Podcasts about money changers

"Jesus vs The Money Changers"Matthew 21:1-13Pastor Nate ClarkeApril 13, 2025EASTER is Sunday, April 20th!We'd love to see you and your family come worship and celebrate our Risen Savior on Easter. We'll have two Sunday morning services at 9:00 and 10:30 AM. https://www.instagram.com/p/DHby1_3OHVo/KIDS SPACE WITH INDOOR PLAYGROUND:We have expanded with 3x more space for the babies, kids, and youth in your family. https://www.instagram.com/oasischurchva/reel/C8FqHIipr3u/Learn about this year's Kingdom Builder's project: https://www.oasischurch.online/kingdom-buildersHow should Christians respond to POLITICAL ISSUES? https://www.youtube.com/watch?v=ak82aD16r04WHY WE UPDATED OUR VISION STATEMENT: https://www.youtube.com/watch?v=L0WFhtL7h3ISERMON NOTES:- Matthew 21:1-13- Parousia: “triumphal entry”- 1 Thessalonians 4:16-17- Hebrews 9:28- Jesus' entrance is public because he is driving people to a decision- John 2:3-4- John 7:6- Matthew 8:4- Matthew 16:20- “Jesus was either a liar, a lunatic, or Lord.” CS Lewis- The worship was extravagant because He is worthy of it.- Matthew 21:8-9- Luke 19:38-40- “It is a mark of Christ's presence when the church becomes enthusiastic. This age does not generally sin in the direction of being too excited concerning divine things. We have erred so long on the other side that, perhaps, a little excess in the direction of fervor might not be the worst of all calamities; at any rate, I would not fear to try it.” Charles Spurgeon- Jesus enters the temple to transfer the management- Matthew 21:12-13- Outer courts: Women and Gentiles   Inner courts: ceremonially clean Jews   Holy of Holies: Only the High Priests- Isaiah 56:7- 1 Corinthians 3:16-17- 1 Peter 2:9-10Oasis Church exists to Worship God, Equip the believers, and Reach the lost.We are led by Pastor Nate Clarke and are located in Richmond, VA.Stay Connected:Website: https://oasischurch.online Instagram: https://www.instagram.com/oasischurchva/Facebook: https://www.facebook.com/OasisChurchRVA/

Talk Back to MeIs it immoral for a brand to sell a Bible? Does our answer change within the context of Gun Culture? As we witness a revival of Faith in this loosely-bordered community, we watch as the imagery, iconography, and storefronts shift from the nihilistic, to the Christian. Instead of tap-rack-bang morale patches featuring lewd imagery, we see a cross, a Bible verse, a call to conviction. But with the newfound presence of Christianity on the front page of the Gun Culture, is it wrong, or dishonoring to the Word of God for a company to sell a Cordura-wrapped Bible with their logo on it? Even if their intent is good, does this action bring money-changers into the temple?1. The Criticism being Made2. What the Criticism Should Be3. The Root of the Problem4. The Solution and Going ForwardUse Code 2025deaddrop10 for 10% off your order at obsidianarms.comThis episode has been sponsored by Obsidian Arms, a manufacturer of tools, parts and firearms, as well as operating as an OEM shop for those looking to bring excellence to the market. Their Minnesota-based shop builds and cuts parts out of U.S.-sourced materials. Their gunsmith tools, custom firearms, and capabilities can be found at www.obsidianarms.comSupport the REDACTED Culture Cast at redactedculture.locals.comSSP and boutique products at redactedllc.comFollow us on Instagram at @redactedllc

I will be speaking out more about the troubling pattern of church leadership failures from the pulpit. The influence of the “Money Changers Mob” must be exposed.....All music by Chuccebeatz. Stream all his music on Spotify & Apple Music IG: @chuccebeatzFollow me on IG: @iamkevintoney@uncommonsensepodcastEmail: uncommonsensewithkt@gmail.com for ad placement Show Producer: Clifton Lockhart IG: @lockhart.clifton

David Waldman is here with the Friday KITM, and also somewhere else entirely, all through the magic of “technology”…  And, now for our discussion of “cryptocurrency”: How big a scam is cryptocurrency? It is so big that Eric Trump promises that his dad will become the most procrypto president in the history of America. Crypto, in fact could be the ultimate pyramid scheme, as it's multilevel marketing with no levels, just a big pile of cash going to first person who grabs it when the other suckers' greed makes them hold out too long. It's perfect, all of the overhead is paid by chumps who believe all the others will be the chumps! Its only possible enemy could be regulation…  That would be the Securities and Exchange Commission, who will soon be shocked, shocked to find that gambling is going on in this establishment. That is, if there were someone to regulate them. It seems that someone just might be the “Person of the Year”, recently witnessed sharing the parable of The Poor Woman and the Three Apples to his followers gathered inside of the national Temple of Money Changers. Why would Trump choose the low bar of being this country's Mao, when he can aim for Ceasar, or higher? Meanwhile, pity the poor Democrats fighting for President Joe Biden's legacy. Think of the history Joe could make as the President who finally helped achieve certification for the Equal Rights Amendment to the Constitution!

The Money Changers (Banksters) have been doing the same scam for thousands or years? Is it time to clear them all out? Thank you for Listening to Right on Radio. Prayerfully consider supporting Right on Radio. Click Here for all links, Right on Community ROC, Podcast web links, Freebies, Products (healing mushrooms, EMP Protection) Social media, courses and more... https://linktr.ee/RightonRadio Live Right in the Real World! We talk God and Politics, Faith Based Broadcast News, views, Opinions and Attitudes We are Your News Now. Keep the Faith

What happens when Jesus cleanses the temple? I. The weak and needy are cared for, v14. II. Children learn to praise him, v15. III. Religious hypocrites are rebuked, vv15b-17.

Before Jesus provides himself as the one sacrifice that can truly cleanse us of the pollution of our sins, he enters the Temple and cleanses it of the corruption of commerce, and the pollution of impiety. 

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Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's just lovely! I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers #goldenageofradio sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia   Rocky Jordan was a radio series about an American restaurateur in Cairo who each week became involved in some kind of mystery or adventure. The show was broadcast on CBS from October 31, 1948, to September 10, 1950, and then again from June 27, 1951, to August 22, 1951. The character of Rocky Jordan had been introduced to listeners in a similar show called A Man Named Jordan that was broadcast from 1945 to 1947 on the CBS West Coast network, but set in Istanbul, rather than Cairo. In February 1951, it was announced CBS was in discussions to make a TV series based on the show starring George Raft made by Raft's company. However this never happened. Cast The two lead roles were those of Rocky Jordan and Captain Sam Sabaaya of the Cairo Police. For most of the show's history Jordan was played by veteran radio actor Jack Moyles, but he was later replaced by a movie star, George Raft, for the brief 1951 run. Jay Novello played Sabaaya throughout the entire series. Other roles were played by members of Hollywood's Radio Row, and the announcer was Larry Thor. Characters Rocky Jordan Rocky Jordan (Jack Moyles/George Raft) is the proprietor of the Café Tambourine, which is located, according to the announcer, "not far from the Mosque Sultan Hassan," though he is originally from St. Louis. During the course of the series, it is revealed that Rocky previously ran a Café Tambourine not only in Istanbul (known from the previous series, "A Man Named Jordan") but also in San Francisco[6] and other locales. As an American restaurateur in a North African country, Jordan is somewhat similar to the Rick Blaine character in the film Casablanca, though the Café Tambourine is apparently a much less salubrious venue than Rick's Bar. The announcer describes it as being "Crowded with forgotten men, and alive with the babble of many languages". Each episode sees Jordan confronted with a "crime, a mystery, a beautiful woman, or a combination of the three". Precisely why Jordan is now in Egypt rather than Istanbul (as in the previous series) is never mentioned and the reason for being unable to return home to the United States is deliberately left vague, though it is hinted at throughout the course of the series that some occurrence in St. Louis prevents him from doing so. Sam Sabaaya Sam Sabaaya (Jay Novello) is the police captain who apprehends the criminals at the end of each adventure. Sabaaya is portrayed as a diligent and competent policeman, usually as Jordan's friend and ally but sometimes as his foil. He is an Egyptian Muslim, is married, and has four children. Other characters Two further characters appear in some but not all episodes, Chris (voiced in most episodes by Lawrence Dobkin) and Sergeant Greco (Lou Krugman). Chris is the bartender at the Café Tambourine, while Greco is one of Sabaaya's underlings. Greco has a particular dislike of Jordan, and invariably tries to make his life difficult, often by arresting him as the chief suspect in whatever crime Jordan is trying to solve. He's also ambitious and eager for promotion. Style A deliberately Eastern feel was created by careful use of music and sound effects, and the writers Larry Roman and Gomer Cool took care that the characters used the names of real streets in Cairo. Much of the information the writers used for this came from a book called the Pocket Guide to Egypt that the US Army had produced for servicemen sent there during the War. The Oriental-sounding music composed for the show by Richard Aurandt is considered to be of exceptional quality.   The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs   The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow      

Zimbabwean authorities responded swiftly to the recent decline in the new gold-backed currency by apprehending illicit money changers and closing the bank accounts of businesses accused of exclusively dealing in U.S. dollars. Businesses argue that this approach is not sustainable. Columbus Mavhunga reports from Harare

Joe Mitchell says a former president's recent venture is a lesson in capitalism, not Christianity.

Jesus And The Money Changers - Mark Parkhurst by The Church of Christ Wheeler Area

In this weeks episode we discuss the documentary Let My People Go which is about the lies of the stolen election and the suffering of the January 6ers and the release of all slaves to the Matrix system of control. We also discuss the God derangement syndrome that plagues our great nation and how we must get back to our Faith over the false fears of the world by living in our truth over all the lies we used to believe. Its time to LET MY PEOPLE GO PHAROAH!! Flip the Money Changers tables and move into a love-based reality, a new Heaven and a New Earth! please share and like the show! #freedom #truth #love --- Send in a voice message: https://podcasters.spotify.com/pod/show/tginow/message

Jesus & the Money Changers | Series: ENCOUNTER - When Truth Defies Expectation Key Verses: Mark 11:15-18 Chris Ward March 10, 2024

Get Angry *10 Ways Your Soul is Like a Church *Cleansing the Temple *Are You a Law Breaker? Subscribe and Rate on Apple Podcasts

3rd Sunday of Lent, Year B, 2024 Jesus and the Money Changers in the Temple 

www.gnosticacademy.org

Ever wonder why we have wars, a porn industry, politicians caught in corruption scandals, and endless suffering in our world? It is due to the sin of greed which leads to other sins that also cause suffering in our society and overseas. Check out this youtube podcast talking about the sin of greed and how we can overcome this sin through trusting in Jesus Christ https://youtu.be/pKCJh2u-9lw?si=b6K9kvIqYBCqaHZK --- Send in a voice message: https://podcasters.spotify.com/pod/show/fighttothefinish-1979/message Support this podcast: https://podcasters.spotify.com/pod/show/fighttothefinish-1979/support

Pastor Chris's sermon is based on the passage from the Gospel of John, chapter 2, which describes Jesus cleansing the temple in Jerusalem. The sermon begins by highlighting the significance of this event as the first public act of Jesus' ministry and its timing during the Jewish Feast of Passover. It emphasizes John's focus on Jesus' ministry in Jerusalem and the importance of the temple in Jewish religious practices. He explains that while there were merchants selling animals and money changers in the temple, their presence was not necessarily inappropriate as they served a purpose in the sacrificial rituals. However, their practices had become corrupt, and Jesus' actions were driven by his zeal for the purity and holiness of God's house. Pastor Chris reflects on how Jesus' actions challenge our perception of him as always gentle and kind, and emphasizes his righteous anger and passion for true worship. It raises the question of how Jesus would respond to the state of worship in churches today and whether it aligns with the true reverence for God. The sermon also discusses Jesus' reference to destroying the temple and raising it up in three days, which initially confused the people. It explains that Jesus was referring to his own body as the true temple, foreshadowing his death and resurrection, which would bring about the forgiveness of sin and open a new way of living in right relationship with God. He concludes by highlighting the importance of accepting the free gift of grace and forgiveness offered through Jesus' sacrifice. It encourages listeners to examine their faith and ensure they have truly accepted the gift of eternal life, rather than relying on their own efforts to earn salvation.   www.venicepres.org

Why did Jesus flip the tables of the money changers and sellers of sacrifices? Does this passage mean that we can't buy and sell at churches to any degree? What details in this passage can help us to understand what's really going on? How can the relationship between Jew and Gentile in this passage help us understand what's going on in our Romans 9-11 series that will continue next week?*Also, I meant to mention in the episode, Jesus did not clear out the people with whips, only the sheep and cattle (John 2:15)Send in your questions to information@apologetics.org now for our next Q&A! *Also, I meant to mention in the episode, Jesus did not clear out the people with whips, only the sheep and cattle (John 2:15)Scott Stripling Curse Tablet:https://theuniversenextdoor.buzzsprout.com/235413/12853648-this-might-be-the-biggest-archeological-discovery-of-our-lifetime-curse-tablet-scott-striplingThe True Meaning of Romans 9:https://theuniversenextdoor.buzzsprout.com/235413/12809463-why-romans-9-is-so-highly-debatedHow to Understand Predestination:https://theuniversenextdoor.buzzsprout.com/235413/12386467-how-should-we-understand-predestination-and-foreknowledgeShould We Listen to Bethel, Hillsong, etc?https://theuniversenextdoor.buzzsprout.com/235413/11313129-should-i-listen-to-music-from-bethel-hillsong-and-elevation-full-episodeSupport the show

Celebrate, The Savior is Here!Jesus Christ is Alive!Get to know Jesus Christ, He will change your life!!!Go to GOD for discernment and wisdom.Know the Truth as the Truth will make you free! (John 8:32)___The Pledge of AllegianceNEO420 = Real News + Real Information for WE THE PEOPLEWE THE PEOPLE are at war with the deepstate criminal cabal!!!Turn off your tv, radio, and stop listening to paid professional liars spreading propaganda.***SUPPORT Independent Free Speech Reporting***Thank you for the SUPPORT & SHARING the TRUTH!!!___Podcast  link is here http://neo420.com/talks-podcast/The video channel link is here. https://odysee.com/@NEO420TALKS:4Source info from this episode https://radiopatriot.net/2022/03/08/the-sting-robert-and-donald-trump-and-the-fbi/The Viral Delusionhttp://www.theviraldelusion.com/HAARPDARPA BlackjackAshli Babbit false flag Jan 6 video evidence___NEVER FORGET 9 11!!!Rumsfeld admitted $2.3 Trillion missing from Pentagon Sept 10 2001.  https://odysee.com/@NEO420TALKS:4/rumsfeld-2.1Trillionunaccountedforb-ccriminalsstoleit:7Planes did NOT bring down the two towers.AE911Truth.orgGeorge Bush Sr was CIA director before being Vice President then President.Towers that fell:-Building 1-Building 2-Building 7 (seldom reported even though BBC reporter reported building down before it happened) https://www.youtube.com/watch?v=J0VFMqiSupport the show

Verse by verse study through the book of John Chapter Two and Verse Fourteen

Coinciding with Lent, we are preaching through Holy Week. After riding into Jerusalem on Sunday, Jesus returns to the city on Monday to cleanse the temple. Scripture Reading: Matthew 21:12-17Jesus cleanses the temple and receives contrasting reactions from the religious leaders and from the children. The religious leaders are angry while the children sing his praises. Like the children who sang Jesus' praises, we are to have a childlike faith. 

The just judge will make it right. Daily devotionals through the Gospel of John with speaker and author Vince Miller.

God desires that we be benevolent and generous but false prophets and moneychangers are manipulating God's people and mishandling the funds. Offerings are not to make the pastor rich but are for the expansion of God's Kingdom.  

Jesus driving out the money changers and those selling in the Temple courts act almost as bookends to His ministry. Today's text looks at Him doing that and His response when challenged about His authority to do it.

There is presently a war underway where monarchies and even the Vatican are hedging their best by creating a new religious cult to cover their assets and to form a pseudo-religious endorsed kind of fascism. It is called Inclusive Capitalism. The money changers have now arrived at the Temple and the Pope is heading up the charge to endorse what appears to be a socialist-communist government. This, of course, is symbiotically connected to the World Economic Forum, the Great Reset, and Agenda 2030. Tonight on Ground Zero, Clyde Lewis talks about 8/2/22: JESUS AND THE NEW MONEY CHANGERS. #GroundZero #ClydeLewis #JesusAndTheNewMoneyChangers https://groundzeromedia.org/8-2-22-jesus-and-the-new.../ Ground Zero with Clyde Lewis is live M-F from 7-10pm, pacific time, and streamed for free at groundzero.radio. There is a delayed broadcast on our local Portland affiliate station, KPAM 860, from 9pm-12am, pacific time. For radio affiliates near you, go to talkstreamlive.com. To listen by phone: 717-734-6922. To call into the show: 503-225-0860. The transcript of each episode will be posted after the show at groundzeromedia.org. In order to access Ground Zero's exclusive digital library which includes archived shows, research groups, videos, documents, and more, you must sign up at aftermath.media. Check out the yearly specials!

To Tithe or not to tithe- Creflodollar.

Episode 4 coming this Saturday morning!

The ResurrectionEaster Sunday • April 17, 2022Teacher: Adam Barnett--[Sunday] [Monday][Tuesday] [Wednesday] [Thursday] [Friday] [Easter!]SUNDAY IS HERE! HE IS RISEN! DEATH IS DEFEATED! JESUS IS ALIVE!Matthew 28:1-4 NIV"After the Sabbath, at dawn on the first day of the week, Mary Magdalene and the other Mary went to look at the tomb. There was a violent earthquake, for an angel of the Lord came down from heaven and, going to the tomb, rolled back the stone and sat on it. His appearance was like lightning, and his clothes were white as snow. The guards were so afraid of him that they shook and became like dead men."Matthew 28:5-7 NIV"The angel said to the women, “Do not be afraid, for I know that you are looking for Jesus, who was crucified. He is not here; he has risen, just as he said. Come and see the place where he lay. Then go quickly and tell his disciples: ‘He has risen from the dead and is going ahead of you into Galilee. There you will see him.' Now I have told you.”Matthew 28:8-10 NIV"So the women hurried away from the tomb, afraid yet filled with joy, and ran to tell his disciples. Suddenly Jesus met them. “Greetings,” he said. They came to him, clasped his feet and worshiped him. Then Jesus said to them, “Do not be afraid. Go and tell my brothers to go to Galilee; there they will see me.”1 Corinthians 15:14 NIV"And if Christ has not been raised, our preaching is useless and so is your faith."10 Jesus predicted His resurrection9 People prepared His lifeless body for burial8 The Jewish authorities made a plan to falsify this story7 Jesus appeared to many in bodily form6 Saul of Tarsus became one of the Christian faith's greatest missionaries, theologians, and apologists5 Paul's earliest epistles were written about 20 years after the resurrection4 Many of Christ's disciples were martyred3 **The emergence, growth, resiliency, and existence of the Church**2 No tomb has been established and revered as the place where Jesus' body rests.1 Our testimonies!Jesus, I believe you are who you say you are. You are the resurrection and the life. I believe you died on the cross for me and that you rose from the dead. With that same power, make me a new creation. I am sorry for my sins. Please forgive me. I ask you to live in my heart and to fill me with your Holy Spirit. Through the name of Jesus, my Lord, I pray. Amen.Text the name JESUS to (918) 376-3438Images used for today's message were:Sunday: SuperStock/Getty ImagesMonday: Painting by Carl Bloch: "Casting Out the Money Changers". Getty ImagesTuesday: O Jerusalem by Greg OlsonWednesday: Tomb of Lazarus, Bethany (c. 1900), Apic/Getty ImagesThursday: Leemage/UIG via Getty ImagesFriday: Close-up of "Crucifixion" by Bramantino/Getty ImagesEaster: https://riverheadlocal.com/2020/04/12/easter-sunday-the-divine-reset/

The Road to CalvaryPalm Sunday • April 10, 2022Teacher: Adam Barnett--Luke 9:51 NIVAs the time approached for him to be taken up to heaven, Jesus resolutely set out for Jerusalem. Luke 9:52-56 NIVAnd he sent messengers on ahead, who went into a Samaritan village to get things ready for him; but the people there did not welcome him, because he was heading for Jerusalem. When the disciples James and John saw this, they asked, "Lord, do you want us to call fire down from heaven to destroy them?" But Jesus turned and rebuked them. Then he and his disciples went to another village.Luke 9:5 NIVIf people do not welcome you, shake the dust off your feet when you leave their town, as a testimony against them. Luke 19:28-38 NIVAfter Jesus had said this, he went on ahead, going up to Jerusalem. As he approached Bethphage and Bethany at the hill called the Mount of Olives, he sent two of his disciples, saying to them, "Go to the village ahead of you, and as you enter it, you will find a colt tied there, which no one has ever ridden. Untie it and bring it here. If anyone asks you, 'Why are you untying it?' say, 'The Lord needs it.'" Those who were sent ahead went and found it just as he had told them. As they were untying the colt, its owners asked them, "Why are you untying the colt?" They replied, "The Lord needs it." They brought it to Jesus, threw their cloaks on the colt and put Jesus on it. As he went along, people spread their cloaks on the road. When he came near the place where the road goes down to the Mount of Olives, the whole crowd of disciples began joyfully to praise God in loud voices for all the miracles they had seen: "Blessed is the king who comes in the name of the Lord! Peace in heaven and glory in the highest!"Zechariah 9:9 NIVRejoice greatly Daughter Zion! Shout, Daughter Jerusalem! See, your king comes to you, righteous and victorious, lowly and riding on a donkey, on a colt, the foal of a donkey. Images used for today's message were:Sunday: SuperStock/Getty ImagesMonday: Painting by Carl Bloch: "Casting Out the Money Changers". Getty ImagesTuesday: O Jerusalem by Greg OlsonWednesday: Tomb of Lazarus, Bethany (c. 1900), Apic/Getty ImagesThursday: Leemage/UIG via Getty ImagesFriday: Close-up of "Crucifixion" by Bramantino/Getty Images

Today, Jesus addresses the Money Changers in the Temple and  Nicodemus' asks how in the world a person can be born again.  John 2:13-25; Ps 69:1-13,19-21; John 3:1-21; Numbers 21:7-9; John 3:22-36

Brother Nick continues his look at the gospel of John.

Thank You for listening! This episode we will have some updates regarding the new VTL, requirements to enter KSA.Email us at safar2marwa@gamil.com for any collaborations/sponsors/experience and enquiries!

The money changers

Money Changers

We continue our look through the Gospel of John. Today we reach Ch 2:12-17 and the driving out of the money changers from the temple. Visit our website www.newlifehaydock.co.uk Join our family morning service every Sunday at 11am. New Life Haydock Phythian Street Haydock

“Luke 19:41-48 | Driving Out Money Changers and Weeping for His Enemies” from Lakeshore Baptist Church by Pastor David Green. Released: 2022. Genre: Preaching. The post Luke 19:41-48 | Driving Out Money Changers and Weeping for His Enemies appeared first on Lakeshore Baptist Church.

Father Coughlin responds to the chaos of the Great Depression by creating a clear villain for his audiences: President Hoover, of course, but also the bankers he claimed controlled politicians and the communists he said were secretly infiltrating the country's labor leadership. Any shred of subtlety evaporates as he rants on air about the Old Testament and the “atheist Jew Karl Marx.” CBS drops Coughlin from its lineup, but his influence only grows as he enters the political arena. Radioactive is hosted by Detroit journalist Andrew Lapin and produced by Tablet Studios, with support from Maimonides Fund, and in association with The WNET Group's reporting initiative, Exploring Hate: Antisemitism, Racism and Extremism. The show's theme music is from The Ghost Writer and was composed by Alexandre Desplat. All speeches and material of Father Coughlin, as well as music and other audio from his radio program, are authentic to the source. For more information on all of Tablet's podcasts, visit tabletmag.com/podcasts.

The $200 million speculative real estate deal using funds meant for the poor, plus selling out to the Chinese Communist Party has Stephen K. Bannon pulling his hair out. Our guests are: Catharine O'Neill, Rudy Giuliani, Rabbi Spero, Liz Yore Stay ahead of the censors - Join us warroom.org/join Aired On: 04/15/2021 Watch: On the Web: http://www.pandemic.warroom.org On Podcast: http://warroom.ctcin.bio On TV: PlutoTV Channel 240, Dish Channel 219, Roku, Apple TV, FireTV or on https://AmericasVoice.news. #news #politics #realnews

Welcome to The Moor You Know Podcast, We are the Moors, the Mighty Mighty Moors! Our Greatest Weapon is a Strong Free Press. Listen as we discuss the Moorish American Nation socially, religiously, politically and economically. Our invigorating podcast is full of Wisdom, Will and Love. No Fake News here! on the Moor You Know Podcast. Im your host Sheik Alfred Tard El I am joined by three esteemed guest and the topic for today is: The End of Time for the Money Changers We will attempt to approach to the topic from a National and Divine perspective in order to begin to open up the dialogue within the Moorish American community and its leadership. This will be for educational purposes and not to be misconstrued as a debate. Lets set the stage. THE PROPHET HAS SPOKEN All Governors and Grand Sheiks and head officials that guide any body of Moors of any Temple of the Moorish Science Temple of America: He or she must be of good moral standard and a heart of love and their works must be of Love, Truth, Peace, Freedom and Justice. They are to imitate the Prophet in speech and teaching in any said Temple. They must not be under the influence of intoxicating liquors or any other harmful motive that will terminate to become detrimental to the organization. It must not be known that any leader is staying away from home or neglecting his duty at home or must allow the public to know of their wrong doings. They must forever live the life of Love at home and it must, be known by all the members. They must not speak rash words nor any profane language in the mildest form to any other individual because a leader without influence of good works cannot be a leader, and to be a real Moorish leader you must study the Koran and the Divine Constitution that is handed down unto you by I, the Prophet. No finance business is to be opened with any group of members of any Temple, by the Governor or Grand Sheik or whosoever in charge without the consultation of I, the Prophet. All uplifting funds, books, are to be issued only through I, the Prophet, because that money is to finance the Moorish Movement. The head of any Temple can maintain an emergency fund which cannot exceed the amount of from 25 cents to 50 cents a week per member. All public collections and dues also to the supporting of each said Temple and its domestic work. No finance books are to be served in any Temple except by the Prophet. The head of every Temple must by law obey the word of the Prophet, and if any leader or head of any Temple fails to obey these laws - embezzlement is his charge, and is subject to enforcement of the law by the Grand Body. And the penalty may be a fine or a removal from office, or placed under a very heavy restriction of the law. A Religious Corporation is a non-stock corporation. As such, the provisions of the Maryland general statutory corporate law will apply to it, unless the provisions of the statute clearly require otherwise. Maryland Code, Corporations & Associations Article § 5-201. A Religious Corporation is created under Title 5, Subtitle 3 of the Maryland Code, Corporations & Associations Article. This subtitle sets out the means of forming a religious corporation under a “congregational form of church government” contemplated by the statute. Mt. Olive African Methodist Episcopal Church of Fruitland, Inc. v. Board of Incorporators, 348 Md. 299 (1997)

As a citizen of Romania said after the dictatorship there toppled, “We have freedom, but we don't know what to do with it.” Join Susan for a tour through the Ten Commandments in Exodus 20:1-17 and the Expulsion of the Money Changers in John 2:13-22 as we discuss the purpose of freedom.

In the wake of recent remarks made by President Trump at the United Nations, Stan presents a Biblical and Prophetic insight. Some of these remarks very well could have angered those in power, and what may be the ripple effect?

The money changers those who are selling things in the house of God. Pastors, Bishops, Apostles, all leaders should stop selling and allowing others to sell at the house of God. Everybody it appears have written a book have Videos and all kind of things they are selling in church and at church. Those who want to sell their talents in church and at the church need to go. Because of the money everyone wants to be alike.