Podcasts about Lavan

God Sees Leah We just finished the story of Lavan, the uncle, swindling his nephew, Yaaqov, the trickster. The trickster gets tricked in a way that mirrors his own trickstering Genesis 29:31-30:24 - Another example of how the numbering doesn't always match up with the narrative, but that's ok. And these…

Chazal say that Yaakov wanted to sit in tranquility at this point, after dealing with Eisav, Lavan, Shechem. Hashem said Tzadikim have tranquility in the next world, they should ask for it in this world? Is there something wrong with having a tranquil life? Wouldn't Yaakov only want this for Torah and Ruchniyus, what would be wrong with this desire? Some approaches to understanding a difficult Chazal.Have a good Shabbos

Deception in the House of Lavan Last week we talked about that amazing dream. Do you wish you had dreams like that? He did say he was terrified. We're not gonna forget about the dream though, 'cause it's gonna come up again as we move forward. he goes from Bethel, which is up in the northern hill country.…

Different gilgulim of Lavan by Rabbi Benjamin Lavian

In the beginning of this week's Parashat Vayishlach, Ya'akov Avinu is preparing to confront Esav, who wanted to kill him. Rashi tells us that Ya'akov prepared himself in three ways: sending gifts, praying, and strategizing for a potential battle. Why did Rashi list them in this order—placing tefillah second, between sending gifts and preparing for war? The Be'era Parashah explains that Rashi is teaching a fundamental principle about tefillah. Hashem built into the nature of the world that prayer works. And just as giving gifts and preparing for war are normal hishtadlut that people do, so too tefillah operates within the natural order. It is not considered miraculous to have prayers answered. For this reason, the Maharsha writes that although the Gemara teaches that a miracle performed for a person can deduct from his merits, anything attained through tefillah—even the greatest salvations—does not take away any merits, because tefillah is never considered a miracle. This understanding should give us tremendous chizuk. The answering of tefillah is part of how the world was created to function. Tefillot are so powerful that they can change decrees no matter how impossible the odds may appear. Chazal tell us that in Shamayim it had been decreed that Esav would marry Le'ah and Ya'akov would marry Rachel—"the older for the older, and the younger for the younger." The Alshich adds that Le'ah had four overwhelming hurdles preventing her from marrying Ya'akov. First, the heavenly decree had designated her for Esav. Second, the Pasuk testifies to Rachel's beauty. Third, the Pasuk tells us that Ya'akov loved Rachel. And fourth, Ya'akov worked for seven years for Rachel and took great precautions not to be deceived by Lavan. Yet Le'ah prayed so intensely, so persistently, with so many tears that her eyes became tender. And through those tefillot, she overturned the decree and all the natural odds. Chazal say that the greatness of tefillah is such that not only did Le'ah avoid marrying Esav, she even preceded Rachel to marry Ya'akov. And because of those same tefillot, she gave birth to six of the twelve Shevatim—the Bechor, the Kehunah, the Levi'im, the Meluchah, and the lineage of Mashiah—all emerging from her prayers. The Pasuk in Parashat Vayera says that the angels were sent to destroy Sedom while Avraham was still standing before Hashem. The next Pasuk tells us that Avraham prayed for Sedom to be spared. The Seforno explains: even though the decree had already been issued and the angels had already arrived in Sedom, Avraham still prayed, because he understood the ways of Hashem. As Chazal tell us Even if a sharp sword is already touching a person's neck, he should still pray, because tefillah can work no matter how desperate the situation seems. This past year, a woman received the difficult news that she had a tumor, lo 'alenu. At that time, she strengthened herself in guarding her speech and devoted herself to encouraging others to do the same. She was told that she would need the strongest form of chemotherapy. The doctors warned her of every side effect—especially that it was absolutely guaranteed she would lose all her hair. She asked them if there was anything at all she could do to avoid this. Their answer was clear: with the dosage she required, there was a one-hundred-percent certainty she would lose every strand. But she strengthened herself with the knowledge that with Hashem, nothing is fixed. She poured her heart into tefillah—not only for a full recovery, but also that she should not lose any of her hair. Today, Baruch Hashem the tumor has been completely removed. And amazingly, she did not lose even one strand of hair throughout the entire process. The doctors had no explanation. But the explanation is clear. She prayed to the Creator of the world—the One Who decides whether hair falls out or remains. Tefillah is wondrous, and Hashem created it to work as part of the natural order of the world. The more a person recognizes Hashem's power and involvement in every aspect of his life, the deeper, stronger, and more effective his tefillah becomes. Shabbat shalom.

התוכן עמ"ש יעקב לעשו [כמ"ש בראשון דפ' וישלח] "עם לבן גרתי", מפרש"י "גרתי בגמטריא תרי"ג, כלומר, עם לבן הרשע גרתי ותרי"ג מצוות שמרתי וכו'". גם בהיות יעקב "גר" ב"גלות" ומוקף באנשי המקום שכולם היו נגדו, ולכאו' במצב כזה הי' צריך "להתפשר" ו"למכור" מצוה אחת כדי להרויח מצווה שני' – ומ"מ שמר את כל התרי"ג מצוות! ודוקא עי"ז התקיים בבית לבן. וההוראה: גם כאשר נמצאים בגלות, אין אף א' בעה"ב על התורה שיוכל "לסחור" אתה "ולמכור" מצווה א' כדי להרויח שלא יעברו עבירה וכו'! (זה ש"פיקוח נפש דוחה שבת" או "עשה דוחה לא-תעשה" וכיו"ב ה"ז גופא דין בתורה!). כדי להיות בטוח שייצאו מ"בית לבן" שלם בכל הענינים, בנפש וברכוש (שאפי' על ה"ממון" אין לוותר, כי זה "ממונם של ישראל", ובמילא יש בו את קדושת "גוי קדוש"), באופן של "מאד מאד", ה"ז דוקא כאשר גם ב"בית לבן" מקיימים את כל התרי"ג מצוות! משיחת י"ט כסלו ה'תשל"ב ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=05-12-2025 Synopsis On the verse (in rishon of parashas Vayishlach), “I have been residing with Lavan…,” Rashi explains: “‘I have been residing (גרתי)' has the same numerical value as 613 (תרי"ג), meaning: “I lived with the wicked Lavan but I kept the 613 mitzvos….” Even when Yaakov lived as a “ger” (stranger) in exile, surrounded by people who stood with Lavan against him, he did not compromise and try “selling out” one mitzvah in order to keep another, rather, he kept all 613 mitzvos, and therefore he was able to survive in Lavan's house. The lesson is that even when one finds himself in exile, nobody has the right to “make deals” or to “sell” one mitzvah in exchange for not committing a transgression etc. (When the Torah says that saving a life overrides Shabbos or that a positive mitzvah overrides a negative mitzvah etc., it's not some kind of a “deal”; rather, this is the ruling of Torah itself.) To ensure that one will emerge from Lavan's house intact and with even his possessions intact (because a Jew has no right to forego his money, since it is the “money of the Jewish people,” the “holy nation,” and must be used for holiness), one must keep all 613 mitzvos even in the house of Lavan.Excerpt from sichah of 19 Kislev 5732 For a transcript in English of the Sicha: https://thedailysicha.com/?date=05-12-2025 לזכות מנחם מענדל הכהן בן רוזה חנה שי' ליום ההולדת שלו ט"ו כסלו – לשנת ברכה והצלחה, ואריכות ימים ושנים טובותנדבת אביו ‏ר' אברהם הכהן שי'‏

Yaakov arrives in Shechem “complete,” meaning he was healed physically from the angel, his wealth was restored despite giving Esav a large gift, and his Torah remained whole despite the years in Lavan's house. The Torah doesn't emphasize that he survived Lavan and Esav because Hashem had already promised to protect him; that was guaranteed. Instead, it highlights that even the smaller “wear and tear” of life — the injuries, the financial strain, the spiritual challenges — were also healed and restored by Hashem. Yaakov's journey mirrors our own: the Jewish people are eternally protected, but the hardships, pressures, and spiritual fatigue we face are temporary, meant only to bring out our strength and mesirus nefesh. Even as we work within the physical world to elevate it, our neshama and our Torah remain pure and untouched, and ultimately every struggle will be transformed and completed with the coming of Moshiach.לקו״ש כה-א

Les idoles de Lavan (Vayetsé) by Rav David Touitou

Sometimes there is strife in the home due to a difficult relationship between a father-in-law and a son-in-law. When a son-in-law feels he is being treated unfairly, controlled, or that no matter what he does it is never enough, it can cause great damage to the home and deeply disturb a person's inner peace. We must internalize a fundamental truth: Hashem places every person into our lives. It is not by chance and it is not by mistake. Every relationship is carefully planned by the Master Orchestrator to help each person fulfill his mission in this world. The Torah tells us about one of the most difficult fathers-in-law in all of history. People sometimes complain, "It's not fair, my father-in-law doesn't give me money." Yaakov Avinu's father-in-law not only didn't give him money — he stole from him on a daily basis. The Midrash tells us that Lavan justified his thievery by claiming that Yaakov still owed him fourteen more years of work for Bilhah and Zilpah. He was manipulative and dishonest, changing Yaakov's wages again and again. Chazal tell us it was done a hundred times. He took advantage of Yaakov's devotion and honesty. Yaakov worked seven long years to marry Rachel, and Lavan had no problem switching her for Leah. He felt no guilt whatsoever. Even worse, afterward he justified himself, making it seem as though Yaakov was the one who acted improperly by marrying the younger sister before the older one. Yaakov was forced to endure deception, manipulation, and emotional torture from his father-in-law for twenty years. Yet the Torah testifies about him that his integrity remained perfect. Yaakov understood that this suffering was not random. He knew this was part of his avodat Hashem and an essential piece of his mission in life. For twenty years he lived in Lavan's home, yet remained attached to Hashem with unwavering emunah. Every test, every humiliation, every disappointment, he accepted with one thought in mind: this is me'et Hashem. Of course, Yaakov did his hishtadlut. He took reasonable steps to protect himself. He confronted Lavan respectfully. He negotiated. He acted wisely. But once something happened, he always returned it to Hashem and reminded himself that nothing occurs outside of His will. It is not forbidden to question a person who harms you, but it must be done with dignity, not with rage and not with cruelty. A Jew is not judged only by what he endures, but by how he endures it. The Torah is teaching us something fundamental. When Hashem places difficult people into our lives, it is not to break us, but to build us. Not to humiliate us, but to refine us. Not to weaken us, but to strengthen us. A difficult father-in-law can feel suffocating. He may be critical, controlling, dismissive, or impossible to satisfy. Nothing seems good enough. You may feel constantly judged, unheard, and trapped in a role you never volunteered for. And it hurts precisely because it comes from a place that was meant to be safe. This is where emunah must rise to the surface. Hashem sees every tear. He hears every painful word. He counts every insult that was swallowed in silence. And when a person restrains himself for the sake of shalom in his home, that sacrifice shines brightly in shamayim. Yaakov did not leave Lavan's house defeated. He emerged spiritually powerful. Though Lavan tried to harm him emotionally and physically, Yaakov walked away with a beautiful family, great wealth, and an inner greatness that shaped the future of Klal Yisrael. It is not that Lavan became a better person. It is that Yaakov became a greater one. So many people beg Hashem to change others. But sometimes Hashem is working on changing us instead. And that is far more powerful. The more a person works on his middot and his emunah, the more blessing Hashem pours into his life in ways he could never imagine.

In this episode, Rabbi Shlomo Farhi weaves a sobering real-world warning about drunk driving with a deep Torah insight from Yaakov living in the house of Lavan. How can someone spend decades surrounded by corruption, excess, and distorted values and not be influenced?We explore the difference between living as a “human” and living as an “animal,” how American throwaway culture seeps into our Judaism, why some people only see others as “120 pounds of what they can do for me,” and how to protect your inner world from the culture around you. This class is both a wake-up call for the road and a guide to spiritual resistance.Keywords: Jewish wisdom, Torah inspiration, Parashat Vayishlach, Rabbi Shlomo Farhi, mussar, drunk driving, personal growth, American culture, spiritual resilience, Lavan and Yaakov

During Yaakov's years with Lavan, he was able to refine materiality by maintaining the proper attitude toward the physical world. The “donkey of Moshiach” represents three stages in the refinement of the physical. Why Kislev is the month of miracles and the revelation of the innermost dimensions of Torah. This class, taught by Rabbi Shais Taub, is based on Parshas Vayishlach in Likkutei Sichos Vol. 1.

When Rivka told Yaakov to go to the house of Lavan and find a wife, she said, " וְיָשַׁבְתָּ עִמּוֹ יָמִים אֲחָדִים ," that he should stay there for yamim achadim, which is generally translated as "a short time," until his brother's anger would subside, and then she would call for him to come back. When Yaakov later told Lavan that he would work for seven years to marry Rachel, Rashi says that these are the yamim achadim that Rivka was referring to. The question is, why would Rivka want Yaakov to be in such a bad spiritual environment with Lavan for such a long time? Furthermore, when Yaakov was working during those seven years, the Torah says they felt like yamim achadim, a short time, because of his love for her. Seemingly, if someone is so eager to get married, every day should feel like an eternity, not yamim achadim. Rabbi Menashe Reisman brought a beautiful explanation in the name of Rabbi Michal Forshlager to answer these questions. Rivka wanted to give Yaakov the greatest tool that would ensure that he would always be happy in any circumstance that he might find himself in. When a person is suffering from a problem in life, it is usually because the problem has lasted for a long time. Problems that only last a short amount of time are much easier to deal with. If someone is older and not married and speaks about his difficulty, he will usually say, "I have been trying for so many years and nothing works out." But if a person would live one day at a time, his quality of life would improve tremendously. Every day is a new day, with endless possibilities of what could happen. If a person wakes up in the morning believing that today could easily be the day of his salvation, it gives him strength and courage. What was yesterday has nothing to do with today. The difficulty begins when a person connects today with all the past days and looks at everything as one long, unbearable stretch. The same is true with worry. Most worry is about the future, not the present. Right now, a person is still alive, still taken care of, and still standing. His suffering comes from thinking about what might be tomorrow. If he would only focus on today, on what he already has and on what might happen to bring salvation, he would be far happier. This is what Rivka was telling Yaakov about the house of Lavan. He should be there for yamim achadim, literally, one day at a time. She knew it would be hard for him, and she gave him the secret of how to survive it. Even when Yaakov agreed to work for seven years, that did not mean he accepted that it must be seven full years. It meant seven years worth of work. If Yaakov would somehow get money, he could pay Lavan and leave immediately. Just as an eved ivri who is supposed to work six years can be freed early if his master releases him, so too Yaakov could get out at any time if Hashem willed it. A person can also pray that Hashem put it into someone's heart to help him, or that he find a way out sooner than expected. When a person knows that he can be helped today, it gives him great strength. If someone is told he must undergo treatment for a certain amount of time or remain in the hospital for a certain amount of time, he can ease so much of his pain by remembering that with Hashem, nothing has to be the way people say. The first treatment can go so well that no further treatment is needed. What was supposed to be two weeks can become two days. Even though Yosef was in prison for twelve years, he remained in good spirits, knowing that any day he could be released. And although Yaakov seemed to have such a difficult time in Lavan's house, being cheated and taken advantage of again and again, the Torah testifies - וַיָּבוֹא יַעֲקֹב שָׁלֵם -that he left whole, in every way, physically, financially, and spiritually. Lavan was never able to truly harm him. Everything happened exactly as Hashem wanted, and it was all for Yaakov's benefit. A person's bitachon gives him strength every single day of his life. And when it says that the seven years Yaakov worked for Rachel were yamim achadim because of his love for her, Rav Michal explained that it means that even though Yaakov loved Rachel deeply and wanted to marry her, because he looked at each day by itself and thought, "Maybe today will be the day," the time passed quickly. In the same way, Yaakov was able to survive his long stay with Lavan because Rivka told him she would send for him when it was time to come home. Each day, Yaakov could tell himself, "Maybe today is my last day here." Yeshuat Hashem is keheref ayin. A person can be saved today. If a person learns to live today properly, with real bitachon, he will always have the strength and courage to be happy and productive in life.

In the beginning of this week's parashah, Vayetzei, Yaakov dreamed of angels going up and down a ladder. The Ramban explains that Hashem was teaching Yaakov about His absolute involvement in everything that takes place in this world. Even when Hashem sends His messengers, the angels, to act in this world, they first go up to Him after seeing their mission and ask exactly what He wants done. Only afterward do they come back down and carry out His will. Nothing happens on its own. Even what people do to us is never truly in their hands. It is only what Hashem wants that can come to pass. A man complained to me that someone had stolen his customer in business, and he could not stop thinking about it. I told him that no human being has the power to take away a customer from another person. If it happened, it was only because Hashem willed it. Even though people have free will, they cannot use that free will to harm another person unless it is decreed by Hashem. When Lavan chased Yaakov and caught up with him, he said, "I have the power to harm you, but the G-d of your father came to me last night and warned me not to touch you." His words contradict themselves. On the one hand, he claims he has the power to harm Yaakov. In the same breath, he admits that Hashem is the One who controls what he can and cannot do. The Be'er HaParashah brings an explanation from Rav Shalom Schwadron on this pasuk, based on a story told by the Alter of Novardok about his own youth. As a young boy, he was learning in an out-of-town yeshivah when his parents sent word that he must come home urgently. He did not have enough money to buy a train ticket. Still, he believed with complete bitachon that Hashem would help him. He traveled for several days until he reached the train station. There, he sat down on a bench, opened his Gemara, and waited for Hashem's salvation. There were still a few hours before the train was scheduled to depart. At one point, a religious Jew arrived and saw the boy sitting and learning. He was thrilled to find another Jew immersed in Torah. He struck up a conversation and invited the boy to sit next to him on the train so they could learn together during the journey. The boy replied that he would love to, but he did not have a ticket. The man told him he had better buy one quickly, because the train would be leaving in a short time. The boy calmly explained that he had no money, but he had complete trust that Hashem would help him. The man was stunned. "You traveled all this way without money for a ticket?" he said. "That's not bitachon, that's foolishness. You can't buy a ticket with faith. You need money." With that, the man shook his head and boarded the train. Time passed. The train was now only minutes from departure. A final boarding call was announced. The boy continued sitting and learning, calm and unshaken. Then, just moments before the train was about to leave, another Jew came running into the station, out of breath and afraid he had missed it. He noticed the yeshivah boy still sitting on the bench and asked him why he was not boarding. When he heard that the boy had no money for a ticket, the man immediately said, "If you need a ticket, I'll gladly buy you one." He rushed to the counter, purchased the ticket, and handed it to the boy. Together, they boarded the train just as the doors closed. The boy thanked the kind Jew for the ticket, and he thanked Hashem for sending him at the final moment. As he looked for a seat, he suddenly saw that first religious man staring at him in disbelief. "How did you get a ticket?" the man asked. The boy told him what had happened and quoted the Midrash that says, "Whoever trusts in Hashem, Hashem will save him." The man shook his head. "If that fellow hadn't come at the last second, you'd still be sitting there. Don't tell me your bitachon helped you. It was that man who saved you." But the truth was the opposite. It was precisely because of the boy's bitachon that Hashem sent that man at the final moment to help him. So too with Lavan. He told Yaakov, "I could have harmed you, but there was just one small problem. At the last second, Hashem told me not to." That means he never had any control. No human being in this world has any power on his own. No one can hurt us, and no one can help us, unless Hashem decrees it. The more clearly we internalize this truth, the more peaceful and tranquil our lives will become. Shabbat Shalom

Angels on a ladder, a promise of land, and a family saga filled with tension set the stage—but the heart of this episode is a piercing question: why do the sages single out Rivka as a “rose among thorns,” while Rachel and Leah, no less righteous, don't receive the same praise? We follow the thread from Yaakov's dream through Lavan's deceit to the naming of the twelve tribes, and then zoom in on character, context, and the hidden mechanics of influence.We explore Rivka's acts of radical kindness at the well and the return of light to Sarah's tent, reading classic sources that frame her as uniquely untouched by her corrupt milieu. Then we test the apparent asymmetry. Rachel protects Leah from shame, Leah rejects a life of moral compromise, and both confront their father's idolatry—so what gives? Drawing on Rav Shmuel Birnbaum's insight, we uncover a counterintuitive key: influence often begins with warmth. Rivka was admired and embraced by people who were still wrong; resisting approval takes uncommon strength. Rachel and Leah were treated as outsiders, which blunted the culture's ability to imprint on them.From there, we bring the idea down to earth. A story of Rav Aryeh Levin at the bustling Jerusalem market shows how respect opens doors that rebuke slams shut. We talk about the shift toward gentler chinuch: greeting students by name, asking questions, setting firm standards without contempt. If you want to change hearts, don't exile people from your circle; meet them with dignity so your words can land.Walk away with a practical takeaway for leadership, teaching, and daily life: to shape a soul, start by honoring it. If this lens moved you, tap follow, share with a friend who loves Parsha insights, and leave a review telling us where kindness changed your mind.Support the showJoin The Motivation Congregation WhatsApp community for daily motivational Torah content!------------------Check out our other Torah Podcasts and content! SUBSCRIBE to The Motivation Congregation Podcast for daily motivational Mussar! Listen on Spotify or 24six! Find all Torah talks and listen to featured episodes on our website, themotivationcongregation.org Questions or Comments? Please email me @ michaelbrooke97@gmail.com

התוכן בקביעות ש.ז. (כבפעם הראשונה) חל ט' כסלו [יום הולדת ויום ההילולא של כ"ק אדמו"ר האמצעי נ"ע] בש"פ ויצא שבו מדובר ע"ד הליכת יעקב מא"י לחו"ל (ע"ד יום ההולדת – ירידת הנשמה למטה), וחג הגאולה [שלו ב]י' כסלו ביום א' פ' וישלח שבו מדובר ע"ד הליכת יעקב מחו"ל לא"י (ושהשלים את עבודתו וכו' – ע"ד יום ההסתלקות שאז נשלמת עבודת הנשמה). וההוראה: התעסקות בהפצת המעיינות חוצה כפי שתבע אדמו"ר האמצעי צ"ל בכל זמן – בין במצב של "ויצא" – הוא עומד לצאת למקום "חרון אף של עולם", וטוען שקודם כל עליו לדאוג להכין א"ע ואינו יכול להתעסק עכשיו עם הזולת..., ובין במצב של "וישלח" – רק עכשיו גמר "עשרים שנה" בבית לבן, וסוף סוף "האט ער דערלעבט" שיכול לחזור לביהכנ"ס וביהמ"ד, וטוען שרוצה קצת זמן "לנוח" וליהנות מ"שכר מצוה מצוה"...ב' חלקים משיחת מוצש"פ ויצא, ט' כסלו ה'תשל"ט ל"הנחה פרטית" או התרגום ללה"ק של השיחה: https://thedailysicha.com/?date=28-11-2025 Synopsis This year (like the first year), 9 Kislev (the birthday and yahrtzeit of the Mitteler Rebbe) falls on Shabbos Parashas Vayeitzei, which discusses Yaakov's journey from Eretz Yisroel to the diaspora (corresponding to the birthday, when the soul descends to the body), and 10 Kislev (his day of liberation) falls on Sunday of Parashas Vayishlach, which discusses Yaakov's journey from the diaspora to Eretz Yisroel (corresponding to the yahrtzeit, when the soul's mission is completed). The lesson is that one must be involved in spreading the wellsprings of Chassidus outward, as the Mitteler Rebbe demanded, at all times – whether in a state of “Vayeitzei” (when one is about to enter “Charan,” the “anger of the world,” and he might think that he must first take care of himself before dealing with others), or in a state of “Vayishlach” (when one has just completed “twenty years in the house of Lavan” and he might think now is the time to return to the shul and beis midrash to rest and enjoy the “reward of the mitzvah”).2 excerpts from sichah of Motzaei Shabbos Parashas Vayetzei, 9 Kislev 5739 For a transcript in English of the Sicha: https://thedailysicha.com/?date=28-11-2025

When Yaakov met Rochel, he assured her Lavan wouldn't outsmart him. He said he could be his brother in trickery. How could Yaakov the Ish Emes expect to match the one Chazal call the father of trickery? If he said he could match, how come in the end he wasn't successful and Lavan beat him?Some ideas from Rav Yaakov Kaminetzky and Rav Shalom Schwadron on the middos of Emes and Ramaos.Have a wonderful Shabbos

VAYEITZEI: Meshuganei People | STUMP THE RABBI (252)https://youtu.be/KlcWDZG-VdYEveryone has had to deal with some difficult people in their lives. And then there's the Meshuganei (CRAZY) People. Parashat Vayeitzei introduces us to the father of all Meshuganei--LAVAN. Today we will revert back to a shiur given over 80 years ago by Rabbi Yerucham Leibovitz zt'l and see why he called Lavan this name, and how this can help us deal with those people with similar traits today. Enjoy, Learn, Share and Be Holy.

VAYEITZEI: Meshuganei People | STUMP THE RABBI (252)https://youtu.be/KlcWDZG-VdYEveryone has had to deal with some difficult people in their lives. And then there's the Meshuganei (CRAZY) People. Parashat Vayeitzei introduces us to the father of all Meshuganei--LAVAN. Today we will revert back to a shiur given over 80 years ago by Rabbi Yerucham Leibovitz zt'l and see why he called Lavan this name, and how this can help us deal with those people with similar traits today. Enjoy, Learn, Share and Be Holy.

Qui est Hoché'a ? En quoi son histoire est-elle très surprenante ? Hachem peut-Il échanger le peuple juif contre un autre peuple ? Qui est Lavan ? Pourquoi Ya'acov est-il allé chez lui ? Comment s'est-il préparé à cela ? En quoi cette préparation était-elle si importante ? Réponse à travers l'étude des Haftarot de Vayétsé (celle des Séfaradim, et celle des Achkénazim).

Yacov casou com quatro irmas, pois Raquel e Lea eram filhas da esposa de Lavan, Bilha e Zilpa eram filhas da serva.Conheça a característica mística de cada uma das matriarcas e algunas dos filhosParasha VAIETSECurtiu a aula? Faça um pix RABINOELIPIX@GMAIL.COM e nos ajude a darmos sequência neste projeto!#chassidut #mistica #judaismo #kabala #cabala #tora #torah #kabalah #Parasha #Torá #yaakov #avraham #avram #patriarca #bereshit #shiur #shiurim #lea #raquel #rachel #yacov #yitzchak #vaietse #rivka #rivca #rebeca #jaco #jacob #brachot #poligamia #casamento

"Every Liar Has a Teacher:" Why Yaakov Had to Marry LeahThis class was presented by Rabbi YY Jacobson on Tuesday, 5 Kislev, 5786, November 25, 2025, Parshas Vayetzei, at The Barn @ 84 Viola Rd. in Montebello, NY. The Medrash describes a hidden scene on the wedding night of Yaakov and Leah. Throughout the night, Yaakov kept calling the bride “Rachel,” and Leah answered each time. In the morning, when the deception was revealed, Yaakov confronted her: “How could you answer to the name Rachel? You are just like your father, Lavan—a deceiver!” Leah replied with the shocking line: “Is there a barber without students? Didn’t your father call for Esav, and you answered ‘I am Esav’?” At first glance, Leah appears to justify deception with deception—but that cannot be the message. The matriarch of Klal Yisrael wouldn’t base righteousness on revenge or moral equivalence. To understand her words, the shiur introduces a profound idea. The Torah writes “הִיא לֵאָה” (“she is Leah”) but spells it “הוּא לֵאָה” (“he is Leah”), hinting that Yaakov’s shock that morning was not simply discovering who Leah was, but discovering who he was. Leah became a mirror. When Yaakov deceived Yitzchak by dressing as Esav, he spiritually adopted the role of Esav—not in wickedness, but because Hashem needed him to carry both types of Jewish souls: those of pure light (Rachel) and those who struggle, fall, rise, and wrestle their way to greatness (Leah/Esav archetype). The moment Yaakov declared “I am Esav,” he entered the world of struggle—which meant the soulmate for that part of him was no longer Rachel alone, but Leah, who embodies exhaustion, complexity, and inner confrontation. Thus, Leah’s response was not defensive sarcasm but a deep revelation: “I didn’t merely deceive you; I stepped into the place you created. You became Esav for a holy purpose—and therefore, your Esav-part must marry its counterpart. I am the mirror of the struggle inside you.” In this view, the switch under the chuppah wasn’t random trickery. It was a continuation of Yaakov’s own spiritual journey. Rachel represents his light, innocence, and clarity; Leah represents his darkness that can be transformed into light—the hard inner work, the exhaustion, the buried pain, the shadow that must be redeemed to access deeper strength. Ultimately every Jew descends from both Rachel and Leah—both the part of us that feels aligned and luminous and the part that feels heavy, complicated, and exhausted. True wholeness comes only when both are embraced. That is why Yaakov is buried with Leah, not Rachel. His life’s completion came not only from the parts that felt easy and beautiful, but from the parts that demanded courage, mirroring, self-confrontation, and transformation. The message of the Medrash is that our “Leah moments”—our struggles, shadows, and discomfort—are not punishments but invitations to greatness. And that is the deeper meaning of the badeken: by veiling the kallah, we declare, “I am ready to marry not only the parts of you that I see now, but also the hidden parts I cannot yet see — and this commitment is only possible if I am also willing to meet, accept, and marry the hidden parts within myself.”View Source Sheets: https://portal.theyeshiva.net/api/source-sheets/9817

As the longstanding bipartisan consensus around issues important to Jewish needs seems to collapse in America, many feel that the deck is stacked against the Jewish community. How can Jews advocate for themselves, and what tools should they be using? Elana Stein Hain and community advocacy strategist Stacy Burdett dive into Parashat Vayetze to explore Jacob's fraught encounters with Lavan and what they reveal about the ethics of Jewish self-advocacy today.   Episode Source Sheet Watch the video version of this episode ⁠here⁠. You can now sponsor an episode of TEXTing. Click HERE to learn more.  JOIN OUR EMAIL LIST FOR MORE HARTMAN IDEAS

Lorsque Ya'akov part chez Lavan, il rencontre des bergers, et s'adresse à eux d'une manière assez étonnante pour un étranger. Ceux-ci sont, pourtant, très réceptifs à son message. Pourquoi ? Chercher son Zivoug, est-ce aussi compliqué que chercher une aiguille dans une botte de foin ? En quoi le rêve de Ya'akov Avinou rappelle-t-il que, dans la vie, Hachem peut être très proche de nous et qu'il faut savoir être souple pour progresser ? Réponse à travers des propos du Pné Ména'hem.

Can we truly change—or do we grow by struggling with who we already are? In this episode, Zvi Hirschfield and Rabbi Deborah Anstandig explore Parshat Vayetze through Yaakov's twenty years in the house of Lavan—not as a tale of transformation, but of confronting the self we already are. They trace Yaakov's persistent tendencies toward maneuvering, adaptation, and struggling with truth, showing how his experiences mirror our own ongoing battles with identity, integrity, and growth. The conversation asks what it means to seek change while accepting our human limitations.

¿No te lo crees? Escucha este cuento y descubre qué le sucede a una niña que no quiere lavarse los dientes. Ándate con cuidado ... ¡podrías encontrarte con monstruos terrorífos!"Mi Instagram:   https://www.instagram.com/cuentos_e_historias_infantiles?igsh=MW82OGs2eDZ6MnRrZQ==Mi Facebook:   https://www.facebook.com/share/1BaLjQVv7n/

For a 10% discount on Rabbi David Ashear's new book LIVING EMUNAH ON THE PARASHAH 2 click the link below https://www.artscroll.com/ Books/9781422645581.html We find that some people merit extraordinary heavenly help in their physical lives, while others receive extraordinary help in their spiritual lives. The true purpose of life, however, is not physical comfort or material success—it is spiritual growth . The physical blessings we receive are only given to help us achieve higher levels of spirituality. Our main focus in our tefillot should therefore be for heavenly help in our spiritual lives, and for the spiritual success of our children. No matter how hopeless a situation may appear, Hashem can lift a person from the lowest depths to the highest heights. Rivkah Imenu is the perfect example of this truth. She grew up in a home of spiritual darkness. Her father, Betuel, was a deceitful and corrupt man. Her brother, Lavan, was a greedy trickster. The city of Charan was filled with idolatry, dishonesty, and moral decay. The Midrash tells us that Rivkah's home was filled with the stench of idol worship. Her father was among the leaders of that idolatrous society, and her brother was his enthusiastic disciple. Rivkah was surrounded by tum'ah , but all she wanted was kedushah . How could she possibly lead a life of Torah and mitzvot in such a place? How would she ever find a husband who would lift her toward holiness? And then, one morning, while living the same ordinary life in the same spiritually harmful atmosphere, everything changed. In an instant, she was chosen to marry the son of Avraham Avinu , the Gadol HaDor . She went from the darkest home in Charan to the holiest home in the world. Her tefillot had brought her the greatest yeshuah imaginable. Rivkah became one of the mothers of Klal Yisrael . Hashem lifted her from spiritual darkness to eternal greatness. This lesson remains true for all of us. Hashem can take a person from any environment—no matter how far from holiness—and raise him to the greatest levels of kedushah . Nothing is beyond His power. A man related that his son had moved to another city, far from their family. All his other children lived nearby, and all were shomrei Torah u'mitzvot . This son's new city, however, had a much lower level of Torah observance. The father and mother were heartbroken. Their greatest joy in life was knowing that their children were growing spiritually and learning Torah every day, and now they feared this son would lose that connection. They prayed daily for their son's ruchaniyut . Time passed, and their son remained in that city for many years. One day, they attended a local yeshivah auction and noticed one of the prizes was a Judaica package that included the entire ArtScroll Shas in English. They dreamed of their son learning from those very Gemarot , so they placed a ticket in the raffle—and they won. They now had an entire Shas in boxes in their home. They used it as a reminder and motivation to continue praying for their son's spiritual growth. A few months later, their son called to tell them he was making a siyum . They were stunned. They had no idea he had been learning. Overjoyed, they told him about the Shas they had won and offered it to him as a gift. He was delighted and said he would love to have it. Not long after, their son and his wife found a new home—right next door to a kollel . He arranged to learn there daily and quickly became part of the community. The parents decided to bring the Shas to him personally. They packed the heavy volumes into four large boxes and went to the airport. Each box weighed over eighty pounds. The total excess baggage should have cost them hundreds of dollars. When they arrived at the counter, the agent smiled and said, "Today, we're giving you four extra suitcases free of charge." Without further explanation, he checked in all the boxes. They were able to bring the entire Shas free of charge to their son's new home, where it would be used daily for Torah study. Our tefillot for ourselves and for our children can move mountains. We often pray for livelihood or comfort—but the greatest blessings of all are in the spiritual realm. When we pray for ruchaniyut , Hashem appreciates it so much, because that is the true purpose of life: to grow closer to Him and to help our children do the same. Shabbat Shalom.

In this shiur, delivered in Stern, Rav Burg explains the wisdom of the Bracha that Lavan gave to Rivka and why even today that Bracha is given to a Kallah at her Badeken.

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

Bajo la dirección de la doctora Nadine Lavan, los investigadores han puesto el dedo en la llaga de una realidad que avanza a una velocidad que supera nuestra capacidad de asimilación, tanto ética como legal. Lavan y su equipo partieron de una premisa simple: ¿Sigue sonando a «falso» el habla generada por IA? ¿Podemos, como oyentes promedio, diferenciar sin dificultad una voz humana de una artificial? La respuesta es un rotundo y escalofriante no.

Why did Yaakov need to leave Haran like a thief in the night?Why did Yaakov need to cheat Lavan by secret "genetic engineering" of his herds?Who is the cheat - Lavan or Yaakov?In this podcast we demonstrate Yaakov's stellar moral integrity and Lavan's manipulative treatment of Yaakov and his family.

There's so much info to share about Canopus that it needed a second episode!In this episode, we take a look at some of the myths and deities associated with Canopus as well as earlier finds that have provided us with important details about the city.According to myth, the city began a the site where a Homeric hero met a gruesome end. It grew to become the main trade hub connecting Mediterranean routes to the Nile, a sacred city of several deities, and an internationally famous center of healing.Under the Ptolemies, Canopus became the site of the Mysteries of Osiris, blending Greek and Egyptian rituals of death and rebirth in order to gain sacred knowledge. We'll explore all we know about this mysterious annual ritual and others that were held here.TranscriptsFor transcripts of this episode head over to: https://archpodnet.com/tpm/23LinksSee photos related to episode topics on InstagramLoving the macabre lore? Treat your host to a coffee!Info on Canopus and Other Underwater Archaeology Projects in Alexandria from Lead Archaeologist Franck GoddioAncient recipes for cyprinum, a perfume made from henna grown at CanopusText of Canopus DecreeText of Nicander's TheriacaWorks CitedAbdel-Rahman, R. 2018. Recent Underwater Excavations at Thonis-Heracleion and Canopus. Annales Du Service Des Antiquités de l'Égypte (ASAE) 92:233–258.Buraselis, K., M. Stefanou, and D. J. Thompson. 2013. The Ptolemies, the Sea and the Nile. Cambridge University Press, Cambridge.Egypt Museum. Canopus & Heracleion: Sunkencities.Fraser, P. M. 1972. Ptolemaic Alexandria. Oxford University Press, Oxford.Goddio, F., and A. Masson-Berghoff. 2016. Sunken Cities: Egypt's Lost Worlds. Thames & Hudson / British Museum, London.Goddio, Franck. Projects: Sunken Civilizations: Canopus.Lavan, L., and M. Mulryan (editors). 2011. The Archaeology of Late Antique Paganism. Brill, Leiden.MacDonald, W. L., and J. A. Pinto. 1995. Hadrian's Villa and Its Legacy. Yale University Press, New Haven.Marriner, N., C. Morhange, and C. Flaux. 2017. Geoarchaeology of the Canopic Region: A Reconstruction of the Holocene Palaeo-Landscapes. Méditerranée 128:51–64.PAThs-ERC. East Canopus: Sacri Lapides Aegypti.Sidebotham, S. E. 2011. Berenike and the Ancient Maritime Spice Route. University of California Press, Berkeley.Sidebotham, S. E. 2019. Ports of the Red Sea and the Nile Delta: Trade and Cultural Exchange. In The Cambridge Companion to the Roman Economy, edited by W. Scheidel. Cambridge University Press, Cambridge.ArchPodNetAPN Website: https://www.archpodnet.comAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetAPN ShopAffiliatesMotion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

At the end of August, archaeologists announced extraordinary new finds from the sunken city of Canopus, located off the coast of Alexandria, Egypt. For the first time in 25 years, artifacts were raised from the seabed, including a sphinx inscribed with Ramses II's name, statues from the Ptolemaic and Roman eras, and shipwreck remains.In this episode, we'll explore both these latest underwater discoveries and geological surveys that are helping researchers understand what caused Canopus to sink, because understanding how people of the past adapted to disasters could help us find solutions for today's climate-threatened coastal cities.Listen now to learn about the artifacts, myths, and history of Canopus.TranscriptsFor transcripts of this episode head over to: https://archpodnet.com/tpm/22Links and ReferencesSee photos related to episode topics on InstagramLoving the macabre lore? Treat your host to a coffee!Info on Canopus and Other Underwater Archaeology Projects in Alexandria from Lead Archaeologist Franck GoddioAncient recipes for cyprinum, a perfume made from henna grown at CanopusText of Canopus DecreeText of Nicander's TheriacaAbdel-Rahman, R. 2018. Recent Underwater Excavations at Thonis-Heracleion and Canopus. Annales Du Service Des Antiquités de l'Égypte (ASAE) 92:233–258.Buraselis, K., M. Stefanou, and D. J. Thompson. 2013. The Ptolemies, the Sea and the Nile. Cambridge University Press, Cambridge.Egypt Museum. Canopus & Heracleion: Sunkencities.Fraser, P. M. 1972. Ptolemaic Alexandria. Oxford University Press, Oxford.Goddio, F., and A. Masson-Berghoff. 2016. Sunken Cities: Egypt's Lost Worlds. Thames & Hudson / British Museum, London.Goddio, Franck. Projects: Sunken Civilizations: Canopus.Lavan, L., and M. Mulryan (editors). 2011. The Archaeology of Late Antique Paganism. Brill, Leiden.MacDonald, W. L., and J. A. Pinto. 1995. Hadrian's Villa and Its Legacy. Yale University Press, New Haven.Marriner, N., C. Morhange, and C. Flaux. 2017. Geoarchaeology of the Canopic Region: A Reconstruction of the Holocene Palaeo-Landscapes. Méditerranée 128:51–64.PAThs-ERC. East Canopus: Sacri Lapides Aegypti.Sidebotham, S. E. 2011. Berenike and the Ancient Maritime Spice Route. University of California Press, Berkeley.Sidebotham, S. E. 2019. Ports of the Red Sea and the Nile Delta: Trade and Cultural Exchange. In The Cambridge Companion to the Roman Economy, edited by W. Scheidel. Cambridge University Press, Cambridge.ArchPodNetAPN Website: https://www.archpodnet.comAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetAPN ShopAffiliatesMotion Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When we bring Bikkurim, we say Arami Oved Avi. Lavan never actually did it, why does it call him an Oved? Why is the Yid given credit for the good plan as if he actually pulled it off, but not judged that way for the negative plan? Have a good Shabbos and a K'sivah V'Chasimah Tovah

Lavan - Everything by SlothBoogie

Descubre con Ale Díaz de la Vega el acontecer nacional e internacional en "El Daily Diario" Sigue a Ale Díaz de la Vega en redes sociales:X: https://twitter.com/AleDiaazdelaVegInstagram: https://www.instagram.com/alediaazdelavegaTik Tok: https://www.tiktok.com/discover/ale-diaz-de-la-vega #abejorromedia #daily #eldailydiario #noticias #noticiero #NoticiasMéxico #noticiasinternacionales #deportes◉ ¿Te gustó este video? suscríbete a nuestro canal en @AbejorroMedia◉ Más programas de Daily Diario en: https://www.youtube.com/playlist?list=PLMMELBja7bgc1gEL9Nw3_DgKUh54DOyM8

Lee este libro y descubre que le pasa a una niña que no quiere lavarse los dientes.Anda con cuidado... podrias encontrarte con unos monstruos terrorificos.Mi Instagram: ⁠⁠⁠⁠https://instagram.com/cuentos_e_historias_infantiles⁠⁠⁠Mi Facebook: ⁠⁠⁠⁠https://www.facebook.com/CuentosHistoriasMexico⁠

A Preplanned Detour - Groundwork for RedemptionWebsite: http://www.battle4freedom.com/Network: https://www.mojo50.comStreaming: https://www.rumble.com/Battle4Freedomhttps://www.biblegateway.com/passage/?search=Isaiah%2043%3A11&version=CJBIsaiah 43:11I, yes I, am Adonai; besides me there is no deliverer.Genesis 46:1 Isra'el took everything he owned with him on his journey. He arrived at Be'er-Sheva and offered sacrifices to the G_d of his father Yitz'chak. 2 In a vision at night G_d called to Isra'el, "Ya`akov! Ya`akov!" He answered, "Here I am." 3 He said, "I am G_d, the G_d of your father. Don't be afraid to go down to Egypt. It is there that I will make you into a great nation. 4 Not only will I go down with you to Egypt; but I will also bring you back here again, after Yosef has closed your eyes."Genesis 46:5 So Ya`akov left Be'er-Sheva; the sons of Isra'el brought Ya`akov their father, their little ones and their wives in the wagons Pharaoh had sent to carry them. 6 They took their cattle and their possessions which they had acquired in the land of Kena`an and arrived in Egypt, Ya`akov and all his descendants with him — 7 his sons, grandsons, daughters, granddaughters and all his descendants he brought with him into Egypt.Genesis 46:8 These are the names of Isra'el's children who came into Egypt, Ya`akov and his sons: Re'uven Ya`akov's firstborn; 9 and the sons of Re'uven — Hanokh, Pallu, Hetzron and Karmi. 10 The sons of Shim`on: Y'mu'el, Yamin, Ohad, Yakhin, Tzochar and Sha'ul the son of a Kena`ani woman. 11 The sons of Levi: Gershon, K'hat and M'rari.Genesis 46:12 The sons of Y'hudah: `Er, Onan, Shelah, Peretz and Zerach; but `Er and Onan died in the land of Kena`an. The sons of Peretz were Hetzron and Hamul. 13 The sons of Yissakhar: Tola, Puvah, Yov and Shimron. 14 The sons of Z'vulun: Sered, Elon and Yachle'el. 15 These were the children of Le'ah whom she bore to Ya`akov in Paddan-Aram, with his daughter Dinah. In sum, his sons and daughters numbered thirty-three. Genesis 46:16 The sons of Gad: Tzifyon, Haggi, Shuni, Etzbon, `Eri, Arodi and Ar'eli. 17 The children of Asher: Yimnah, Yishvah, Yishvi, B'ri`ah, and their sister Serach. The sons of B'ri`ah were Hever and Malki'el. 18 These were the children of Zilpah, whom Lavan gave to Le'ah his daughter; she bore them to Ya`akov — sixteen people. Genesis 46:19 The sons of Rachel Ya`akov's wife: Yosef and Binyamin. 20 To Yosef in the land of Egypt were born M'nasheh and Efrayim, whom Osnat the daughter of Poti-Fera priest of On bore to him. 21 The sons of Binyamin: Bela, Bekher, Ashbel, Gera, Na`aman, Echi, Rosh, Mupim, Hupim and Ard. 22 These were the children of Rachel who were born to Ya`akov — in sum, fourteen people.Genesis 46:23 The sons of Dan: Hushim. 24 The sons of Naftali: Yachtze'el, Guni, Yetzer and Shillem. 25 These were the sons of Bilhah, whom Lavan gave to Rachel his daughter; she bore them to Ya`akov — in sum, seven people.Genesis 46:26 All the people belonging to Ya`akov coming into Egypt, his direct descendants (not counting Ya`akov's sons' wives), totaled sixty-six. 27 The sons of Yosef, born to him in Egypt, were two in number. Thus all the people in Ya`akov's family who entered Egypt numbered seventy.Genesis 46:28 Ya`akov sent Y'hudah ahead of him to Yosef, so that the latter might guide him on the road to Goshen; thus they arrived in the land of Goshen. 29 Yosef prepared his chariot and went up to Goshen to meet Isra'el his father. He presented himself to him, embraced him and wept on his neck for a long time. 30 Then Isra'el said to Yosef, "Now I can die, because I have seen your face and seen that you are still alive."Genesis 46:31 Yosef said to his brothers and his father's family, "I'm going up to tell Pharaoh. I'll say to him, `My brothers and my father's family, who were in the land of Kena`an, have come to me. 32 The men are shepherds and keepers of livestock; they have brought their flocks, their herds and all their possessions.' 33 Now when Pharaoh summons you and asks, `What is your occupation?' 34 tell him, `Your servants have been keepers of livestock from our youth until now, both we and our ancestors.' This will ensure that you will live in the land of Goshen — for any shepherd is abhorrent to the Egyptians."Credit to:https://unsplash.com/photos/pathway-between-trees-74TufExdP3Yhttps://unsplash.com/photos/black-and-white-arrow-sign-Vckq-heaypghttps://unsplash.com/photos/gray-wall-paint-taO2fC7sxDU

PLEASE FILL OUT OUR SURVEY: https://bit.ly/BLNOlistenersurveyWhat drives someone to steal? And why does the Bible warn so strongly against false testimony? In this episode, Rabbi Fohrman and Imu Shalev examine how the story of Jacob, Rachel, and Lavan provides surprising insight into the psychology behind the 8th and 9th commandments. From Rachel's theft of her father's idols to Lavan's self-righteous covenant at Gal'ed, this episode reveals how our deepest pains can lead to actions that ultimately cannot heal us, and how the Ten Commandments offer wisdom rather than mere prohibition.For more on Rabbi Fohrman's reading of the deception story, see this essay from his book Genesis: A Parsha Companion, as well as this video Why Did Rebecca Trick Her Husband Isaac. A Book Like No Other is a product of Aleph Beta, and made possible through the generous support of Shari and Nathan Lindenbaum. Aleph Beta is a Torah media company dedicated to spreading the joy and love of meaningful Torah learning worldwide.

PLEASE FILL OUT OUR SURVEY: https://bit.ly/BLNOlistenersurveyContinuing their journey through the Ten Commandments, Rabbi Fohrman and Imu examine murder and adultery through the lens of the Genesis Deception story. They unpack why Esau—usually painted as the bad guy—holds back from killing Jacob even when he knows exactly where to find him, giving us a fresh take on "Do not murder." Then they explore how Laban's meddling in Jacob's marriage to Rachel offers a surprising spin on adultery—showing it's not just about infidelity, but about the damage caused when someone interferes in sacred relationships. Through their analysis, a profound message emerges: the commandments aren't simply rules, but wisdom about how our actions affect our deepest connections and desires.For more on Rabbi Fohrman's reading of the deception story, see this essay from his book Genesis: A Parsha Companion, as well as this video Why Did Rebecca Trick Her Husband Isaac. A Book Like No Other is a product of Aleph Beta, and made possible through the generous support of Shari and Nathan Lindenbaum. Aleph Beta is a Torah media company dedicated to spreading the joy and love of meaningful Torah learning worldwide.

David HaMelech tells us in Tehillim, וצדקתך ירננו , which the Sha'arei Chaim explains to mean that even when we face difficulties, we are meant to respond by singing to Hashem. How is that possible? The pesukim before reveal the secret: דור לדור ישבח מעשיך —each generation should relate to the next the chesed they have seen from Hashem in their lives. ודברי נפלאותיך אשיחה —David HaMelech would constantly speak, even in everyday conversation, about the wonders of Hashem. וגדולתך אספרנה —he would speak of the endless greatness and kindness Hashem bestows upon the world. זכר רב טובך יביעו —our mouths should overflow with praise for Hashem's goodness like a spring that never runs dry. If a person constantly talks about Hashem's kindness, then when something happens that appears negative, it won't shake him. He'll already be fortified with the understanding that Hashem only does good. The Midrash says that from the day Hashem created the world, no one sang shirah until Bnei Yisrael sang אז ישיר at Keri'at Yam Suf. The Sfat Emet asks: we know Adam HaRishon sang shirah— מזמור שיר ליום השבת —as did others. What does it mean that no one sang until Az Yashir? He explains that until that moment, people only sang about the salvation after it came. But at Yam Suf, Bnei Yisrael reached a higher level—they sang about the difficulties too, because they saw that even the hardships were part of Hashem's goodness. אמר אויב ארדף אשיג —they sang about Pharaoh chasing them. מי כמוך באלים ה׳ —they declared; Who is like You among the mighty, Hashem? Chazal explain on this phrase: מי כמוך באלמים ה׳ —Who is like You, Hashem, who remains silent when the worst seems to be happening? How could Hashem be silent when the enemy entered the Beit HaMikdash to destroy it? When Titus HaRasha stabbed the parochet and blood came pouring out? When the resha'im tormented His beloved people in Mitzrayim and, centuries later, in Nazi Germany? At Yam Suf, Bnei Yisrael understood the greatness of Hashem: that He could remain silent because only He saw the ultimate good in every moment. Even the most painful events, seemingly caused by human actions, were all orchestrated by Hashem for our benefit. In the Haggadah, we say: לבן ביקש לעקור את הכל -וירד מצרימה . The mefarshim ask, what's the connection between Lavan wanting to destroy Yaakov and the descent to Mitzrayim? They explain that Lavan's switching of Rachel for Leah led to the shevatim being born from different mothers. Rachel, being the more beloved wife, caused the brothers to feel resentment toward her son, Yosef. That led to Yosef being sold—and eventually to the entire family descending to Egypt. This wasn't really Lavan's doing. Hashem had planned it from the time He told Avraham Avinu that his children would be strangers in a land not their own. Nothing is random. People are not in control—only Hashem is. And He does everything for our good. The more we speak about His hashgachah, His chesed, and His love for us, the more these truths will sink into our hearts. Then, when difficulties arise, we'll have the strength to sing even through the pain. In the future, Hashem will reveal to us all the good behind every event. But if we can trust Him now—before the light shines through—and sing in the darkness, we will reach the highest spiritual levels.

PLEASE FILL OUT OUR SURVEY: https://bit.ly/BLNOlistenersurveyContinuing their analysis of the Ten Commandments through Genesis 27, Rabbi Fohrman and Imu focus on two pivotal commands: Shabbat and honoring one's parents. They begin by uncovering surprising connections between Rebecca's plea for Jacob's safety and the concept of divine rest. How does Jacob's exhausting fourteen-year labor under Lavan transform our understanding of Shabbat? And what can this teach us about finding true rest in our own lives?The discussion then turns to the command of Kibbud Av v'Em - honoring both father and mother. Through a close reading of Esav's response to his parents' values, even after feeling betrayed, they reveal how this command speaks to something far deeper than mere obedience. It points to the delicate art of maintaining wholeness in relationships, ultimately connecting to our relationship with the land itself.Join Rabbi Fohrman and Imu as they demonstrate how these two commands emerge not as arbitrary rules, but as profound wisdom about maintaining balance in our most fundamental relationships - with time, with family, and with the earth that sustains us.Intrigued by our discussion of land as our grandparents? Explore this idea further in our Shavuot episode of Into the Verse. For a deeper dive, we recommend Rabbi Fohrman's courses A Tale of Two Names: Elokim and YHVH and The Meaning of Life, as well as his analysis of the deception story in this essay from his book Genesis: A Parsha Companion, as well as this video Why Did Rebecca Trick Her Husband Isaac. A Book Like No Other is a product of Aleph Beta, and made possible through the generous support of Shari and Nathan Lindenbaum. Aleph Beta is a Torah media company dedicated to spreading the joy and love of meaningful Torah learning worldwide.

Limits? Fear? John Lavan pushes the limits of what is possible with his body off of objects. Aerials. My dude dances on the cutting edge! I mean truly iconic objects that would make most of us dizzy to consider. Get inspired! Or disgusted with your own mediocrity. I respect what drives him, and I want to share in his glory! Let's go!!! Support your local Freeflyer! www.sitflyclothingshop.com www.patreon.com/wazzycircusradio My name is Waz. I have been blessed with over 5,500 skydives and more than 20 years of experience in the sport of skydiving. WazzyCircus Radio is a show where I sit down with some of the most amazing people that I have met over two decades of professional indoor and outdoor skydiving

R Akiva's seder and the question of the Premature Exodus. Also, Lavan and his role inthe Egypt story

Dedicated for the elevation of the neshama of Moshe Yaakov ben Asher Zelig, z"l, Dr. Alexander Kratz, of Bergenfield, New Jersey, sponsored by Elizabeth, Zippy, Hannah and Asher Kratz.

Encuentra todo sobre Factor Kaiser en https://factorkaiser.com

Be Leaving and Cleaving - Restoring Order in DysfunctionWebsite: http://www.battle4freedom.com/Network: https://www.mojo50.comStreaming: https://www.rumble.com/Battle4Freedomhttps://www.biblegateway.com/passage/?search=Ephesians%205%3A23&version=CJBEphesians 5:23because the husband is head of the wife, just as the Messiah, as head of the Messianic Community, is himself the one who keeps the body safe.Genesis 31:29 I have it in my power to do you harm; but the G_d of your father spoke to me last night and said, 'Be careful that you don't say anything to Ya'akov, either good or bad.' 30 Granted that you had to leave, because you longed so deeply for your father's house; but why did you steal my gods?" 31 Ya'akov answered Lavan, "Because I was afraid. I said, 'Suppose you take your daughters away from me by force?' 32 But if you find your gods with someone, that person will not remain alive. So with our kinsmen to witness, if you spot anything that I have which belongs to you, take it back." Ya'akov did not know that Rachel had stolen them. 33 Lavan went into Ya'akov's tent, then into Le'ah's tent and into the tent of the two slave-girls; but he did not find them. He left Le'ah's tent and entered Rachel's tent. 34 Now Rachel had taken the household gods, put them in the saddle of the camel and was sitting on them. Lavan felt all around the tent but did not find them. 35 She said to her father, "Please don't be angry that I'm not getting up in your presence, but it's the time of my period." So he searched, but he didn't find the household gods.Genesis 31:36 Then Ya'akov became angry and started arguing with Lavan. "What have I done wrong?" he demanded. "What is my offense, that you have come after me in hot pursuit? 37 You have felt around in all my stuff, but what have you found of all your household goods? Put it here, in front of my kinsmen and yours, so that they can render judgment between the two of us! 38 I have been with you for these twenty years! Your female sheep and goats haven't aborted their young, and I haven't eaten the male animals in your flocks. 39 If one of your flock was destroyed by a wild animal, I didn't bring the carcass to you but bore the loss myself. You demanded that I compensate you for any animal stolen, whether by day or by night. 40 Here's how it was for me: during the day thirst consumed me, and at night the cold — my sleep fled from my eyes. 41 These twenty years I've been in your house — I served you fourteen years for your two daughters and six years for your flock; and you changed my wages ten times! 42 If the G_d of my father, the G_d of Avraham, the one whom Yitz'chak fears, had not been on my side, by now you would certainly have already sent me away with nothing! G_d has seen how distressed I've been and how hard I've worked, and last night he passed judgment in my favor."Genesis 31:43 Lavan answered Ya'akov, "The daughters are mine, the children are mine, the flocks are mine, and everything you see is mine! But what can I do today about these daughters of mine or the children they have borne? 44 So now, come, let's make a covenant, I and you; and let it stand as a testimony between me and you." 45 Ya'akov took a stone and set it upright as a standing-stone. 46 Then Ya'akov said to his kinsmen, "Gather some stones"; and they took stones, made a pile of them and ate there by the pile of stones. 47 Lavan called it Y'gar-Sahaduta ["pile of witness" in Aramaic], while Ya'akov called it Gal-'Ed ["pile of witness" in Hebrew].Genesis 31:48 Lavan said, "This pile witnesses between me and you today." This is why it is called Gal-'Ed 49 and also HaMitzpah [the watchtower], because he said, "May Adonai watch between me and you when we are apart from each other. 50 If you cause pain to my daughters, or if you take wives in addition to my daughters, then, even if no one is there with us, still G_d is witness between me and you." 51 Lavan also said to Ya'akov, "Here is this pile, and here is this standing-stone, which I have set up between me and you. 52 May this pile be a witness, and may the standing-stone be a witness, that I will not pass beyond this pile to you, and you will not pass beyond this pile and this standing-stone to me, to cause harm. 53 May the G_d of Avraham and also the god of Nachor, the god of their father, judge between us." But Ya'akov swore by the One his father Yitz'chak feared. 54 Ya'akov offered a sacrifice on the mountain and invited his kinsmen to the meal. They ate the food and spent the whole night on the mountain.Genesis 32:1 Early in the morning Lavan got up, kissed his sons and daughters, and blessed them. Then Lavan left and returned to his own place. 2 (1) Ya`akov went on his way, and the angels of G_d met him. 3 (2) When Ya`akov saw them, he said, "This is G_d's camp," and called that place Machanayim [two camps].Genesis 32:4 (3) Ya`akov sent messengers ahead of him to `Esav his brother toward the land of Se`ir, the country of Edom, 5 (4) with these instructions: "Here is what you are to say to my lord `Esav: `Your servant Ya`akov says, "I have been living with Lavan and have stayed until now. 6 (5) I have cattle, donkeys and flocks, and male and female servants. I am sending to tell this news to my lord, in order to win your favor." '" 7 (6) The messengers returned to Ya`akov saying, "We went to your brother `Esav, and he is coming to meet you; with him are four hundred men."Genesis 32:8 (7) Ya`akov became greatly afraid and distressed. He divided the people, flocks, cattle and camels with him into two camps, 9 (8) saying, "If `Esav comes to the one camp and attacks it, at least the camp that is left will escape." 10 (9) Then Ya`akov said, "G_d of my father Avraham and G_d of my father Yitz'chak, Adonai, who told me, `Return to your country and your kinsmen, and I will do you good': 11 (10) I'm not worthy of all the love and faithfulness you have shown your servant, since I crossed the Yarden with only my staff. But now I have become two camps. 12 (11) Please! Rescue me from my brother `Esav! I'm afraid of him, afraid he'll come and attack me, without regard for mothers or children. 13 (12) You said, `I will certainly do you good and make your descendants as numerous as the grains of sand by the sea, which are so many they can't be counted.'"Genesis 32:14 (13) He stayed there that night; then he chose from among his possessions the following as a present for `Esav his brother: 15 (14) two hundred female goats and twenty males, two hundred female sheep and twenty males, 16 (15) thirty milk-camels and their colts, forty cows and ten bulls, twenty female donkeys and ten colts. 17 (16) He turned them over to his servants, every drove by itself, and said to his servants, "Cross over in front of me, and keep a space between each drove and the next one." 18 (17) He instructed the servant in front, "When `Esav my brother meets you and asks you, `Whose servant are you? Where are you going? And whose animals are these?' 19 (18) then you are to say, `They belong to your servant Ya`akov, and they are a present he has sent to my lord `Esav; and Ya`akov himself is just behind us.'" 20 (19) He also instructed the second servant, and the third, and all that followed the droves, "When you encounter `Esav, you are to speak to him in the same way, 21 (20) and you are to add, `And there, just behind us, is your servant Ya`akov.'" For he said, "I will appease him first with the present that goes ahead of me; then, after that, I will see him myself — and maybe he will be friendly toward me." 22 (21) So the present crossed over ahead of him, and he himself stayed that night in the camp.Genesis 32:23 (22) He got up that night, took his two wives, his two slave-girls, and his eleven children, and forded the Yabok. 24 (23) He took them and sent them across the stream, then sent his possessions across; 25 (24) and Ya`akov was left alone. Then some man wrestled with him until daybreak. 26 (25) When he saw that he did not defeat Ya`akov, he struck Ya`akov's hip socket, so that his hip was dislocated while wrestling with him. 27 (26) The man said, "Let me go, because it's daybreak." But Ya`akov replied, "I won't let you go unless you bless me." 28 (27) The man asked, "What is your name?" and he answered, "Ya`akov." 29 (28) Then the man said, "From now on, you will no longer be called Ya`akov, but Isra'el; because you have shown your strength to both G_d and men and have prevailed." 30 (29) Ya`akov asked him, "Please tell me your name." But he answered, "Why are you asking about my name?" and blessed him there.Genesis 32:31 (30) Ya`akov called the place P'ni-El [face of G_d], "Because I have seen G_d face to face, yet my life is spared." 32 (31) As the sun rose upon him he went on past P'ni-El, limping at the hip. 33 (32) This is why, to this day, the people of Isra'el do not eat the thigh muscle that passes along the hip socket — because the man struck Ya`akov's hip at its socket

Living in the multiverse - Sin is Cognitive DissonanceWebsite: http://www.battle4freedom.com/Network: https://www.mojo50.comStreaming: https://www.rumble.com/Battle4Freedomhttps://www.biblegateway.com/passage/?search=James%201%3A23-24&version=CJBJames 1:23-24For whoever hears the Word but doesn't do what it says is like someone who looks at his face in a mirror, who looks at himself, goes away and immediately forgets what he looks like.Genesis 31:1 But then he heard what Lavan's sons were saying: "Ya'akov has taken away everything that our father once had. It's from what used to belong to our father that he has gotten so rich." 2 He also saw that Lavan regarded him differently than before. 3 Adonai said to Ya'akov, "Return to the land of your ancestors, to your kinsmen; I will be with you." Genesis 31:4 So Ya'akov sent for Rachel and Le'ah and had them come to the field where his flock was. 5 He said to them, "I see by the way your father looks that he feels differently toward me than before; but the God of my father has been with me. 6 You know that I have served your father with all my strength, 7 and that your father has belittled me and has changed my wages ten times; but God did not allow him to do me any damage. Genesis 31:8 If he said, 'The speckled will be your wages,' then all the animals gave birth to speckled young; and if he said, 'The streaked will be your wages,' then all the animals gave birth to streaked young. 9 This is how God has taken away your father's animals and given them to me. 10 Once, when the animals were mating, I had a dream: I looked up and there in front of me the male goats which mated with the females were streaked, speckled and mottled. Genesis 31:11 Then, in the dream, the angel of God said to me, 'Ya'akov!' and I replied, 'Here I am.' 12 He continued, 'Raise your eyes now, and look: all the male goats mating with the females are streaked, speckled and mottled; for I have seen everything Lavan has been doing to you. 13 I am the God of Beit-El, where you anointed a standing-stone with oil, where you vowed your vow to me. Now get up, get out of this land, and return to the land where you were born.'" Genesis 31:14 Rachel and Le'ah answered him, "We no longer have any inheritance from our father's possessions; 15 and he considers us foreigners, since he has sold us; moreover, he has consumed everything he received in exchange for us. 16 Nevertheless, the wealth which God has taken away from our father has become ours and our children's anyway; so whatever God has told you to do, do."Genesis 31:17 Then Ya'akov got up, put his sons and wives on the camels, 18 and carried off all his livestock, along with all the riches he had accumulated, the livestock in his possession which he had acquired in Paddan-Aram, to go to Yitz'chak his father in the land of Kena'an.Genesis 31:19 Now Lavan had gone to shear his sheep, so Rachel stole the household idols that belonged to her father, 20 and Ya'akov outwitted Lavan the Arami by not telling him of his intended flight. 21 So he fled with everything he had: he departed, crossed the [Euphrates] River and set out for the hill-country of Gil'ad. 22 Not until the third day was Lavan told that Ya'akov had fled.Genesis 31:23 Lavan took his kinsmen with him and spent the next seven days pursuing Ya'akov, overtaking him in the hill-country of Gil'ad. 24 But God came to Lavan the Arami in a dream that night and said to him, "Be careful that you don't say anything to Ya'akov, either good or bad."Genesis 31:25 When Lavan caught up with Ya'akov, Ya'akov had set up camp in the hill-country; so Lavan and his kinsmen set up camp in the hill-country of Gil'ad. 26 Lavan said to Ya'akov, "What do you mean by deceiving me and carrying off my daughters as if they were captives taken in war? 27 Why did you flee in secret and deceive me and not tell me? I would have sent you off with joy and singing to the music of tambourines and lyres. 28 You didn't even let me kiss my sons and daughters good-bye! What a stupid thing to do! Genesis 31:29 I have it in my power to do you harm; but the God of your father spoke to me last night and said, 'Be careful that you don't say anything to Ya'akov, either good or bad.' 30 Granted that you had to leave, because you longed so deeply for your father's house; but why did you steal my gods?" 31 Ya'akov answered Lavan, "Because I was afraid. I said, 'Suppose you take your daughters away from me by force?' 32 But if you find your gods with someone, that person will not remain alive. So with our kinsmen to witness, if you spot anything that I have which belongs to you, take it back." Ya'akov did not know that Rachel had stolen them. 33 Lavan went into Ya'akov's tent, then into Le'ah's tent and into the tent of the two slave-girls; but he did not find them. He left Le'ah's tent and entered Rachel's tent. 34 Now Rachel had taken the household gods, put them in the saddle of the camel and was sitting on them. Lavan felt all around the tent but did not find them. 35 She said to her father, "Please don't be angry that I'm not getting up in your presence, but it's the time of my period." So he searched, but he didn't find the household gods.

When Lavan asked Yaakov what he wanted his wage to be for shepherding the sheep, Yaakov replied, לֹא תִתֶּן לִי מְאוּמָה —"Don't give me anything yet." He then proceeded to remove the spotted, speckled, and brown sheep from the flock and told Lavan to take them all away under the guardianship of his sons, stating that only the future spotted, speckled, and brown sheep would be his. The Seforno writes on the words לֹא תִתֶּן לִי מְאוּמָה that Yaakov was saying, "I don't need you to give me any specific wage. If I find favor in Hashem's eyes, He will grant me everything that I'm meant to receive." The Sefer Madregot Ha'adam elaborates on the great bitachon that Yaakov exemplified here. His wages had already been changed numerous times, with Lavan repeatedly trying to swindle him. He knew that going forward, Lavan would likely cheat him again. Yet, he remained unfazed. He told Lavan he would continue to work and receive exactly what Hashem wanted him to have. Afterward, when Yaakov used the rod to influence the future animals being born, Rabbenu Bechayeh writes that this was because Hashem gave him that idea in a dream, indicating this was the method by which He was going to provide him with the income He intended for him. There are times in life when people feel they are being cheated by others or that others are withholding money owed to them. The best advice in such situations is to strengthen one's bitachon and believe that only Hashem determines the money one receives. If Hashem wants a person to receive it, he will. No one can stop that. The bitachon we feel in our hearts is an enormous zechut, and that merit can grant a person Heavenly help to receive what he needs even more quickly. A man, whom we'll call Yosef, told a story about another man who came to him one day in shul, asking him to fill a certain position . Yosef was not looking for additional work, but the man told him the salary, and Yosef agreed to take the job. He enjoyed the work very much and excelled at it. Everything was working out well—except for one thing: Yosef's salary wasn't being paid. One month passed, then another, and then another, yet his employer still hadn't made a single deposit into his bank account. Before Rosh Hashana that year, Yosef approached the employer and reminded him, "I did not come to work as a volunteer." The employer responded, "Of course, of course! I'll deposit the money right away." But the money still wasn't deposited. This situation was deeply troubling to Yosef. He began to wonder: Was this man actually cheating him? Had he been convinced to work with no intention of payment? Yosef wanted to quit immediately but wasn't sure if that was the right thing to do. He began vacillating over whether or not to leave. The uncertainty consumed him, and he became increasingly frustrated. Then, suddenly, Yosef realized he was placing too much focus on whether or not his boss was going to pay him. He wasn't acknowledging that this boss was not really in charge. The employer was merely a messenger from the true Boss, Hashem. Yosef hadn't even devoted any time to speaking to the real Boss about his situation. He then came to the conclusion that it wasn't his employer who convinced him to work there—it was Hashem who sent him. And if Hashem wanted him to do that job, then, naturally, Hashem would ensure he was paid—just as He always does. This newfound understanding brought Yosef a deep sense of calm, and he happily went back to work the next day. Incredibly, it was less than three days later that all the money he was owed was deposited into his bank account. There is nothing that can take the place of true bitachon in Hashem. Shabbat Shalom.