The.Abomination.Of.Desolation

These ancient documents give specific attention to the female "queen of Heaven" (Eve, Sophia, Zoe, Mary) getting the male god drunk or distracted and stealing the ME or human skills of deception. They are a record of how the seed of Satan hitchhiked on the Ark and immediately began rebuilding the "music city" concept.

"According to the legend, Oannes (Ea) instructed Man how to build cities, to found temples, to compile laws, to survey the lands, and how to grow food. He also taught them mathematics, the sciences, and every kind of art.

"Apollodorus referred to Oannes and the Annedoti as "Musarus." The word "musarus" means "an abomination" in Greek just as "annedoti" means "the repulsive ones." In other words, the creatures credited with founding civilization were frankly described by the ancient Babylonian people, who revered them, as "repulsive abominations." Can this be the abomination of desolation?

"If the tradition had been invented, a more normal attitude would be to glorify these creatures as splendid gods and heroes. Yet the fact that they chose to describe their ancestors this way argues for the authenticity of the account. It was the Babylonian tradition that they owed their knowledge to creatures who came up from the sea who were disgusting and loathsome to gaze upon.

See the Praise Leader from Babylon.
See The Tulsa Workshop

"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.

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 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, H. Bamford, Of God's and Men, p. 32-33).

While displaying one's body in public and performing music may seem, to our society, spiritual, in the Greek world males performing publically was viewed with contempt unless one was a seeker after their product. Among the more masculine part of the "audience" the high, elevated form of singing to replace quiet speaking is truly a will utterance which is vented only after self-love has allowed them to "mount" the podium. The emotional part of society will accept it as "worship." In the Words of Lucian of Samosata these are the "fat heads and simpletons" who can be suduced by a song and a flute.

"Among more sophisticated persons it was recognized that many of the prophets were merely lunatics and that their utterances were misleading; but the popular assumption of divine guidance was not readily abandoned." (Parkes, Henry Bamford, Gods and Men The Origins of Western Culture, p. 106, Knopf)

"Of particular interest is the way that early modern playwrights, music theorists, and theater apologists addressed this conflated language of the "enemy," by echoing the same connections between sexuality and playing found in the most virulent antitheatrical tracts.

"As this paper will demonstrate, by "playing" with the conflated language, these writers defended their art, justifying their existence in a society that was both seduced and repulsed by them. By claiming the polemical antitheatrical language, these players escaped from the ideological margins to which their opponents had tried to relegate them.

Using the artifices of mimesis (imitation) and comedy they pointed out and

defused their opponents' anxieties about music, theater, and sexuality,
creating a space for players in the cultural mainstream."

Remember that the BEAST in Revelation points to PAN the little perverted man with goat's feet. The horns of the Beast are defined as musical instuments symbolized by the pan pipe.

Inanna (Ishtar) stole these and other ME from Ea, the patron god or demon of music:

Descent into the underworld!

Ascent from the underworld!

The art of lovemaking!

The art of kissing the phallus!"

He gave me the holy shrine.

He gave me the holy priestess of heaven.

He gave me the resounding musical instrument.

He gave me the art of song.

He gave me the art of the elder.

See Enoch to see why ten-thousand angels will come to defeat the end-time Babylonian religion (Rev. 18).

Second:

Look at the meaning of words like "serpent" and find that they point to the musical magicians like the Assyrians who were the "tallest trees in Eden" (Ezekiel 31). Look at all of the historical documents which agree with the Babylonian tablets, some of which reach back to the traditional time of the flood, and see how these stories were understood by the Dead Sea Scrolls and Pre- and Post Christian writers. See some of the documents in the first Table by clicking here.

And look at the fact that all of the "musical" concepts and instruments have a very negative, paganistic root word. Even musical people agree that all of the evidence is that instruments are "Satan's instruments." But God saw how powerful they were and adopted them! That is what they say!

Third:

Now stack up the universal testimony that music caused the losses or desolation in many examples in the Bible. Then add the numerous examples which show that instrumental music is both the cause and result of rejecting the testimony of the Word. Then add in the always-ignored fact that instruments (called noise) were only allowed in connection with animal sacrifices; that God excluded the people's congregation when the music and sacrifice began; and that all of the examples are associated with dedicatory or purification rituals. The event such as Elisha's prophecy was a musical provocation along with a command to destroy all of the "lambs" which Ahab and Jezebel's son was trying to "rescue" from Moab. David's first effort was hundreds of years later used by Hezekiah as authority was for a "plague-stopping" ritual. When the temple and officials had been purified, the Levites sang only.

The loss of the Covenant had already been caused by musical idolatry at Mount Sinai.

The laws and the Monarchy were added "because of transgression" to a people whose elders fired God and demanded a king like the nations so that they could worship like the nations. God promised that they would be scattered and die "like the nations."

Until the Monarchy there was no music connected with civil-temple rituals except in all of the pagan nations.

Fourth:

Look at the fact that the king (or queen) of Tyre and of Babylon are seen as agents of Lucifer and that their ability to "take away the key to knowledge" and personal property and liberty is attributed to the "harp song of the prostitute." See that the end-time church will be merged with the ecumenical Babylon Whore of Revelation 18. Both the musicians and harps, as with the literal king/queen of Babylon, will be destroyed.

Fifth: Look at the women lamenting for Tammuz in the Temple

"They worship the sun as a god, and the whole country, for half-a-mile round their town, is filled with great altars dedicated to him. By the dawn of morn they get up and run out of town, to wait the rising sun, to whom, on every altar, there is a consecrated image, not in the likeness of a man, but of the solar orb, framed by magic art.

These orbs, as soon as the sun rises, take fire,

and resound with a great noise, while everybody there, men and women, hold censers in their hands,

and all burn incense to the sun." From all this, it is manifest that the image of the sun above, or on the altar, was one of the recognised symbols of those who worshipped Baal or the sun.

A. R. FAUSSET notes of Ezekiel 8 and of the "Image of Jealousy."

14. From the secret abominations of the chambers of imagery, the prophet's eye is turned to the outer court at the north door; within the outer court women were not admitted, but only to the door. sat--the attitude of mourners (Job 2:13 Isa 3:26).Tammuz--from a Hebrew root, "to melt down." Instead of weeping for the national sins, they wept for the idol.

Tammuz (the Syrian for Adonis), the paramour of Venus (Lucifer), and of the same name as the river flowing from Lebanon; killed by a wild boar, and, according to the fable, permitted to spend half the year on earth, and obliged to spend the other half in the lower world.

"But, as in Egypt, and Rome, and Greece, and almost everywhere else, long before the Christian era, Tammuz had come to be recognised as an incarnation of the Devil,

The Tammuz, musical worship at the temple was certainly the abomination of desolation for that generation.

An annual feast was celebrated to him in June (hence called Tammuz in the Jewish calendar) at Byblos, when the Syrian women, in wild grief, tore off their hair and yielded their persons to prostitution, consecrating the hire of their infamy to Venus;

next followed days of rejoicing for his return to the earth; the former feast being called "the disappearance of Adonis," the latter, "the finding of Adonis."

This Phoenician feast answered to the similar Egyptian one in honor of Osiris.

The idea thus fabled was that of the waters of the river and the beauties of spring destroyed by the summer during the half year when the sun is in the upper heat. Or else, the earth being clothed with beauty, hemisphere, and losing it when he departs to the lower. The name Adonis is not here used, as Adon is the appropriated title of Jehovah.

Then he brought me to the door of the gate of the Lords house which was toward the north; and, behold, there sat women weeping for Tammuz. Ezekiel 8:14 (See the musical connection with Tammuz worship)

Then said he unto me, Hast thou seen this, O son of man? turn thee yet again, and thou shalt see greater abominations than these. Ezekiel 8:15

And he brought me into the inner court of the Lords house, and, behold, at the door of the temple of the Lord, between the porch and the altar, were about five and twenty men, with their backs toward the temple of the Lord, and their faces toward the east; and they worshipped the sun toward the east. Ezekiel 8:16

Then he said unto me, Hast thou seen this, O son of man? Is it a light thing to the house of Judah that they commit the abominations which they commit here? for they have filled the land with violence, and have returned to provoke me to anger: and, lo, they put the branch to their nose. Ezekiel 8:17

Click to look at the connection between the free-standing images, instrumental music and the number 666.

The men at Jerusalem would have been forced to bow to the sun images to the beat of musical instruments. Therefore, this was the abomination of desolation to them.

The branch or Zemowrah is from:
Zamar (h2168) zaw-mar'; a prim. root [comp. 2167, 5568, 6785]; to trim (a vine): - prune.

Zamar (h2167) zaw-mar'; a prim. root [perh. ident. with 2167 through the idea of striking with the fingers]; prop. to touch the strings or parts of a musical instrument, i. e. play upon it; to make music, accompanied by the voice; hence to celebrate in song and music: - give praise, sing forth praises, psalms.

Click to see that MUSIC speaks of the Abominable Branch in battle with the Christ the True Branch in Isaiah 25.

An equivalent word is:

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.

The silingut is a nose flute used by the indigenous peoples of Sarawak. It is used to play music for individual entertainment, but the use of the nose breath attaches a special "magical" and religious significance to it. It used to be played during funeral ceremonies to converse with the dead.

A. R. FAUSSETT In Ezekiel chapter 28 the king of Tyre was Lucifer in the garden of Eden and he/she came equipped with musical instruments:

"every precious stone--so in Eden (Ge 2:12), "gold, bdellium, and the onyx stone." So the king of Tyre was arrayed in jewel-bespangled robes after the fashion of Oriental monarchs. The nine precious stones here mentioned answer to nine of the twelve (representing the twelve tribes) in the high priest's breastplate (Ex 39:10-13 Re 21:14,19-21). Of the four rows of three in each, the third is omitted in the Hebrew, but is supplied in the Septuagint.

In this, too, there is an ulterior reference to Antichrist, who is blasphemously to arrogate the office of our divine High Priest (Zec 6:13).

tabrets--tambourines. (percussion instruments)

pipes--literally, "holes" in musical pipes or flutes. (wind instruments)

And as the king of Tyre (string instruments)

And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isa 23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Isa 23:16

created--that is, in the day of thine accession to the throne. Tambourines and all the marks of joy were ready prepared for thee ("in thee," that is, "with and for thee"). Thou hadst not, like others, to work thy way to the throne through arduous struggles.

No sooner created than, like Adam, thou wast surrounded with the gratifications of Eden. FAIRBAIRN, for "pipes,"translates, "females" (having reference to Ge 1:27), that is, musician-women.

Neqebah (h5347) nek-ay-baw'; from 5344; female (from the sexual form): - female.

Naqab (h5344) naw-kab'; a prim. root; to puncture, lit. (to perforate, with more or less violence) or fig. (to specify, designate, libel): - appoint, blaspheme, bore, curse, express, with holes, name, pierce, strike through.

WOE to them that are at ease in Zion, and trust in the mountain of Samaria, which are named chief of the nations, to whom the house of Israel came Am.6:1KJV

Woe to you who are complacent in Zion, and to you who feel secure on Mount Samaria, you notable men of the foremost nation, to whom the people of Israel come! Am 6:1NIV

Neqeb (h5345) neh'-keb; a bezel (for a gem): - pipe.

Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created. Eze.28:13

Chaliyl (h2485) khaw-leel'; from 2490; a flute (as perforated): - pipe.

And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the Lord, neither consider the operation of his hands. Is.5:12

Therefore mine heart shall sound for Moab like pipes, and mine heart shall sound like pipes for the men of Kir-heres: because the riches that he hath gotten are perished. Je.48:36

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.

Of Topheth (hell) and Tabret or Tambourine: "The Hebrew words are nearly identical; and Tophet was probably the king's 'music grove' or garden, denoting originally nothing evil or hateful. Afterwards it was defiled by idols, and polluted by the sacrifices of Baal and the fires of Molech. Then it became the place of abomination, the very gate or pit of hell." (Smith's Bible Dictionary, p. 960)

"Once the music-grove, where Solomon's singers, with voice and instrument, regaled the king, the court and the city; then the temple of Baal, the high place of Moloch, resounding with the cries of burning infants; then (in symbol) the place where is the wailing and gnashing of teeth." (p. 3313-14, four-volume Smith).

Since the day that your fathers came forth out of the land of Egypt unto this day, I have even sent unto you all my servants the prophets, daily rising up early and sending them: Jeremiah 7: 25

Yet they hearkened not unto me, nor inclined their ear, but hardened their neck:
.they did worse than their fathers. Jeremiah 7: 26

Therefore thou shalt speak all these words unto them;

but they will not hearken to thee:

thou shalt also call unto them;

but they will not answer thee. Jeremiah 7: 27

But thou shalt say unto them, This is a nation that

obeyeth not the voice of the Lord their God, nor receiveth correction:
truth is perished, and is cut off from their mouth. Jeremiah 7: 28

Cut off thine hair, O Jerusalem, and cast it away, and take up a lamentation on high places;
for the Lord hath rejected and forsaken the generation of his wrath. Jeremiah 7: 29

Dowr (g1755) dore; or (short.) from 1752; prop. a revolution of time, i. e. an age or generation; also a dwelling: - age, * evermore, generation, [n-]ever, posterity

For the children of Judah have done evil in my sight, saith the Lord:

they have set their abominations in the house which is called by my name,
to pollute it. Jeremiah 7: 30

And they have built the high places of Tophet, which is in the valley of the son of Hinnom, to burn their sons and their daughters in the fire; which I commanded them not, neither came it into my heart. Jeremiah 7: 31

Here is a picture of the abomination of desolation worshiped with musical instruments and child sacrifice.

Sixth:

Look at Job 21; Isaiah 5; Ezekiel 33 and Amos 5, 6 and 8 to see that music is a cause and sign of people who say "we will not hear any more of God's Word." That is the message of all sermonizing and versifying of human opinion.

"But God turned away and gave them over to the worship of the heavenly bodies. This agrees with what is written in the book of the prophets: "'Did you bring me sacrifices and offerings forty years in the desert, O house of Israel? -- Acts 7:42

Amos also said that they failed:

"You have lifted up the shrine of Molech and the star of your god Rephan, the idols you made to worship. Therefore I will send you into exile' beyond Babylon. -- Acts 7:43

Amos didn't condemn a "bad mental attitude" but:

The sacrifices of the ungodly are abomination to the Lord, for they offer them unlawfully." Prov. 21:27 LXX

Apostolic Constitutions

(4) And He says by Isaiah:

"To what purpose do ye bring me a multitude of sacrifices? saith the Lord. I am full of the burnt-offerings of rams, and I will not accept the fat of lambs, and the blood of bulls and of goats. Nor do you come and appear before me; for who hath required these things at your hands? Do not go on to tread my courts any more. If you bring me fine flour, it is vain:

incense is an abomination unto me: your new moons, and your Sabbaths, and your great day, I cannot bear them: your fasts, and your rests, and your feasts, my soul hateth them; I am over-full of them."

(5) And He says by another: "Depart from me; the sound of thine hymns, and the psalms of thy musical instruments, I will not hear."

Seventh:

Add in the fact that Psalm 41 prophesied that Judas would not triumph over Jesus where "triumph over" means to play instrument and "make a joyful noise."

Add in the Dead Sea Scroll evidence which interprets the "triumph over" of Psalm 41 as trying to "squeeze Jesus in a narrow pass" to panic Him with the sounds of musical instruments, but that He would survive and his instruments would be his own lips and heart. The Dead Sea Scrolls translation points directly to other events where evil people know that they can rule over people with musical instruments easier than with weapons.

There is a parallel to Promise Keepers Stand in the Gap!

Eighth:

Look at the fact that the clergy "piped to try to force Jesus to dance" which would have triumphed over him. With a bit of research discover that the triumph over of Jesus was an attempt to pollute or prostitute Him by forcing him into effeminate worship.

This is consistent with the pre-Christian period of the Greek musicians who were always perverted and perverting. Their Komo or mucial-dance ritual is what they tried to force on Jesus. In the recorded history they are the ones carrying the Judas Bag which was "for carrying the mouthpieces of wind instruments."

For the children of Judah have done evil in my sight, saith the Lord: they have set their abominations in the house which is called by my name, to pollute it. Jeremiah 7: 30

And they have built the high places of Tophet, which is in the valley of the son of Hinnom, to burn their sons and their daughters in the fire; which I commanded them not, neither came it into my heart. Jeremiah 7: 31

Ninth:

While not often translated as "synagogue," the Hebrew word proves that the synagogue was to fulfill God's command for the parents, priests and Levites to teach the revealed Word without "preachifying or versifying" it. The synagogue was not pagan worship center but school. It had no praise service and assuredly no instruments.

Tenth:

Look at Paul whose teaching was in the synagogues because that was where the people were. His condemnation of Corinth implicates musical instruments as equivalent to the frenzied, wine, women and music induced tongues of paganism and instruments of war. Paul speaks eloquently the same sentiment of the Classical writers especially of the Seeker Center of Apollo at Delphi, just up the coast from Corinth. Apollo is Apollyon or Abbadon of the book of Revelation and he will rise again.

Furthermore, he prescribed a form of "teaching" to replace pagan or secular "singing" to eliminates the wine-induced or ignorance-induced singing of paganism out of which they had just been rescued.

The operative word is not "sing" but teach or preach the revealed Words of Christ (or spirit) with the singing and melody being internal. This was also because external melody literally means to "grind something or someone into fine powder." It is equivalent to the SOP Jesus hand-fed Judas. Melody is like the sickening thud or twang of the bowstring which tells you that you have just been "polluted" with an arrow.

Eleventh:

Then assume that all of the early church practices which agree are accurate. Then look at all of the historical scholars for two thousand years who agree 100% as far as I can discover. Then look at all of the denominational groups not influenced by Catholics who agree. Then look at the almost 100% "sowing of discord" created by music. F. Lagard Smith observes that the majority of religious people in the world do not use instruments.

Now, set that against no evidence treated with honesty which reveals a speck of evidence that God can be seduced by music or that mankind can be improved by music.

Musical instruments were often to "call the gods into their temples" or to "regenerate men by external means." All of its uses were very works-intensive and therefore legalistic. Musical teams actually claim that "we are mediators between God and man."

Now, add the fact that you present these facts which I believe can be grasped by anyone who tries, but they are rejected out of hand "spite of hell" to make the "plant" commercially viable and the preacher look good which was always the task of religious musicians. Musicians in paganism and even in Solomon's kingdom were always the "harem of the gods" and the priest was chief agent of the gods.

Then add the fact that musical facilitators actually lie, cheat and steal in order to wrestle the church property away from non-instrumentalists by an infiltrated agent of replacing the Word with "contemporary music" which is highly Voodoo-derived.

So you "blow a trumpet" in the ears of the people and they cannot hear because of their "trumpet quartet" and you have something prophetic and highly mystical. While Matthew may have been speaking of something closer, I believe the pattern is repeated over and over:

Then shall they deliver you up to be afflicted (burdened), and shall kill you: and ye shall be hated of all nations for my names sake. Matthew 24:9

[The affliction or torture of Hebrews 11:35 was by stretching the "hide" of a person an a drum frame and using the "baton" to drum him to death.]

And then shall many be offended (caused to stumble), and shall betray (surrender) one another, and shall hate one another. Matthew 24:10

[Antiochus believed that men would betray one another and take a tiny drop of pig fat into their mouth in order not to be afflicted by being made into a drum.]

He hath made me also a byword of the people; and aforetime I was as a tabret. Job 17:6 [Made into a drum which was to "spit in the face"]

And many false prophets (pseudo or impostor) shall rise, and shall deceive (roam from safety) many. Matthew 24:11

[This alludes to the wandering stars of Jude and the book of Enoch. Musical attempts to silence the word of God is universally attributed to the false prophets inspired by Satan. As usual, they will be the many for whom God will come with ten thousand of His host.]

And because iniquity shall abound, the love of many shall wax cold. Matthew 24:12

[Iniquity means to violate the law. The wandering stars become very extreme in declaring that there are no "laws" of God anymore. This permits people to act as if there were no laws and the more permissive the stars become the more lawlessness there is in the land. They have their hands on the triggers and in the drug vials of the nation. But, for a price, they will fix your marriage up with a few laws. But they are somewhat responsible for the problems they want to fix.

Music and wine drinking go hand in hand to interpret Romans 14 to have Paul endorse their effort. However, Paul spoke to the musical demon agents (chapter 10) and in 14 and 15 contrasted the common Roman Orphic or Dionysus worship with just repeating the Word of Christ.]

But he that shall endure unto the end, the same shall be saved. Matthew 24:13

[The word "endure" promises that the "few" will be despised and rejected of men]

Being rejected by the majority is gospel or good news. It is the only true sign or mark between believers and false prophets who cannot exist without taking the worship due to Christ.

And this gospel of the kingdom shall be preached in all the world for a witness unto all nations; and then shall the end come. Matthew 24:14

When ye therefore shall see the abomination of desolation, spoken of by Daniel the prophet, stand in the holy place, (whoso readeth, let him understand:) Matthew 24:15

Dr. Randall E. Radic notes that: It is generally recognized that three is the number of Deity; that seven is the number of perfection, and that six is the number of mankind. This is because man was created on the sixth day. Commentators note that Goliath was six cubits in height, his spear's head weighed six shekels and he has six pieces of armor. Furthermore, Nebuchadnezzar's dream Image was 60 cubits in height, and six cubits wide and 6 musical instruments are used in its worship.

NEBUCHADNEZZAR the king made an image of gold, whose height was threescore cubits, and the breadth thereof six cubits: he set it up in the plain of Dura, in the province of Babylon. Dan 3:1

That at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Daniel 3:5

In the first century, this referenced to Daniel 9. Messiah was to be cut off in 3 1/2 weeks which would have been in the middle of the seven days or one week or 70 years.

Does it try to reach too far to suggest that in the Catholic cathedral, the pulpit is the most holy place so the altar or Lord's Table is the holy place? Perhaps. However, isn't it a fascinating mystery that musical and theatrical performers often remove the Lord's Table to the back or in the foyer so that the focus is taken off "remembering me" so that the team can stand in the holy place, wave their hands and praise: "Don't' look at me, just look at Jesus." Zounds! Shazam!

See how the Holy Place as a type of the body of Christ and the Most Holy Place as His Head or Spirit where we worship Him in OUR Spirit was strictly off limits. Not among the Jews nor in the vilest pagan temples could the SINGERS and PLAYERS ever enter into the presence of the "gods."

"The Antichrist 'becomes haughty' 'above everyone' 'being called (someone) of' 'God.' (See Robertson's Word Pictures in the New Testament, Vol.IV, pp.50-51.) He is a man who becomes disdainfully proud, arrogant, insolent, and overbearing. He will place himself above God and over everyone else, even those being called someone of God. This was actually the position taken by the Roman Emperor Constantine and many other Emperors. The phrase 'or object of worship' refers to the Antichrist placing himself above even all religious icons and/or structures of worship. The next phrase 'so as himself alone is sitting' refers to the fact that he alone will be seated as an object or deity to be worshiped. [The pulpit and Lord's Table are these icons in most churches]

3. The phrase 'in the most holy place' is translated from the Greek word naon. Naon has been translated as 'temple' but in actuality refers to the 'holy place' or 'sanctuary' rather than to the physical edifice of a temple building. This distinction can be clarified by closely examining the meanings of two different Greek words. One is ieron which derives from the word ieros, meaning 'sacred.' This Greek word denotes the entire physical structure of a temple.

The other Greek word, naos or naon, refers to the sanctuary of a temple, where the deity resided. Peter A. Michas. (It corresponds to the altar of modern day church buildings.)

Here is what they claim as they stand in the holy place:

"We are called to be kings and priests (I Peter 2:9). In this study I would like to focus especially on the priesthood and some of the functions which they were responsible for, as well as how these functions relate to dance particularly in regards to intercession Webster's defines a priest as,

"One authorized to perform the sacred rites of a religion;
especially as a mediatory agent between man and God."

This is singers, dancers and musicians standing in the holy place.

In the Babylonian System to Rise Again (Revelation 18)

"Each of the important deities had, in one or more of the Babylonian cities, a large temple in which he or she was worshiped. Temple services were generally conducted in open courts containing fountains for ablution and altars for sacrifices.

Only the high priest and other privileged members of the clergy and court were permitted to enter the cella, or inner part of the temple,
which held the special statue of the deity.

The needs of the deity were provided for in accordance with impressive ceremonies carried out by a vast institutionalized clergy that included

priests, musicians, magicians, soothsayers, dream interpreters, astrologers, and hierodules (temple slaves or prostitutes). Sacrifices of food, drink, or incense were offered daily. Numerous festivals were held, the most important of which was the celebration of the new year at the spring equinox. [Encarta Encyclopedia]

In the modern church this holy place is the:

Cella: Greek NAOS, in Classical architecture, the body of a temple (as distinct from the portico) in which the image of the deity is housed. In early Greek and Roman architecture it was a simple room, usually rectangular, with the entrance at one end and with the side walls often being extended to form a porch. In larger temples, where the cella is open to the sky, a small temple was sometimes placed within. In the Byzantine architectural tradition the naos was preserved as the area of a centrally planned church, including the core and the sanctuary, where the liturgy is performed.

The Seeker Systems such as Willow Creek claims that their musical performers "central message has nothing to do with drama or music,

but rather with the living portrayal of dedicated Christians."

And Rubel Shelly Claims that the musical worship team can "lead the worshipers into the presence of God."

This is clearly ancient paganism with the claim that the "team" can stand in the holy place as the image of God.

Psalm of solomon VIII

1 Distress and the sound of war hath my ear heard;

The sound of a trumpet announcing slaughter and calamity,
See how the musical clergy "stood in the gap" to defeat Jesus.

2 The sound of much people as of an exceeding high wind,
      ..As a tempest with mighty fire sweeping through the Negeb.

12 They plundered the sanctuary of God,
       as though there was no avenger.

13 They trode the altar of the Lord, (coming straight) from all manner of uncleanness;
       And with menstrual blood they defiled the sacrifices, as (though these were) common flesh.
       [This is women standing in the holy place or liturgy area]

See the Agapae like the Marzeah a feast with and for the dead.

14 They left no sin undone, wherein they surpassed not the heathen.

15 Therefore God mingled for them a spirit of wandering;
       And gave them to drink a cup of undiluted wine, that they might become drunken.

Because false prophets set up a false image in the "holy place" and Jesus lives in the heart or mind by faith. this may be something like the mark of the beast which is associated with Sophia-ZOE as the feminine supremes dominating the male musical worship teams. A mark in the forehead indicates mental or mind control and a mark in the hand indicates taking of power. Seems to fit for me since I don't really expect that Jesus will ride a literal white horse down the streets of literal Jerusalem which is equated to Sodom.

An earlier example of the Abomination of desolation in Daniel begins when the Jews are forced to bow to the sound of instrumental music:

NEBUCHADNEZZAR the king made an image of gold, whose height was threescore cubits, and the breadth thereof six cubits: he set it up in the plain of Dura, in the province of Babylon. Daniel 3:1

90 feet tall 9 feed in diameter. This was one such abomination of desolation. It was a giant penis: a phallic symbol of both male and female power, an Asherah pole or church steeple the mark of civic pride.

Then an herald cried aloud, To you it is commanded, O people, nations, and languages, Daniel 3:4

That at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up: Daniel 3: 5

And whoso falleth not down and worshippeth shall the same hour be cast into the midst of a burning fiery furnace. Daniel 3: 6

Jonathan Clark called my attention to the fact that one of the instruments is missing in one of the four lists of instruments. The word dulcimer is the Greek sumphonia and has been understood in various ways. One meaning is that it represents all of the people and instruments sounding at the same time. You will notice that there are 6 instruments named three times. Not into numeralogy, 3 X 666 is 1998 and then add 5 years to get us to 2003. 1998 plus a seven year period brings us to 2005. Can there be any doubt that churches of Christ and many other groups have gone through its greatest tribulation brought on by the invasion of commercial music artists standing in the holy places claiming to be the mediators between man and God.

3:5

3:7

3:10

3:15

cornet,
flute,
harp,
sackbut,
psaltery,

dulcimer,

cornet,
flute,
harp,
sackbut,

psaltery,

cornet,
flute,
harp,
sackbut,
psaltery, and

dulcimer

cornet,
flute,
harp,
sackbut,
psaltery, and

dulcimer,

The Greek sumphonia is the only "musical" word used in the New Testament. It is applied to a secular party and to the end-time musicians of the Babylonian Harlot system of worship. In these systems, a MAN has normally set himself up above the Word of God and therefore above God Himself. Therefore, as the number of man is 6, any self-seeking or theatrical performance in "worship" is the number of the man: 666

When Jesus was symbolically replaced by the music team as the real, preside-over male and female team playing music, you stood like Daniel in the middle of the Lion's attack and the Chief Lioness' unveiled claws but you "just said no." They stoked up the fires by the charge of racism and sowing discord for just trying to prevent them from lying, cheating and stealing and violating God's Word.

So you know the experience of the Abomination of Desolation.

And you know that in Daniel for hundreds of thousands of the "faithful" only three of their princes refused to bow to the phallic power of which Zoe is the model of the Great Lioness. Most of the Jews merged easily with Babylonian life and never returned to Canaan.

So, when you resist bowing to the powers as they play mind-altering music, just expect to stand alone.

But Paul said that our weapons (instruments) are not carnal or lifeless instruments simply because the battle isn't against the music.

For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. Ephesians 6:12

Wherefore take unto you the whole armour of God, that ye may be able to withstand in the evil day, and having done all, to stand. Ephesians 6:13

Now, let's do a flashback to add meat to the musical attempt to defeat Jesus by musicians "standing in the gap."

The way they cut off Messiah was by the clergy "piping to force Him to dance the effeminate" choral of Dionysus. As a way to triumph over Him they played the instruments or pipes. The clergy was effeminate and corrupt.

Thanksgiving Hymn (1QH)

7

And they, teachers of lies and seers of falsehood,

have schemed against me a devilish scheme,

to exchange the Law engraved on my heart by Thee

for the smooth things which they speak to Thy people.

And they withhold from the thirst the drink of Knowledge, (Amos 5, 6, 8, Isa 5)

and assuage their thirst with vinegar,

that they may gaze on their straying,

on their folly concerning their feast-days (Jubilee, Feast of Tabernacles)

on their fall into their snares.

The instruments [sword or psaltery) also of the churl (withholding instructions) are evil (afflicting): he deviseth wicked devices to destroy the poor with lying (sham) words, even when the needy speaketh right. Isaiah 32:7

Instruments Keliy (h3627) kel-ee'; from 3615; something prepared, i. e. any apparatus (as an implement, utensil, dress, vessel or weapon): - armour ([-bearee]), artillery, bag, carriage, / furnish, furniture, instrument, jewel, that is made of, one from another, that which pertaineth, pot, / psaltery, sack, stuff, thing, tool, vessel, ware, weapon, / whatsoever.

That chant to the sound of the viol, and invent to themselves instruments of musick, like David; Amos 6:5

And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts:

but they regard not the work of the Lord, neither consider the operation of his hands. Is.5:12

But Thou, O God,

dost despise all Satan's designs;

it is Thy purpose that they shall be done

and the design of Thy heart

that shall be established for ever.

9
They have overtaken me in a narrow pass (gap) without escape

And there is no rest for me in my trial.

They sound my censure upon a harp

and their murmuring and storming upon a zither." Ps.41:11

Anguish seizes me

like the pangs of a woman in travail, (John 16:21)

and my heart is troubled within me.

I am clothed in blackness

and my tongue cleaves to the roof of my mouth. (Vermes, 165f)

See the picture here:

Well, Ken You are not Messiah but you have been His witness where witness means "to testify against or protest" in the Old Testament prophecies. In the new testament it means to become a "martyr." Yes, people still emotionally try to make those even today but just witness without placing your body on the burn pile.

We began this process of bearing witness against Northwest church about 3 1/2 years ago. And sure enough, the abominators moved in and put the symbolic presence of Jesus in the foyer right on time.

The Christian church agents decided that they had Jesus in a narrow pass and the booms and clangs you hear are sounds of God executing His wrath upon the agents of the Assyrians who were the "tall trees in Eden" where Eve or ZOE got it all started.

God defined what He would to to the Assyrians as a promise of what He would do to Israel and Judah. In the version which Jesus assuredly read, God asks through Isaiah:

Must ye always rejoice, and go into my holy places continually, as they that keep a feast? and must ye go with a pipe, as those that rejoice into the mountain of the Lord, to the God of Israel Isaiah 30:29 LXX

God often defines the punishment for sin by applying it first to a foreign nation whom Israel imitated. The meaning, however, was that Israel, too, would be destroyed to the beat of instrumental music and be burned up as a million people were at the final temple destruction. The Roman military would have destroyed Judah this way:

and the Lord shall make his glorious voice to be heard and the wrath of his arm, to make a display with wrath and anger and devouring flame: he shall lighten terribly, and his wrath shall be as water and violent hail. Isaiah 30:30 LXX

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX

And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums and with harp. Isaiah 30:32 LXX

And in every place where the grounded staff shall pass, which the Lord shall lay upon him, it shall be with tabrets and harps: and in battles of shaking will he fight with it. Isaiah 30:32KJV

Remember the gospel of Thomas we have been discussing? This "Thomas" who is believed to have been contemporary with Mark has Jesus defining a mystery (He spoke in parables to fool the fools) and demanding:

"Let there be among you a person who understands.
"When the crop ripened, he came quickly carrying a sickle and harvested it.
Anyone here with two good ears had better listen!

Out of million or more in Jerusalem, and out of twelve apostles, Jesus could count on only three. Of course this grew but God set the pattern so don't expect more than a handful to grasp what you are saying. Of the a cappella churches of Christ I am certain that most don't grasp anything beyond being legalistically prohibited from using instruments but lusting to add them to try to aid God in making "the crop ripen and the cash to flow."

So, the world is crazy or we are crazy. I wouldn't make a bet, but unless I am over drugged on coffee and am hallucinating we agree with the overwhelming majority of Biblical and secular evidence but find ourselves--even in conservative churches --like Jesus where the Stand In The Gap people have an ulterior motive.

Look again at the Satanic musical (Judas) on Jesus:

They have overtaken me in a narrow pass (gap) without escape

And there is no rest for me in my trial.

They sound my censure upon a harp

and their murmuring and storming upon a zither." Ps.41:11

Nevertheless, In Victory:

When we praise God it is through Jesus: when we play instruments we try to force Jesus to play instruments. Our worship is spiritual or mental, but instruments try to praise god through a machine.

Jesus said that we should not expect to be able to worship Him in large groups where "loud" is identified as enthusiasm or "god within" but Philo who coined the word meant "enthus o mania" or as Paul would say, insane, mad, beside yourself.

So, you are right in the eye of a mystery hurricane which no human logic can grasp. It is like a black hole and goes beyond anything I have experienced. This gives me confidence that God exists but that, as promised, not for the masses, the good, the beautiful or the talented and especially for the "religious."

So, obey Jesus, just come aside under a shade tree beside still waters because "lambs" cannot feed during the musical sounds of "rushing waters." The laded burden is "anxiety created by religious ritual" but the rest means: "Cool it. Relax. You cannot legalistically work your way into My presence by the ascending and descending thing the wolves label as worship."

They are worshiping a Christ they do not, cannot, know. So Paul would promise that wherever we find ourselves:

And hath made of one blood all nations of men for to dwell on all the face of the earth, and hath determined the times before appointed, and the bounds of their habitation; Acts 17:26

That they should seek the Lord, if haply they might feel after him, and find him,

though he be not far from every one of us: Acts 17:27

I have this here overwhelming urge to "bird walk" or "stream of consciousness" into the Abomination of desolation and the music connection but I am whacking my hands to make them stop for now. Aarrgh: just one. Remember that the abomination which first desolated Israel at Mount Sinai was the phallic-bull worship with music. This desolated Israel, lost them the Book of the Covenant, cursed them with The Book of the Law.

Therefore, again, remember our study of Thomas and the end-time organization and worship of Babylon defined in Revelation 18 (And remember that Seattle and Nashville are "cities set on seven hills.")

Of the end-time Babylonian form of religion, like the original king/queen of Trye and of Babylon, John warns:

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone shall be heard no more at all in thee; Revelation 18:22

And the light of a candle shall shine no more at all in thee; and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for thy merchants were the great men of the earth; for by thy sorceries were all nations deceived. Revelation 18:23

Pharmakeia (g5331) far-mak-i'-ah; from 5332; medication ("pharmacy"), i.e. (by extens.) magic (lit. or fig.): - sorcery, witchcraft.

The female or bisexual Lucifer is represented by the agents of the king (queen) of Babylon and the king of Tyre. Tyre is especially condemned for seducing her commercial partners and music represents all of this power of seduction. We have the story of Wen Amun the Egyptian merchant being seduced in an "eat, drink and be merry" musical performance while Lucifer's agent plotted the thief of what he had just bought and the murder of Wen Amun. Tyre also sold Israelites into slavery. The king of Babylon enslaved Judah and tried to force them to fall down in front of "her" huge phallic pillar during the playing of music.

Reply from Ken in Seattle:

This is a very hard road you have taken. Even if I tend to agree I find it hard to muster up the courage to do as you do. We meet on Wednesday and I participate in the singing of the Fanny Crosby type songs. There are attempts to sing parts. At the assemblies I join in the singing. Now I'm starting to feel "funny" about doing that. I do find it difficult to sing the garden song where "he walks with me and talks with me" because it smack of a "personal relationship" based on feelings instead of biblical writings. I must learn to walk by faith more effectively because I can't "see" how this music thing is going away (or our way).

But if it wasn't hard we would know for certain that we were wrong. You can get yourself hung on a cross for objecting to instrumental music even among pseudo-a cappella churches. If we believe the Bible and we paraphrase isaiah, God will settle for: a tiny drop of good juice, out of one rotten grape, off of one bare cluster off one almost dead vine, out of a dead vineyard whose walls have been broken down by God, out of the whole world allowed in to trample God's Vineyard. You remember that the non-cannonical version of the teacings of Jesus:

Jesus said, "Congratulations to those who are alone and chosen, for you will find the kingdom. For you have come from it, and you will return there again."

He said, "Lord, there are many around the drinking trough, but there is nothing in the well."
Jesus said, "There are many standing at the door,

but those who are alone will enter the bridal suite."

Worship is in the Most Holy Place where there is room only for one priest and God at a time.

You don't have to be silent: Paul permitted the Psalms and probably any inspired passage to be used to replace the secular-like singing of paganism. If the material is not Biblical then you may not be in trouble but you are not obeying the only "music-like" message which we have from God. If the teaching is composed by human hands it is obviously to replace the "songs" of God and while not being evil is certainly vain, empty.

If Joe's innovation of using humanistic and even erotic "praise songs" using complex harmony is permitted then Jim's use of a band to produce the identical emotional effect can hardly be consistently refuted. Both violate Paul's clear command to teach the Words of Christ or Spirit.

I don't sing because I destroyed my pretty good "pipes" singing "churchy parts." My doctor outlawed singing "in the style of the church" unless I went to the local university, had my bad habits analyzed and took a corrective course. It was surgery he didn't want or quit singing which in time has made life bearable. My neice who is a professional back up singer went through a "christian" university and just about destroyed her voice. Some non college coaching solved her problem.

I would not, for fear of my soul, vocalize a lot of the songs our group sings quite innocently ignorant. I sure hope God has a Juvenile Court.

However, if you scout the web of musical churches you will find outrage that such blatently erotic songs about "me and my man, Jesus" and "making the Spirit come" and calling them praise songs. The "halal" praise of David literally meant "to make a fool of yourself." You might suggest obeying Paul and try singing some of the Psalms but I wouldn't expect any response: especially among pseudo-A Capella groups.

I know: we sing "I come to the garden alone" with a thousand other people. We sit and sing "stad up for Jesus." We even sing about our Eben-ezers and build one in the church yard with a hundred brick believing that the Eben-ezer was erected at the Jordan river. If people don't care then they just don't care.

Research into ancient tribalism shows that music is one of the power devices or "weapons" used by the oppressors to manufacture a "group mind" to keep all of the "lambs" in the opressor's sheepfold. When the opressor points his right hand into the face of God in heaven, "Mary's little lambs are sure to go."

Therefore, you will find it a worshipful joy that when the master rings the bell, you do not salivate with all of the dogs.

When the walls come down, watch out.

Anyone here with two good ears had better listen!

Ken
The Unforgivable sin
Does Singing "church songs" (CCM) Violate The Will of Christ?
Are self-composed Hymns Idols?
Click for some notes on the spread of Mother Goddess worship.
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The Abomination of Desolation