Vineyard - New Wineskins Effeminate Worship

Dionysus or Bacchus was the God of new wine from New Wineskins. The Abomination of Desolation in the Intertestament Period introduced the Gymnasium and the homosexual worship of Zeus or Dionysus. The clergy also hoped that John wore the SOFT clothing of the king's catamite or male homosexual. Jesus identified them as PIPING hoping to get Jesus into the homosexual singing and dancing of the New Wineskins "god." The Judas Bag is defined and pictured in Greek literature and art as for "carrying the mouthpieces of wind instruments." The little box on the spotted flute case is the Judas Bag. These homosexual gods were the fathers of "musical harmony, twanging bowstrings or harp strings, thieves and liars." The Jewish clergy HOPED that Jesus would join them in all of their boyhood games as the "piped" hoping that he was the God of Wine and therefore the "god" who filled the new wineskin.

New Wineskins Instrumental Music by Jay Guin: the series. Watch for Rick Atchley and Chris Seidman agents of the NACC
Review: Danny Corbitt: Missing More than Music
Danny Corbitt Anti Ferguson Psalmos
Jay Guin Defending Danny Corbitt
Review: Danny Corbitt Denying Justin Martyr
Matt Dabbs--Danny Corbitt Ripening Issues

Vineyard New Wineskin Worship
See Charismatic and Homosexual connection among the Greeks
Effeminization of Church and Christianity
Music and Effeminate Worship

Number Two

Dionysia Drama Theater Music

See how MUSICAL and CHARISMATIC points directly to the THRESKIA form of worship originated by Orpheus and other perverted "gods." Words like CANTUS and MUSICA are related to EXEGESIS or being a SORCERER like Hermes as the Interpreter of the gods. These words are quite similar to the sorcerers and mantic or mad prophesiers who used drugs and music. All are directed to creating a sense of PANIC in the worshipers to force them into "giving of means" as the Vineyard Mother has envisioned. Rubel Shelly believes that John got the idea of LOGOS from philosophers. However, this is a translation of the Hebrew Dabar which is the personified WORD of God. This undoubtedly gives him the authority to PARTNER with God to get a new set of inspired Scriptures. He and the postmodern madness believes that because subatomic particles (very small) cannot be measured without moving them to a new location that the BIBLE has been shot out of sight and because we have evolved we can not longer read the Word. However, unlawful preachers CAN get a new vision but for a price--always for a price. Like the Pope, the postmoderns deny the individual the right to read, interpret and speak the word outside of the community church or COMMUNE patterned, says Rubel Shelly, after the Wilderness Wandering.

"The exhilarating possibility is that the human race will finally undergo a kind of spiritual transformation during which we will forsake all the old social institutions and attitudes that have evolved during the past several thousand years based on the principle of competition, [and replace them with an entirely new social arrangement based on the principle of cooperation, resulting ultimately in the coalescence of more than five billion individual humans into a single collective social organism.

We can expect, however, that such a harmonious coalescence would produce a dramatic blossoming of the human spirit, a spectacular display of human creativity, and a miraculous metamorphosis (Second Incarnation) that would lift the human race onto another and higher plane of existence, a spiritual and physical transformation that would surely qualify as an extraordinary event along this planet's evolutionary path."

Rubel Shelly and John York: Just as identity in Christ is always COMMUNITY identity, our reading of Scripture becomes a COMMUNITY READING as well.

While we still have access to reading as individuals,we stop asking, "What does this mean to me?"--as though there is such an isolated meaning. Instead we have a GROUP MENTALITY that asks, "What does this mean to US?"

> Alexander Campbell responds to the letter from Mr. G about using instruments like the worshipers of Mars:

The argument drawn from the Psalms in favor of instrumental music, is exceedingly apposite to the Roman Catholic, English Protestant, and Scotch Presbyterian churches, and even to the Methodist communities. Their churches having all the world in them--that is, all the fleshly progeny of all the communicants, and  being founded on the Jewish pattern of things--baptism being given to all born into the world of these politico-ecclesiastic communities--

I wonder not, then, that an organ, a fiddle, or a Jews-harp, should be requisite to stir up their carnal hearts, and work into ecstasy their animal souls,

else "hosannahs languish on their tongues, and their devotions die."
And that all persons who have
no spiritual discernment, taste, or relish for their spiritual meditations, consolations and sympathies of renewed hearts, should call for such aid, is but natural.

Pure water from the flinty rock has no attractions for the mere toper or wine-bibber. A little alcohol, or genuine Cognac brandy, or good old Madeira, is essential to the beverage to make it truly refreshing.

So to those who have no real devotion or spirituality in them, and whose animal nature flags under the oppression of church service, I think with Mr. G., that instrumental music would be not only a desideratum, but an essential prerequisite to fire up their souls to even animal devotion.But I presume, to all spiritually-minded Christians, such aids would be as a cow bell in a concert.

Alexander Campbell

"Thomas" has Jesus saying

> 28 Jesus said, "I took my stand in the midst of the world, and in flesh I appeared to them.
I found them all drunk,
        and I did not find any of them thirsty.
  My soul ached for the children of humanity,
because they are blind in their hearts and do not see,
for they came into the world empty,
        and they also seek to depart from the world empty.
But meanwhile they are drunk.
When they shake off their wine, then they will change their ways."
49 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."

And the Spirit of Christ said through Isaiah:

> Woe unto them that rise up early in the morning, that they may follow strong drink; that continue until night, till wine inflame them Isaiah 5:11
    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. Isaiah 5: 12

Therefore my people are gone into captivity, because they have no knowledge:
        and their honourable men are
famished, and their multitude dried up with thirst. Isaiah 5: 13

Therefore hell hath enlarged herself, and opened her mouth without measure: and their glory, and their multitude, and their pomp, and he that rejoiceth, shall descend into it. Isaiah 5: 14

And in Isaiah 14:

Thy pomp is brought down to the grave (Sheol), and the noise of thy viols: the worm is spread under thee, and the worms (maggots) cover thee. Isa 14:11

This is the original Babylon king/queen who will rise again as the Babylon Harlot religion and again her musicians and instruments will go into hell with her (Rev. 18)

Therefore as the fire devoureth the stubble, and the flame consumeth the chaff, so their root shall be as rottenness, and their blossom shall go up as dust: because they have cast away the law of the Lord of hosts, and despised the word of the Holy One of Israel. Isaiah 5: 24

> Say to them: 'This is what the LORD, the God of Israel, says: Every wineskin should be filled with wine.' And if they say to you, 'Don't we know that every wineskin should be filled with wine?' Jer 13:12

then tell them, 'This is what the LORD says: I am going to fill with drunkenness all who live in this land, including the kings who sit on David's throne, the priests, the prophets and all those living in Jerusalem. Jer 13:13

I will smash them one against the other, fathers and sons alike, declares the LORD. I will allow no pity or mercy or compassion to keep me from destroying them.'" Jer 13:14

> Our author (On the Book of Jubilees) concludes that the inventor of the Jubilee theory was "unquestionably a Pharisee of the strictest sect." Click for more Wineskins stuff

God always repudiated the WINESKINS image as related to homosexuality:

The Words of Jesus: For the earth will be filled with the knowledge of the glory of the LORD, as the waters cover the sea. Hab 2:14

The Warning to the WineSkinners: Woe to him who gives drink to his neighbors, pouring it from the wineskin till they are drunk, so that he can gaze on their naked bodies. Hab 2:15

You will be filled with shame instead of glory. Now it is your turn! Drink and be exposed ! The cup from the Lord's right hand is coming around to you, and disgrace will cover your glory. Hab 2:16

And this will be fulfilled:

A second angel followed and said, "Fallen! Fallen is Babylon the Great, which made all the nations drink the maddening wine of her adulteries." Rev 14:8

In a short speech at ACU
Rubel Shelly used wine in a favorable sense about 10 times. The new creed is that that the church's position against drinking intoxicants would HAVE TO CHANGE to accommodate those who drink even in the fellowship hall. His misuse of the parable of wineskins shows total disregard for the Word of God. Jesus spoke parables to "fool the fools" according to Matthew 13. See how Carrol D. Osburn of ACU plans to train Prophets, Channelers and Facilitators to go out and destroy the group which pays him.

Along with "baptizing Santa" is Rubel Shelly's suggestion that we think of the S.U.N. god to understand Jesus the S.O.N. God. Along with Max Lucado's Cosmic Christmas, the worship of Dionysus or the god of the new wineskins comes as no surprize. The "sun" god came to be represented by Apollo (Abaddon, Apollyon) and his Seeker Center at Delphi where he NAVIGATED THE WINDS OF CHANGE to seduce "ministers" to serve his mega-church. The sun was also represented by Saturn whose Chaldee number is 666.

The New Wineskins is just a take off of the Vineyard movement trying to hasten the Shelly "now but not yet kingdom" and aid Jesus.

However, the VINEYARD concept promotes a SEXUAL CLIMAX with God produced by charismatic music. At the same time, Rubel Shelly and the Jubilee movement promotes the New Wineskin to define the gospel and kingdom. Along with the universal association between religious musicians and homosexuality in all pagan religions and in Judaism and in Christianity, this is prophetic of the Babylon Whore worship with music (a team of 9 Muses under Apollo or Satan) at the end times.

First, we should say that ALL ancient religions were charismatic and sexual in faith and practice. This included most of the Jews for most of the Old Testament period.

Second, the SYNAGOGUE among the Jews was not a pagan worship center: it was a school of the Bible and it existed throughout the Old Testament under various names. Musical instruments and "making a joyful noise" was outlawed for the ASSEMBLY (Num 10:7) because assembly was for instructions.

Third, the Law was "added because of transgression" which was "rising up to play" in the musical idolatry of Egypt.

Fourth, the Christian Assembly (not church honoring the holy whore "Kirke") was also a school of the Bible. There is no command to SING OR MAKE MUSIC. The direct command is to TEACH or PREACH with "that which is written" and leave the "singing" (a secular practice) and the "melody" (meaning to grind you into dust like the SOP Jesus fed Jesus) IN THE HEART. That means in the human SPIRIT which is the ONLY place Jesus said that God would be seeking us.

Fifth, the NEW WINESKINS is a pagan theory for enhancing pagan worship: it is unChristian, Anti-Christian and is not similar to the church.

The church is not for "worshipers" in ritual but for DISCIPLESHIP. The only resource is the WORD OF CHRIST or "that which is written." Therefore, the WORD or teachings of Jesus do not GO OUT OF DATE and do not need simpletons trying to MODERNIZE them.

Therefore, the WINESKINS CREED has only ancient pagan homosexual religion of fertility rituals to recommend it.

Who is this god of NEW WINESKINS containing WINE as the PATTERN to replace Lord Jesus Christ who never made nor consumed intoxicants?

"Dionysus is the wine-god, and thus should be a pleasant fellow, a benefactor. But wine has both positive and negative aspects. It makes people drunk, causes them to behave in strange ways. The Greeks were well aware of the dual natures of wine, mirrored by the dual nature of its god.... He betrays a dual nature: being bright, joyous, and vital for life,

while also having a side that is dark, mysterious and deadly.

"The adored wife of the fallen Hector, is taken as a concubine by the authentes, who can command her domestic and sexual services. The word also occurs in a homosexual sense in a speech by Theseus, king of Athens, where love of young boys was considered a virtue rather than a vice." (Charles Trombly, Who Said Women Can't Teach, p. 174)

"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."

But I suffer not a woman to teach, nor to usurp authority (authenteo) over the man, but to be in silence.1Ti.2:12

All "non-sedentary" or silent participation by women exercises the authority condemned by Paul. This sexual authority with the Catholic A Cappella or castrated "musical worship" solved the problem of a male priesthood but with a homosexual, feminine style of worship called "MUSIC."

In every Greek city the god Dionysus was worshipped by fraternities and sororities and also by mixed communities. Dionysus was a god of fruitfulness and vegetation but especially of wine. The Dionysiac festivals provided an opportunity for stepping outside of the daily routine. The festivals included not only drinking wine and engaging in sexual activity but also participating in such significant features of Greek civilization as choral singing and mimes. In many cases, only the initiated could participate in the ceremonies. As almost every Greek did join in, initiation into the Dionysiac cult might be compared to tribal initiations. It seems that initiation into the Dionysiac Mysteries was accompanied by initiation into sexual life. The act of producing offspring, however, could never be wholly separated from the thought of death, so that the worshippers of Dionysus were aware of a mystic communion among the ancestors, the living generation, and the future members of the community. Britannica Members

The Original Tribal People TYPIFIED by Cain and Abel:

The story of Cain and Abel--which Jesus identified as hiding truth from those who did not love truth (Mtt 13)--is the story of the AGRICULTURISTS who engaged in musical, sexual and homosexual rituals or fertility rites. The children of Seth as a HERDING society did not worship with sexuality and music.

There was never any RELIGIOUS RITUALS for the Hebrew people until they "fired" God and demanded a king so that they could worship LIKE THE NATIONS. Only the king and civil-religious clergy participated in the temple rituals.

This was to guard against the fact that group gatherings (which Jesus would not call according to prophecy) always degenerate into the surfacing of sexual attractions. In religion this was most common as a man to man attraction.

This also prohibited a return to the worship practiced by CAIN who WAS OF the evil one or a son of Satan:

"In this fashion evey common tribal interest--the recurrence of the seasons, the increase of the food supply, successful hunting--was likely to become embodied in some regularly repeated ceremony, which usually included group dancing, singing, and feasting.

Besides enabling men to express, and thereby to allay, anger and anxiety, such ceremonies also promoted tribal unity and strengthened the loyalty of the individual to tribal traditions,

for the emotional excitement they aroused had the effect of breaking down the barriers between individuals
and thus
fusing all tribesmen into a collective whole. Meanwhile, whole systems of magical devices were gradually elaborated." (Parkes, p. 29)

"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.

'Certain members of a tribe, marked out either by unusual skills or by some emotional abnormality, ususally became particularly adept at these operations, and gradually assumed specialized functions. Released from the duty of hunting, and concentrating on the practice of magic, the shaman, sorcerer, or medicine man was the world's first professional." (H. Bamfort Parkes, Of Gods and Men, p. 29).

The Cainites or Kenites or Canaan represent the survival of sexual fertility rites where WINE and MUSIC encouraged the sexual and homosexual rituals. The Kenites even found their way into the Temple as the SINGING PROSTITUTES and INSTRUMENTAL SODOMITES plagued or polluted the temple grounds.

The Garden of Eden:

The SERPENT in the garden of Eden was Lucifer who is also ZOE. Lucifer or ZOE was known as the BEAST and "the female instructing principle." Many older scholars reading the Bible in its original language concluded that the primary WEAPON was musical performance and the primary RESULT was SODOMY. This was prophesied to TRIUMPH over Jesus and is the end time "worship" of the "Holy Whore" whose name in Greek was KIRK or "church." Serpent in the original languages was not a snake but a Musical Enchanter who hissed and muttered and claimed that the sounds from his musical instrument was the "gods" living inside.

As the king/queen of Tyre, Lucifer or Zoe is called "the harp- playing prostitute." As the king/queen of Babylon Lucifer/Zoe would go into Sheol along with his/her musicians and their instruments.

The IMAGE of this New Wineskins Religion is the end-time domination of homosexuals as Theatrical and Musical performers claiming to lead the worshipers into the presence of God. All pagan gods were homosexual and all musical worship of the "gods" was BY homosexual priests. Continuing into "christianity" all priesthoods are still recognized as homosexual. As with Jezebel, homosexuality "bound the physical and spiritual together."

2 Maccabees 6: Click to see the history of the GYMNASIUM and HOMOSEXUAL worship of the god of the New Wineskins.

1 - Not long after this, the king sent an Athenian senator to compel the Jews to forsake the laws of their fathers and cease to live by the laws of God,
- and also to pollute the temple

> in Jerusalem and call it the temple of Olympian Zeus,
> and to call the one in Gerizim the temple of Zeus the Friend of Strangers, as did the people who dwelt in that place.

"But when it is known that "Zeus the Saviour" was only a title of Dionysus, the "sin-bearing Bacchus," his character, as "The Saviour," appears in quite a different light. In Egypt, the Chaldean god was held up as the great object of love and adoration, as the god through whom "goodness and truth were revealed to mankind." He was regarded as the predestined heir of all things; and, on the day of his birth, it was believed that a voice was heard to proclaim, "The Lord of all the earth is born." In this character he was styled "King of kings, and Lord of lords," it being as a professed representative of this hero-god that the celebrated Sesostris caused this very title to be added to his name on the monuments which he erected to perpetuate the fame of his victories. Hislop Hislop shows how this fits seeing the S.U.N. god to think of the S.O.N. God as Rubel Shelly recommends. And as seen in Cosmic Christmas which is the worship of Shamash.

And this pattern was pretty much universal.

The scoffer Lucian pours out his sarcasm in a passage in which he speaks of the fraudulent prophet Alexander of Abonouteichos, who kept choir boys in the service of the gods with him just as Platonic Love is the love of a mature man for a boy. This also shows the true meaning of A Cappella:

"To all others he forbade pederasty (Platonic love of a man for a boy) as shameful. In order not to admit his own guilt in this matter, however, the admirable fellow devised the following scheme: he proposed to the cities in Paphlagonia and Pontus that every three years they should send him choir boys who would sing hymns of praise with him to the god. Moreover, only the noblest, fairest and most charming boys were to be sent -- after a previous careful examination. These he confined with himself, slept with and abused with every possible lechery. (Lucian, Alexander, 41.247}

Choirs were used because "Thus they led the simple into error and
sought to bewitch the ears of lay people, who are easily led astray by hymns and melodies."

The New Wineskin heresy, Jubilee 99, the Vineyard Movement, the Zoe Movement, and other God-Aiding movements look dangerously close to ancient, effeminate Dionysus worship and a restoration of Gnosticism.

Wine in new wineskins is a magical symbol of spirit in many ancient religions. Instrumental and vocal music was used as an artificial means of intoxication or to enhance the wine. The exhilarating effect of wine led worshipers to believe that they had contacted their gods--for a price. Wine is now used as the same mystical code to identify worship as an emotional experience of coming into the presence of God. New wine without a new wineskin would be useless. Therefore, the "skin" parable is taken from the mouth of Jesus Who wasn't quite "ready for prime time."

"The church has not always been so effeminate, but since church history is so undervalued today among Christians few would know it. There really is no wonder that in our day Christianity has become a life-boat religion - women and children first. It was really quite logical, therefore, for the synod to vote to admit women into the priesthood last November. It was only formalising what had been a reality for many years.

"It is the calling and work of the church to raise culture and society out of paganism, to bring our society truly up to date, that is to say up to the standard that God's word has set, which is at the end of the day the only fashion that matters.

In our day this means fighting battles again that were fought and won by a more faithful church of preceding ages only for a later generation of churchmen to hand over their hard won gains to the humanists on a plate.

As part of this process we must return to the biblical pattern of church order and ministry, and this means that women should not be permitted to teach or exercise authority over men in the church. It means also that ministers and elders should be required to think and act like men and abandon the effeminate theology that has characterised the Christian ministry for far too long.  Resource. Lost Link See Here

Without the urge to attack people for their beliefs, this and all fragments present some of the Biblical and historical evidence to show what people thought in the past when wine, women and song became the dominant theme of the church replacing a quiet study of Christ's Word.

We will look at some evidence that in worship masculine (male or female) worship is devoted to the study of the Word while effeminate worship is interested in art: singing, dancing playing instrumental music.

Without intending to, it is possible that adopting ancient efforts to develop "fertility" in the church to fill the pews, we will invite wine to our meetings but he will bring along other "spirits."

32"But let there be, as you wish, honour in wine and in incense, let the anger and displeasure of the deities be appeased by the immolation and slaughter of victims:

are the gods moved by garlands also, wreaths and flowers,
by the
jingling of brass also, and the shaking of cymbals, by timbrels also,
and also by
symphonious pipes? (footnote: trumpets and pipes)

What effect has the clattering of castanets, that when the deities have heard them,

they think that honor has been shown to them and lay aside their fiery spirit of resentment in forgetfulness?

Or, as little boys are frightened by giving over their silly wailings by hearing the sound of rattles, are the almighty deities also soothed in the same way by the whistling of pipes?
And do they become mild, is their indignation softened at the
musical sound of cymbals?

'What is the meaning of those calls which you sing in the morning, joining your voice to the music of the pipe.

"Do the gods of heaven fall asleep, so that they should return to their posts? What is the meaning of those slumbers to which you commend them with auspicious salutations that they may be in good health? Are they awakened from sleep; and that they may be able to overcome by it, must soothing lullabies be heard?" (Arnobius Against the Heathen, Ante-Nicene Fathers, VI, p. 530-531)

The Satanic Origin of the Wineskin Creed:

Wine and wineskins have always been what Joseph Campbell called "affect images." That is, the image within itself has mystical power over the immature. Wine has always been a false symbol of religion where spirit came out of a wineskin:

"Many kinds of drugs cause a change in consciousness and the most popular, and with some people the most respectable, is alcohol.

Alcohol fairly quickly produces a feeling of confidence, expansion and enlightenment. William James said that its popularity was due to 'its power to stimulate the mystical faculties of human nature,'... Any driver knows that the effect of alcohol is to produce an unreasoning over-confidence, the cause of many accidents,

and this would be dangerous ground on which to base a theory of mysticism." (Parrinder, p. 176).

The mystical message of the wineskin is that it must be opened or the walls broken down so that all religious groups who cannot "see eye to eye can walk hand in hand." However, the entire Bible was written to wean God's people away from the pervasive, majority view of religion as natural and therefore had as its gods "wine, women and song."

"Today we tend to value tolerance so highly that we sometimes advocate indifference toward competing religious loyalties. We are likely to sympathize with Solomon's cosmopolitanism, or even with the compromising attitude of Ahab's generation, who hopped back and forth between opposing views. But, as we have seen, Israel's prophets attacked the tolerant syncretism of the time and insisted on a fierce devotion to Yahweh.

It has been rightly observed that 'intolerance in religion was not a characteristic of ancient peoples, and was only introduced into Israel by the prophets.'

The flame of their conviction was kindled at the ancient sources of Mosaic faith, and burst forth like a consuming fire at a time when the nation was in danger of being engulfed by Canaanite culture." (Anderson, Bernard, Understanding the Old Testament, p. 259).

That means a hostile takeover of homosexuality proven by "musical praise teams" or any charismatic speaking out of one's own CREATIVE skills.

The only way to get a new wineskin is to slaughter a billy goat or a lamb. Christ came to free the world of empty wineskins and put His gospel in "ceremonially pure vessels of clay." How, then, do tens of thousands want us to empty the "new man" created at and through water and fill s/he with new wine?

Yet, Shelly and Harris insist that we must turn into freshly-slaughtered billy goat skins:

Rubel Shelly /Harris: "Change and newness did not end with his arrival. The wine is still fermenting. Tired forms will not work with an exuberant message. The deep ruts of customary practice are not adequate to be a highway of holiness. The gospel he left to inform and empower his church is 'a new and living way'." (Second Incarnation, p. 11).

If you will check, you will find that wine is not the way to get on the highway of holiness or even to Nashville. The BOOK OF JUBILEES taught that the kingdom began BEFORE Christ came as Jesus. The meaning of JUBILEE is that you must attend it FOR THE ATONEMENT. Therefore, using the pre-Christian Jubilee concept DENIES the finished work of Jesus Christ.

The Shelly CORE GOSPEL then claims that the work of Christ was not even finished by Christ. The LATTER REIGN believes that the church has to AID Jesus in finishing His work. For instance, MUSICAL PRAISE TEAMS are one of the world's oldest superstitions: the belief that the singers and musicians must PROP up the gods to keep them from failure.

Exuberant means "high-spirited, brash, passionate, effervescent, vivacious, enthusiastic." Enthusiasm never meant Christ-God within. It was invented by Philo to mean "en thus o mania" or filled with the god of wine who brings madness. This was one of the "diversities" at Corinth with which Paul absolutely did not unite. Nevertheless,

Rubel Shelly /Harris: "We must offer ourselves as fresh, flexible wineskins to Christ daily."

"The tired, uninspiring event called worship in our churches must give way to an exhilarating experience of God that simultaneously exhibits and nurtures life in the worshipers." (Rubel Shelly - Randy Harris, Second Incarnation, p. 12-13)

Jesus put His Word into EARTHEN VESSELS. These were CEREMONIALLY PURE. Therefore, if you put JUICE in them and seal them they do not FERMENT. Ferment is the universal Biblical SYMBOL of EVIL and God pouring out His Wrath from the Wine Vat. It is outrageous to suggest that humans are containers of the STILL FERMENTING Word of God.

I'll bet that when the Holy Spirit revealed the "water of the Word" as a way to nurture life in the worshipers He didn't know about Jubilee 98 and new wineskins. Huh?

Rubel Shelly /Harris: Changeless divine truth is thus enmeshed in the ever-changing vehicle of human language. Perfect and eternal wisdom is wrapped up in the inferior medium of historical disclosure." (Rubel Shelly - Randy Harris, Second IncarnationP. 23).

I have the queezy feeling that everything I see in print is attached to history. The history Paul warns against is wineskins right there in Corinth (chapter 10) when they should be listening instead of trying to arouse or instruct God. Here, and in Romans Ten he connects their destructive worship (11:17f) to the wilderness worship of Apis which included singing, clapping, dancing, instrumental music and breaking down the sexual walls sexually.

Enmeshed means: "entrapped, snared or captured." How, then, can anyone hope to untangle God's "mess?"

Rubel Shelly /Harris: The wine is the bubbling, churning gospel. It is the ever- arriving- yet- never- fully- realized- on- Earth kingdom of God. It is the powerful presence of the Spirit of God among believers. The wineskins are the points of contact between the wine and culture. They are the forms and programs we maintain, the organizations and institutions, or the patterns and procedures... (Second Incarnation, p. 11).

I'll bet that surprises Jesus. Maybe Jesus and Shelly - Harris just have different views of the kingdom: one is the quiet kingdom "outside the gates" and others want a Dionysus-like proof that we have captured Christ and put Him in our bottle.

Why Does Theology Fly in the Face of Scripture

Common sense, history, the Highway Patrol and Harry Golden know that it would be outrageous to build a religion inside a wineskin:

"As a writing man I believe I can deliver a fairly coherent essay of maybe five thousand words on the value of opium, and its by-products, morphine and heroin,
but I know, in all honesty, that I cannot write a single half-page, doubled-spaced, on the value of alcohol as a beverage" (Harry Golden, You're Entitle').

Wine, Music and the Feminization of Men

The masculine journey and the new moves on the Biblical pattern for the church are identified by many as an effort to fulfill Isaiah's prophecy that "women and children rule over you." We should be careful about the symbols or affect images we adopt and follow as the new pattern for the church. While being ignorant of the Bible and common sense it is easy to bring the entire church into question.

For instance, in the book, You Are What You Drink Allan Luks and Joseph Barbato note that wine causes the feminization of men similar to "birth-defects gospel" of Dionysus-

"In many cultures, it is considered manly to drink... How odd, then to realize that alcohol has the power to literally give a man female characteristics." (Luks, You Are What You Drink, p. 109).

This is exactly the message of the Dionysus system of wineskin worship. On page 110 Luks notes that in-

"some drinkers feminization may result not from their own alcohol use but rather from drinking that their mothers did during pregnancy."

"A Polish study reported a 32 percent reduction in the concentration of the spermatozoa of men whose drinking was 'moderate--infrequent' (they drank one to three times a month), and a 56 percent drop in 'regular' drinkers (three to four times a week)." (Luks, p. 111-112).

Why would God use FERMENTING WINE as a pattern for the gospel and kingdom? Was God not as smart as modern medical science? So says the NEW WINESKINS religion as old as the Towers of Babylon.

Throughout the literature, drunkeness is brought on by pagan worship rituals aided by music. Therefore, a common theme is a loss of masculinity through the worship which focused upon wine-like exhilaration caused by music, dance and drama. Plato worried that there might some gender leakage in musical ceremonies when the men imitated women.

Modern male bonding is also questionable because it is often built on the basis of "Platonic love." However, Platonic love was love for boys by men even when the "bonded" men admired from a distance and didn't always consummate their love in an external, sexual way. It was observed that:

"all those creatures generated as men who proved themselves cowardly and spent their lives in wrong doing were transformed, at their second incarnation, into women." (Timaeus, 90)

Or: Of the men who came into the world, those who were cowards or led unrighteous lives may with reason be supposed to have changed into the nature of women in the second generation.

Sexual deviation was often connected with the musical, charismatic prophesiers when men took over the role from women. However, any kind of sexual "buzz" was believed to be proof that one had been brought "into the presence of the god." At any rate, those who are still chaining the Bible to the pulpit with a human chain of "buddy binding" can sell this watered wine to fools who, in the imagery of Paul, love to be fooled. The Musical Worship Facilitator cannot move you "into the presence of God" without moving you out of your head:

"Philo "developed a doctrine of ecstasy or ek-stasis, which means standing outside oneself.' This is the highest form of piety which lies beyond faith. This mysticism unites prophetic ecstasy (prophesying as in Corinth) with 'enthusiasm', a word which comes from en-theos-mania, meaning to possess the divine. From this there comes finally the fully developed mystical system of the Neo-Platonists, for example, of Dionysus the Areopagite. In this mystical system the ecstasy of the individual person leads to a union with the One, with the Absolute, with God." (Tillich, Paul, A History of Christian Thought, Touchstone, p. 13).

We repeat the Rubel Shelly / Randy Harris New Wineskin pattern which isn't new:

Rubel Shelly /Harris: "The tired, uninspiring event called worship in our churches must give way to an exhilarating experience of God that simultaneously exhibits and nurtures life in the worshipers." (Rubel Shelly - Randy Harris, Second Incarnation, p. 12-13)

People might not give up so easily if they grasped that church is A School of the Word of Christ. You don't exhilarate students but keep them calm so that they can learn "that which is written for our learning."

And commenting on the surge of new movements looking for something exciting, MacArthur wrote:

"But perhaps nothing was more characteristic of the mystery religions than what they called ecstasy. Believers in the mystery religions sought to cultivate a magical, sensuous communion with the divine. They would do almost anything to get themselves into a semiconscious, hallucinatory, hypnotic, or orgiastic spell in which they believed they were sensually in contact with deity.

"Some used wine to assist in the euphoric experience, as Paul implied in Ephesians 5:18.
"Whether from literal intoxication or emotional exhilaration, when worshipers fell into a state of euphoria, it was as if they had been drugged. They assumed they were in contact (knowing personally kls) with God. (MacArthur, John, Charismatic Chaos, p. 164. Zondervan)
Mantikê, Mania [mainomai] ) madness, sphodra hêdonê katechousa  
enthusiasm, inspired frenzy, m. Dionusou para E.Ba.305 ; apo Mousôn katokôchê te kai m. Pl.Phdr. 245a ; theia m.,
Plato Phaedrus. [245a] ills is found. And a third kind of possession and madness comes from the Muses. This takes hold upon a gentle and pure soul, arouses it and inspires it to songs and other poetry, and thus by adorning countless deeds of the ancients educates later generations. But he who without the divine madness comes to the doors of the Muses, confident that he will be a good poet by art, meets with no success, and the poetry of the sane man vanishes into nothingness before that of the inspired madmen.
Erôt-ikos A. of or caused by love, . melos a love song, melos B. esp. musical member, phrase: hence, song, 3. melody of an instrument Apollo's Harp
Katokôch-ê possesion, II. being possessed, inspiration,  Pl.Ion536c,
Homer Ion [536c] and you have plenty to say: for it is not by art or knowledge about Homer that you say what you say, but by divine dispensation and possession; just as the Corybantian worshippers are keenly sensible of that strain alone which belongs to the god whose possession is on them, and have plenty of gestures and phrases for that tune, but do not heed any other. And so you, Ion, when the subject of Homer is mentioned, have plenty to say, but nothing on any of the others. And when you ask me the reason

Plato Phaedrus. [245a] ills is found. And a third kind of possession and madness comes from the Muses. This takes hold upon a gentle and pure soul, arouses it and inspires it to songs and other poetry, and thus by adorning countless deeds of the ancients educates later generations. But he who without the divine madness comes to the doors of the Muses, confident that he will be a good poet by art, meets with no success, and the poetry of the sane man vanishes into nothingness before that of the inspired madmen.
OPPOSITE sôphrosunê anthrôpinê meaning having control over the sensual desires, temperate, self-controlled, moderate, chaste, sober,
2. moderation in sensual desires, selfcontrol, temperance

Therefore, when God sent His wrath as a sign to confirm unbelief (Isa 28 explained in 1Cor. 14) it was in the form of men and women speaking and singing out of their own spirit or mind with instrumental music.

The VINEYARD and the NEW WINESKINS are quite Identical

> "During the erotic dance ritual, the priestess would actually become the Goddess in all Her glory. According to the ancient texts, during the erotic dance ritual the priestesses would achieve visionary orgasm in which great truths were revealed.

"Het Heret was the over-arching sky cow Goddess, associated with fertility and bounty and plenty. Married couples would go to the temples of Het Heret for fertility rites that would hopefully lead to a successful pregnancy. The temples were filled with sweet smelling incense.

Typically sweets and red beer or golden ale would flow freely.
The priestesses of Het Heret would dance to the
rhythms of live drumming. (hand clapping)When the couples were sufficiently aroused, they would engage in sexual intercourse on comfortable pillows.

This defines the charismatic prophesying by uncovered women in Corinth. Rubel Shelly and the group sees this as a PATTERNISM for "unity in diversity."

> "In the Vineyard we see five basic phases of worship, phases through which leaders attempt to lead the congregation.... as we pass through these phases we are headed toward one goal:

intimacy with God."....

The fourth phase is described as "God Visits His People when "Expression then moves to a zenith, a climactic point, not unlike physical lovemaking... We have expressed what is in our hearts and minds and bodies, and now it is time to wait for God to respond.

Stop talking and wait for Him to speak, to move. I call this, the fourth phase, visitation:"

The fifth phase is called "Generosity "The fifth phase of worship is the giving of substance. The church knows so little about giving, yet the Bible exhorts us to give to God. it is pathetic to see people preparing for ministry who don't know how to give. That is like an athlete entering a race, yet he doesn't know how to run. If we haven't learned to give money, we haven't learned anything... " From Source

In Ephesians four this was seen in God making fools out of stand up comedians or what the Greek defines as "buffoons." This was Paul's warning against the prophesying, usually by women or effeminate men, as an attempt to pay for their own sins or resurrect the estranged God:

"Apollo at Delphi had to pay for the guilt of slaying the powers of the underworld which have their own rights. Then there are the methods of introduction through psychological means. Intoxication is brought about

by a change of light and darkness, by ascetic fasting, by incense, sounds, music, etc." (Tillich, Paul, A History of Christian Thought, Touchstone, p. 14).

Remember that Apollo founded his own SEEKER CENTER at Delphi. He is Abaddon or Apollyon in the book of Revelation and the MUSICIANS who will ultimately be silenced are Apollo's 9 MUSES who also play instruments (Rev. 18)

While we all love instrumental music, these people believed that the musically-stimulated feelings were proof that they had aroused the sleepy god (or busy relieving himself) and that he had been appeased and your sins had been forgiven. However, this insecurity from failure to trust God in Christ would return with vengeance when the music-high wore off and you just felt terrible.

The wine which God supplies is not for getting drunk; it is a food product. But, you cannot drink this "wine" with your mouth open:

HO, every one that thirsteth, come ye to the waters, and he that hath no money; come ye, buy, and eat; yea, come, buy wine and milk (food products) without money and without price. Isa 55:1

The Eating Drinking Symbol: Wherefore do ye spend money for that which is not bread? and your labour for that which satisfieth not?

The Spiritual Food and Drink: "hearken diligently unto me, and eat ye that which is good, and let your soul delight itself in fatness. Isa 55:2

Incline your ear, and come unto me: hear, and your soul shall live; and I will make an everlasting covenant with you, even the sure mercies of David. Isa 55:3

For as the rain cometh down, and the snow from heaven, and returneth not thither, but watereth the earth, and maketh it bring forth and bud, that it may give seed to the sower, and bread to the eater: Isa 55:10

So shall my word be that goeth forth out of my mouth: it shall not return unto me void, but it shall accomplish that which I please, and it shall prosper in the thing whereto I sent it. Isa 55:11

Then it will be the fields which will sing and the trees which will clap their hands. Isaiah 5 noted that their musical-wine worship meant that the vineyard turned to briars and trampling ground for wild animals. Israel was pretty good at cutting down all the cedars to build houses for pagan gods along with the Temple. The lands were so abused that when Israel and Judah went into captivity the fields, trees and animals could finally "worship" God for getting the noisy, destructive people out of the way. This, of course, is symbolic.

Dionysus the Pattern for Perverted Worship and Worshippers

The Masculine Journey promoted by Promise Keepers held that Jesus had homosexual feelings. Perhaps this was because His travelling companions and apostles were all men. However, the effeminate "gods" were the ones able to lead a female entourage around. Real mean don't dance to God. Effeminate men in the professions are less threatening to women and are therefore honored more than the masculine. A few gender-confused men also got involved. In the Feast of Tabernacles fragment we noted that the clergy in Jerusalem would be fired because they were involved in fertility rituals:

"Today, this music and dance festival is understood as the one remnant of the old Canaanite fertility rituals, which, in the monotheistic pseudomorphosis of the temple ceremonies, was to ensure an abundant crop of plants, animals, and even human beings."

"This was perhaps the only occasion where popular music-making was allowed to mix with the otherwise sternly guarded prerogative of Levitical music.

Consequently, secular, superstitious, even popular licentious elements were here introduced in the performance of the temple's liturgical music." (Interpreter's Dictionary of the Bible, p. 460, Abingdon). 

There was always a connection between perverting self or God's law and the wine symbol of dionysus. Solomon warned that--

It is not for kings, O Lemuel, it is not for kings to drink wine; nor for princes strong drink: Pr 31:4

Lest they drink, and forget the law, and pervert the judgment of any of the afflicted. Pr 31:5

Give strong drink (intensely intoxicating) unto him that is ready to perish (void), and wine (fermented wine) unto those that be of heavy (bitter) hearts. Pr 31:6

The new wineskin legalistic pattern goes even further: as confessed Post-Modern it even deny that God has a right to make laws (patterns) governing faith and practice.

God does not allow wine for the "sad" who need to exhilarate. Rather, the heavy hearted who are permitted, by God, to turn to wine are bitter and discontented:

Mar (h4751) mar; or (fem.) 4784 maw-raw'; from 4843; bitter (lit. or fig.); also (as noun) bitterness, or (adv.) bitterly: angry, chafed, discontented

To pervert is to be a double-dealer. You may look like one but be another. For instance, when the raving prophets fell into ecstasy or as David drummed upon the door the goal was to fool the enemy:

And he changed his behaviour before them, and feigned himself mad (halal or praise) in their hands, and scrabbled (drummed) on the doors of the gate, and let his spittle fall down upon his beard. 1S 21:13

And said, O full of all subtilty and all mischief, thou child of the devil, thou enemy of all righteousness, wilt thou not cease to pervert the right ways of the Lord? Ac.13:10

Music was the most common "tool" or weapon for inducing ecstasy to pervert another to take away their manhood or their property. The male prostitute king of Tyre played the harp in order to be "remembered as a male." To profane one in this way comes from the word:

Chalal (h2490) khaw-lal'; to wound, to dissolve; figurative. 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), defile, break, defile, eat as common things, gather the grape thereof (similar to melody), take inheritance, pipe, player on instruments, pollute, cast as profane (self), prostitute, slay (slain), sorrow, stain, wound.

Jesus identified the clergy as children playing the old fertility rituals where sexual perversion was an acceptable act of worship. He said:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Mt 11:16
        And saying, We have
piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt 11:17

The dance they wanted Jesus to get into was a dance reserved for women liberated from caring for their children and effeminate men:

Orcheomai (g3738) or-kheh'-om-ahee; (a row or ring); to dance (from the ranklike or regular motion): - dance

They wanted Jesus to lament in the sense of singing the song of worship with instrumental music to Bacchus while getting touched or "set on fire." When applied to dionysus or Bacchus it was the:

"Thriambeuo (g2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - (cause) to triumph (over).

This was a little ritual drama by men trained in the theater. If by their acting they could get you to fall into the dance or chant their song they had closed down your rational mind and infused their pagan worship right into the emotional seat without raising a single rational thought.

Dionysus or Bacchus as the God of NEW WINE is perverted and musical.

The Presence of Dionysus Can Be Detected

In another fragment, we noted that Willow Creek churches such as Woodmont Hills under Rubel Shelly have hired a "worship facilitation minister" who must be trained in music and dramatic performance to help "bring the worhiper into the presence of God." Because this is one of the methods of the change agentry efforts it is interesting that:

"dionysus is a strange god. Although he is best known as the god of wine, he is also a vegetation deity, a god of the liquid element,

a death god,
a god who comes into and changes, often irrevocably, the normal community life,
and lastly the god of the theatre.

"The duality of dionysus is related to another of his attributes, which is that of loss of identity.

"Nietzsche (in The Birth of Tragedy) treats Dionysus as a dynamic of time

that destroys old forms and brings forth the new."

(one reason for his role in the Mysteries) with 'an indifference to the differences'. Nietzsche contrasts this to Apollo who is the God of light, and of forms in particular.

Of course, Dionysus was honored at Apollo's shrine at the Oracle of Delphi. Click to see how a Seeker System restores the ancient pattern of Apollo who is Appolyon or Abbadon.

The actors in the plays performed for dionysus were masked; the mask symbolized the submersion of their identity into that of another. Wine also has the effect of submerging the normal personality of the person who drinks it. Dionysus made a habit of stealing the identities of his worshippers; the bacchants dancing on the mountainside have no separate personalities; they are mad, crazed, they have been taken over by the god; and they are all alike.

"Agave is certainly not herself when she tears her son to pieces, acting in unison with her sisters. In this respect they are behaving in the same way crowds often do, in which the individual is subliminated by the mob. dionysus induces mass hysteria, he is the god of mob fury.

"This loss of individuality is demonstrated in the theatre not only by the masks which the actors wear, but also by the chorus.

"They dance and sing in unison, all chanting the same words. The members of the chorus have no identity, each is merely an insignificant part of the whole, with no separate will. All individuality willpower must be given up to dionysus, when the god choses to take it. From

The Rise of The Feminine and Effeminate Mediator Between Man and God.

Because there could be no preside-over or theatrical performance without a totally corrupt spirit which sees one's own talent as necessary for "worship" to work. This is very ancient and very pagan. However, these people so distorted rapidly come to believe that every event must be sanctified and mediated by their often exotic talent.

As Rubel Shelly and Randy Harris have prolmugated the dogma or ritualistic pattern that the "musical worship team" can help "lead you into the presence of God" it comes as no surprise that their tag-along feminine teams, just like Nimrod's in ancient Babylonia, believe that the feminine power which is sexual power really stands between the secular "audience" and the holy.

Because Jesus was totally masculine, He refused to perform the signs of a homosexual dancer honoring dionysus. Rather, He led His own triumphal march into heaven itself but it was not playing literal instruments while naked like David. He spoiled those including Judas whom Psalm 41 said would not triumph over (blow trumpets and celebrate) Him:

Blotting out the handwriting of ordinances that was against us, which was contrary to us, and took it out of the way, nailing it to his cross; col 2:14
And having spoiled principalities and powers, he made a shew of them openly,
triumphing over them in it. Col 2:15

The secular or carnal triumph of Judas and the Jewish priesthood was:

The Dead Sea Scroll's version of Psalm 41 reads:

Thriambeuo (h2358) three-am-byoo'-o; from a prol. comp. of the base of 2360 and a der. of 680 (mean. a noisy iambus, sung in honor of Bacchus); to make an acclamatory procession, i.e. (fig.) to conquer or (by Hebr.) to give victory: - cause to triumph over.

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 
However, when Jesus leads in triumph, the instruments will be the lips and heart:

I will groan with the zither of lamentation
        in all grief-stricken mourning and bitter complaint
until iniquity and wickedness are consumed
        and the disease-bringing scourge is no more.

The Lord Who lead captivity in a triumphal march was God Who, in the flesh, was Lord Jesus Christ. He destroyed the power of the clergy, including the musical Levites who laid down their instruments for 1800 years, which had been used to lade or burden the people with "spiritual anxiety from religious ritual"-

Then will I play on the zither of deliverance
        and harp of joy,
on the tabors of prayer and the pipe of praise
        without end.

Thou hast ascended on high, thou hast led captivity captive: thou hast received gifts for men; yea, for the rebellious also, that the Lord God might dwell among them. Psa 68:18

Dionysus was worshipped in the temple in Jerusalem before the time of Christ. Therefore, when some Jewish clergy tried to triumph over Him with their pipes or wind instruments it was to force him into the ritual chorus to dance with the musical worship team. You see, they wanted dionysus to prove Himself resurrected and the Christ symbol of Messiah must be crushed at all costs because He would not allow them to sit on His right and left hand. However, for a male to dance in the religious ceremony would be to prove himself effeminate. Jesus asked the Jews who swarmed around John the Baptist to see the show:

But what went ye out for to see? A man clothed in soft raiment? behold, they that wear soft clothing are in kings houses. Mat 11:8

Soft is from the Greek:

Malakos (g3120) mal-ak-os'; of uncert. affin.; soft, i.e. fine (clothing); fig. a catamite (male prostitute): - effeminate, soft. (g3119 means soft or diseased)

"Asherah (symbolized by errect poles with fertility symbols pouring out the top): She is the Queen of Heaven, in other languages and ages identified as Ashtoreth, Athirat, Astarte, and Ishtar. Yahweh, the Hebrew God elevated to become the sole deity , was Her consort. Her "male" priestesses were known as kelabim, the faithful "dogs" of the Goddess, "who practiced divinatory arts, danced in processions, and served as hierodules, qedeshim, in the company of other priestesses. Elements of the goddess worship were largely erased in a cultural purge c. 630 BCE by King Yosiah, at the behest of Yahweh's priests, who required supremacy.

"I would argue that in Greek tragedy the cross-dressed actor was crucial, a sign of the conventional nature of the drama. Male playing female is inevitably distanced from the role and makes it clear that the role of the woman is an idealization, not a realization.

In addition the male playing female indicates a possible relevance of the form to dionysus, a god associated with masks and characterized by softness, woman's curls and dress (Bacchae) and worshipped with transvestite ceremonies at the Oschophoria (Seaford; Segal 1982: 10-20, 158- 68, 214).

the god of wine (as such also called Liber, the deliverer, Lyæus (luein), the care-dispeller; cf. Enn. ap. Charis. p. 214 P., or Trag. Rel. v. 149 Vahl.; cf Hor. Epod. 9, 38; as intoxicating and inspiring, he is god of poets, esp. of the highly inspired, Ov. Am. 3, 1, 23;
hence, the Bacchæ are called matres Edonides,Ov. M. 11, 69; id. Tr. 4, 1, 42; v. also Liber.—Bacchus, in the most ancient times, is represented as a god of nature by a Phallic Herma

1.  The cry or invocation to Bacchus, lo Bacche! audito Baccho, Verg. A. 4, 302.—
C.  Bacchēus , a, um, adj., = Bakkheios, Bacchic: “ululatus,Ov. M. 11, 17: “sacra,the feast of Bacchus, id. ib. 3, 691: “cornua,Stat. Th. 9, 435.—

Dionysus is the eternal enemy of God. He comes in many skins but he is the Satan figure but he is always the "god of wine, women, song, drama, theater and instrumental music."

However, when this "god" takes over it is the end of the road:

"There is a further irony: although the last tragedy of the last canonical tragedian puts the god of theatre back into theatre, restoring Dionysos as the centerpiece of the festival of the City Dionysia, this restoration shows unmistakable signs of instability, uncertainty, even self-doubt. I have written about these signs:

"It is symptomatic of structures that have lost their elasticity, becoming too rigid to accommodate further development, to intensify the semantics of self-reference as a sort of final act of self-reassurance. The patterns of self-reference by drama to drama as we see them in The Bacchae of Euripides reflect a crisis in the very genre of tragedy, in the context of drastic changes in Athenian society toward the end of the fifth century; the prospect is one of abrupt confrontation and loss." Nagy, Pindar's Homer p. 388

Of the Orchoporia the Britannica notes: Introduced into Rome from lower Italy, the Bacchanalia were at first held in secret, attended by women only, on three days of the year. Later, admission was extended to men, and celebrations took place as often as five times a month. The reputation of these festivals as orgies led in 186 BC to a decree of the Roman Senate that prohibited the Bacchanalia throughout Italy, except in certain special cases. Nevertheless, Bacchanalia long continued in the south of Italy.

We should worry when the value of the "worship service" is measured by enthusiasm or exhilaration. Dionysus worship tried on Jesus was exactly what He came to destroy. The priests and Levites had been the musical worship team who exchanged sick lambs for the "worshiper's" money. In return they became the:

"Chorus or the song-and-dance ensemble who stand for the true followers of the god."

That is, even after Messiah came to fire them and tear down their "house" once again, they still had the Satanic arrogance to believe that they had the talent and authority to perform the worship for the "audience." They do it because they believe that their clergy offices give them access to God which you, the bankroller, do not have. They have more authority because they are not "natives" but have been imported "from beyond the sea" and are therefore experts. They are the Musical Worship Team who often claim and probably always believe that they are "mediators between man and God."

"The backdrop to the central figures of Pentheus and dionysus is the chorus of The Bacchae, female devotees of the god. The word bakkhos (masculine) or bakkh (feminine) designates someone who has been possessed by the god, who literally has the god within. (The word entheos, meaning "having the god [= theos] within," is the ultimate source of our word enthusiasm.) The feminine plural of this word, bakkhai, is Latinized as "bacchae," whence the name of the tragedy, Bacchae.

The play is named after the chorus, that is, the song-and-dance ensemble who stand for the true followers of the god.

These women are Lydians and hence foreigners, accompanying dionysus as he travels all the way from distant Lydia to the center of Hellenism, Thebes. Their possession by the god is benign, unlike the possession of the women of Thebes, who are led by Agave, mother of Pentheus.

"The singing and dancing of the chorus of Bacchae, who stand for the Lydian women, is fundamentally an act of ritual, of worshipping the god. This ritual of bacchic moderation is predicated on the myth of bacchic catastrophe. Such a balance of moderation and catastrophe brings to life the theatre of dionysus.

There are many signs of the second incarnation of Dionysus (Apollo, Apollyon, Abbadon) but the Seeker Centers to meet all of the secular needs is a certain sign. The other sign is that if you don't agree with Dionysus he turns loose the dogs (effeminate) women on you:

"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 dionysus,
he punishes them by unleashing the full force of female sexuality,
thereby destroying social order and driving them to certain tragedy.

The forms of singing are effeminate and the self-referenced songs are often erotic. One writer quit a "team" when they sang an intimate song by one of the team about his wife. "A Cappella" is not what we do in congregational worship. Rather, a cappella has its second incarnation because it includes the sexual, theatrical, choral and an "organic organ" as a legalism to get around the Pope's and Catholicism's rejection of mechanical organs for the Sistine Chapel. In the case of the Pope, a cappella unleashed the monastry-fostered "male" female sexuality:

"The papacy also continued the practice of creating castratos (boys castrated before puberty to keep their singing voices high-pitched) for their own entertainment, long after it had fallen in disfavor throughout Italy."

"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 musicial 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."

Of the king/queen of Tyre as a type of Lucifer: "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

"Remembered" means "remembered as a male."

"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.

Dionysus the Pattern for Intoxicated Worship

Again, we say that it is easy to adopt the methods of acknowledged perverse religious practices because it feels good, exuberant, exhilarating or just "brings 'em in, dead or alive to fill the pews." People probably do not understand the implications and they rest upon the knowledge that the "brethren" and "sistern" do not know either.

Read about dionysus and see if you can see the parable or paradigm or pattern or whatever. This dionysus was exhilarated by wine and tried to take over the role of God. However, just about the time he reached the top of the mountain, his "brethren" grew jealous because they were also "giant deities." They went into full attack. However, dionysus just changed his shape by joining a new association so they could no longer see him in their group. He finally took the shape of a serpent which is a symbol of the (clanging brass) Chaldean soothsayers who used instrumental music to fool the fools. Finally, dionysus took the form of a bull. Isaiah is perhaps prophetic when he wrote:

Awake, awake, stand up, O Jerusalem, which hast drunk at the hand of the Lord the cup of his fury; thou hast drunken the dregs of the cup of trembling, and wrung them out. Isa 51:17

There is none to guide her among all the sons whom she hath brought forth; neither is there any that taketh her by the hand of all the sons that she hath brought up. Isa 51:18

Thy sons have fainted, they lie at the head of all the streets, as a wild bull in a net: they are full of the fury of the Lord, the rebuke of thy God. Isa 51:20

Therefore hear now this, thou afflicted, and drunken, but not with wine: Isa 51:21

Thus saith thy Lord the Lord, and thy God that pleadeth the cause of his people, Behold, I have taken out of thine hand the cup of trembling, even the dregs of the cup of my fury; thou shalt no more drink it again: Isa 51:22

See also Amos 5; 6 and 8 along with Isaiah 5. What? You know. That old book of that old testament. They didn't offer that when I got my degree? Well, you can still read it.

This was literally what happened when dionysus tried to escape the group over which he tried to be the god king. Remember that in Gnosticism, Sophia is the snake or serpent of wisdom and ZOE is the beast of LIFE: she is the female instructing principle which forces effeminate males into a musical worship team: to worship the female goddess.

"Known as the personification of the sheer exhilaration produced by wine, dionysus, according to one legend, once briefly assumed the throne of his father, Zeus, the supreme god of the ancient Greeks.

After his ascent, he was attacked by jealous Titans (Satans)... Changing shape in order to escape his foes, dionysus took flight in the successive forms of a lion, a horse, and a serpent. When he transformed himself into a bull, however, the god was overcome by his enemies and, like Osiris (worshipped at Mount Sinai and warned about in 1Cor 10) before him, was brutally dismembered." - The Search for the Soul

"Appear, appear, whatso the shape or name,
        O Mountain Bull, Snake of the Hundred Heads,
Lion of the Burning Flame! O God, Beast,
        Mystery, come!" - Euripides, Bacchae

The Second Incarnation of Dionysus:

Not to worry! dionysus is still worshipped because he also had his second incarnation. Dionysus was like the beloved pattern of the Aztecs, the old god for the year had his heart torn out, a new fire lit in his empty chest and the old houses were returned to their pre Jubilee-like tragic drama.

"Associated with the Orphics was a myth. dionysus was killed and devoured by the Titans; his heart was rescued and a new dionysus born from it. The Titans were destroyed by Zeus' thunderbolt, and mankind formed from their ashes. Man is thus compounded of a Titanic element, the body, and a Dionysiac element, the soul, and his aim is to purify himself of his Titanic element." - John Ferguson, An Illustrated Encyclopedia of Mysticism and the Mystery Religions

Of orphics who were the opposite of the new wineskin types: "...The purer their lives the higher will be their next reincarnation, until the soul has completed the spiral ascent of destiny to live forever as God from whom it comes."

After showing how most people were drawn into an effeminate or even homosexual form of life and worship, Paul condemns those who bragged about the Law but then:

You who say that people should not commit adultery, do you commit adultery? You who abhor idols, do you rob temples? Ro 2:22

You who brag about the law, do you dishonor God by breaking the law? Ro2:23

Arnobius sounds the universal warning that the self-selected musical prophesiers trying to find their god and lost manhood were more than gender-neutral:

"Tyrants and kings plunder and pillage the treasuries of temples and "wrest away the chastity of matrons and maidens,--these men you name indigites and divi; and you worship with couches, altars, temples and other service, and by celebrating their games and birthday... who seek to persuade men that the rights of marriage should be held in common; who lie with boys, beautiful, lustful, naked; who declare that you are beasts... all these with wonder and applause you exalt to the stars of heaven, you place in the shrines of your libraries, you present with chariots and statues, and as much as in you lies, give with a kind of immortality." (Arnibious, Ante-Nicene, VI, p. 432)

"Some of them are brought forward in the character of lovers, destroyers of purity, to commit shameful and degrading deeds not only with women, but with men also. You take no care as to what is said about matters of such importance." (Arnobius, Against the Heathen, AnteNicene, VI, p. 487 Ch 64 ).

The New Wineskin is a Logo and Logos Have almost Supernatural Power

Offering ourselves as a new wineskin-which was usually the drinking container-to the wine gospel? Of course, we are tempted to innocently lift these old symbols or affect images without realizing the full implication--

"Thus the female devotees of the god Dionysus appropriately bore the thyrsos as their emblem as they roamed the winter mountainsides in search of the so-called vine that grew suddenly with earth-rending thunder and the bellowing of bulls amidst their night-long dancing;

that beloved child, the age-old serpent consort,
was the object of their hunt, who was suckled, then like a beast
torn to pieces and eaten raw; his own mothers, as was often claimed, were guilty of cannibalism eating his flesh, for like mothers the women would have brought the drug into being, harvesting and compounding it with the help of the god's so-called nurses, in whose loving care he would grow to manhood, eventually to possess them as his brides. Such ceremonies enacted the sacred nuptials of the city's women, who thereby entered the awesome alliance with the nether lord, upon whose realm depended the growth of all this world's fertility of plants and man. See More

The New Wineskin symbolizes Exhilaration which is Intoxication:

"Standing in the bowl of the winged serpent, we are inside that sacramental chalice, drinking with our eyes, so to say, the intoxicant, there symbolized as wine, of the mystery of the substance of our being." - Joseph Campbell, Creative Mythology

Bacchus I call, loud-sounding and divine,
        Fanatic God, a two-fold shape is thine:
Thy various names and attributes I sing,
        O, first-born, thrice begotten, Bacchic king:
Rural, ineffable, two-formed, obscure,
        Two-horned, with ivy crowned, euion, pure:
Bull-faced, and martial, bearer of the vine,
        Endued with counsel prudent and divine:
Triennial, whom the leaves of vines adorn,
        Of Jove and Proserpine, occultly born.
Immortal daemon, hear my suppliant voice,
        Give me in blameless plenty to rejoice;
And listen gracious to my mystic prayer,
        Surrounded with thy choir of nurses fair.
        Translation by Thomas Taylor.

This is why the wineskin symbol which demands drama and music from choirs of nurses fair works.

The word for melody in both Hebrew and Greek speak of "cutting your vine to take your inheritance" or "abrading one to bits with the panic music of the military." Loud vocal and instrumental music literally tears both flesh and chemicals in the body.

At first, the experience is painful. However, the body rushes to the rescue and manufactures endorphins or morphine-like hormones. Your God-given body protects you from the new wine change agents!

This dulls the pain by giving you a drug high and you actually believe that the sexual-like molestation is the god working in your body:

Among many, the bear was a god. The way to worship him was to stalk him, kill him, strip off the skin for you to wear and cut or abrade or crush the body for your food. Then you wore the bear skin (wineskin) and held a religious ceremony giving praise to the bear god you murdered. The lamb or bull was no different. If Jesus was really the Messiah or Jehovah-Savior, the dionysus worshipers in Jerusalem must murder Him to see if He was really God. It was common knowledge that "real men didn't sing and play musical instruments" as a religious ritual and therefore Jesus called them children playing the fertility games.

Musical attacks upon the people was really a musical attack upon God. The goal was to collect the people and steal their cargo while you lulled the merchants to sleep with wine, women and song. Wen Amon is one such merchant. This began in Babylon and was prominent at Trye. The king of Babylon would go into Sheol along with his instruments and musicians. This will be the end-time pattern. The king of Trye was the "harp-playing prostitute" who came equipped with pipes and tabrets or timbrels.

Isaiah and Ezekiel tell the brutal story of the origin of Dionysiac worship which moved on into the Greek world:

"Boeotia was the main center for the propagation of the Dionysiac cult throughout Greece. Herodotus gives us a description of the Festival of dionysus as practiced in his country. He points out that Melampus, son of Amytheon, introduced the name of dionysus to Greece and probably got his knowledge of the worship of this god 'through Cadmus of Tyre and the people who came from Phoenicia to the country called Boeotia'. Although Herodotus was ever ready to find an oriental origin for Greek religion, similar cult practices can be seen in the Dionysiac cult and Ugaritic religious literature of the second millennium B.C. An essential rite of the Bacchic orgies was the practice of omophagia, the dismemberment of the sacrificial victim and the eating of raw flesh. A text from Ugarit reveals that the goddess--

"Anath (Ishtar-like) came upon her divine brother Baal (Tammuz)
"unawares when he was beating his timbrel and perhaps singing.
"The goddess
ate her brother's flesh 'without a knife and drank his blood without a cup'.
timbrel also was the sacred musical instrument peculiar to the bacchic festivals." M. P. Blavatsky, Isis Unveiled

This is why Jesus used the flesh and blood "parable" to the Jewish elite. However, to believers He said:

It is the spirit that quickeneth; the flesh profiteth nothing: the words that I speak unto you, they are spirit, and they are life. John 6:63

Both the king of Babylon and Tyre were called commercial-religious prostitutes. The king of Tyre came equipped with musical instruments for his musical change agent work for Lucifer. Tyre went into seventy years of trouble like Judah and Isaiah wrote:

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 (Remembered as a male even though his musical weapons identifed him {Lucifer} as a harp playing prostitute)

Because Jesus was murdered but was resurrected the pagan believers repeated the worship of Tammuz (Sun-rise ceremonies with music) or Adonis or dionysus just as they always had. To celebrate this resurrection the Christian worshipers, "just out of paganism" in Corinth and Ephesus were repeating the ancient rituals. The "Worship Facilitation Minister" is to help bring the worshipers into the presence of God. And-

"Early worshipers of dionysus reenacted this gruesome scene by whipping themselves into a frenzy (exhilarating) and tearing a live bull (the old, destructive brothers?) to pieces with their hands and teeth.

These grisly rites, accompanied by loud music and the crashing of cymbals, were intended to propel the revelers into a state of ecstasy (Shelly: exhilaration), a word literally meaning 'outside the body' to the Greeks.

Through this ecstasy, the cultists hoped to transcend their earthly bonds and allow the soul a temporary liberation from the body.

Only in this way could the soul achieve a condition of enthousiasmos (from the Greek enthusiazein, "to be inspired or possessed by a god"), meaning 'inside the god,' which the worshipers believed was a taste of what they might one day enjoy in eternity." - The Search for the Soul

This was what Paul warned about in the Ephesian new wineskin religion with external melody which would have included musical instruments. That is why he demanded that they not get drunk on wine but be sober and fill up with the Spirit or Mind or Word of Christ and then speak quietly one to another or to themselves. While these revivalistic movements have sincere motives, they can and do lead to a rejection of the quiet counsel of Jesus the Spirit out in the rural areas and a mass movement to the city-states whose religion is commerce and their priest-musicians wear cowboy garb.

The male movements launching into the Masculine Journey speak of rap and Rock (derived from Voodoo) music replacing beating the drum in the deep woods. However, this was not a male practice but a female or effeminate practice. Writers identify music in worship as "the effeminate art." Even today, to be successful, singers need to be gender-neuter or gender-ambigious. This allows both male and female to "relate" to them.

If you wonder why the Word of God has little appeal to the readers of popular junk-books, it is because we are told that 80% of the readers are female looking for "relationship" material. On the other hand, men do not read at all. This is a product of the femininization of Christianity even though the males are "in charge." We have noted that most women and men get highly turned off and turn off any real study of God's Word:

"MOST CHRISTIANS TODAY call the main Sunday morning hour "the worship service." This is dead wrong for several reasons! Though worship is part of what the congregation should do together, "teaching" is to be the driving activity of the Local Church. Too, an I must be careful here, though worship is for all -- male and female -- the way it's carried out today, often

it's a FEMININIZATION of the church service.
teaching is VIRILE and MEATY and speaks head-on to males.

Paul warned against paganism in the church at Corinth and makes a clear musical connection. The ancients who totally condemned instrumental music for worship also banned them from discussion when a rational (spiritual) discourse was taking place.

"To what extent did women participate in the meal? Salza Prina Ricotti has conservatively stated that women were thought to be a distraction at dinner, and that they did not make invitations, receive guests, or conduct conversation during the meal.(34) Juvenal disagrees in the sixth satire, rebuking the erudite woman who belittles rhetors and grammarians in her dinner table remarks.(35) He exaggerates, but no less than to imagine that women took absolutely no part in dinner socializing. Catullus did not consider a dinner good without wine, wit, laughter, and the company of a lovely girl.(36)

Karen Armstrong, in A History of God, shows how the pagan clergy attempted to neutralize the One God Who was spoken of as male:

"God lay beyond 'gender' but, as in the Enuma Elish, each pair of emanations consisted of a male and female--a scheme which attempted to neutralize the masculine tenor of more conventional monotheism. Each pair of emanations grew weaker and more attenuated, since they were getting even further from their divine Source." (p. 95)

Speaking of the mystics, Armstrong showed how the new, gender-neutral gods are to be worshipped:

"This God is to be approached through the imagination and can be seen as a kind of art form, akin to the other great artistic symbols that have expressed the ineffable mystery, beauty and the value of life.

Mystics have used music, dancing, poetry, fiction, stories, painting, sculpture and architecture to express this Reality which goes beyond concepts." (P. 396)

When Israel demanded a king like the nations it was so that they could be free and worship like the nations. God declared that this would not happen for long because the kings would lead the nation into destruction or captivity. Therefore, the worship of Israel after this time was borrowed from the nations. Modern charismatic worship in song, sermon, dance and drama appeal to the Old Testament statements about music and dance to "proof" their out of context authority. However, this is just a more direct appeal to Dionysus worship:

"The religious poetry of the Ugaritic texts has been shown to have close affinities with the Phraseology of the Hebrew Psalms. From the same sources come references to a class of Temple personnel designated by the term serim, who exercised functions similar to those of the Hebrew singers during the monarchy and later times. Some of the servants of David who were designated in 1 Kings 4:31 by (a) term meaning 'aboriginal' or 'native sons,' and who possessed Canaanite names such as Heman, Chalcol, and Darda, were engaged in various forms of musical activity.

As such they were described by the phrase 'sons of Mahol,' a Hebrew term closely related to (the Greek), used of a semi-circular area in which the Greek chorus danced, and meaning 'members of the orchestral guild.'

"A further reflection of this musical interest became apparent when Megiddo was excavated and the treasure room of the royal palace was uncovered. From this area was recovered a plaque inlaid with ivory, depicting a royal personage seated on a throne. He was drinking from a small bowl, and was being entertained by a court musician who stood before him plucking the strings of a lyre." (See Amos 5; 6; 8)

"With the later days of Solomon came a resurgence of Canaanite idolatry, and when the kingdom began to function as two separate units, the breach between the religious life of the north and south was accentuated." (Harrison, R. K., Introduction to the Old Testament, Eerdmans, p. 335-6, see p. 411).

Remember that this was the dance the Jewish clergy would try to force upon Jesus. This would mean that they had triumphed over Him. However, Psalm 41 declares that Judas would not triumph over Jesus in the musical sense.

Scholars and history note that Christianity is a "religion of a book" and appeals to the masculine mind. To praise God one does not flail around singing "praise God." Rather, God is praised by those hearing Him speak through the Word and telling others about that Word. The effeminate (not feminine) quest is to try to find the gods in swinging, pounding, ascending self above others often with music or a musical style.

In Ezekiel chapter eight, this god of the women was Tammuz. The women were in the temple presiding over and "lamenting for Tammuz" while the men held the first Sun-rise service outside the Temple.

Whatever the name, the "god" was identical to dionysus, the god of wine, madness, vegetation and the theatre, of whom it is clear that:

The NEW WINESKIN GOD "Dionysus certainly roves more than the other gods; the traditional picture of him is not one of him sitting sedately on Olympus sipping nectar and listening to the Muses (9 females) sing. Rather it is one of him roaming through the wilderness, thrysus (a reed bound with ivy and topped with a pine cone) in hand, followed by bands of ecstatic women, his Bacchants, and spreading the art of cultivation of vines and of wine-making. Other gods may leave Olympus, but it is not habitual with them as it is with dionysus.

"dionysus often seems to stand somewhere between male and female, between god and man, between death and life. He is a male god, but he is always surrounded by women, his chief worshipers.

"His worship involved transvestism and the blurring of sex roles. Men and women both dressed in long robes covered by fawnskins, and women, as bacchants, left their normal sphere of activity, the home, and danced madly on mountainsides. dionysus even looks somewhat ambiguous sexually; Pentheus in the Bacchae comments on the god's effeminacy: his long curls, his pale complexion. Resource.

While the Bible is clear about sex role differences especially in the assembly, the New Wineskin or Vineyard movement deliberately distorts Paul and even slanders his authority. You simply have to destroy Paul before you can blurr the sex roles of the church. When you see it happening you know that the agents of Dionysus are at work.

Those Who Blurr Sex Roles and promote Female Authority promote female sexual power which.

Joseph Campbell notes that the ancient affect images such as wine works until the mind kicks in. The "funny drunk" on Sunday is the bitter fool on Monday:

"Dionysus is the wine-god, and thus should be a pleasant fellow, a benefactor. But wine has both positive and negative aspects. It makes people drunk, causes them to behave in strange ways. The Greeks were well aware of the dual natures of wine, mirrored by the dual nature of its god.... He betrays a dual nature: being bright, joyous, and vital for life,

while also having a side that is dark, mysterious and deadly.

"The adored wife of the fallen Hector, is taken as a concubine by the authentes, who can command her domestic and sexual services. The word also occurs in a homosexual sense in a speech by Theseus, king of Athens, where love of young boys was considered a virtue rather than a vice." (Charles Trombly, Who Said Women Can't Teach, p. 174)

At the time of Christ, authority was used in the sense of a "self-thrusting one" could mean both to murder and to create. In magical circles it has to do with source or originator which had a sexual meaning.

"Michael Clycas, the Byzantine historiographer, uses this verb to describe the woman, 'who make sexual advances to men and fornicate as much as they please without arousing their husband's jealous.'" (Charles Trombly, Who Said Women Can't Teach, p. 176)

Ephesus was famous for its shrine of Diana, where thousands of sacred prostitutes believed fornication

brought believers into contact with deity
in much the say way the Gnostics used authentia to bind the flesh and the divine together. When these owm converted to Christianity they had to unlearn these pagan practices.' Trombley, p. 177)

But the Bible teaches that to seduce men in such a manner was indeed to lead them to slaughter and the halls of death (cf. Prov. 2:18; 5:5; 6:27; 9:18).

The verb authentein is thus peculiarly apt to describe both the erotic and murderous." (Trombley, Who Says Women Can't Teach, p. 177).

Speak is self-speak:
la^l-eō , A. [select] talk, chat, prattle, b. metaph., zōgraphia lalousa (of poetry)
II.  chatter, opp. articulate speech, as of locusts, chirp, Theoc.5.34; mesēmbrias lalein tettix
III.  of musical sounds, “aulō laleōTheoc.20.29; of trees, v.supr.1.2; “di'aulou ē salpiggos l.Arist. Aud.801a29; of Echo, D.C.74.14: also c.acc. cogn., magadin lalein sound the magadis,

Eve in Greek is Zoe called "the Beast and female instructing principle."

Beastia 2. As a term of reproach (cf. belua and our beast): “mala tu es bestia,Plaut. Bacch. 1, 1, 21; id. Poen. 5, 5, 13.—And, humorously, of the odor of the armpits (cf. ala and caper), Cat. 69, 8.— constellation, the wotf, Vitr. 9, 4

Bacchis, it is, because I dread you Bacchantes, and your Bacchanalian den5.
Your allurements6, more than your couch, do I dread. You're a mischievous serpent7. But, madam, a lurking-place does not befit this youthful age.
       5 Your Bacchanalian den: "Bacchanal" was properly the place where the Bacchanalia, or orgies, were celebrated. He styles them "Bacchantes," and their house a "Bacchanal," in allusion both to their names and their habits.
       7 Mischievous serpent: "Mala tu's bestia." Literally, "you are an evil beast;" which sounds harsh to an English ear, even when applied to such an animal as Bacchis.

Baccha I. a Bacchanet, a female attendant of Bacchus, who, in company with Silenus and the Satyrs, celebrated the festival of that deity with a raving madness carried even to insensibility,

Dionysus was clearly the god of choice for the women in Corinth and Ephesus. All false religions have a form of Satan as their God. The New Wineskin fulfills all of the tests to define Dionysus, the god of new wine and female authority.

Wine, left to itself, rots. It takes a certain skill to ferment wine which intoxicates without killing you. Therefore, when people appeal to fermented wine they intend to get drunk even, as the ancients believed, drunk on ignorance. While you may not know the end-game, the god does--

"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." Resource.

In the Eleusian mysteries, the wine was not noted for its alcohol but for drugs perhaps from fermented barley 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.

The great Mother Goddess of the protestant-Catholic eccumenical movement is Mary who is seen as Eve or ZOE. The Zoe principle is of a superior female goddess and she forces the lesser "Jehovahs" to form musical worship bands.

Everyone knew that when the musical speaker and his band of musical nurses accompanied him this was the only way to get people to go on a pilgrimage often "across the sea." They also knew that the prophetesses were always available after "worship services" for some private counselling. Usually women but often men functioned in these temples and they knew that when the wine, women and music kicked in the result was often growing "masculine" relationships or unintentional "sexual crossover.) For instance:

The NEW WINESKIN GOD "dionysus too was represented hard by the clusters, to be the husbandman of the vine and the vintner. As we drank deeper, I began to look more boldly and with less shame at my sweetheart; Cupid (Eros. His "arrow" was not shot with a bow!) and dionysus are two of the most violent of the gods, they can grasp the soul and drive it so far towards madness that it loses all restraint; Cupid fires it with the flames which are his attribute, while dionysus supplies wine which is as fuel to the fire: for wine is the very sustenance of love." Achilles TatiusThe Adventures of Leucippe and Cltophon Book 2.2-3 (photo typical only)
"All honor to that king of the Scythians, whoever Anacharsis was, who shot with an arrow one of his subjects who imitated among the Scythians the mystery of the Mother of the gods, as practiced by the inhabitants of Cyzicus, beating a drum and sounding a cymbal strung from his neck like a priest of Cybele,

"condemning him as having become effeminate am ong the Greeks, and a teacher of the disease of effeminancy to the rest of the Cythians." (Clement of Alexandria, Exhortation to the Heathen, Ante-Nicene, II, p. 177).

We noted above that the Jewish clergy used instrumental music to get John and Jesus to fall into the lamenting and dancing of the Bacchant chorus. This would involve nakedness and making Him into a woman. Habbakuk showed that God's glory is illustrated by water and not wine. The dionysus worshippers among the Jews would try to get others to go for the wineskin so that they could see their nakedness. Instead of glory of the water of the Word they would be filled with the shame of the wineskin:

For the earth shall be filled with the knowledge of the glory of the Lord, as the waters cover the sea. Hab 2:14

Woe unto him that giveth his neighbour drink, that puttest thy bottle (wineskin) to him, and makest him drunken also, that thou mayest look on their nakedness Hab 2:15 [Literal or psychological]

Thou art filled with shame for glory: drink thou also, and let thy foreskin be uncovered: the cup of the Lords right hand shall be turned unto thee, and shameful spewing (disgrace of exposure) shall be on thy glory. Hab 2:16

The Hebrew Parallel

When Israel "rose up to play at Mount Sinai" they were singing, dancing, playing instrumental music and, like David who repeated it, stripped naked. They were worshipping Apis or another form of "dionysus." In First Corinthians 10 Paul warned Corinth against the same musical ritual. In Romans 10:5f he warned Rome against "sending across the sea" to get an expert to teach them when they had the Word of God with them and in their hearts. He warned the Ephesians against the worship of Dionysus by demanding that they put away the wineskins (which were the heart of various musical instruments including the familiar spirit) and fill up with the once for all times revealed Word of God.

"The Ptolemies, Greek successors of Alexander the Great and rulers of Egypt, established the cult of Sarapis, a name which derives from that of Osorapis, a god who combined the attributes of Osiris and the sacred bull god Apis.

Apis was supposedly transformed into Osiris after death, thus gaining the kind of divine immortality which was open to the human devotees of Osiris.

The cult center of Osorapis was at Memphis in Lower Egypt. The liturgy of the new worship of Sarapis was a combination of Egyptian and Greek, and the popularity of the god grew quite rapidly. By the first century A.D. it became officially recognized in Rome. The ritual was chiefly concerned with the three figures of Osiris (or Sarapis), Isis, and Horus their son, but the dominant member of the triad was the goddess." - Ninian Smart, The Religious Experience of Mankind

This was the exact worship practiced by Israel at Mount Sinai in the image of Apis. It was continued in Israel and condemned by Amos who condemned both what they were doing because that was the result of their motives or the mental attitude:

So the next day they rose early and offered burnt offerings, and brought peace offerings;
Woe to you who are complacent in Zion, and to you who feel secure on Mount Samaria" (Amos 6:1). (The complacent do not fully observe God's Law).
and the people sat down to eat and drink, and rose up to play (Exod 32:6). (Play includes musical instruments)
Woe to those who sing idle songs to the viol and who improvise upon instruments like David" (Amos 6:1a, 5)
But he said, 'It is not the sound of the cry of triumph, nor is it the sound of the cry of defeat; but the sound of singing I hear (Exod. 32:18)
they drink wine in bowls (and their singing was part of the pagan Marzeach- a feast with and for dead ancestors. See also Isaiah 5)
They have quickly turned aside from the way which I commanded them. They have made for themselves a molten calf, and worshiped it (Exod. 32:8a).
You also carried along Sikkuth your king and Kiyyun, your images, the star of your gods which you made for yourselves (Amos 5:26)
Now then let Me alone, that My anger may burn against them, that I may destroy them; and I will make of you a great nation (Exod. 32:10)
Therefore, they will now go into exile at the head of the exiles (Amos 6:7a)
"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).

See Amos 5 and note that neither singers or musicians ever got into the Holy Place which was a carnal type of the body or church of Christ.

Paul did not write a new a new law of music in Ephesians and Colossians. Rather, he warned them not to continue to fill up with the wine of dionysus and sing and play music like dionysus worshipers. This, based on the meaning underlying all musical terms, meant to "kill off the opposition" by abrading them to death.

Because that, when they knew God, they glorified him not as God, neither were thankful; but became vain in their imaginations, and their foolish heart was darkened. Ro 1:21

Professing themselves to be wise (sophists who sold their wares), they became fools, Ro 1:22
And changed the glory of the uncorruptible God into an
image made like to corruptible man, and to birds, and fourfooted beasts, and creeping things. Ro 1:23

Wherefore God also gave them up to uncleanness, through the lusts of their own hearts, to dishonour their own bodies between themselves: Ro 1:24

The new rule was to "fill up with Spirit" which Jesus and Paul in Colossians defines as the Spirit Words which Jesus spoke (Jn 6:63). Then they were to speak these same revealed words one to another. Any vocal or instrumental effort which makes second-class citizens out of the "untalented" or abrades the congregation to death is against the law of God and Paul. And this is why the "audience" streams for the doors and returns on Sunday night "disguised as empty pews."

Of the widely-accepted Greek worship in Christian Churches--

"In reality it was an epidemic of psychopathic religiosity which seized upon mankind, similar to that with which we are familiar in our modern faith healers and speakers with tongues, and in the sorcerers of the nature peoples. It may not only serve as prophecy and purification, but may also minister to the dormant longing which exists in every man, however humble his station,

to enter into communion with the divine, to feel himself lifted up from the temporal into the spiritual.

"This form of ecstasy found its herald in the god who, with Apollo, impressed himself most strongly upon the religious feeling of the age--Dionysus. Not every man can be a miracle worker and a seer, but most are susceptible to ecstasy, especially as members of a great crowd, which draws the individual along with it and generates in him the sense of being filled with a higher divine power." (Martin, P. Nilsson, History of Greek Religion, p. 205).

This old woodcut shows the Israelites worshiping a four-fold phallic image two of which are crowned with the sun.

"The fertility god dionysus (Greek Dionysos), whose cult emblem was the erect phallus (church steeples or non-functional columns), was also a god of healing, and his name, when broken down to its original parts, IA-U-NU-ShUSh..."Semen, seed that saves', and is comparable with the Greek Nosios, 'Healer', an epithet of Zeus." - John M. Allegro, The Sacred Mushroom and the Cross

"The women also elected two women to be officials at the festival. The second day was called "nesteia" or "fasting." During this day, the women sat on the ground and fasted, reliving the mourning of Demeter. This time of rest also allowed for the symbolic transfer of energy from the women to seeds for future crops. The women also participated in ritual obscenity and used insulting language on the second day.

This was to reenact the actions of Iambe who used obscene language to make the mourning Demeter smile. (You should read my e-mail from the Jubilant crowd of Sophia-Zoe led men. KS)

This was identical to Lamenting for Tammuz in the Jerusalem temple performed by women while the men held the first "Sun-rise service" (Eze 8).

Lynne Aftuck informs us that when male leaders encourage women to desert their roles and, like the men, usurp clergy roles, they might really be insulted as a way to prove the virtues and masculinity of the threatened males who might just emasculate himself:

"Religion was the major source of women's participation in public life. It has been said that festivals were probably the only legitimate reason that women had to leave their homes. The festivals gave the women an opportunity to obtain external support from other women with regard to personal problems and concerns. By attending religious festivals, women were also given an alternative to their normal lives in the home. The festivals provided them with respite from their domestic duties such as caring for children and weaving

"The Mysteries of Dionysus were important cult festivals for many women. This festival was in honor of Dionysus, the god of wine and mystic ecstasy. The participants in his mysteries were both married and unmarried women, and participation was optional. It is thought that the women were under the male leadership of Dionysus or a figure like him. This festival appears to have been driven by some type of libidinal energy in the women.

"The central act of the Thesmophoria consisted of women called "antleriai" or "bailers" into trenches to bring back the decaying remains of piglets and offerings of dough which had previously been thrown down there. The bailers were required to be pure, and thus they abstained from sex for three days before performing their duty. When the bailers descended into the trenches to retrieve the sacred objects, the other participants in the festival clapped and shouted to scare away any serpents which might be down there. The objects which were retrieved from these pits were sacrificed piglets, replicas of snakes and male genitalia, all symbols of fertility. (Have you heard the oinking sounds from the charismatically-impaired or from men with their obscene sounds imitating pipe organs?)

"Instead of helping their babies become stronger, these women nourished wild animals. This could have been quite dangerous for the survival of the family. The rites of these mysteries also contained a reversal of sex roles as seen when the women went hunting. This probably scared the men because it showed that the women had as much ability as the men did to perform typically male jobs. Men must have also feared that there was sexual immorality at the festival, an idea which must have flourished because the rites took place at night and often in the presence of a man. The Mysteries of Dionysus did not have any advantages for the (real) men, but they did allow for a great deal of freedom for the women, at least for one night. It was this freedom that made the men fear and dislike this religious ritual.

Psalm 41 prophesied that Judas, whose bag carried "the mouthpieces of wind instruments," would not triumph over (blow his triumph trumpet) over Jesus when He came to teach (see Num 10:7). However, the Jewish clergy as "musical children" did play their pipes and tried to force John and Jesus into their dance of ecstasy. This would prove that Jesus might be a pagan god and therefore gender-confused:

"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).

Of course, this would have disqualifed Jesus as the Incarnate God of the universe and made Him at least be dionysus whom they had worshipped in the temple. When they triumphed over it would involve singing the lament and dancing in the chorus as the children played their pipes or wind instruments. This would mark Jesus as just one of the "girls." When the "effeminate - childish" clergy tried to get Jesus to dance with them they hurled insults against Him just as modern restorations insult Him because "Boys old enough to begin formal schooling (ca. 6/7 years) also participated in age-stratified dithyrambic choruses." They were, in effect, calling Jesus to a musical combat:

"A fourth-century BC hymn in honor of dionysus contains the invocation: 'Come to us, King Dithyramb, Bacchus, god of the holy chant.'" Dithurambos, Dithyramb "comes to be used of a Dionysiac song which possessed some infectious quality that led his votaries to take it up as a ritual chant. Later it became the subject for competition at Dionysiac festivals, and with its formalization it lost any spontaneity it may have possessed originally." "At the beginning of the fifth century BC tragedy formed part of the Great Dionysia, the Spring festival of dionysus Eluethereus. Three poets completed, each contributing three tragedies and one satyric play. The latter was performed by choruses of fifty singers in a circle, dressed as satyrs, part human, part bestial, and

"bearing before them huge replicas of the erect penis, as they sang dithyrambs." - John M. Allegro, The Sacred Mushroom and the Cross

This was what the clergy tried, and many still try, to get Jesus involved in:

But whereunto shall I liken this generation? It is like unto children sitting in the markets, and calling unto their fellows, Mt 11:16

And saying, We have piped unto you, and ye have not danced; we have mourned unto you, and ye have not lamented. Mt 11:17

They wanted Jesus to sing to the god of wine and dance in the female chorus. This would prove that He was not the true Messiah. Jesus didn't fall for it.

Arnobius lumped instrumental music and smooth oratory as mind manipulation together:

"They speak in the most elegant language, and that their words flow in polished periods; that they reason in syllogisms with utmost acuteness; .. that they say many things about the different kinds of numbers, many things about music; that by their maxims and precepts they settle the problems of geometry also." However, he continues--

"A comparison of persons must be decided, not by vigour of eloquence, but by the excellence of the works which they have done. He must not be called a good teacher who has expressed himself clearly, but he who accompanies his promises with the guarantee of divine works." (Arnobius Against the Heathen, Ante-Nicene, VI, p. 438).

"If men either knew themselves thoroughly, or had the slightest knowledge of God, they would never claim as their own a divine and immortal nature; nor would they think themselves something great because they have made for themselves... knives, swords" and etc.

"carried away by pride and arrogance, would they believe themselves to be deities of the first rank, and fellows of the highest in his exaltation, because they had devised the arts of grammar, music, oratory, and geometry. For we do not see what is so wonderful in these arts, that because of their discovery the soul should be believed to be above the sun as well as all the stars, to surpass both in grandeur and essence the whole universe, of which these are parts. "

"For what else do these assert that they can either declare or teach, than that we may learn to know the rules and differences of nouns, the intervals in the sounds of different tones, that we may speak persualsively in lawsuits, that we may measure the confines of the earth? Now if the soul had brought these arts with it from the celestial regions, and it were impossible not to know them, all men would long before this be busied with them all over the earth... But see now how few musicians, logicians, and geometricians are there in the world! How few orators, poets, critics!..." (Arnibious, Ante-Nicene, VI, p. 441)

All of the PERFORMING ARTISTS such as rhetoricians, sOPHISts (serpents in Revelation), singers, musicians or "techne" or any form of art used in religion was sold as sorcery or witchcraft. That is why a fluteIST was known as a parasite. They belonged to the Jewish Sectarian group of the Hypocrites who teamed up with the Pharisees and Scribes and were condemned by Jesus.

CLICK HERE for Biblical and scientific proof that both vocal and instrumental music can be harmful or even "kill off the opposition."

New Wineskins -- Jubilee Index

A Cappella, Christian Worship Music
Romans 14 Background: Orpheus and Dionysus Worship
Worship Drama - Change Agents - Dionysus Theater
Vineyard - New Wineskins Effeminate Worship
Golden Bough - Sir James George Frazer XLII Dionysus

Kenneth Sublett. For More on Dionysus Click Here


Musical Worship Index

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