and Mira entered the supermarket.He: אווירת החג התפשטה בכל מקום.En: The holiday spirit was everywhere.He: המדפים היו מלאים במעדנים ובממתקים צבעוניים.En: The shelves were filled with delicacies and colorful sweets.He: אנשים רבים הסתובבו בין המעברים, והיה קשה למצוא את הדרך.En: Many people wandered between the aisles, making it difficult to find the way.He: איתן אחז ברשימה שהייתה כל כך כללית שמשמעות המילים כמעט נעלמה.En: Eitan held a list that was so vague that the meaning of the words almost disappeared.He: הוא רצה בערב שיהיה נעים ושקט, אך הרשימה שכתב הייתה כמקום מפגש לניחושים.En: He wanted an evening that would be pleasant and quiet, but the list he wrote was like a meeting place for guesses.He: "ירקות חשובים, דברים לשתייה, חטיפי חג," כתב ולא הוסיף.En: "Important vegetables, things to drink, holiday snacks," he wrote, and added nothing further.He: מירה, עם ראשה בעננים, הביטה על הסביבה בצבעים מתחלפים.En: Mira, with her head in the clouds, looked at her surroundings with changing colors.He: היא רצתה לבקר בכל מדף ולגלות מה מסתתר שם.En: She wanted to visit every shelf and discover what was hidden there.He: "איתן," קראה לו, "תראה את הממתקים האלה!En: "Eitan," she called to him, "look at these sweets!"He: " היא התרגשה מכל דבר קטן.En: She was excited by every small thing.He: האולם נשמע כאולם מאורגן טוב אך מבולגן.En: The hall sounded well-organized but chaotic.He: איתן ניסה להתרכז במשימה, אך הרשימה התמוססה מול עיניו.En: Eitan tried to concentrate on the task, but the list dissolved before his eyes.He: "מירה," הוא פנה אליה בלחץ קל, "אנחנו צריכים ירקות ופירות לארוחת הערב.En: "Mira," he addressed her with slight pressure, "we need vegetables and fruits for dinner."He: ""אל דאגה, נמצא כל מה שצריך," היא חייכה.En: "Don't worry, we'll find everything we need," she smiled.He: לאחר זמן מה, מול מדף הירקות, איתן איבד את הסבלנות.En: After a while, in front of the vegetable shelf, Eitan lost his patience.He: "מה זה בכלל 'מרכיבים חיוניים'?En: "What are 'essential ingredients' anyway?He: אנחנו רבים ולא יודעים מה דרוש.En: We're arguing and don't know what's needed."He: "מירה צחקה.En: Mira laughed.He: "אפשר לקנות דברים שלא תכננו, זה יכול להיות מהנה!En: "We can buy things we didn't plan on, it can be fun!"He: ""רק אם זה יגרום לכולם לשמוח ולא לריב," הוא חשב בקול.En: "Only if it makes everyone happy and not argue," he thought aloud.He: האווירה הייתה חמה וחגיגית, אבל במוחו של איתן הייתה סערה של ספקות.En: The atmosphere was warm and festive, but in Eitan's mind, there was a storm of doubts.He: ואז, בהפתעה, הוא הניח את הרשימה בצד והתחיל לבחור באופן אינטואיטיבי.En: Then, surprisingly, he set the list aside and started choosing intuitively.He: הוא בחר במאכלים מעניינים ולא צפויים.En: He picked interesting and unexpected foods.He: "את יודעת מה?En: "You know what?"He: " הוא אמר למירה, "בואי ננסה לקחת דברים שמעולם לא לקחנו.En: he said to Mira, "let's try taking things we've never taken before."He: "עם עגלה מלאה במצרכים בלתי צפויים, הם הלכו בקצב מהיר לעבר הקופות.En: With a cart full of unexpected groceries, they quickly headed to the checkouts.He: בארוחת הערב המשפחתית, כולם התפלאו מהבחירות הייחודיות של איתן.En: At the family dinner, everyone was amazed by Eitan's unique choices.He: הכול זרם באופן בלתי צפוי ומרהיב.En: Everything flowed in an unexpected and splendid way.He: בסופו של הערב, איתן הביט סביב והבין, "מירה, אולי בכל זאת כדאי לפעמים לתת לדברים לזרום בלי כללים.En: At the end of the evening, Eitan looked around and realized, "Mira, maybe sometimes it's worth letting things flow without rules."He: " והרגע היה כתזכורת שלא צריך לפחד מבלגן, כי משם מגיעות כל ההפתעות הטובות.En: And the moment was a reminder that there's no need to fear chaos, because that's where all the good surprises come from. Vocabulary Words:bustling: סואנתdelicacies: מעדניםvague: כלליתpleasant: נעיםchaotic: מבולגןintuitive: אינטואיטיביunexpected: לא צפוייםcheckouts: קופותsplendid: מרהיבdoubts: ספקותunique: הייחודיותingredients: מרכיביםessential: חיונייםpressure: בלחץatmosphere: אווירהchaos: בלגןsurprises: הפתעותpatience: סבלנותwandered: הסתובבוstorm: סערהdiscover: לגלותarguing: רביםflow: לזרוםreminder: כתזכורתgrocery: המצרכיםdelightful: שקטaisles: מעבריםdissolved: התמוססהtask: משימהspirit: אוירהBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

#top .av-special-heading.av-gs9o3p-cede098beb8960b4523eca4cae995c9a{ padding-bottom:10px; } body .av-special-heading.av-gs9o3p-cede098beb8960b4523eca4cae995c9a .av-special-heading-tag .heading-char{ font-size:25px; } .av-special-heading.av-gs9o3p-cede098beb8960b4523eca4cae995c9a .av-subheading{ font-size:15px; } Through My Bible Yr 03 – February 28Genesis 4 – 5 LISTEN HERE Through My Bible – February 28 Genesis 4 – 5 (EHV) https://wels2.blob.core.windows.net/tmb-ehv/03-0228db.mp3 See series: Through My Bible The First Children: Cain and Abel Genesis 4 1 The man was intimate with Eve, his wife. She conceived and gave birth to Cain. She said, “I have gotten a man with the Lord.” [1] 2 She also gave birth to Cain's brother Abel. Abel tended sheep, but Cain worked the ground. 3 As time passed, one day Cain brought an offering to the Lord from the fruit of the soil. 4 Abel also brought some of the firstborn of his flock and their fat portions. The Lord looked favorably on Abel and his offering, 5 but he did not look favorably on Cain and his offering. Cain was very angry, and his face showed it. 6 The Lord said to Cain, “Why are you angry? Why do you have that angry look on your face? [2] 7 If you do good, will you not be lifted up? If you do not do good, sin is crouching at the door. It has a strong desire for you, but you must rule over it.” 8 Cain said to Abel, his brother, “Let's go into the field.” [3] When they were in the field, Cain attacked Abel, his brother, and killed him. 9 The Lord said to Cain, “Where is Abel, your brother?” He said, “I don't know. Am I my brother's keeper?” 10 The Lord said, “What have you done? The voice of your brother's blood is crying to me from the soil. 11 Now you are cursed and sent away from the soil [4] which has opened its mouth to receive your brother's blood from your hand. 12 When you work the soil, it will no longer give its strength to you. You shall be a fugitive and a wanderer on the earth.” 13 Cain said to the Lord, “My punishment is too great for me to bear. 14 Look, today you have driven me away from the soil. I will be hidden from your face, and I will be a fugitive and a wanderer on the earth. And whoever finds me will kill me.” 15 The Lord said to him, “No! [5] If anyone kills Cain, he will face sevenfold revenge.” And the Lord appointed a sign for [6] Cain, so that anyone who found him would not strike him down. The Descendants of Cain 16 Cain went out from the Lord's presence and lived in the land of Nod, [7] east of Eden. 17 Cain was intimate with his wife. She conceived and gave birth to Enoch. Cain built a city and named the city after his son Enoch. 18 To Enoch, Irad was born. Irad became the father of Mehujael. Mehujael became the father of Methushael. Methushael became the father of Lamech. 19 Lamech took two wives. The name of one was Adah, and the name of the other was Zillah. 20 Adah gave birth to Jabal, who was the predecessor [8] of those who dwell in tents and have livestock. 21 His brother's name was Jubal, who was the predecessor of all who play the lyre and flute. 22 Zillah also gave birth to Tubal Cain, who made all kinds of tools and weapons from bronze and iron. Tubal Cain's sister was Na'amah. 23 Lamech said to his wives: Adah and Zillah, hear my voice. You wives of Lamech, listen to my speech. Look, I have killed a man for wounding me, a young man for bruising me. 24 If Cain will be avenged seven times, then Lamech will be avenged seventy-seven times. The Family Line of Seth 25 Adam was intimate with his wife again. She gave birth to a son and named him Seth, [9] because she said, “God has set another child in place of Abel for me, since Cain killed him.” 26 Later a son was born to Seth, and he named him Enosh. This is when people began to proclaim [10] the name of the Lord. Genesis 5 1 This is the account about the development of Adam's family: In the day that God created man, he made him in the likeness of God. 2 He created them male and female and blessed them, and on the day they were created, he named them “mankind.” [11] 3 Adam lived 130 years, and he became the father of a son in his own likeness, according to his own image, and he named him Seth. 4 The days of Adam after he became the father of Seth were 800 years, and he became the father of sons and daughters. 5 All the days that Adam lived were 930 years. Then he died. 6 Seth lived 105 years, and he became the father of Enosh. 7 Seth lived 807 years after he became the father of Enosh, and he became the father of sons and daughters. 8 All the days of Seth were 912 years. Then he died. 9 Enosh lived 90 years, and he became the father of Kenan. 10 Enosh lived 815 years after he became the father of Kenan, and he became the father of sons and daughters. 11 All the days of Enosh were 905 years. Then he died. 12 Kenan lived 70 years, and he became the father of Mahalalel. 13 Kenan lived 840 years after he became the father of Mahalalel, and he became the father of sons and daughters. 14 All the days of Kenan were 910 years. Then he died. 15 Mahalalel lived 65 years, and he became the father of Jared. 16 Mahalalel lived 830 years after he became the father of Jared, and he became the father of sons and daughters. 17 All the days of Mahalalel were 895 years. Then he died. 18 Jared lived 162 years, and he became the father of Enoch. 19 Jared lived 800 years after he became the father of Enoch, and he became the father of sons and daughters. 20 All the days of Jared were 962 years. Then he died. 21 Enoch lived 65 years, and he became the father of Methuselah. 22 After he became the father of Methuselah, Enoch walked with God 300 years, and he became the father of sons and daughters. 23 All the days of Enoch were 365 years. 24 Enoch walked with God. Then, he was not there, for God took him. 25 Methuselah lived 187 years, and he became the father of Lamech. 26 After he became the father of Lamech, Methuselah lived 782 years, and he became the father of sons and daughters. 27 All the days of Methuselah were 969 years. Then he died. 28 Lamech lived 182 years and became the father of a son. 29 He named him Noah [12] and said, “This one will bring us comfort during our work and the hard labor that we must perform with our hands because the Lord has cursed the soil.” 30 Lamech lived 595 years after he became father of Noah, and he became the father of sons and daughters. 31 All the days of Lamech were 777 years. Then he died. 32 Noah was 500 years old, and Noah became the father of Shem, Ham, and Japheth. [13] Footnotes Genesis 4:1 Or, following Luther's translation, I have gotten a man, the Lord. The Jerusalem Targum reads I have acquired a man, the Angel of the Lord. Cain means get or acquire. Genesis 4:6 Literally why has your face fallen Genesis 4:8 The words let's go into the field, which are missing from the Hebrew text, are supplied from the ancient versions. Genesis 4:11 Here and in verse 14 the Hebrew word adamah, which can be translated ground or land, refers to the soil that Cain worked. Genesis 4:15 The translation no is supported by the ancient versions. The Hebrew reads very well then. Genesis 4:15 Or placed a mark on Genesis 4:16 Nod means wandering. Genesis 4:20 Literally father, that is, the founder of this way of life Genesis 4:25 Seth sounds like the Hebrew word for set or place. Genesis 4:26 Or call on Genesis 5:2 Hebrew adam Genesis 5:29 The name Noah sounds similar to the Hebrew words for rest and comfort. Genesis 5:32 It does not seem that all of Noah's sons were born in the same year. Translations disagree whether the sons were born by the time Noah was 500 years old or after he was 500 years old. #top .hr.hr-invisible.av-aocsdx-89cb4ca21532423cf697fc393b6fcee0{ height:10px; } The Holy Bible, Evangelical Heritage Version®, EHV®, © 2019 Wartburg Project, Inc. All rights reserved. #top .hr.hr-invisible.av-4vzadh-3f04b370105df1fd314a2a9d83e55b26{ height:50px; } Share this entryShare on FacebookShare on LinkedInShare by MailLink to FlickrLink to InstagramLink to Vimeo

Welcome to Day 2807 of Wisdom-Trek. Thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom. Day 2807 – Wisdom Nuggets – Psalm 116:15-19 – Daily Wisdom Wisdom-Trek Podcast Script - Day 2807 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day 2807 of our Trek. The Purpose of Wisdom-Trek is to create a legacy of wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. The Title for Today's Wisdom-Trek is: The Costly Departure – A Sacrifice of Thanksgiving Today, we are bringing our deeply personal journey through Psalm One Hundred Sixteen to a glorious, triumphant conclusion. We will be trekking through the final stanza of this profound song, covering verses fifteen through nineteen, in the New Living Translation. Before we take our next step, we must look back over our shoulder at the trail we just traveled. In our previous trek, covering the first fourteen verses of this psalm, we stood beside a man who had stared into the terrifying abyss of the underworld. We heard his raw, trembling testimony. He told us how the ropes of death had wrapped around his neck, and how the terrors of the grave had overtaken him. In his absolute helplessness, he cried out a simple prayer: "Please, Lord, save me!" And Yahweh, the Most High God, bent down from the heavens to listen. He severed the cords of death, dried the psalmist's tears, and stabilized his stumbling feet. In overwhelming gratitude, the psalmist lifted the "Cup of Salvation," promising to praise the Lord in the land of the living. We also remembered that this is part of the Egyptian Hallel, the collection of psalms sung during the Passover. Jesus Himself sang these very words in the Upper Room, just hours before He faced the ultimate terror of the cross. Now, as we enter the final five verses, the psalmist transitions from the private terror of his near-death experience, to the public courts of the temple. He begins with a stunning revelation about how God views the death of His people, and ends with a communal feast of thanksgiving. It is a transition from the darkness of the grave, to the bright, joyful center of cosmic geography: Jerusalem. Let us walk into the temple courts, and listen to the conclusion of this magnificent testimony. The first segment is: The Weight of the Faithful: A Costly Departure. Psalm One Hundred Sixteen: verse fifteen. Precious in the sight of the Lord is the death of his faithful servants. This single verse is one of the most famous, and frequently quoted, comforts in the entire Bible, especially during times of grief. But to truly understand its depth, we must peel back the layers of the original Hebrew language, and view it through the lens of the Ancient Israelite worldview. The word translated as "precious" is yaqar. In English, when we hear the word "precious," we often think of something sweet, sentimental, or cute. But that is not what yaqar means. In biblical Hebrew, yaqar means heavy, rare, costly, or of immense value. It is the word used to describe rare jewels, or the heavy, expensive stones used to lay the foundation of the temple. Therefore, the psalmist is not saying that God finds our death sweet or pleasant. Death is the enemy. Death, in the ancient mindset, was the ultimate expression of the chaotic realm of Sheol. Instead, the psalmist is making a profound statement about our value: "Heavy, costly, and of immense consequence in the sight of Yahweh, is the death of His faithful ones." God does not view the passing of His people casually. He does not treat us as expendable pawns on a cosmic chessboard. When the forces of chaos and disease try to drag a believer down into the grave, the Lord takes it personally. It costs Him something. He values His human imagers so highly, that their departure from this earth is an event of cosmic gravity. The term "faithful servants" is the Hebrew word chasidim, which is rooted in Hesed—God's unfailing, loyal, covenant love. The chasidim are the loyal ones, the ones bound to God by covenant. Because He is fiercely loyal to them, He does not surrender them to the grave without a fight. In the case of this psalmist, God looked at the high cost of his death, stepped into the fray, and said, "Not today." He severed the ropes of Sheol, because the life of His servant was simply too valuable to lose to the darkness. When Jesus sang this verse on the night of His betrayal, He was acknowledging the profound weight of what He was about to do. His death would be the ultimate, costly departure. Yet, because it was so precious in the sight of the Father, it would become the very mechanism that defeated death forever. The second segment is: The Joyful Captive: Freedom Through Submission. Psalm One Hundred Sixteen: verse sixteen. O Lord, I am your servant; yes, I am your servant, born into your household; you have freed me from my chains. Having reflected on how much God values his life, the psalmist responds with an absolute surrender of his identity. He repeats his title twice for emphasis: "O Lord, I am your servant; yes, I am your servant." The word for "servant" here is ebed, which can also be translated as slave or bondservant. But this is not a forced, oppressive slavery; this is a willing, joyful submission to a benevolent King. The psalmist adds a beautiful, intimate detail: "born into your household." Literally, the text says, "the son of your maidservant." In the ancient Near East, a slave who was purchased from a foreign land had a very different status than a slave who was born within the master's own house. A servant born into the household was practically considered family. They grew up under the master's roof, ate the master's food, and enjoyed the master's protection. By calling himself the son of a maidservant, the psalmist is claiming a deep, lifelong, family connection to Yahweh. He is saying, "Lord, I belong to You. I have always belonged to You. I am a child of Your estate." And here is the beautiful paradox of the biblical worldview: true freedom is found only in becoming a servant of the Most High God. Notice the next phrase: "you have freed me from my chains." Just a few verses earlier, the psalmist was wrapped in the ropes of death. Those were the chains of chaos, destruction, and fear. By submitting himself entirely to Yahweh as a servant, those chains of oppression were shattered. In the Divine Council worldview, humans will always serve a master. We will either be enslaved by the dark, rebellious principalities of this world—forces that seek to bind us in addiction, fear, and ultimately the grave—or we will bind ourselves to the Creator, whose yoke is easy and whose burden is light. The psalmist declares that because God broke the chains of death, he is now happily, permanently bound to the Lord. He is a free man, precisely because he is God's servant. The third segment is: The Public Feast: Testifying in the Sacred Courts. Psalm One Hundred Sixteen: verses seventeen through nineteen. I will offer you a sacrifice of thanksgiving and call on the name of the Lord. I will fulfill my vows to the Lord in the presence of all his people— in the courts of the house of the Lord, in the midst of Jerusalem. Praise the Lord! Now, the psalmist takes his private, internal gratitude, and makes it undeniably public. He transitions from the prayer closet, to the temple courts. He promises: "I will offer you a sacrifice of thanksgiving." This is a very specific reference to the Levitical law. In the Book of Leviticus, Chapter Seven, the Todah—or Thanksgiving Sacrifice—was a type of peace offering. When an Israelite was rescued from a life-threatening illness, a dangerous journey, or a deadly enemy, they were instructed to bring an animal sacrifice, along with unleavened bread, to the tabernacle. But this sacrifice was unique. It was not burned up entirely on the altar. The priest took a portion, but the vast majority of the meat and bread was given back to the worshiper. The worshiper was then required to host a massive, joyful feast, inviting their family, friends, and even the poor, to eat the meal with them on that very same day. Think about the profound psychology of this ritual. You could not eat an entire animal by yourself. You had to invite a crowd. And as you passed the meat and the bread, people would naturally ask, "What are we celebrating?" That was your moment to testify. That was the moment to say, "I was standing at the edge of the grave. The ropes of death had me. But I called on the name of the Lord, and He saved me!" This is exactly what the psalmist intends to do: "and call on the name of the Lord. I will fulfill my vows to the Lord in the presence...

www.dailybreadmoms.com Now coming to busy moms all over the world as a daily podcast! Daily Bread follows the weekly Torah Portion, one part each day, together with a healthy balance from the rest of Scripture — all in one year. More than just a one-year Bible reading plan, Daily Bread is designed as a journal, with a comprehensive Hebrew calendar. To support the podcast - www.patreon.com/dailybreadmoms Check out the Daily Bread Torah Class, LIVE from Israel! Join anytime. larsenarson.com/torah The Journals are available here: arielmedia.shop/

www.dailybreadmoms.com Now coming to busy moms all over the world as a daily podcast! Daily Bread follows the weekly Torah Portion, one part each day, together with a healthy balance from the rest of Scripture — all in one year. More than just a one-year Bible reading plan, Daily Bread is designed as a journal, with a comprehensive Hebrew calendar. To support the podcast - www.patreon.com/dailybreadmoms Check out the Daily Bread Torah Class, LIVE from Israel! Join anytime. larsenarson.com/torah The Journals are available here: arielmedia.shop/

We live the narrative of the Jewish remnant returning to the Land of Canaan after their exile in Babylon. We explore their journey back, led initially by a prince and a priest, and the challenges they face in rebuilding the Temple. Despite opposition, they succeed, and the priest Zerubabbel plays a pivotal role. We also meet Ezra, who leads another wave of returners back and works to correct their violations of the law, and Nehemiah, who rebuilds the city walls despite fierce opposition.Bible ReadingsEzra 1:1-11Ezra 4:1-24Ezra 9:5-15Nehemiah 10:28-39Support the showRead along with us in the Bible Brief App! Try the Bible Brief book for an offline experience!Get your free Bible Timeline with the 10 Steps: Timeline LinkSupport the show: Tap here to become a monthly supporter!Review the show: Tap here!Want to go deeper?...Download the Bible Brief App!iPhone: App Store LinkAndroid: Play Store LinkWant a physical book? Check out "Bible Brief" by our founder!Amazon: Amazon LinkWebsite: biblebrief.orgInstagram: @realbiblebriefX: @biblebriefFacebook: @realbiblebriefEmail the Show: biblebrief@biblelit.org Want to learn the Bible languages (Greek & Hebrew)? Check out our partner Biblingo (and use our link/code for a discount!): https://bibli...

In this episode of House of Learning: Understanding the Doctrine of the Temple, Meghan Farner and Cory Jensen explore covenants not as legal contracts or religious checklists, but as sacred relationships of love, union, and spiritual transformation with God.This lesson reframes covenant as an invitation into intimate relationship — the merging of identity, loyalty, and purpose between God and the soul. Drawing from biblical symbolism, ancient covenant patterns, and temple theology, the discussion reveals why covenant is ultimately relational rather than transactional.You'll learn:✨ Why covenant means relationship, not merely agreement ✨ How ancient covenants symbolized the merging of identity and unity of heart ✨ Why pride and spiritual superiority undermine covenant consciousness ✨ The three components of covenant: initiation, obligations, and blessings ✨ How Christ is revealed in scripture as the Bridegroom ✨ The spiritual meaning of sacred marriage symbolism ✨ The Hebrew concept of hesed (covenant love and loving-kindness) ✨ How covenant deepens personal intimacy with GodThis episode also explores how covenant relationships evolve through spiritual growth, how divine mercy supports the learning process, and why God's desire is union rather than compliance. Viewers are invited to reconsider their relationship with Christ as one of devotion, trust, love, and becoming. If you've ever felt that faith has become overly transactional, rigid, or institutional, this lesson offers a healing and expansive vision of covenant as sacred relationship and divine intimacy.

On this episode of Mutuality Matters: Women and Words, Host Dr. Mimi Haddad interviewed Rev. Dr. Ingrid Faro. Ingrid described her challenging childhood and young married life as one of abuse, both psychologically and physically. Her early church experience was equally difficult, as women were to be seen but not heard. In her family of origins, she felt invisible and unimportant. She was terrified of her mother and had no real relationship with her dad. Ingrid was struggling to figure out who she is and even wondered if it was safe to think her thoughts. She also wanted out of the church because, as Ingrid describes, she so wanted God to be fair, but life didn't seem to be fair.   Ingrid shared how her first husband (a preacher and NT scholar) was unfaithful to her. He was also violent and broke her nose, landing her in the ER, where she told the attending doctors that she had an “accident,” but they were unconvinced. These and other experiences led to her struggle with the question of “theodicy,” whether God is just and good. Ingrid wondered if she could ever really trust God. This led to an exploration of God theologically. She became acquainted with and greatly admires the scholarship of the OT scholar Dr. Abraham Joshua Heschel. A passion for the OT was part of her journey.  Her second husband nurtured honest, even blunt communication, or as Brené Brown says, “clarity is kindness.” As Ingrid studied Scripture, she encountered many bold women who henceforward served as her role models! In them she found a sense of release, or as she said, “I didn't know the weight that was on my shoulders until it was lifted off me.” Ingrid began to see God's clear anointing on women which began with the Apostle Paul. Ingrid began to sense a calling to an academic study of Scripture, which gave her pause. She was given opportunities to say what was on her heart but felt conflicted. Then she asked herself, “Can I stand before God and say, ‘I can't.'” She had to distinguish between a fear of people and a fear of God.  Yet the biblical “texts of terror” that appeared to silence women were very limited compared the many, many texts that welcomed their wisdom, voice and leadership. Consider Paul's texts that seem to silence women (1 Cor. 14:34–36, 1 Tim. 2:11–15, Eph. 5:22&FF) compared to the many women Paul celebrates as co-leaders with him in preaching the gospel and leading churches, like those cited in Romans 16. More recently, Ingrid has considered the challenge of abuse in the church one of the most pressing challenges the church must address. She sometimes feels that the church is one of the most abusive places women encounter. Yet this was certainly an issue noted in Genesis 2. Here Ingrid notes the challenge of Bible translation as too often Genesis 2:18 is translated “The Lord God said, “It is not good for the man to be alone. I will make a helper suitable for him.” The Hebrew word for “helper,” is ezer, which means “a strong rescue,” as Dave Freedman notes. “Helper” fails to describe the true meaning of ezer.   Ingrid also points to the work of Katharine Bushnell who redeems Eve by observing that she was the first person to have faith and hope in God's promises. She also points to the following authors who have inspired her own scholarship and faith: Karen Swallow Prior, Carol L. Meyers, Edith Deen, Sandra Ritcher, Cynthia Long Westfall, and also biblical models like Abraham and Sarah.    For many years, Ingrid taught OT and has recently published the book, Redeeming Eden: How Women in the Bible Advance the Story of Salvation. Ingrid will lead a keynote and workshop at CBE's conference this summer in Chicago, where she will also receive CBE's Lifetime Achievement Award.  Guest Bio:  Bio: Revd. Dr. Ingrid Faro is an ordained minister and currently serves as interim president and professor of Old Testament at Northern Seminary in Chicago. She previously served as dean of academic affairs, dean of theology at the Scandinavian School of Theology, and director of master's programs at Trinity Evangelical Divinity School, where she also taught Hebrew and Old Testament. She is an international speaker and the author of Redeeming Eden: How Women in the Bible Advance the Story of Salvation with Joyce Koo Dalrymple, Demystifying Evil, co-author of Honest Answers, Evil in Genesis, co-author of forthcoming As We Forgive: A Biblical Theology of Forgiveness, as well as articles, chapters, and reviews. Prior to her work in theological education, Ingrid was an entrepreneur and president of an insurance consulting group serving one-thousand agents in thirty-five states for twenty years. Ingrid has two children and four grandchildren.    Related Resources:  Healing from Hierarchy: https://www.cbeinternational.org/resource/mutuality-healing-from-hierarchy/  Silent No More: Exposing Abuse Among Evangelicals: https://www.cbeinternational.org/resource/silent-no-more-exposing-abuse-among-evangelicals/  Her Silence Screams: https://www.cbeinternational.org/resource/her-silence-screams/  When Religion Hurts: How Complementarian Churches Harm Women: https://www.cbeinternational.org/resource/when-religion-hurts-how-complementarian-churches-hurt/    0:00 Called to Seminary  01:25 Meet Ingrid Farrow  03:37 From Trauma to Theology  06:25 Studying Evil in Genesis  08:36 Why Theodicy Matters  10:31 Patriarchy and Abuse  16:56 Finding Freedom and Voice  19:31 Leading at Northern Seminary  23:17 What Did I Tell You  26:29 Women in Theology Today  28:21 Chicago Conference Invite  29:23 Reading the Clobber Passages  31:16 Scholars Correcting Exegesis  34:04 Trauma Abuse and the Church  35:37 Genesis Reframing Creation  40:03 Women as Full Image Bearers  42:47 Old Testament Women with Voice  46:29 Key Stories Sarah Hannah Ruth  51:20 Future of Women in Ministry  54:58 Global Impact and Closing Prayer 

Rabbi Gordon studies one chapter a day from Maimonides' classic legal work of Mishneh Torah. The original Hebrew text is read and then translated and clearly explained in English.

These classes teach the day's section of the weekly Torah portion. The lesson is taught using the original Hebrew text with the indispensable commentary of Rashi—both translated and elucidated so that anyone can follow along.

In this episode of the Parsha Review Podcast, Rabbi Aryeh Wolbe delves into Parshas Tetzaveh, focusing on the garments (bigdei kehuna) of the Kohen Gadol (High Priest). He highlights the verse commanding Moshe to speak to the "wise-hearted" (chachmei lev) whom Hashem invests with wisdom to create these sacred vestments, questioning how former slaves in Egypt, unskilled in craftsmanship, could suddenly excel. The key insight: True wisdom stems from a deep desire (ratzon) for it, not prior education or skills—Hashem grants wisdom to those who seek it passionately, as per the Mishnah's definition of wisdom as learning from everyone without prejudice.Rabbi Wolbe illustrates this with modern and historical examples: Elon Musk's rapid mastery of cars and rockets despite no prior knowledge, driven by insatiable curiosity; Reb Elyashiv's fervent Torah study at age 102; Rav Moshe Feinstein's multiple completions of the Talmud (101 times, four cycles); and a Talmudic story responding to a Roman noblewoman's query on why wisdom goes to the wise—they're the ones who will use it productively. He contrasts this with mediocrity, urging never-ending pursuit of knowledge to avoid spiritual stagnation, and ties it to parenting: Instill a love for Torah from infancy (e.g., teaching "Torah Tziva Lanu Moshe" as first words) and encourage children's "why" questions to foster curiosity.The discussion extends to appreciating Hashem's daily miracles in nature (e.g., the apple's infinite potential), rejecting "mother nature" for divine command (mishpatei piv), and the Amidah's first request for wisdom. Ultimately, desire is the root of achievement—eternal in Torah vs. temporary in wealth or fame—warning against boredom leading to sin and advocating lifelong vitality through learning. He concludes with a blessing for wisdom-seeking and an amazing Shabbos._____________This episode of the Parsha Review Podcast is dedicated in honor of Lenny & Teresa FriedmanDownload & Print the Parsha Review Notes:https://drive.google.com/drive/folders/1ncaRyoH5iJmGGoMZs9y82Hz2ofViVouv?usp=sharingRecorded at TORCH Meyerland in the Levin Family Studios (B) to a live audience on February 24, 2026, in Houston, Texas.Released as Podcast on February 27, 2026_____________Subscribe: Apple Podcasts (https://podcasts.apple.com/us/podcast/parsha-review-podcast-rabbi-aryeh-wolbe/id1651930083)Spotify (https://open.spotify.com/show/22lv1kXJob5ZNLaAl6CHTQ) to stay inspired! Share your questions at awolbe@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#Torah, #Parsha, #Exodus, #Shemos, #Terumah, #Mishkan, #Dwell, #JewishPride, #HashemWithin, #Tabernacle, #TorahPortion, #Middot, #CharacterTraits, #EmulateGod, #TikkunMiddot, #ShabbosPrep, #TorahPodcast, #HashemInUs ★ Support this podcast ★

Abstract: God didn't “set a mark” on Cain. Instead, he gave Cain a sign. The unfortunate translation of Genesis 4:15 in the King James Bible (KJV) has been the source of much misunderstanding over the years. This article is about the English words that the King James translators chose in Genesis 4:15 and the Hebrew words from which they are translated. It shows that the renderings of the words in that verse are inconsistent with how the KJV treats the same words and grammatical features in other passages. The result is a translation that cannot be justified from the Hebrew Bible. The post The Lord Gave Cain a Sign first appeared on The Interpreter Foundation.

There is no doubt that events are “accelerating” toward some sort of climax. And it’s happening on a number of fronts – economic, political, legal, and even international war. Is “complete collapse” at hand? Or just inevitable, on at least one of those fronts? Lots of things COULD happen. And we know what WILL happen. Just not necessarily when. But we can put all of that together. And there are some very definite events and likelihoods that we need to understand.

David Justice and Mark Call recap the major new events of the week, and more of the incredible revelations.

News and commentary for Thursday, 26 February, 2026.

Mark Call takes a look back at some of the most important news, with no shortage of commentary, for the week, and the month, ending 28 February, 2026. The perfidy, however, seems never-ending. But it is coming to light.

In this episode of the Parsha Review Podcast, Rabbi Aryeh Wolbe delves into Parshas Tetzaveh, focusing on the garments (bigdei kehuna) of the Kohen Gadol (High Priest). He highlights the verse commanding Moshe to speak to the "wise-hearted" (chachmei lev) whom Hashem invests with wisdom to create these sacred vestments, questioning how former slaves in Egypt, unskilled in craftsmanship, could suddenly excel. The key insight: True wisdom stems from a deep desire (ratzon) for it, not prior education or skills—Hashem grants wisdom to those who seek it passionately, as per the Mishnah's definition of wisdom as learning from everyone without prejudice.Rabbi Wolbe illustrates this with modern and historical examples: Elon Musk's rapid mastery of cars and rockets despite no prior knowledge, driven by insatiable curiosity; Reb Elyashiv's fervent Torah study at age 102; Rav Moshe Feinstein's multiple completions of the Talmud (101 times, four cycles); and a Talmudic story responding to a Roman noblewoman's query on why wisdom goes to the wise—they're the ones who will use it productively. He contrasts this with mediocrity, urging never-ending pursuit of knowledge to avoid spiritual stagnation, and ties it to parenting: Instill a love for Torah from infancy (e.g., teaching "Torah Tziva Lanu Moshe" as first words) and encourage children's "why" questions to foster curiosity.The discussion extends to appreciating Hashem's daily miracles in nature (e.g., the apple's infinite potential), rejecting "mother nature" for divine command (mishpatei piv), and the Amidah's first request for wisdom. Ultimately, desire is the root of achievement—eternal in Torah vs. temporary in wealth or fame—warning against boredom leading to sin and advocating lifelong vitality through learning. He concludes with a blessing for wisdom-seeking and an amazing Shabbos._____________This episode of the Parsha Review Podcast is dedicated in honor of Lenny & Teresa FriedmanDownload & Print the Parsha Review Notes:https://drive.google.com/drive/folders/1ncaRyoH5iJmGGoMZs9y82Hz2ofViVouv?usp=sharingRecorded at TORCH Meyerland in the Levin Family Studios (B) to a live audience on February 24, 2026, in Houston, Texas.Released as Podcast on February 27, 2026_____________Subscribe: Apple Podcasts (https://podcasts.apple.com/us/podcast/parsha-review-podcast-rabbi-aryeh-wolbe/id1651930083)Spotify (https://open.spotify.com/show/22lv1kXJob5ZNLaAl6CHTQ) to stay inspired! Share your questions at awolbe@torchweb.org or visit torchweb.org for more Torah content.  _____________About the Host:Rabbi Aryeh Wolbe, Director of TORCH in Houston, brings decades of Torah scholarship to guide listeners in applying Jewish wisdom to daily life.  To directly send your questions, comments, and feedback: awolbe@torchweb.org_____________Support Our Mission:Help us share Jewish wisdom globally by sponsoring an episode at torchweb.org. Your support makes a difference!_____________Subscribe and Listen to other podcasts by Rabbi Aryeh Wolbe: NEW!! Hey Rabbi! Podcast: https://heyrabbi.transistor.fm/episodesPrayer Podcast: https://prayerpodcast.transistor.fm/episodesJewish Inspiration Podcast: https://inspiration.transistor.fm/episodesParsha Review Podcast: https://parsha.transistor.fm/episodesLiving Jewishly Podcast: https://jewishly.transistor.fm/episodesThinking Talmudist Podcast: https://talmud.transistor.fm/episodesUnboxing Judaism Podcast: https://unboxing.transistor.fm/episodesRabbi Aryeh Wolbe Podcast Collection: https://collection.transistor.fm/episodesFor a full listing of podcasts available by TORCH at http://podcast.torchweb.org_____________Keywords:#Torah, #Parsha, #Exodus, #Shemos, #Terumah, #Mishkan, #Dwell, #JewishPride, #HashemWithin, #Tabernacle, #TorahPortion, #Middot, #CharacterTraits, #EmulateGod, #TikkunMiddot, #ShabbosPrep, #TorahPodcast, #HashemInUs ★ Support this podcast ★

Episode 21: Focus on the Family - PART 01 The family is an important part of Hebrew culture. In this podcast we will discuss the restoration of the family inside Hebrew Yisrael.  Information on First Tabernacle Fellowship can be at found at:  www.firsttab

On February 25th, 2026, Prime Minister Narendra Modi of India became the first Indian head of government to address the Knesset. It was a moment that, years ago, would have been difficult to imagine. India and Israel established full diplomatic relations only in 1992. For most of the preceding decades, India had been among Israel's harshest critics—a reflexive supporter of the Palestinian cause, a country whose leaders looked on the Jewish state with suspicion or contempt. Something has changed. And Prime Minister Modi's speech in Jerusalem made clear just how much. Standing before the Knesset, Modi opened by describing himself as "a representative of one ancient civilization addressing another." He noted that he was born on September 17, 1950, the very day India formally recognized the state of Israel. He expressed condolences for the victims of October 7, condemned Hamas's attack as "barbaric," and declared that "no cause can justify the murder of civilians." He called Israel "a protective wall against barbarism." And in language that echoed Prime Minister Netanyahu's own, he told the assembled lawmakers: "The massacre of October 7 made it absolutely clear—either the jihadist axis of evil will break us, or we will break it. And we are breaking it—and will break it." He closed with two phrases that belong to two civilizations, and that he offered as a single statement: Am Yisrael Hai. Jai Hind. The people of Israel live, in Hebrew, and Hail India, in Hindi.  We recorded this conversation on the afternoon of February 25, as Modi was departing from the Knesset. To discuss the visit and its significance, Mosaic's editor Jonathan Silver is joined by Bill Drexel, a senior fellow at the Hudson Institute whose work focuses on U.S.-India relations, artificial-intelligence competition with China, and technology in American grand strategy. This episode of the Tikvah Podcast is generously sponsored by Jessica and PJ Heyer. If you are interested in sponsoring an episode of the Tikvah Podcast, we invite you to join the Tikvah Ideas Circle.

Brother Mike Harris asks: Is Genesis more than a love story? A closer reading of  the Hebrew text and well scene uncovers a covenant story about Jesus and His covenant people.YOUTUBE: https://youtu.be/n4GxzU5BGAYALL EPISODES/SHOW NOTESfollowHIM website: https://www.followHIM.coFREE PDF DOWNLOADS OF followHIM QUOTE BOOKSNew Testament: https://tinyurl.com/PodcastNTBookOld Testament: https://tinyurl.com/PodcastOTBookBook of Mormon: https://tinyurl.com/PodcastBMBook  WEEKLY NEWSLETTER https://tinyurl.com/followHIMnewsletter  SOCIAL MEDIA Instagram: https://www.instagram.com/followHIMpodcast Facebook: https://www.facebook.com/followhimpodcastTIMECODE:00:00 Part 1 - Brother Mike Harris00:05 Teaser05:40 Bio07:03 Come, Follow Me Manual08:51 How does God bless family?11:48 President Oaks reflects on losing his wife15:33 Multiply and replenish18:46 Land indicated covenant22:51 Agency is honored24:55 The land is symbol of heaven29:17 Elder Holland giving his life for the Lord31:43 Camels and covenant marriage33:56 God blesses through covenant35:28 The well motif and covenant marriage41:11 Elder Bednar: Covenant connection44:18 Who says, “I will go?”46:24 Terrible movies and the language of symbolism49:59 Damsel and covenant Israel54:33 The covenant is joyous57:04 Lifting up their eyes58:28 Book of Mormon parallels1:03:07 Rebekah and Isaac meet1:08:51 Sarah dies1:12:10 End of Part 1 - Brother Mike HarrisThanks to the followHIM team:Steve & Shannon Sorensen: Cofounder, Executive Producer, SponsorDavid & Verla Sorensen: SponsorsDr. Hank Smith: Co-hostJohn Bytheway: Co-hostDavid Perry: ProducerKyle Nelson: Marketing, SponsorLisa Spice: Client Relations, Editor, Show NotesWill Stoughton: Video EditorKrystal Roberts: Translation Team, English & French Transcripts, WebsiteAriel Cuadra: Spanish TranscriptsAmelia Kabwika: Portuguese TranscriptsHeather Barlow: Communications DirectorSydney Smith: Social Media, Graphic Design "Let Zion in Her Beauty Rise" by Marshall McDonaldhttps://www.marshallmcdonaldmusic.com