Jubilee 99 Navigating the Winds of change

How can you disparage Jubilee 99, The Zoe concept and the navigating the winds of change schemes of Change Agentry and compare them to ancient Greek religion? Well, there is nothing new under the sun so we have the urge to discover old patterns being sold as new spiritual paradigms. However, those who steal the right to speak for the "church" will often try to deny you the same right. We cannot be true believers in Christ Who came to set us free from the burdens of "anxiety created by religious rituals" and not provide a Biblical alternative. Therefore, we paraphrase Socrates: "You cannot plant the radishes until you pull up the weeds." Like it or not, it is free (Isaiah 55:1f)
The Mystical Spillover at Lipscomb University and Lynn Anderson. 

Here is the product of Journals and Universities gone Post-Modern (Post Biblical) as Universities tend to do.

Madison Church of Christ Concerned Members Forum

Madison Church of Christ: Musical Seed Sown, Thistles of Discord Reaped as Planned.

See how Godly Deacons Draw A line in the MUCK. 

Don't Miss Dr. Squintum

Note: To my good friend, Donna, in Australia: My overuse of "paradigm" is a gentle kick in the pants of those gurus who denounce "patterns" for faith and practice by the use of the newly-discovered word: "paradigm." Someone should tell 'em that a paradigm is a pattern. You would be surprised how many people can get sucked in by the use of a new "educated" word.

In a book filled with the prophecy of Jesus -- even of His name as Jehovah-Saves -- God said:

Thus saith the Lord of hosts; I was jealous for Zion with great jealousy, and I was jealous for her with great fury. Zechariah 8:2

Thus saith the Lord; I am returned unto Zion, and will dwell in the midst of Jerusalem: and Jerusalem shall be called a city of truth; and the mountain of the Lord of hosts the holy mountain. Zechariah 8:3

Mountains have been central in many religious events. For instance, those for whom God will come with ten thousand of His saints lived on God's holy mountain until they were seduced down into the dark valley of the Cainites by the Jubal or Genun character who was taught by Satan how to use mixed-sex choirs, musical instrument and erotic sexual practices to overcome their knowledge of God's Word.

The Seeker-Centers such as that of Apollo (Apollyon, Abbadon) at the Oracle of Delphi mountain used all of the gimmicks to attract people to their "worship."

The ZOE concept is the story of the feminist "goddesses" who forced the male "junior Jehovahs" into playing music. She is the Lucifer (bisexual) figure giving new light and she was called "the beast."

Therefore, the Zoe Group must be questioned because it presumes to be the teaching-conditioning (praxis) force to radically change the worship in churches of Christ to that of the Willow Creek Association. This world-wide "evangelizing" effort to force change can mean nothing but a judgmental effort against those who believe that God is already in His Holy Temple and recommends that we should keep silence before Him.

While we are assured of the sincerity of the Zoe Group as an educational adjunct to churches teaching the new "officers of worship leadership" how to use music, dance and drama, we are confused that their name and methodology is identical to the ancient feminine claim that Sophia and Zoe were the dominant gender controlling and instructing the male gender with the same elements. The Hypostasis of the Archons speaking of the male god seemingly pouting that he had been overpowered by the feminine principle states:

"Now when these (events) had come to pass, he made himself a huge four-faced chariot of cherubim, and
  1. infinitely many angels to act as ministers, and
  2. also harps and lyres.
  3. And Sophia took her daughter Zoe and had her sit upon his right
  4. to teach him about the things that exist in the eighth (heaven);
  5. and the angel of wrath she placed upon his left.
  6. Since that day, his right (feminine) has been called 'life';
  7. and the left (male) has come to represent the unrighteousness of the realm of absolute power above.

This "life" meant "live it up" and not spiritual life.

Second, we do not question Lynn Anderson's sincerity or character. We do however, question his proposals to force changes in worship styles upon those who do not want to be changed. The changes, furthermore, are based upon the same "anxiety from religious ritual" which Jesus labeled and condemned as a "burden." Lynn calls it "prayerful brinkmanship" but we contend that Christ has outlawed the system and given no man the right to restore it in the end-times of their discontent.

Navigating the Winds of Change (rather than resisting them) by Lynn Anderson, Keynoter of Jubilee 99, has been reviewed here and here. Because Lynn is the planned Keynoter for Jubilee 99 we must assume that his forced change methods are approved and will be promoted.

Third, to further enlighten those who follow gurus around the country we will include some more direct parallels between these new Seeker forms from Hollywood, and the practices of Dionysus which plagued Jesus in the first century. While this offends the more sensitive kind, let's pretend that "Streams of Consciousness" are better than "Mud Puddles of Unconsciousness" which are needed before song, instruments, dance and drama can be sold as appetizing to God.

God came in the flesh to fire these people but they have risen like Dracula in their second incarnation. God warned them once and He warns them again about doing everything in their power to chain the Bible to the pulpit and choir loft:

Seemeth it a small thing unto you to have eaten up the good pasture, but ye must trample (abusive, oppresing) down with your feet the residue of your pastures? and to have drunk of the deep waters, but ye must foul the residue with your feet? Ezekiel 34:18

And as for my flock, they eat that which ye have trodden with your feet; and they drink that which ye have fouled with your feet. Ezekiel 34:19

Therefore thus saith the Lord God unto them; Behold, I, even I, will judge between the fat cattle and between the lean cattle. Ezekiel 34:20

Because ye have thrust (expelled) with side and with shoulder, and pushed all the diseased with your horns (flask or coronet - trumpet), till ye have scattered them abroad; Ezekiel 34:21

Therefore will I save my flock, and they shall no more be a prey; and I will judge between cattle and cattle. Ezekiel 34:22

And I will set up one shepherd over them, and he shall feed them, even my servant David; he shall feed them, and he shall be their shepherd. Ezekiel 34:23

A shepherd leads beside still waters and one who would deliberately sing and play loud, harmonic music, sing, clap, wave their hands and dance in their midst would drive them insane and over the nearest cliff.

Jesus denounced the clergy (Rabbi, Doctors of the Law) who saw "godliness as a means of financial gain" and blamed them for taking away the key to knowledge. Somehow they just won't stay fired and the only way to hold on to their office is to keep the "people chained in ignorance." True servants love the truth and reach out to teach those who have never heard the gospel.

Because there is nothing new under the sun we urge you to look at the following "coincidental" parallels between the form of worship which looks like a partial pattern for Jubilee 99, the methodology taught by the Zoe Group and the almost panicky urge to change the quiet reading of the Words of Christ and singing His already composed Psalms into "inventing musical worship like David."

While it may seem wise in their own eyes, it looks like the end of the age loss of confidence in Christ as having the power to protect His Word and the kingdom which has already come. In looking at close Jubilee 99 - Dionysus worship parallels which the professional clergy tried to sell Jesus, it may not be meaningful but it is certainly interesting to let your consciousness stream over some interesting parallels. Take it or leave it I will never send you a bill or trample your mud puddle of unconsciousness:

We are always surprised that history does seem to go around in circles. I am sure that it is just an accident but am amazed at how new attempts to find God with the human body have a chilling parallel in all ages. Take the following "accidents" as interesting as the last sermon you heard, proof of being "Satan Sifted" or just a "stream of consciousness." Let's begin:

Athens was the center of Dionysus worship. The Parthenon sits on one of the hills.

Nashville is called "The Athens of the South." Nashville's Parthenon is a reproduction of the ancient temple built for pagan gods. Nashville is also the home base of Country Western music which has evolved over the years into forms including "Gospel Music" (an oxymoron). This form of singing has been used to replace the singing of the Biblical text as a way to teach and admonish one another. Rather than the melody being "in the heart" the message has been perverted and muddied with human compositions and "hillbilly" and "voodoo" forms used to abrade the body and frazzle the mind. The message is delivered by actors (hypocrites) and dramatic performers who must, in imitation of the Dionysus theater, preach and sing like women.

"The tragedies and comedies of the fifth and fourth centuries BCE which remain to us today were all written for performance in the Theater of Dionysus at Athens. The TDA was first dug out of the slope beneath the south side of the Acropolis in the late 6th century BCE, possibly while Athens was still under Peisistratid rule."

"This is where it all began: the Theater of Dionysus in Athens. According to legend, late in the sixth century BCE a man named Thespis first had the idea to add speaking actors to the performances of choral song and dance which occurred on many occasions throughout Greece. (That's why actors are sometimes called 'thespians'.) Masked actors performed outdoors, in daylight, before audiences of 10,000 or more at festivals in honor of Dionysus, the god of theater."
Didn't Paul castigate those trained in the Greek Theater (re Zoe Group, Look to the Hills) when He proudly claimed not to be a trained speaker? This is a typical "Arena."

"The Theater of Dionysus was rebuilt and expanded many times, and so it is difficult to tell exactly what its original shape was. The illustrations here are reconstructions based on existing evidence and the opinions of the editors."

The computer recreated theater of Dionysus is reproduced by permission. The orchestra is the circle platform before the errect columns.

The plays performed in Athens were actually "ritual combat." The best of the best were called to be the keynoters based on their skill in polemics or verbal single combat. The "Theater" of Jubilee 98 was at the Nashville Arena built for ritual combat. Yes, all sports are ritual warfare performed by the best gladiators for their profit and the exhilaration of the paying "congregation."

The Nashville Arena, like the Theater of Dionysus was dug out of the biggest hole Nashville had ever seen. Furthermore, like that of Dionysus,

"The stage could be rolled out and the backdrop changed to fit the "play." The large size of the theater (in its final form it seated 20,000 people) and the distance of even the nearest spectators from the performers(more than 10 meters) dictated a non-naturalistic approach to acting. All gestures had to be large and definite so as to 'read' from the back rows."

Now, Picture Jesus there. A syncopated dance with His tippy toes as His arms make Him look like He is taking flight. He flings His words on nests of saliva foaming from the corners of His mouth. His face flushes like an imminent stroke. He yells, yes screams at you. He gets you into the trance with tragic reinactments of yesterday's news. He makes fun of His mother, Mary, because she is too old fashioned to sing from the screen. He decides to elevate His voice and sing about losing his best friend. Mary and Martha get on the stage, swing, sway and sing in a form of harmony which cracks open your fragile nerves and lifts the hair on the back of your head. Then He motions for the wind instruments and drums (tabrets from Topheth) to add the jungle beat. Then He passes the collection plate to pay for the theater of Dionysus. Dionysus' "gospel" wasn't free either.

No? Well, I thought not! You could give no honor to such a man.

The orchestra or the circular dance floor (the Jews tried to get Jesus into this female impersonating) was backed by five large columns. In a free-standing sense or non-functional sense these columns were used as Asherah poles. In the "old South" or in Athens they said: "My things are bigger than your things." God always insisted that they be cast down or not errect. The following two illustrations show how the actors exposed themselves and interacted with the poles.

A Roman reconstruction. Can't be sure but did I see the actors waving hands at the foot of these at Jubilee 98?

"The ancient theatres, or rather the theatres of the ancient Greek world, are ever a paradigm unsurpassed of social equilibrium, collective spirituality and comradely solidarity. A paradigm of the conscious elevation of the spiritual event and all it entails to the level of city and citizen."

The ancient pagan schemes use mind change schemes to build a collective mentality. However, "They is the Massa and you is the slave."

Fittingly, Woodmont Hills, as a member of Willow Creek Association and a promoter of Jubilee 99 and the Seeker form of worship seeks a Worship Facilitator to:

"Work with the worship planning committee, the preaching minister and worship presentation groups (music, drama and technical) to facilitate group worship experiences which will help bring worshipers into the presence of God.

How about those poles
In the old south (and elsewhere) the aristocrats who earned their money the old fashioned way (stole it from the labor of slaves or sharecroppers) built a house bigger than Judge Claghorn down the pike. He propped up the porch with huge columns expensive enough to build a regular house. These were Asherah poles. They proclaimed superior fertility. In time, the old Manse rots like "Massa in de cold, cold ground." But, the poles have their second incarnation. The secret code message is I Am Superior even when the new "slaves of the watchtowers" don't have a clue. Unfortunately, when you adopt pagan methods to attract the seekers you too come under the spell of the symbols which in Scripture and history were recognized as having real power to take the focus off God. Solomon gave his columns personal names and crowned them with pomegranates as the ultimate symbol of overflowing fertility. His effort was taken over by dionysus worship and worse.

In its original form the actors (hypocrites) were males taking on male and female roles. When the men dressed, sang, danced and waved their hands like real women there was a real and present danger of gender crossover. If you wander around the Asherah poles (the trees of the ancient high places) you will come under their power. In the same way, if you are not already gender-bent, acting and dancing and singing like women (elevated voices) you will come under the influence. We become inwardly what we act outwardly.

Let your muddied unconsciousness arouse itself and just think about it. Jesus, God Incarnate, comes into your building on Sunday morning (He is there in some). You jump upon the stage, color coordinated, often wearing gowns like the boy castrates of history. You get out your little microphones. Turn up a hundred watts. Flip the cable back real good unless you have squandered the widow's money on wireless, phallic-looking things. Cock your head like my beagle, smile with big white teeth (even at funerals), sway your little torso back and forth and smoothly, wave-like, flap your hands above your heads as if to "take off" and begin singing: "Lord, Lord, Lord, Lord. or Praise, Praise, Praise."

I shudder just thinking about the same people Jesus swatted across their little warped psyche by calling them "musical children, singing, playing and dancing" while God Incarnate was in their presence. In the words of the prophets: Woe, Woe, Woe!

The Dionysus theater had its own chorus of minor performers but it also had its three level pyramid of keynoters. Jubilee 97 had a top level combatant but Jubilee 98 had to settle for a second level combatant. Jubilee 99 will be blown about by new winds of doctrine by a few key people doing mortal combat with the old "decadent and deliterious" enemy. However, even among the peak of the pyramid there will be mortal combat to determine who becomes the king of the lecture circuit:

First Keynoter


Second Keynoter




Third Keynoter













Paying Audience





The Players

"Because Greek tragedy and comedy originated with the chorus, the most important part of the performance space was the orchestra, which means 'a place for dancing' (orchesis). A tragic chorus consisted of 12 or 15 choreuts (dancers), who were young men just about to enter military service after some years of training. (Athenians were taught to sing and dance from a very early age.) The effort of dancing and singing through three tragedies and a satyr play was likened to that of competing in the Olympic Games.

"In contrast with the chorus of twelve or fifteen, there were only three actors in fifth-century Athenian tragedy. The original word for 'actor' was hypokrites, meaning 'answerer,' for the actor answered the chorus. Thespis is said to have introduced (and been) the first actor, later called protagonistes (literally 'first competitor'). The introduction of a second actor (deuteragonistes) is attributed to Aeschylus and the third (tritagonistes) to Sophocles. There are no one-actor plays remaining to us, though Aeschylus' earliest play, Persians, requires only two actors.

Did You See These Fellows a

Just what you expect to get out of a puffed-up new wineskin

Teaching these methods has become a cottage industry sucking "talent" away from the mission fields to the Athens of the South. To see the Woodmont Hills, "Look to the Hills" and the Zoe Group connection Click Here. These groups specialize in training people to manipulate the "audience" in church meetings. The goal is to "lead the worshippers into the presence of God." In reality, they are pushing body religion which, in the end, will damage people and the seekers of the next thrill will move on to the next venue.

Children believe that they are loving "kitty" when they are really torturing the poor creature. In the same way, the feel-good (or bad) preaching and music begins by creating pain. For instance, the ear-shattering, pulpit thumping preaching actually hurts. If this happened in a production plant the speaker and band would be hauled into court. Next, the body tries to protect itself. In self-defense, it produces endorphins and other drugs to deaden the pain. Because it overdoes the pain, you get an extra fix of a morphine-like drug. You then feel good and because fools love to be fooled you believe that the feeling is the speaker-singer-induced god moving around in your body.

Remember the next time: the sequence is hurt, heal and hurrah. Those with a spiritual mind will just say, "HUSH. The Lord is already in His Holy Temple."

But the Lord is in his holy temple: let all the earth keep silence before him. Habakkuk 2:20

When the beautiful, talented, loud, mechanics of complex harmony began their ancient pagan chant you can be sure that you are being chemically and sexually assaulted to force you into "knowing god personally" so that the hair stands up on the back of your neck and a cold chill sweeps up and down your body like the hands of a skilled lover. You are under a drug attack. This is why you run for your life before the closing prayer can be finished to dismiss you from the spiritual temple and out to the profane world. But on Sunday night you will join the congregation "disguised as empty pews" to get another fix.

This is identical to the loud, charismatic, enthusiastic (meaning en theos o mania) speaker who dances across the stage, hands waving, feet keeping cadence. The voice projected like a stone from a sling and the musical, sexual, assualtive attack is identical to instruments. Among the literate this produces nothing but a rustle of song books during "act three." Without knowing why, the most ancient pagan priests and priestesses understood that a form of music which manipulates the body as well as the brain can cause people to hallucinate and actually believe that they are in the presence of the gods. They were tapping into a natural, and often useful, form of morphine. Like drug addicts, they will display hostility to anyone who suggests that their rituals are neither Biblical nor productive of spirituality. Look at the now-legal drug being pushed on the religious "schoolyards":

Endorphins - mediate pain at receptor sites. In an injury receptors in skin make electrical signals that goes up the spinal cord to the brain. The brain then evaluates pain by releasing pain killers called endorphins which bind at opiate receptor sites of neurons to mediate pain. Endorphins effect the dopamine pathway that feeds into the frontal lobe. These pathways inhibit the flow of dopamine. Vast quantities of endorphins are released and nerves are shut off so more dopamine flows through pathway to get to frontal lobe therefore replacing pain with pleasure. (Bliss Dictionary Definition)

1. endorphin (n-dr1fn), any of a group of NEUROTRANSMITTERS, affecting mood, perception of pain, memory retention, and learning. Chemically similar to opium-derived NARCOTICS, endorphins were searched for and found in the 1970s after the discovery that MORPHINE works by attaching itself to specific receptor sites in the brain. Endorphins also attach to these receptors and appear to be the brain's own natural painkillers. Besides behaving as pain regulators, endorphins are believed to contribute to euphoric feelings such as the "runner's high" experienced after prolonged exercise.

2. en dor phin (n-dr1fn) noun Any of a group of peptide hormones that bind to opiate receptors and are found mainly in the brain. Endorphins reduce the sensation of pain and affect emotions. [ENDO(GENOUS) + (MO)RPHIN(E).]

It is probably a fact that those who have learned to manipulate "churches" to perform the worship for the people or to lead them into the presence of Deity understand that they can be drug pushers without having the narcotics people down on their head. The goal of many huge gathering cannot have the growth of the church at heart. Rather, money and power drive those who knowingly constrict the growth of the church by building buildings which are going nowhere as their "located evangelists" (as in "located travelling salesman.") are going nowhere. The heart of a lot of religion, however conservative, is a revival of the ancient mysteries.

"DIONYSUS, in Greek mythology, god of wine (from new wineskins) and vegetation, who showed mortals how to cultivate grapevines and make wine.

He was good and gentle to those who honored him,
but he brought madness and destruction upon those who spurned him
or the orgiastic rituals of his cult.

"According to tradition, Dionysus died each winter and was reborn in the spring. To his followers, this cyclical revival, accompanied by the seasonal renewal of the fruits of the earth, embodied the promise of the resurrection of the dead. (See Rubel Shelly / Randy Harris, The Second Incarnation, and their appeal to the Aztec renewal where up to 20,000 slaves of the watchtowers were sacrificed. Jubilee 99 will be the next festival)

"The yearly rites in honor of the resurrection of Dionysus gradually evolved into the structured form of the Greek drama, and important festivals were held in honor of the god, during which great dramatic competitions were conducted. The most important festival, the Greater Dionysia, was held in Athens (Nashville is Athens of the South) for five days each spring. It was for this celebration that the Greek dramatists Aeschylus, Sophocles, and Euripides wrote their great tragedies. After the 5th century BC, Dionysus was known to the Greeks as Bacchus.

At similar events:

"You might hear many poor wretches of sophists, shouting and abusing each other, and their disciples, as they call them, squabbling; and many writers of books reading their stupid compositions, and many poets singing their poems, and many jugglers (buffoons) exhibiting their marvels, and many soothsayers giving the meaning of prodigies, and then a thousand rhetoricians twisting lawsuits, and no small number of traders driving their several trades. (William Barclay) See the wineskin/music/effeminization theme

The Jubilee 99 or the wineskin or Seeker Service model pretends that it is the old "decadent and deliterious" churches who are the rigid wineskins which cannot stretch enough to pass positive judgment upon all religious groups. However, this is the effect of being under the influence of the "new wine." They do not love the truth and are being sent a strong delusion that they believe a lie. Rather than reforming or restoring shortcommings they subconsciously (unconsciously) repeat an eternal pattern. That is, their new form of worship proves that it is they who are becomming rigid and will steal buildings and run away founding members by filling the pews with ancient pagan rituals which will always chase away the rational (spiritual) believer.

Barclay clearly helps define Jubilee 99 as a restoration of Dionysus rituals -- which were quite identical to the Feast of Tabernacles under Dionysus when Jesus condemned them as "musical children" just playing silly and embarassing games.

"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.

"As he approached his native city Thebes, Pentheus the king, who had no respect for the new worship, forbade its rites to be performed.

"But when it was known that Bacchus was advancing, men and women, but chiefly the latter, young and old, poured forth to meet him and to join his triumphal march.

Fauns with youthful Bacchus follow;
Ivy crowns that brow,
supernal As the forehead of Apollo,
And possessing youth eternal.
Round about him fair Bacchantes,
Bearing cymbals, flutes and
thyrses, Wild from Naxian groves
of Zante's Vineyards,
sing delirious verses."


"A fourth-century BC hymn in honor of Dionysos 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 Dionysos 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. 

When the god of music, dance and drama is being restored under the guise of "new wine in a new wineskin" it is because that specific tribe of illegal preachers trained in phylosophy and the theater are perhaps lost beyond redemption and keep the music loud and long to help them forget or to give them confidence like whistling through the cemetary:

"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

In the recapitulation or "drama" of the ancient wineskin religion of Dionysus, the symptom of the "end of the millenium bug bite" proves that it is those promoting singing, playing, dancing and drama in an attempt to "move into the presence of the gods" who are (1) focussed upon self-reference, (2) experience millenial nervousness that the "now but not yet kingdom" cannot be found and (3) experience the prospect of confrontation and loss.

These are the very people who have constructed a new wineskin out of an old, died-of-itself billy goat skin. It will not stretch enough to fit the "water of the Word" which Christ put into "ceremonially pure vessels of clay."

Scholars of drama, ancient and modern, are quick to admit that when people -- especially males -- put on the masks of drama there is a real and present danger of gender-leakage or gender crossover. This, too, is consistent with the Dionysus tragedy. In the old form of Dionysus worship, the king doesn't recognize the god of wine as his cousin and:

"His initial sense of unfamiliarity gives way to invasive feelings of familiarity, of maddening closeness. Repulsion gives way to fatal attraction. The magnetic force of this attraction is the essence of Dionysos as the god of theatre, as the inner source of tragedy itself. It is the lure of tragedy that draws Pentheus into his own fatal ordeal. The tragic is what causes Pentheus to desire to be tragic.... The wonders of the god Dionysos pull people together to celebrate these wonders by competing with each other in song and dance.

"The speech of the herdsman says it all: "once upon a time, we humble herdsmen came together in the countryside, drawn by the wonders of the god to sing and dance in competition."

Of course, such assemblies for song, dance and drama are actually ritual combat: the little hills trying to rise above the mountains in polemic combat -- everyman's Armeggedon if you will:

"There is a single Greek word for such coming together and competition, agn. The word means, literally, "coming together." In the same breath, it means "competition," since any coming together is of and by itself the same thing as competition. Nietzsche understood this fundamental equation in ancient Greek song culture when he spoke of the "spirit of Agn," der agonale Geist. The spirit of competition is reflected in a derivative of this Greek word agn, antagonism.

It is also true that the word for weapon and instrument in both Hebrew and Greek are the same. A carnal weapon is really a carnal musical instrument which is a lifeless musical instrument. Therefore, as in most of the Psalms "with an instrument" or "to the musical director" the writer -- often David -- is doing verbal combat with his personal enemies even singing for God to kill little babies. However, after Christ came to end the Baal - Yahweh (prophets of Baal and Asherah versus Elijah):

"Then to all mankind He calls out, 'Let every spirit praise the Lord,' because He rules over every spirit He has made. In reality, man is an instrument for peace, but these other things,

"if anyone concerns himself overmuch with them, become instruments of conflict, to inflame the passions.

"The Etruscans, for example, use the trumpet for war; the Arcadians, the horn; the Sicels, the flute; the Cretans, the lyre; the Lacedemonians, the pipe; the Thracians, the bugle; the Egyptians, the drum; and the Arabs, the cymbal.

"But as for us, we make use of one instrument alone: only the Word of peace by whom we a homage to God, no longer with ancient harp or trumpet or drum or flute which those trained for war employ." (Clement of Alexandria, 190AD The instructor, Fathers of the church, p. 130)

Many poor males believe that they can hire a "manipulator" to bring the audience into the presence of God. And one poor female creature believes that her dance team is the mediator between God and the audience: "When we dance we become the platform upon which God lands."

"As dancers we have a calling to be signs and symbols to the people of God and to the world. We are to manifest His character in every step that we dance and every gesture that we make.
In our priestly duties as dancers we have an incredible respo(n)sibility.
We not only bring the offerings of the people to God, but as we dance we also 
provide a platform for God to step down upon in order to touch His people with His presence....
I see us as a bridge between God and man, and bridges do get walked upon! So if we are to be anointed vessels of honor used for His glory, then we must not shy away from the fiery trials of purification that will surely come our way. As our lives are, so will our dance be! Please Click Here Before You Endanger Your Soul.
This is identical to the ancient "Helio-port" at the top of the Tower of Babel or the Zoe-Sophia team or neo-pagan purification rituals or the Dionysus chorus which was often restricted to real women:
"The backdrop to the central figures of Pentheus and Dionysos 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. (Philo called it en thuso mania and Paul called it madness. ks) 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 (whatever their gender ks) are Lydians and hence foreigners, accompanying Dionysos as he travels all the way from distant Lydia to the center of Hellenism, Thebes. Their possession by the god is benign, unlike of the women of Thebes, who are led by Agave, mother of Pentheus.

Any time you see a "musical worship team" or anyone standing over (rather than sedentary as Paul demanded) you know that they feel that you are not competent to move into the presence of God by yourself. However, they are competent -- for a price, always for a price. This gives rise to the Musical Worship Minister or the Worship Facilitator (manipulator) in the Jubilee 99 scheme of things. These people on the dole without authority can load the backs of the congregation with another buddy who has no shame and goes on the dole -- replacing Christ. One mediates in one direction by bringing his words to replace Christ's words; the other mediates by lifting or "ascending" the audience into the presence of god. A scam what am, eh what!

Jubilee 98 featured a benign mediating team. However, their name is not unlike the violent Bacchae:

Halal (h1984) haw-lal'; a prim. root; to be clear (orig. of sound, but usually of color); to shine; hence to make a show, to boast; and thus to be (clamorously) foolish; to rave; causat. to celebrate; also to stultify: - (make) boast (self), celebrate, commend, (deal, make), fool (- ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

Seeing the hand waving, prancing across the stage under the shadow of four Asherah poles, from the remoteness of my computer screen, Jubilee 98 looked like a halal event which is identical to a last-stage Dionysus event. Trying to mediate for the "audience" or to elevate self up to "stand over" (not sedentary) in violation of Paul's command is taking on the role of Lucifer. Lucifer got his name from the praise teams of lost Jews:

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

Thy (Lucifer's) pomp is brought down to the grave, and the noise of thy viols: the worm (maggots wearing purple robes) is spread under thee, and the worms cover thee. Isaiah 14:11

How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations! Isaiah 14:12

For thou hast said in thine heart, I will ascend into heaven (to mediate and accept worship with his musical instruments), I will exalt my throne above the stars of God: I will sit also upon the mount (har as in har-meggido) of the congregation, in the sides of the north: Isaiah 14:13

I will ascend above the heights of the clouds; I will be like the most High. Isaiah 14:14

(The king of Tyre as a Lucifer type sang his song of the prostitute with the harp because he wanted to be remembered -- as a male)

Lucifer (from halal) would sit at the high places (surrounded by asherah poles) of the congregation. Congregation is:

Mowed (h4150) mo-ade'; (2 Chron. 8:13), mo-aw-daw'; from 3259 (to give in marriage); prop. an appointment, i. e. a fixed time or season; spec. a festival; conventionally a year; by implication, an assembly (as convened for a definite purpose); technically the congregation; by extension, the place of meeting; also a signal (as appointed beforehand): - appointed (sign, time), (place of, solemn) assembly, congregation, (set, solemn) feast, (appointed, due) season, solemn (-ity), synagogue, (set) time (appointed)

This is why the trumpets or loud rejoicing were absolutely outlawed for the assembly of the congregation. Alarm is:

Ruwa (h7321) roo-ah'; a prim. root; to mar (espec. by breaking); fig. to split the ears (with sound), i. e. shout (for alarm or joy): - blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.

The "musical children" or the Jewish clergy tried to force Jesus into the feminine or effeminate Greek chorus to lament. This would have had Heylel triumph over Jesus. However, Psalm 41 identifies the center of the effort against Jesus as Judas whose bag was "for carrying the mouthpieces of wind instruments).

This triumph, like that forbidden in the Israelite congregation, was:

Thriambeuo (g2358) (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).

"Narrative poetry was written for rhythmical recitation, or chant, with instrumental accompaniment; and Lyrical poetry for rhythmical melody, or singing. It must be borne in mind that in ancient music--which in this differs widely from modern--the rhythm of the melody was identical with the rhythm of the text. The lyric poetry was to be sung; the poet was musician and composer, as well as author. To this day a poet is said conventionally to "sing." Allen and Greenough Latin Grammar 609.e

For 'tis thy friends that make thee choke with rage. Aristotle, Politics.
brothers' wars are cruel, and They that too deeply loved, too deeply hate.

Of course, Dionysus or Bacchus was recognized as a representative or presence of Satan or Lucifer. He was antichrist because he took the worship which should never be given to a musical worship team or a "preacher of note." The illustration below represents the end-time rituals of those who began as simple "musical worship teams." However, if we understand those men given to drama we will understand---

Heard the drums and pipes at Jubilee 98 around what looked like Asherah Poles. Lots of hand waving -- by the men.

According to Plato, when women were allowed to participate in the rituals it was the ultimate put-down. By picking a token musical worship team who would be the stand in for all of the women, the rest were consigned to the audience. The lesson of the Dionysus, wineskin revival is that when you fail to recognize the true God, He sends you strong delusions so that you believe a lie. You then turn from the Biblical text as the only source of sermon and song. The last and most visible sign which God always sends is to turn you to feminine and effeminate song, dance and drama. The result is not spirituality but, in the whole theatrical world, the familiarity and close association results in gender-crossover: the male music minister runs away with the male organ player (a true story). A little knowledge of this ancient form of pretend worship would make any literate person blush and "turn in their key to the executive bathroom."

It was recognized that before the performers of musical rituals ascended to the stage they had already fallen into a form of madness or frenzy. That is, they were "out of themselves." How else could you account for grown men swaying, smiling, waving hands, nodding, winking and "speaking" in a totally unnatural voice while pretending to be in the presence of the God of the universe and speaking to Him on behalf of the incompetents? These people cannot grasp that God is an "adult" and is capable of hearing us in just plain english prose. They have to be mad! That is what halal means!

"The frenzied excesses of the Theban women are contrasted with the moderation of the Lydian Bacchae. Their positive possession belongs in the sphere of ritual,

which highlights the moderation that the god can give mortals who recognize his true nature.

"The negative possession of the Theban women belongs in the sphere of myth, which contrasts the frenzied excesses experienced by those who fail the challenge of recognizing the god.

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 (homosexual familiarity from gender crossover during song, drama and dance). Such a balance of moderation and catastrophe brings to life the theatre of Dionysos.

"One of the greatest of all Greek dramas, The Bacchae powerfully dramatizes the conflict between the emotional and rational sides of the human psyche. (See Romans 7 and 8 to see that Paul understood this conflict)

  1. When the people of Thebes deny the existence of the god Dionysos,
  2. he punishes them by unleashing the full force of female sexuality,
  3. thereby destroying social order and driving them to certain tragedy.

This conflict between moderation and excesses: between the emotional and rational sides of the brain is yearly fought out in little Jubilee festivals all over the world. This deliberate conflict is caused by the failure to understand the true nature of God in the face of Jesus Christ and the nature of His "in your heart" kingdom. The punishment for this failure is a religion of song, dance, drama and secular preaching.

Mysticism Defined - John MacArthur

"Mysticism includes the idea that direct knowledge of God or ultimate reality is achieved through personal, subjective intuition or experience apart from, or even contrary to, historical fact or objective divine revelation."

"Johnson, a professor at West Texas State University, elaborates: When we speak of a mystical experience we refer to an event that is completely within the person. It is totally subjective . . . Although the mystic may experience it as having been triggered by occurrences or objects outside himself (like a sunset, a piece of music, a religious ceremony, or even a sex act), the mystical experience is a totally inner event. It contains no essential aspects that exist externally to him in the physical world . . . A mystical experience is primarily an emotive event, rather than a cognitive one . . Its predominant qualities have more to do with emotional intensity, or 'feeling tone' than with facts evaluated and understood rationally. Although this is true, it alone is a woefully inadequate way of describing the mystical experience. The force of the experience is often so overwhelming that the person having it finds his entire life changed by it. Mere emotions cannot effect such transformations.

"Furthermore, it is from this emotional quality that another characteristic results, namely, its 'self-authenticating' nature. The mystic rarely questions the goodness and value of his experience. Consequently, if he describes it as giving him information, he rarely questions the truth of his newly gained "knowledge". It is this claim that mystical experiences are "ways of knowing" truth that is vital to understanding many religious movements we see today. [Our Sufficiency in Christ, John MacArthur, Jr., Word Publishing, 1991]

The newly released book by Travers and Jewel van der Merwe, "Strange Fire: The Rise of Gnosticism in the Church" provides us a detailed explanation of the Gnostic heresy and how it has adapted to the modern church in various new perversions of doctrine.

"When a high value is placed on personal experiences or revelations, Scriptures are then unscrupulously twisted and misquoted. We find those who believe the feelings of a congregation must be hyped-up in order to `feel' the Presence of the Lord or else the church is thought to be `dead.' Instead of music being used to worship and glorify God, it is used as a means of `connecting' or `feeling' the Presence of God. (p. 89)

"Could Promise Keepers be adopting some of these `experiential' Gnostic beliefs and practices? Chris Corbett noted, in the "Heritage" article, that "given PK's emphasis on emotional highs and revelations, and their apparent disdain for precise theology, critics wonder where the next `vision' could take the movement - and how it could influence the lives of the Christian men being tethered to it through PK's growing arms." Unfortunately, Corbett found that "PK officials would not comment on the Vineyard..."

Rise of Gnosticism's Revival With Music

When Paul condemned an ancient form of gnosticism in the church at Corinth he was not condemning knowledge of the Bible. Rather, he was condemning knowledge or insights which came from mental intoxication from real wine or music-induced rituals which brought one into contact with the gods by being in contact with his key agents:

"A key component of the Gnostic experience is the alteration of consciousness. Because the Gnostic is subjectively driven, the perception of God becomes something that hinges on feelings rather than faith. In order to improve upon the feelings, the use of additional mechanisms to create moods, especially the use of music, is frequently brought in. Van der Merwe's explain:

"Worship is an integral part of the Christian faith. Sometimes feelings of ecstasy are experienced. The Presence of God is rightly acknowledged by true worship.

However, when emotional feelings become the doctrine of God's Presence, then God has been reduced to a "gnosis" form of Presence. For many, the doctrine of `knowing the Presence of God' is sought in a subjective experience. An emotional experience, especially a repetitive one during a worship service, if not kept in proper perspective or check, can lead to an altered state of consciousness in which the capacity for rational reasoning is greatly reduced.

At this point the congregation is open to delusion and can easily be led astray. In many charismatic groups an altered state of mind is explained as `getting into the Spirit' or as a manifestation of the presence of God. Uncontrolled spiritual feelings transcend sound scriptural rationalism and give rise to the doctrine of `the Presence of God' built on experience. (p. 90-91, "Strange Fire")

The almost frantic running to and fro learning the latest methods of mind control through song, instruments, dance and weird preaching may be an end-time loss of faith in the revealed Christ. Many of these people believe that they are the revealers of a new paradigm or "wineskin" into which all of the world's religions will fit. Short of actual morphine and alcohol, music is the next best alternative to alter the minds of the "worshippers" to make them feel certain things and thereby validate the new "Jesus."

"For instance, Pastor Ryle believes his dreams and visions are prophetic revelations directly from God. In a sermon entitled "Sons of Thunder" he preached at his church, Boulder Valley Vineyard in Longmont, Colorado, July 1, 1990, he alleges that God is about to anoint Christian musicians with the same "anointing" that was originally given to the Beatles. He says God told him in a dream:

"I called those four lads from Liverpool to myself. There was a call from God on their life; they were gifted by my hand; and it was I who anointed them, for I had a purpose, and the purpose was

to usher in the charismatic renewal with musical revival around the world." RESURRECTING PAGAN RITES The revival of pagan myths and rites includes the reintroduction of the Sacred Prostitute concept for women. Part 2: THE SACRED PROSTITUTE (From the December 1995 issue of Christian Conscience magazine)

"Sacred" prostitution and sacred music have always been a matched pair. In the modern church the incidence of consumated "worship" is probably small. However, the "promise" and hope is implicit in the choice of talent, beauty and dress. Paul understood that the "stand up - speak up" role for women would be an open admission of her devotion to body and talent and not to God Who is Spirit and does not need entertainment. According to Plato when women were permitted in these roles it was actually a show of contempt

Albert Barnes and the Wine Music Connection

When the mind becomes dull from taking the alcohol drug, the tavern keeper knows that he can arrouse you with loud music or a stand-up commedian.. However, this allows you to get drunker and the booze merchant gets richer. You are not only under the control of the alcohol drug but also the music drug:

"The music was designed to counteract the effects of inebriety; for as wine discomposes the body and the mind, so music has the power of soothing them, and of restoring their previous calmness and tranquility." (Barnes quoting Plutarch, Isaiah p. 129)

The music in the taverns injects other drugs which keeps the customer alert and drinking. Remove the music and you just have the drunks. If you want them to return you had better have the best entertainment in town. This also describes the ancient pagan temples. In the end, the "excitement" from both wine and music produced withdrawal symptoms when the drugs quit flowing--usually before Sunday night services.

It is also useful for "dumb, dirty, ignorant sheep" or for the mentally deranged like Saul. Researchers have discovered that the low, bass tones can nail your seat to the pew while the high, female or effeminate voices can create great anxiety which makes you want to run for your life. The combination of LF/HF can physically, emotionally and mentally derange and then kill.

Job and Musical Star Worship

Of those addicted to star worship where music helped you up the steps of the Towers of Babel, the book of Job notes the connection between music and telling the ethical God to get lost:

They send forth their little ones like a flock, and their children dance. Jb 21:11

They take the timbrel and harp, and rejoice at the sound of the organ. Jb 21:12
They spend their days in wealth, and in a moment go down to the grave. Jb 21:13

Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Jb 21:14

This, of course, explains a form of astrology where fertility was the result of song and dance while telling God to get lost. And this is the reality in most songs and sermons. The discovery of the stretched string was believed to be magic and that the gods or demons actually lived within musical instruments. How else could you account for the deranged feelings which allowed the soothsayer (preacher) to echo her own voice from an old wineskin and prove to you that it was the presence of the gods. Jubilee 99 will feature an expert on Chage Agentry to life up the Name of the Lord when He said that He is lifted up in "righteousness and justice." The methods of change are, too, ancient paganism.

"Farther still, the whole Pythagoric school produced by certain appropriate songs, what they called exartysis, or adaptation; synarmoge, or elegance of manners; and epaphe, or contact,

usefully conducting the dispositions of the soul to passions contrary to those which it before possessed.

"For when they went to bed, they purified the reasoning power from the perturbations and noises to which it had been exposed during the day, by certain odes and peculiar songs, and by this means procured for them tranquil sleep, and few and good dreams.

"But when they rose from bed, they again liberated themselves from the torpor and heaviness of sleep, by songs of another kind. Sometimes, also, by musical sounds alone, unaccompanied with words, they healed the passions of the soul and certain diseases, enchanting, as they say, in reality....After this manner, therefore, Pythagoras through music produced the most beneficial correction of human manners and lives. Iamblichus (300 A.D.)

"The true, highest melody, however, is that which is sung without any voice. It resounds in the interior of man, is vibrating in his heart and in all his limbs. Isaac Loeb Peretz (1912).

"A certain number of musicians were gathered at a feast given by a great sovereign who took care to place them

according to their degree of mastery of their respective arts,

"when a man of wretched appearance, clad in rags, entered. The master of ceremonies raised him up above all the participants, whose faces expressed their evident disapproval. Wishing to display the man's merit and calm his guest's anger, the master asked him to let them hear a sample of his art.

"He took out some pieces of wood which he had with him, set them out before him and stretched strings over them. Then he set these strings vibrating and performed an air that made all those present burst into laughter because of the pleasure, the joy and the well-being that took possession of their souls.

"Then he changed his tuning and played another air which made everyone weep for the tenderness of the melody and the sadness which settled in their hearts.

Then he changed the tuning, and played another air which plunged everyone into slumber; so doing he rose, went out and was never heard spoken of again. (The Brethren of Purity of Basra )

Isaiah and Israel's Wineskin Musical Worship

The best possible negative model of the new wine and music revival of paganism is in Isaiah five. God had provided them with everything but the people neglected God's "vineyard" and turned to daily religious festivals:

Woe unto them that rise up early in the morning, that they may follow strong drink; that continue until night, till wine inflame them Isa 5:11 (Note: this is contaminated wine or grain beer which has natural or added hallucinogens. A high level of music-induced endorphins can also cause hallucinations.)

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. Isa 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. Isa 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. Isa 5:14

Ancient writers called this "intoxicated on pure ignorance." When you are dealing with those drunk on ignorance and even worshipping it you are not dealing with rational minds. Therefore, note with care that these "pacifists will kill you" for trying to feed them the Words of Christ. Ritual murder is much more politically handled than when the prophets warned Saul and David.

Kenneth Sublett. For More Dionysus/Jubilee connection Click Here

Jubilee 99 Navigating The Winds With Dionysus

Homeric Hymn to Apollo
Lucian The Oracle Monger
First Musical Heresy Musical Worship Teams
Musical Heresy 2: Hippolytus on Music and Soothsaying
Hippolytus Book V
Orphic Music
Orphic Connection to Romans 14
Rhea-Saturn-Zoe Connection
Classical Index
Musical Worship Index
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