Feminization
ACappella Worship Leaders
Feminization.ACappella.Worship.LeadersHosea.4.End.Emasculated.Priesthood.html
Galatians 5:
I.Wish.They.Would.Go.the.Whole.Way.and.Emasculate.Themselves.html
Worship.Androgyny.The.Pagan.Sexual.Ideal.html
Musical Worship Teams - Effeminate Worship
MuFemin.html
Rubel.Shelly.New.Wineskins.Effeminate.Worship
A cappella worship Leaders or song leader: a cappella singers began as castrated galles quite identical to the emasculated priests of cybele and no wonder that instruments were vital. The falsetto voices of males who sang in the Sistine were quickly replaced by Castratos who had been trained to sing with an "instrumental voice" where women could not sing and instruments were unlawful. Because normal people did not normally make music to male gods, we will show some of the modern parallels to mother Goddes worship as the mother of harlots (Rev 17) where singers and instrumentalists were called sorcerers. Indeed, most singing and musical words prove the driven purpose as to create the spiritual anxiety Jesus died to eleminate in order to collect unlawful tithes and offerings."Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (End of Quasten)
"The trained musicians which eventually appear around the time of David and Solomon mark a distinctive change in the history of Jewish music. Before this time much of the music was made by women." (Zondervan Pict., Music p. 313).
"Before the establishment of the kingdom under Saul, it was the women who, as in every young civilization, played a major part in the performance of music. Such figures as Miriam, Deborah, Jephthah's daughter, and the women hailing the young hero David have become almost archetypes of female musicians.
"Characteristic of all these cases is the familiar picture of a female chorus, dancing and singing, accompanied by frenzied drum-beating. This is the scene known to the entire Near East, and not"even the severe rule of Islam could wholly suppress this age-old practice." (Int Dict of the Bible, Music, p. 457).
"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit.
He found it significant that, on the whole, only women and effeminate men fell into this folly.
Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure,
which satisfied much in the same way that food and drink did.
See the UNIVERSAL effeminate MARK of the musical Worship teams beginning with the Levitical musicians.
See Part Two
A deeper-reaching attempt to explain the significance of the castrato age has been made by Moses (1960) in an interesting paper on the psychology of the castrato voice. He interprets the emergence of this vocal fashion as the fulfillment of an age-old dream wish of bisexual hermaphroditism. Even if one does not follow Moses in some of his somewhat overdrawn conclusions, there is left enough of a solid basis for his theory. Hermaphroditic mythology plays an important part in cultural history. In collections of primitive art one sometimes see sculptures of idols each with female breasts and a penis
Voices mirror not only individual characters but the spirit of a period as well. In this sense the voice of the castrato personifies the bisexual ideal with its unity of a female voice in a man's body. In the mythological atmosphere of the baroque opera the castrato portrayed gods and mythological persons who presented male and female characteristics in a vocal hermaphroditic combination.
In an unfinished book that Paul Moses left at his death he predicted, over ten years ago, quite correctly the approach of another age of crossover of the sexes. The young generation of today favors fashions that obliterate the differences between the sexes. Girls wear pants, and young men sport girlish long hair and wear necklaces and bracelets. The classical love song of the nineteenth century, the love-centered operettas, and the popular songs of the "June-moon" variety of the first half of this century have given way to the harsh rhythms of rock and roll of the unisex generation. And the phoniatrist sees among his patients an increasing number of young adult males who do not use the deep masculine voice that the pubertal growth of the larynx offers but continue to speak in an artificial high pitch of almost female sound. Friedrich S. Brodnitz, M.D.
https://pubs.asha.org/doi/abs/10.1044/jshd.4003.291
CONSISTENT WITH
RESTORING HEBREW ROOTS
CONSISTENT WITH DIONYSUS WORSHIP IMPOSED ON ISRAEL BECAUSE OF MUSICAL IDOLATRY AT MOUNT SINAIDelitzsch on Psalms: Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing. We therefore adopt Perret- Gentil's rendering, chant avec voix de femmes, and still more readily Armand de Mestral's, en soprano; whereas Melissus' rendering, "upon musical instruments called Alamoth (the Germans would say, upon the virginal)," has nothing to commend it.
"Hebrew music... was used in the luxurious times of the later monarchy the effeminate gallants of israel, reeking with perfumes, and stretched upon their couches of ivory, were wont at their banquets to accompany the song with the tinkling of the psaltery or guitar (Am. v1. 4-6), and amused themselves with devising musical instruments while their nation was perishing... music was the legitimate expression of mirth and gladness, and the indication of peace and prosperity." (Smith's Bible Dictionary, Music, p. 590).
Remember that a capella derived from the french singing group imported by the pope to replace the falsettos who were not perfect males performing and dressed and treated like females. The Catholic Encyclopedia notes that it added music because it was common to all pagan cults:
Tympanotriba , ae, m., = tumpanotribês,
I. a taborer, a timbrel-player, a term of reproach for a soft, effeminate person (alluding to the priests of Cybele), Plaut. Truc. 2, 7, 49; cf. tympanum.
T. Maccius Plautus, Truculentus, or The Churl
STRATOPHANES (to PHRONESIUM.) What say you? Why have you dared to say that you love another man?
PHRONESIUM I chose to.
STRATOPHANES Say you so, indeed? I'll first make trial of that. Do you, for the sake of such a shabby present, vegetables, and comestibles, and vinegar-water, bestow your love upon an effeminate, frizzle-pated, dark-haunt frequenting, drum-drubbing debauchee
(608) 7 , a fellow not worth a nutshell?
GETA What new thing's this? Do you dare, you rogue, to speak ill of my master, you spring-head of vice and perjury?6 Is he deranged: "Hariolus." Literally, "a soothsayer," or "diviner." In their prophetic frenzy, these persons often had the appearance of being mad, and were so considered.
7 Drum-drubbing debauchee: "Typanotriba." Literally, "drum," or "tambourine beater." He alludes to the eunuch-priests of Cybele, who used to beat tambourines in her procession-probably in allusion to debauchees, emasculated by riot and dissipation"The story goes that dionysus paid a visit to the house of a horticulturist, Ikarios. He left with this man a vine-plant, telling him that by following the instructions he would be able to extract from the plant an unusual drink. Ikarios planted the vine, harvested the grapes, fermented the liquid exactly as he had been told to.
"He then invited his neighbours over to taste the new wine. The fragrance of the drink amazed them, and before long they were singing its praises.
"Then suddenly the drinkers began to collapse, falling over in drunken stupor. Those left standing accused Ikarios of poisoning them, and they beat him to death and threw his mutilated body into a well.
His daughter hanged herself.
This, according to myth, was the first manifestation of dionysus, benefactor of mankind, giver of good things."dionysus's worship is thus established by the simple means of killing the opposition. It has been suggested that every tragic hero who suffers and dies on stage at the Dionysia, the great dramatic festival at Athens (of the South?), is in fact dionysus himself, being killed."
In the Eleusian mysteries, the wine was not noted for its alcohol but for drugs perhaps from fermented barley [ergo] or from mushrooms used to bring on the exhilaration. Of the priest, it is said that:
"As he performed the service, he intoned ancient chants in a falsetto voice, for his role in the Mystery was asexual, a male who had sacrificed his gender to the Great Goddess. Resource
David wore the ephod or apron and "made himself vile with the girls." His praise is:
H1984 halal haw-lal' A primitive root; to be clear (originally of sound, but usually of color); to shine; hence to make a show; to boast; and thus to be (clamorously) foolish; to rave; causatively to celebrate; also to stultify:--(make) boast (self), celebrate, commend, (deal, make), fool (-ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.
1Chr 13:7 And they carried the ark of God in a new cart out of the house of Abinadab: and Uzza and Ahio drave the cart.
1Chr 13:8And David and all Israel played before God with all their might, and with singing, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets.
H7832 śâchaq saw-khak' A primitive root; to laugh (in pleasure or detraction); by implication to play:--deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.
Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport."The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).
The pagan concept a capela [goat singers]
now incarnated as Acapella has been corrupted to
mean "congregational singing." This paved the
way for the introduction of instruments. As the world is
informed that singing was outlawed for the Qahal, syngogue
or church in the wilderness, and for the ekklesia Jesus
established to rive REST specificially from the professional
burden laders "creating spiritual anxiety through religious
rituals." This and Paul's outlawing of self-pleasure for the
synagogue or school of the Bible in the NOT singing
passages, includes all of the Histrionic or Hypocritc arts.
Singing of human compositions violates the
direct commands of Scripture and approved examples for
almost 400 years. Singing which violates SPEAKING was
intruduced from "Babylon" in the year 373.
Jesus said that worship is in THE NEW PLACE of the human SPIRIT which is the human MIND. Worship happens IN TRUTH according to Paul when we Teach that which has been taught or give heed to the inspired Word.
A Cappella Worship LeaderPaul defined the Orphic and Dionysiac worshippers in Rome: both were highly addicted to vocal and instrumental music to AROUSE the pleasure centers which they TRAFFICKED as the "gods" inside.
Without missing a drop of ink, Paul defined the synagogue in Romans 15. This outlawed the PLEASURING which was sexual and was produced by arousal singing which is always defined as enchantment or sorcery, demanded that they speak with ONE MIND and ONE VOICE and use "that which is written." This was the ONLY way to glorify or worship God, keep the peace of the group and teach others.
Paul defined the gathering or assembly using the SYNAGOGUE words and we know that 'there was no praise service in the synagogue" because it was a SCHOOL OF THE BIBLE.
His UNIQUE worship word was to give heed ot the Words of Christ as the ONLY way to worship God in the new PLACE of the human spirit as commanded by Jesus Christ.
The form of WORSHIP which demands a "mediator" in song or sermon standing in the Holy Place has NO remote connection to Biblical or historical Christianity. It is pagan.ALL external worship is PAGAN and Perverted. See the charismatic connection
Aquinas, Thomas Praise Singing.
Praise Songs as Christian Voodoo
Ancient Pagan Praise Leader
Music as Brainwashing
Latter Rain, praise teams, praise singing, charismatic Praise Teams Ephesians 1
Praise Worship Ploughs the Ground Hosea 10:ll
Rubel Shelly Praise and Thanksgiving
Rubel Shelly Psalm 106
See how CHARISMATIC music was born of sodomy preferably in the form of Pederasty.
See that ZOE is Eos or Helios or Aphrodite or Lucifer: the singing and harp-playing prostitute.
See how it works out when the "children and effeminate rule over you."
See more notes on a cappella.
See Edward Fudge on A CappellaThe ME, Inanna - Ea - Gift of Wisdom and Music
He gave me the art of lovemaking.
He gave me the art of kissing the phallus.
He gave me the art of prostitution.
He gave me the resounding musical instrument.
He gave me the art of song.
He gave me the art of the elder.
He gave me the kindling of strife
A Cappella does not mean "in the Bible style" or "in the synagogue style." A cappella was invented in the late 15th century. It was written for the Sistine Chapel in the Vatican which permitted no instruments. A Cappella is Italian for 'in the church style" meaning "in the Catholic church style." Contrary to singing "with one voice" or the teaching of the Bible commanded by Paul, a cappella was already polyphonic or multipart and was "sacred choral music." Therefore a cappella worship Leaders have no higher authority than the Pope for his own pleasure.
This was intimately associated with the high male soprani as the a cappella worship Leaders who were sexually mutilated to make their effeminate singing voices continue on into manhood. Therefore, A Cappella in the chorus sense was one of the primary scandals of Catholicism.
Therefore, true Biblical "teaching" is not singing but is a larger choir to include everyone. Then, as now, perhaps the secular pope could reject the organ because He knew that it was sinful for "Christ's Vicar" to participate in the music of the lower classes. However, then as now, he could legalistically get around the Word of God by introducing a "musical band" or "worship entertainment" so that even the visible "christ" would not miss the fun from talented castrates.
To understand the New Style worship with New Style Worship you have to read the Greek Classics. The Bacchae and other writers assuredly must have been known by Paul, Peter, Jude, John and others as the MAKE USE OF THEM to warn of the end-time prostitute religion--whatever the sex. Click to see the NEW STYLE GENDER-CONFUSED PSEUDO WORSHIP
"One of the greatest of all Greek dramas, The Bacchae powerfully dramatizes the
........... conflict between the emotional and rational sides of the human psyche.
........... When the people of Thebes deny the existence of the god Dionysos, he punishes them
........... ........... by unleashing the full force of female sexuality,
........... ........... thereby destroying social order and driving them to certain tragedy."During this period the Roman chant school proved the great training ground for future popes and Saint Gregory the Great was among its most illustrious alumni. Besides music, it provided instruction in literature and philosophy and like the Ecclesiastical Academy (papal school of diplomacy) in our own time, served as the great training center of popes and Roman curialists.
A change in the Roman (schola cantorum) came about as a result of the Avignonese papacy or Babylonian Captivity as Luther called it. Whilst living in France the popes engaged French musicians who employed the (ars nova) or new polyphonic style. Pope Gregory XI (1370-1378), born Pierre Roger de Beaufort, bore a blue bend within a border of six red roses on a silver field.
When he ended the Babylonian Captivity by returning the papacy to Rome in 1377, he merged his group of French musicians with the (schola cantorum) which had remained in Rome.
"As a result thereafter the papal singers, called the (collegio dei cappellani cantori della cappella pontificia), now expanded their repertoire to include polyphony as well as plainchant. The fifteenth and sixteenth centuries proved a remarkable period in the choir's history: Its golden age lasted until the mid seventh century. Pope Sixtus IV (1471-1484), a Della Rovere who bore their uprooted golden oak on a blue field, founded the Sistine chapel as the fixed abode for ordinary papal ceremonies and ended the traditional peregrinations of the popes and their retinues to the various stational churches of Rome.
As a result his musicians came to be known popularly after the chapel in which they sang and so became the Sistine choir. The choir was the patronage of music. Galles
The Catholic Encyclopedia on Candles admits that elements such as candles and music was adopted and was common among ALL PAGAN CULT. Therefore, we should look to one of the pagans:
Cybele had early become identified with the Cretan divinity Rhea (ZOE), the Mother of the Gods, and to some extent with Demeter, the search of Cyhele for Attis being compared with that of Demeter for Persephone.
The especial worship of Cybele was conducted by emasculated priests called Galli (or, as in vv. 12 and 34, with reference to their physical condition, Gallæ)
The worship of the Magna Mater, or Mater Idæa, as she was often called (perhaps from identification with Rhea of the Cretan Mt. Ida rather than from the Trojan Mt. Ida), was introduced into Rome in 205 B.C. in accordance with a Sibylline oracle which foretold that
only so could `a foreign enemy' (i.e. Hannibal) be driven from Italy.The early connection of Attis with the Mother of the Gods seems to point to the association of
an original male element with an original female element as the parents of all things. But in the age of tradition Attis appears as a servant instead of an equal,
and the subordination of the male to the female element is further emphasized by the representation of Attis, like the Galli of historic times, as an emasculated priest.
The Lust for Canaan Land
When Israel fell into musical idolatry God turned them over to the worship of the starry host and a law which would control the lawless in Canaan. However, most of the Jewish worship turned directly to Canaanite Baalism.
However, Satan wants you to believe that Canaan Land is the land of honey.
"The term 'ca-na-na-um' was used by the inhabitants as early as 3500 BC (Aubet). The Hebrew "cana'ani" meant merchant, but the original meaning may have come from Akkadian kinahhu - red-colored wool, which may have in turn given their descendents the name Phoenician.
Yea, every pot in Jerusalem and in Judah shall be holiness unto the Lord of hosts: and all they that sacrifice shall come and take of them, and seethe therein: and in that day there shall be no more the Canaanite in the house of the Lord of hosts. Zec.14:21
Kenaaniy (h3669) ken-ah-an-ee'; patrial from 3667; a Kenaanite or inhabitant of Kenaan; by impl. a pedlar (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker.
Kenaan (g3667) ken-ah'-an; from 3665; humiliated; Kenaan, a son of Ham; also the country inhabited by him: - Canaan, merchant, traffick.
Kana (h3665) kaw-nah'; a prim. root; prop. to bend the knee; hence to humiliate, vanquish: - bring down (low), into subjection, under, humble (self), subdue.
Central to the Semitic notion of deity is El, the old fatherly creator god and his consort, Athirat or Asherah. "Both were primordial beings, they had been there always." El, whose name simply meant 'god' was the creator and procreator, overseer of conception, who sired the gods, thus being also called 'Bull El' in continuity with the ancient bull god of fertility. Asherah and El thus form a creation hieros-gamos of male and female, representing the bull and the earth goddess we see emerging from the ancient continuum at Catal Huyuk. El is supposed to have gone out to sea and asked two Goddesses, one presumably being Athirat and the other possibly Anath to choose between being his spouses and being his daughters.
They chose the former. Their offspring are Shaher and Shalem, the morning and evening stars, from which Lucifer, the light-bearer, takes his name.
Lucifer, of course, in later incarnations is Sophia-Zoe.
In the Canaanite myth, a new and possibly Akkadian outsider, whose name is Ba'al Haddad or Lord enters the situation in hated competition with Asherah and her children by El. He is a young, warlike god of wind and thunderstorms and thus fertility itself. Unlike El, he is not judicious, frequently figuring in situations from which he must be saved. In this respect he displays a significant parallel to Dumuzi (Tammuz) among the Mesopotamians, which will prove to be of significance. He also has the hideous attribute of devouring his own children, consistent with infanticide practices of several semitic patron gods. See Tammuz worship by the women at Jerusalem
Initially Ba'al and Anat are members of El's court. Ba'al attacks El by surprise and castrates him, assuming the power of his fertility. In effect, Ba'al becomes the central intermediary of paternal cosmic order ... "it is Ba'al's responsibility to ensure El's benevolent intention is realized", but he does not replace the primal creative power of El.
"Anath was fertilized by the blood of men, rather than semen, because her worship dated all the way back to the neolithic, when fatherhood was unknown and blood was considered the only substance which could transmit life.
Hecatombs of [100] men seem to have been sacrificed to Anath when her image was reddened with rouge and henna for the occasion. Like the Lady of the Serpent Skirt,
Anath hung the shorn penises of her victims on her goatskin apron or aegis." "Anath's capacity to curse and kill made even the Heavenly Father afraid of her. When El seemed reluctant to do her bidding, she threatened to smash his head and cover his grey hair and beard with gore. He hastily gave her everything she asked, saying 'Whoever hinders thee will be crushed' " (Walker 30).
Mark the spot: you are there.
"Into this artificial world came the castrati, who had first gained a place in Italian churches for their 'angelic' voices. Castratos are said to have been the
world's first superstars, because of the great sums paid to them for their singing,
and scheduled engagements that took them to cities across Europe, to please their enthusiastic followers.
"How can we hear their music today, since we have no more castratos to listen to? Well, during the current renaissance in Baroque music, some castrato roles have been carefully recreated by counter-tenors also known as male altos or sopranos. Other musical parts are sung by women who use a natural alto or soprano range,
but adopt a style which attempts to make the music sound
appropriately 'masculine',at least for male roles.
There is much debate as to which is better--but keeping in mind the fact that most early composers wrote 'trouser' roles for women to sing, and that castratos frequently presented women's roles, especially in their youth, it would seem that gender stretching is an original part of this music, and perhaps one reason for its continuing dramatic impact."
Brothers, if I am still preaching circumcision, why am I still being persecuted? In that case the offense of the cross has been abolished. Galatians 5:11
As for those agitators, I wish they would go the whole way and emasculate themselves! Galatians 5:12
The Goddess Cybele (The Sophia - Zoe Usurpation)
"Here, devote to me thy manhood and become one of my faithful dogs! (emasculated priests) I shall be quick, and the cut will be clean!!!" Catullus:
"Oh, Great Goddess, Goddess Cybele, Goddess and Lady of Dindymus! May all your fury be far from my house! Incite others, go! DRIVE OTHER MEN MAD!!!"
Cyprian demands: 2. Nor let any one excuse himself that he himself has given up the theatre, while he is still teaching the art to others. For he cannot appear to have given it up who substitutes others in his place,and who, instead of himself alone, supplies many in his stead; against God's appointment,
instructing and teaching in what way a man may be broken down into a woman, and his sex changed by artNote 1 [In the Sistine Chapel of the Vatican, to the disgrace of the pontifical court, the fine music is obtained by recourse to this expedient, inflicted upon children.]
and how the devil who pollutes the divine image may be gratified by the sins of a corrupted and enervated body.
Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.
http://www.operainfo.org/intermissions/intermissionFeaturesDetails.cgi?id=98&language=1&month=01&year=2005&int_page_id=172But they were never performed that way. Singers in Handel's day were expected to ornament and embellish the music according to their own virtuoso abilities and taste. Pier Francesco Tosi, a retired castrato, wrote a most valuable guide for singers of his day and ours, his Observations on the Florid Song, published just two years before Rodelinda's premiere. Tosi states that while a singer should leave the first section of the aria pretty much as the composer wrote it, the "b" section should be lightly ornamented, and for the da capo...according to Tosi "he that does not vary it for the better is no great Master."
The purpose of the ornamented da capo, or reprise of the "a" section of an aria, was twofold: to allow the singer an opportunity to display his virtuosity and taste, and, perhaps more importantly, to deepen the emotion and sing the music with even greater expression the second time around. Ultimately, the decorated da capo serves a dramatic end, intensifying the message of the music.
Tosi's book makes it clear that the singer should not only embellish the aria in a tasteful and appropriate style, but is expected to improvise such embellishments in performance, and to vary them night after night. Most singers of Baroque opera today rely at least in part on the conductor or a coach to provide them with embellishments, working the ornamentation out in rehearsal. (Sometimes singers even borrow their ornaments from other singers!) But in Handel's day it was part of the singer's training to improvise, and that risk-taking, spontaneous, "what's coming next " quality had a great deal to do with the excitement people felt listening to Handel's operas. Undoubtedly there were musical train-wrecks in those days, when the star castrato would take off and do something dangerously expected, but that was all part of the fun.
http://caliber.ucpress.net/doi/abs/10.1525/jm.2003.20.2.196 PDF http://caliber.ucpress.net/doi/abs/10.1525/jm.2003.20.2.19Faranella http://www.rc.umd.edu/praxis/opera/jones/jones.html"Allegory and metaphor elevated the art over the humdrum of life. The Baroque belittled theatrical realism and dramatic truth as commonplace.
It created the castrato, a creature without sex but with a heavenly voice instead. It saw the emergence of virtuosity
........... which transported the listener into a world of marvels.
........... The Baroque invented sentimental shepherds and shepherdesses
........... ........... with salon manners and salon language.It created melodies with virtuoso ornaments and opera
........... became a theatre in which singing replaced ordinary speech.It invented the wig and female knickers with flounce, lace and ribbons, all of which was to imbue reality with a more poetic character. It created the gallant style and the theory of affections,
which isolated and catalogued human emotions and feelings.
The opera was the most eloquent manifesto of the escape from reality into a better world.See religious drama and music and the sexual context. Yep, that is why it works.
This same Lucian -- who also camped out in courts selling his rhetorical talent -- identifies the piping and strumming with courtesans. The a cappella worship Leaders had a pagan origin:
"The pagans frequently used boys choirs in their worship, especially on festive occasions. This custom may be explained in the first place by the musical qualities of boys' voices; their individuality and beauty, which could not be matched by either men's or women's voices, was greatly valued in antiquity. Thus Lucian of Samosata calls the boy's voice 'perfectly delicate, not so deep as to be called masculine nor so fine as to be effeminate and lacking in power, but falling soft, mild and lovely upon the ear." (Lucian's Imagines 13)
"The chief reason, though, for the participation of boy's choirs in cultic celebrations is to be found in the fact that of the innocence upon the divinity. So it was, as can be seen repeatedly, that 'an innocent boy, whose parents are both still living,' was employed at pagan sacrifices and oracles as a medium between god and man.
"In Delos, at the solemn sacrifices, choirs of boys who danced and sang to the cithara and the flute were always in attendance Quasten, p. 88)
Thomas Aquinas wrote in the 13th Century, "Our church does not use musical instruments, as harps and psalteries, to praise God withal, that she may not seem to Judaize" (Bingham's Antiquities, Vol. 3, page 137).
To further emphasize the view that most more careful Catholic scholars opposed the introduction of instrumental music in worship note the words of Erasmus, a beloved scholar of King Henry VIII of England in the 16th Century:
"We have brought into our churches certain operatic and theatrical music; such a confused, disorderly chattering of some words as I hardly think was ever in any of the Grecian or Roman theatres. The church rings with the noise of trumpets, pipes, and dulcimers; and human voices strive to bear their part with them. Men run to church as to a theatre, to have their ears tickled. And for this end organ makers are hired with great salaries,
and a company of boys, who waste all their time learning these whining tones" (Commentary on 1 Corinthians 14:19).
> Modern a cappella worship Leaders rely heavily upon doo-wop music of the inner cities. It arises out of rock-and-roll which arises from voodoo. The group exists for the "lead singer" and everyone else is background. Consistently, the Catholic church was forced by "culture" to accommodate to the jungle after a total history of official opposition to instrumental music or the equivalent "vocal bands." This culture invasion began in the 1950-1960s.
Clapping was the common Voodoo practice where drums, even in churches, were outlawed.
Hand clapping in the Bible and history was a common way of showing contempt. The Hebrew word severely warns that clapping hands with strangers is a show of derision:
Caphaq (h5606) saw-fak'; (1 Kings 20:10; Job 27:23; Isa. 2:6), saw-fak'; a prim. root; to clap the hands (in token of compact, derision, grief, indignation or punishment); by impl. of satisfaction, to be enough; by impl. of excess, to vomit: - clap, smite, strike, suffice, wallow
For he addeth rebellion unto his sin, he clappeth his hands among us, and multiplieth his words against God. Job 34:37
Make ye him drunken; for he magnified himself against the Lord: Moab also shall wallow in his vomit, and he also shall be in derision. Jeremiah 48:26
Seemingly prophetic of the modern Seeker system, Isaiah wrote:
Therefore thou hast forsaken thy people the house of Jacob, because they be replenished from the east, and are soothsayers like the Philistines, and they please them selves in the children of strangers. Isaiah 2:6
Their land also is full of idols; they worship the work of their own hands, that which their own fingers have made: Isaiah 2:8
The religion of Babylon implicates female musicians as the second oldest profession. Therefore, rather than being "contemporary" or culturally-friendly, they are the oldest "giants" implicated by Jesus as the Jewish temple people:"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Parkes, p. 30).
[Today's sorcerers, still often abnormal, are a product of movements such as PK and their Masculine Journey where sexually-oriented people try to restore your maleness by returning to tribalism. The drum-beat of modern praise songs works because of the inherent Voodoo drum beat. In spite of an almost universal experience, people are deluded into believing that the acting of theatrical performance is an expression of maleness. If history and Hollywood are correct, it is just the opposite. The fact that people would presume to replace the Lord's Table and be "worship leaders" or even mediators or mediatrix to "lead the worshipers into the presence of God is defacto proof of tragic and fatal abnormality."
The Komos or naked dance of the Judas kind gave rise to Comedy as a way to mock the gods.]
"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence
any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,
and many tribes supposed lunatics and sexual deviants to be divinely possessed.Philo cointed the word "enthusiasm" to mean enthus o mania. This was the frenzied excitement made obvious by loud singing, hand clapping (a show of contempt) and the goose-bump feeling of being "spiritual." Paul called it madness or being "outside of self." Don't feel superior if this happens to you because:
"In most early societies, moreover, men evolved techniques for deliberaly inducing the abnormal forms of consciousness in which they supposed themselves to achieve union with divine power, sometimes by the use of drugs and other physiological stimuli, sometimes by hypnotic dances (pacing, hand waving, effeminate movements, shouting) and music. The wild utterances to which they gave vent on such occasions were regarded as the words of a god and were interpreted as divine commands or predictions of future events." (Parkes, p. 32-33).
"Many peoples attributed any violent or unusual emotion to one of the gods as a matter of course; the individual was then no longer held responsiblie for his actions, though the gods were sometimes mischievous or even malevolent and the result might be catastrophic." (Parkes, p. 33).
For instance, the praise or play of Israel at Mount Sinai was musical idolatry. Their "play" was repeated by David when he, in mortal fear, played music, sang and danced around the Ark of the Covenent out of dread that God "lived in the box." David's word of praise agrees with Parkes' definition of ancient and modern praise rituals of sorcery:
Halal (h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.
It is not strange that professional musicians selling their wares as having more spiritual power than the Words of Jesus can unwittingly or half-wittingly name their groups ZOE or HALAL. They are fulfilling prophecy as the ZOE "female instructing principle" was called the BEAST.
"The flash of insight that enabled an individual to achieve an original act of creation, whether in art or in technology, was always mysterious, and for early mankind it could be due only to the intervention of a god. Long after the advent of civilization, in fact, poets continued to believe that they wrote from divine dictation; inventors attributed their discoveries to divine aid." (Parkes, p. 34).
However, when the musicians from the Phillistine High Place caused Saul to be "turned into another man" the meaning is that they "perverted Saul." And later, when David was sent to soothe Saul's insanity it would, very shortly, induce a Satanic spirit into him and turn him into a raving, slobbering mad man:
"in Primitave religion any violent or abnormal emotional state was attributed to the gods and regarded as mystical. Both in the Bible and in Homer there are examples of misleading and catastrophic inspiritation. When Jehovah wished King Ahab to be killed in battle, he put a 'lying spirit' in the mouths of his prophets in order that they might encourage the king to go to war (I Kings, xxii, 22)." (Parkes, p. 33)
Ephraim Syrus On Our Lord notes that Sinai was a test. The Israelites were consummate idolaters in Egypt. However, God gave them one more shot at the Abrahamic Covenant. By removing Moses as a visible "authority figure" He wanted to let them answer their own prayer:
18. But when their heathenism from being inward became open, then Moses also from being hidden openly appeared; that he might openly punish those whose heathenism had revelled beneath the holy cloud which had overshadowed them.
But God removed the Shepherd of the flock from it for forty days, that the flock might show that its trust was fixed upon the calf.
And he was there in the wilderness forty days tempted of Satan; and was with the wild beasts; and the angels ministered unto him. Mark 1:13
While God was feeding the flock with all delights, it chose for itself as its Shepherd the calf, which was not able even to eat.
Moses who kept them in awe was removed from them, that the idolatry might cry aloud in their mouths,
which the restraint of Moses had kept down in their hearts. For they cried: Make us gods, to go before us.19. But when Moses came down, he saw their heathenism revelling in the wide plain with drums and cymbals.
Speedily, he put their madness to shame by means of the Levites and drawn swords.So likewise here, our Lord concealed His knowledge for a little when the sinful woman approached Him, that the Pharisee might form into shape his thought,
........... as his fathers had shaped the pernicious calf.And they made a calf in those days, and offered sacrifice unto the idol, and rejoiced in the works of their own hands. Acts 7:41
Then God turned, and gave them up to worship the host of heaven; as it is written in the book of the prophets (Amos), O ye house of Israel, have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness? Acts 7:42
Yea, ye took up the tabernacle of Moloch, and the star of your god Remphan,
........... figures which ye made to worship them:
........... and I will carry you away beyond Babylon. Acts 7:43Worship of a Spirit God has never taken place except in the PLACE of the human spirit devoted to seeking God through Truth or His word.
The Worship of The starry Host
Gad was not a "prophet of God" but the king's seer. What is a seer? Seers are often grouped with prophets but Gad was to advise the king.Chozeh (h2374) kho-zeh'; act. part. of 2372; a beholder in vision; also a compact (as looked upon with approval): - agreement, prophet, see that, seer, stargazer.
Therefore, what did God command through Gad?
And the Lord spake unto Gad, Davids seer, saying, 1 Chronicles 21:9 [David was not God's religious leader]
Go and tell David, saying, Thus saith the Lord, I offer thee three things: choose thee one of them, that I may do it unto thee. 1 Chronicles 21:10
So Gad came to David, and said unto him, Thus saith the Lord, Choose thee 1 Chronicles 21: 11
Either three years famine; or three months to be destroyed before thy foes, while that the sword of thine enemies overtaketh thee; or else three days the sword of the Lord, even the pestilence, in the land, and the angel of the Lord destroying throughout all the coasts of Israel.Now therefore advise thyself what word I shall bring again to him that sent me. 1 Chronicles 21: 12
Whatever Gad gave David as God's message has no relationship to "spiritual worship" which never has value unless it is free will: one does not go to the electric chair as a spiritual act of worship.
Whatever value this has as a proof-text, I don't want to go through the plague just to get to burn animals and make a loud noise with instruments.
David didn't want to lose power so he choose a plague. In time, God put up his sword:
Then the angel of the Lord commanded Gad to say to David, that
David should go up, and set up an altar unto the Lord in the threshing floor of Ornan the Jebusite. 1 Chronicles 21: 18
........... > And David went up at the saying of Gad,
........... > which he spake in the name of the Lord. 1 Chronicles 21: 19And David built there an altar unto the Lord, and offered burnt offerings and peace offerings, and called upon the Lord; and he answered him from heaven by fire upon the altar of burnt offering. 1 Chronicles 21: 26
And the Lord commanded the angel; and he put up his sword again into the sheath thereof. 1 Chronicles 21: 27
This is an old woodcut showing the Jews worshiping the starry host in Jerusalem.
Astrology is one of the primary methods of obtaining a message from the dead."Manesseh also cultivated star and planetary worship (II Kings 21:3, 5) and the cult of Moloch, an Ammonite deity, whose worship was closely connected with astral divination (Amos 5:25, 26 Acts 7:41-43) and whose ritual was characterized by parents sacrificing their children by compelling them to pass through or into a furnace of fire." (Unger, Merrill, Archaeology and the Old Testament, Zondervan, P. 279)
Amos 5, 6 and 8 defines the musical star worship in Israel but it was also introduced right into the temple in Jerusalem.
See the musical worship of Tammuz by the women in the temple.
"Amos stressed "that violations of the moral law could not be remedied by means of festive rites, offerings, or liturgical indulgence on the part of the sinner. In point of fact, God was already standing beside the altar (Am. 9:1ff), poised and ready to shatter it.
No ritual, however, elaborate and symbolic in nature,
could possibly substitute for the sincere worship of the human spirit,
grounded in high moral and ethical principles." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 895)."The prophets were singularly unimpressed by all this religious busyness. They asserted that the people had abandoned the true God for heathen idolatries and that their much-frequented sanctuaries were sinks of iniquity. Recent archaeological discoveries go a long way towards confirming their condemnation of popular religion. It is significant, for example, that on the ostraca from eighth-century Samaria, the proportion of names compounded with Baal suggests that no less than a third of the population practiced some form of Canaanite religion." (Heaton, E. W., Everyday Life in the Old Testament, Scribners), p. 231).
You have lifted up the shrine of your king, the pedestal of your idols, the star of your god -- which you made for yourselves. -- Amos 5:26
Yea, ye took the tabernacle of Moloch, and the star of your god Raephan, the image of them which ye made for yourselves." Amos 5:26 LXX
"The neighboring gods of Phoenicia, Canaan, Moab--Baal, Melkart, Austerity, Chemosh, Moloch, etch--were particularly attractive to Jerusalem, while the old Semitic calf-worship seriously affected the state religion of the Northern Kingdom...the worship of the sun, moon, stars and signs of the Zodiac became so intensely fascinating that these were introduced even into the temple itself (2 Kit. 17:16; 21:3-7; 23:4, 12; Jet. 19:13; Ezek. 8:16; Amos 5:26)" (It Sty Bible Envy., Idolatry, p. 1448).
What was the nature of the SERVICE of the Levitical sounders? It may not occur to people that the goal of a "praise team" or "musical worship team" is to restore the bondage (worship) they imagine (falsely) existed under the Law of Moses. To load the church with the legalism of "performance" one needs the gifts of the "musicians" who were really tyrants.Grace Centered Magazine promotes the following for Restoration Movement churches. A "team" leader (a Canaanite or trader), Michael Blakley, notes:
2. Clearly define your group's purpose. We went through several stages of trying to define our primary purpose.First, we thought our job was to lead singing.
Then we thought our job was to encourage more of our church to sing.
Finally, we decided upon our third and present focus. As Praise Team members, our job, first and foremost, is to worship God and encourage others to join us in worship.
........... If the rest of the church worships with us, that is great.And if they don't, then we just can't do much about that. You must define your purpose and constantly examine it for validity.
This is the vineyard-like claim that the "musical team" is the mediator between God and man. Furthermore, some claim to be the "platform upon which God lands."
The only defined "worship" words in the New Testament (and Old) mean to "give attendance to reading the Word" or "giving heed to God" in speaking His words one to another.
Music is not an operative "worship" word but was always associated with paganism. Why? Why, because the "worship leader" has clearly confessed to being the "image of a TRUE worshiper flaunting his "crowd control" skills.
"Willow Creek's "central message has nothing to do with drama or music,
........... but rather with the living portrayal of dedicated Christians." Christianity TodayA portrait is an idol.
Because the podium, pulpit and Lord's Supper area are identified as "the holy place" in church architecture, musical praise teams are the "standing in the holy place." Are they claiming to be God? Sure. If Christ as God is our only Mediator, then those who attempt to "mediate" worship to a Spirit God with body worship are claiming that they are God: only God can mediate between mankind and God who is pure or Holy Spirit.
"For 14 months, I talked to our Praise Team about stage presence, taking control of the room, and taking responsibility for the quality of music for our church. But I could not put into words what I wanted and needed them to do for our church on Sundays.5. Bringing in outside help.
Our congregation invited Free Indeed to spend a weekend with us and the results were amazing.
First, from an equipment standpoint, their expertise allowed us to reposition our speakers, get more out of our equipment and fine tune it for each voice and purpose. After you get familiar with your equipment, bring in an outsider that can really give you a checkup and solid advice. You can only learn so much from the school of hard knocks. After that, you need the help of a professional.
Most sound-system engineers know more about vocals and instruments blending together than they do about vocals alone. Do a good job in choosing your consulting engineer.
Second, Free Indeed answered many questions we had been struggling to answer. They worked with our singers for about three hours. Since I am not a singer, I cannot tell you what they did together. But as a listener, I know I hear a huge difference. Free Indeed's visit was worth every penny we spent, and then some.
Look further at this article to see that the vizual programming and end-to-end SONG PRESENTATION is intended to exercise the Lynn Anderson Mind-Manipulation. To deliberately REFUSE TO GIVE YOU A CHANCE TO TAKE YOUR MIND OFF THE TEAM AND PUT IT ON JESYS.
The Catholic Encyclopedia identifies "liturgy singers" as Levitical Musicians. McClintock and Strong, not surprisingly, identify the "leader" or "presenter" as "the first heresy widely pervading the church." This is because with liberty in Christ, the bondage of legalistic praise (superstition) has been destroyed and was defined as "spiritual anxiety created by religious ritual." This is what the new Canaanites who were put out of the church are trying to restore.
IN that day there shall be a fountain opened to the house of David and to the inhabitants of Jerusalem for sin and for uncleanness. Zech 13:1And it shall come to pass in that day, saith the Lord of hosts, that I will cut off the names of the idols out of the land, and they shall no more be remembered: and also I will cause the prophets and the unclean spirit to pass out of the land. Zech 13:2
And it shall come to pass, that when any shall yet prophesy, then his father and his mother that begat him shall say unto him, Thou shalt not live; for thou speakest lies in the name of the Lord: and his father and his mother that begat him shall thrust him through when he prophesieth. Zech 13:3
Ezekiel claimed that these musical prophetes "stole their prophecies from one another." A prophecy is a self-composed song which claims that "these are the words of God" when they are usually contradictory or they would not be needed.
The "prophesiers" were often male prostitutes. The musical performers, although often effeminate, wanted to be remember "as a male." Therefore, of the king/queen of Tyre as a type of Lucifer (ZOE) was a harp-playing prostitute:
At that time Tyre will be forgotten for seventy years, the span of a king's life. But at the end of these seventy years, it will happen to Tyre as in the song of the prostitute: Isa 23:15
Take up a harp, walk through the city, O prostitute forgotten; play the harp well, sing many a song, so that you will be remembered." Isa 23:16
The "praise teams" claim to be models or idols for others to follow in "how to worship" God with the carnal body.
They take over and "stand in the holy place" so that the "audience" has no option but to see, hear, admire or puke at their presumptious arrogance.
Prophesying in the "wounding" sense was like those of Jezebel or those who were given as a sign to Saul: they sang, dance, played instruments and often wounded themselves.
Therefore, the "fountain free" purges the family of Christ of idols usually speaking 'lies" or error through their own self-composed hymns which are also identified as idols.
In addition to being plagued with performers claiming to be God's spokesperson, the people are usually trying to steal the free Words of God (Isaiah 55).
Yea, every pot in Jerusalem and in Judah shall be holiness unto the Lord of hosts: and all they that sacrifice shall come and take of them, and seethe therein: and in that day there shall be no more the Canaanite in the house of the Lord of hosts. zech 14:21
Zechariah also prophesies that after Messiah comes anyone who continued to be a prophesier (musical predicter) would be put to death by his parents. Modern "praise teams" are reincarnations of the prophesiers standing in the high place or holy place in the church.
Yes, the modern Canaanites are also peddlers or merchants of the Lord's Free Word:
Canaan (h3669) Canaan'; partial from 3667; a Canaanite or inhabitant of Canaan; by imp. a peddler (the Canaanites standing for their neighbors the Ishmaelites, who conducted mercantile caravans): - Canaanite, merchant, trafficker.
Canaan (h3667) ken-ah'-an; from 3665; humiliated; Canaan, a son of Ham; also the country inhabited by him: - Canaan, merchant, traffic
Lana (h3665) Cowan'; a prim. root; prop. to bend the knee; hence to humiliate, vanquish: - bring down (low), into subjection, under, humble (self), subdue.
A "Canaanite" was almost identical to the meaning of a "szec, Soothsayer" or prophesier. The "sounding brass and tinkling cymbal" in 1 Cor 13:1 speaks volumes about trying to "speak the tongues of angels."
Clement of Alexandria: Chapter XXVII.-Ham the First Magician.
"For these and some other causes, a flood was brought upon the world, [With chaps. 27-31 compare Homily IX. 3-7. The resemblances are quite close. See also book i. 30, 31.-R.] as we have said already, and shall say again; and all who were upon the earth were destroyed, except the family of Noah, who survived, with his three sons and their wives.
One of these, by name Ham, unhappily discovered the magical act, and handed down the instruction of it to one of his sons, who was called Mesraim, from whom the race of the Egyptians and Babylonians and Persians are descended.
Him the nations who then existed called Zoroaster, [With chaps. 27-31 compare Homily IX. 3-7. The resemblances are quite close. See also book i. 30, 31.-R.] admiring him as the first author of the magic art; trader whose name also many books on this subject exist.
He therefore, being much and frequently intent upon the stars, and wishing to be esteemed a god among them,
began to draw forth, as it were, certain sparks from the stars, and to show them to men, in order that the rude and ignorant might be astonished, as with a miracle; and desiring to increase this estimation of him, he attempted these things again and again, until he was set on fire, and consumed by the demon himself, whom he accosted with too great importunity.
Isn't it humiliating to be led to believe that you are not competent of worshiping God? You need to hire a "trader" to teach you, organize you, worship for you and scold you. The Levitical Legalistic system is the rising mark of the Beast: the worship of "stars" in the "idolatry of talent."
Most of what we call "gospel" music or "Christian music" rose out of the Great American Awakening especially in the 19th century. It had a coded message of the black slave actually achieving victory over "master" through music which is much like "speaking in tongues." The Hammitic race had Nimrod as it "son of the white mother" who created the MUSICAL WORSHIP TEAMS at the towers of Babylon.
Most of the charismatic movement has a strong mind-control beat right out of Voodoo. Furthermore, true males flee from such theatrical performance because it is effeminate and emasculating just as the original slave people turned and conquered the invading Jews.
In the then but now Babylonian system of "worship," the "gods" were represented by the god's agents or priests or preachers KEPT THE SABBATH DAY HOLY. However, the common people were forced to slave to enhance the lives of the priestly class. This is why God demanded absolute rest on the Sabbath because God and His true ministers serve the people:
However, to be LIKE THE NATIONS the Levites were not true "musicians" but "prophesiers" which meant to afflict self or others. Their service was worship in the pagan sense
Abodah (h5656) ab-o-daw'; from 5647; work of any kind: - act, bondage, / bondservant, effect, labour, ministering (-try), office, service (-ile, -itude), tillage, use, work, * wrought
Abad (h5647) aw-bad'; a prim. root; to work (in any sense); by impl. to serve, till, (caus.) enslave, etc.: - * be, keep in bondage, be bondmen, bond-service, compel, do, dress, ear, execute, / husbandman, keep, labouring man), bring to pass, (cause to, make to) serve (-ing, self), (be, become) servant (-s), do (use) service, till (-er), transgress [from margin], (set a) work, be wrought, worshipper.
Because of the huge number of animal carcases to be moved and burned, the Levites along with the porters did hard time on the "rock pile" to do what we lust to do as free people under Christ who has removed the burden.
Remember that God had abandoned Israel to "worship the starry host" even at Mount Sinai as a result of their musical idolatry. Therefore, then and at the end time, people will be under Apollo (Abaddon, Apollyon) who had his musical seeker center at Delphi. He is:
Abaddown (h11) ab-ad-done'; intens. from 6; abstr. a perishing; concr. Hades: - destruction.
Abad (h6) aw-bad'; a prim. root; prop. to wander away, i. e. lose oneself; by impl. to perish (caus. destroy): - break, destroy (- uction), / not escape, fail, lose, (cause to, make) perish, spend, * and surely, take, be undone, * utterly, be void of, have no way to flee.
Canaan, Jerusalem and at the temple was the only place God permitted this like the nation's government to exist. At the musical idolatry at Mount Sinai, the people were labeled "strangers" to the Tabernacle and the newly-assigned clergy. Even at the time of Christ, the common people never "worshiped" in the temple nor came near when sacrifices were made.
All later Jews understood that the only way you could use Hezekiah as proof text would be to return to Jerusalem, rebuild the temple and restore the priesthood and animal sacrifices. Jews are still looking for the almost-supernatural harps to allow the third temple to take place.
Sounding was not "making music" but to signal and warn people: Chacar (h2690) khaw-tsar'; a prim. root; prop. to surround with a stockade, and thus separate from the open country; but used only in the redupl. form chacocer khast-o-tsare'; or (2 Chron. 5:12) chacorer hhats-o-rare'; as dem. from 2689; to trumpet, i. e. blow on that instrument: - blow, sound, trumpeterThe sounding for which the Levites ware selected was the Hebrew:
Shama (h8085) shaw-mah'; a prim. root; to hear intelligently (often with impl. of attention, obedience, etc.; caus. to tell, etc.): - * attentively, call (gather) together, * carefully, * certainly, consent, consider, be content, declare, * diligently, discern, give ear, (cause to, let, make to) hear (-ken, tell), * indeed, listen, make (a) noise, (be) obedient, obey, perceive, (make a) proclaim (-ation), publish, regard, report, shew (forth), (make a) sound, * surely, tell, understand, whosoever [heareth], witness.
The Mark of the Beast
We have a right to try to identify "the mark of the beast" or the mark of Molech as the mortal enemy of God and His Word in many different forms. The star has always been a symbol of the occult and of Satan worship. The star has six angles, six sides, and six points. The image above shows that it was an attempt to symbolize some of the stars which the Jews worshiped. The "wandering stars" could not be fixed and were therefore "superior gods." Saturn is particularly identified with Molech. Ishtar is identified with Venus and her consort--husband-son-was Tammuz worshiped by the women in the Jerusalem Temple and Ishtar or Inanna was worshiped as Easter or the rising sun: the morning star.
The Israelites at Sinai said: "We will not hear any more from God." The sentence to star worship at Sinai was based on the musical idolatry of Egypt, the worship in the temple became musical and numerous passages connect instrumental music to ignoring God or telling Him: "We will not hear any more from you."
The star of David was the star of Molech or other named "gods" which signified the worship of the heavenly bodies. It is significant that we call theatrical performers STARS. Beginning at the Tower of Babel, the superstitious was sold on the idea that the musicians could sing and play you up and down the steps so that you might meet a "god either ascending or descending." Of course, the god's agent, the priest, had a temple at the top with a collection plate. The top of the tower was like a "heliport for the gods." It is significant that "praise" and "dance" teams believe that they can elevate you up into the presence of God and even claim to be "a platform upon which God lands."
It is important to understand that the Jews went in musical procession to the mountain of God to engage in the burning of babies to the beat of musical instruments. They were told that they would get a message from the gods. However, while engaged in musical performance, the story of Amos 5 and 6 is that they were sacrificing their children to the devil. The primary evil was that they allowed musical worship to take away the knowledge of the Word of God.
Of course, these people are ignorant dupes but Satan doesn't need bright people to form "mixed-sex choirs, instrumental music, dress, ornaments and wine" to seduce people away from the Word of God. This is the story of The Book of Enoch. The Islamic tradition is consistent with them all: music as worship is from Satan.
In Islamic Worship, Iblis (SHAYTAAN) said: "What will be my book?" (Shaytan is the name of all devils. Iblis is the one who refused to bow to Adam. Iblis is both female and male)
The Divine Answer came: "Your writing will be to tattoo; your reciting will be poetry; your messengers will be the fortune-tellers and astrologists; your food will be that food on which Bismillaah was not recited; your drink will be alcohol; your truth will be falsehood; you home will be the toilets;
- your net (to ensnare) will be women;
- your muezzin will be the musical instruments,
- and your musjid will be the market-place."
There was no "praise service" in the Synagogue as there was not in the Christian assemblies. The urge to restore instruments flows directly from a wrong grasp of Mount Sinai and the Monarchy as God's "instrument" to carry Israel to Assyrian captivity and death and Judah beyond Babylon as prophesied and fulfilled.
This file references: olan hicks, Michael Blakley, a cappella worship leader, dwaine e. dunning, ray downen, Lee Wilson, 1 chronicles 29:25, Mount Sinai, rising up to play, molech, chiun, remphan, star worship, temple, jerusalem, Jebusite, animal sacrifices, David's instrumental music, golden calf, canaanites, philistine high place, tyre, ben sirach, ecclesiasticus, jewish idolatry, golden calf, hathor, starry host, flaming cherubim, levites, asaph, Jerusalem temple, instrumental music in worship.
Counter added 12.28.04 4:41p 2320 Rev 7.19.07 4299x 9.0.07 4746 10.15.9 8388
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