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The Golden Calf Egypt - 1

The Golden Calf Egypt, Part One The Bull Cult."Musical Worship: Prehistoric religious practice originating in the eastern Aegean and extending from the Indus Valley of Pakistan to the Danube in eastern Europe centered on the bull. The bull god's symbol was the phallus, and in the east the bull often was depicted as the partner of the great goddess of fertility, thereby representing the virile principle of generation and invincible force. Numerous pictorial and plastic representations of the bull have been uncovered, many designed to be worn as a charm or amulet; these representations were probably copies of larger statues constructed in tribal sanctuaries.

The golden calf and worship in Egypt Number One

The golden calf and worship in Egypt Number Two
The golden calf at Mount Sinai
The interpretation of the golden calf throughout the Bible
Interpreted in the Kabbalah

Britannica changed their links: I will catch up.

See how the Spectacle is rising again in the last days as worship.

This page will consist of some of the background. In Golden Calf Egypt Part Two we will look at the specific "gods" worshiped in Egypt and how that was repeated by Israel

The golden calf Egypt bull cult continued into historic times and was particularly important in the Indus Valley and on Crete. The Britannica notes that:

"For nonliterate peoples, music often serves purposes other than entertainment or aesthetic enjoyment.

Certain wind instruments are closely associated with the supernatural,
and their sounds connote
powerful magic.

Christian Chronicle Worship Forum Reviews: Dan Dozier --Jack Reese

Britannica Members: Modern anthropologists, however, make the useful distinction between

magic as the manipulation of an external power by mechanical or behavioral means to affect others, and witchcraft as an inherent personal quality motivated to the same ends.

In this classification, the word sorcery is used for magic that aims to harm other people; that is, sorcery is "black" magic, whereas magic used for beneficent ends is "white" magic. This distinction does not always hold for specific societies but is a useful one in analysis.

Divination, the skill of understanding mystical agents that affect people and events, should be distinguished from magic in that its purpose is not to influence events but rather to understand them.

The ultimate mystical power of diviners, however, may be thought to be the same as that behind the forces of magic. In some societies, magicians act as diviners, but the two skills should be distinguished.

Magicians are often confused with priests, shamans, and prophets, mainly because many of these practitioners' activities include acts that are traditionally defined as "magical"; i.e.,
while essentially they are regarded as
intermediaries between men and gods or spirits,
in the sense of acting in a
direct personal relationship,

some of their acts are also impersonal or "magical."
It is often, perhaps usually, impossible clearly to distinguish between
priests and magicians."

In modern "musical worship teams" the goal is to "facilitate" which means "manipulate" people in order to "move the worshipers into the presence of God." In some teams there is the explicit claim that "When we sing and dance God uses us as a platform upon which to land."

However, God cannot punish the insane. This gave rise to a form of praise, halal in Hebrew, which even David resorted to. This praise is to make yourself vile, mad, insane or make a fool of yourself and even foam at the mouth.

Way back at Mount Sinai when Israel fell back into Egyptian worship with singing, dancing and music, God said that they just became a laughingstock. The "priesthood" therefore is identified as "the world's oldest profession." Even if, in Henry Bamford Parkes words, "they are often emotionally or sexually abnormal," you need them as mediators because, you know, "the gods are dangerous and if you get too close they will harm you. Therefore, since I am an ordained god manipulator you had better pay me to take the risk."

See how Heredotus informs us of Israel becoming a laughinstock at Mount Sinai.

For this reason, in none of the pagan religions were the common people permitted to go into the actual temple.

Clement of Alexandria Stromata, Book VI

Chapter IV.-The Greeks Drew Many of Their Philosophical Tenets from the Egyptian and Indian Gymnosophists.
We shall find another testimony in confirmation, in the fact that the best of the
having appropriated their most excellent dogmas from us,
boast, as it were, of certain of the tenets which pertain to each sect being culled from
other Barbarians, chiefly from the Egyptians-both other tenets, and that especially of the transmigration of the soul. For the Egyptians pursue a philosophy of their own.

This is principally shown by their sacred ceremonial.

For first advances the Singer, bearing some one of the symbols of music. For they say that he must learn two of the books of Hermes,
one of which contains the hymns of the gods,
.......... the second the regulations for the king's life.
And after the Singer advances the Astrologer, 8eluc with a horologe in his hand, and a palm, the symbols of astrology.
He must have the
astrological books of Hermes, which are four in number, always in his mouth.

Of these, one is about the order of the fixed stars that are visible, and another about the conjunctions and luminous appearances of the sun and moon; and the rest respecting their risings.

Next in order advances the sacred Scribe, with wings on his head, and in his hand a book and rule, in which were writing ink and the reed, with which they write. And he must be acquainted with what are called hieroglyphics, and know about cosmography and geography, the position of the sun and moon, and about the five planets; also the description of Egypt, and the chart of the Nile; and the description of the equipment of the priests and of the places consecrated to them, and about the measures and the things in use in the sacred rites.

Then the Stole-keeper follows those previously mentioned, with the cubit of justice and the cup for libations. He is acquainted with all points called Paedeutic (relating to training) and Moschophatic (sacrificial). There are also ten books which relate to the honour paid by them to their gods,

and containing the Egyptian worship; as that relating to sacrifices,
first-fruits, hymns, prayers, processions, festivals, and the like.

And behind all walks the Prophet, with the water-vase carried openly in his arms; who is followed by those who carry the issue of loaves. He, as being the governor of the temple, learns the ten books called "Hieratic; "and they contain all about the laws, and the gods, and the whole of the training of the priests.

For the Prophet is, among the Egyptians, also over the distribution of the revenues.

There are then forty-two books of Hermes indispensably necessary; of which the six-and-thirty containing the whole philosophy of the Egyptians are learned by the forementioned personages; and the other six, which are medical, by the Pastophoroi (image-bearers),-treating of the structure of the body, and of diseases, and instruments, and medicines, and about the eyes, and the last about women. Such are the customs of the Egyptians, to speak briefly.

Musicians playing the double pipes, accompanying girls dancing at a banquet. From a wall painting in the tomb of Nebamun, Egypt, about 1400 B. C. (about the time Moses left Egypt according to one chronology).

Egyptian statuette with angular harp, painted wood, Late Period (1085-525 BC); in the British Museum, London. The harp clearly evolves from the musical bow, which must have been in existence prior to the establishment of Mesopotamian and Egyptian civilizations. Since the musical bow is identical in shape with the simple hunter's bow, it has been assumed that the instrument derives from the hunter's implement.

There is, however, no evidence for this;
quite the opposite:
musical bow is very often played by women, who do not usually hunt, and, further, there is absolutely no way of knowing
whether or not
man hunted with a bow-shaped implement before he made musical sound with a bow.

The three early harps found in the burial chambers at Ur were bow-shaped instruments with 12 to 15 strings; nearly identical instruments were played in Egypt at roughly the same time.

Iconographic evidence suggests that in both Egypt and Mesopotamia the harp, often played by women, was used in secular, erotic entertainments, although it had sacred uses as well.

It is for this reason that melody or Greek psallo is related to plucking the hair or abrading something to bits: grinding it into powder. The word SOP which Jesus fed Judas is related to this because Judas was trying to "triumph over" Jesus according to Psalm 41. And the bag Judas carried means "for carrying the mouthpieces of wind instruments."

Of Ceremonial objects: On occasion, objects have been used to compel the sacred (or divine) realm to act or react in a way that is favourable to the participants of the ceremonies or to the persons or activities with which such rituals are concerned,
..........or to prevent the transcendent realm from harming or endangering them.
..........These objects thus can be mediatory devices to contact the divine world,
..........as, for example, the drums of shamans (religious personages with healing
psychic-transformation powers).
Conversely, they can be mediatory devices used by a god or other supernatural being to relate to man in the profane realm.
..........They may also be used to ensure that a chief or sovereign of a tribe or nation achieves,
..........and is recognized to have, the status of divinity in cultic or community ceremonies.
Of such a nature may be
phallic cults.

David became the king of the Hebrew Monarchy period. God gave up on Israel and conceded that they could experiment with "the idolatry of nationhood." They wanted a king like the nations so that they could worship like the nations. The music of Israel, therefore, was more related to the king, the princes and the clergy.

"Australian Aborigines, for instance, identify the sound of a bull-roarer with the voices of supernatural beings; for the Plains Indians, the same sound signifies an awesome natural phenomenon, such as thunder.

Wind instruments are often among a group's most important ritual objects, and in some cultures they are specially venerated. The Kamairua Indians of the Amazon rain forest keep their giant flutes (three to four feet long), wherein spirits are believed to dwell, in a special shrine where they are worshiped. The flutes and drums of New Guinea are similarly housed and worshiped.

"It is common in primitive cultures for musical instruments to have symbolic significance. The form of an instrument or its decoration may relate to tribal myths, as do North Pacific coast whistles carved in the shapes of birds and African ivory horns stained with human blood.

Wind instruments in particular often have sexual connotations. Among the Tucano Indians of Colombia, the number of tubes on a set of panpipes
depends on the age of the
male performer and the development of his sexual organ.
Boys between
five and nine years of age play instruments with only three pipes, while men's panpipes have eight or nine.

"Wind instruments are also made to resemble the male and female sexual organs. The phallic shape of flutes, which are played exclusively by men in many primitive cultures, is self-evident. Instruments reserved for women are often round or curved and may bear associations with the Moon or water. (Oceans respond to tides, tides to the Moon; the Moon marks the female menstrual cycle.)

"No symbolism is universal, however, and an instrument's sexual connotations may conflict: for example, a conch shell, which by its shape and derivation from a water animal is female, is generally made into a trumpet, usually considered a male instrument. (See symbolism, phallic symbol.)

The Jewish clergy so treated Jesus. To be acceptable in most priestly systems one must be gender-variant. By serenading Jesus, based on the meaning of mourn and dance, they tried to induce the usually femenine or effeminate dance of Dionysus. And they were disappointed that when they "went out" John, as usual with the common prophesiers, did not wear, in the words of Jesus, soft clothing. This would have identified him as a catamite of a ruler or king.

The Source of this "Mocking Jesus" picture observes that the vulva is noticable on the flute.
"The sound of the flute, for example, is widely associated with love magic. Among many tribes, young men played the flute to serenade young women. Flutes and flute music empower sexual initiation. In some cultures, instrument symbolism is highly developed. In South America:
The whistling of a flute connotes sexual invitation,
while vibration, represented by such instruments as the clarinet and
the bull-roarer, symbolizes a
warning or threat.
Nagash, the hissing sound of the serpent incarnated into musical instruments)
Booms and clange sounds produced by drums and rattles symbolize the uniting of male and female.
This is why new forms of
phallic religion "provide venue" for Rock, Rap or "boogie woogie." This is a blend of "gospel" and voodoo: explicit sexual words.
The wind instrument or
organ Jubal used "without authority" was the Uwgab which is from Agab which means:

Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.

And Aholah played the harlot when she was mine; and she doted on her lovers, on the Assyrians her neighbours, Eze.23:5

"It (the pipe meaning 'to love passionately') was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, ase we see from Genesis Rabbah 50:

'The angels said to Lot: 'There are players of the pipe (organ) in the country, hence it ought to be destroyed'." Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests." (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

See the BRANCH of the strangers in Isaiah 25 as a SONG SUNG TO MUSICAL ACCOMPANIMENT.

The "organ" was taught by Jubal to others. He is still the father of those who attempt to seduce the "seekers" with music and attractive, talented "teams."
In the universal history of music,
Satan taught men like Jubal (Genun) how to seduce people with music. This is the story of Enoch who said that God will come with ten thousand angels to get the deceivers:

And his brothers name was Jubal: he was the father of all such as handle (without divine warrant) the harp and organ. Gen 4:21

Uwgab (h5748) oo-gawb' from 5689 in the orig. sense of breathing; a reed-instrument of music: - organ

Psalm 150 uses this instrument which was not permitted in the temple:

Praise him with the timbrel and dance: praise him with stringed instruments and organs. Psalm 150:4

The "praise" in Psalm 150 is not telling others about God but making a fool of self in the belief that God was aroused sexually by music or could not punish the "insane."

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.

A word treated as equivalent by scholars is:

Chalal (h2490) khaw-lal'; a prim. root [comp. 2470]; prop. to bore, i. e. (by impl.) to wound, to dissolve; fig. to profane (a person, place or thing), to break (one's word), to begin (as if by an "opening wedge"); denom. (from 2485) to play (the flute): - begin (* men began), defile, * break, defile, * eat (as common things), * first, * gather the grape thereof, * take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

The word for Lucifer is derived from this form of insane praise also practiced in Corinth:

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

Lucifer, in turn, is the Sophia-Zoe figure as the feminist supreme gods and deceivers of Jehovah's realm.

This "organ" or Uwgab taught by Satan or Lucifer is related to the love song with music:

Egeb (h5690) eh'-gheb, from 5689; love (concr.), i. e. amative words: - much love, very lovely.
Agab (h5689) aw-gab'; a prim. root; to breathe after, i. e. to love (sensually): - dote, lover.

And when thou art spoiled, what wilt thou do? Though thou clothest thyself with crimson, though thou deckest thee with ornaments of gold, though thou rentest thy face with painting, in vain shalt thou make thyself fair; thy lovers will despise thee, they will seek thy life. Je.4:30

Enoch Chapter 2:1 Behold, he comes with ten thousands of his saints, to execute judgment upon them, and destroy the wicked, and reprove all the carnal for everything which the sinful and ungodly have done, and committed against him.

Quoted by Jude, vss. 14, 15. (Those navigating the winds)

Enoch Chapter 8:1 Moreover Azazyel taught men to make swords, knives, shields, breastplates, the fabrication of mirrors, and the workmanship of bracelets and ornaments, the use of paint, the beautifying of the eyebrows, the use of stones of every valuable and select kind, and all sorts of dyes, so that the world became altered.

"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans. In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51).

Enoch also connects "enchantments" to music in other versions.

The second book of Adam and Eve puts the emphasis upon instrumental music and mix-sex choirs. We know from Babylonia that this was a primary method of sorcery.

Ravishing music; strong drink loosed among the sons of Cain. They don colorful clothing.

The children of Seth look on with longing eyes. They revolt from wise counsel; they descend the mountain into the valley of iniquity. They can not ascend the mountain again.

1 AFTER Cain had gone down to the land of dark soil, and his children had multiplied therein, there was one of them,
whose name was
Genun, son of Lamech the blind who slew Cain.

2 But as to this Genun, Satan came into him in his childhood;

and he made sundry trumpets and horns, and string instruments, cymbals and psalteries, and lyres and harps, and flutes; and he played on them at all times and at every hour.

And Aholah played the harlot when she was mine; and she doted (h5689( on her lovers, on the Assyrians her neighbours, Eze.23:5

Thus she committed her whoredoms with them, with all them that were the chosen men of Assyria, and with all on whom she doted: with all their idols she defiled herself. Eze.23:7

The idols were asherah poles with which they had sexual intercourse. The word is from:

Galal (h1556) gaw-lal'; a prim. root; to roll (lit. or fig.): - commit, remove, roll (away, down, together), run down, seek occasion, trust, wallow.

And when her sister Aholibah saw this, she was more corrupt in her inordinate love than she, and in her whoredoms more than her sister in her whoredoms. Eze 23:11

Agabah (h5691) ag-aw-baw'; from 5689; love (abstr.), i. e. amorousness: - inordinate love.

In the 33rd chapter God warned Ezekiel that they would treat him as an instrument playing prostitute even as they "praised" Him as if He were a prostitute:

Also, thou son of man, the children of thy people still are talking against thee by the walls and in the doors of the houses, and speak one to another, every one to his brother, saying, Come, I pray you, and hear what is the word that cometh forth from the Lord. Ezekiel 33:30

And they come unto thee as the people cometh, and they sit before thee as my people,
----and they hear thy words,
---- ---- but they will not do them:

for with their mouth they shew much love (egeb),
---- but their heart goeth after their covetousness. Ezekiel 33:31

And, lo, thou art unto them as a very lovely (egeb h5690) song of one
---- that hath a pleasant voice, and can play well on an instrument:
---- ---- for they hear thy words,
---- ---- but they do them not. Ezekiel 33:32

Consistent with all of the records of the ancients and the message of Jubal in the Bible, instrumental music and singing "romantic" songs instead of the Word of God was spiritual prostitution.

When Israel rejected the covenant of grace by repeating their old Egyptian musical, sexual worship, God gave them the Law of Moses to regulate lawless and idolatrous people. Later, the Hebrews totally rejected God's rule and demanded a king so that they could live and worship like the nations. In that unlawfull but permitted secular kingdom, the worship was the worship of the state. The king and his own seers and priests performed for the people who were not allowed to come close to God:

"There were two essential foci of public religion: the king and the gods. Both are among the most characteristic features of Egyptian civilization.

The king had a unique status between humanity and the gods, partook in the world of the gods, and constructed great, religiously motivated funerary monuments for his afterlife. Britannica Members

"The king was the centre of human society, the guarantor of order for the gods, the recipient of god-given benefits including life itself, and the benevolent ruler of the world for humanity.

He was ultimately responsible for the cults of the dead, both for his predecessors in office and for the dead in general. His dominance in religion corresponded to his central political role: from late predynastic times (c. 3100 BC), state organization was based on kingship and on the service of officials for the king. For humanity, the king had a superhuman role, being a manifestation of a god or of various deities on earth.

[Note: the worship of Israel condemned by Amos is identified as a "feast with and for dead ancestors." And Amos identified it with the worship by Israel in the Wilderness.]

The music condemned by Amos and others was part of the cult of the dead:---- "The marzeah had an extremely long history extending at least from the 14th century B.C. through the Roman period. In the 14th century B.C., it was prominently associated with the ancient Canaanite city of Ugarit (modern Ras Shamra), on the coast of Syria... The marzeah was a pagan ritual that took the form of a social and religious association... Some scholars regard the funerary marzeah as a feast for--and with--deceased ancestors (or Rephaim, a proper name in the Bible for the inhabitants of Sheol)." (King, Biblical Archaeological Review, Aug, 1988, p. 35, 35) 
----"These five elements are: (1) reclining or relaxing, (2) eating a meat meal, (3) singing with harp or other musical accompaniment, (4) drinking wine and (5) anointing oneself with oil." (King, p. 37).
----"With the wine-drinking (which is the literal meaning of the Hebrew for feasting), went music and dancing." (Heaton, E. W., Everyday Life in Old Testament times, Scribners, p. 93)
----"Worship was form more than substance; consequently, conduct in the marketplace was totally unaffected by worship in the holy place. Amos spoke from the conviction that social justice is an integral part of the Mosaic covenant, which regulates relations not only between God and people, but also among people." (King, p. 44).
----"In pagan traditions, musical instruments are invented by gods or demi-gods, such as titans. In the Bible, credit is assigned to antediluvian patriarchs, for example, the descendants of Cain in Genesis 4:21. There is no other biblical tradition about the invention of musical instruments." (Freedman, David Noel, Bible Review, Summer 1985, p. 51). (Proof Here).
---- Those whose assigned task is to "take away the keys to knowledge" (Luke 11:52) should be aware that the literate of the world understand that the entire Bible treats instrumental music as a way to take away the Words of Christ. That is a self-evident fact.
It is a fact that after Israel fired God the temple worship was "like that of the nations." The "congregation" did not participate and later there was no praise service in the synagogue.

The "Covenant with Death in Isaiah 28" is closely related to Jerusalem's being attacked by the Babylonians. Paul uses this as an example of "speaking in tongues" where charismatic music and rejoicing replaced hearing the words of God. A site on Egyptian worship notes that:

"An Egyptian temple was not a place of public worship. It was the shrine for the neter (wrongly translated as god), who represented some specific aspect of the One God.

Only the priesthood had access to the inner sanctuaries, where the sacred rites and ceremonies were performed. In some instances, only the King himself or his authorized substitute had permission to enter.

"The ancient Egyptian temple was built to facilitate the meeting
---- between a specific supernatural/metaphysical force (neter/netert),
---- ---- and the physical/human,
---- ---- for the benefit of the people, land, and the universe.

It was not intended to be an art gallery for academicians and tourists.
---- Only a small part of it was open to the ancient Egyptian public, on annual festivities.
---- Therefore, every ancient Egyptian temple had/has a specific function.

It comes as a heart-crushing blow when modern preachers in good standing actually hire "Musical Worship Facilitators" in order to help "move the worshipers into the presence of God." But when God is in His Holy Temple all the earth must keep silence before Him. In Christianity, worship is in spirit or in the mind. The musicians of paganism and of Israel were never permitted into God's presence.

The exterior walls of the temple resembled a fortress, so as to defend it against all forms of evil.

The temple was entered through two pylons, beyond which lay an open court. (See a Second Incarnation) This court sometimes had colonnades along the sides and an altar in the middle.

Next, along the temple-axis, came the hypostyle, a pillared hall often surrounded by small rooms which are used for the storage of temple equipment and for other secondary functions. Finally, there was the sanctuary, which was a
dark room containing the shrine, where the figure of the neter was placed.
..........The sanctuary's doors were shut and sealed all year long, and were open only for the great festivals.
..........The sanctuary was called the "Great Seat". [The throne room in Israel's "like the nation's temple."]
..........Outside the walls of the temple were the residences of the priestly staff, the workshops, storerooms, and other ancillary structures. From

APIS See Hislop Also

"Apis was the beast-god of ancient Egypt. He was also known as Mnevis, and Onuphis. Apis / Mnevis / Onuphis (who, for the sake of simplicity, we will refer to hereafter as Apis)

was regarded as the avatar (Incarnation) of the god Osiris,
whose soul it was said had transmigrated into the
body of a bull.

"...Osiris is the same as Dionysos, and who should know better than you, Clea, since you are at once the leader of the Thyades [female initiates who celebrated on sacred sites the nocturnal orgies of Bacchus] at Delphi and have been consecrated in the Isirian rites by your father and mother?" - Plutarch, Isis and Osiris

This was the Seeker-Center of Apollo (Apollyon, Abbadon) at Delphi.

"The sacred bull was allowed to live no more than 25 years, after which it was drowned in one of the sacred wells of the Nile. His death was followed by national mournings, soon forgotten and transformed into national thanksgiving when
a new sacred bull was found, to take his place. The stigmata that marked a bull as the new incarnation of Apis / Osiris were a black coat,a white triangular spot (trinity of gods) on the forehead,
a spot like a
half-moon on its right side, and a knot like a beetle under its tongue.

"The ceremony thereafter was thus: the sacred scribes would approach the spot where the favoured cow had given birth to her calf, and would feed it milk for four months, in a house facing the rising sun. After this period had passed, the calf was conveyed in a boat, at the time of the new moon, to Memphis, where he was lodged in comfortable quarters, with ample space to exercise,

provided with the most beautiful female companions that could be found. He was provided with a personal well from which to drink,
as the waters of the Nile itself were considered
too fattening.

The Britannica notes that:

Much of what is known about Apis comes from Greco-Roman writers. He was black and white and distinguished by special markings. Some ancient writers said that he was begotten by a ray of light from heaven, and others that he was sired by an Apis bull. When a sacred bull died, the calf that was to be his successor was sought and installed in the Apieion at Memphis. His priests drew omens from his behaviour, and his oracle had a wide reputation. When an Apis bull died, it was buried with great pomp at Saqqarah (stepped pyramid like the tower of Babel),
in underground galleries known in the classical world as the Sarapeum. It was probably in Memphis that the worship of Sarapis (after the Greek form Osorapis, a combination of Osiris and Apis in the image of an eastern Greek god) arose under Ptolemy I Soter (305-282 BC). From Alexandria, it spread to become one of the most widespread oriental cults in the Roman Empire.

Apis was the physical incarnation of Osiris. 

OSIRIS (Dionysus, Tammuz)
The Jewish clergy who had taken away the key to knowledge were so consumed with their history-long devotion to the bull cult or phallic cult that they believed that Jesus was a phallic kind of guy - just like modern Promise Keepers.

The test was to pipe (pollute) over John and Jesus and try to get them to fall into the singing and choral dance of the Dionysus (Osiris, Bacchus) god of wine -- in the new wineskin of course. This would triumph over Jesus and invalidate the prophecy of Messiah being triumphed over by Judas as agent of the clergy in Psalm 41.

"One of the greatest gods of the Egyptians, Osiris was the god of the dead, the judge of the Underworld. He listened to Thoth describe the character of the souls of the dead, these being introduced by his son, Horus, after their good and bad deeds have been weighed in the scale of truth by Anubis. Also present at these underworld trials were forty officers, the Assessors of the Dead, represented as human but with different heads, that of a hawk, a man, a hare, a hippopotamus, a fox, a ram, a snake, and others. Osiris was depicted as bearded, either green or black in colour, wearing the crown of Upper Egypt, and swathed like a mummy. In his hands were a flail and a crook. Osiris was credited with the introduction of agriculture and other crafts, and was the initiator of religious rituals, especially the process of embalment and mummification. The Egyptian Book of the Dead is here.

And when they shall say unto you, Seek unto them that have familiar spirits, and unto wizards that peep, and that mutter: should not a people seek unto their God? for the living to the dead? Is.8:19

To the law and to the testimony: if they speak not according to this word, it is because there is no light in them. Isaiah 8:20

Distressed and hungry, they will roam through the land; when they are famished, they will become enraged and, looking upward, will curse their king and their God. Isaiah 8:21

And it shall come to pass in that day, saith the Lord God, that I will cause the sun to go down at noon, and I will darken the earth in the clear day: Amos 8:9

And I will turn your feasts into mourning, and all your songs into lamentation; and I will bring up sackcloth upon all loins, and baldness upon every head; and I will make it as the mourning of an only son, and the end thereof as a bitter day. Amos 8:10

Behold, the days come, saith the Lord God, that I will send a famine in the land, not a famine of bread, nor a thirst for water, but of hearing the words of the Lord: Amos 8:11

And they shall wander from sea to sea, and from the north even to the east, they shall run to and fro to seek the word of the Lord, and shall not find it. Amos 8:12

"The legend surrounding Osiris tells of his drowning, dismembering and the scattering of his limbs across the land and water.

Thus, Moses warned that the musical play as Israel worshiped Apis as agent of Osiris in the form of the golden calf Egypt "not to send across the sea" to try to find the Word because it had already been preached to them.

He was shut in a chest by his brother Seth, and dumped on the breast of the Nile. He drifted until he was discovered in the port of Byblos by Isis, his wife and sister. Seth seized the coffin, cut up Osiris' body into fourteen pieces,and scattered them throughout Egypt. Isis, however, sought the pieces of her husband,and with the aid of his mother, Nut, resurrected Osiris. His genitals, however, having been consumed by fish, could not be regrown.
..........Osiris did not stay long on the Earth after his resurrection however,
..........descending to the underworld, to become the judge of the dead. His murder, however, was avenged by his dutiful son, Horus.

Paul warned Corinth that with their speaking in tongues, sexual impurity and perhaps even using musical instruments that they were into idolatry. This is fully explained in chapter ten where the word play includes the music and sex which destroyed Israel and caused God to take away His grace and give them the Law as punishment:

Neither be ye idolaters, as were some of them; as it is written, The people sat down to eat and drink, and rose up to play. 1 Corinthians10:7

In Romans, Paul describe this as the "sending across the sea" (or the next town for a "speaker") for a god who would allow them to worship with food, music, song and dance. This was a continuation of the phallus cult of the bull still being promoted:

For Moses describeth the righteousness which is of the law, That the man which doeth those things shall live by them. Romans 10:5

But the righteousness which is of faith speaketh on this wise, Say not in thine heart, Who shall ascend into heaven? (that is, to bring Christ down from above:) Romans 10:6

Or, Who shall descend into the deep? (that is, to bring up Christ again from the dead.) Romans 10:7
But what saith it?
The word is nigh thee, even in thy mouth, and in thy heart: that is, the word of faith, which we preach; Romans 10:8

This is repeated in modern Jubilee or Vineyard forms of worship often associated with Promise Keepers, the grand penis power of them all. Click for Details about Post-Modern or Post-denominational religion which is quite identical to Osiris or Apis worship. The "golden calf Egypt" found in a grave at Ur was in the common form of a harp in which the "god" was supposed to live and use for speaking. The Seeker or Jubilee 99 form is borrowed directly from Vineyard and suggests that the "temple officer" called the Musical Worship Facilitator can "lead the worshipers into the presence of God."

Of the king of Babylon as Lucifer Personified:

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

Hell from beneath is moved for thee to meet thee at thy coming: it stirreth up the dead for thee, even all the chief ones of the earth; it hath raised up from their thrones all the kings of the nations. Isaiah 14:9

All they shall speak and say unto thee, Art thou also become weak as we? art thou become like unto us? Isaiah 14:10
pomp is brought down to the grave, and the noise of thy viols: the worm is spread under thee, and the worms (maggots) cover thee. Isaiah 14:11How 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, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north: Isaiah 14:13

Notice the lyre decorated with a bull's head in the picture above. Such a lyre was also excavated from the tombs and it's reconstruction is shown below. This is a picture of the VIOL which went into the tomb with the king of Babylon.

As the King of Tyre:

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

Moses Issued the same warning

For this commandment which I command thee this day, it is not hidden (in the nether world) from thee, neither is it far off. Deuteronomy 30:11It is not in heaven, that thou shouldest say, Who shall go up for us to heaven, and bring it unto us, that we may hear it, and do it? Deuteronomy 30:12
Neither is it beyond the sea
, that thou shouldest say, Who shall go over the sea for us, and bring it unto us, that we may hear it, and do it? Deuteronomy 30:13
..........But the word is very nigh unto thee, in thy mouth, and in thy heart, that thou mayest do it. Deuteronomy 30:14

Musical Worship of the Golden Calf Egypt Part Two

Musical Worship Index


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The Golden Calf Egypt Part One

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