The Praise Leader From The Core of Babylon

The praise leaders use magical sexual power of praise is to instill, call up, or activate the virtues presented in the praise. Musical praise teams actually claim to be priests and therefore "able to lead you into the presence of God." Since Lord Jesus Christ died to gain that right, and since the "liturgy area" in church architecture is called "the holy place," people presuming to mediate praise to God are actually standing in the holy place claiming to be God.

The function of young, unmarried women was to go out to the battlefield and encourage the warriors to fight, if not with praise, then with taunts and jeering (Jacobsen Towards 28).

What is worship? Singing or playing instruments is never called worship. And holding a legalistic "praise ceremony" repudiates the free Grace for which Christ died. We do not have to, like David, awaken our harp so that we can awaken the absentee "god" he could never find.

We worship whatever we GIVE HEED TO. If we are giving heed to the vision of an attractive, talented "team" then we are worshiping the team. If we repudiate Paul's direct command and compose our own songs to replace "that which is written" in all of the "singing" passages, then we are deliberately telling Jesus: "Not just now, we will hear you in a more favorable time."

Declare his glory among the heathen; his marvellous works among all nations. 1 Chronicles 16:24

The end-time, and eternal, especially in the "like the nations temple," Babylonian form of "worship" comes to the aid of the gods especially when they are failing (budgets, you know).

Jubal "handled" musical instruments where "handle" means "without authority." He is the first clear example of God connecting musical mind-altering to the family of Cainites. Before Genesis was written, Moses knew that the recorded history of Mesopotamia honored the "gods" with music, sex and perverted sex. These were also the "trinity" of Greek musical performance in a religious sense.

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, H. Bamfort, Of God and Men, p. 30).

"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 coined 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 deliberately 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 responsible for his actions, though the gods were sometimes mischievous or even malevolent and the result might be catastrophic." (Parkes, p. 33).

Musica mousikê, the art of music, music; acc. to the notions of the ancients, also every higher kind of artistic or scientific culture or pursuit: musicam Damone.. comic and dramatic poetry

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman (techne), 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; Rev 18:22

Similar meaning:

Exegetice , es, f., = exêgêtikê, the art of interpretation, exegesis,

Peter outlawed both exegesis and epilusis or further expounding because this would DENY the words of Jesus and invite in the false teachers:

Knowing this first, that no prophecy of the scripture is of any private interpretation. 2Pe.1:20

Similar meaning:

Magice- , e-s, f., = magikê (technê craftsmen in Rev 18:22), the magic art, magic, sorcer medicinam [ magices factio, id. 30, 1, 2, § 11 .

Factio , o-nis, f. [id.] II. (Acc. to facio, II. B.; lit., a taking part or siding with any one; hence concr.) A company of persons associated or acting together, a class, order, sect, faction, party (syn.: pars, partes, causa, rebellio, perduellio, seditio).

B. In partic., a company of political adherents or partisans, a party, side, faction

Magia , ae, f., = mageia, the science of the Magi, magic, sorcery

Mageia , hê, theology of the Magians, m. hê Zôroastrou Pl.Alc.1.122a .

Zoroaster, the 7th-6th-century-BC Iranian founder of the religion that bears his name, is one of the least well-known founders of a religion because of the character of the existing textual materials and because some scholars have advocated that Zoroaster is a mythical figure.

He may have been, however, an ecstatic priest-singer, or zaotar, who used special techniques (especially intoxication) to achieve a trance.

Musical Prophesying a Supernatural Sign From God

However, when the musicians from the Philistine 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. That is, God permitted the Satanic impulse within Saul to break into the open and consume him. God may be sending another supernatural sign by making people "praise" in the halal or madness sense.

Don't get mad: remember that David told Michal that he had made himself VILE and she might detest him but he would be honored by the slave girls. Therefore, the form of praise most often defining David who had "lost God" and even tried to awaken his harp so that he could awaken God was the Hebrew:

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.

Heylel (h1966) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

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

Workmanship means ministry. Lucifer seduced the fallen angels from heaven.

Melakkah (h4399) mel-aw-kaw'; from the same as 4397; prop. deputyship, i. e. ministry; gen. employment (never servile) or work (abstr. or concr.); also property (as the result of labor)

Since God had turned Israel over to "worship the starry host" because of their musicl idolatry (play) at Mount Sinai, and since the elders had rejected God and demanded a human king so that they could worship like the nations, and because God promised that the kings would destroy the nation, what the "national" leaders saw as worship is never defined as spiritual worship by God.

"in Primitive 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 inspiration.

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)

When Jehoram became king after Ahab and Jezebel, God sent Elisha with a minstrel (harpist) to cause the king to slaughter all of the animals he was going to war to obtain for himself.

Of the later Jezebel:

<>"We know the Gnostics used sexual practices
to bind the
flesh and the divine together (Rev. 2:20).

"In most ancient pagan religions the act of procreation was a mystery; they thought fornication and in some instances homosexuality linked them to the world of the gods. Apparently, this sexual aspect of Gnosticism was incorporated with Jezebel's teaching which Jesus condemned (Rev. 3:20). The apostle Peter was aware of this problem." (Trombley, Who Says Women Cannot Teach, p. 176).

The Praise Leader of The Core Gospel

We praise God by telling His story in His words. By analogy, we do not honor Robert Frost by holding a meeting and reciting the poetry of Robert Burns. Nor do we in the ancient word EVER recite someone's song or poem and simultaneously play musical instruments. It would be an insult to the poet and it is an insult to God.

Therefreo, praise as a ritualistic "act of worship" was a confession by the lost worshipers that THE GODS needed the PRAISE TEAM to prop Him up and make sure that HE did not fail.

The Encomiast--Sing The Core Literature

"The purpose underlying the core literature and its oral prototypes (songs) would seem to have been as much magical as aesthetic, or merely entertaining, in origin.

<>"In magic, words create and call into being what they state.
"The more
vivid and expressive the words are, the more they are believed to be efficacious--so by its expressiveness literature forms a natural vehicle of such creativity.

"In ancient Mesopotamia its main purpose appears to have been the enhancement of what was seen as beneficial. With the sole exception of wisdom literature,

And of their Core Gospel:

the core genres are panegyric in nature (i.e.,
praise something or someone),
and the
magical power and use of praise
is to
instill, call up, or activate the virtues presented in the praise.

"That praise is of the essence of hymns, for instance, is shown by the fact that over and over again the encomiast, the official praiser, (See Kantor, Precenter, Worship Leader) whose task it was to sing these hymns,

closed with the standing phrase: "O Baal (etc.), thy praise is sweet." The same phrase is common also at the end of myths and epics, two further praise genres that also belonged in the repertoire of the encomiast

"They praise not only in description but also in narrative,

<>by recounting acts of valour done by the hero,
sustaining and enhancing his power to do such deeds, according to the magical view.

Hymns, myths, and epics all were believed

<>to sustain existing powers and virtues by means of praise,
laments were understood to praise blessings and powers lost, originally seeking to hold on to and recall them magically, through the power in the expression of intense longing for them and the vivid representation of them.

John said that the speakers, singers and musicians in Revelation 18 were SORCERERS: the word is.

G5331 pharmakeia far-mak-i'-ah From G5332 ; medication ("pharmacy"), that is, (by extension) magic (literal or figurative):-- sorcery, witchcraft.

Epôidê  Ion. and poet. epa^oidê , hê,

A. song sung to or over: hence, enchantment, spell, epaoidêi d' haima..eschethon Od.19.457 , cf. Pi.P.4.217 ; ou pros iatrou sophou thrênein epôidas pros tomônti pêmati S.Aj. 582 oute pharmaka..oud' au epôidai Pl.R. 426b ; charm for or against

<>That is why none of the people's congregation ever engaged in singing with instruments as an approved "act" of worship under the Law.
That is why "there was no praise service in the synagogue."

That is why Paul did not define a praise service but a TEACHING THE WORDS OF CHRIST school of the Bible.

But when ye pray, use not vain repetitions, as the heathen do: for they think that they shall be heard for their much speaking. Mt.6:7

Paul identified this with the "old wives tales" which, among the Hittites, were magical incantations performed by old women--

(1) guard what has been entrusted to your care. (Teach it as it has been taught)
(2) Turn away from
godless chatter and the opposing ideas of what is falsely called knowledge, 1Ti.6:20NIV

Godless or profane is bebelos and chatter is from

kenophonia (g2757) ken-of-o-nee'-ah; from a presumed comp. of 2756 and 5456; empty sounding, i.e. fruitless discussion: - vain.

Phone (g5456) fo-nay'; prob. akin to 5316 through the idea of disclosure; a tone (articulate, bestial or artificial)

The word "tinkling" is used with the magical prophesying in Mark 5 and the verbe "battologeo" means to "speak in tongues."

"The verb rendered tinkling, alalazo, originally meant to repeat the cry alala, as in battle. It is used by Mark (5:38) of the wailings of hired mourners. Hence, generally, to ring or clang. Rev., clanging cymbal, is derived from (the Greek) a hollow or cup. The cymbal consisted of two half-gloves of metal which was struck together." (Vincent, p. 263).

And he cometh to the house of the ruler of the synagogue, and seeth the tumult, and them that wept and wailed greatly. Mk.5:38

And when Jesus came into the rulers house, and saw the minstrels (flute players) and the people making a noise, Matt 9:23

And when he was come in, he saith unto them, Why make ye this ado, and weep? the damsel is not dead, but sleepeth. Matt 5:39

Batrachos (g944) bat'-rakh-os; of uncert. der.; a frog: - frog.

And I saw three unclean spirits like frogs come out of the mouth of the dragon, and out of the mouth of the beast, and out of the mouth of the false prophet. Rev 16:13

And they laughed him to scorn. But when he had put them all out, he taketh the father and the mother of the damsel, and them that were with him, and entereth in where the damsel was lying. Matt 5:40

And he took the damsel by the hand, and said unto her, Talitha cumi; which is, being interpreted, Damsel, I say unto thee, arise. Matt 5:41

This was musical prophesying and Jesus "cast them out more or less violently."

Ekballo (g1544) ek-bal'-lo; from 1537 and 906; to eject (lit. or fig.): - bring forth, cast (forth, out), drive (out), expel, leave, pluck (pull, take, thrust) out, put forth (out), send away (forth, out).

Ballo (g906) bal'-lo; a prim. verb; to throw (in various applications, more or less violent or intense): - arise, cast (out), * dung, lay, lie, pour, put (up), send, strike, throw (down), thrust. Comp. 4496.

Of vain repetitions like "Lord, Lord" or "hallelujah, hallelujah, hallelujah, hallelujah, hallelujah.....

"The vb. Battologeo in Mt 6:7 (say not the same thing over and over again) refers to the superstition that the repeated utterance of a word will secure one's wish." (Int. Std. Bible Ency., Magic, p. 1964).

battologeo (g945) bat-tol-og-eh'-o; from Batto, (a proverbial stammerer) and 3056; to stutter, i.e. (by impl.) to prate tediously: - use vain repetitions

Ab (h1) awb; a prim. word; father in a lit. and immed., or fig. and remote application): - chief, (fore-) father ([-less]), * patrimony, principal. Comp. names in "Abi-".

Not every one that saith unto me, Lord, Lord, shall enter into the kingdom of heaven; but he that doeth the will of my Father which is in heaven. Mt.7:21

Many will say to me in that day, Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works? Mt 7:22

Battologeo, "to babble, ... [battologeo] originally signified to stammer; then, to babble, chatter; so, touse empty words" [BULLINGER. PAGE. 639.],

The word "repetitions" is the Greek word battologeo, which comes from the verb, legeo, (to speak) and the prefix batta. Batta is a figure of speech that in English we call an "onomatopoeia" which is a word that sounds like what it is,(buzz, zip, zing, rip). Jesus was literally saying, when you pray don't say, "Batta, batta, batta," the gibberish that the pagans offer to their gods.

Saul sought a divining woman who used the familiar spirit. This word is similar to the nebel. The device of the witch of Endor was probably a hard, old wine or water skin. It was like a bottle into which she mumbled to create an echo. She used vertriloquism to pretend to contact the dead. Or the skin could be stretched over a hole in the ground from which the spirit was roused by drumming. Surprising to the witch, it really worked--

Owb (h178) obe; from the same as 1 (appar. through the idea of prattling a father's name); prop. a mumble, i. e. a water-skin (from its hollow sound); hence a necromancer (ventriloquist, as from a jar): - bottle, familiar spirit.

'Obh, hollow or bottle (Job 32:19) because the voice of the spirit might have been susposed to come from the one possessed, as from a bottle, or because of the hollow sound which characterized the utterance out of the ground. (Isa 29:4); or, as some have conjectured, skin. Greek "nekromantis." (Int Std Bible Ency., ency, p. 1094)

The sign or MARK of the necromancer is--

Owth (h226) oth; prob. from 225 (in the sense of appearing); a signal (lit. or fig.), as a flag, beacon, monument, omen, prodigy, evidence, etc.: - mark, miracle, (en-) sign, token.

The Sumerians originally believed in only one God, but after 3500 B.C. they developed various forms of polytheism... The government of Sumeria was really a theocracy, for the ruler was also the chief priest. The other priests were divided into three classes, namely, the singers, the magicians, and the soothsayers. (Hyma, Alberty, Ancient History, Barnes and Noble, P. 14)

Apollo is Abaddon or Apollyon in the Book of Revelation. He had an oracle at Delphi where music and drugs could produce a prophecy or revelation for a price. He will rise again in the end times:


<>Forthwith Phoebus Apollo spoke out among the deathless goddesses:
131-132 - The
lyre and the curved bow shall ever be dear to me, and I will declare to men the unfailing will of Zeus."

133-139 - So said Phoebus, the long-haired god who shoots afar and began to walk upon the wide-pathed earth; and all goddesses were amazed at him. Then with gold all Delos was laden, beholding the child of Zeus and Leto, for joy because the god chose her above the islands and shore to make his dwelling in her: and she loved him yet more in her heart, and blossomed as does a mountain-top with woodland flowers.

179-181 - O Lord, Lycia is yours and lovely Maeonia and Miletus, charming city by the sea, but over wave-girt Delos you greatly reign your own self.

182-206 - Leto"s (mother of Apollo) - all-glorious son goes to rocky Pytho, playing upon his hollow lyre, clad in divine, perfumed garments; and at the touch of the golden key his lyre sings sweet.

140-164 - And you, O lord Apollo, god of the silver bow, shooting afar, now walked on craggy Cynthus, and now kept wandering about the island and the people in them. Many are your temples and wooded groves, and all peaks and towering bluffs of lofty mountains and rivers flowing to the sea are dear to you, Phoebus,

yet in Delos do you most delight your heart; for there the long robed Ionians gather in your honour with their children and shy wives: mindful, they delight you with boxing and dancing and song, so often as they hold their gathering.

A man would say that they were deathless and unageing if he should then come upon the Ionians so met together. For he would see the graces of them all, and would be pleased in heart gazing at the men and well- girded women with their swift ships and great wealth.

And there is this great wonder besides -- and its renown shall never perish -- the girls of Delos, hand-maidens of the Far-shooter;

<>for when they have praised Apollo first, and also Leto and Artemis who delights in arrows,
sing a strain-telling of men and women of past days, and charm the tribes of men. Also they can imitate the tongues of all men and their clattering speech: each would say that he himself were singing, so close to truth is their sweet song.

These were "barbarians" speaking in tongues in 1 Cor 14.

His half-brother, Hermes (Mercury) was similar:

And when the purpose of great Zeus was fixed in heaven, she was delivered and a notable thing was come to pass. For then she bare a son, of many shifts, blandly cunning, a robber, a cattle driver, a bringer of dreams, a watcher by night, a thief at the gates, one who was soon to show forth wonderful deeds among the deathless gods.

Born with the dawning, at mid-day he played on the lyre, and in the evening he stole the cattle of far-shooting Apollo on the fourth day of the month; for on that day queenly Maia bare him.

So soon as he had leaped from his mother's heavenly womb, he lay not long waiting in his holy cradle, but he sprang up and sought the oxen of Apollo.

<>We all have 168 hours a week to worship a Spirit God in the PLACE of our spirit. We can praise Him all 168 hours. However, organizing a RITUALISTIC PRAISE ACT OF WORSHIP in the belief that it can aid God or change the nature of the participants is to give a SECOND INCARNATION to the world's oldest superstition sold by the world's oldest profession: musical prophesiers.


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