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      "body": "<center>https://2.bp.blogspot.com/-bpceMxAxfgE/WcGD1il5taI/AAAAAAAAIEg/vUvW-2vAWJgeV_5jNEAI-P3FVBCcTwM-wCLcBGAs/s1600/Foto%2B8.jpg</center>\n\n<center>[FUENTE](http://enrisco.blogspot.com/2017/09/palladium-ballroom.html)</center>\n\n<div class=\"text-justify\">Apreciados y respetados hermanos de Venezuela y el Caribe, hoy deseo compartir con ustedes un tema que demanda alta exigencia emocional, tanto por la identidad con el motivo tratado como por la fascinación que se siente al describirlo.\nHablar de música popular caribeña no es tarea fácil, que Dios me ayude en este propósito, entre otras cosas, por la cantidad de productos a presentar como por el extenso número de  en su gran mayoría desconocidos por las generaciones nacidas en el presente siglo XXI.\n\n<br/>Después de esta introducción, describiremos algunos géneros y ritmos que dan vida a esta interesante historia y su importancia en cada región; nos sumergiremos desde el JAZZ Norteamericano hasta el exquisito SON  cubano, el CHA CHA CHA  de Enrique Jorrín, el MAMBO de Dámaso Pérez  Prado, la BOMBA de Puerto Rico, la PACHANGA de Eduardo Davison, la CHARANGA de Gilberto Valdez, el DANZON cubano, el MERENGUE dominicano y la MURGA de Panamá, sin descartar ni subestimar a la CUMBIA de Colombia y el JOROPO de Venezuela.\n<br/>Comencemos recordando que durante la década de los años 40, la isla de Cuba era el casino más atractivo para la industria del entretenimiento y las apuestas en el Caribe, el famoso TROPICANA recibía diariamente a una clientela distante apenas 90 millas desde La Florida norteamericana, para entonces el máximo esplendor de la esencia musical cubana servía de aliciente para los promotores de tan productiva industria, era la época de la afamada Orquesta Aragón de Cienfuegos, la Orquesta Casino de la Playa, Arsenio Rodríguez “El cieguito de oro”, la Orquesta América y la exitosa Sonora Matancera con su estrella Celia Cruz.\n\nEn el plano individual la semilla del inimaginable futuro de la música caribeña comienza su glorioso germinar, allí surgen figuras como Miguelito y Vicentico Valdez, Enrique Jorrín ( creador del CHA CHA CHA ) Alfredo “ chocolate ”Armenteros, Arturo Sandoval ( excelso trompetista ) Pedrito Hernández,(maestro violinista), Miguelito Cuní, Pio Leyva, Tata Guines y José Fajardo y sus estrellas, solo por mencionar algunos prestigiosos exponentes del género. \nEntretanto, en los Estados Unidos, específicamente en la ciudad de  New York ,ya se destaca la figura del excelente músico cubano Francisco Grillo “ MACHITO” y sus Afrocubans, quien con su muy personal estilo logró una SIMBIOSIS entre los ritmos caribeños y el Jazz americano, así se ganaba la vida y acrecentaba su prestigio entre el entusiasta público de La Gran Manzana.\n\n<center>https://i2.wp.com/www.megalatina.fm/wp-content/uploads/2013/01/TitoPuente_Palladium.jpg?resize=400%2C265&ssl=1 </center>\n<center>[FUENTE](https://www.megalatina.fm/tito-puente-latin-jazz-project/)</center> \n\nEn esos años finales de la década de los 40 ,el sitio por excelencia para bailar y escuchar música en New York era un renombrado local situado en la calle 53, EL PALLADIUM, donde la estrella del momento era MACHITO Y SUS AFROCUBANS, hasta que los emprendedores Mario Bauzá y Federico Pagani contrataron a un joven de Puerto Rico criado en New york llamado TITO PUENTE quien para entonces era líder de su propio grupo LOS PICADILLY BOYS; Puente , músico académico sería considerado en la década del 50 como  “el rey del timbal”. Sin embargo, el auge y categorización del PALLADIUM llegaría al éxtasis con la llegada del artista más emblemático del famoso centro; era PABLO “TITO” RODRIGUEZ, voz, presencia, sabor e identidad con el público.\n\n<center>http://www.barrigaverde.net/files/imagenes/tito%20rodriguez.jpg </center>\n\n<center>[FUENTE](http://www.barrigaverde.net/?q=node/5950)</center> \n\nTito Rodríguez, nacido en Puerto Rico, ya había trabajado con Tito Puente en la Orquesta de José Curbelo, contratados para un “ mano a mano” contra la Orquesta de MACHITO; al correr el tiempo, ni Machito ni Tito Puente con su nueva orquesta pudieron estar a la par del indetenible interprete de mamaguela quien interpretó con su grupo piezas de la PACHANGA  de Eduardo Davison y la CHARANGA de Gilberto Valdez; es justo mencionar que uno de los mejores arreglistas de la Orquesta de Tito Rodríguez  fue el extraordinario tecladista de Puerto Rico Charlie Palmieri.\n\nHasta esta década todo era éxito muy merecido para el esfuerzo de los músicos caribeños en New York y simultáneamente en el cercano México las preferencias musicales las dominaban los cubanos Dámaso Pérez Prado “ el rey del mambo” y Benny Moré “ el bárbaro del ritmo” con su Mata Siguaraya. El contagio de esta excepcional vena musical no se quedó allí, en Venezuela las salas de baile disfrutaban esta corriente musical con arreglos hechos por el dominicano LUIS MARIA FROMETA. BILLO.  Y los arreglos del entusiasta Carlos Landaeta “ pan con queso” y su Sonora Caracas, en Puerto Rico el éxito era indescriptible con el estilo inconfundible de Rafael Cortijo y su combo, mientras que en Colombia el ritmo lo imponía el talentoso Pacho Galán.\n\n1958. Ocurre un hecho circunstancial y enriquecedor para la música caribeña en Norteamérica. el afamado flautista José Fajardo “ y sus estrellas” viaja desde Cuba a una presentación privada en honor del entonces candidato presidencial John FitzGerald Kennedy, este hecho no pasó inadvertido y Fajardo es inmediatamente contratado para el PALLADIUM, Fajardo contaba con una super banda , un verdadero DREAM TEAM musical, con el vinieron CHOCOLATE ARMENTEROS( trompetista de excepción) TATA GUINES ( conga) PEDRO HERNANDEZ Y ELIO VALDEZ(violines). Y el repertorio que embriagó al PALLADIUM se basó en CHARANGAS al estilo de la Orquesta Aragón y Danzones Clásicos.\n\nEs así como llegamos a los años 60, la ebullición caribeña trasciende las fronteras, New York dicta la pauta y los artistas cubanos y de Puerto Rico son cada vez más admirados y requeridos en las exigentes plazas del caribe, Venezuela y Colombia, desde México hasta el Perú los músicos de New York viajan una y otra vez a deleitar a los exigentes melómanos de Venezuela, Colombia y Lima , allí estaban la SONORA MATANCERA, FAJARDO Y SUS ESTRELLAS, JOHNNY PACHECO, TITO PUENTE, TITO RODRIGUEZ, Todos, Todos queridos lectores , compartiendo y sembrando las semillas que dieron vida a los triunfadores del siglo XXI . TODOS, de New York para el mundo.\n\n1963. TITO RODRIGUEZ actúa en Venezuela y su particular instinto le lleva a cambiar radicalmente su estilo y de vuelta a New York comienza una impresionante y exitosa etapa como BOLERISTA, Brillante pero jamás igual a sus éxitos en el PALLADIUM.\n\n1964. CIERRE DEL PALLADIUM.\t\nCrisis General, la prohibición a la venta de licores decretó también el inminente cierre del PALLADIUM y  la desaparición de muchos sueños y proyectos para la colonia musical que hacia vida en La Gran Manzana.\nMachito, todavía en el ambiente, volvió al Jazz y a su cautivo público norteamericano, TITO PUENTE siguió sobreviviendo hasta la llegada de su SALVACION. Lupe Victoria Yoly Raymond. “LA LUPE”.\n\n### Esta historia continuará……\n\nAsí finalizamos esta entrega musical donde solo aspiramos llegar a la sensibilidad de buena parte de los buenos melómanos latinoamericanos y Newyorkers, con la esperanza de mostrar algo sobre la vida y obra de aquellos grandes e inolvidables PIONEROS.</div>",
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      "body": "<center![](https://cdn.steemitimages.com/DQmViHnv85soxBucaqYpSBkeRKbhPx1UUQ6GvTQdHnEYCU3/image.png).</center> \n\n\n<center>[Source](http://www.correodelorinoco.gob.ve/wp-content/uploads/2017/10/Swing-Latino-El-Palladium-se-apoder%C3%B3-de-la-UCV.jpg)</center> \n\n\n<div class = \"text-justify\"> Dear brothers and sisters of Venezuela and the Caribbean, today I want to share with you a topic that demands high emotional demand, both for the identity with the motive and for the fascination that is felt when describing it. .\nTalking about Caribbean music is not an easy task, that God help me in this purpose, among other things, for the quantity of products to be presented as well as for the large number of protagonists, mostly unknown by the generations born in the 21st century. .\n\n\nAfter this introduction, we will describe some genres and rhythms that give life to this interesting story and its importance in each region; We will dive from the North American JAZZ to the exquisite Cuban SON, the CHA CHA CHA by Enrique Jorrín, the MAMBO from Dámaso Pérez Prado, the BOMBA from Puerto Rico, the PACHANGA from Eduardo Davison, the CHARANGA from Gilberto Valdez, the Cuban DANZON, the Dominican MERENGUE and the MURGA of Panama, without discarding or underestimating the CUMBIA of Colombia and the JOROPO of Venezuela.\n\n\nLet's start by recalling that during the decade of the 40s, the island of Cuba was the most attractive casino for the entertainment industry and betting in the Caribbean, the famous TROPICANA received daily a distant clientele just 90 miles from Florida North American, for then the maximum splendor of the Cuban musical essence served as an incentive for the promoters of such a productive industry, it was the time of the famous Orquesta Aragón de Cienfuegos, the Casino Orchestra of the Beach, Arsenio Rodríguez \"El cieguito de oro\", the Orquesta América and the successful Sonora Matancera with its star Celia Cruz.\n\n\nOn the individual level the seed of the unimaginable future of Caribbean music begins its glorious germination, there emerge figures like Miguelito and Vicentico Valdez, Enrique Jorrín (creator of the CHA CHA CHA) Alfredo \"chocolate\" Armenteros, Arturo Sandoval (excellent trumpeter) Pedrito Hernández , (violin master), Miguelito Cuní, Pio Leyva, Tata Guines and José Fajardo and their stars, just to mention some prestigious exponents of the genre.\n\n\nMeanwhile, in the United States, specifically in the city of New York, the figure of the excellent Cuban musician Francisco Grillo \"MACHITO\" and his Afrocubans, who with his very personal style achieved a SYMBIOSIS between Caribbean rhythms and American Jazz, stands out. , thus he earned his living and increased his prestige among the public enthusiast of The Big Apple.\n                                                                                   <center>   ![](https://cdn.steemitimages.com/DQmWfE56gUR95Umsg3cJo81f6xKTo91pRa4MFL8qn3iePnV/image.png  .</center>                                                     \n<center>[Source]                                                                                   <center>   ![]In those final years of the decade of the 40s, the place par excellence to dance and listen to music in New York was a renowned place located on 53 street, EL PALLADIUM, where the star of the moment was MACHITO AND ITS AFROCUBANS, until enterprising Mario Bauzá and Federico Pagani hired a young man from Puerto Rico raised in New York called TITO PUENTE who by then was leader of his own group LOS PICADILLY BOYS; Puente, an academic musician would be considered in the 50s as \"the king of the kettledrum\". However, the rise and categorization of PALLADIUM would reach ecstasy with the arrival of the most emblematic artist of the famous center; it was PABLO \"TITO\" RODRIGUEZ, voice, presence, flavor and identity with the audience.\n\n\nTito Rodríguez, born in Puerto Rico, had already worked with Tito Puente in the José Curbelo Orchestra, hired for a \"mano a mano\" against the MACHITO Orchestra; as time went on, neither Machito nor Tito Bridge with their new orchestra could be on with the unstoppable singer of \"mamaguela\" who played with his group pieces of the PACHANGA by Eduardo Davison and the CHARANGA by Gilberto Valdez; It is fair to mention that one of the best arrangers of the Tito Rodríguez Orchestra was the extraordinary Puerto Rican keyboardist Charlie Palmieri.\n<center> ![](https://cdn.steemitimages.com/DQmcspdqBSsCTGBZ3YTxsKGUeJkSYSfhZoj8PruqhDyyMGL/image.png).</center> \n\n<center>[Source](http://ladiferenciasalsera.com/wp-content/uploads/2016/02/Tito-Rodriguez.jpg)</center> \n\n\nUntil this decade everything was a well deserved success for the effort of the Caribbean musicians in New York and simultaneously in the near Mexico the musical preferences dominated the Cubans Dámaso Pérez Prado \"the king of the mambo\" and Benny Moré \"the barbarian of the rhythm\" with his Mata Siguaraya. The contagion of this exceptional musical vein did not stop there, in Venezuela the dance halls enjoyed this musical stream with arrangements made by the Dominican LUIS MARIA FROMETA. \"BILLO\". And the arrangements of the enthusiastic Carlos Landaeta \"bread with cheese\" and his Sonora Caracas, in Puerto Rico the success was indescribable with the unmistakable style of Rafael Cortijo and his combo, while in Colombia the rhythm was imposed by the talented Pacho Galán.\n\n\nSomething circumstantial and enriching happens for Caribbean music in North America. In 1958 the famous flautist José Fajardo \"and his stars\" travels from Cuba to a private presentation in honor of the then presidential candidate John FitzGerald Kennedy, this fact did not go unnoticed and Fajardo is immediately hired for the PALLADIUM, Fajardo had a super band, a true musical DREAM TEAM, with the came CHOCOLATE ARMENTEROS (trumpet player of exception) TATA GUINES (conga) PEDRO HERNANDEZ AND ELIO VALDEZ (violins). with a select repertoire that immediately intoxicated the PALLADIUM based on CHARANGAS in the style of the Orquesta Aragón and the seductive Classical Danzones.\n\n\nThis is how we came to the 60s, the Caribbean boom transcends borders, New York dictates the pattern and the Cuban and Puerto Rican artists are increasingly admired and required in the demanding squares of the Caribbean, Venezuela and Colombia, from Mexico to In Peru New York musicians travel again and again to delight the demanding music lovers of Venezuela, Colombia and Lima, there were SONORA MATANCERA, FAJARDO AND HIS STARS, JOHNNY PACHECO, TITO PUENTE, TITO RODRIGUEZ, All, All dear readers , sharing and sowing the seeds that gave life to the victors of the 21st century. ALL, from New York to the world.\n\n\n1963. TITO RODRIGUEZ acts in Venezuela and his particular instinct leads him to radically change his style and back to New York he starts an impressive and successful stage as a BOLERIST, Brilliant but never equal to his successes in the PALLADIUM.\n\n\n1964. CLOSURE OF THE PALLADIUM.\nGeneral Crisis, the prohibition on the sale of liquors in 1964 also decreed the imminent closure of the PALLADIUM and the disappearance of many dreams and projects for the musical colony that made life in the Big Apple.\nMachito, still in the environment, returned to the Jazz and his captive American public, TITO PUENTE continued to survive until the arrival of his SALVATION. Lupe Victoria Yoly Raymond. \"LA LUPE\".\n\n\nThis story will continue......\n\nThis is the end of this musical release where we only aspire to reach the sensibility of a good part of the good Latin American music lovers and of The Big Apple with the hope of showing something about the life and work of those great and unforgettable PIONEERS. </ Div>",
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      "body": "<center![](https://cdn.steemitimages.com/DQmViHnv85soxBucaqYpSBkeRKbhPx1UUQ6GvTQdHnEYCU3/image.png).</center> \n\n\n<center>[Source](http://www.correodelorinoco.gob.ve/wp-content/uploads/2017/10/Swing-Latino-El-Palladium-se-apoder%C3%B3-de-la-UCV.jpg)</center> \n\n\n<div class = \"text-justify\"> Dear brothers and sisters of Venezuela and the Caribbean, today I want to share with you a topic that demands high emotional demand, both for the identity with the motive and for the fascination that is felt when describing it. .\nTalking about Caribbean music is not an easy task, that God help me in this purpose, among other things, for the quantity of products to be presented as well as for the large number of protagonists, mostly unknown by the generations born in the 21st century. .\n\n\nAfter this introduction, we will describe some genres and rhythms that give life to this interesting story and its importance in each region; We will dive from the North American JAZZ to the exquisite Cuban SON, the CHA CHA CHA by Enrique Jorrín, the MAMBO from Dámaso Pérez Prado, the BOMBA from Puerto Rico, the PACHANGA from Eduardo Davison, the CHARANGA from Gilberto Valdez, the Cuban DANZON, the Dominican MERENGUE and the MURGA of Panama, without discarding or underestimating the CUMBIA of Colombia and the JOROPO of Venezuela.\n\n\nLet's start by recalling that during the decade of the 40s, the island of Cuba was the most attractive casino for the entertainment industry and betting in the Caribbean, the famous TROPICANA received daily a distant clientele just 90 miles from Florida North American, for then the maximum splendor of the Cuban musical essence served as an incentive for the promoters of such a productive industry, it was the time of the famous Orquesta Aragón de Cienfuegos, the Casino Orchestra of the Beach, Arsenio Rodríguez \"El cieguito de oro\", the Orquesta América and the successful Sonora Matancera with its star Celia Cruz.\n\n\nOn the individual level the seed of the unimaginable future of Caribbean music begins its glorious germination, there emerge figures like Miguelito and Vicentico Valdez, Enrique Jorrín (creator of the CHA CHA CHA) Alfredo \"chocolate\" Armenteros, Arturo Sandoval (excellent trumpeter) Pedrito Hernández , (violin master), Miguelito Cuní, Pio Leyva, Tata Guines and José Fajardo and their stars, just to mention some prestigious exponents of the genre.\n\n\nMeanwhile, in the United States, specifically in the city of New York, the figure of the excellent Cuban musician Francisco Grillo \"MACHITO\" and his Afrocubans, who with his very personal style achieved a SYMBIOSIS between Caribbean rhythms and American Jazz, stands out. , thus he earned his living and increased his prestige among the public enthusiast of The Big Apple.\n                                                                                   <center>   ![](https://cdn.steemitimages.com/DQmWfE56gUR95Umsg3cJo81f6xKTo91pRa4MFL8qn3iePnV/image.png  .</center>                                                     \n<center>[Source]                                                                                   <center>   ![]In those final years of the decade of the 40s, the place par excellence to dance and listen to music in New York was a renowned place located on 53 street, EL PALLADIUM, where the star of the moment was MACHITO AND ITS AFROCUBANS, until enterprising Mario Bauzá and Federico Pagani hired a young man from Puerto Rico raised in New York called TITO PUENTE who by then was leader of his own group LOS PICADILLY BOYS; Puente, an academic musician would be considered in the 50s as \"the king of the kettledrum\". However, the rise and categorization of PALLADIUM would reach ecstasy with the arrival of the most emblematic artist of the famous center; it was PABLO \"TITO\" RODRIGUEZ, voice, presence, flavor and identity with the audience.\n\n\nTito Rodríguez, born in Puerto Rico, had already worked with Tito Puente in the José Curbelo Orchestra, hired for a \"mano a mano\" against the MACHITO Orchestra; as time went on, neither Machito nor Tito Bridge with their new orchestra could be on with the unstoppable singer of \"mamaguela\" who played with his group pieces of the PACHANGA by Eduardo Davison and the CHARANGA by Gilberto Valdez; It is fair to mention that one of the best arrangers of the Tito Rodríguez Orchestra was the extraordinary Puerto Rican keyboardist Charlie Palmieri.\n<center> ![](https://cdn.steemitimages.com/DQmcspdqBSsCTGBZ3YTxsKGUeJkSYSfhZoj8PruqhDyyMGL/image.png).</center> \n\n<center>[Source](http://ladiferenciasalsera.com/wp-content/uploads/2016/02/Tito-Rodriguez.jpg)</center> \n\n\nUntil this decade everything was a well deserved success for the effort of the Caribbean musicians in New York and simultaneously in the near Mexico the musical preferences dominated the Cubans Dámaso Pérez Prado \"the king of the mambo\" and Benny Moré \"the barbarian of the rhythm\" with his Mata Siguaraya. The contagion of this exceptional musical vein did not stop there, in Venezuela the dance halls enjoyed this musical stream with arrangements made by the Dominican LUIS MARIA FROMETA. \"BILLO\". And the arrangements of the enthusiastic Carlos Landaeta \"bread with cheese\" and his Sonora Caracas, in Puerto Rico the success was indescribable with the unmistakable style of Rafael Cortijo and his combo, while in Colombia the rhythm was imposed by the talented Pacho Galán.\n\n\nSomething circumstantial and enriching happens for Caribbean music in North America. 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ALL, from New York to the world.\n\n\n1963. TITO RODRIGUEZ acts in Venezuela and his particular instinct leads him to radically change his style and back to New York he starts an impressive and successful stage as a BOLERIST, Brilliant but never equal to his successes in the PALLADIUM.\n\n\n1964. CLOSURE OF THE PALLADIUM.\nGeneral Crisis, the prohibition on the sale of liquors in 1964 also decreed the imminent closure of the PALLADIUM and the disappearance of many dreams and projects for the musical colony that made life in the Big Apple.\nMachito, still in the environment, returned to the Jazz and his captive American public, TITO PUENTE continued to survive until the arrival of his SALVATION. 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      "body": "<center>http://iebcalvario.org/wp-content/uploads/los-ultimos-dias-de-jesus-en-el-mundo.jpg</center>\n<center>[Source](http://iebcalvario.org/los-ultimos-dias-de-jesus-en-el-mundo)</center> \n\n<div class=\"text-justify\">\n\"Happy are those who hunger and thirst for righteousness, for they will be satisfied.\"  (Mt: 5,6)\n\nFrom the time of imperial Rome the peoples of present-day Europe and the Middle East stoically suffered the power of whip and steel over the survivors favored with slavery. One hundred years after Augustus, the great emperor, one of those peoples, the Jewish people, the children of Abraham woke up and in their uncertain destiny the cry of the helpless, full of faith, full of hope, hungry for bread and words, was felt , thirsty for justice.\n<br/>\nThus came Jesus of Nazareth, the fisher of men, to carry the message of God the Father to a desperate, submissive and unbelieving people, a people that needed to \"SEE TO BELIEVE\" and accept with resignation and blind euphoria the decision of Pilate when condemning Jesus to the maximum sacrifice.\n\n<center>![](https://steemitimages.com/DQmZKy5oVnPjx3KArPwuN4LN5GUfKTzsfmGmErnuZ3PDCrq/image.png)   </center>\n\n<center>[Source](https://www.lds.org/bible-videos/videos/jesus-is-condemned-before-pilate?lang=spa#gallery=img-4)</center> \n\nPilate, less arrogant but more powerful, did with the Jews what Ramses did not manage to do with Moses and his people on the road to liberation. Moses was more fortunate but Jesus was more glorious, his sacrifice, his sweat, blessed sweat with which he blessed Simon of Cyrene, his three falls under the weight of the Holy Wood, his waste of piety before the women who shared his pain and suffering. shows infinite mercy towards those who defamed him, sold him and martyred him are the greatest sign of humility and love towards a people that once again had to \"SEE TO BELIEVE\", BELIEVE IN THE GREAT POWER OF THE FATHER, THE SON AND THE SPIRIT Holy.</div>\n\n<center>![](https://steemitimages.com/DQmTG4pb3Yn7kG7gESjKxxrAVjEccomNTcLhNYf2Ai13spM/image.png)   </center>\n<center>[Source](http://compartiendoporamor.blogspot.com/2015/03/jesus-camino-al-calvario.html)</center>\n\n\n## Today, dear brothers of Steemchurch, I offer you my thoughts in this simple and meaningful sonnet. \n\n<center>MERCY.</center>\n\n<center>JESUS ​​THE NAZARENE OPENED THE ARMS\nIN THE MIDST OF PAIN AND SUFFERING\nTHE MULTITUDE WATCHED GOD IN HIS TORMENT\nAND GOD PRAYED TO HEAVEN CABIZBAJO\n\nHIS SORRY VOICE TO HEAVEN WAS GOING UP\nWIDOWING A PRAYER THAT NOBODY OWE\nFORGIVE THEM, LORD, ONLY DECIDE\nBECAUSE THEY DO NOT KNOW WHAT THEY ARE DOING.\n\nTODAY WHICH DIMAS JESUS ​​I AM COMING TO ASK YOU\nPEACE FOR THE CENTURION YOU DISCOVERED\nAND A LITTLE OF YOUR CROSS TO HELP YOU\n\nI DO NOT HAVE WILL TO FOLLOW YOU\nMORE I WILL FIND THE WAY TO SERVE YOU\nFOR THE INFINITE GRACE OF WORSHIPING.</center>",
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      "body": "This is so awesome to know. I am glad that you refer to the words expressed by our leader Steemchurch Apostol @darlenys01, their strength, transparency and faith in such a noble project show that you only need to \"want to do\" before of \"can do\". Thanks for sharing",
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      "body": "---\n\n<div class=\"text-justify\">Fraternal greetings to my beloved brothers in the faith and companions of our blessed Steemchurch Venezuela.\nDuring my first years of marine training, a wise teacher taught us a phrase that changed the way of thinking of many students in our incipient stage of learning, that phrase reads: \"VISION WITHOUT ACTION IS DREAM AWAKEN, ACTION WITHOUT VISION IS A NIGHTMARE \"\n\n<center>![IMG-20180514-WA0017.jpg](https://steemitimages.com/DQmWtHxJZzMiMPQUm5TsPTnMGEvq4VbdfLHggup9wyHWEUv/IMG-20180514-WA0017.jpg)</center>\n\nOn the night of May 11th, that wonderful and magical night at the Hotel Maremares de Lechería, I could understand and verify the validity of that instructive thought, after the meeting I related the prophetic vision of our maximum @sirknight guide by strengthening with his encouragement and confidence to our blessed Apostle @darlenys01.\nReflection made after the meeting because this is the first time I attend such a profitable meeting.\n\nIt was a providential event what happened that beautiful night, my unexpected invitation was a source of inspiration to write these humble lines, lines of gratitude for those who God put in my way to take me to such a transcendental event where an emotional and experiential message filled with hopes joy to a full audience of expectations before the Good News received.\n\nPersonally I am pleased to refer to the words expressed by our leader Steemchurch Apostol @Darlenis01, their strength, transparency and faith in such a noble project show that you only need to \"want to do\" before of \"can do\".\n\nListening to our leader, we have appreciated the strength of faith in its maximum and simple expression, that faith, converted into TRUST, made more than one of the hearts present in such a blessed encounter throb.\n\nIt is not possible to talk about this unforgettable night without recognizing how fortunate we are to have the privilege of listening to such profound and instructive words, thank God for encouraging messengers as our Leader @Darlenis and thank you Lord for allowing our presence in such a providential meeting .\n\nThe word of God says: \"Ask and you will be given, seek and find, knock and the door will be opened to you, because the one who asks receives, the one who seeks finds, and the door to the one who knocks will be opened\" (Mt. 7.7)\n\nAnother rewarding offering to the attendees was the timely message of our Pastor Emilio Cabrera, my understanding came strengthened and the presence of the Great Power of God flooded my being, the story of Pastor Cabrera about men, about God's creation, made me think in how he, an ordinary man like any of those present, through his experiences taught us how the hand of God touches who wants to be touched and how you can love God and his work by living and sharing a blessed thought \" common and current \".\n\nFrom the bottom of my heart I confess that following the words of Jesus Our Lord: \"give to Caesar what is Caesar's and to God what is God's\" (Mt 22.15,27). Compulsory reflection for the closing of my writing since, certainly, it is necessary to deepen as brothers, as children of God, as recipients of his sacred message. In this meeting, among other things I reasoned that the block chain is not the essence of our effort, but a part of the reality that we have to live, remember that \"not only bread lives man\" but also the stimulating word we receive in the mouth of brothers like Pastor Emilio Cabrera, his emotional message also gave us a bit of \"what is of God\", what is of Cesar, it is not even necessary to give it to him because today in our country, as in other places of God, the Caesars freely and immorally take what is theirs and also what belongs to the people of God. \n\n<center>https://steemitimages.com/DQma12eEGrUD7uvzGsE8TkkiY91hyWV3Q2HeyS95FNZUR1X/IMG_20180511_215014.jpg</center>\n\nI finish my writing thanking God, Steemchurch, @Sirknight and expressing my GOD ALMIGHTY that: \"You do not have to give me because I love you, because although I hope I did not wait, the same as I love you I would love you\".\n\nI finish this delivery giving thanks to all who with their example and enthusiasm give life to this procession of faith called STEEMCHURCH .</div>",
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      "body": "## Te doy la bienvenida a Steemit, @joeconuco21\n\nPara ayudarte en la plataforma, he votado en este post y te estoy siguiendo 🙂.\n\nEn esta red existen varias iniciativas que te ayudarán a crecer. [Puedes verlas presionando aquí](https://steem.place/es/Iniciativas)\n\n¡Te deseamos mucho éxito y que disfrutes estar por aquí!\n\n---\n\n<sub>Este bot fue creado por @moisesmcardona. [Si este comentario te ha parecido útil, vótalo como Witness presionando aquí](https://v2.steemconnect.com/sign/account-witness-vote?witness=moisesmcardona&approve=1)</sub>",
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      "body": "<center> ![](https://steemitimages.com/DQma5rF5eD6GvxLuWuLFic9YjB6RqfkKjELaSTckGsdNfVm/image.png).</center> \n<center>[FUENTE](http://1.bp.blogspot.com/-bH2AVfk-7Q8/T_JbA8KPP7I/AAAAAAAAA9M/xsrBQ2OnmNo/s1600/el-buen-samaritano.jpg)</center> \nFeliz y bendecido día a nuestros hermanos y amigos de Venezuela y el mundo, dando gracias a Dios nuestro Señor, reconforta mi espíritu compartir con ustedes esta reflexiva nota acerca de LA CARIDAD Y LA CONCIENCIA.\n\nResulta sorprendente observar como después de 2000 años recibiendo y repitiendo la palabra del Señor, todavía no vemos con claridad el significado de la expresión CARIDAD.\n\nRevisando la PALABRA DE DIOS encontramos una aleccionadora muestra del verdadero amor, el amor al “prójimo” , que es equivalente a entender, amor a mi hermano, aceptando con convicción el hecho de que “cada hombre es mi hermano”. La muestra en referencia es la parábola del BUEN SAMARITANO.\n\nDesde mi niñez oí de mis mayores un refrán que dice que DEL ARBOL CAIDO TODO EL MUNDO HACE LEÑA, así sucedió cuando ante el hombre caído, golpeado y disminuido , los sacerdotes y levitas pasaron a su lado ignorando su dolor y su soledad; la indiferencia hacia el prójimo fue notoria y sostenida por la actitud hipócrita y descarada de los HOMBRES DE LA LEY.  \nEL BUEN SAMARITANO se cruzó en el camino del hombre caído, lo miró, se compadeció y vio en él al verdadero hermano necesitado de ayuda, de amor, de amor al prójimo.\n\nEn estos días de tribulación y angustia, los hombres, en su afán de considerarse cada vez más autosuficientes caminan lenta e insensatamente hacia el despeñadero de la perdición  como los cerdos endemoniados que expulsó Jesús. Mt.8, 28-34.\nEl hombre actual se niega a escuchar la palabra de salvación, la palabra de amor y perdón que sostiene nuestra fe y da aliento a nuestra esperanza.\n\nRecientemente me tocó vivir una triste y oportuna experiencia que quiero compartir con ustedes:\nEn una de las muy concurridas calles de mi pueblo, vestida de flores e iluminada por la sagrada luz del sol y el alegre canto de los pajaritos, pasaba una humilde mujer ofreciendo entre tímidas sonrisas y paso inseguro, su desigualdad.\nEra un día domingo, de luz y oración y en la acera opuesta un grupo homogéneo de gente sencilla, decente y alegre, con actitud propia de quienes vienen de orar, de ofrecer a Dios su muestra de amor y de humanidad.\n\nLa mujer humilde, al verlos frente a ella, les tiende la mano, la mano angustiosa, la de mendigar, esperando inquieta ver manos piadosas, manos amorosas, manos de rezar ¡\nPero aquel domingo la mano angustiosa no tuvo respuesta ni Samaritano a quien suplicar.\n\n\nEs cierto no es culpa de aquella mujer, si en aquella calle perfumada en flores, entre todos esos piadosos señores, TODOS LA MIRARON Y NADIE LA VIO.\nNo entendieron ellos que LA GLORIA ESTA EN MERECER, LA PAZ QUE DA LA CONCIENCIA TRAS UN RECTO PROCEDER. \n\n<center> ![](https://steemitimages.com/DQmR9DzzNUciBPfu7VcmLakrHzzWaQEWzLXtWiCugFkMirT/image.png).</center> \n\n <center>[FUENTE](http://zetaestaticos.com/cordoba/img/noticias/0/324/324738_1.jpg\n)</center> \nPero cada domingo, bella  pordiosera de rostro inocente y ojos de bondad, pasas por tu calle religiosamente sin dar una muestra de inconformidad.\n\nHoy con estas líneas, aunque no me mire ni escuche mi voz, orando yo pido perdón a ella y Dios,\n\nPorque aquel domingo de trinos y flores por la vieja calle de los soñadores, AL SALIR DE MISA TAMBIEN IBA YO ¡\n\nDIOS LES BENDIGA ¡",
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      "body": "@@ -1686,16 +1686,716 @@\n  28-34.%0A\n-\n \n+Today's man refuses to listen to the word of the Lord, the word of salvation, the word of love and forgiveness that sustains our faith and gives encouragement to our hope.%0A%0A%0ARecently I had to live a sad and opportune experience that I want to share with you:%0AIn one of the very busy streets of my town, street dressed in flowers between the cheerful song of the birds and the sacred sunlight, walked a humble woman offering her shy smile, her insecure step and her bitter inequality.%0A%0AIt was a Sunday, a day of prayer, and on the opposite side walked a homogeneous group of simple, cheerful and decent people, with an attitude of those who came to pray, offering to God his show of love for humanity.\n %0A%0A%0AThe h\n@@ -2633,17 +2633,16 @@\n o beg.%0A%0A\n-%0A\n It is tr\n@@ -3278,16 +3278,17 @@\n faction.\n-\n \n+%0A\n %0AToday w\n",
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      "body": "<center> ![](https://steemitimages.com/DQmet6cSycUpz7KtaDZDj3AThEpCe1PeL1QrQ31KBgBApuv/image.png).</center> \n<center>[Source](https://3.bp.blogspot.com/_VJ6vaOtBREw/TEyAHehvfkI/AAAAAAAAAHY/3Q9KlYBrXnk/s1600/buen_samaritano.jpg)</center> \n<div class=\"text-jus>tify\"\nHappy and blessed day to our brothers and friends of Steem Church, giving thanks to God our Lord, comfort my spirit to share with you this thoughtful note about CHARITY AND CONSCIENCE.\nIt is surprising to see how after 2000 years receiving and repeating the word of the Lord, we still do not see clearly the meaning of the expression CHARITY.\n\n\nReviewing the WORD OF GOD we find an instructive sample of true love, love of \"neighbor\", which is equivalent to understanding, love to my brother, accepting with conviction the fact that \"every man is my brother\". The sample in reference is the parable of the GOOD SAMARITAN.\nFrom my childhood I heard from my elders a refrain that says THAT FROM THE FALLEN TREE ALL THE WORLD WOULD MAKE FIRE, so it happened when before the fallen man, beaten and diminished, the priests and Levites passed by his side ignoring his pain and his loneliness; the indifference towards the neighbor was notorious and sustained by the hypocritical and brazen attitude of the MEN OF THE LAW.\n\nTHE GOOD SAMARITAN crossed paths with the fallen man, looked at him, felt compassion and saw in him the true brother in need of help, of love, of love for his neighbor.\nIn these days of tribulation and anguish, men, in their eagerness to consider themselves increasingly self-sufficient, walk slowly and senselessly towards the cliff of perdition like the demon-possessed pigs that Jesus expelled. Mt.8, 28-34.\n\n\n\nThe humble woman, seeing them in front of her, reaches out her hand, the anguished hand, the one to beg, waiting anxious to see pious hands, loving hands, hands of prayer!\nBut that Sunday the anguished hand had no answer nor Samaritan to beg.\n\n\nIt is true that it is not the fault of that woman, if in that street perfumed in flowers, among all those pious gentlemen, EVERYONE WATCHED IT AND NOBODY SAW IT.<center> ![](https://steemitimages.com/DQmVQ1aeXCetCBZ2cJtr4T2SAA4ddkG43roTfTsLvXScEmT/image.png).</center> \n\n\n<center>[Source](http://www.unjubilado.info/wp-content/imagenes/enero13/pidiendo-limosna.jpg)</center> \n\n\nThey did not understand that THE GLORY IS IN DESERVE, THE PEACE THAT GIVES THE CONSCIENCE AFTER A STRAIGHT PROCEDURE.\nBut every Sunday, beautiful pordiosera innocent face and eyes of kindness, you pass your street religiously without giving a show of dissatisfaction.\nToday with these lines, even if I do not look at myself or listen to my voice, I pray for forgiveness to her and to God,\nBecause that Sunday of trills and flowers in the old street of the dreamers, ALSO GOING OUT OF MASS I GOED TO ME¡. </div>\n\n\nGOD BLESS YOU¡",
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