Podcasts about sing

❖ Today's Bible reading is Psalm 149: www.ESV.org/Psalm149 ❖ To read along with the podcast, grab a print copy of the devotional: www.crossway.org/books/in-the-lord-i-take-refuge-hcj/ ❖ Browse other resources from Dane Ortlund: www.crossway.org/authors/dane-c-ortlund/

A fun tale from Myanmar about a group of squirrels who have to make a compromise with a hive of bees so that they can all live peacefully in the same tree.  A great way to teach children about the importance of team work and making compromises. An episode from Journey with Story - a storytelling podcast for kids ages 4-10.  (duration -12 minutes)   We have suspended our Patreon platform for now.  But, you can receive all of this month's coloring sheets by signing up for my newsletter and you will also receive some terrific resources for raising kids who LOVE to read.  Sing up for free now at www.journeywithstory.com If your little listener wants to ask us a question or send us a drawing inspired by one of our episodes, send it to us at instagram@journeywithstory.  Or you can contact us at www.journeywithstory.com.  We love to hear from our listeners. If you enjoy our podcast, you can rate, review, and subscribe at here Did you know Kathleen is also a children's picture book author, you can find out more about her books at www.kathleenpelley.com    

Welcome to Day 2890 of Wisdom-Trek. Thank you for joining me. This is Guthrie Chamberlain, Your Guide to Wisdom. Day 2890 – Wisdom Nuggets – Psalm 137:1-9 Daily Wisdom Wisdom-Trek Podcast Script - Day 2890 Welcome to Wisdom-Trek with Gramps! I am Guthrie Chamberlain, and we are on Day 2890 of our Trek. The Purpose of Wisdom-Trek is to create a legacy of wisdom, to seek out discernment and insights, and to boldly grow where few have chosen to grow before. The title for today's Wisdom-Trek is: Tears by the Rivers of Babylon – The Exile's Anthem of Defiant Remembrance In our previous episode on this grand, historical expedition, we stood on the absolute summit of Hebrew liturgy, exploring the magnificent, rhythmic crescendos of the Great Hallel, Psalm One Hundred Thirty-Six. Our voices joined the thunderous, ancient procession as we chanted the eternal, unyielding refrain: “His faithful love endures forever.” We celebrated the supreme Sovereign of the cosmic council, who skillfully forged the heavens, pinned down the chaotic primordial waters, and systematically slaughtered the giant rebel kings, Sihon and Og, to hand over the Promised Land as a permanent inheritance to His treasured people. We rested deeply in the comforting assurance that the God of heaven remembers us in our weakness, and fiercely pours out His fatherly compassion upon His servants. But today, my friends, as we step forward onto Day two thousand eight hundred ninety of our journey, we experience a sudden, violent, and deeply jarring shift in the landscape. We are entering into what is arguably the most heartbreaking, emotionally raw, and controversial poem in the entire Psalter: Psalm One Hundred Thirty-Seven, verses one through nine, in the New Living Translation. The triumphant, sunlit courts of Jerusalem have vanished. The glorious chords of the temple orchestra have fallen completely silent. Instead, we find ourselves sitting in the mud, weeping in the suffocating shadows of a hostile, foreign empire. The inheritance appears to be entirely lost, the holy city has been burned to ash, and the people of God are trapped inside the geographic epicenter of the cosmic rebellion. Let let us step onto this agonizing section of the trail, adjust our lenses to navigate the dark waters of sorrow, and listen to the defiant song of the exile. The first segment is: The Heavy Harps and the Cruel Taunts of Babel Psalm One Hundred Thirty-Seven: verses one, two, and three . Beside the rivers of Babylon, we sat and wept as we thought of Jerusalem. We put away our harps, hanging them on the branches of the poplar trees. For our captors demanded a song from us. Our tormentors demanded a joyful hymn: “Sing us one of those songs of Jerusalem!” The poem opens with an incredibly vivid, melancholic scene that captures the profound trauma of displacement. “Beside the rivers of Babylon, we sat and wept as we thought of Jerusalem. We put away our harps, hanging them on the branches of the poplar trees.” To fully comprehend the immense spiritual and psychological warfare embedded in these opening lines, we must view this geography through the profound lens of the Ancient Israelite divine council worldview, as masterfully taught by Doctor Michael S. Heiser. In the cosmic geography of the ancient world, Babylon was not just a powerful human political empire; it was the historical, and spiritual, womb of the cosmic rebellion. This was the territory of Babel, the exact site where humanity originally attempted to build an autonomous empire to make a name for themselves, resulting in Yahweh disinheriting the nations and placing them under the jurisdiction of lesser, rebel spiritual principalities—the fallen sons of God. To be violently dragged away from Judah, and forced to sit "beside the rivers of Babylon," meant that the Israelites were physically sitting within the occupied territory of hostile, rival elohim. The rivers of Babylon—the complex network of irrigation canals fed by the Tigris and Euphrates rivers—were symbols of the empire's economic might, and the apparent supremacy of their gods. The captives sat by these waters, completely crushed, and they wept. They were not just homesick; they were experiencing a profound theological crisis. Their temple was destroyed, the Ark of the Covenant was gone, and it appeared to the watching world that the rebel gods of Babylon had successfully triumphed over Yahweh. In their deep grief, they performed a symbolic act of architectural silence: they hung their beautiful, stringed harps upon the branches of the weeping poplar trees lining the canals. The music that had once filled the cosmic center of Mount Zion was intentionally shut down. The harps became dead weights, swaying in the foreign wind. The pain of this silence is violently exacerbated by the psychological cruelty of their captors in verse three: “For our captors demanded a song from us. Our tormentors demanded a joyful hymn: ‘Sing us one of those songs of Jerusalem!'” This was not a polite request for cultural exchange or musical entertainment. This was an act of aggressive, mocking spiritual intimidation. The Babylonian soldiers, acting under the dark inspiration of their territorial deities, wanted to humiliate the broken exiles. They wanted the Israelites to perform their sacred, liturgical temple hymns—the grand songs of Zion that celebrated Yahweh's absolute supremacy over the nations—as a circus act for the amusement of the conquerors. It was a cruel taunt, designed to force the captives to admit defeat, to mock the apparent helplessness of their God, and to pressure them into assimilating into the pagan culture of the empire. The enemy wanted to weaponize their own sacred music against their souls. The second segment is: The Oath of the Unbending Tongue Psalm One Hundred Thirty-Seven: verses four, five, and six. But how can we sing the songs of the Lord while in a pagan land? If I forget you, Jerusalem, let my right hand forget how to play the harp. May my tongue stick to the roof of my mouth if I fail to remember you, if I don't make Jerusalem my greatest joy. The text responds to the cruel mockery of the captors with a fierce, defiant, and completely unyielding refusal. “But how can we sing the songs of the Lord while in a pagan land?” To the ancient Israelite, singing the shir Yahweh—the song of the Lord—was an act of high, localized covenant sanctuary. The sacred songs were designed exclusively for the cosmic mountain, the holy space where the presence of the Creator uniquely dwelt. To perform these holy liturgies for the amusement of a pagan audience, within the defiled, demonically supervised territory of Babylon, would be an act of supreme spiritual treason. It would be an acknowledgment that Yahweh could be domesticated, transformed into a minor, defeated deity who exists merely to entertain the proxies of the rebel council. The exiles draw a hard, non-negotiable line in the mud. They choose silence over sacrilege. The psalmist then seals this refusal by swearing a terrifying, double-sided personal oath of absolute, multi-generational remembrance in verses five and six. “If I forget you, Jerusalem, let my right hand forget how to play the harp. May my tongue stick to the roof of my mouth if I fail to remember you, if I don't make Jerusalem my greatest joy.” The writer is a temple musician, an artist whose entire livelihood, status, and identity depend on his right hand's ability to skillfully pluck the strings of the harp, and his tongue's ability to articulate the beautiful melodies of the liturgy. He deliberately invokes a self-malediction, a curse upon his own biological tools of expression. He says, “If I ever allow the comfort, the wealth, and the seductive luxury of Babylon to make me complacent, if I ever forget the cosmic center of Mount Zion, if I ever assimilate into this pagan empire and lose my distinct identity, then let my right hand instantly wither, and lose its muscle memory! Let my tongue become paralyzed, permanently sticking to the roof of my mouth, so that I can never sing another note of any song for the rest of my life!” This is a magnificent display of spiritual resilience. The psalmist realizes that the ultimate danger of the exile is not physical death, but cultural and spiritual amnesia. Babylon wants the exiles to forget who they are, to forget the covenant, and to forget the cosmic blueprint of the Creator. By making Jerusalem his “greatest joy”—even while it sits in smoldering ruins—the exile is performing an act of fierce, defiant loyalty. He anchors his mind to the unshakeable reality of God's future restoration, refusing to let the temporary success of the rebel principalities redefine the true focus of his...

Country rooooooooad! Take me hooooooome! To the plaaaaaaaace I beloooooooong! (Sing along, neighbor. It's a World Cup anthem now!) Also, a Creek Chub is a fish. Not what you're thinking.THEN: We aren't really "sports people," but we do love a good culture-building ritual. Fireworks and overcooked hotdogs have their place... And nobody understands tennis. Nobody. LATER: How do we feel about Hollywood influencers making "documentaries" as publicity stunts?... Well, they're funny. So, there's that. Contact the Comedian's family at nextdoor@johnbranyan.com

Country rooooooooad! Take me hooooooome! To the plaaaaaaaace I beloooooooong! (Sing along, neighbor. It's a World Cup anthem now!) Also, a Creek Chub is a fish. Not what you're thinking.THEN: We aren't really "sports people," but we do love a good culture-building ritual. Fireworks and overcooked hotdogs have their place... And nobody understands tennis. Nobody. LATER: How do we feel about Hollywood influencers making "documentaries" as publicity stunts?... Well, they're funny. So, there's that. Contact the Comedian's family at nextdoor@johnbranyan.com

What role does baptism play in the life of a new believer and what does it signify? How many times does someone have to be baptized? Are we required to be baptized before we can partake in the Lord's Supper? In his sermon, “United In Death, United In Life: Baptism As the Sign of Union With Christ” centered on Romans 6:1-5, Pastor Alex Trotter answers these questions and more as he shows how baptism is one of the two ordinances of the church, and he explains how believer's baptism is one of the first commandments required of every new follower of Christ.

Country rooooooooad! Take me hooooooome! To the plaaaaaaaace I beloooooooong! (Sing along, neighbor. It's a World Cup anthem now!) Also, a Creek Chub is a fish. Not what you're thinking.THEN: We aren't really "sports people," but we do love a good culture-building ritual. Fireworks and overcooked hotdogs have their place... And nobody understands tennis. Nobody. LATER: How do we feel about Hollywood influencers making "documentaries" as publicity stunts?... Well, they're funny. So, there's that. Contact the Comedian's family at nextdoor@johnbranyan.com

We don't sing in worship to connect with God.  We sing in response to the fact that God has connected Himself to us in and through Christ.

Traditional Worship | Rev. Karen Tyler | So much of our faith can be found in the hymns we sing. These songs are like sermons put to music that have been passed down to us from generation to generation, withstanding the test of time. Inspired by God, the great hymn writers have given us inspiration, comfort, hope and reassurance through their words and melodies, so often in our times of deepest need. In this four-part sermon series, we will focus on the important themes that are contained in these great hymns that chronicle our journey of faith. We are delighted you have joined us in our Traditional Worship today, and we pray your spirit will be lifted as we share together, “The Faith We Sing.”

This Sunday we begin our summer series in the Psalms. The Psalms hold out such promise for a deep spiritual reflection, yet often when we read them they leave us asking, "What does this even mean?" Join us this Sunday as we examine the most quoted Psalm by Jesus and the writers of the New Testament.

Rev. Terrance D. Carroll, J.D., Guest Preacher

Join us in this chat with Nick Pratt , discussing Agroforestry, Fruit Tree Medicine & Building Resilience.What if the most medicinal part of your fruit tree isn't the fruit at all, but the leaf you've been pruning and composting? In this episode, Tatiana Dawn sit down with permaculture and agroecology educator Nick Pratt to explore the deep, often-overlooked connection between food and medicine.Nick Pratt (@nicholasisbarefoot) is a former chef turned permaculture and agroforestry educator. After years working in high-end commercial kitchens, Nick went searching for a deeper understanding of where food actually comes from — a journey that took him through monoculture farms in Australia and eventually to a small indigenous village in Peru, where he witnessed a culture that never separated food from medicine. That experience reshaped the way he sees every plant he grows today.In this conversation, we explore the blurry, often-ignored line between food and medicine — and why food has been reduced further and further until most people no longer recognise a beetroot plant when they see one. We dig into the difference between permaculture and agroforestry, Nick's seed-bank garden and his use of comfrey and yarrow for healing balms, and the surprising medicinal power hiding in everyday fruit trees — mulberry, blueberry, strawberry, pomegranate, soursop — much of it concentrated in the leaves rather than the fruit. We also talk about Nick's upcoming e-book Orchard Apothecary, and dive deep into resilience: not the lone-wolf, fully-self-sufficient kind, but the community-rooted kind that gets tested in floods, lockdowns, and supply chain shocks. Nick shares tangible, doable first steps for anyone wanting to start — even from a balcony — and reflects on what it means to build a culture of connection over consumption, especially as a father raising a daughter in it.SHOW NOTESYou can connect with Nick on Instagram @nicholasisbarefoot here, and find his current balms and plant offerings via his social media while his online shop is being built. You can email Nick here: Nicholasisbarefoot@gmail.com*BUY ME A CUPPA*If you liked the episode and want more, a cuppa fuels our work and time, which is given for free. Leave a comment and a few bucks here: buymeacoffee.com/theeldertreeYou can join our Patreon here and gain a deeper connection to our podcast. Pay only $2 per week to have access to bonus and often exclusive resources and opportunities — plus support The Elder Tree at the same time!: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠buymeacoffee.com/theeldertree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠**THE ELDER TREE TROVE PATREON COMMUNITY**You can join our Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and gain a deeper connection to our podcast. Pay only $2 per week to have access to bonus and often exclusive resources and opportunities- plus support the Elder tree at the same time!To find out more about The Elder Tree visit the website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.theeldertree.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and donate to the crowdfunding campaign ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.You can also follow The Elder Tree on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sign up to the newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Find out more about this podcast and the presenters ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Get in touch with The Elder Tree at:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@theeldertree.org⁠⁠⁠ The intro and outro song is "⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sing for the Earth⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠" and was kindly donated by Chad Wilkins.  You can find Chad's music ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

June 20, 2026Today's Reading: Introit for Trinity 3 - Psalm 25:1-2a, 5b, 15, 20; antiphon: Psalm 25:16, 18Daily Lectionary: Proverbs 22:22-23:12; John 18:15-40“Turn to me and be gracious to me, for I am lonely and afflicted. Consider my affliction and my trouble, and forgive all my sins.” (Psalm 25:16, 18)In the Name + of Jesus. Amen.Loneliness hurts. Suffering hurts. Having troubles hurts. Knowing I've sinned hurts. Being sinned against hurts. There is a lot of hurt in this broken world. Life can often hurt. It is such a gift, then, to realize that God gives us the psalms to pray, sing, and meditate upon. In today's verses, we have the words we need to cry out to God. We get to admit that we are alone and bothered. We get to be honest about what is hurting us and causing us pain. We can share all that burdens us; we can call out when we feel troubled and are in need of forgiveness. We can say that we need help. It is amazing to realize that just as God gives us these words to pray and use, He also promises to hear us when we talk to Him. In fact, He longs to hear our hurts and cares. He loves us and desires for us to bring all that we carry to Him. In fact, He would not have us carry our sins and our burdens at all. He gives them to His Son, our Savior Jesus. And Jesus willingly carries them all to the cross, where He pays for them with His life. He defeats all that is broken by defeating death. He pays the price for our sin and reconciles us to the Father. We died and rose with Jesus and are now mercied, loved, and forgiven. We pray with confidence and hope. We are not alone. Every day, we live under the weight of sin. Luther's Small Catechism teaches us that our Old Adam must DAILY be drowned and die; we continue to struggle with sin and sadness. And yet, the grace that we have from our loving and merciful Heavenly Father is new every morning. We remember our Baptism and cling to the promises that we have in Jesus. We have an attentive, loving, and compassionate God. He hears our prayers and fulfills His promises. We go to the Divine Service and our hope is renewed; we hear our sins forgiven, we hear of the promises and works of God, we eat Jesus' Body and Blood. We are given good Gifts from our loving, Heavenly Father, who hears our prayers and promises to never leave us nor forsake us.In the Name + of Jesus. Amen.Sing praise to God, the highest good, The author of creation, The God of love who understood Our need for His salvation. With healing balm our souls He fills And ev're faithful murmur stills: To God all praise and glory! (LSB 819:1)Deac. Sarah Longmire, Curricula Curator for Higher Things and Director of Family Life at St. Matthew Lutheran Church in Lee's Summit, MO.

Götzke, Manfred www.deutschlandfunk.de, Streitkultur

Link Up w/The Morning Sickness Digitally All Over:Instagram: @hms_98_official, @bosskupd, @bretvesely, @dickToledoX/Twitter: @HMSon98, @DickToledo, @bretveselyFacebook: @HMSKUPDYouTube: @hmspodcast9320, @98kupdRequest/Call in/Wakeup Song line:(IN AZ) 602.585.9800More HMS: holmbergpodcast.com, 98kupd.comEmail: dtoledo@98kupd.com, bvesely@98kupd.com, bbogen@98kupd.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Link Up w/The Morning Sickness Digitally All Over:Instagram: @hms_98_official, @bosskupd, @bretvesely, @dickToledoX/Twitter: @HMSon98, @DickToledo, @bretveselyFacebook: @HMSKUPDYouTube: @hmspodcast9320, @98kupdRequest/Call in/Wakeup Song line:(IN AZ) 602.585.9800More HMS: holmbergpodcast.com, 98kupd.comEmail: dtoledo@98kupd.com, bvesely@98kupd.com, bbogen@98kupd.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A virtual history lesson in Psalms. Psalms 105: 1 O give thanks unto the Lord; call upon his name: make known his deeds among the people. 2 Sing unto him, sing psalms unto him: talk ye of all his wondrous works. 3 Glory ye in his holy name: let the heart of them rejoice that seek the Lord. 4 Seek the Lord, and his strength: seek his face evermore. 5 Remember his marvellous works that he hath done; his wonders, and the judgments of his mouth;Psalms 107: 21 Oh that men would praise the Lord for his goodness, and for his wonderful works to the children of men! 22 And let them sacrifice the sacrifices of thanksgiving, and declare his works with rejoicing. 23 They that go down to the sea in ships, that do business in great waters; 24 These see the works of the Lord, and his wonders in the deep. 25 For he commandeth, and raiseth the stormy wind, which lifteth up the waves thereof. 26 They mount up to the heaven, they go down again to the depths: their soul is melted because of trouble. 27 They reel to and fro, and stagger like a drunken man, and are at their wits' end. 28 Then they cry unto the Lord in their trouble, and he bringeth them out of their distresses.  29 He maketh the storm a calm, so that the waves thereof are still. 30 Then are they glad because they be quiet; so he bringeth them unto their desired haven.

Do you feel like you've lost touch with yourself somewhere in the noise of modern life? Like you're doing all the things… but still feeling disconnected, drained, or out of rhythm with who you truly are? This conversation with Michael Trainer felt like medicine for my soul. Michael is the co-creator of the Global Citizen Festival, host of the Peak Mind podcast, and author of Resonance: The Art and Science of Human Connection — and in this episode, we explore what it really means to live in resonance with yourself, your relationships, your purpose, and the deeper "song" that wants to be expressed through your life. We talk about the epidemic of loneliness and disconnection… why some people energize us while others leave us depleted… and how our nervous systems are constantly being shaped by the environments, media, and relationships around us. Michael shares beautiful insights from Resonance on grief, heartbreak, healing, authenticity, creativity, and why pain itself can become the compost for a more meaningful life. We also dive into the power of music as a metaphor for life, the importance of finding your "root" relationships, the healing power of community, and why true wealth may actually be the quality of experiences we share with the people we love. This episode reminded me that healing isn't just about fixing ourselves — it's about coming back into tune. Back into connection. Back into the rhythm of who we really are. Key Moments You'll Love ✨ :

Celebrate Father's Day with this fun story poem from Lewis Carroll about a poor pig whose attempts at learning to jump never quite succeed AND an encore story about a young lion whose father teaches him about the interdependence of all things - an orginal story from Kathleen.  An episode from Journey with Story, a storytelling podcast for kids ages 4-10.  (duratioin 16 minutes) We have suspended our Patreon platform for now.  But, you can receive all of this month's coloring sheets by signing up for my newsletter and you will also receive some terrific resources for raising kids who LOVE to read.  Sing up for free now at www.journeywithstory.com If your little listener wants to ask us a question or send us a drawing inspired by one of our episodes, send it to us at instagram@journeywithstory.  Or you can contact us at www.journeywithstory.com.  We love to hear from our listeners. If you enjoy our podcast, you can rate, review, and subscribe at here Did you know Kathleen is also a children's picture book author, you can find out more about her books at www.kathleenpelley.com    

Nunca responda a uma pergunta que não ouviu...pode correr mal.

What goes bump in the night giving Kyle a fright? This week it's The Borderlands aka Final Prayer (2013) directed by Elliot Goldner. This British film has a team investigating the validity of a miracle. Is Deacon Deacon the ultimate Deacon? How can we invest in Google Mat? Is there anything spookier than a cup falling over? Sing along to Kyle's hymn as the Boo Boys break it all down. 

With knowledge of Sookie's sparkly jazz hands, Russell takes Bill & Sookie back to his home. He interrogates Sookie, and orders Lorena to kill Bill. Franklin lets it slip that Sookie is in the house, and Tara formulates a plan. Back in Bon Temps, Lafayette and Jesus' date comes to an abrupt end,  Jason has girl problems, and Jessica decides to give Arlene a good ending to a shitty night! Rewatch, Listen & Laugh we bask in Eric's slutty little blue sweater, we revel in Eric's seductive ways, and absolutely fangirl over what a badass Tara is!  And don't forget to follow us at @the_rewatcher on Instagram for special bonus content!!  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

There is no shortage of books on music and politics, but Anna Harwell Celenza explores an interesting premise in her book On the Record: Music that Changed America (Norton, 2026). Each of the twelve chapters discusses a different instance when music, as Celenza writes, “sparked debates in the halls of Congress.” Arranged basically chronologically, Celenza tackles some of the most powerful and contentious issues in twentieth and twenty-first century American politics. From censorship to copyright law; from the Civil Rights Movement, to foreign policy during Apartheid, Celenza traces the extraordinary moments when music moved Congress, challenged power, and united people around shared ideals. The stories Celenza tells are just as much about music including the intertwined histories of “The Star Spangled Banner” and “Lift Every Voice and Sing” or the making of Paul Simon's album Graceland, as they are about US legislation or American politics. She offers readers a history of America heard through the songs and compositions that changed its course. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

As the Whitehouse lawn showcases one very specific version of America, Sandip speaks with someone who has another version.

The Song of Moses15.1 Then Moses and the people of Israel sang this song to the Lord, saying,“I will sing to the Lord, for he has triumphed gloriously;    the horse and his rider he has thrown into the sea.2 The Lord is my strength and my song,    and he has become my salvation;this is my God, and I will praise him,    my father's God, and I will exalt him.3 The Lord is a man of war;    the Lord is his name.4 “Pharaoh's chariots and his host he cast into the sea,    and his chosen officers were sunk in the Red Sea.5 The floods covered them;    they went down into the depths like a stone.6 Your right hand, O Lord, glorious in power,    your right hand, O Lord, shatters the enemy.7 In the greatness of your majesty you overthrow your adversaries;    you send out your fury; it consumes them like stubble.8 At the blast of your nostrils the waters piled up;    the floods stood up in a heap;    the deeps congealed in the heart of the sea.9 The enemy said, ‘I will pursue, I will overtake,    I will divide the spoil, my desire shall have its fill of them.    I will draw my sword; my hand shall destroy them.'10 You blew with your wind; the sea covered them;    they sank like lead in the mighty waters.11 “Who is like you, O Lord, among the gods?    Who is like you, majestic in holiness,    awesome in glorious deeds, doing wonders?12 You stretched out your right hand;    the earth swallowed them.13 “You have led in your steadfast love the people whom you have redeemed;    you have guided them by your strength to your holy abode.14 The peoples have heard; they tremble;    pangs have seized the inhabitants of Philistia.15 Now are the chiefs of Edom dismayed;    trembling seizes the leaders of Moab;    all the inhabitants of Canaan have melted away.16 Terror and dread fall upon them;    because of the greatness of your arm, they are still as a stone,till your people, O Lord, pass by,    till the people pass by whom you have purchased.17 You will bring them in and plant them on your own mountain,    the place, O Lord, which you have made for your abode,    the sanctuary, O Lord, which your hands have established.18 The Lord will reign forever and ever.”19 For when the horses of Pharaoh with his chariots and his horsemen went into the sea, the Lord brought back the waters of the sea upon them, but the people of Israel walked on dry ground in the midst of the sea. 20 Then Miriam the prophetess, the sister of Aaron, took a tambourine in her hand, and all the women went out after her with tambourines and dancing. 21 And Miriam sang to them:“Sing to the Lord, for he has triumphed gloriously;the horse and his rider he has thrown into the sea.”

There is no shortage of books on music and politics, but Anna Harwell Celenza explores an interesting premise in her book On the Record: Music that Changed America (Norton, 2026). Each of the twelve chapters discusses a different instance when music, as Celenza writes, “sparked debates in the halls of Congress.” Arranged basically chronologically, Celenza tackles some of the most powerful and contentious issues in twentieth and twenty-first century American politics. From censorship to copyright law; from the Civil Rights Movement, to foreign policy during Apartheid, Celenza traces the extraordinary moments when music moved Congress, challenged power, and united people around shared ideals. The stories Celenza tells are just as much about music including the intertwined histories of “The Star Spangled Banner” and “Lift Every Voice and Sing” or the making of Paul Simon's album Graceland, as they are about US legislation or American politics. She offers readers a history of America heard through the songs and compositions that changed its course. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

There is no shortage of books on music and politics, but Anna Harwell Celenza explores an interesting premise in her book On the Record: Music that Changed America (Norton, 2026). Each of the twelve chapters discusses a different instance when music, as Celenza writes, “sparked debates in the halls of Congress.” Arranged basically chronologically, Celenza tackles some of the most powerful and contentious issues in twentieth and twenty-first century American politics. From censorship to copyright law; from the Civil Rights Movement, to foreign policy during Apartheid, Celenza traces the extraordinary moments when music moved Congress, challenged power, and united people around shared ideals. The stories Celenza tells are just as much about music including the intertwined histories of “The Star Spangled Banner” and “Lift Every Voice and Sing” or the making of Paul Simon's album Graceland, as they are about US legislation or American politics. She offers readers a history of America heard through the songs and compositions that changed its course. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Welcome back to WE LOVE TO HATE EVERYTHING and another trip through Brown Town, where the trains are exciting, the shirts are multiplying, and Janelle appears to be building her own Field of Dreams.This week's lineup:

[The prophet Jeremiah said:] O Lord, You have deceived me, and I was deceived; You are stronger than I, and You have prevailed. I have become a laughingstock all the day; everyone mocks me. For whenever I speak, I cry out, I shout, “Violence and destruction!” For the word of the Lord has become for me a reproach and derision all day long. If I say, “I will not mention Him, or speak any more in His Name,” there is in my heart as it were a burning fire shut up in my bones, and I am weary with holding it in, and I cannot. For I hear many whispering. Terror is on every side! “Denounce him! Let us denounce him!” say all my close friends, watching for my fall. “Perhaps he will be deceived; then we can overcome him and take our revenge on him.” But the Lord is with me as a dread warrior; therefore my persecutors will stumble; they will not overcome me. They will be greatly shamed, for they will not succeed. Their eternal dishonor will never be forgotten. O Lord of hosts, who tests the righteous, who sees the heart and the mind, let me see Your vengeance upon them, for to You have I committed my cause. Sing to the Lord; praise the Lord! For He has delivered the life of the needy from the hand of evildoers. (Jeremiah 20:7-13)

Abby leads our conversation about S03E19: Sozin's Comet, Part 2: The Old Masters, where we reflect on the extent of Aang's struggle, the feasibility of a 16-year-old running a nation - especially one going through a regime change - and cry over Zuko and Iroh's reunion. This episode was recorded on October 17, 2021. This episode was edited by Nic.

In this homily given on the 11th Sunday of Ordinary Time (June 14 , 2026), Father Mathias preaches on Psalm 100 and why we are to sing a joyful song of praise to the Lord at Mass. After outlining why singing at Mass is one way we actively participate in divine worship of God at Mass, Fr Mathias outlines several common reasons why we might resist singing to the Lord at Mass: we mistakenly believe singing is optional, we might not know or like the music, the music might not be good, we're not certain about who God is, we simply don't feel like it.   But the Mass is not about us; it's the worship of God, giving him what's his due.  Therefore, we need to resist the temptation to not sing to God because we don't feel like or we don't want to. Since God is Good, no matter how we feel, Father challenges us to sing his praises at Mass precisely when we don't feel like it.  Doing so opens our hearts to the God who loves us and wants to bless us in whatever we're going through in our lives. 

Never mind the new Taylor song, get ready for this anti-U turn banger from Cosmo + Kat Show's Ai powered MoDOTley Crue and "Don't Crack A U"...Sing a long and spread the word! STOP BUSTIN' U-TURNS!!!!

Hello, and welcome to The Relatable Voice Podcast! Today, we're heading to sunny California to chat with Darlene Koldenhoven — GRAMMY® Award-winning vocalist, composer, producer, actor, and the unforgettable soprano voice behind Aria in Yanni: Live at the Acropolis. Darlene is now sharing her remarkable journey in her upcoming memoir, Put Your Dress Down and Sing. Find out more are: DarleneKoldenhoven.com

Evening lessons: Psalms 113, 114; Ezekiel 35; Acts 15:36-16:5.  Praise the Lord.  Sing praises you servants of the Lord; O praise the Name of the Lord.

sunday sermons + good news weekly live from good news in the neighborhood, a new church led by luke + kristen macdonald in the nw suburbs of chicago. we are a multi-ethnic, bible teaching, and life giving church.   find out more about us becoming + bringing the good news at   www.goodnewsintheneighborhood.org

Wir entdecken die Sehenswürdigkeiten einer Reise zur musikalischen Entfaltung im Gesang zur Stärkung in Zeiten im Ungewissen.Singend, heilsam, in Gemeinschaft an einer neuen Gesellschaftsstruktur bauen, das ist unsere Passion. Als ausgebildete Singleiter und cantomove(r) Gesundheitsanimateure, ohne Anspruch auf Perfektion, aber mit viel Herz und Empathie, leiten wir Gruppen an, gemeinsam zu singen, zu tanzen, einzutauschen in die Kraft heilsamer Lieder. Lieder aus unterschiedlichen Kulturen, Lieder von Freunden und Eigenkompositionen. Singen, bewegen, berühren - cantomove(r)Mehr über unser Tun findest du auf: www.singmituns.at www.cantomove.at www.musikschafftnähe.org

Traditional Worship | Bishop Bob Hayes | So much of our faith can be found in the hymns we sing. These songs are like sermons put to music that have been passed down to us from generation to generation, withstanding the test of time. Inspired by God, the great hymn writers have given us inspiration, comfort, hope and reassurance through their words and melodies, so often in our times of deepest need. In this four-part sermon series, we will focus on the important themes that are contained in these great hymns that chronicle our journey of faith. We are delighted you have joined us in our Traditional Worship today, and we pray your spirit will be lifted as we share together, “The Faith We Sing

The fourth of seven director interviews Wilson conducted at this year's Hong Kong International Film Festival is with Edwin, director of the fantasy horror Sleep No More. Edwin shares his wide range of influences from Indonesian cinema history and beyond, speaks to his film's commentary on labor rights, shares his own Deep Cut pick, and… shares a sing-along with Wilson?!Take a nap in our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro04:04 Indoneisan horror film history07:30 Edwin's influences09:00 Indonesian politics and labor15:38 Scary scenes17:57 Casting20:34 Special effects23:12 Edwin's future horror24:39 Edwin's Deep Cut Pick25:57 Sing-along

When David wrote a song about becoming king, he ascribed all his victories to the God who gave them. How do we join David in such God-besotted praise?

How's your attitude at work? Attitudes are contagious. But the question is: Would anyone want to catch yours? I believe this is one of the areas we can have a strong witness on our jobs, if we can keep our attitudes where they should be. I'm thinking one of the toughest situations to deal with—one that can really affect your attitude—is when you work with someone who gripes and complains all the time. I mean, how do you keep from developing a bad attitude when that's what you hear all day long? It's the person who loves disasters and crises! They can turn a good day into a bad one in a minute. I’ve run into this kind of person on a job or two of mine. They gripe about everything and everybody and seem to really enjoy spreading any bad news they can dig up. Even when there’s something good happening, they’ll find something wrong and do their best to spoil it for everyone else. That person can get on your nerves after a while! Have you noticed when you see this person coming, you tend to get real busy or walk in the other direction? A complaining person is not someone you love to be with. We Christians can complain and gripe as good as the next person. I know how easily I can fall into that negative complaining mode. There’s a verse in the Bible that addresses this issue: Do everything without complaining or arguing (Philippians 2:14). Everything leaves no wiggle room, because it includes your unfair wages, the difficult boss, the annoying coworker, the way the company treats you, and even the weather! Complaining is such a waste of energy, and it’s stressful on you as well as everyone around you! What can a Christ-follower do if he or she works with an eternal complainer? You need to monitor yourself and not complain! If you're able to walk away or stay away from the complaining conversation that would help. Or maybe you are able to steer the conversation and brainstorm a solution, but sometimes that's not possible. Sometimes you need to set up some boundaries—especially if you've tried other tactics. A person who does her job without complaining is one of the strongest testimonies we can have for Jesus Christ. It says something about your integrity. I think complaining can easily slide into gossip, and you really don't want to go there. Studies show almost half of the people in the workplace report they really don’t like their jobs. I can just visualize those thousands and thousands of people headed out to their jobs each day dreading it. If you start your day with discouraging thoughts—telling yourself how much you don't like your job—the people you work with can see your bad attitude in your face and hear in your voice. Because you don't like your job so much, and maybe there's some good reasons for that, you probably won't do your job as well as you should and your performance will suffer. When you regularly don't do your job as well as you could, that is not only dishonest, but it's also a bad testimony. You really can't cover up a bad attitude. It keeps coming through even when you don't realize it. If someone is stuck in a job they really don't like, they probably have told themselves they have abundant reasons for not liking their job. Could be the work itself—maybe they find it boring and dull? Or could it be the environment or the people they work with? It could be there are some unhelpful or a difficult boss. We can think of lots of reasons, or excuses, that make us feel like we have a right to complain about our job! It's amazing how we can deceive ourselves—tell ourselves things that make us feel less guilty when we know we're not representing Jesus well. As our culture is prone to say, we have a right to our bad attitude. But whatever the reason, as Christians, we don’t have such a right. We are obligated by our commitment to the principles of our Lord and Savior, Jesus Christ, to work with all our might at whatever we’re doing, because ultimately, we’re working for the Lord, not for people. What would you say to the person who has been hating her job lately? First, remember God can help you with an attitude adjustment. You may not be able to change the things you don’t like about your job, but you can, by God’s grace, change your attitude. Your attitude is your choice. There's another thing I've noticed in myself and others, and that is how upset we get over the uncontrollable things that happen in our days! It’s one of our major energy leaks, and it can really ruin your attitude. I once read if you will control the controllable, you can cope with the uncontrollable. But how often do we get upset or irritated over things which are totally out of our control? Take note the next time you're irritated by someone or something. Are you losing it over an uncontrollable thing or person? I think you may be surprised to discover how often it happens. It's a total waste of time and energy. Trying to control the uncontrollable is a futile effort and all it does is put you in a bad mood. Then, while we’re fretting over things which you cannot control, you are losing control of the things you can control. For example, we can control our words and avoid saying things that upset or discourage others. But when we’re trying to control the uncontrollable, we often lose control of the words we say and end up saying things that are hurtful or discouraging. We can control how we think and bring every thought into captivity, but when we’re trying to control the uncontrollable, we lose control of our thoughts and start thinking of all kinds of negative, unkind, and untrue things. We must remember this: if we will control the controllable, we can cope with the uncontrollable. Focus on staying in control of the things that are your responsibility; when you do, you’ll have the strength to cope with those uncontrollable events in your day. How do you do that? The Apostle Paul gave us some very good advice: Do not be anxious about anything, but in everything by prayer and petition, with thanksgiving, present your requests to God. And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus (Philippians 4:6-7). If we really practice this principle on our jobs, we’ll have very good work attitudes, and in the process, we’ll reduce our stress, improve our productivity, and enhance our witness for the Lord. God’s Word is relevant to the uncontrollable things that will happen to you today; don’t forget it. The thing I've heard most heard from people is the problems they have with people. It reminds me of Charlie Brown's famous quote: “I love mankind. It's people I can't stand!” It just amazes me how many people don’t think like I think, don’t see things the way I see them, don’t hold the same obviously correct opinion that I hold! Scroll through social media long enough, and it's easy to think: “Why doesn't everyone see the world the way I do?” Often these conflicts can ruin our attitudes and drag us down rather quickly. We need some biblical responses to help us keep our attitudes where they should be—positive and full of grace. One thing I have learned to do when some person is bringing me down is to put them in another frame. To see them differently. This is a wonderful way to keep your attitude in good shape, and it’s right out of God’s Word: If you believe in goodness and if you value the approval of God, fix your minds on whatever is true and honorable and just and pure and lovely and praiseworthy (Philippians 4:8, J. B. Phillips). Often when we must deal with unpleasant people, we focus so much on their negative qualities that we totally lose sight of their good ones. Another Bible translation says to think about the good reports. I love that phrase, because so often, I’m prone to think about the bad reports. The person who is causing you trouble right now—there is some good report about him or her if you’ll just look for it. Make yourself think about the good report, the new frame you’ve put them in. You’ll be amazed at how much easier it is to get along with them. Once you get used to this practice of re-framing people who are difficult, you’ll discover the great side benefits: Reduced stress, less anxiety, better sleep, happier days. You will benefit more than anyone else when you learn to re-frame and think about the good reports, not just the bad ones. Another thing I've noticed is the lack of gratitude—being thankful for your job, for all the good things God has given us. We can get so focused on the negative things about our jobs or other people, that we forget the good things. Gratitude is so important and will go a long way in keeping our attitudes in good shape. Lately I've become even more conscious of how important it is to simply be thankful. To thank God for all his goodness; and to thank others who contribute good to our lives. The Apostle Paul wrote: Sing and make music in your heart to the Lord, always giving thanks to God the Father for everything… (Ephesians 5:19-20). Give thanks for everything. That's clear. Aren't you glad Paul didn’t say we are to feel thankful, because often those feelings just aren’t there? But we can still choose to be thankful by reciting words of thanks and refusing to allow our attitudes to get into the griping pits. It's good to remind ourselves we have a choice each day as to what our attitude will be for that day. It's so much more pleasant and peaceful and stress-free to keep our attitudes in good shape. Our attitudes are our choice, and we should make it a matter of daily prayer.

Ike, Spike, and Fritz reflect on a charity event for the Mailata Family Foundation where Jordan Mailata showcased his singing talents. They engage in a heated debate with a caller regarding historical trade rumors involving Kobe Bryant and the Detroit Pistons. The conversation also explores the challenges facing American soccer and the impact of youth sports burnout.

Welcome to the Art Life Faith Podcast, and I’m your host, Roger Lowther. We are recording live from the JCAMM conference in downtown Tokyo with the theme of “The Beauty of Japan・The Beauty of Heaven.” It’s a week-long conference from Friday, May 22 to Wednesday, May 27, 2026, where we are talking about the arts of Japan, the beauty of Japan, and how that helps us worship God. We’ve had so many amazing guests this week, and now I have the privilege of sitting down with one of our key presenters, a band like no other I’ve ever seen in the world called IziBongo. They sing not only in the various languages of the world, but they use the various instruments of the world and the various styles and genres of the world so people can see what it looks like for the nations to praise God and how that can lead us all in praise of God. So I wanted to sit down with them and have a conversation. I’ve also asked Akira Mori to sit down with us. He is our MC for the conference, and he’s a longtime friend and partner. We got to know each other very well through the 2011 earthquake, tsunami, and nuclear disaster. He’s the pastor of Global Mission Chapel in Iwaki, Japan, not too far south of the nuclear power plants in Fukushima. And his amazing church was one of the key centers for relief work for all of Tohoku. Through the years, we’ve gotten to know each other better, and I’ve so appreciated not just his encouragement and the way he leads especially movements of prayer in Japan but the way he’s encouraged me personally and for his friendship. And so I invited him to be the MC for this conference and also to be with us for this podcast episode. So thank you, all of you, for being here. Why don’t we start with a quick introduction? Please tell me who are you and where this name IziBongo came from. It’s kind of an interesting name. Cory Sure, Izibongo is a Zulu word which means praises intoned in honor of a person. It’s a kind of praise poetry. This is a second generation of the group itself, originally called the Wycliffe World Music Band, which came from Wycliffe Bible Translators. Roger Not as catchy… Cory Yeah…, which came from Wycliffe Bible Translators. Roger Okay, so what do you do? Why did you form IziBongo? Cory Originally, the Wycliffe World Music Band was meant to be an illustrative form of the music of the world and to promote Bible translation. That was one of the hopes for the people who organized it. We would go to Christian music festivals and perform there to show how the nations would worship or do their songs. Paul I might add that originally it was an ad hoc group of students in a particular class learning about some of these principles of music and worship around the world. The leader of that class was our mentor, Tom Avery. He would gather the students and throw instruments at them and say, “Sing this and let’s play this.” And so it was just to appreciate the worship around the world. This developed out of that educational starting point to more of a worship focus and whatever it is today. Cathy Another point that Tom would make when teaching us these songs was that music is not a universal language, it’s a universal phenomenon. But different peoples have different ways of singing. We think we might understand what they’re singing about. We might make a judgment if we hear another culture’s music and say, “That’s demonic,” or, “You could not praise God with that music.” But he was teaching us that we need to understand when we go into cultures their music systems. We can’t just go in and say, “No, you have to sing it this way.” Mary And to follow up on that is the focus of outsider-insider, an outsider trying to understand from the insiders, “What does this mean to you? What is the content?” because as outsiders, we can really miss it and not understand what’s actually being expressed. So we have terms. We say etic and emic, outsider/insider perspectives, that we talk about in our courses and our learning. Roger Help us to see what this looks like a little bit more concretely. What countries, what groups are you representing, and what kinds of instruments are you playing? Paul Well, I’m playing about 3 or 4 instruments here. One is a charango from Bolivia, which I bought on the River Walk in San Antonio from a real live player. I’m also playing a Moroccan oud, which we use for other instruments as well. We don’t carry 50 instruments, we carry about 10. And I’m playing a Greek bouzouki, but I’m using that to represent music from other parts of the world as well if the instrument sounds similar to the sounds. So again, we’re approximating all these. We’re never being exactly authentic. We are just Americans. We’re not trying to pretend that we’re something else. But we love the sounds of the world and the praises that they lift up. So we want to approximate those sounds so that you will learn to appreciate their music. As for the countries that we actually sing songs from, we could give a list if you’d like. Cory We do some from South America, so there’s Brazil, Venezuela, Bolivia…Ghana, Democratic Republic of Congo… Cathy Nigeria… Cory Egypt… Paul Tunisia, Papua New Guinea, Bhutan, South Korea…We don’t have a Japanese song yet. Roger Okay, well, we’ll have to fix that. Paul Exactly! We’re working on it. Roger So tell me more about why you do this. What is your purpose in singing these different styles—using different instruments, different languages, representing different countries? Paul Well, for myself, and I think for my wife as well, we were worship leaders in a local church and trying to find the most relevant ways to help people worship in our culture. It was mostly not a mixed culture. It was mostly just a normal American church in Texas, but still we had to wrestle with contemporary versus older styles and who was there and what kind of music they liked. In the South it’s a little more Baptist hymnal kind of songs, which I wasn’t that familiar with. So you always have to learn and find out from the congregation that you’re worshiping with, what helps them express their heart, because that’s really what a worship leader is trying to do, just help the people worship from their heart. So that was where we started, and when we ran into Tom and he was doing that in the jungles of Brazil, it sounded radically different, of course. So we learned from him how to approximate that sound so that we could present it. Cathy So the first time we performed this kind of music, we thought we were just going to give people an educational experience and say, this is what your brothers and sisters sound like over in Africa, or this is what they say to God in their songs. The people that heard us in Memphis, Tennessee, on that very first trip were crying. They said, “This is a kind of worship that we’ve never experienced before.” It wasn’t necessarily something they could participate in, but it was like when you look up at the stars and go, “Wow, God, that’s amazing.” And you get a glimpse of the worship that God is preparing for himself across the world. And it does increase your love for your brothers and sisters. So we wanted to give more people that kind of understanding and that kind of love for brothers and sisters that they’ve never met, maybe an experience that would have them want to pray for those brothers and sisters. And so when we go to a mission conference, we hope, too, that it opens people’s eyes to understand that we want to encourage authentic ethnic worship and not just press our Western songs onto others. Mary I was just going to say one word, beauty. Well, I’ll say a few more words than just that. We have a colleague who decades ago said, why would God have created birds that only sing one song? And so we think about the diversity of artistic communication and think about the beauty of how we can all be different and have different artistic expression, but that it can be unified in the worship of our Creator, and to learn to appreciate that, but also know that it’s perfectly great to have those styles and songs and ways that you can sing and worship that come really from a deep place in your heart. So, we want to get into what that is in each culture to lead people to that place of beauty. Paul It makes me think also the necessity that we feel of presenting things with authentic instrumentation as much as possible and with some costuming. It’s not like we’re not trying to appropriate someone else’s culture. We’re trying to represent so that you will have a deeper appreciation of those—the beauty, not just the sound, but the beauty of those cultures in their expression of worship. Roger I’m glad you all are talking about this because that was one of my next questions is like, why is this important? You know, when I first came to Japan, the first thing that people wanted me and my wife to do is, as musicians, help with worship. And there’s basically two choices you can do. Contemporary or you can do traditional. One or the other. If you play organ and piano, well that’s traditional. If you use the guitar, well then that’s going to be contemporary. Those are the only two choices, so choose. If you go back and forth between the two, then that’s blended, a little of both. So to hear what you all do is so far outside people’s expectations of what worship can be. And that message, I feel, is especially needed in Japan. I would love Mori-Sensei to comment on that. Have you heard anything like this in Japan, this group? Mori No. That’s it. Roger And is it important then for Japan? Mori Absolutely. Japanese people like to feel safe, I guess, and don’t want to be criticized. Therefore, they try to conform to whatever is the mainstream, whether it’s a small group of 3, 4, 5 or a bigger group of 50–100. But that’s what I sense, and that’s what I find in myself from the past. So, especially when you think about the Christian church. The gospel was brought by typically Caucasian Western missionaries, and I don’t think they had any other way than to just do what they were used to. And without being intentional, I believe a kind of very clear line between Christians and non-Christian Japanese was drawn. When I was a teenager and a church member, the pastor said secular songs shouldn’t be sung, not even for yourself when you’re alone. So there was a very clear line, and I think in every church it was the same. And if you dare to play jazz or, rock was not so much in Japan in those days, then you were looked at as unspiritual, not a good Christian. So naturally, for those reasons, the Japanese ethnic or original music was separated from the church. It is still very much the same, I think. Therefore, it’s very difficult to take different styles of music and even ethnic music into the church. We don’t have any group like IziBongo. I don’t know if any other countries do either, but it is great riches brought to the church. Roger You know, when I first came to Japan, I was in language school that first year. We made friends with a clarinetist, and she was feeling turmoil about being in the church because the church told her she couldn’t play. She was a professional clarinet player, but they would not allow her to play clarinet in church because that was not appropriate for Christian worship. But, they said, you can play the piano because we need someone to play the piano. She was like, but I’m not a keyboardist and don’t play the piano very well, and it was hard for her to worship while playing the piano. When we came in, they asked us as missionaries to come give a concert, and we invited her to join us. There were tears in her eyes because that was the first time anyone in the church had ever heard her play the clarinet, which was her heart language. And I was like, wow, well, maybe it’s just this church. Well, then we went and were helping to plant another church out in Chiba, where we met a pastor whose son played the saxophone. And it was the same story. He invited his son to play saxophone once in worship, and the church members got so upset. Saxophone is not appropriate for worship, they said. It sounds worldly. It sounds like jazz, you know. And we’ve come across stories like that over and over again. And I want to tell you one more. Sorry I’m talking so much! But there’s this other story when we met this koto player. She was featured in one of our videos during the conference. I think I’ve shared this in a past podcast episode, but we invited her to come and play koto in worship. That’s a traditional Japanese harp, and it was so beautiful. We loved it, but there were so many people upset afterwards. And there were so many meetings afterwards, not the kind of meetings that you really want to have happen, you know, like with the pastor and the elders. Okay, this person’s upset, and they felt like it was connecting to the non-Christian culture in Japan. They said, “You can’t use the koto in worship. You were distracting me from worship. I was not able to worship God because you had the koto there.” And, you know, the way—I’ve shared this with some of you before—the way that we were able to bring healing to that situation is when they realized how she was able to worship God through her heart language, through the koto, it drew them in and they were able to worship God by seeing how she was worshiping God. It wasn’t a gimmick, you know, it wasn’t like we’re trying to force something on the church, but that this is how she worshiped, and they were able to worship through her. It was that relational key that made all the difference. Mori Um, can I ask you a question? Roger Sure. Mori That was your experience in the beginning. Is that still very much the same in the Japanese churches? Roger I do sometimes continue to hear stories, yeah… Mori This is my subjective, biased opinion, but around 20 years ago, God raised a young man and gave him song after song. An authentic Japanese young man, producing Japanese praise songs, worship songs, and they did some gatherings using yukatas and guitars on the stage, dancing and singing. And those worship songs created by those people, they have quite rapidly spread all across Japan. Roger Oh, wow. I’d like to hear them. Mori Yes. Oh, you know him. Taka. His songs, I believe, have changed the atmosphere of Japanese churches. Nagasawa Takafumi wrote that famous song, “Sono Hi Zen Sekai Ga” (“On That Day”). He started out as a worship leader in his father’s church. Now, he’s the senior pastor. But he was invited as a worship leader to a church in a different place, totally different place, and the pastor, as the congregation sang that song, proudly said to Taka, “Don’t you think this is an awesome song?” He didn’t know that Taka wrote that song, and Taka did not tell him. But today, more instruments are naturally taken into church services. Different styles are tolerated. Not every church, but, by and large, so many churches are resembling Western American churches, worship band in front and leading songs with guitars and drums and bass guitars and keyboard. And it’s spreading. And I just think that change has been happening. But still though, not Japanese authentic instruments or styles. Roger Yeah, that's still pretty rare. Mori Yeah, because of the schism that happened, right in the beginning, the Christians somehow feel that those instruments are not theirs. And to me, that’s okay if Christians don’t play any koto or shakuhachi. Of course, they’re greatly considered by Christians to be a special genre of instrument. Roger Generally. Yeah, Cathy? Cathy That’s one thing that seems to happen when we play. We had an experience in Singapore. A Japanese gal came up and talked to me afterwards and said, “This makes me want to go home and find what is unique from my culture that I can offer to God. It makes me want to go home and find or make something unique from my culture. And so, I think that IziBongo sometimes has that effect when we show what other cultures are doing. Roger Yeah, I also wanted to ask you all, I know that like sometimes I hear this word “appropriation” in the States, because you are not from those cultures, because you are Americans doing that music. If someone was to come at you and say, “Hey, that’s not appropriate for you to be doing that,” how would you respond to them? Paul Well, it depends who it’s coming from, I think, is where we start. We have never had anyone come to us from those nations with a problem with us. In fact, all we’ve ever heard is appreciation that we at least attempted to sing in their language. And again, we don’t do it perfectly. We had one experience up at Prairie Bible College where we played a First Nations song, a Native American song, and there was one young gentleman there who was a young man from the First Nations, and he was so excited. He wanted to sing the song. It was very simple, so he wanted to lead it. It was so amazing to him that he could do that. And almost immediately, we got strong pushback from a missionary couple who’d been there for 30 years working with First Nations peoples who felt like that was very inappropriate for the church. So let me say it this way: What we do is not try to impose on the church what you should do. What we’re doing is saying praise is happening all over the world, not always on Sunday morning. In fact, most of this wouldn’t be in Sunday morning worship, but it’s worship. Some of it’s on the streets of Brazil, a samba. And it was a Christian song sung on the streets of Carnaval. I mean, that’s not Sunday morning. So again, what we’re presenting is just the various expressions of praise. Whether they fit on Sunday morning in the church, your pastor and your worship leaders need to work that out. And we shouldn’t be judging them. They’re the ones who are to guide and guard the flock. So pray for your pastors that they might have vision even when they have reservations. Cathy I would say it’s also not only praise, but Scripture memory songs, storytelling, telling of Bible stories, and historical things. So there are other ways to use the music. Cory And the use of the music that we do when we perform are based on relationships that we have with the communities themselves, either through a Bible translation project or actual one-on-one. So, we have gotten permission to do these songs according to the communities that we’ve come in contact with. Mary And I’ll say that coming back to the U.S. from West Africa and starting to hear this word appropriation, I was a little bit shocked because I was like, oh, what does that mean? You know, I had to say, what does that actually mean? Because to be in West Africa or in that particular culture, you dress with the cloth and you learn their songs and they are thrilled that you are learning their language and wearing their clothes. So appropriation is not about using these things for our own benefit, but it’s about lifting up and respecting that culture. Roger We are almost out of time, but I want to give Mori Sensei the last word. So, think about what you’re going to say. Let me just say that I’ve been moved by talking with all of you, you know, outside this interview, the stories you’ve told me about how people respond saying, wow, I had no idea I could worship God in that way through my culture, through my art, and how it’s encouraging them, empowering them really. You are empowering the nations to say, God has given you these gifts to worship him, and it’s just such an important message. Thank you so much for the time and money you’ve spent to come all the way to Japan to share this with us. We really appreciate it. Mori Sensei, do you have any final comments? Mori Well, thank you very much. I’m so honored. Change is happening in the Japanese churches. It’s not only negative. In one church, 45 minutes away from Tokyo, they started using enka. Enka is very secular, many love songs. They were the songs church members' husbands especially loved. So they invited the husbands and did a couples' night. They served beer and they sang enka. And the people loved it. Actually, the wives loved it too. So, some changes are happening. Also, Japanese instruments—koto, shakuhachi, shamisen—are not widely used in the churches. I think that’s because nowadays Japanese people have grown up without those instruments nearby. But those who have, they should be invited to the churches to perform and make them feel at home. Still, the Japanese churches are very much under the control of pastors. So these gatherings would be excellent for the Japanese pastors to know and come attend, listen to, hear the stories. That’s probably the challenge for the near future. Roger Thank you. Thank you so much, all of you. I really appreciate it. God bless you. You've been listening to the Art Life Faith Podcast. To watch the video of this podcast or many other videos from the conference, please go to our website: www.communityarts.jp. As we say in Japan, “Ja, mata ne.” We'll see you next time.

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

A tale from Japan about a poor woodcutter who mends the broken branches of a pine tree and is rewarded for his kindness. A lovely story to encourage kindness not just to one another but to all of nature.  An episode from Journey with Story, a storytelling podcast for kids ages 4-10.  (duration 11 minutes) We have suspended our Patreon platform for now.  But, you can receive all of this month's coloring sheets by signing up for my newsletter and you will also receive some terrific resources for raising kids who LOVE to read.  Sing up for free now at www.journeywithstory.com If your little listener wants to ask us a question or send us a drawing inspired by one of our episodes, send it to us at instagram@journeywithstory.  Or you can contact us at www.journeywithstory.com.  We love to hear from our listeners. If you enjoy our podcast, you can rate, review, and subscribe at here Did you know Kathleen is also a children's picture book author, you can find out more about her books at www.kathleenpelley.com    

❖ Today's Bible reading is Psalm 137: www.ESV.org/Psalm137 ❖ To read along with the podcast, grab a print copy of the devotional: www.crossway.org/books/in-the-lord-i-take-refuge-hcj/ ❖ Browse other resources from Dane Ortlund: www.crossway.org/authors/dane-c-ortlund/

The Other Side of the Story with Tom Harris and Todd Royal – “For many, the issue appears settled. The science is said to be clear. The debate is over. The path forward, though difficult, is presented as necessary and urgent. “But what if important perspectives have been overlooked?” So begins the introduction to the important new book Canary in a Climate World: Climate Realism vs. the Net Zero Myth...

This is The Briefing, a daily analysis of news and events from a Christian worldview.On today's edition of The Briefing, Dr. Mohler discusses decrease in work by American young men, businesses hiring less teens for summer jobs, and he answers questions about heaven, receiving a Christian jury of peers, contemporary Christian music, hymns, and the desire to be with Christ in heaven.Part I (00:14 – 08:32)American Young Men Have a Work Problem: The Work Rate of American Young Men is Decreasing, and That's a Big Moral ProblemAmerican Idle: The Work Ethic Goes Out of Style by The Wall Street Journal (Jason L. Riley)Part II (08:32 – 11:25)Businesses are Hiring Less and Less Teens: This is a Net Negative for Developing Work Ethic in Young PeopleSummer jobs for teens expected to fall. Where can they still find work? by USA Today (Rachel Barber)Part III (11:25 – 14:28)Will I Be Tall in Heaven? — Dr. Mohler Responds to a Letter From a 6-Year-Old Listener of The BriefingPart IV (14:28 – 16:40)If I Was in Court as a Christian and Needed a Jury, Would It Be Wrong for a Court to Deny Me a Jury of Christians? — Dr. Mohler Responds to Letters From Listeners of The BriefingPart V (16:40 – 19:59)Is Contemporary Christian Music Problematic? — Dr. Mohler Responds to a Letter From a 14-Year-Old Listener of The BriefingPart VI (19:59 – 23:03)How Should Churches Decide What Hymns to Sing? — Dr. Mohler Responds to Letters From Listeners of The BriefingPart VII (23:03 – 26:31)I Have a Deep Desire to be in Heaven with Christ. Is That Feeling Healthy and Christ-Exalting? — Dr. Mohler Responds to Letters From Listeners of The BriefingSign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.

A forest lookout sits alone in a glass tower at 2AM and spots flames crowning two distant pines — a fire only he can see. By dawn there's no smoke, no ash, no scorched earth... and no fire at all. From phantom flames that burn and vanish to the burned Bigfoot pulled from a Nevada blaze and the UFOs caught streaking through wildfire smoke, tonight we wander into the strange and unsettling things that appear when the forests burn.EPISODE BLOG PAGE (includes sources and full transcript): https://weirddarkness.com/ghostflamesREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/yjwtx7awFEATURED STORIES IN THIS EPISODE: The author of Frankenstein always saw love and death as connected. She visited the cemetery to commune with her dead mother. And with her lover. (Mary Shelley's Obsession With The Cemetery) *** A girl moves into a new apartment and discovers that a haunting doesn't necessarily have to be frightening. (Ghostly Happenings In My Old Apartment) *** The July 1886 murder at the Shawmut Avenue laundry was so shrouded in mystery that even the victim's name was uncertain. (The Wash-House Murder) *** Ghosts, high strangeness, and even Bigfoot – it appears they may all have something in common, and that would be forest fires. (Forest Fires and the Paranormal) *** How do you explain an experienced lookout reporting a blazing forest fire, only for it to disappear less than an hour later – leaving no trace? (Phantom Flames)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:03:57.045 = Show Open00:05:40.844 = Phantom Flames00:21:25.265 = Forest Fires and the Paranormal00:35:10.279 = Mary Shelley's Obsession With The Cemetery ***0048:57.368 = Ghostly Happenings In My Old Apartment00:52:28.197 = The Wash-House Murder ***01:01:09.811 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“Phantom Flames” by F.A.Loomis from Idaho Magazine: http://ow.ly/beq730nL94u“Forest Fires and the Paranormal” by Brent Swancer for Mysterious Universe: http://ow.ly/ROYC30nL8n1“Mary Shelley's Obsession With The Cemetery” by Bess Lovejoy for the JSTOR Daily: https://tinyurl.com/y9cgd29w“Ghostly Happenings In My Old Apartment” by Cassie D, posted at MyHauntedLifeToo,com: https://tinyurl.com/ycexszvm
“The Wash-House Murder” by Robert Wilhelm, from the book “Wicked Victorian Boston”: https://amzn.to/2BGJOO0(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: March, 2021Weird Darkness opens a fire-themed descent that runs from a vanished forest blaze in 1976 Idaho through ghosts, Bigfoot, and UFOs born of wildfires, into Mary Shelley's graveyard education, a gentle apartment haunting, and an unsolved 1886 Boston murder.It opens with a U.S. Forest Service lookout stationed atop Pilot Peak in the Payette National Forest near Warren, high above the South Fork of the Salmon River, who woke sleepless at two a.m. in July 1976 and saw a bright orange triangle near a distant crest, then confirmed through binoculars two huge trees crowning out with flame. He calculated an azimuth with his fire-finder, radioed a two- to four-acre fire to the station fifteen air miles away, and watched it recede and vanish completely within forty minutes, leaving no smoke, no flame, and no charred ground at dawn six air miles out. Supervisors dubbed it the Pilot Peak phantom fire and sent smokejumper aircraft and hotshot crews to circle the ridge for nearly a week without finding a trace, until two months later a thousand-acre blaze on Zena Creek burned in roughly the same location he had reported.From there the episode widens into wildfires laced with the paranormal, beginning with the Curve Fire that struck South Mount Hawkins in the San Gabriel Mountains of California's Angeles National Forest on September 1, 2002, traced to a brittle 1935 wooden lookout tower and rumored to follow a cult ritual, after which hikers reported eyeless animals with hardened flesh and tall shadow figures akin to the Dark Watchers. It moves to the Battle Mountain Complex Fire near Battle Mountain, Nevada on August 6, 1999, where a letter forwarded to the Bigfoot Field Research Organization and a later call to investigator Thom Powell described firefighters capturing a burned, roughly seven-and-a-half-foot creature with a strong equine odor and near-human features. It closes with a July 2014 wildfire at West Kelowna near Vancouver, Canada, where a Castanet news video appeared to show an object shooting from a cloud, and a 2017 sighting by Arthur Frenette in New Hampshire's White Mountains, who watched a ball of fire plunge into Kinsman Ridge ahead of an out-of-control blaze.Next the episode turns to Mary Shelley, who in her 1831 introduction to Frankenstein traced her writing to her literary parents, though her mother, A Vindication of the Rights of Woman author Mary Wollstonecraft, died of puerperal fever days after her birth when Dr. Poignand removed the placenta with unwashed hands. Raised partly at her mother's grave in the St. Pancras churchyard, where she read her mother's work and escaped a strained home after father William Godwin remarried, the teenage Mary met Percy Shelley through the household and, at sixteen, declared love and reportedly first had sex among the tombstones. That fusion of reading, death, and forbidden knowledge surfaces in Victor Frankenstein's graveyard study of decay and in Godwin's 1809 Essay on Sepulchres, which framed visiting the illustrious dead as a form of communion the daughter carried into her novel of a creature assembled from corpses.From there the tone softens with a benign haunting recounted by a woman named Cassie, who moved into a larger, better-kept apartment over Christmas 2018 and lived there three months before moving in with her boyfriend. The internet blinked off repeatedly, cell reception failed in parts of the unit, electrical sockets quit working, bulbs burned out fast, and the shower switched itself on while she was away at classes. One night around one a.m. she and her boyfriend both heard the pitter-patter of bare feet in the kitchen, yet she never felt threatened, and when she left she said goodbye to whatever shared the space with her.The episode closes with the Wash-House Murder, the July 1886 killing of a Chinese laundryman found stabbed fourteen times in his Shawmut Avenue laundry in Boston's South End, his braided queue cut off and the five hundred dollars he had saved for a return to China gone. The victim's name was never certain, printed variously as Bin Chong, Ding Chong, and Wong Kong, and the case drew the Boston Police into a Chinatown governed by rival companies named Moy, Ching, Lee, and Sing. Detectives questioned the violent Moy company leader Ah Moy Chong and brought in New York interpreter Warry S. Charles, but the murder was never solved, and Charles himself was convicted of first-degree murder in 1908 after importing hatchet-armed assassins as a tong leader, leaving four dead in Chinatown.