These Pastors Were Sent From The Pit Of Hell! – Hw

in today’s episode nutrient will come I’ll be showing you 10 Nigerian pastors and their evil superpower for me at number 10 is also known as the Apostle of faith is an author televangelist and a senior pastor General overseer Alleluia Ministries International in Johannesburg South Africa who in 2019 a video of him raising a man from the dead inside a coffee went viral if you’re feeling like this is another Lazarus story in the Bible I’m sorry for you guys as I said dead man was alleged to have died on Friday and his body was brought to the

church on Sunday remember that poem that is dead and gone to his grave this man fear God of God after proper investigations were carried out it was revealed that the Lazarus in this story was not dead but was pretending to be dead stop this matters Pastor might received enough heat and lawsuit with clean eye he had no other option than to apologize to the general public for misleading them and confess that the resurrected Lazarus was not dead as at the time he arrived his church to say no confess men don’t they

already pack enough dead body to laugh in George for them to perform enough Resurrection he clever at number nine is Pastor David Elijah after David Elisha chidieberim is the pastor in charge of Grace and power Divine prophetic Ministries Orca anambra State Nigeria who in 2018 supposedly escaped death after gunmen attacked him now the akele based on a shocker of this story is the oga pastor man claimed that he was attacked by armed robbers but the bully couldn’t penetrate his body I know what you’re thinking he’d be like this

one is heaven tested yeah say the bullet no kacham now oga Pastor man drove his car to his church and fainted and this fellow did not report the matter to the police I’ll be police not be this one friend too for wooden shooting car and then shoot them Augusta didn’t fit while driving oh and shockingly nobody was aware when the robbers attacked him according to a report the same Pastor was spotted bring beer before all of a sudden he appeared from nowhere and claimed he was attacked abeka by who is he Mr Beer attack or human being

attacked and he even do Crusade that same day join further investigations carried out it was discovered that this pastor traveled to Malaysia and was picture carried in words of money yeah and one lovely spender super cute he is known to milk his mom bus drive by telling them all sorts of lies in the name of Performing Miracles and doing other prophetic works well done sir we see you from the eye places continue number eight is Pastor Shepherd bushiri so Shepherd bushiri also known as Joe won founder and general of the year of

enlightening Gathering much based in South Africa and she’s in other African countries trying with the Chalet this 100 Year award on top show of winning one show of him for Town experience which was later revealed by his public relations manager that it was a stage Miracle just to gain media attention and no worry you don’t gain I’m Soul like this in another video you could see the pastor performing wonders with his evil superpower where he’s seen talking to a man and he tells the man he doesn’t know his child’s name but has captured the

face in the spiritual realm and asked for a tab where he conjures out of thin air until Airbender superpower away and get the next thing a picture of a little child comes up little did he know that he was all captured on camera while he was performing his fake Miracle he literally double tapped on the gallery option beside the camera button and the picture popped up of the baby well done sir continue I’ve been at the 419 and money laundering charges way government for Saudi what the sum of 120 million South African that is 6.6 million

dollars coming at number seven is Pastor Sunday Adela just Sunday adelaja is a popular Nigerian Pastor who is the founder of one of Europe’s largest churches Embassy of blessed kingdom of God for all nations churches Kiev Ukraine who was involved in an adultery Scandal following an allegation that he had is with me is with you with at least 20 to 30 women in his church hearing this the pastor man denying the claimer said Runner and the one collect the church from my hand exactly time he shall come as evidence tattoo Busta Rhymes from

nowhere as there is no smoke without fire even a section tape follow involved for the matter as evidence joined oga abeg try arrest apparently he is no longer the presiding pastor of the church according to the Russian Union of Christians of Evangelical Faith these people may know then tell oga to go sign up for psychia to get help or you both don’t look this one as local guys sorry sorry don’t cry at number six is Pastor Chris Okafor Pastor Chris Okafor is a Nigerian Pastor televangelist leader and founder of

mountain obligation and miracles Ministry also known as Liberation City who in 2019 was seen in a viral video healing a woman whose arms were wrinkled well fortunately and unfortunately the same woman has been seen in five different churches with the same problem come abek this arm needed you finish and when the video hits the internet Pastor Okafor responded saying he never conducted any fake miracle that rather he retrieved the woman’s missing bone directly from the coven of witches retrieving he dwelled on sir it was

later revealed that the woman in the picture was an actress who got paid by Churches just for fake miracle and she was arrested by the police with accomplished nice one see hustle a play just they play number five is Pastor Solomon oladime Pastor Solomon oladimeji who was a pastor in the trobin and therapy Church in Nigeria confessed in an interview to be a member of the obony fraternity in his statement he said he’s not ashamed to tell the world of his membership in the fraternity as they have been the source of his superpower

okay continue they play just they play we don’t catch on coming on number four is Apostle Johnson Suleiman Apostle Johnson Suleiman is the general overseer and founder of Omega Fire Ministries in Edo State Nigeria who in 2021 was called out by a YouTuber by name Israel balogun they are charges of fake Miracle money according to balogun the Apostle man held two different programs in Benin City and the U.

S respectively and he had instructed the congregation that money had entered their bank account and they should check now from would like to let my bank accounts join too the next thing one or two AOA you can’t they jump jump they shake shake say ammo they don’t face it a lot of money inside the account but upon analyzing the video balogun said nothing like Miracle money the owner scam on top the RNG lifestyle even alleged that the Apostle man members later threatened to kill him over the Matawan Casablanca probably I need to

finish for this life oh number three is Prophet Andrew ijimandu Prophet Andrew ijimandu is a zambian-based Nigerian Prophet popularly known as Prophet sierwan who is the general overseer of Christ’s Freedom Church during one of his Miracle hours vomited money to the Adoration of his church members they vomit food where they are not digest this one day vomit money okay continue they play or is it the instance that he told his church members to lick his shoe to get Deliverance abena the miracle money on way into American Wonder or Miracle

Water with a HIV and AIDS plus get expiring dates join in matatum carrigo police station doing church service on grounds of money laundering offenses this one are regular for police handles as he has been arrested in the past for defiling a minor girl in Zambia [Music] is a self-proclaimed prophet and founding leader of Victory World International Ministries known mostly for claiming that he can call and speak to God Via mobile telephone oga customer care well don’t know we see you from the eye places it’s all right continue this

one don’t they these people I chop Christmas since that you in 2017 he made headlines for claiming to at work on top water yes what is this what is this is this player what kind of plane is this only for him brother to Busta Rhymes and he never worked on top water rather than on top Photoshop then run the Mata there are one or two auau he said in an interview that he resurrected after he died at Birth story for the gods the Gods for me not number one is known popularly as odumejay the lion the fight the indaboski the liquid metal he

is the general overseer of the Mountain of Holy Ghost intervention and Deliverance Ministry this one’s method of healing has ended the title the wrestling Pastor as he is not a preacher of love but the war the fight the indaborski the liquid metal was called out by a former female associate known as Ada Jesus who accused him of being a false prophet and a charlatan whose stage manages his Miracle which he does in WWE Smackdown mana and described him as a money inclined showmaker or for the money and he recently disclosed that his

purpose on Earth has been fulfilled it’d be like this one superpower go soon for background they watch how he go play out

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.