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The Music Hustle with Ramell Douglas

Four-Phase Release Strategy, Royalties, and Protecting Your Paperwork

Host Ramell Douglas flies solo this week, walking independent artists through a four-phase release-day strategy and breaking down the business side of the industry, from ASCAP, BMI, SoundExchange and the MLC to split sheets and work-for-hire contracts.

Opening The Hustle With A Release-Strategy Lesson
Ramell Douglas opens this solo episode of The Music Hustle by promising listeners both the grind and the business side of the industry. He tells artists that releasing music without a plan is a mistake, arguing that a true rollout must be treated as a multi-campaign effort rather than a single day of uploading to a distributor and walking away. Douglas explains that hip hop culture now runs on rhythm, lyrical bars, community commentary, and short-form video momentum, so every clip posted before a release should serve a larger narrative instead of standing alone. He frames the hour as a structured walk through four phases of a release calendar, starting six weeks before a track drops, and reminds listeners they can call in live between six and seven Eastern time with questions about building a release around real strategy instead of guesswork.

Phase One And Two: Locking Assets And Building Content
Douglas lays out Phase One, set-up and infrastructure, which begins six weeks before release day. He tells artists to lock in the master audio, final mix, cover art, press photos, lyric sheets, split sheets, and producer agreements into one organized shared drive, then upload the track to a digital distributor at least four weeks out so ISRC codes and metadata are generated cleanly rather than rushed. He warns that rushed metadata breaks royalty tracking down the line. Moving into Phase Two, the content factory, four weeks out, he describes choosing an anchor visual, whether a full music video, a live performance clip, or a studio breakdown, based on the song and the audience it targets. He then explains the content butchery: filming fifteen to twenty-five short pieces of micro content, pulling the catchiest bars and hooks, and building anticipation with teaser drops, behind-the-scenes clips, and open-verse challenges well before the track ever drops.

Phase Three And Four: Press, Radio, And The Blitz
Two weeks from release, Douglas moves into Phase Three, media, press, and radio outreach, telling artists to build an electronic press kit with a song breakdown and full metadata, then pitch it to independent blogs, playlist curators, mixshow DJs, and terrestrial stations, pressing physical CDs when an agency is not handling that work. He stresses persistence, saying artists must follow up rather than assume anyone calls back on their own. He also warns against playlist curators who use bots, saying F1MG never touches that practice because it can get a catalog pulled from platforms entirely. Phase Four, launch day and the two-week blitz, calls for activating every channel at once, updating social profiles and streaming avatars to match the single, and posting daily short-form videos with native audio for fourteen straight days to keep the algorithm engaged. Douglas notes that breaking a record typically takes six to eight months of sustained momentum and consistent audience engagement.

Community Fanbases And A Shout-Out To Conan
Douglas pivots from the calendar to the long game, arguing that a one-hit wonder fades while an artist who builds a real community keeps earning for years. He points to Taylor Swift, Beyoncé, Jay-Z, Nas, KRS-One, and Wu-Tang Clan as examples of acts whose longevity rests on consistency and a fanbase that stays engaged even during quiet stretches between headlines. He urges artists to reply to comments, thank every blog and curator who shares their music, and push listeners toward an email list for long-term retention, alongside old-school tactics like posters with scannable links and vinyl or CD souvenirs that are making a comeback for independent acts. Douglas then teases an upcoming F1MG release, a track called Same Place from an artist he names as Conan, describing it as a raw, real account of coming up from Watts, California, built on its own strategy that he says works because Conan has a tight community already backing him.

The Paperwork Behind The Music: ASCAP, BMI And MLC
Douglas shifts into the legal and financial side of the business, walking through copyright registration with the US Copyright Office, explaining that artists should file separately for the Performing Arts share covering lyrics and melody and the Sound Recording share covering the master. He tells listeners to join a performing rights organization, ASCAP or BMI, to collect royalties whenever a song airs on terrestrial radio, television, streaming, or live venues, and to register as both songwriter and publisher so they can claim one hundred percent of available royalties rather than leaving a share on the table. He adds that SoundExchange collects digital performance royalties from satellite radio and internet streaming, while the Mechanical Licensing Collective, or MLC, gathers the mechanical royalties generated on services like Spotify and Apple Music. Douglas stresses that properly connected metadata is what determines whether an artist actually gets paid across every one of these revenue streams.

Split Sheets, Contracts, And A Closing Charge
Douglas closes out the lesson with split sheets, telling artists that anyone who collaborates with a co-writer, producer, or featured artist must sign one immediately to set exact ownership percentages, noting that a producer keeps rights to a beat even after an artist buys it. He recommends work-for-hire agreements for simple paid services and warns listeners to read every beat license carefully, since some cap free distribution at a set number of streams before royalties shift to the license holder. Douglas urges young artists to slow down and fully understand any contract before signing, and to reach out to The Music Hustle with questions rather than guess. He ends the show with a motivational charge about staying grounded, avoiding unnecessary associations, and putting in consistent work rather than waiting for opportunity to arrive, thanking BBS Radio TV and inviting listeners of every genre to tap into F1MG before an announcer signs him off the air.

Junk Refund Show with Alan Cook

Cast Iron Tubs, Groupon Hauls, and Cheap Flights Inside the Junk Refund Business

Host Alan Cook broadcasts live from a stalled tub pickup in McLean, Virginia, then narrates a day of Groupon jobs, scrap metal runs, and a costly workshop accident while riding the Beltway between stops, closing with his tricks for flying almost anywhere for under fifty dollars.

Live From McLean: The Cast Iron Tub Job
Alan Cook opens the show broadcasting live from McLean, Virginia, where he and his helper June have pulled up to haul away a roughly 300-pound cast iron tub. Cook jokes about rigging earbuds so he can keep talking while wrestling the heavy tub, warning listeners the show might be a short one if it is still upstairs. When they reach the site, the contractor explains the tub is not quite ready, maybe forty minutes more, so Cook agrees to swing back later and heads off to plan B instead. Riding along in traffic afterward, he uses the moment to explain the four things his company does with every load it hauls: junking true trash, recycling metal and wire, donating usable goods for a receipt, and selling anything worth selling, with proceeds split back to the customer, a practice he says sets 1-800-Junk-Refund apart from ordinary junk haulers.

Groupon Economics and a Railing Job's Sad Backstory
Cook details his company's decade-long run on Groupon, where a quarter-truckload of junk removal priced at $229 sells for $99, netting the business roughly sixty percent after Groupon's cut. He cites around 500 reviews and a 4.8 rating, a 96 to 97 percent satisfaction score he calls the highest of any junk removal company on the platform. He recounts that morning's Groupon job at a second-floor apartment, where he and June tossed clothing bags and lowered unplugged lamps by their cords over a railing to speed things along, earning extra loads at $175 and $150 paid by Venmo. The backstory turns somber: the unit belonged to a woman who had just moved up from Florida after her husband died, only to pass away herself three weeks later, a reminder, Cook says, that junk removal often means stepping into people's lives at emotional turning points.

Scrap Metal, Craigslist Leads, and a Costly Collision
Cook explains how free Craigslist and Facebook Marketplace scrap-metal pickups double as marketing, since customers who get a free haul-away often call back later for paid junk removal at a twenty percent discount. He breaks down scrap pricing, roughly six cents a pound for plain metal versus twenty-three cents for dirty aluminum, and describes repeat visits to a Fairfax, Virginia collector who has spent years amassing lawn mower engines, carburetors, and file cabinets full of small-engine parts. The visit turns dramatic when Cook recalls that the same man, warned more than once to lower an old rusted commercial fan perched precariously above head height, instead walked into its sharp metal frame, gashing his scalp open and spending much of the day in the emergency room. Cook calls it a cautionary tale about clearing hazards before they clear you, even as the crew keeps hauling away truckloads of the man's metal collection.

Nancy's Downsizing Job and an Advance-Payment Discount
Cook describes a referral from Olney, Maryland realtor Karen Rawlings to a client named Nancy, who is downsizing from a thirty-year family home into a two-bedroom condo. He quotes the job at $495, then applies the standard realtor-referral discount down to $450, with another $50 off if Nancy pays before the crew arrives. Her husband balks at paying in advance, a hesitation Cook says he understands even though out-of-town clients wire full payment sight unseen all the time. The family agrees to the discounted rate, Venmoing $400 ahead of the job, and adds an extra twin bed frame and a sofa bound for her son's basement apartment. The job wraps smoothly, with Nancy handing over a hundred-dollar tip for the couch and her son kicking in another hundred for hauling furniture up and down tricky basement stairs, leaving everyone satisfied.

Building the Business With AI Mailing Lists
Still stuck in Beltway traffic, Cook credits BBS Radio's use of artificial intelligence for inspiring him to try Microsoft Copilot in his own business. He describes building a spreadsheet of roughly 800 real estate offices around Washington, D.C., each averaging twelve and a half agents, for postcard mailings aimed at generating whole-home cleanout referrals. A second database lists about 800 area gas stations offered free scrap-metal pickups in exchange for future junk-removal discounts. He recounts the mailings already paying off, with calls from an Annapolis gas station owner and a Burke, Virginia car wash yielding free metal pickups, one of which led to a follow-up job clearing barrels and sheet metal from a business in Lanham, Maryland. Cook frames the AI-built lists as a low-cost way to keep generating both scrap income and new long-term customers.

Frontier Flights, the GoWild Pass, and the Upside App
Cook closes the show with his favorite side topic, cheap travel. He explains Frontier Airlines' annual GoWild Pass, which lets him fly round trip to Salt Lake City for about fifty dollars, staying free on hotel points and still making it home in time for work Monday morning. He describes similarly inexpensive flights to Orlando, Atlanta, and even El Salvador, arguing that modern mobility lets him stay close to family without living nearby. He then plugs the free Upside app, which has paid him more than $1,200 in cash back on gas, groceries, and restaurant visits using his personal promo code, DS9PW. Reflecting on the morning's job for a woman who passed away weeks after downsizing into a condo, Cook urges listeners to enjoy life while they can, travel more, and keep working toward decluttering both their homes and their lives.

Hollywood and Horsepower Show with Mark Otto

Howard W. Koch's Hollywood Legacy, Hollywood Park Memories, and Little Red Feather Racing with Billy Koch

Mark Otto talks with Billy Koch, grandson of Hollywood producer Howard W. Koch and founder of Little Red Feather Racing, about growing up at Hollywood Park, his family's ties to Casablanca, Airplane!, and Ghost, and his own path from a college racing syndicate to founding The Owner's Box podcast.

A Hollywood Royalty Connection
Mark Otto opens Hollywood and Horsepower by welcoming Billy Koch, grandson of producer Howard W. Koch and son of Hawk Koch, calling the family royalty in both Hollywood and horse racing. The conversation quickly turns to Casablanca, Otto's favorite film, and Koch explains his grandfather always used the middle initial so no one would confuse him with screenwriter Howard Koch, even wearing a hat reading "I didn't write Casablanca." Otto mentions his friendship with Michael Blowen of Old Friends, who once shared notes exchanged between Julius Epstein and Warner Brothers over the film's censorship. Koch runs through his grandfather's credits, noting he produced many Academy Award telecasts, won the Jean Hersholt Humanitarian Award, and is best remembered for producing Airplane! and Ghost, plus the Walter Matthau comedies including The Odd Couple. Otto and Koch agree Airplane! is a rare comedy that has only grown funnier with age, still making fun of everybody despite its brief, breezy runtime.

Growing Up At Hollywood Park
Koch describes Hollywood Park as his childhood home track, where his grandfather would pick him and his sister up on weekends to watch races from the directors' room, calling it a privilege he did not fully appreciate until the track closed. He recalls being at Hollywood Park when Seattle Slew lost to J.O. Tobin, a memory he says still bothers him decades later, and shares a story about running onto the mile oval as a twelve-year-old during reshoots for the Howard W. Koch production Let It Ride, only to quit at the clubhouse turn once the sandy surface proved tougher than expected. Otto and Koch trade affection for Cougar II, a longtime fixture at Kentucky racing events, and lament the string of lost California tracks, including Hollywood Park, Bay Meadows, and Golden Gate Fields. Koch keeps mementos from Hollywood Park, including a barn sign and a box-seat placard, while Otto owns saddle cloths of his own, and both agree the track's closing marked the end of an era unlike any other in racing.

Family's Horse Racing Roots
Koch traces the family's racing roots to his great-grandfather, also named Billy Koch, who worked as a bookie, a trade Koch jokes may have put racing in the family's blood before his grandfather ever got involved. Howard W. Koch kept horses including Doc Simon and, with actor Telly Savalas, a colt named Telly's Pop who won the two-year-old Western Triple Crown and was considered a Kentucky Derby contender before an injury ended his bid. Koch remembers Savalas, famous for playing Kojak, bringing bags of lollipops to the track and having young Billy hand them out to every woman he saw. His grandfather also owned horses with Walter Matthau under the name Billy Charlie Stables, named for Matthau's son Charlie, and jockeys would give his grandfather their whip whenever a horse broke its maiden, leaving the house full of them. Koch recalls being given twenty dollars by his grandfather at the track each weekend, losing his on daily doubles while his more disciplined sister kept hers, calling it proof he was hooked on the sport from the very start.

From Little Red Feather To Ownership
Koch explains how he built his own path into ownership after graduating from Northwestern in 1991 with no money but a clear goal, pooling funds with friends from a Cuban restaurant called Versailles to form the Versailles Racing Syndicate and buy a filly named No More Worries. He later ran small claiming funds for fun before friend and Metropolitan Theatres head Bruce Corwin loaned him money to buy horses with partner Don Chatlos, a group that in 2000 included a colt named Singletary. That purchase became the foundation of Little Red Feather, the fractional-ownership partnership Koch still runs, and Singletary rewarded the gamble by winning the 2004 Breeders' Cup Mile at Lone Star Park. Koch says Little Red Feather now counts roughly 500 active investors who trust the operation to find, place, and campaign horses responsibly, though he is candid that the business nearly did not survive the 2008 recession. He warns prospective partners the venture is not an investment vehicle but a way to spend disposable income on the experience of ownership.

The Business And Safety Of Racing
The conversation turns to the business and politics of the sport, with Koch describing himself as the president of CARMA, the California aftercare organization dedicated to finding retired racehorses safe second careers. Otto and Koch both push back on a recent New York Times article critical of racing's safety record, with Koch pointing to the advocacy group Light Up Racing's rebuttal and arguing that the numbers show the sport is safer than it has ever been, even as individual states still enforce inconsistent medication rules. They agree the sport is remarkably accessible compared with other professional leagues, since fans can speak directly with owners and trainers at the rail, but Koch warns that new wagering platforms such as FanDuel have pulled bettors away from the in-person, brick-and-mortar experience that built the sport's culture. Koch raises Florida's decoupling fight as a genuine threat to purses and the wider industry, while Otto compares racing's safety evolution to that of football and NASCAR, insisting most owners, trainers, and horsemen genuinely want what is best for the animals in their care.

Family Legacy And The Owner's Box
Koch shares that entertainment still runs through the family despite skipping his father's generation, naming two of his three sons, Cooper, who played Erik Menendez in Netflix's Monsters, and Payton, an Emmy-nominated editor on Only Murders in the Building now cutting Avatar: The Last Airbender, alongside a youngest son pursuing music as a singer-songwriter. He credits his grandfather, Howard W. Koch, with inventing bedtime stories about a fictional chief named Little Red Feather, which inspired the name of his racing partnership as a tribute after his grandfather's passing. Koch and Otto close by discussing The Owner's Box, the podcast Koch has hosted with Michelle Yu for roughly a decade to let owners, bloodstock agents, and veterinarians tell their own stories rather than letting trainers get all the credit. Koch says he runs the show purely to promote ownership and expects no income from it, while Otto praises the format's positivity. Both men reflect on perseverance, noting Cooper nearly quit acting before landing his breakout role, and Otto thanks Koch before closing with sponsor mentions and an invitation to visit a track.

Brother Jim Shaw Ministries

Ep203, Beware of Religions

No Rituals Needed: Brother Jim Shaw on the Simplicity of Christ and the Thief at the Cross

Brother Jim Shaw warns against a surge in religious ritual, contrasting the rules and trappings of organized religion with the simplicity of knowing Jesus Christ within, and closes by saying all he wants is what the thief at the cross received.

A Surge in Religion and Its Rituals
Brother Jim Shaw opens the fifteen-minute broadcast by noting a surge in religion he has seen reported, particularly reformed Catholicism, and asks listeners what is actually good about it. He compares organized religion to clubs like the Moose Club, the Elks, the American Legion, and the VFW, loaded with rules and belonging. Shaw lists rituals he sees as trappings rather than substance: feast days, traditions, candles, stained glass, kneeling, signs of the cross, crucifixes, rosary beads, holy days, physical baptisms in a small font, confirmations, memorized prayers, and first Holy Communion. He says he is not trying to ridicule anyone, but contrasts all of it with the simplicity of knowing in one's heart that Jesus Christ is Lord. Shaw tells listeners they are the temple, that Jesus lives and resides within them, and that Christ exposes himself in a believer all day long, especially in moments of temptation.

Rituals Cannot Overcome the Devil
Shaw challenges listeners to name one thing a ritual can do to overcome a devil, insisting it cannot, because devils love rituals and religion since there is no spiritual power in them. He admits people love teams anyway, joking about grown men at a Green Bay Packers game wearing cheese hats and screaming in freezing weather, because everyone wants to belong to a club. Shaw says it is a manifestation of grace when the Lord plucks a person out of the world, making them a living stone of a church built without hands. He warns listeners not to be deceived from the simplicity of Christ, just as Eve was deceived in the garden. He corrects himself over the exact wording, recalling that God told Adam and Eve not to eat of the tree of the knowledge of good and evil, noting that the good on that tree was just as deceptive as the evil.

Saved by Faith, Not by Joining
Shaw turns to Paul's teaching in Galatians that believers are saved by faith and live by faith, adding that works will follow faith but a person cannot simply join a club, sign a paper, or be born into generations of a religion and call that salvation. He explains that when Paul wrote of faith he was quoting the Old Testament, since the New Testament did not yet exist, now understood through spiritual eyes after the Savior's coming. Shaw reads Habakkuk 2:4, that the soul which is lifted up in pride is not upright, while the just shall live by faith, which carries no pride. He reads on that a man who transgresses by wine is proud, enlarges his desire like hell, and is never satisfied, gathering all nations and peoples to himself, which he says religions do. Shaw singles out mass cards for the dead in the Catholic church, priced at five, ten, or fifteen dollars, as a never-ending revenue stream he calls worldly insanity.

No Vows Required to Enter His Kingdom
Shaw tells listeners they do not have to join anything to live by the faith of Christ, since a person comes automatically into his kingdom upon choosing him as personal Lord and Savior, with no need to recite ritual words or take vows no one can keep. He singles out the vow of celibacy taken by priests, asking where it appears in the Gospel, which instead tells believers to be fruitful and multiply, and suggests this explains the scale of scandal among clergy. Shaw says he knows he sounds like a voice in the wilderness, but insists he sides with people as human beings because he loves every one of them regardless of their religion. He adds that even those who are deceived were still made and created by his Creator, though they may not realize it, and that it falls to him to pray for them whenever their paths cross his own.

Praying Instead of Judging, Wanting the Thief's Grace
Shaw explains that while he can recognize when someone's deeds, drawn from the list in Galatians 5 of adultery, fornication, and covetousness, show they are headed toward judgment, he will not set himself up as their judge, since he too was once a sinner Christ plucked out of that path. He says he may have to separate himself from such people, even family, but insists there is no bitterness, revenge, or pride in his heart, since no believer has accomplished more than another in God's eyes. Shaw rejects the idea of sainthood elevating certain believers above others, saying all believers are saints in Jesus and that God alone gives out rewards. He says all he wants, and all any Christian should want regardless of religion, is what the thief at the cross received: no baptism, no rituals, no candles, only pain and nakedness, yet a turn toward Jesus that earned him paradise that same day.

The Narrow Road, the Spirit Within, Closing Contact
Shaw closes his teaching by describing one road, the road of the Lamb that leads to the cross, where believers pick up their own cross, deny themselves, and follow a Jesus who lives within them as Father, Son, and Holy Ghost. He recalls that on the cross Jesus was fully man, needing the Father to forgive his accusers, yet on other occasions forgave sins himself, outraging the Pharisees, who asked who he thought he was. Shaw says the kingdom of God is within every believer wherever they are, behind the wheel, hanging drywall, or on a garbage truck, and that Jesus gives the power to overcome sin. He teaches that loving one's neighbor begins with loving God first, warns that cellphones and idol worship can choke the spirit, and urges listeners to hold fast to the spirit inside them before closing with a blessing. The announcer then repeats the ministry's website, a Vero Beach, Florida post office box, a phone number, and the YouTube page.

Tony Alamo

Ep279, How to have God's life living in you part 177

A Hit Man's Confession, Judge McCalla's Prison, and the Marriage Supper of the Lamb

World Pastor Tony Alamo opens program 279 of How to Have God's Life Living in You with free literature offers, teaching on the marriage supper of the Lamb, and a startling testimony about a former hit man who later died of cancer. Co-host Sharon reads listener letters and a passage from Proverbs as Alamo warns against worldly wealth and closes the hour with a spoken sinner's prayer.

Program 279 Opens With Free Offers
World Pastor Tony Alamo opens program 279, part 177 of his series How to Have God's Life Living in You, reminding listeners that CDs, tapes, Bibles, and a Messiah book detailing 333 Old Testament prophecies are all available free, with postage and handling covered. He calls the Messiah book the best witnessing tool for reaching Jews because it puts the Old Testament prophecies in plain language. Alamo says the ministry has produced hundreds of pieces of literature and thousands of tapes, plus a radio program airing at least seven days a week, and he invites listeners to sponsor a station or newspaper to spread the message further. He reminds listeners that tithes and offerings are a commandment, not a robbery of the Lord, and warns against the many programs he says preach a false gospel. He quotes the apostle Paul's warning that anyone preaching a different gospel is accursed, repeating the word twice for emphasis.

The Marriage Supper and a Prison Testimony
Alamo turns to the fourteenth chapter of Luke, describing the invitation to the marriage supper of the Lamb and the excuses people make, buying cars, attending weddings, hosting parties, instead of answering the call. He cites the Lord's warning that anyone who places father, mother, wife, or husband above him is not worthy, and lists sins from Proverbs six, including lying and vain imaginings. Alamo then recounts his own imprisonment, saying prosecutors hid books and records and falsely claimed in court that he had hidden them, a fact he says would have changed the jury's verdict. He describes a six-year sentence of which he served four years plus a half year in a halfway house, and says Judge McCalla in Memphis, Tennessee ignored the evidence when it was later presented. Alamo insists he holds no bitterness toward the Lord for the punishment, saying believers must examine themselves in the Bible as in a mirror rather than blame God.

Liars, a Prayer, and Jack Holcomb's Song
Alamo declares that liars and false accusers worship Satan, the father of all lies, drawing an amen from a woman in the congregation. He introduces the hour's testimonials, Bible readings, and music, praising gospel singer Jack Holcomb for singing with sincerity rather than the drums, horns, or rap styles Alamo calls close to blasphemy before the Lord. He then leads a prayer asking the Holy Spirit to anoint the service, to humble the congregation before God's throne, and to open the stubborn, distracted minds of listeners to the suffering and resurrection of Jesus. He prays that the lost will be saved, the lukewarm drawn close, and the faithful strengthened, closing in Jesus' name to another amen from the congregation. Alamo then introduces Jack Holcomb's recording of Anywhere With Jesus, telling listeners the song means no harm can come to those who go wherever the Lord sends them.

A Hit Man's Confession and a Stolen Church
After the song, Alamo tells of a former hit man named Gary Larison who once came to him trembling, confessing he had planned to kill him with a .357 Magnum before the Lord warned Larison he would die of cancer instead. Alamo says he had the gun thrown into a deep lake, and that Larison was later diagnosed with cancer, saw what he called the death angel in a Los Angeles hospital, and dropped dead on the floor. He says the body was embalmed and returned to Dyer, Arkansas, where the ministry had built a large church that the government later confiscated, which Alamo calls outright thievery rather than legitimate seizure. He says Larison's widow, Vicki, remains in the church and can confirm the story, which he dates to roughly twenty-three or twenty-four years earlier, shortly after the death of his late wife Susie from cancer. Alamo says he remains unafraid because the Lord is always with him.

Power Not Grace, and the Price of Wealth
Alamo teaches that the original scripture describes Jesus arriving with power and truth, not the softened grace of modern translations, insisting the Lord is the most powerful being in the universe rather than a graceful or effeminate figure. He retells the parable of the prodigal son, who demanded his inheritance, squandered it, and returned repentant to his father's house. Alamo connects the parable to the deaths of former President Gerald Ford at ninety-three and singer James Brown at seventy-three, asking what their wealth and position were worth in the end. He also describes Rockefeller surviving only on mother's milk pumped into bottles and tested in a laboratory, and asks what good such riches do without serving God. He urges wealthy listeners, naming Bill Gates, to give at least ten percent to fund evangelism, warning that the end times are near and that people are storing up treasure just as they did in the days of Noah before the flood.

Listener Testimonies and a Sinner's Prayer
Co-host Sharon reads letters describing the ministry's Dry Bones and Place Yourself literature reprinted in the St. Louis Post-Dispatch, the Chicago Tribune, the New York Daily News, and the Arkansas Democrat-Gazette, including a Little Rock woman who once considered Alamo a cult leader but now wants a closer walk with God. Alamo responds by criticizing the Cult Awareness Network and the satanic media for branding true Christians as evil, then defends scriptural marriage customs, citing the Lost Books of the Bible's account of an eleven-year-old Rebekah marrying Isaac. Sharon reads from Proverbs chapter six on the things the Lord hates, prompting Alamo to condemn lying tongues and the shedding of innocent blood through abortion. Alamo closes by leading a spoken sinner's prayer confessing Jesus Christ as the Son of the living God, and Sharon gives the ministry's website, Texarkana post office box, phone, and fax numbers. Alamo signs off as World Pastor Tony Alamo before Jack Holcomb's song Tell It to Jesus plays.