Podcasts about Hebrew Bible

Psalms 1 & 2 E2 — Psalm 2 presents a crisis perpetuated by a long line of corrupt empires in the ancient Near East. Every one of these empires makes a practice of conquering, murdering, raping, and pillaging across the known world, while ancient Israel is just one small nation conquered and occupied again and again. So how do Yahweh and his anointed king respond to this injustice? Surprisingly, a lot like how the evil imperial rulers do: with mocking laughter, hot anger, and by smashing them like pottery! But why? In this episode, Jon and Tim explore Psalm 2 as a minority report from an oppressed, ancient people group and an intentionally provocative portrait of God within the broader context of the Hebrew Bible.  FULL SHOW NOTES For chapter-by-chapter summaries, biblical words, referenced Scriptures, and reflection questions, check out the full show notes for this episode. CHAPTERS Why Do the Nations Rage? (0:00-22:47) Yahweh's Laughter and Decree (22:47-39:28) A Warning for the Kings (39:28-55:26) REFERENCED RESOURCES Check out Tim's extensive collection of recommended books here. SHOW MUSIC “Pivot” by Styles Davis & Venuz Beats “Hypha” by invention_ BibleProject theme song by TENTS  SHOW CREDITS Production of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this week's episode of The Bible for Normal People, Pete and Jared sit down with Mark S. Smith, a leading scholar of ancient Israelite religion, to explore the polytheistic background of Israel and the gradual emergence of monotheism in the Hebrew Bible. Drawing on biblical texts, ancient Near Eastern inscriptions, and comparative studies, Mark explains how early Israelites likely understood Yahweh as one deity among many before later theological developments came to affirm him as the sole god of Israel. Show Notes → https://thebiblefornormalpeople.com/episode-318-mark-s-smith-the-many-gods-of-israel/  Watch this episode on YouTube → https://youtu.be/R1xiWA6w3P8  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

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.

In this expanded edition to a groundbreaking work, now in paperback, Lincoln and the Jews: A History (NYU Press, 2025), Jonathan D. Sarna and Benjamin Shapell reveal how Abraham Lincoln's unprecedentedly inclusive relationship with American Jews broadened him as president, and, as a result, broadened America. A conversation with Professor Jonathan D. Sarna. Co-authored with collector and scholar Benjamin Shapell, the book began as a lush coffee-table volume built around Shapell's remarkable Civil War–era collection: letters, photographs, and documents that reveal Lincoln's Jewish connections in real time. It has since been reissued in paperback by NYU Press, making it far easier to teach, carry, and assign. The shift mirrors the project's purpose: from a beautiful artifact to a working tool for rethinking Lincoln's world. Sarna stresses that Lincoln didn't “know Jews” in the abstract; he knew particular Jews who mattered. Abraham Jonas, an early ally, saw Lincoln as presidential material and encouraged the Republican Party to build a coalition of “outsiders,” explicitly including Jews. Lincoln also developed ties with German-speaking Jewish “48ers,” refugees of the failed 1848 revolutions who brought democratic ideals and anti-slavery commitments. Even in Illinois, Lincoln's visits to Jewish clothing stores signaled a new kind of everyday encounter between Americans and Jewish merchants. The book opens with a table of concentric circles of relationships between Lincoln and the Jews. Equally important is Lincoln's religious formation. Raised in a Protestant culture steeped in the Hebrew Bible and divine providence, he drew heavily on biblical language. His letters and speeches are studded with scriptural echoes, reflecting a worldview in which Jews remain central to God's historical drama rather than a superseded people. This helps explain his “live and let live” stance toward religious difference at a time when some ministers were moving toward more exclusionary theologies. Our conversation touched on Lincoln's reference to Haman from the Book of Esther in a letter to Joshua Speed. In an age of deep biblical literacy, Haman was a recognizable symbol of evil, later applied by some Jews to Grant after General Orders No. 11. Sarna also recounted the visit of a self-proclaimed prophet named Monk, who asked Lincoln to endorse a plan to “free the Jews” worldwide. Lincoln's witty, biblically informed response (from the book of Joel) both acknowledged Jewish suffering abroad and rejected the idea of a special “Jewish problem” in the United States. We also explored how 19th-century debates over the Mortara affair in Italy—where a secretly baptized Jewish child was taken from his parents by papal authorities—intersected with American slavery. President Buchanan's refusal to condemn Rome, Sarna noted, reflected fears that criticizing Church-sanctioned child removal could invite scrutiny of the United States' own separation of enslaved families. Lincoln and the Jews ultimately invites us to place Jews back into the center of the American story. Lincoln's friendships, his Hebrew Bible–shaped imagination, and his commitment to equality created a landscape in which Jews were not an abstract “question,” but neighbors and citizens. To understand Lincoln fully, Sarna suggests, we must see the Jews who walked beside him—and to understand American Jewish history, we must see how deeply it is entwined with Lincoln's moral and political world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this expanded edition to a groundbreaking work, now in paperback, Lincoln and the Jews: A History (NYU Press, 2025), Jonathan D. Sarna and Benjamin Shapell reveal how Abraham Lincoln's unprecedentedly inclusive relationship with American Jews broadened him as president, and, as a result, broadened America. A conversation with Professor Jonathan D. Sarna. Co-authored with collector and scholar Benjamin Shapell, the book began as a lush coffee-table volume built around Shapell's remarkable Civil War–era collection: letters, photographs, and documents that reveal Lincoln's Jewish connections in real time. It has since been reissued in paperback by NYU Press, making it far easier to teach, carry, and assign. The shift mirrors the project's purpose: from a beautiful artifact to a working tool for rethinking Lincoln's world. Sarna stresses that Lincoln didn't “know Jews” in the abstract; he knew particular Jews who mattered. Abraham Jonas, an early ally, saw Lincoln as presidential material and encouraged the Republican Party to build a coalition of “outsiders,” explicitly including Jews. Lincoln also developed ties with German-speaking Jewish “48ers,” refugees of the failed 1848 revolutions who brought democratic ideals and anti-slavery commitments. Even in Illinois, Lincoln's visits to Jewish clothing stores signaled a new kind of everyday encounter between Americans and Jewish merchants. The book opens with a table of concentric circles of relationships between Lincoln and the Jews. Equally important is Lincoln's religious formation. Raised in a Protestant culture steeped in the Hebrew Bible and divine providence, he drew heavily on biblical language. His letters and speeches are studded with scriptural echoes, reflecting a worldview in which Jews remain central to God's historical drama rather than a superseded people. This helps explain his “live and let live” stance toward religious difference at a time when some ministers were moving toward more exclusionary theologies. Our conversation touched on Lincoln's reference to Haman from the Book of Esther in a letter to Joshua Speed. In an age of deep biblical literacy, Haman was a recognizable symbol of evil, later applied by some Jews to Grant after General Orders No. 11. Sarna also recounted the visit of a self-proclaimed prophet named Monk, who asked Lincoln to endorse a plan to “free the Jews” worldwide. Lincoln's witty, biblically informed response (from the book of Joel) both acknowledged Jewish suffering abroad and rejected the idea of a special “Jewish problem” in the United States. We also explored how 19th-century debates over the Mortara affair in Italy—where a secretly baptized Jewish child was taken from his parents by papal authorities—intersected with American slavery. President Buchanan's refusal to condemn Rome, Sarna noted, reflected fears that criticizing Church-sanctioned child removal could invite scrutiny of the United States' own separation of enslaved families. Lincoln and the Jews ultimately invites us to place Jews back into the center of the American story. Lincoln's friendships, his Hebrew Bible–shaped imagination, and his commitment to equality created a landscape in which Jews were not an abstract “question,” but neighbors and citizens. To understand Lincoln fully, Sarna suggests, we must see the Jews who walked beside him—and to understand American Jewish history, we must see how deeply it is entwined with Lincoln's moral and political world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

In this expanded edition to a groundbreaking work, now in paperback, Lincoln and the Jews: A History (NYU Press, 2025), Jonathan D. Sarna and Benjamin Shapell reveal how Abraham Lincoln's unprecedentedly inclusive relationship with American Jews broadened him as president, and, as a result, broadened America. A conversation with Professor Jonathan D. Sarna. Co-authored with collector and scholar Benjamin Shapell, the book began as a lush coffee-table volume built around Shapell's remarkable Civil War–era collection: letters, photographs, and documents that reveal Lincoln's Jewish connections in real time. It has since been reissued in paperback by NYU Press, making it far easier to teach, carry, and assign. The shift mirrors the project's purpose: from a beautiful artifact to a working tool for rethinking Lincoln's world. Sarna stresses that Lincoln didn't “know Jews” in the abstract; he knew particular Jews who mattered. Abraham Jonas, an early ally, saw Lincoln as presidential material and encouraged the Republican Party to build a coalition of “outsiders,” explicitly including Jews. Lincoln also developed ties with German-speaking Jewish “48ers,” refugees of the failed 1848 revolutions who brought democratic ideals and anti-slavery commitments. Even in Illinois, Lincoln's visits to Jewish clothing stores signaled a new kind of everyday encounter between Americans and Jewish merchants. The book opens with a table of concentric circles of relationships between Lincoln and the Jews. Equally important is Lincoln's religious formation. Raised in a Protestant culture steeped in the Hebrew Bible and divine providence, he drew heavily on biblical language. His letters and speeches are studded with scriptural echoes, reflecting a worldview in which Jews remain central to God's historical drama rather than a superseded people. This helps explain his “live and let live” stance toward religious difference at a time when some ministers were moving toward more exclusionary theologies. Our conversation touched on Lincoln's reference to Haman from the Book of Esther in a letter to Joshua Speed. In an age of deep biblical literacy, Haman was a recognizable symbol of evil, later applied by some Jews to Grant after General Orders No. 11. Sarna also recounted the visit of a self-proclaimed prophet named Monk, who asked Lincoln to endorse a plan to “free the Jews” worldwide. Lincoln's witty, biblically informed response (from the book of Joel) both acknowledged Jewish suffering abroad and rejected the idea of a special “Jewish problem” in the United States. We also explored how 19th-century debates over the Mortara affair in Italy—where a secretly baptized Jewish child was taken from his parents by papal authorities—intersected with American slavery. President Buchanan's refusal to condemn Rome, Sarna noted, reflected fears that criticizing Church-sanctioned child removal could invite scrutiny of the United States' own separation of enslaved families. Lincoln and the Jews ultimately invites us to place Jews back into the center of the American story. Lincoln's friendships, his Hebrew Bible–shaped imagination, and his commitment to equality created a landscape in which Jews were not an abstract “question,” but neighbors and citizens. To understand Lincoln fully, Sarna suggests, we must see the Jews who walked beside him—and to understand American Jewish history, we must see how deeply it is entwined with Lincoln's moral and political world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

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.

Oracles of God WebsiteIt has long been said that the Holy Bible has been and is the most influential book in the world. And why not? Written more than 1,500 years ago by more than 40 writers in three different languages, this tome known as the Word of God has influenced and shaped Western civilization in a host of notable areas as related to law, language, and cultures.Christians view the Holy Bible as a living document, one that deepens their faith and serves as a guidebook to navigate through the challenges that daily living presents.For as much as modern civilization continues to utilize the valuable lessons found within the Bible's 66 chapters, little is known about how it came to be. How it was created and came together is sometimes a bit of a mystery to those who spend time immersed in reading it day by day.Erin Zimmerman is a documentary filmmaker who has devoted much of her professional life to digging deeper into how things came to be as viewed through the lens of Scripture. In her latest film, “Oracles of God: The Story of the New Testament”, Zimmerman uses expert interviews, stunning cinematography, and dramatic reenactments to present how the text of the New Testament was written, painstakingly copied, and preserved over thousands of years.Filmed on location in Israel, Zimmerman places a special focus on the oldest copies of the Hebrew Bible and the Dead Sea Scrolls.Zimmerman joins us on the Crossmap Podcast to walk us through why the bestselling book of all time remains one of the most controversial texts in world history. Listen as she shares various misconceptions about the Bible and how she set out to dispel them in "Oracles of God".

In this week's episode, Claire is joined by Elizabeth Backfish and Cynthia Shafer-Elliott to discuss their book Grounded Theology in the Hebrew Bible: Exploring the Cultural Context That Formed Ancient Israel. This book combines archaeology and theology to better understand the everyday life of ancient Israelites and how it shaped their relationship with God. Congratulations Dr. Shafer-Elliott, Associate Professor of Hebrew Bible in Baylor's Religion Department, on her new book.

History does not whisper in our lifetime — it thunders. Nations are tested, alliances are strained, and the moral weight of leadership settles on those called to stand in the storm. In such moments, diplomacy is no longer ceremony. It is strategy. It is conviction. It is the voice of a nation carried across oceans. Today, we are honored to sit at one of the most consequential crossroads of our era with Michael 'Yechiel' Leiter, Israel's Ambassador to the United States. His appointment in January 2025 is not the result of a single moment, but the culmination of a life shaped by intellect, policy, and public service. He has served in senior advisory roles to Israel's leadership, including as chief of staff to Benjamin Netanyahu during his tenure as finance minister, and in key positions across government ministries and national institutions — from national education policy to strategic infrastructure oversight. In every arena, his work has required one essential quality: the ability to translate vision into reality. Yet Ambassador Leiter is not only a practitioner of statecraft — he is a scholar of it. Holding a Ph.D. in political philosophy from the University of Haifa, with advanced training in international relations and law, he has written and lectured extensively on democracy, governance, and the moral foundations of power. His book, John Locke's Political Philosophy and the Hebrew Bible, argues that modern democratic ideals are not merely products of secular Enlightenment thought, but are deeply rooted in biblical covenantal ideas — that authority is conditional, morally bound, and entrusted rather than absolute. Few diplomats arrive with both the academic depth to interpret history and the practical experience to help shape it. Born in Scranton, Pennsylvania, and forged in Israel's public life, Ambassador Leiter stands as a bridge between worlds — scholarship and strategy, conviction and diplomacy, heritage and unfolding history. His earlier advocacy work on behalf of the Jewish community of Hebron positioned him as a key voice explaining one of Judaism's oldest cities — home to the Tomb of the Patriarchs — to international audiences, framing its story not only through conflict, but through history, faith, and continuity. And he carries something more — something deeply personal. His firstborn son, Lt. Col. Moshe Yedidya Leiter, an elite Israeli combat officer, was killed in action in Gaza following the war that erupted after October 7. That loss is inseparable from his public voice. When he speaks about Israel's security, democracy, and moral responsibility, he does so not only as a diplomat, but as a father who has borne the cost of national defense. Michael Leiter brings together three rare callings: senior government practitioner, trained political philosopher, and diplomatic representative. His career bridges theory and policy, scholarship and statecraft, faith and democracy. This is not merely an interview. It is a conversation at the fault line of our times. Ambassador Michael Leiter — welcome to the program. ——

History does not whisper in our lifetime — it thunders. Nations are tested, alliances are strained, and the moral weight of leadership settles on those called to stand in the storm. In such moments, diplomacy is no longer ceremony. It is strategy. It is conviction. It is the voice of a nation carried across oceans. Today, we are honored to sit at one of the most consequential crossroads of our era with Michael 'Yechiel' Leiter, Israel's Ambassador to the United States. His appointment in January 2025 is not the result of a single moment, but the culmination of a life shaped by intellect, policy, and public service. He has served in senior advisory roles to Israel's leadership, including as chief of staff to Benjamin Netanyahu during his tenure as finance minister, and in key positions across government ministries and national institutions — from national education policy to strategic infrastructure oversight. In every arena, his work has required one essential quality: the ability to translate vision into reality. Yet Ambassador Leiter is not only a practitioner of statecraft — he is a scholar of it. Holding a Ph.D. in political philosophy from the University of Haifa, with advanced training in international relations and law, he has written and lectured extensively on democracy, governance, and the moral foundations of power. His book, John Locke's Political Philosophy and the Hebrew Bible, argues that modern democratic ideals are not merely products of secular Enlightenment thought, but are deeply rooted in biblical covenantal ideas — that authority is conditional, morally bound, and entrusted rather than absolute. Few diplomats arrive with both the academic depth to interpret history and the practical experience to help shape it. Born in Scranton, Pennsylvania, and forged in Israel's public life, Ambassador Leiter stands as a bridge between worlds — scholarship and strategy, conviction and diplomacy, heritage and unfolding history. His earlier advocacy work on behalf of the Jewish community of Hebron positioned him as a key voice explaining one of Judaism's oldest cities — home to the Tomb of the Patriarchs — to international audiences, framing its story not only through conflict, but through history, faith, and continuity. And he carries something more — something deeply personal. His firstborn son, Lt. Col. Moshe Yedidya Leiter, an elite Israeli combat officer, was killed in action in Gaza following the war that erupted after October 7. That loss is inseparable from his public voice. When he speaks about Israel's security, democracy, and moral responsibility, he does so not only as a diplomat, but as a father who has borne the cost of national defense. Michael Leiter brings together three rare callings: senior government practitioner, trained political philosopher, and diplomatic representative. His career bridges theory and policy, scholarship and statecraft, faith and democracy. This is not merely an interview. It is a conversation at the fault line of our times. Ambassador Michael Leiter — welcome to the program. ——

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Archaeology reporter Rossella Tercatin and diplomatic reporter Nava Freiberg join host Amanda Borschel-Dan for today's episode. If Iran attacks Israel, it will be “perhaps the most serious mistake in their history,” warned Prime Minister Benjamin Netanyahu on Monday evening, threatening an overwhelming response to any aggression. As the world awaits US President Donald Trump's State of the Union address tonight, Freiberg updates us with the push-pull diplomacy of the past day. The Palestinian technocratic body tasked with managing postwar Gaza announced last week that it was opening applications for “qualified candidates” seeking to serve in a “transitional police force” to be deployed in the Strip. This comes as Hamas appears poised to keep hold of its control of civilian and security infrastructure even as the Trump peace plan moves ahead. The Great Isaiah Scroll, the oldest nearly complete book from the Hebrew Bible ever found, is on display in its full length for the first time since 1968. Tercatin was on hand at Jerusalem's Israel Museum for the unveiling and fills us in. Check out The Times of Israel's ongoing liveblog for more updates. For further reading: Trump said frustrated with limits of military leverage against Iran Netanyahu: An attack on Israel would be ‘most serious mistake’ in Iranian history Hamas seen working to maintain control of Gaza via Trump-backed bodies Gaza oversight committee seeks ‘qualified’ candidates to join Strip’s police force Great Isaiah Scroll, oldest near-complete biblical book ever found, on show in entirety for 1st time since 1968 Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. Ari Schlacht produced this episode. IMAGE: Hamas gunmen in the Shijaiyah neighborhood of Gaza City, November 5, 2025. (AP Photo/Jehad Alshrafi)See omnystudio.com/listener for privacy information.

Psalms 1 & 2 E1 — The Psalms scroll—Israel's ancient hymn book—has deeply shaped the worship and prayers of millions of people over several millennia. The first two psalms work together as a unified introduction to the whole collection. Psalm 1 starts with the phrase “How good is life for the man who…” or in most English translations, “Blessed is the man who…” We then find a list of activities to avoid and an instruction to practice daily Scripture meditation. So how does this way of living lead to “the good life”? And what happens to those who follow it—and to those who don't? In this episode, Jon and Tim start a short series in Psalms 1 and 2 by first meditating on Psalm 1.FULL SHOW NOTESFor chapter-by-chapter summaries, biblical words, referenced Scriptures, and reflection questions, check out the full show notes for this episode.CHAPTERSThe Path of Tragedy (0:00-21:35)Becoming Like a Tree (21:35-40:40)Standing in the Judgment (40:40-1:06:14)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.REFERENCED RESOURCESThe Hebrew Bible: A Translation with Commentary by Robert AlterCheck out Tim's extensive collection of recommended books here.SHOW MUSIC“Growing Season” by Gas Lab & Guillaume Muschalle“New Dae” by El Train & G MillsBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week in the Biblical Time Machine, Prof Lloyd Lewellyn-Jones sits down with Dr Charlie Hadjiev to discuss Hosea, one of the most evocative, troubling and hopeful books of the Hebrew Bible. They cover questions like: When and where was Hosea written?How was adultery viewed in the ancient world? How can Paul Ricour's hermeneutics shed light on the text? Does Hosea present God as an abusive husband? Dr Charlie Hadjievis a lecturer in biblical studies at St Padarn's Institute, Cardiff, where he teaches and researches Hebrew Bible, especially prophetic literature. His many publications include ‘“(Not) Her Husband”: Hosea's God and Ricoeur's Hermeneutics of Suspicion and Trust' (Religions, 2022) and Joel, Obadiah, Habakkuk and Zephaniah: An Introduction and Study Guide (T&T Clark, 2020). SUPPORT BIBLICAL TIME MACHINEIf you enjoy the podcast, please (pretty please!) consider supporting the show through the Time Travellers Club, our Patreon. We are an independent, listener-supported show (no ads!), so please help us continue to showcase high-quality biblical scholarship with a monthly subscription.DOWNLOAD OUR STUDY GUIDE: MARK AS ANCIENT BIOGRAPHYCheck out our 4-part audio study guide called "The Gospel of Mark as an Ancient Biography." While you're there, get yourself a Biblical Time Machine mug or a cool sticker for your water bottle. Support the showTheme music written and performed by Dave Roos, creator of Biblical Time Machine. Season 4 produced by John Nelson.

Does it matter whether we feel sorry when we ask for forgiveness? In this conversation, Rabbi Dr. Joshua Berman returns to discuss the surprising findings of his long-term research into forgiveness in the Hebrew Bible. The biblical word slicha (“forgiveness”) appears only in relation to God—not between people. In fact, there is no word for “apology” in biblical Hebrew. So how were offenses resolved? Drawing on honor culture studies and examples ranging from Jacob and Esau to Judah and Tamar, Dr. Berman argues that ancient Israel operated within a different moral economy. Reconciliation was not primarily about emotional sincerity or repairing inner feelings—it was about restoring public order and status. Offense disrupted hierarchy; reconciliation restored it. From duels between Hamilton and Burr to modern military and team dynamics, Berman shows how deeply culture shapes what we mean by “forgiveness.” The result is a paradigm shift that challenges modern Western assumptions about apology, sincerity, and moral transformation. The conversation concludes with the launch of Dr. Berman's new podcast, The Bible Bar, dedicated to exploring Scripture chapter by chapter with intellectual and spiritual integrity. For "The Bible Bar" on Spotify, go here: https://creators.spotify.com/pod/profile/the-bible-bar/ Or if you prefer the RSS feed: https://anchor.fm/s/10e77a470/podcast/rss We are listener supported. Give to the cause here: https://hebraicthought.org/give For more articles: https://thebiblicalmind.org/ Social Links: Facebook: https://www.facebook.com/HebraicThought Instagram: https://www.instagram.com/hebraicthought Threads: https://www.threads.net/hebraicthought X: https://www.twitter.com/HebraicThought Bluesky: https://bsky.app/profile/hebraicthought.org Chapter: 00:00 Introduction and Context of the Conversation 01:04 Exploring Forgiveness in the Hebrew Bible 03:58 Cultural Perspectives on Offense and Forgiveness 07:13 The Role of Hierarchy in Relationships 10:04 Honor Cultures and Their Impact on Forgiveness 13:22 Case Studies: Understanding Offense and Repair 16:15 Conclusion: The Complexity of Forgiveness 18:35 The Dynamics of Status in Jacob and Esau's Relationship 21:08 Understanding Honor Cultures and Their Implications 25:17 The Shift from Honor Culture to Individual Agency 29:29 Modern Applications of Ancient Principles of Reconciliation 33:24 Introducing The Bible Bar Podcast

Episode Topic: Bible Criticism (https://go.nd.edu/df7e14)This month, Minding Scripture, which brings together the life the mind and the life of faith, asks guest speaker Nathan Eubank and one of our hosts, Tzvi Novick, how historical-critical scholarship in both the Hebrew Bible and in the New Testament has developed over the last two centuries and what its current place in our understanding of the Bible should be.Featured Speakers:Nathan Eubank, University of Notre DameRead this episode's recap over on the University of Notre Dame's open online learning community platform, ThinkND: https://go.nd.edu/cf8009.This podcast is a part of the ThinkND Series titled Minding Scripture. (https://go.nd.edu/dee1b4)Thanks for listening! The ThinkND Podcast is brought to you by ThinkND, the University of Notre Dame's online learning community. We connect you with videos, podcasts, articles, courses, and other resources to inspire minds and spark conversations on topics that matter to you — everything from faith and politics, to science, technology, and your career. Learn more about ThinkND and register for upcoming live events at think.nd.edu. Join our LinkedIn community for updates, episode clips, and more.

This week, it's a double-feature! Two totally different topics, both coming from the same chapter in Acts. So open your Bibles to Acts chapter 7, and let's dive in. First, we're looking at a fascinating little twist of linguistics that gives us insight into who the author of acts was. Or more accurately, who he wasn't. It's a mystery that can only be puzzled out by comparing ancient versions of the Hebrew Bible in semitic languages (Hebrew or Aramaic) and the septuagint in Greek. What does all this tell us about who wrote this book? And was that author present for the events he's describing? Then, we're looking to the heavens, and divining what we can about biblical astrology. But we're not the first to do it. A bunch of creators online have been using lines from Acts 7 as an antisemitic bludgeon, and we're going to look at their claim. What is "the tent of Moloch"? Who is the god Rephan? And what does any of this have to do with the star of David??? ---- 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

Join our Bible Study: https://www.patreon.com/hebrewbibleinsightsDaniel 4 is one of the most surprising and underrated chapters in the Bible. In this episode, Matthew (MA in Biblical Literature and Semitic Languages) and Dr. Nathan French (PhD in Hebrew Bible and the ancient Near East) walk through this wild and deeply edifying story line by line, exploring Nebuchadnezzar's second dream, Daniel's bold counsel, the mysterious “watchers,” and the king's humbling descent into madness. Along the way, we uncover foundational biblical themes: the danger of arrogance, the necessity of humility, God's kingship over the universe, and His persistent desire to lead people toward repentance and restoration. Daniel 4 reminds us that no one is too far gone for God's mercy—not even the king of Babylon—and shows how true repentance leads to restoration and renewed allegiance to God. This chapter is both gripping and accessible, making it an incredible text for personal study, church teaching, and small groups.Chapters0:00-4:52 Intro4:53-11:42 Nebuchadnezzar's Second Dream11:43-20:31 Why is the king of Babylon a great tree?20:32-23:29 Daniel's Counsel23:30-26:29 The “Watchers”26:30-35:55 Why the punishment of becoming like an animal?35:56-48:51 Incredible Repentance and RestorationJoin our Bible Study: https://www.patreon.com/hebrewbibleinsights WHERE TO FIND US Support us on Patreon: https://www.patreon.com/hebrewbibleinsights YouTube: https://www.youtube.com/channel/UCLRSNQ7xVw7PjQ5FnqYmSDA Website: ⁠https://www.hebrewbibleinsights.com

rWotD Episode 3209: Binding of Isaac Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Sunday, 15 February 2026, is Binding of Isaac.The Binding of Isaac (Hebrew: עֲקֵידַת יִצְחַק‎, romanized: ʿAqēḏaṯ Yīṣḥaq), or simply "The Binding" (הָעֲקֵידָה‎, hāʿAqēḏā), is a story from chapter 22 of the Book of Genesis in the Hebrew Bible. In the biblical narrative, God orders Abraham to sacrifice his son Isaac on the mountain called Jehovah-jireh in the region of Moriah. As Abraham begins to comply, having bound Isaac to an altar, he is stopped by the Angel of the Lord; a ram appears and is slaughtered in Isaac's stead, as God commends Abraham's pious obedience to offer his son as a human sacrifice.Especially in art, the episode is often called the Sacrifice of Isaac, although in the end Isaac was not sacrificed. Various scholars suggest that the original story of Abraham and Isaac may have been of a completed human sacrifice, later altered by redactors to substitute a ram for Isaac, and some traditions, including certain Jewish and Christian interpretations, maintain that Isaac actually was sacrificed. In addition to being addressed by modern scholarship, this biblical episode has been the focus of a great deal of commentary in traditional sources of Judaism, Christianity, and Islam.This recording reflects the Wikipedia text as of 00:08 UTC on Sunday, 15 February 2026.For the full current version of the article, see Binding of Isaac on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Olivia.

→ Watch on YouTube → Detailed Show Notes → Timestamps: (00:00) The blessings of the Abrahamic Covenant include preservation, protection, priesthood, power, a place, and posterity.(09:20) The responsibility of the Abrahamic Covenant is to make Christ's name known to the world and help all to obtain priesthood and temple blessings.(19:29) The Lord places Abraham and his posterity, Israel, in the center of the world. Our challenge is to influence the world without being influenced by the world.(29:51) Abraham and Sarah experience “The Hero's Journey.” Sarah's combat with Pharaoh is similar to Eve's battle with the serpent.(39:01) Abraham grants the superior land to Lot. We should be generous with others as was Abraham.(40:32) Anachronisms in Genesis 14 are clues as to when it was written.(43:20) Melchizedek has largely been removed from the Hebrew Bible, but was on the Brass Plates. Melchizedek is a type of Jesus Christ.(49:57) Abraham and Sarah both gave God the benefit of the doubt in regard to his promise of having seed. Like them, we should do all we can to ensure the Lord's promises are fulfilled.(52:49) The ritual cutting of sacrificial animals in Genesis 15 relates to ancient covenant making.(57:53) Abraham's visionary experience included both light and darkness.(1:01:04) The Lord tells Sarai to choose Hagar to bring forth Ishmael. The word used for bringing forth children relates to the idea of “building.”(1:05:40) Circumcision is a token or sign of the covenant given to Abraham.(1:07:04) How El Shaddai (the Almighty God) can be read as a representation of our Divine Mother in Heaven, with blessings connected to children and life. The historical evolution of Israel's view of the nature of God. → For more of Bryce Dunford’s podcast classes, click here. → Enroll in Institute → YouTube → Apple Podcasts → Spotify → Amazon Music → Facebook The post Ep 359 | Genesis 12-17; Abraham 1-2, Come Follow Me 2026 (February 16-22) appeared first on LDS Scripture Teachings.

********** We recently uploaded the wrong audio file for this episode — sorry about that!  The correct version is now live. If your podcast app already downloaded the original (incorrect) file, it may not automatically replace it. You'll need to delete the old download and re-download the episode. Here's how: Step 1: Delete the Downloaded Episode Open your podcast app. Go to the episode. Remove/Delete the downloaded file. (Look for a checkmark, download arrow, or “Downloaded” label — then choose “Remove Download” or “Delete Download.”) Step 2: Re-Download the Episode Once the old download is removed, tap the Download button again. The correct, updated audio will download. If It Still Plays the Old Version If you're still hearing the incorrect audio: Close and reopen your podcast app. Or refresh the show feed (some apps have a “Pull to Refresh” or “Refresh” option). As a last resort, try deleting and reinstalling the app (this may remove saved downloads). App-Specific Notes (Optional to Include) Apple Podcasts: Remove Download → Tap the three dots → “Remove Download” → Re-download. Spotify: Tap the green download arrow to remove → Tap again to re-download. Overcast / Pocket Casts / Others: Remove the download, then download again. ********** In this eye-opening conversation, PhD researcher Abigail Pasiuk joins Dr. Dru Johnson to explore how the Hebrew Bible can inform modern conversations about mass incarceration. Drawing on her personal experience—her father's time in federal prison—and academic research at Oxford, Abby offers a theologically rich critique of retributive justice models prevalent in the U.S. prison system. She explains how biblical justice prioritizes restoration and dignity rather than dehumanization, citing key themes such as the Shema and imago Dei. Abby shares firsthand accounts from interviews with incarcerated individuals, exposing everyday indignities—from food labeled “not for human consumption” to being stripped of identity and reduced to a number. With over 80% recidivism in the U.S., Abby points to countries like Norway where restorative practices and the “principle of normalcy” have dramatically reduced reoffense. The episode challenges listeners to rethink what justice should look like through a biblical lens: not just punishment, but humanizing correction rooted in love. It's a conversation that bridges theology, criminology, and real human stories—urging the church to see prisoners not as disposable, but as image-bearers. Follow Abigail's work here: https://www.theology.ox.ac.uk/people/abigail-pasiuk We are listener supported. Give to the cause here: https://hebraicthought.org/give For more articles: https://thebiblicalmind.org/ Social Links: Facebook: https://www.facebook.com/HebraicThought Instagram: https://www.instagram.com/hebraicthought Threads: https://www.threads.net/hebraicthought X: https://www.twitter.com/HebraicThought Bluesky: https://bsky.app/profile/hebraicthought.org Chapter: 00:00 Abigail's Journey to Oxford 08:26 The PhD Experience at Oxford 17:18 Research Focus: Mass Incarceration and Justice 27:09 Critique of the Prison System and Alternatives

This is part four of the Restoration Theology class. The Old Testament, also called the Hebrew Bible, is a collection of 39 books written before the time of Christ. Today you’re going to learn about the three major manuscript families of the OT: (1) the Masoretic Text, (2) the Septuagint, and (3) the Samaritan Pentateuch. Like last time, we’ll go through several of the most significant manuscripts while also covering some of the most exciting stories of discovery. My goal here is simply to familiarize you with the texts upon which our Old Testaments are based, so that when you go to build doctrines later, you’ll be able to understand why textual differences matter and how to navigate them effectively.   Listen on Spotify   Listen on Apple Podcasts —— Links —— Check out the other episodes of the Restoration Theology class Support Restitutio by donating here Join our Facebook group, follow on X @RestitutioSF or Instagram @Sean.P.Finnegan Leave a 90 second voice message via SpeakPipe with questions or comments and we may play it out on the air Who is Sean Finnegan?  Read his bio here Get Finnegan’s book, Kingdom Journey to learn about God’s kingdom coming on earth as well as the story of how Christianity lost this pearl of great price. Get the transcript of this episode Intro music: Good Vibes by MBB Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0) Free Download / Stream: Music promoted by Audio Library.

Preaching for the Sixth Sunday in Ordinary Time, Betsy Cahill offers a reflection on Jesus' invitation to follow him, not merely the law: "In the reign of God, true righteousness transcends outward practice and demands of us a radical interior openness to knowing and doing God's will. Jesus calls us unflinchingly to embark on an open-ended journey towards holiness. Do not follow the law mindlessly and meticulously, he proclaims: follow me."Betsy Cahill is a wife and mother, a writer, and civic volunteer with deep experience in biblical studies, historic preservation, and secondary education. Having earned degrees in Classics (Harvard) and English Literature (Oxford), in 2010 she achieved a long-time dream when she graduated from Yale Divinity School with an M.A. in Hebrew Bible. Using her knowledge of biblical languages, she has taught classes and lectured on spirituality and Scripture.Visit www.catholicwomenpreach.org/preaching/02152026 to learn more about Betsy, to read her preaching text, and for more preaching from Catholic women.

The Letter of Jude E6 — In the final nine verses of his letter, Jude transitions from warning about corrupt members to instructing the faithful. In so many words, he encourages them to keep pressing on as the living temple of God's Spirit and love. Jude also guides them in how to care for the doubting and deceived in their community, while taking necessary caution for their own holiness. And he concludes with confidence in God's ability to protect the Church and make them stand as blameless priests, all to the praise, honor, and majesty of God. In this episode, Jon and Tim finish our series in this short but powerful letter.FULL SHOW NOTESFor chapter-by-chapter summaries, referenced Scriptures, and reflection questions, check out the full show notes for this episode.CHAPTERSLetter Recap and Words of the Apostles (0:00-22:25)Building Yourselves on Your Most Holy Faith (22:25-30:58)Showing Mercy to Some and Rescuing Others (30:58-45:24)Closing Doxology (45:24-1:08:56)BIBLEPROJECT JUDE TRANSLATIONView our full translation of the Letter of Jude.REFERENCED RESOURCESEternal Life: Jon and Tim reference this video when discussing language in Jude's doxology about ages.The Last Battle by C.S. LewisCheck out Tim's extensive collection of recommended books here.SHOW MUSIC“jazz club.” by Lofi Sunday, PAINT WITH SOUND“Church Pews” by Lofi Sunday, Oly.Lo, WISDM“little adventure” by Lofi Sunday, Cassidy GodwinBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Powered and distributed by Simplecast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode we welcome Associate Professor of Old Testament, Bethel Seminary, Dr. Kaz Hayashi (not the pro wrestler!) into the Dojo to talk about being a Hebrew Bible scholar, a Japanese Christian, studying the martial arts, and his love of anime & manga! Kaz's chapter on “YHWH as Tyrant” can be found in the volume “Anime, Religion, and Theology” - https://www.amazon.com/Anime-Religion-Theology-Pop-Culture/dp/1978714912/ Kaz's ETS presentation “Holograms and Idols: Hatsune Miku and the Image of God” can be seen at: https://youtu.be/PgZ0K3GMgK0?si=L7wgB81oELO6zvcl Kaz can be reached via his faculty page at: https://www.bethel.edu/academics/faculty/kaz-hayashi ***Disciple Dojo shirts and other gifts are available over in our online store! - https://www.zazzle.com/DiscipleDojo ***Become a monthly Dojo Donor and help keep us going! - https://www.discipledojo.org/donate ***Dojo Donor Patches: If you are a monthly donor and would like an iron-on DiscipleDojo patch, supplies are limited so message JM directly via the contact page at https://www.discipledojo.org/contact ***If you are an unmarried Christian looking for community, check out our Facebook group “The Grownup's Table” over at www.facebook.com/groups/grownupstable ------ Go deeper at www.discipledojo.org  

Elizabeth Baird Hardy, Deputy Headmistress of Hogwarts Professor, the genius behind AppalachianInkling.com, Hunger Games expert, and author of Milton, Spenser and the Chronicles of Narnia: Literary Sources for the C.S. Lewis Novels, joined Nick and John to discuss the Charm Bracelet that J. K. Rowling posted on her Twixter home page as a Christmas gift to her readers. She said that that the thirteen charms on nine links were a set of clues about the next Strike novel, the ninth in a ten book series.In the first Part of Elizabeth, Nick, and John's conversation, they discussed Rowling's charm bracelet history, speculated about why she posted this picture when she did, decided to look at each charm on the bracelet for its stand-alone meaning and its place in the nine link set, and to read the whole series as if it were a ring composition, one reflecting a nine Part structure in Strike 9. They then made deep dives into the details of each charm: the heart shaped box containing a ‘You and Me' engagement ring, a golden diamond-laden egg, a foul anchor, two angels, and a Trojan horse.In this second Part of that conversation, the trio of Serious Strikers continue with the remaining charms on the bracelet, namely, a Jack-in-the-box, an Hourglass, a White Rose and Crocodile, a Corvid head, and a Psalter paired on the last link with the Head of Persephone. They share their thoughts, too, about the bracelet as a symbolic integer and its ring meaning.The notes below are in support of references they make mid-flight and to other resources of interest to Magic Charm Decoders! Enjoy.Thank you to all our subscribers with special gratitude and appreciations for our paid subscribers; you are the wind in our sails, the heat from our vents… Serious Strikers are reading Browning's The Ring and the Book, charting Hallmarked Man Part Six, and reviewing the Myth of Cupid and Psyche to look for parallels in the Strike-Ellacott series. See you soon!Jack-in-the-Box Charm* Rowling claims this as her favorite charm (Nick and John in the conversation mistakenly attribute this preference to the Psalter charm):* Badly Wired Lamp ID'd it* Is it a devil — or a Racoon?* The jack in the box toy, the 'Jack' being a devil, was invented in Germany in the 16th century as a mockery of the Roman Catholic doctrine of the Real Presence of Christ in the Eucharist. * The shape of this charm, the golden circular center in the inside of the open box top, represents the transcendent spiritual realm and the square bottom with its four directions, the fallen world. The ‘jack' devil lives in the latter but is from the former.* The charm is the third latched object in the chain, the heart box and Trojan horse preceding it and the psalter at chain's end following it — which means the ring latch and center are latched objects with surprises inside. The two interior objects at center have deadly surprises and the beginning and end eternal life interiors. The symbolism here is of the human being and its capacity via choice for either spiritual perfection in sacrificial love (anteros) or consumption by individual desires (eros). The thing hidden inside, man's spiritual capacity or heart, is either light or darkness, the inside bigger than the outside. (John)* What is the Strike 9 connection, the analogue to the demonic Jack in the box? Is it RFM? Uncle Ted? Ilsa's husband Nick? Polworth?* The Jack's position is at the center of the bracelet and between the hourglass and the Trojan horse. So it's placed between cleverness and craftiness and things that we can control and bad surprises, but also time, because we can't control time. (Elizabeth)Hourglass Charm* tempus fugit ‘like sand in an hourglass'* memento mori* infinite symbol* The Strike series may be a collection of mystery-story genres, each one illustrating a unique type of story, different from all the others while keeping the same core of characters and overarching narrative (cf., Rowling's note in The Running Grave acknowledgements that that book was her “cult” book). The hourglass, then, may be Rowling's pointer to Strike9 being a suspense drama in which the good guys not only have a challenging mission (find and rescue the missing Robin, Strike, Lucy, Pat, whomever) but have to do it before a literal deadline arrives. The Ticking Clock plot device.* If the Jack at link five is the center of the bracelet ring of nine links, how does the hourglass mirror the Trojan horse? It's two parts? The deadline aspect? “Reveal the crazies inside before the hourglass empties”?White Rose Charm* White Rose of Yorkshire* The interior of the flower charm is a literal Turtleback or ring composition diagram.* White Rose of Dante: Paradiso Cantos XXXI and XXXIIThe true home of all the blessed is with God in the Empyrean, a heaven of pure light beyond time and space. Dante sees the blessed systematically arranged in an immense white rose: like a hologram, a three-dimensional image, the rose is formed from a ray of light reflected off the outer surface of the Primum Mobile (30.106-17). The queen of this white rose is the Virgin Mary, traditionally represented as a rose herself (see Par. 23.73-4). This celestial rose recalls large rose windows of Gothic cathedrals, many of which are dedicated to Mary. The image of the rose, often red, is also used to represent Christ or, in other contexts, earthly love. The white rose is symmetrically structured according to various criteria, including belief, age, and gender. One half of the rose, already full, holds those who, according to Christian tradition, believed in Christ to come (the blessed of the Hebrew Bible); the other half, with only a few seats still unoccupied, contains those who believed in Christ already come (saved Christians). Two gendered rows mark this division of the rose in two halves. In the row below Mary appear women of the Hebrew Bible (Eve, Rachel, Sarah, Rebecca, Judith, Ruth, and unnamed others); Beatrice is seated next to Rachel, on the third row from the top. Opposite Mary, John the Baptist heads a row of men containing Francis, Benedict, Augustine, and other Christian fathers. Mary is flanked by Adam (first man) and Moses on one side, and Peter (first pope) and John the Evangelist on the other. John the Baptist is flanked by Lucy on one side and Anna, the mother of Mary, on the other. While only adults are seated in the upper section of the rose, below a certain line the rose contains souls of blessed children, their precise location based not on their own merits (since they lacked the power of free will) but on predestination. As physical laws do not apply in the Empyrean, Dante's ability to see these figures is not diminished by distance (30.118-23; 31.76-8).* White Rose of Mockingjay (Hunger Games finale)The prevailing symbol of Catching Fire and the most meaningful token the Christ figure of the series gives Katniss is a pearl, the solid-light symbolism of which we've discussed before. I think Commander Paylor's name may be our last Madge-Pearl-Mags name reference in being a “pale orb.” That gold and pearls have a similar translucency and metaphysical correspondence with the ‘Light of the World' make the twin possibilities that much more rich — and Commander Paylor's ascending to Panem's Presidency that much more meaningful and appropriate.Katniss steps into the Garden with the Pearl's blessing (“on my authority”) and discovers roses of every possible color. There are red, of course, and “lush pink, sunset orange, and even pale blue.” She knows what she wants, though; the rose colored like light, the white rose, Dante's symbolic prelude to the beatific vision and transcendence. Just as she cuts the “magnificent white bud just about to open” “from the top of a slender bush” (ibid, p. 355), the manacled, “pale, sickly green” President Snow, our snake in the Garden, speaks.“The colors, are lovely, of course, but nothing says perfection like white.”Our story Satan, you recall, left her a white rose in District 12 in chapter 1 and dropped roses with the bunker buster bombs in Part 1 to terrify Katniss. Now we know why. He was taunting her with her end, that as a seeker's soul he knew her goal was perfection in Christ and taunted her with it, especially when he held Peeta-Christ and understood the cartharsis and chrysalis she would have to pass through to claim it herself. Now that she is in the inner sanctuary, the High Place, he tells her the truth she could not hear anywhere else, the final, ugly truth about the cause for which Katniss had sacrificed everything. Snow reveals, just as Peeta had told her at the story's start, that she was deceived by those she trusted. President Coin killed Primrose with a weapon designed by Gale.Having been to the Absolute center, the world navel, and taken away the beatific vision as a white rose, Katniss is no longer a seeker but the resolution of contraries, an androgyn of justice and mercy. She is above right and wrong now as the phoenix-mockingjay and hears the voice of the “murderer” on the Hanging Tree at last. She deceives President Coin at the Victors Meeting as something of an avenging angel; she becomes a murderer herself by assassinating President Coin. Peeta-Christ comes down from the tree as her savior once again and prevents her suicide via Nightlock by his out-of-nowhere intervention.* Why does the White Rose share the seventh bracelet link with a crocodile? Faerie Queene!Crocodile Charm* The Crocodile in Shed, crocodile skin handbags (Hallmarked Man) “Maybe the4 crocodile or whatever they're keeping in the shed's chewed its way out,” said Strike. “ (Chapter 22, p 176; center chapter of Part 2)* Crocodile entry, Cirlot's Dictionary of SymbolismCrocodile Two basically different aspects of the crocodile are blended in its symbolic meaning, representing the influence upon the animal of two of the four Elements. In the first place, because of it viciousness and destructive power, the crocodile came to signify fury and evil in Egyptian hieroglyphics (19); in the second place, since it inhabits a realm intermediate between earth and water, and is associated with mud and vegetation, it came to be thought of as an emblem of fecundity and power (50). In the opinion of Mertens Stienon there is a third aspct, deriving from its resemblance to the dragon and the serpent, as a symbol of knowledge. In Egypt, the dead used to be portrayed transformed into crocodiles of knowledge, an idea which is linked with that of the zodiacal sign of Capricorn. Blavatsky compares the crocodile with the Kumara of India (40). Then, finally, come the symbols of Inversion proper and of rebirth. (67)* Lyndy Abraham's Dictionary of Alchemical Imagery entry for ‘Crocodile:'Crocodile The mercurial *serpent or transforming arcanum in its initial chthonic aspect during the dark, destructive opening of the opus alchymicum. Like the *bee, the crocodile was classified as a serpent in te bestiaries of the sixteenth and seventeenth centuries. The amphibious nature of the crocodile made it an apt symbol for the dual-natured *Mercurius. When Lepidus in Shakespeare's Antony and Cleopatra says, ‘Your serpent of Egypt is bred of your mud by the operation of your sun; so is your crocodile' (2.7.26-7), he is referring to the generation of gold in the earth, and the generation of the mercurial serpent through the heat of the secret *fire or ‘sun'. With the phrase ‘operation of your sun' Lepidus also alludes to the final law of the alchemical Emerald Table: ‘That which I had to say about the operation of the Sun is completed' (48)* Sandy Hope on Crocodile symbolismIsis Church crocodile in Faerie Queene: Book 5, Canto VIIBook V Canto vii. The speaker praises the virtue of justice and cites Osyris as an example of the just man. His wife, Isis, represented equity and to the Temple of Isis Britomart and Talus come to spend the night. Talus, however, is not allowed into the temple. Britomart enters and sees a statue of Isis with her foot on a crocodile. The temple is also full of the priests of Isis who are not allowed to drink wine as it leads to rebellion. Britomart sleeps under the statue of Isis and dreams that the crocodile comes alive and threatens the Goddess. The Goddess subdues the crocodile and it becomes meek and then impregnates the Goddess. She gives birth to a lion which conquers all other beats. Britomart awakes and tells her troubling dream to a priest. He tells her that the crocodile represents Arthegall, Isis represents Britomart, and the lion their son whom they will conceive. Grateful for the interpretation, Britomart leaves and comes to Radigund's castle. Radigund and Britomart battle, Britomart is wounded in the shoulder, and finally Britomart beheads Radigund. Talus enters the castle and wreaks carnage on the Amazon women inside. Britomart finds Arthegall dressed, like other, in women's clothing. she is shamed by the sight, and it is not quite clear whether her suspicions that Arthegall has been unfaithful are confirmed or refuted. She finds Arthegall some armour, arms him, and the rest in the castle. during this time Britomart rules as a princess and reforms the Amazon society so that women are restored to proper subjection to men. Finally, Arthegall leaves to complete his quest against Grantorto. Britomart lets him leave because she knows that his success in this quest is important to restore his ego. After residing further at the Amazon castle she finally leaves to help keep her mind off the absent Arthegall.* The Spenser Encyclopedia entry for ‘Church of Isis:' (408) Clifford DavidsonWhen Britomart spends the night in the temple, she sees a ‘wondrous vision' in which she participates first as a votary of Isis and then as the goddess herself. Her devotion to the statue causes her to become Isis in her dream: she is serving at the altar when she sees herself transformed into Isis but wearing the royal robe. The crocodile awakens, devours the flames which threaten to destroy the temple, and threatens to eat Isis/Britomart until it is driven back by her rod. Then it seeks her ‘grace and love,' she yields, it impregnates her, and from their union she gives birth to a lion. As the Priest explains, the crocodile is Osiris (the Egyptian god of Justice) who sleeps under the feet of Isis ‘To shew that clemence oft in things amis,/ Restraines those sterne behests, and cruell doomes of his' (22), and who shows thereby the proper relation of justice and judgment to equity. The Priest also explains to Britomart that the crocodile is Artegall, ‘The righteous Knight,' who will settle the storms and ‘raging flames, that many foes shall reare' and restore to her the heritage of her throne, and who will give her a ‘Lion like' son (23), the new British monarchy of the Tudors.The crocodile is a symbol both of guile and of a regeneration that will affect future history. As guile, its relation to Isis is reminiscent of Vice figures under the feet of triumphing Virtues in medieval art. An iconographic association between the crocodile in its demonic aspect and medieval saints' legends derives ultimately – significantly for Spenser – from the classical figure of Britomartis (Miskimin 1978). In Plutarch's Isis and Osiris 50, it is linked to Typhon, the enemy of justice and order, while in Renaissance iconographic tradition it is often symbolic of the need for prudence (for one must be prudent to avoid the wily crocodile). Cesare Ripa's Iconologia (sv Lussuria) shows the nude Luxury (or Lechery) seated upon a crocodile, an interesting analogy to its phallic sexuality in Britomart's dream. Yet along with these primarily negative associations, there are also positive ones in the crocodile's identification with Osiris/Artegall/Justice and in the implication that Isis/Britomart/Equity is incomplete without her partner. The image contains its own contradiction, unresolved by the Priest.* Troubled Blood and Faerie Queene: Where Britobart and Artegall are used as stand-ins for Robin and Cormoran:Troubled Blood features several embedded texts, the most important of which is never mentioned in the book: Edmund Spenser's Faerie Queen. Serious Strikers enjoyed the luxury of not one but two scholars of Edmund Spenser who checked in on the relevance and meaning of Rowling's choice of the greatest English epic poem for her epigraphs, not to mention the host of correspondences between Strike 5 and Queen. Elizabeth Baird-Hardy did a part by part exegesis of the Troubled Blood-Faerie Queen conjunctions and Beatrice Groves shared her first thoughts on the connections as well. Just as Lethal White's meaning and artistry is relatively unappreciated without a close reading of Ibsen's Rosmersholm, so with Strike 5 and Faerie Queen.Elizabeth Baird-Hardy* Day One, Part One: The Spenserian Epigraphs of the Pre-Released Troubled Blood Chapters* Day Two, Part Two: The Spenserian Epigraphs of Troubled Blood Chapters Eight to Fourteen* Day Three, Part Three: The Spenserian Epigraphs of Troubled Blood Chapters Fifteen to Thirty* Day Four, Part Four: The Spenserian Epigraphs of Troubled Blood Chapters Thirty One to Forty Eight* Day Five, Part Five: The Spenserian Epigraphs of Troubled Blood Chapters Forty Nine to Fifty Nine* Part Six: The Spenserian Epigraphs of Troubled Blood Chapters Sixty to Seventy One* Spenser and Strike Part Seven: Changes for the BetterBeatrice Groves* Trouble in Faerie Land (Part 1): Spenserian Clues in Troubled Blood Epigraphs* Trouble in Faerie Land (Part 2): Shipping Robin and Strike in the Epigraphs of Troubled Blood* Trouble in Faerie Land (Part 3): Searching for Duessa in Troubled BloodJohn Granger:* How Spenser Uses Cupid in Faerie Queen and Its Relevance for Understanding Troubled Blood* Reading Troubled Blood as a Medieval Morality PlayCorvid Charm* Rowling Twixter headers: 12 January 2016, 9 April 2017 (Nick)* Fantastic Beasts reference? The Lestrange Family Motto features a crow and the ‘Lost Child' of that series is named ‘Corvus'* Crow Symbolism per Cirlot, Dictionary of Symbols:Crow Because of its black colour, the crow is associated with the idea of beginning (as expressed in such symbols as the maternal night, primigenial darkness, the fertilizing earth). Because it is also associated with the atmosphere, it is a symbol for creative, demiurgic power and for spiritual strength. Because of its flight, it is considered a messenger. And, in sum, the crow has been invested by many primitive peoples with far-reaching cosmic significance. Indeed, for the Red Indians of North America it is the great civilizer and the creator of the visible world. It has a similar meaning for the Celts and the Germanic tribes, as well as in Siberia (35). In the classical cultures it no longer possesses such wide implications, but it does still retain certain mystic powers and in particular the ability to foresee the future; hence its claw played a special part in rites of divination (8). In Christian symbolism it is an allegory of solitude. Amongst the alchemists it recovers some of the original characteristics ascribed to it by the primitives, standing in particular for nigredo, or the initial state which is both the inherent characteristic of prime matter and the condition produced by separating out the Elements (putrefactio) … In Beaumont's view, the crow in itself signifies the isolation of him who lives on a superior plane (5), this being the symbolism in general of all solitary birds. (71-72)* Lyndy Abraham's Dictionary of Alchemical Imagery entry for ‘Crow:' (49)Crow, crow's head, crow's bill A symbol of the *putrefaction and *black nigredo which is the first stge of the opus alchymicum. The old body of the metal or matter for the Stone is dissolved and putrefied into the first matter of *creation, the *prima materia, so that it may be regenerated and cast into a new form. The Hermetis Trismegisti Tractatus Aureus said of this initial stage of death and dissolution in the work: ‘The First is the Corvus, the Crow or Raven, which from its blackness is said to be the beginning of the Art' (bk. 2, 235). In his Aurora, Paracelsus wrote that when the matter has been placed in the gentle heat of the secret fire it passes through corruption and grows black: ‘This operation they call putrefaction, and the blackness they name the head of the Crow' (55). Thomas Charnock likewise wrote of the putrefaction: ‘The Crowes head began to appere as black as Jett' (TCB, 296). In Zoroaster's Cave the matter produced during this stage is identified with the name of the process: ‘When the matter has stood for the space of forty dayes in a moderate heat, there will begin to appear above, a blacknesse like to pitch, which is the Caput Corvi of the Philosophers, and the wise men's Mercury' (80). According to Ripley the terms ‘crows head' and ‘crows bill' are synonymous: ‘The hede of the Crow that tokeyn call we,/And sum men call hyt the Crows byll' (TCB, 134) (see ashes). In A Fig for Momus Thomas Lodge listed the crow's head amongst other alchemical enigmas: ‘Then of the crowes-head, tell they weighty things' (Works, 3:69). When Face in Jonson's The Alchemist says that the matter of the Stone has become ‘ground black', Mammon enquires of him, ‘That's your crowes-head? And Subtle replies, ‘No, ‘tis not perfect, would it were the crow' (2.3.67-8).Psalter Charm* In ‘Charms, Psalms & Golden Clues: A brace(let) of clues for Strike 9,' Prof Groves discusses the psalm as charm:Charm first meant the incantation itself, and then the amulet that carried that incantation to protect the wearer and then – from the 19th century – the small ornamental trinkets, fastened to girdles, watch-chains and bracelets, that resembled those original, talismanic charms. This means that Rowling's clue-charm of a Psalm book (which can actually carry a sacred text) circles back beautifully to the original meaning of the word – in which a charm was an amulet carrying a holy text. These charms do not always hold texts but Rowling has confirmed that this one does: ‘The book is a psalm book and holds real, miniature psalms' I think this protective hinterland of charms make it likely that the specific psalm that such a psalm-book charm would carry would be the most comforting and talismanic of psalms – Psalm 23. This psalm famously describes the Lord's love as protective, even unto the valley of the shadow of death* John argues that, in addition to the 23rd Psalm, Psalm 90 (91 in Masoretic or KJV reckoning), the so-called ‘Soldier's Psalm' is at least as likely as an insert for this charm, which is to say, as a talisman a soldier might give a woman about to enter Hades to beg a gift from Persephone…The Head of Persephone Charm* Rowling's clarifying picture* Psyche's Last Task from Venus:One final task is then given to Psyche, one in which Psyche is commanded to bring back a bit of Persephone's beauty from the Underworld. In Greek mythology no living soul is meant to be able to enter the Underworld, let alone leave it, and so Aphrodite felt that she would be rid of Psyche once and for all. Indeed, it seemed that Aphrodite would be proved right, for Psyche's only idea about entering the Underworld was to kill herself. Before Psyche can commit suicide a voice whispers to her instructions about how to complete the task. Thus Psyche finds an entrance to the Underworld and is soon crossing the Acheron upon the skiff of Charon, and the princess even manages to gain an audience with Persephone. Persephone on the surface appears to be sympathetic to the quest of Psyche, but Psyche has been warned about accepting food or a seat in the palace of Hades, for both would bind her to the Underworld for all time. But eventually, Persephone gives Psyche a golden box, said to contain some of the goddess' beauty.* The Head of Persephone charm is paired with the Psalter on the ninth and last link; again, if the Psalm is 22 (23) or 90 (91), then the connection is an invocational prayer for help traveling through the “valley of death,” for protection from the “asp and basilisk,” the “lion and dragon.”* As above, note that the beginning, middle, and end of the bracelet feature clasped objects, with the Psalter being a codex that opens and Psyche's journey to Persephone is in pursuit of a “golden box” containing the means to otherworldly beauty. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

The Antiquities of the Jews, Vol 4(Part 2)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate⁠Flavius Josephus (37 - c. 100)⁠Translated by ⁠William Whiston (1667 - 1752)⁠Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 4 contains Books 16-20; it begins with King Herod finishing the temple and ends with the beginning of the Jewish revolt against Nero (c. 20 BC - 66 AD).Genre(s): History, AntiquityLanguage: EnglishKeyword(s): ⁠history⁠ (900), ⁠classics⁠ (65), ⁠Israel⁠ (32), ⁠Jewish history⁠ (8), ⁠Josephus⁠ (7)Group: ⁠The Antiquities of the Jews⁠Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Antiquities of the Jews, Vol 4(Part 1)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateFlavius Josephus (37 - c. 100)Translated by William Whiston (1667 - 1752)Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 4 contains Books 16-20; it begins with King Herod finishing the temple and ends with the beginning of the Jewish revolt against Nero (c. 20 BC - 66 AD).Genre(s): History, AntiquityLanguage: EnglishKeyword(s): history (900), classics (65), Israel (32), Jewish history (8), Josephus (7)Group: The Antiquities of the JewsSupport Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Antiquities of the Jews, Vol 3(Part 2)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateTranslated by ⁠William Whiston (1667 - 1752)⁠Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 3 contains Books 11-15; it begins with the return of the Babylonian exiles under Cyrus, king of Persia and ends with King Herod rebuilding the temple (c. 559 BC - 20 BC).Genre(s): History, AntiquityLanguage: EnglishKeyword(s): ⁠history⁠ (899), ⁠Israel⁠ (32), ⁠Jews⁠ (14), ⁠Hebrews⁠ (13), ⁠Josephus⁠ (7), ⁠Judea⁠ (5)Group: ⁠The Antiquities of the Jews⁠Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Antiquities of the Jews, Vol 3(Part 1)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateTranslated by William Whiston (1667 - 1752)Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 3 contains Books 11-15; it begins with the return of the Babylonian exiles under Cyrus, king of Persia and ends with King Herod rebuilding the temple (c. 559 BC - 20 BC).Genre(s): History, AntiquityLanguage: EnglishKeyword(s): history (899), Israel (32), Jews (14), Hebrews (13), Josephus (7), Judea (5)Group: The Antiquities of the JewsSupport Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

"There is an ancient tradition that the holy, righteous elder Symeon, who came from Egypt, was one of the Seventy learned Jews chosen in the days of the Pharoah Ptolemy Philadelphus (285-246 BC) for the task of rendering the Hebrew Bible into Greek, and that to Symeon was assigned the translation of the book of the Prophet Isaiah. When he reached the famous passage where the Prophet foretells the virgin birth of Christ, saying: Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel (Is. 7:14), he was so perplexed that he took a penknife to erase the word 'virgin' in order to replace it by 'young woman'. At that moment, an angel of God appeared and prevented him from altering the sacred text, explaining that what seemed impossible to him was, in fact, a prophecy of the coming into this world of the Son of God. To confirm the truth of this, he promised that Symeon would not see death until he had seen and touched the Messiah born of the Virgin. When, after many long years, Christ was brought into the Temple at Jerusalem by the All-Holy Mother of God, the Holy Spirit revealed to the Elder Symeon that the time of fulfilment of the promise had come. He hurried to the Temple and, taking the Child in his arms, he was able to say wholeheartedly to God: Lord, now lettest thou Thy servant depart in peace according to Thy word, for mine eyes have seen Thy salvation (Luke 2:29). For indeed, the Elder Symeon was the living image of the ancient Israel of the Old Testament, which having awaited the coming of the Messiah was ready to fade away and give place to the light and truth of the Gospel. The relics of the holy and righteous Symeon were venerated at Constantinople in the church of St James, built at the time of the Emperor Justin.   "The prophetess Anna, the daughter of Phanuel, was eighty-four years old. Since the early death of her husband, she had spent her whole life in the Temple in hope of the coming of the Saviour. She is the pattern for holy widows, virgins and monks, who have freed themselves of worldly cares in order to dwell always in the Temple, offering their fasts, hymns and prayers in eager expectation of the Lord's coming. And when, like Anna and Symeon, they have seen the indwelling Christ with the eyes of their heart and touched Him through their spiritual senses, they proclaim with joy and assurance to all mankind that the Saviour is still coming into the world: A light to lighten the Gentiles and the glory of His people Israel (Luke 2:32)." (Synaxarion)   The Synaxarion notes that the tradition that St Symeon was one of the Seventy is by no means universal among the Fathers. According to some, Symeon was the son of Hillel and father of Gamaliel, St Paul's teacher. According to others, he was a righteous and devout Jew aged 112, neither a priest nor a Pharisee.

The Antiquities of the Jews, Vol 2 (Part 1)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateFlavius Josephus (37 - c. 100)Translated by William Whiston (1667 - 1752)Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 2 contains Books 6-10; it begins right after the death of Eli the priest and the capture of the Ark and ends with the prophecies of Daniel in Persia.Genre(s): History, AntiquityLanguage: EnglishKeyword(s): history (899), Israel (32), Jews (14), Hebrews (13), Josephus (7), Judea (5)Group: The Antiquities of the JewsSupport Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Antiquities of the Jews, Vol 2 (Part2)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate⁠Flavius Josephus (37 - c. 100)⁠Translated by ⁠William Whiston (1667 - 1752)⁠Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. Antiquities of the Jews is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 2 contains Books 6-10; it begins right after the death of Eli the priest and the capture of the Ark and ends with the prophecies of Daniel in Persia.Genre(s): History, AntiquityLanguage: EnglishKeyword(s): ⁠history⁠ (899), ⁠Israel⁠ (32), ⁠Jews⁠ (14), ⁠Hebrews⁠ (13), ⁠Josephus⁠ (7), ⁠Judea⁠ (5)Group: ⁠The Antiquities of the Jews⁠Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

The Letter of Jude E5 — In verses 11-16, Jude continues warning his Jewish messianic audience about deceptive, immoral people infiltrating their house churches. He compares them to three characters from the Hebrew Bible—Cain, Balaam, and Korah—who choose rebellion for themselves and lead others astray. Next, he compares the corrupt church members to a series of images from Scripture, including selfish shepherds, rainless clouds, and wandering stars. In this episode, Jon and Tim continue exploring Jude's dense prose, where he seamlessly weaves together allusions to the Hebrew Bible and Second-Temple period literature into a piercing critique of imposters within a community of disciples.FULL SHOW NOTESFor chapter-by-chapter summaries, referenced Scriptures, and reflection questions, check out the full show notes for this episode.CHAPTERSCain, Balaam, and Korah (0:00-23:23)Six Images of Corrupt Leaders (23:23-37:45)The Prophecy of Enoch (37:45-55:42)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.BIBLEPROJECT JUDE TRANSLATIONView our full translation of the Letter of Jude.REFERENCED RESOURCESAntiquities of the Jews by JosephusCheck out Tim's extensive collection of recommended books here.SHOW MUSIC“Gentle Lamb” by Lofi Sunday, Yoni Charis“Purple Clouds ft. Marc Vanparla” by Lofi SundayBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateThe Antiquities of the Jews, Vol 1 (Part 1)Flavius Josephus (37 - c. 100)Translated by William Whiston (1667 - 1752)Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. It is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 1 contains Books 1-5 and ends with the dedication of Samuel and death of Eli the priest.Genre(s): History, AntiquityLanguage: EnglishKeyword(s): history (899), Israel (32), Jews (14), Hebrews (13), Josephus (7), Judea (5)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donateThe Antiquities of the Jews, Vol 1 (Part 2)⁠Flavius Josephus (37 - c. 100)⁠Translated by ⁠William Whiston (1667 - 1752)⁠Antiquities of the Jews was a work published by the important Jewish historian Flavius Josephus about the year 93 or 94. It is a history of the Jewish people, written in Greek for Josephus' gentile patrons. Beginning with the creation of Adam and Eve, it follows the events of the historical books of the Hebrew Bible, but sometimes omits or adds information. (Summary by Wikipedia)Volume 1 contains Books 1-5 and ends with the dedication of Samuel and death of Eli the priest.Genre(s): History, AntiquityLanguage: EnglishKeyword(s): ⁠history⁠ (899), ⁠Israel⁠ (32), ⁠Jews⁠ (14), ⁠Hebrews⁠ (13), ⁠Josephus⁠ (7), ⁠Judea⁠ (5)Support Us: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://libri-vox.org/donate

In this recap at the end of week 4 we look back over the book of Genesis, seeing what it tells us today, and then also look forward as we begin the book of Exodus. These books are the foundation of the Hebrew Bible called the Torah, and foundational to our own experience of God in the Christian faith.

Welcome to Day 2786 of Wisdom-Trek, and thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom – Theology Thursday – The Unintended Consequences of Replacing Yahweh with “God” Wisdom-Trek Podcast Script - Day 2786 Welcome to Wisdom-Trek with Gramps!   I am Guthrie Chamberlain, and we are on Day 2786 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. Our current series of Theology Thursday lessons is written by theologian and teacher John Daniels. I have found that his lessons are short, easy to understand, doctrinally sound, and applicable to all who desire to learn more of God's Word. John's lessons can be found on his website   theologyinfive.com.   Today's lesson is titled The Unintended Consequences of Replacing Yahweh with “God”. In the pages of Scripture, the God of Israel reveals Himself by name, Yahweh, a name that marks His identity, His covenant, and His absolute uniqueness among all other spiritual beings. Yet somewhere in the history of Jewish and Christian tradition, this name was quietly replaced. Where once God was named, now He is merely titled. Yahweh became “the LORD.” Eventually, even “the LORD” gave way to “God,” a generic and universal term that can apply to almost any religious conception of the divine. What began as an effort to show reverence or accommodate translation has produced serious theological consequences. The loss of God's name has led to a distorted view of monotheism, erased key distinctions between Yahweh and other spiritual beings, and enabled poor apologetic compromises, such as the claim that “Allah is just the Arabic word for God.” It has also obscured the meaning of the First Commandment and weakened the Church's understanding of its own covenant relationship. This article traces how we got here and why recovering the name Yahweh is essential to restoring biblical clarity. The First Segment is: From Name to Title: How Yahweh Was Replaced. The divine name Yahweh (יהוה), also called the Tetragrammaton, appears over 6,800 times in the Hebrew Bible. In Exodus 3:15, God declares, “This is my name forever, and this is how I am to be remembered in every generation.” Yet despite this, a tradition developed during the Second Temple Period in which Jews refrained from pronouncing the divine name aloud. Instead, they substituted it with Adonai (“Lord”) during public readings. This practice, rooted in caution and reverence, carried over into Greek and Latin translations of the Bible. The Septuagint rendered Yahweh as Kyrios (“Lord”), and the Latin Vulgate followed suit with Dominus. English Bibles later preserved this substitution, using the stylized “LORD” in small caps, often without explaining to readers that a name was being replaced. As Christianity spread into the Gentile world, the name Yahweh virtually disappeared from common use. The God of the Bible came to be referred to simply as “God,” a word that is not a name at all, but a title. And not a unique title either, “God” can refer to any number of deities across religious systems or even to philosophical abstractions. In trying to show reverence or universality, the Church began to erase the very name by which the true God had distinguished Himself. The second segment is: The Problem with “God”: A Category, Not a Character This shift might seem minor, but it represents a profound theological error. In Hebrew, the word elohim is used to...

Matthew chats with Dr. Carmen Imes about her new book, Becoming God's Family: Why the Church Still Matters. In this discussion, Carmen shares how the church can embody its mission effectively and faithfully in the world. As an Old Testament scholar, she offers an important perspective on this subject. Drawing from insights taken from the Hebrew Bible, Carmen outlines a vision of the church that is rooted in the story of God's people Israel, and she shares with listeners how that vision can be fleshed out in light of the pressing questions of the 21st century.Dr. Imes's faculty page: https://www.biola.edu/directory/people/carmen-imes Order her book: https://a.co/d/4ftnL9Y +++Support The Bible (Unmuted) via Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/TheBibleUnmuted⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Matthew's blog: matthewhalsted.substack.comDon't forget to subscribe to The Bible (Unmuted)!

The Letter of Jude E4 — In verses 5-7, Jude warns a Jewish Messianic community about a group of people in their midst who live without moral restraint and reject Jesus' authority. After comparing them to a series of human and angelic rebels in the Hebrew Bible, Jude then calls out the corrupt church members in verses 8-10 as ones who “slander the glorious-ones,” referring to angels. What is Jude talking about, and why would slandering spiritual beings be considered offensive? In this episode, Jon and Tim explore the Hebrew Bible and Second-Temple period apocryphal literature to understand the unique role and revered status of angels among 1st-century Jewish people.FULL SHOW NOTESFor chapter-by-chapter summaries, referenced Scriptures, and reflection questions, check out the full show notes for this episode.CHAPTERSRecap of Introduction and Setup for Verses 8-10 (0:00-10:21)Angels in the Hebrew Bible and Second-Temple Literature (10:21-39:02)Michael the Archangel's Restraint (39:02-1:06:12)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.BIBLEPROJECT JUDE TRANSLATIONView our full translation of the Letter of Jude.REFERENCED RESOURCESGod and Spiritual Beings Podcast SeriesCheck out Tim's extensive collection of recommended books.SHOW MUSIC“Chillbop ft. Me & The Boys” by Lofi Sunday“Cherish ft. PAINT WITH SOUND” by Lofi SundayBibleProject theme song by TENTSSHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Rabbi Schneider and Dustin Roberts are back in the studio to explore the essence of the gospel and its promises rooted in the Hebrew Bible and New Testament. They will discuss if goodness and good works guarantee us eternal life. **** BECOME A MONTHLY PARTNER - https://djj.show/YTAPartner   **** DONATE - https://djj.show/YTADonate 

In this episode, we dive into the concept of the genetic fallacy and how it impacts our decision-making processes. Join us as we explore the importance of paying attention to the voices of wisdom around us, especially when faced with significant life choices. We discuss the story of Rehoboam from the Hebrew Bible, highlighting the consequences of ignoring wise counsel and the dangers of seeking validation from those who simply tell us what we want to hear. Key takeaways include: Understanding the genetic fallacy and its implications in our lives. The importance of recognizing and valuing the voices of wisdom in our decision-making. Practical steps to avoid becoming your own worst enemy through a series of unwise decisions. Whether you're navigating relationships, career choices, or your faith journey, this episode offers valuable insights to help you make better decisions and avoid unnecessary regret. Read along with our chosen scripture: 1 Kings 11:28–29, 31, 34, 40; 12:1–14, 16–19 Idea: Pay attention to the voices of wisdom around you. --------------------------------------------------------------------------------------------------------------- We are an alternative to church as usual. Our Sunday worship service is approximately a 75-minute experience designed to introduce people to the message of Jesus and equip believers to live their lives in response to the Gospel while their kids enjoy one of our safe children's environments. Centerpoint is designed to meet you wherever you are on the journey whether you are just checking out the "church thing" or you are a committed Christ follower. Centerpoint is a casual environment that combines today's music with creative media and relevant teaching. We hope you will visit us at Centerpoint Church regardless of what your past church experience has looked like.

The Letter of Jude E3 — After the letter's opening appeal, Jude (or Judah) begins warning corrupt members of a Jewish messianic church community who cast off restraint and live openly immoral lives. He does so with an ancient rhetorical technique found in both the Hebrew Bible and the Dead Sea Scrolls. Jude shares three stories of rebellion in the Hebrew Bible: the spies fearful of the promised land in Numbers 13-14, the “sons of God” in Genesis 6, and the inhabitants of Sodom and Gomorrah in Genesis 19. Then he draws comparisons to the corrupt church members, promising they'll receive the same judgment. Why does Jude write this way about the moral crisis in a church? What is he trying to communicate? In this episode, Jon and Tim explore verses 5-8, unpacking the dense biblical references and what they would have meant to Jude and his audience.FULL SHOW NOTESFor chapter-by-chapter summaries, referenced Scriptures, and reflection questions, check out the full show notes for this episode.CHAPTERSA Jewish Rhetorical Technique (0:00-18:10)Rebellion of the Spies, Sons of God, and Sodom and Gomorrah (18:10-36:41)Concluding Thoughts on the First Triad (36:41-51:54)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.BIBLEPROJECT JUDE TRANSLATIONView our full translation of the Letter of Jude.REFERENCED RESOURCESThe Dead Sea Scrolls (Pesharim)Check out Tim's extensive collection of recommended books.SHOW MUSIC“Fellowship” by Lofi Sunday, Cassidy Godwin“Peace With You ft. Oly.Lo” by Lofi SundayBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Powered and distributed by Simplecast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Letter of Jude E2 — In the introduction to his letter, Jude (or Judah) shares that he had hoped to write about the community's “shared rescue” of salvation in Jesus. But urgent problems in the church forced him to send a warning instead. He calls his readers to “contend for the faith once for all handed down,” describing this faith as made up of trust in the story of Jesus and loyalty to Jesus' way of life. But what is the threat Jude wants them to guard against, and how does he describe it? In this episode, Jon and Tim break down the introduction to the letter of Jude, revealing a multitude of Hebrew Bible hyperlinks and a method of reading Scripture as unified meditation literature.CHAPTERSLoved, Kept, and Called (0:00-13:20)Contend for the Faith (13:20-21:50)The Irreverent Ones (21:50-36:43)The Literary Design of the Letter (36:43-44:41)FULL SHOW NOTESFor chapter-by-chapter summaries, referenced Scriptures, and reflection questions, check out the full show notes for this episode.OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.BIBLEPROJECT JUDE TRANSLATIONView our full translation of the Letter of Jude.REFERENCED RESOURCESJude and the Relatives of Jesus in the Early Church by Richard BauckhamCheck out Tim's extensive collection of recommended books.SHOW MUSIC“Faithful ft. Marc Vanparla” by Lofi Sunday“City Sunset ft. Marc Vanparla” by Lofi Sunday“family dinner” by Lofi Sunday, Cassidy GodwinBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Powered and distributed by Simplecast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Most people find the Old Testament confusing, dusty, or even intimidating. But what if it's actually the essential foundation for everything you believe about Jesus Christ? Today, we unlock the "Library of Books" that makes up the first half of our scripture and discover why it is the indispensable foundation of the covenant. Summary: In this introductory lesson, we lay the groundwork for a year-long journey through the Old Testament. We move beyond seeing it as a singular book and begin to view it as a diverse library of 39 books. Key themes include: The Foundation of the Covenant: Understanding why the Old Testament is the root from which the New Testament, Book of Mormon, and Doctrine and Covenants grow. Structure and Organization: A breakdown of the Hebrew Bible (the Tanakh) and its three parts: the Torah (Law), Nevi'im (Prophets), and Ketuvim (Writings). The Power of Translation: Exploring how the Bible moved from Hebrew to Greek to English, and why the Joseph Smith Translation is vital for our study. Finding Christ in the Old Testament: Moving past the "dead letter" to see the "living spirit" of the Messiah on every page. Call-to-Action: Which book of the Old Testament has always felt the most "sealed" to you? Let us know in the comments, and let's commit to opening it together this year! 

The Letter of Jude E1 — Jude is one of the shortest writings in the New Testament. It comes from one of Jesus' own brothers (or cousins, or stepbrothers, depending on the tradition). Written in the early years of the Jesus movement, the letter addresses a Jewish community in Jerusalem or Galilee, made up of disciples who likely grew up with Jesus and knew his family. Jude (or Judah in Hebrew or Judas in Greek) is deeply rooted in the Hebrew Bible. His writing shows these roots through consistent biblical language and tons of hyperlinks. But who was Jude, and what do we know about his family and ancestors? In this episode, Jon and Tim introduce the background of this short letter and the larger world surrounding its author.FULL SHOW NOTESFor chapter-by-chapter summaries, referenced Scriptures, and reflection questions, check out the full show notes for this episode.CHAPTERSJude's Identity and the Brothers of Jesus (0:00–8:29)Jesus' Brothers in the Gospels and Early Church (8:29–24:01)James, Jude, and Their Descendants (24:01–44:15)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.BIBLEPROJECT JUDE TRANSLATIONView our full translation of the Letter of Jude.REFERENCED RESOURCESPanarion by Epiphanius of SalamisThe Perpetual Virginity of Blessed Mary: Against Helvidius by JeromeProto-Gospel of JamesCommentary on Matthew by OrigenAntiquities of the Jews by Flavius JosephusThe Church History by Eusebius of CaesareaCheck out Tim's extensive collection of recommended books here.SHOW MUSIC“afternoon reads.” by Lofi Sunday, PAINT WITH SOUND.“date night” by Lofi Sunday, Cassidy GodwinBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Powered and distributed by Simplecast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

As we wrap up 2025, we're celebrating two big milestones: 10 years and 500 episodes of exploring the Bible together! To mark the occasion, we're strolling down memory lane to see how it all began. How does a side project recorded in a closet turn into a decade-long global conversation? In this episode, producer Lindsey Ponder interviews Jon, Tim, and other team members about how the show came to be, its growth over time, and how it continues to shape us, even as it helps hundreds of thousands of listeners experience the Bible as a unified story that leads to Jesus. FULL SHOW NOTESFor detailed, chapter-by-chapter summaries and referenced resources, check out the full show notes for this episode.CHAPTERSIntro (0:00-2:22)Before the Mic (2:22-11:17)The Closet Under the Stairs (11:17-19:35)A Growing Audience and Team (19:35-22:29)The Podcast in Other Languages (22:29-30:03)Hearing From Listeners, Plus Jon and Tim on What Motivates Them (30:03-44:15)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.REFERENCED RESOURCESHeaven & Earth videoGenesis 1-11 videoGenesis 12-50 videoThe Messiah videoThe Law podcast seriesGod and Money podcast episodeRevelation Premiere live eventProyecto Biblia Pódcast (Spanish localized podcast)Japanese localized podcast (Apple | Spotify)SHOW MUSIC“The Way Forward” by Richie Kohan“Selah ft. Bobcat” by Lofi Sunday“Blue Sky ft. TBabz” by Lofi Sunday“She'll Be Coming Round the Mountain” by Kashido“date night” by Lofi Sunday, Cassidy Godwin“Bird In Hand” by Foreknown ft. JGivens“Eden Dreaming ft. sxxnt.” by Lofi Sunday"Defender (Remix)" by TENTSBibleProject theme song by TENTSSHOW CREDITSProduction of today's episode is by Jon Collins, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. The host and creative producer of this episode is Lindsey Ponder. Special thanks to all those interviewed: Jon Collins, Tim Mackie, Robert Perez, Dan Gummel, Tyler Bailey, Anna Wyche, Angela Keuter, and audience members Matthew, David, Emily, and Ausha.Powered and distributed by Simplecast.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In our next-to-last episode of 2025, Tim, Jon, and BibleProject CEO, Steve Atkinson, review all the resources we released this year, while reflecting on the bigger worldwide movement of people reading the Bible as a unified story that leads to Jesus. The guys then share about some of what's coming up next for BibleProject in 2026.TIMESTAMPSGratitude for Our Mission (0:00-4:08)New “One Story That Leads to Jesus” Reading Plan (4:08-9:01)A Year Studying Themes From Exodus (9:01-16:15)How the Bible Was Formed and the Deuterocanon / Apocrypha (16:15-17:53)The Bigger Movement of Reading the Bible as One Story (17:53-27:34)2025 Classroom Releases (27:34-30:02)2025 Updates to the BibleProject App (30:02-31:58)Ten Years of the BibleProject Podcast (31:58-33:09)What Are We Releasing in 2026? (33:09-38:38)Gratitude for Our Volunteers, Prayer Team, and Patrons (38:38-45:01)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.REFERENCED RESOURCESSubscribe to the “One Story That Leads to Jesus” annual reading plan on The Bible App by YouVersion.Check out our 2025 collections of resources! Each has a video, podcast series, scholar-written guide, reading plan, and group study.The MountainThe Exodus WayRedemptionThe WildernessListen to the 2025 podcast series How the Bible Was Formed.Watch the 2025 overview video series on The Deuterocanon / Apocrypha.Listen to the 2025 Advent podcast series.Check out OneStory, a creative nonprofit that develops free Bible studies, lessons, and homeschool curricula—all featuring BibleProject resources.See how Streetlights has localized BibleProject videos for their audience.Watch or listen to the final installment of our Genesis Classroom series, Joseph. Also check out the second installment of the Gospel of Matthew Classroom series, The Messianic Torah, which focuses on the Sermon on the Mount.Download the BibleProject App from the iOS App Store or Android Google Play Store.SHOW MUSICBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty writes the show notes. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Special thanks to our guest, Steve Atkinson.Powered and distributed by Simplecast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Advent E4 — We're ending our short Advent series with a reflection on love. In the Hebrew Bible, the word “ahavah” involves faithfulness to God and living by his wisdom, but it also means showing practical care to others—especially the vulnerable. Jesus views this love for God and neighbor as the greatest command, and he expands it to be indiscriminate, radical kindness and generosity even toward our enemies. The New Testament authors were so blown away by this kind of love that they adopted an obscure Greek word for love, “agape,” and redefined it to be a self-giving, sacrificial love that Jesus demonstrates in his life, teaching, death, and resurrection. In this episode, Jon and Tim explore the main biblical words for love, showing how the story of Advent characterizes agape as God's own essence and our calling. FULL SHOW NOTESFor chapter-by-chapter notes including summaries, referenced Scriptures, biblical words, and reflection questions, check out the full show notes for this episode.CHAPTERSThe Hebrew Bible's Understanding of Love (0:00–13:17)Agape and Jesus' Redefinition of Love (13:17–21:25)God Is Love (21:25–31:10)Reflections on Love With JoDee (31:10-36:12)OFFICIAL EPISODE TRANSCRIPTView this episode's official transcript.REFERENCED RESOURCESThe Affections of Christ Jesus: Love at the Heart of Paul's Theology by Nijay GuptaAhavah / Love: Though not referenced directly in the episode, this 2017 video explores the same biblical word ahavah.Agape / Love: Also not referenced directly in the episode, this 2017 video explores the same biblical word, agape.Check out Tim's extensive collection of recommended books here.SHOW MUSIC“Clouds ft. ahmo” by Lofi Sunday“Warm Hugs” by Lofi Sunday & Cassidy Godwin“Snowflakes” by AvesBibleProject theme song by TENTS SHOW CREDITSProduction of today's episode is by Lindsey Ponder, producer, and Cooper Peltz, managing producer. Tyler Bailey is our supervising engineer, who also edited today's episode and provided the sound design and mix. JB Witty does our show notes, and Hannah Woo provides the annotations for our app. Our host and creative director is Jon Collins, and our lead scholar is Tim Mackie. Special thanks to our guest JoDee Atherton.Powered and distributed by Simplecast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.