Trump’s Georgia Election Meddling Didn’t Just Look Wrong. It Was Wrong.

Trump’s Georgia Election Meddling Didn’t Just Look Wrong. It Was Wrong.

The ex-president’s new indictment isn’t about appearances. Some things are just as evil as they seem.

The Georgia grand jury’s decision to indict former president Donald Trump on Monday night was surprising only for its speed.

Grand juries are famously—or infamously, if you prefer—willing to indict. That’s because they’re presented with only the prosecutor’s case (there is no defense at a grand jury hearing) and not required to reach a unanimous decision (here, 12 of 23 jurors had to agree) or to settle the actual question of guilt (all the grand jury must determine is if there’s enough evidence to bring charges). Fulton County district attorney Fani T. Willis may not manage to convict Trump and the 18 lawyers and other allies charged along with him. But the Georgia indictment has long since struck me as a sure thing.

I can’t say the same of Trump’s three other indictments: the arcane tax and campaign finance case in New York, the federal documents retention case, and the federal case concerning Trump’s behavior in the run-up to the storming of the Capitol on January 6, 2021. All three have some moral or legal ambiguity (though it’s important to note the federal January 6 case has some overlap with the Georgia indictment). Reasonable Christians might disagree over whether these prosecutions are politically motivated, punishing behaviors that may look bad but aren’t, in fact, illegal or wrong.

In the case of the Georgia indictment, though, I don’t see the same ambiguity—at least where Trump himself is concerned.

To borrow a phrase from an often misunderstood and misquoted Bible verse, I see a clear “appearance of evil” (1 Thess. 5:22, KJV). Legally, we don’t know yet if he’s guilty. But from what …

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The 6 Hymns Tim Keller Picked for His Memorial Service

The 6 Hymns Tim Keller Picked for His Memorial Service

The late pastor taught us how to live—and die.

It was June 3, 2020. The subject line of the email from Kathy Keller made my heart sink: “Tim’s got pancreatic cancer.” The diagnosis was stage IV. With current therapy, life expectancy is less than a year. There is no stage V. Thus began a three-year journey that explored the cutting edge of experimental cancer therapeutics—but more significantly, the courageous approach to terminal illness by a man of deep faith.

Tim had been my friend for a decade. In the early years of BioLogos, he agreed to cohost intensely interesting and productive meetings in New York, where deep discussions about the complementarity of science and Christian faith took place. Though we didn’t completely agree on everything, Tim became my most significant spiritual mentor.

But now I was in a different role. As a physician-scientist and the director of the National Institutes of Health (NIH), I reached out to help him and Kathy sort through the options for interventions. Chemotherapy can sometimes help pancreatic cancer, but only for a time. On the horizon, however, are new approaches called “precision oncology”—characterizing the unique DNA mutations in the patient’s cancer in exquisite detail and then teaching the body’s immune system to recognize the masked intruders.

Tim and Kathy, his partner in life, love, and faith, weighed the pros and cons and elected to sign up for an NIH clinical trial that had shown some initial promise for advanced breast and gall bladder cancers but for which there was so far very limited experience with pancreatic cancer. Tim was clear-eyed about the likelihood of benefit, but he wanted assurance that whatever happened, the medical research team would learn from …

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Barbie and Taylor Swift Are Bringing Us Together

Barbie and Taylor Swift Are Bringing Us Together

Beyond hot pink and bejeweled outfits, they showcase a deeper desire for community and collective joy.

The “epic trifecta” of Greta Gerwig’s Barbie, Beyoncé’s Renaissance Tour, and Taylor Swift’s Eras Tour (all raking in millions of dollars) are taking over social media—having grown adult women reliving their youth in a “Tween Girl Summer.”

But the enthusiasm and participation are no less among actual young people.

Both my 18-year-old son and my 16-year-old daughter—despite never having played with Barbies as children and being on the younger end of the age spectrum for Taylor Swift fans—are all in.

There’s a cultural conversation here about the “spending power of women” and the “female dollar,” and there’s plenty to be said for this: Barbie, Swift, and Beyoncé are enormous capital successes.

Barbie and Swift’s Eras Tour in particular open up dialogue about what Michelle Goldberg at The New York Times calls “entertainment that channels female angst,” awakening a “seismic shift for women” in “helping women reclaim girlhood without rescinding power.”

These cultural artifacts draw on the ambiguities of the female experience, celebrating the feminine while honestly addressing the difficulties of being a woman in a male-oriented world. And certainly, these events are occasions for women to enjoy this together.

For me, though, it’s the “together” more than the dollars, and the hope more than the “angst,” that I notice when I try to see this summer through my children’s eyes.

The pandemic interrupted my kids’ lives at a crucial developmental point. For them, there’s almost no “before” the pandemic in their …

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Maui Fires Burn Site Where Hawaiian Queen First Brought Christianity to the Island

Maui Fires Burn Site Where Hawaiian Queen First Brought Christianity to the Island

Once the capital of the Hawaiian kingdom, Lahaina was home to Maui’s first church and seminary.

In the aftermath of the worst disaster in memory on their island—the deadliest fire in US history—Maui’s Christians gathered on Sunday morning to offer prayers, continue to coordinate relief efforts, and mourn the loss around them.

At Grace Bible Church Maui, pastor Jonavan Asato likened the destruction to the death of a loved one. “When you look at that town and the memories that you’ve had there, it’s not just a home,” he said with tears in his eyes. “It’s a part of our culture. It’s a part of our island.”

Days before, his church had sent supplies by boat to Lahaina—the former capital of the Hawaiian kingdom, a landmark in 200 years of missionary history in Maui, and the site that bore the brunt of the brush fires that devastated the west side of the island.

Having witnessed the scorched cars, the embers of Front Street, and smoke dissipating from the more than 2,000 buildings burned, Asato asked his congregation to stand up and face in the direction of Lahaina as he repeated, “We speak life and light to you in Jesus’ name.”

In Lahaina, local Christians grapple with the widespread damage. While the leaders of Lahaina Baptist Church were “amazed” to learn that their church was still standing—despite everything around it “literally in ashes”—all but two of their church families lost their homes.

“I would estimate that over half the residents of our communities lost their homes and possessions. The big question is: Where will those people live? It will take years to rebuild,” pastor Barry Campbell wrote on Facebook on Sunday. “Another big issue is jobs. If the hotels and resorts are closed …

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Worship Music Nostalgia Brings New Profit to Old Songs

Worship Music Nostalgia Brings New Profit to Old Songs

Gen X and millennials’ favorite Christian throwbacks are also easy moneymakers.

In April of this year, worship leader Krista Treadway planned a “throwback” worship service with nostalgic favorites from the ’90s and early 2000s, songs like “The Heart of Worship,” “Shout to the Lord,” and “In the Secret.”

“They’re special songs,” said Treadway, who grew up with the music as a pastor’s kid. “They hold such a dear place for us because they were our firsts.”

As songs like “The Heart of Worship” (Matt Redman, 1999) and “Here I Am to Worship” (Tim Hughes, 1999) come back around as throwbacks for Christian millennials and Gen Xers, the music industry is in the midst of a financial sea-change focused on previous recordings.

Back catalogs across the music industry are more profitable than ever, and it makes fiscal sense for entertainment companies to market the music they control with the musicians they have already signed. So if you see a popular artist release a new recording of an old hit—it’s not just to tap into our nostalgia.

In recent years, industry giants like Capitol Christian Music Group (CCMG), which, as of 2021, claims over half the market share of the Christian music industry, have invested more in catalog acquisitions and are seeing profits from publishing catalogs increase. In 2020, Universal Music Group (UMG), which owns CCMG, spent over $1 billion on catalog acquisitions.

In an investor meeting earlier this year, UMG described its catalog as “strategic assets that we can control and [that] improve monetization within our portfolio.” While catalog acquisitions have slowed since last year, the investments UMG has made in the previous few years have given the group …

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