The test might be silent, but it's always there.  ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌ ‌

May 20, 2026   |   Read online People test you subtly...pay attention. The test might be silent, but it's always there. Not all tests are obvious. They don’t come as direct challenges, nor do they arrive as clear confrontations. They appear subtly and look like a minor shift from someone: A delayed response. A shifted tone. A small boundary crossed to see if you notice. These are not random. People test, often unconsciously, to understand where you stand, what you tolerate, what you reinforce...what you ignore. And then your response becomes the answer. Most people miss these moments. They overlook them because they seem minor, or they dismiss them to avoid discomfort, or they delay addressing them until the pattern becomes larger and more obvious. But by then, the message has already been sent. When a boundary is crossed and not corrected, it becomes permission. When inconsistency is tolerated, it becomes an expectation. When tone shifts without acknowledgment, it becomes the new baseline. Strong individuals recognize these moments early. They do not react emotionally, nor do they escalate unnecessarily. They simply…correct it. This establishes position. It communicates awareness, standards, and that subtle shifts will not go unnoticed. And once that is established, the tests tend to dissipate... Because clarity removes uncertainty. People do not continue testing those who have already demonstrated consistency. This applies everywhere in life: In relationships, it maintains respect. In business, it preserves leverage. In leadership, it reinforces authority. You do not need to overreact, you just need to be consistent. A calm correction is more powerful than a delayed confrontation because it prevents patterns from forming. Pay attention to the small moments… They are rarely just moments…they are indicators of something more. And those who recognize them early maintain control without needing to fight for it later. Your coach, - James Michael Sama P.S.: If you’re looking for a private advisor to help you develop these qualities, let’s talk.   Update your email preferences or unsubscribe here © 2026 Your secret weapon. 228 Park Ave S, #29976, New York, New York 10003, United States Powered by beehiiv Terms of Service

	Rising Tide Foundation cross-posted a post from Matt Ehret's Insights Rising Tide FoundationMay 19 · Rising Tide Foundation Matthew Ehret writes: "...amidst the terrible violence of the Thirty Years War that tore across Europe from 1618 to 1648, and which saw millions of Christians die by the hands of fellow Christians, that faith in a loving God was being challenged like never before. In this chaotic period, a young Dutch painter by the name of Rembrandt van Rijn found within the story of the storm at the Sea of Galilee, a theme that merited artistic expression. But how to best do it? Rembrandt’s rendition stands out from all efforts to paint this scene before or since due to several unique innovations that had never been attempted before." Rembrandt’s Storm on the Sea of Galilee A Universal Lesson in Navigating Troubled Waters Matthew Ehret May 4   READ IN APP   The following short article will also be found in an upcoming Rising Tide Foundation Spring Anthology ‘The Art of Liberty’ which will be released later this week. Until then I wanted to provide a teaser to everyone subscribed… enjoy. A Universal Lesson in Navigating Troubled Waters “There is nothing hidden which will not be revealed, nor has anything been kept secret but that it should come to light. If anyone has ears to hear, let him hear.” -Gospel of Mark 4: 22-23 The imagery of the twelve disciples caught in a terrible storm on the Sea of Galilee with their teacher Jesus had caught the imagination of generations of Christians after the Apostle Mark recounted the story in chapter four of his Gospel some time around 71 AD amidst Nero’s persecution of the early Christians and destruction of the Temple in Jerusalem. The imagery of shaken faith of Jesus’ followers, the fear of our mortality, the loss of sense of control over our fates, and the feeling of injustice that lives may be cut short before our hopes can be fulfilled are universal motifs. With each generation, men and women are challenged to face the discrepancy between their moral ideals, their sense of values and those tumultuous waves of despair and injustice that fall upon our lives, testing our faith with each step. Thus, it is understandable that amidst the terrible violence of the Thirty Years War that tore across Europe from 1618 to 1648, and which saw millions of Christians die by the hands of fellow Christians, that faith in a loving God was being challenged like never before. In this chaotic period, a young Dutch painter by the name of Rembrandt van Rijn found within the story of the storm at the Sea of Galilee, a theme that merited artistic expression. But how to best do it? Rembrandt’s rendition stands out from all efforts to paint this scene before or since due to several unique innovations that had never been attempted before. For one thing, Rembrandt uses chiaroscuro (the science of light and darkness) to convey a visceral tension within the painting. Where light signifies hope, reason, life and action. Darkness symbolises fear, emotional turmoil, inaction. And the characters aboard Jesus’ fishing vessel are pulled in either direction. The light and shadow also showcase the ironical coexistence of the two states of mind of passengers aboard the endangered ship. Cast in shadowed lower half of the painting, several disciples are imprisoned by their fears. One disciple is literally portrayed vomiting over the side of the boat, while another grovels below Jesus praying, and three other disciples plead with the master to wake up and join them in their terror. Another looks on towards the audience and another sits passively looking at the front of the ship. However, moving the eye toward the light which pierces through the dark clouds and casts itself upon the front of the ship, we find five disciples hard at work taking responsibility for everyone by enforcing the rope and sails of the beleaguered vessel. Behind Jesus only one man whose eyes are firmly set upon the horizon ahead of him has taken responsibility for the safety of the ship, by taking control of the rudder with all his might. Now Rembrandt did something which some may consider heretical…he went beyond the literally words transcribed in Mark 4:35-41. Where those literal words only speak of fearful disciples amidst the storm and a stern Jesus chastising them for lacking faith in his ability to invoke the supernatural power of calming the storm devoid of any human effort, Rembrandt chose to infuse a moral lesson by featuring two opposing sets of disciples… those drowning in despair waiting for miracles to save their lives, while the other group recognizes that real miracles only come from overcoming fear, and taking action amidst a crisis. But there is yet another layer to Rembrandt’s story. How many disciples are on this fishing vessel? We all know there were twelve disciples. And nothing contained within the gospel of Mark would indicate otherwise. And yet, if we count the figures around Jesus… there are clearly thirteen people on that ship. So why the discrepancy? If we focus on the singular figure featured in the perfect center of the frame dressed in a blue shirt who is looking at every person standing in front of the painting, something stands out. That figure holding his head with one hand, and the rope with another is in fact, the great artist himself… It is Rembrandt van Rijn! Fortunately, we can know this for certain thanks to Rembrandt’s dozens of surviving self-portraits that survived the sands of time and allow us not only a glance into his face at all stages of his adult life, but also a deeper look into his character, personality and moral disposition. Looking through his self-portraits, we find not an exercise in ego, or self-love, but rather an exercise in journaling, in humor, and an effort to speak autobiographically in a figurative language. Rembrandt always paints more than the surface appearance of the flesh but consistently attempts to ‘capture’ a glimpse of the soul. But the question remains… why did Rembrandt include himself within this iconic story? And of all poses why feature himself looking at the audience? Could it be that Rembrandt, who is living through the chaos of the Thirty Years War, was trying to convey a message that would transcend the vast chasm of time and space itself? By conveying his own feelings of concern within the context of this historically bleak moment, while looking directly into the eyes of his viewers, Rembrandt is carrying out a trans-generational dialogue with each of us who can feel what he feels despite being separated from his life by centuries. The catharsis of that eternal sympathy makes it possible to step into the shoes of those who walked with Jesus and were captured by fear on the sea of Galilee two millennia ago. Just like it was two thousand years ago amidst the evil structures of Rome, and just like it was in the Netherlands in 1633, we again have a choice. We can choose to be caught as prisoners to our impotent fears and weep in the comfortable embrace of darkness…or we can choose to use the light of reason and construct our hope on the foundations of a firm faith grounded by reason. Rembrandt’s choice to place himself on the borderland between the two states of darkness and light was perhaps his way of conveying a sense of struggle which he felt in his own heart, and which he knew all good men and women at all times would naturally feel, pulled in opposing directions when faced with existential crisis. Were the figure of Jesus watching us today, would he wish us to do nothing in the face of evil? Would he want us to ignore the world by praying solemnly awaiting a rapture? Would he want us to passively let injustice reign and innocents suffer telling ourselves that our place is to have faith without works? Or would he want us all to stand up and make a creative intervention using the lessons that he lovingly delivered throughout the gospels as a whole and in this fourth book of Mark specifically? The lessons of the mustard seed, and the importance of seeing our words and actions (and works of art) as seeds in the minds of men that may not sprout, despite the fact that we are obliged to spread the truth far and wide and poetically. That our words may fall on many a deaf ear, or eyes that cannot see beyond the barren surface appearance of things is irrelevant to our mandate to pursue, love, defend and spread truth. And as the great master taught, despite the many seeds that will fall on barren soil, truth will find its proper fertile ground in the most surprising times and places… and by its nature, will take hold, sprout, and flourish. “Listen! Behold, a sower went out to sow. And it happened, as he sowed, that some seed fell by the wayside; and the birds [a]of the air came and devoured it. Some fell on stony ground, where it did not have much earth; and immediately it sprang up because it had no depth of earth. But when the sun was up it was scorched, and because it had no root it withered away. And some seed fell among thorns; and the thorns grew up and choked it, and it yielded no crop. But other seed fell on good ground and yielded a crop that sprang up, increased and produced: some thirtyfold, some sixty, and some a hundred. And He said to them, “He who has ears to hear, let him hear!” But when He was alone, those around Him with the twelve asked Him about the parable. And He said to them, “To you it has been given to know the mystery of the kingdom of God; but to those who are outside, all things come in parables, so that ‘Seeing they may see and not perceive, And hearing they may hear and not understand; Lest they should turn, And their sins be forgiven them.’” And He said to them, “Do you not understand this parable? How then will you understand all the parables? The sower sows the word. And these are the ones by the wayside where the word is sown. When they hear, Satan comes immediately and takes away the word that was sown in their hearts. These likewise are the ones sown on stony ground who, when they hear the word, immediately receive it with gladness; and they have no root in themselves, and so endure only for a time. Afterward, when tribulation or persecution arises for the word’s sake, immediately they stumble. Now these are the ones sown among thorns; they are the ones who hear the word, and the cares of this world, the deceitfulness of riches, and the desires for other things entering in choke the word, and it becomes unfruitful. But these are the ones sown on good ground, those who hear the word, accept it, and bear fruit: some thirtyfold, some sixty, and some a hundred.” Also He said to them, “Is a lamp brought to be put under a basket or under a bed? Is it not to be set on a lampstand? For there is nothing hidden which will not be revealed, nor has anything been kept secret but that it should come to light. If anyone has ears to hear, let him hear.” Then He said to them, “Take heed what you hear. With the same measure you use, it will be measured to you; and to you who hear, more will be given. For whoever has, to him more will be given; but whoever does not have, even what he has will be taken away from him.” And He said, “The kingdom of God is as if a man should scatter seed on the ground, and should sleep by night and rise by day, and the seed should sprout and grow, he himself does not know how. For the earth yields crops by itself: first the blade, then the head, after that the full grain in the head. But when the grain ripens, immediately he puts in the sickle, because the harvest has come.” Then He said, “To what shall we liken the kingdom of God? Or with what parable shall we picture it? It is like a mustard seed which, when it is sown on the ground, is smaller than all the seeds on earth; but when it is sown, it grows up and becomes greater than all herbs, and shoots out large branches, so that the birds of the air may nest under its shade.” And with many such parables He spoke the word to them as they were able to hear it. But without a parable He did not speak to them. And when they were alone, He explained all things to His disciples. On the same day, when evening had come, He said to them, “Let us cross over to the other side.” Now when they had left the multitude, they took Him along in the boat as He was. And other little boats were also with Him. And a great windstorm arose, and the waves beat into the boat, so that it was already filling. But He was in the stern, asleep on a pillow. And they awoke Him and said to Him, “Teacher, do You not care that we are perishing?” Then He arose and rebuked the wind, and said to the sea, “Peace, be still!” And the wind ceased and there was a great calm. But He said to them, “Why are you so fearful? How is it that you have no faith?” And they feared exceedingly, and said to one another, “Who can this be, that even the wind and the sea obey Him!” The Meaning of the Parable Many would look upon this simple text without the eyes of a poet and in their own simplicity fail to see something true beyond the literal surface appearance of the words. Was Rembrandt wrong to construct his visual poem the way he did? A literalist would say ‘yes’. For the painter is showcasing ideas and actions that were not present in the literal words written by the Apostle Mark… yet was Mark or his teacher using a literal method of communication? Did Mark simply mean for the reader to accept the supernatural message of Jesus’ power to command the wind and waters devoid of any higher lessons or personal responsibility? Or was a higher truth planted as a seed to be found and nurtured by those who have the eyes to ‘see that they may truly perceive, and hear and truly understand?’ I hope this little voyage into a nested array of divine poetic minds edifies and whets your appetites for the upcoming second RTF Anthology. Get the first anthology here: Cynthia and I are proud to announce: The Art of Liberty vol 1 (228 pg RTF anthology) is now available for purchase Matthew Ehret · December 15, 2025 Today, Cynthia and I are announcing the first ever Rising Tide Foundation seasonal Anthology which we titled ‘The Art of Liberty’ available as PDF on Gumroad, or Paperback on Amazon, and Kindle. (We apologize for the high cost of the physical edition which is only so expensive due to our choice to have the highest definition full color images available) Read full story   Like Comment Restack   Originally posted on Matt Ehret's InsightsMatthew Ehret Subscribe Historical analysis, geopolitics, cultural warfare and other studies in Conspiracy Science © 2026 Rising Tide Foundation PO Box 3, Ste Martine, Quebec, J0S 1V0 Unsubscribe