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Tony Alamo

Program 270: The Book of Proverbs, Roman Canon Law, and a Jewish Businessman's Letter From Beverly Hills

Tony Alamo devotes program 270, part 168 of his teaching series, to a study of wisdom in the Book of Proverbs, a lengthy warning against what he calls Roman canon law and the Vatican, and listener letters from Tennessee and a Jewish convert in Beverly Hills, read by his co-host Lydia.

Program 270 Opens With a Lesson on Wisdom
Tony Alamo opens the broadcast, identifying himself as World Pastor and naming the day's program: part 168 of his series How to Have God's Life Living in You, program 270, available free by request with shipping included. He turns to the opening verses of the Book of Proverbs, teaching that wisdom, defined as the fear of the Lord, is the book's central theme and the key to living "skillfully" and reaching heaven. He argues that the whole duty of man is to fear God and keep His commandments, not some partial version of it, and notes that many modern preachers try to soften "fear" into "reverence." His co-host Lydia supplies the word from the studio, and Alamo answers by citing the trembling of the Israelites at Sinai and the angel's instruction to Mary to "fear not," insisting the original word is deliberately harsh. The congregation answers with an audible amen as he sets up the rest of the hour's teaching.

Warnings About Modern Claims and Roman Canon Law
Alamo pivots to what he calls lies spread about Jesus, including claims that Jesus had a relationship with Mary Magdalene, did not die on the cross, or was gay, insisting Jesus is instead the one who destroyed Sodom and Gomorrah, and that only the King James Bible can be trusted against these distortions. He tells listeners their fate rests on choosing between God's word and the voice of Satan, comparing the choice to Eve's decision to believe the serpent over God. He then introduces his recurring theme, Roman canon law, describing it as the true governing law behind American institutions and naming the ACLU as one of what he calls the Vatican's many branches, citing "Reverend Kennedy" in Fort Lauderdale for the claim. He leads the studio in an opening prayer asking the broadcast be anointed for salvation, then performs his own recording of "From Sunday School to Broadway," a song he says was given to him by Frank and Nancy Sinatra's publishing company and songwriter Billy Strange.

A Conversion Story From a Beverly Hills Office
Returning from the song, Alamo tells the story of his own conversion, describing an encounter in an attorney's office in Beverly Hills, where he was among film-industry people negotiating to buy into a singer he managed, when he says the Lord spoke to him audibly, commanding him to stand and tell the room about Jesus Christ's return or "surely die." He recalls that the experience convinced him of heaven and hell despite not believing in God beforehand, and that the Lord corrected his assumption that God's love was unconditional, telling him instead that love means keeping His commandments and that "no liar shall enter the kingdom of heaven." He warns listeners not to fear people, since a human "whose nose is one breath" can only kill the body, while God alone can condemn the soul to hell. Lydia answers "amen" as he closes the teaching and turns toward the day's listener correspondence.

Letters From Cordova and a Federal Agent's Confession
Lydia begins reading listener mail, starting with a letter from a new Christian named Joseph in Cordova, Tennessee, a college freshman living with his parents who asks for literature and audio CDs to distribute despite limited means. Alamo responds that believers cannot win souls "sitting at home watching the TV set." Joseph's letter also requests a CD about what Alamo calls an "evil one world government" posing as U.S. agents, material he says came from a former FBI, BATF, DEA and Secret Service agent named Peeler, who told him federal agents went to Waco to deliberately kill people they knew were not sinners, calling it a "turkey shoot," and had a hand in the World Trade Center and Oklahoma City federal building bombings and Japan's attack on Pearl Harbor. Alamo describes a book of Roman canon law in the studio "thicker than the New York phone book" and says the United States now operates under it instead of the Constitution, calling the FBI and federal government "puppets of Rome."

A Jewish Businessman's Letter From Beverly Hills
Lydia then reads a letter from a Jewish business owner in Beverly Hills, originally from Tel Aviv, who called the ministry's witnessing line to say he accepted Christ as the Messiah after reading the tract "Peace in the Middle East." Alamo rejoices that another of what he calls the 144,000 elect Jews of the end times has been reached, and recounts the ministry's expanding newspaper campaign, with recent ads in the Miami Herald and five weeks running in the New York Daily News, and plans to reach San Diego, Houston and Chicago next. The letter continues that the man, identified as Jacob, wants literature and audio in Hebrew so he can translate it himself and send it into Israel, doing the work quietly because his wife, also Jewish, has not yet been saved and does not know. Alamo instructs Lydia to send everything immediately and ties Jacob's story to his teaching that Israel's founding in 1948 fulfills end-times prophecy.

Proverbs, the Catholic Church, and a Closing Prayer
Alamo brings in Sharon to read the opening verses of Proverbs chapter one, teaching that wisdom and instruction give believers "skill" to live and reach heaven, and, in passing, recalls telling reporters he could have healed Terri Schiavo had he been allowed into her room. Sharon then reads a passage from a book of Roman Catholic canon law describing the Church of Christ as "subsisting in the Catholic Church" under the successor of Peter, which Alamo rejects, insisting Peter was a married Jewish apostle, never a pope, whose mother-in-law Jesus healed, and never practiced Mary worship or ritual bells. Running low on time, Alamo leads listeners in a spoken sinner's prayer confessing belief in Jesus as the Son of God. Sharon closes with instructions for requesting program 270 by website, Texarkana, Texas post office box, phone or fax, and Alamo signs off as World Pastor, promising more teaching the next day before performing "Hold My Hand," a song he says Dolly Parton wrote for him, with Porter Wagoner.

The Music Hustle with Ramell Douglas

The Music Business Behind the Song: ASCAP, Budgets, and Staying Pure with Alice Red

In the debut episode of The Music Hustle, host Ramell Douglas sits down with rising artist Alice Red to trace the story behind her song "Heat," a tribute to her late father, and to break down the business side of independent music, from ASCAP registration to staying pure in the studio.

A Debut Episode and a Tribute to 'Heat'
Ramell Douglas opens the very first episode of The Music Hustle by welcoming artist Alice Red, promising listeners insight, secrets, and what he calls sauce straight from her own story. Alice Red introduces herself as born in Manhattan and raised in Long Island's 631 area, now living upstate in the 518. She explains that her breakout track, "Heat," grew out of grief: her father, who was deeply into music, passed away, and the song became her way of carrying that on. She says she started as a poet before turning to rap after hearing her father perform, writing a verse and bringing it straight to him; he told her she needed to do something with that. She admits her early work was rusty, not in her bars but in her delivery, and credits time and a stronger support system with sharpening her craft into something far more serious than where she began.

Heartbreak, 'Sagittarius King,' and Turning Pain Into Songs
Ramell Douglas asks Alice Red when her R&B side emerged, and she answers instantly: heartbreak. She reveals an unreleased single called "Sagittarius King," written after working through a difficult relationship, and explains that she can only write when life gets hard; an easy day leaves her with nothing to say, but conflict sends her straight to a pen and into the studio. She recalls performing an emotional song at an underground show, trying not to cry in front of the crowd but pushing through and executing it anyway. Douglas ties her experience back to listeners, arguing that real songs come from real situations and that audiences connect because they recognize the truth in them. Alice Red adds that with so much music sounding alike today, originality is what makes an artist stand out, whether independent or signed to a label, and she urges listeners to keep it a hundred rather than copy what is already out there.

The Business Side: ASCAP, BMI, and Owning Your Brand
Douglas shifts into what he frames as the real purpose of The Music Hustle, teaching the business behind the music. He tells young artists the first move is registering with ASCAP or BMI, noting how many independent creators skip this step and lose revenue as a result. He describes an artist as a walking brand who must learn to market that brand, and stresses that individuality is what protects it, so no other act can be mistaken for you. He names SoundExchange and the MLC alongside ASCAP as organizations that safeguard artists and allow them to properly do business with their music worldwide. Douglas warns that the industry contains things designed to work against artists who do not understand how it functions, and insists that constant self-education is part of the hustle, not a one-time task. He promises the show will keep breaking down these systems episode by episode so independent artists can operate with real knowledge instead of guesswork.

Alice Red's Hustle: Humility, Grit, and Going It Alone
Asked to describe her own hustle, Alice Red starts with a rule she lives by: stay humble, because somebody is always ten times better than you. She describes herself as someone who gets things done by any means necessary, fixing her car or restocking her fridge without asking for help unless she is truly against the wall, a habit she traces to growing up on struggle. Douglas connects this to independence over dependence, noting that everyone faces daily struggles while chasing their goals. Alice Red admits that on the very day of the taping she was having a rough one, not dolled up the way people usually know her, and jokes that she and Douglas argued for close to an hour before she agreed to appear on camera. Douglas praises her for showing up and handling business anyway, calling it proof of a real hustler, and the two agree it is the first episode of what they call a legendary run for The Music Hustle.

Contracts, Budgets, and Staying Pure in the Studio
The conversation turns practical as Douglas warns that predatory deals target young artists, and that people have offered contracts to both him and Alice Red that they left unanswered. Alice Red urges listeners to build a support group, actually read every contract line by line, and never sign just because an offer sounds good, since it can mean signing away their own life. Douglas adds that if the legal language is confusing, it is fine to say so and find a lawyer, because the business side matters as much as the creative side, and running a career takes a real budget, at least five hundred dollars per track for marketing alone. Alice Red then delivers what Douglas calls a major bomb: women in the industry should never feel pressured to solicitate themselves for opportunities, recalling that recording with a partner she was dating once produced work that sounded, in her words, like dirt, compared to the quality she gets now that business and pleasure stay separate.

Networking, a Block Party Surprise, and What's Next
Douglas pivots to promotion, urging artists to get close to DJs and producers who can put a record into rotation in rooms the artist never sees. Alice Red says she is already there, naming the small side parties she works, then tells a story of waking up to hear her song "Heat" playing outside her window, where a local DJ had set up turntables for a block party and was spinning her track for a crowd she recorded from her own apartment. The pair discuss branching out geographically, since hometowns can hide quiet animosity, and Alice Red suggests towns like Utica, Kingston, or Buffalo may embrace an artist that Albany overlooks. Douglas contrasts New York's original hip-hop roots with the newer drill wave, saying he stays true to his own sound, while Alice Red jokes she would try a country song before a drill song. Douglas closes the debut episode, thanking BBS Radio TV, promoting his own single "Why," and confirming Alice Red will return for a second appearance.

All Learning Reimagined with Teresa

More Than a Mind's Eye - Ep2 of The Art of Imagination

Teresa Songbird continues her Art of Imagination series by turning the exploration inward, inviting listeners to discover how imagination moves through sound, sensation, memory, and the body rather than pictures alone.

Turning The Kaleidoscope Inward
Teresa Songbird opens the second episode of her Art of Imagination series by welcoming listeners back and briefly looking past last week's exploration of squiggles, clouds, and cardboard boxes. Rather than asking what something else might look like from the outside, she invites listeners to turn the kaleidoscope inward this time, proposing that imagination may not be confined to the mind's eye alone. She wonders aloud whether people can imagine through sound, sensation, movement, emotion, memory, intuition, and the body itself, describing this as something closer to creating, or to perceiving and receiving. Songbird says imagination remains an underexplored corner of the education space, rarely treated as more than picturing something inside the head. Instead of opening with a story as usual, she chooses to begin with a short experiment, inviting anyone who is not driving to close their eyes and prepare to imagine something ordinary: a fresh lemon, and what the body might do with it.

The Lemon Experiment
Songbird walks listeners through the lemon experiment step by step, describing the weight of the fruit in the hand, the cool textured skin, the small sound of a knife breaking through it, the citrus oils released into the air, and the juice glistening on the cut surface. She asks listeners to imagine biting into a large wedge and then to notice what actually happened in their bodies: did the mouth water, did the tongue react, did the face tighten. She admits her own nose scrunched up during the exercise. She notes that some people may have felt nothing at all, and calls that response interesting too, since there was no real lemon in the room, yet for many people the body responded anyway to a purely imagined experience. From there she shifts the senses further, inviting listeners to imagine fingernails on a chalkboard, bare feet on scorching sand, stepping into icy ocean water, the smell of baking bread, and the sound of a loved one calling their name, showing how imagination reaches well past a single mental picture.

Different Inner Worlds
The exercise leads Songbird into a string of questions she invites listeners to sit with through the week: whether they actually see pictures when they imagine, whether they can hear music or voices internally, whether they can imagine texture, temperature, taste, and smell, and whether imagined experiences create sensations somewhere in the body. The largest question, she says, is whether people assume everyone else's inner world works just like their own, a question she calls especially important for parents and educators. She traces this back to a conversation with a friend a few weeks earlier, in which she discovered that her friend does not visualize at all, while Songbird herself is extremely visual and had long assumed imagination simply equaled visualization. Neither experience was lesser, she says, just different. She brings in Katherine Marcel's idea that some people are poly-perceptual, comparing the body to a prism where light enters and a spectrum of perception becomes visible without the prism manufacturing any of the colors itself.

The Kaleidoscope Of Perception
Building on the prism image, Songbird plays with the idea that human perception works like a kaleidoscope rather than a single mental screen, taking in the world through sight, sound, touch, taste, smell, balance, movement, internal body sensations, and spatial orientation, with intuition, felt sense, instinct, and a sense of atmosphere layered on top. She describes going within as an ongoing theme in her own life right now, moving past a surface level of introspection toward something deeper. In the kaleidoscope, she notes, the pieces themselves never change, only the relationship between them, so a tiny turn produces an entirely new pattern from the same colored fragments. She wonders whether imagination works similarly, combining a memory, a body sensation, a sound, an idea, or an image into a configuration never experienced before. She offers examples: a musician combining sounds, an inventor connecting technologies, a storyteller combining experiences and characters, and a child combining a cardboard box with the idea of space travel to conjure a spacecraft on the spot.

The Body Rehearses The Future
Returning to the lemon, Songbird explores what it means that an imagined taste or smell can produce a real body response, noting that athletes and musicians have long used mental rehearsal to prepare for competitions and performances, and that people can feel their heart rate shift before a difficult conversation even begins. She has listeners imagine tomorrow going terribly wrong and then imagine it going entirely their way, noticing how the body reacts differently in each case even though neither future has happened yet, a distinction she says carries weight for anyone dealing with anxiety about what is coming or depression rooted in the past. She adds that the brain does not passively record the world but predicts it from expectation and prior experience, so memory becomes partly reconstruction, sometimes held in the body itself. She illustrates this with someone who has never ridden a dragon but can feel airborne while watching one on film, because the direct experience of riding a horse supplies the sensation, and she brings in the film Limitless to ask what human capacities remain uncultivated.

Receiving Imagination And This Week's Practice
Songbird considers whether imagination is only generated or sometimes received, comparing it to musicians describing melodies that simply arrive, and she names discernment as the practice of noticing where an idea is truly coming from. She turns to films such as Arrival, Avatar, and Interstellar as spaces that expand what feels possible, then asks what imagination means for education beyond visual learners, suggesting lessons could invite students to hear a historical scene, move through it, build it, or narrate it from another character's perspective rather than only picture it. For this week's practice, she invites listeners to imagine a chosen place, such as a rainforest or a campfire, without forming any picture at all, starting instead with sound, temperature, surface, scent, and emotion, then noticing which sense became the doorway. She poses playful questions such as what blue tastes like or what sound courage makes, and encourages conversations comparing inner worlds with others. She previews next week's closing episode on imagining what does not yet exist, then signs off, pointing listeners to the article on the show's website.

Hollywood and Horsepower Show with Mark Otto

Guests: Buck Wilson and Frank Santorelli

Cleveland Open Mics, Boston's Comedy Boom, and Landing a Role on The Sopranos with Frank Santorelli

Mark Otto continues his series on the history of stand-up comedy with comedian, actor, and writer Frank Santorelli, joined by longtime friend Buck Wilson, tracing Santorelli's climb from a Cleveland open mic to a memorable run on The Sopranos, with detours through The Comedy Store, Monty Python, and the craft of building a set.

Second Chapter In A Comedy Series
Mark Otto opens the Hollywood and Horsepower Show with his usual rundown of sponsors, including Tony's Steaks and Seafood, Blue Nile, and Cutler Nutrition, before explaining that this episode continues a series on the road to stand-up comedy that began the week before with former Boston Globe writer Michael Blowen. He welcomes two guests, comedian, actor, and writer Frank Santorelli, and his friend Buck Wilson, whom Otto introduces as someone who grew up around Hollywood entertainment through his mother's connections, adding that talking with Buck feels like talking with Hemingway. Otto explains the series aims to show listeners what actually goes into building a career many assume arrives overnight, noting that ten or fifteen years of hard work usually precede any so-called overnight success. He credits Blowen with recognizing stand-up as a real subject worth covering in the 1970s and 80s, back when Frank Santorelli was among the first comics Blowen wrote about for the newspaper.

Winning An Open Mic In Cleveland
Frank Santorelli recalls how he stumbled into comedy on a whim in 1981, entering an open mic night at the Cleveland Comedy Club with a friend and beating out twenty-five amateur acts to win fifty dollars, using material built from sound effects and bits he had performed since childhood. He explains he then spent four years working as the club's MC, opening for real headliners including Roseanne Barr, Tim Allen, and Jerry Seinfeld, doing only seven minutes at a time until he could reliably fill a full half hour. In 1985 a friend convinced him to move to Boston, one of comedy's four major hubs alongside New York, Los Angeles, and San Francisco, where a comic named Tony V got him working immediately in front of influential crowds. Santorelli describes Boston's scene as red hot, naming Denis Leary, Steven Wright, and Lenny Clarke as the monsters of the era, and recalls performing multiple sets a weekend across the city's seven comedy clubs and their smaller satellite rooms.

Editing A Set Like A Poker Hand
Santorelli describes writing as an ongoing process rather than a fixed script, comparing a working act to a poker hand where a comic discards material that has gone stale and picks up new bits to replace it. He says he built his approach around improvisation, sound effects, and reading a room rather than joke-for-joke writing, and stresses that corporate audiences demand a squeaky-clean set with nothing that could offend, citing Steven Wright as the perfect example of material safe enough for any crowd. Otto and Santorelli agree that comedy is as personal as food, noting how wildly different styles, from Wright's deadpan monotone to Steve Harvey's physical animation to Sebastian Maniscalco's improvisational energy, can each fill a room. Buck Wilson adds a memory of comedian Larry Miller's bit about being introduced to make a grieving crowd laugh moments after a police officer's memorial service, a story Santorelli confirms happens more often than audiences realize, since acts constantly have to adjust to whatever mood a room hands them.

Buck Wilson Remembers The Comedy Store
Buck Wilson describes sneaking underage into West Hollywood's Comedy Store as a teenager, watching performers who would turn up on television just a few years later, and recalls the shock of recognizing a young Michael Keaton from those nights once Keaton appeared in the film Night Shift. He and Otto trace a long list of comics who came through the same rooms around 1980, including Steve Martin, Chevy Chase, Robin Williams, and Whoopi Goldberg, arguing that stage-honed timing later gave their film work its depth. Otto shares a story Michael Blowen told him about Chris Rock arriving unannounced at a Boston club and spending four hours reworking just a few jokes word by word in front of a nearly empty room. The conversation turns briefly to Saturday Night Live's writers' room, with Otto recounting how a Bill Hader sketch originally built around Dean Martin was swapped for James Mason minutes before airtime after Lorne Michaels rejected the first choice at dress rehearsal.

The Hello Bit That Became The Sopranos
Santorelli tells the story of auditioning for The Sopranos as a bartender, delivering nothing but roughly twenty-five repetitions of the word hello into a phone before revealing the punchline that it was only a menu, a bit that made casting director Georgianne Walken laugh while the rest of the room, including David Chase and James Gandolfini, stayed silent. Hired for what he expected to be a single episode, he improvised bar-rag tricks and nose-balancing between takes and ended up appearing in thirteen episodes after Chase asked to photograph his tattoos as the shoot wrapped. Santorelli also recalls his own sitcom, Let's Be Frank, a cop comedy shot for The WB opposite shows like Sister, Sister, which never aired despite months of work, and how his manager likened the experience to being marked by misfortune. He mentions currently developing a project with fellow Sopranos actor John Fiore and auditioning for a recurring role on the HBO series The Chair Company.

Closing With Cleese, Izzard, And Next Week
Buck Wilson closes out the conversation with a story from a Dick Cavett interview in which John Cleese explains how Monty Python's team built The Life of Brian around characters adjacent to the Messiah, since comedy needs greed, envy, and confusion rather than goodness itself to work, a principle Wilson connects to Eddie Izzard's gentler bit imagining a watered-down Church of England offering tea and crumpets or death. Otto adds a story from Steve Harvey about a talented New York comic who refused to adjust his set to a tiring crowd and got booed off stage, using it to underline how much of stand-up depends on reading an audience in real time. Otto thanks Santorelli and Wilson for their time, notes the show is still finding its own rhythm after early stumbles, and previews next week's episode, which will continue the comedy series with a focus on improv, The Groundlings, Second City, and Saturday Night Live, before closing with mentions of the show's sponsors and supported charities.

Tony Alamo

Program 269: Roman Canon Law, a Tribute to Jack Holcomb, and the Call to Write After Susie Alamo's Death

World Pastor Tony Alamo devotes program 269 of his teaching series to a lengthy warning against what he calls Roman Canon Law, a musical tribute to the late gospel singer Jack Holcomb, and the story of how his wife Susie's death led him to begin writing gospel literature.

Opening Prayer and a Warning on Roman Canon Law
Tony Alamo opens program 269, part 167 of his series How to Have God's Life Living in You, offering listeners a free CD or tape copy with postage included, and notes that emails already arrive by the thousands. He blames the decline of the United States, once the richest and most powerful nation in the world and now ranked, he says, around thirtieth, on what he calls Roman Canon Law, a legal code he argues has replaced the Bible in schools, courts, and government. Leading the small studio congregation in prayer, he asks the Lord to anoint the broadcast so that only the Holy Spirit speaks through him. He contrasts Roman Canon Law's teaching that everyone remains carnal with the eighth chapter of Romans, insisting the spirit-filled are already perfect in Christ. He locates Satan's seat in Rome, the city of the seven hills, and claims federal agencies operating under that same spirit carried out the killings at Waco and the bombings of the World Trade Center and the Oklahoma City federal building.

A Vision of Jesus and the 144,000
Continuing his prayer, Tony Alamo tells listeners that presidents and kings have knelt before Rome for power, money, and luxury, while true believers must take up a crucified life and deny both the world and Roman Canon Law. He describes Satan as cast down to earth, full of wrath because his time is short, and turns to the seventh chapter of Revelation, where four angels are told to spare the earth and sea until 144,000 people are sealed on their foreheads. Alamo says his own ministry is meant to help bring that number of Jews into the body of Christ before the end comes. He recounts seeing Jesus face to face, saying he expected to be afraid but instead found him the most handsome man he had ever seen, though still fully a man. He teaches that believers who die will be resurrected in glorified bodies like Christ's own, and the prayer closes with an audible amen from a female member of the congregation.

A Tribute to the Late Jack Holcomb
Tony Alamo introduces a recording of Jack Holcomb, calling him one of his favorite singers and the greatest gospel-singing preacher in the world, a man gone home to the Lord for many years. He recalls that Holcomb's two-year-old daughter died the day before a well-known tornado struck Texas, adding that he understands the grief because of how much he loves his own daughter. The program then plays Holcomb's recording of I Found the Answer, I Learned to Pray. Returning afterward, Alamo says the song carries real meaning for anyone who prays according to God's will and already believes the prayer is answered, contrasting that kind of faith with what he calls the carnal instruction handed down through Roman Canon Law and secular universities. He tells listeners that real gifts of the Spirit come only through prayer aligned with God's will, setting up the personal story he tells next about his own wife.

Susie Alamo's Death and the Call to Write
Tony Alamo recalls the day his wife Susie died, April 8, 1982, saying he felt helpless because she had done most of the preaching and was one of the Lord's major workers on earth. He sketches his own background, born in Joplin, Missouri, and raised in Montana towns including Billings, Helena, and Lewistown, later becoming, in his words, a big-city man in Los Angeles, New York, Cleveland, and Houston. He says Susie, as she was dying, asked to return to Dyer, Arkansas, where she had grown up, and the couple bought back her childhood home for about six thousand dollars. After her death, Alamo says he prayed for the gift to write, and the Lord warned him he would have to give up traveling and stay inside to receive the messages. Within an hour he wrote his first tract, Guilty by Association, warning believers against close friendships that could pull them astray, citing Solomon's marriages to foreign wives as a cautionary example.

Feeding the Needy and Reaching Thirty Million Homes
Tony Alamo teaches that believers should pray for gifts matching God's will, such as speaking in tongues, prophecy, and the gift of charity, meaning genuine concern for the hungry at home and abroad. He describes the ministry sending boxes of toys, clothing, fruit, and candy to needy families at Christmastime, and outlines plans to stream excerpts of church services from Los Angeles, Texarkana, and Fort Smith online whether or not television stations carry them. Contrasting real prayer with Jiminy Cricket's advice to give a little whistle, Alamo insists suffering people should pray instead, and recalls offering to pray for Terri Schiavo's healing, warning against suicide or euthanasia. He then reports that his literature now reaches roughly thirty million homes weekly through newspapers including the New York Daily News, the Chicago Tribune, and the Miami Herald, adding that the ministry received ninety-six thousand responses that week alone, which he calls a pretty good congregation.

Listener Letters and a Reading From Canon Law
An unnamed co-host reads listener responses to Alamo's Dry Bones testimony on the air: Marcella from Aventura, Florida, calls it the most beautiful thing she has ever read after finding it in the Miami Herald, and Elsie from Coon Rapids, Minnesota, asks for seventy-five copies to enclose in her Christmas cards after reading it in the Minneapolis Star. A letter from Bruce in Kitwe, Zambia, thanks the ministry for literature distributed on streets and in bus stations. Sharon then reads aloud from a Roman Catholic canon law text while Alamo interrupts repeatedly, arguing that Catholics are not Christians, blaming the church for centuries of killings, and linking the wartime chemical maker IG Farben, which he says supplied gas for Auschwitz, to the modern maker of Bayer Aspirin. He leads a closing sinner's prayer, and Sharon reads out the ministry's website, its Texarkana post office box, and its phone and fax numbers before Jack Holcomb closes the broadcast singing Why Should He Love Me So.