Madison Church of Christ Nashville: Background to Purpose Driven Church

When once the idolatry of talent enters the Church, then farewell to spirituality. This fall into musical rituals prompted people to ask for a review.  This is just one of probably most churches whose title is taken from CIRCE who was a "holy harlot" in the area of Patmos.  Abaddon or Apollyon is another name for Apollo whose seeker centers employed the Muses (Revelation 18:22) who were identified as adulterers who rarely "spoke some things that were true." All musical terms point to the effeminate and their task is defined as sorcery.

Click for the pagan, prophesied and fulfilled Feminization of the Church.

Tom Haddon's Hombuilders at Madison Church of Christ, Nashville: Transcribed by Bobby M. Johnson 5/30/01 thru 6/5/01 Madison member since 1985 Transcript of Homebuilders sunday school class. A recording of Tom Haddon on how to transition the congregation to Saddleback and Holy entertainment in Homebuilders Class.

Jesus said that worship is "in spirit." That does not get excited during the music. Rather, the spirit is the PLACE or the TEMPLE which is the only place God will meet us.

But the hour cometh, and now is, when the true worshipers shall worship the Father in spirit and in truth:for the Father seeketh such to worship him. John 4:23

God is a Spirit: and they that worship him must worship him in spirit and in truth. John 4:24

To be a faithful disciple of Jesus, Paul would teach that worship occurs ONLY IN THE SPIRIT. His contrast with the flesh proves that worship occurs in one's PERSONAL SPIRIT OR MIND rather than in their BODY.

For we are the circumcision, which worship God in the spirit,

and rejoice in Christ Jesus,
and have no confidence in the flesh. Ph 3:3

For though I be absent in the flesh, yet am I with you in the spirit, joying and beholding your order, and the stedfastness of your faith in Christ. Col.2:5

And be renewed (neos) in the spirit (mental disposition) of your mind (nous); Eph 4:23

External: Speak to one another with psalms, hymns and spiritual songs. (truth)
Internal in the Spirit: Sing and make music in your heart to the Lord, Eph 5:19

The blessing of him that was ready to perish came upon me:and I caused the widows heart to sing for joy Job 29:13

Praying always with all prayer and supplication in the (your) Spirit, and watching thereunto with all perseverance and supplication for all saints; Eph 6:18

Therefore, as music always said "we will not listen to you," Psalm 41 prophesied that Judas would try to triumph over Jesus. This includes with musical instruments. Here is the picture:

Judas under Satan's control would attempt to triumph over Jesus. Triumph over in Psalm 41 was outlawed for the assembly (Numbers 10:7) and is variously translated as "blow the trumpet or make a joyful noise." Jesus refused to sing and dance while the "children" piped.
This Psalm in the Dead Sea Scrolls clearly defines trying to defeat Christ as using musical instruments. However, in victory Jesus would praise God with the "instruments of His lips."

Musical performance, especially in religion, was universally associated with the effeminate. Therefore, when the church tries to defeat Christ with musical performance you can expect the "real men" to stay home and watch football.

Why Males in the Post-Biblical Effeminate Church are Disguised as Empty Pews or Hostile Masculines: it Will Get Worse! "Of the Effeminate Willow-Creek "Holy Entertainment" System: "The cost of this approach is hard work and loads of strife with church insiders." Christianity Today

New E-Mail: The Devil is Laughing: Giving Heed to the Word was the principle "act" of worship in the Christian Synagogue. "Preaching" Narrative Theology of cut-N-paste sermons was never an act of worship. Thomas Campbell and most older scholars define how the Word is the "Truth" of worship "in spirit" or in the mind which is the only kind and place God even bothers to look for. Outrageious Biblical illiteracy "among the scholars" is explained by Paul's teaching that "fools love to be fooled." Read how two people had to abandon churches built around pagan entertainment in order to discover the Word. Click and go down to where The Devil is Laughing to see how he and the watching world is not laughing WITH the new for-hire Bible Repudiators but laughing AT them and their followers just as the Israelites became a LAUGHINGSTOCK with their musical idolatry at Mount Sinai (Now the SCHOLAR'S pattern for worship and community.) 

What follows now is some background to "unholy entertainment" as the PATTERNISM being promoted at certain churches. We should note that this format change is the result of the CORE GOSPEL. The Core Gospel denies that the Bible is inspired or that it's stories have any meaning to us without our making the raw material into our own new gospel. However, out of the "totally distorted Bible" a few "core" statements about Jesus can be rescued by modern 13th apostles.

We worship whatever or whomever we "give attention to" or "give heed to." If we give our attendance to the awesome performer and come away with oohs and aahs of lust we are worshiping the singer. If the singer "attracts" the seekers then we have deliberately SET HIM/HER/THEM in the HOLY PLACE (after kicking out the Lord's Table) and MADE THEM INTO GODS. This is not a cause of future problems: it is a supernatural sign throughout the Old Testament that musical performance is a MARK set on people who at the same time repudiate the Word of God.

"There is, in our day, a marvellous idolatry of talent; it is strange and a grievous thing to see how men bow down before genius and success. Draw the distinction sharp and firm between these two things--goodness is one thing, talent is another. It is an instructive fact that the son of Man came not as a scribe, but as a poor working man. He was a teacher, but not a Rabbi. When once the idolatry of talent enters the Church, then farewell to spirituality;

when men ask their teachers, not for that which will make them more humble and God-like, but for the excitement of an intellectual banquet,

then farewell to Christian progress.' (F. W. Robertson, Hastings on 1 Cor. p. 10).

"Holy Entertainment" is the result of preachers who have lost their right to the "feeding trough" by their failure to believe in the Bible as the CORE document of the Christian religion and by their refusal to go preach it to the lost. However:

"If this be so:

1. Should Christian teaching be regarded as a profession? It is so now: men are brought up to it, trained for it, and live by it, as architects, lawyers, doctors.

Surely preaching the gospel should no more be regarded as a profession than the talk of loving parents to children.

2. Is the Church justified in confining its attention to the ministry of one man? In most modern congregation there are some Christian men who, by natural ability, by experimental knowledge and inspiration, are far more qualified to instruct and comfort the people than their professional and stated minister.

Surely official preaching has no authority, either in Scripture, reason, or experience, and it must come to an end sooner or later." (Pulpit Commentary, 1 Cor. p. 464).

If we give attendance to Fanny Crosby then we are worshiping Fanny Crosby. That is why human-composed songs imposed upon others are HYMNS WHICH HAVE BECOME IDOLS. Idolatry is punishable by spiritual death. That is why throughout the Old Testament, musical worship has been the MARK of their lostness beyond redemption because they refused to have God in their mind.

Lucifer was the Musician in the Garden of Eden. His female name is ZOE. She usurps authority over the minor, male jehovah and forces him into forming a musical worship team.

You Should Not Be Honored When Men Try To Turn Your Church Into Holy Entertainment.

By deliberately violating the mores, religious beliefs and worship practices of the rurals,
the urbans believed that they could hasten God. After all, didn't they say: "Let us sin that grace abound."
"The singing and dancing of the chorus of Bacchae, who stand for the Lydian women, is fundamentally an act of ritual, of worshipping the god.
This ritual of bacchic moderation is predicated on the myth of bacchic catastrophe.
Such a balance of moderation and catastrophe brings to life the theatre of Dionysos. See The Zoe Beast Image.

Those lusting for power over others says more about ourselves than we may want to be made public. We know of no ancient evidence which does not associate "musical or theatrical performance" as an ART to become attractive to the gods which is not performed by women or effeminate men. H. Bamford Parkes in Of God and Men notes:

'Certain members of a tribe, marked out either by unusual skills or by some emotional abnormality, ususally became particularly adept at these operations, and gradually assumed specialized functions.

Released from the duty of hunting,
and concentrating on the practice of magic, the shaman, sorcerer, or medicine man (priest) was the world's first professional." (Parkes, p. 29).

"The development both of religion and of the arts can be traced back in a continuous line to the hunting era. The group ritual of the primeval tribesmen were the origin not only of all religious ceremonial, but also of the drama and of poetry and music, while magic gave birth to the visual arts." (Parkes, p. 30).

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence
any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,
and many tribes supposed lunatics and sexual deviants to be divinely possessed.

Musical performance "as worship" has the universal testimony of history that the ancient Chaldean or Babylonian arts are being used to "call the gods into their temple" or to appease or even threaten the gods by a superior human talent. For the "audience" music has always been the most powerful drug-inducer to manipulate people into believing that the musicians have "helped move them into the presence of the gods."

The Encomiast--Sing The Core Literature

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

"In magic, words create and call into being what they state.
"The more vivid and expressive the words are, the more they are believed to be efficacious--so by its expressiveness literature forms a natural vehicle of such creativity.
"In ancient Mesopotamia its main purpose appears to have been the enhancement of what was seen as beneficial. With the sole exception of wisdom literature,

See the Praise Leader from Babylon.

See The Tulsa Workshop

"Awed by the mysteries of his own spirit no less than by those of nature, primitive man was likely to attribute to divine influence

any abnormal emotional state, whether above or below the usual level. Medicine men customarily went into states of trance in which they were believed to be in communication with the gods,
and many tribes supposed lunatics and sexual deviants to be divinely possessed.
In most early societies, moreover, men evolved techniques for deliberaly inducing the abnormal forms of consciousness in which they supposed themselves to achieve union with divine power, sometimes by the use of drugs and other physiological stimuli, sometimes by hypnotic dances and music.
The wild utterances to which they gave vent on such occasions were regarded as the words of a god and were interpreted as divine commands or predictions of future events." (Parkes, H. Bamford, Of God's and Men, p. 32-33).

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

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

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

"As this paper will demonstrate, by "playing" with the conflated language, these writers defended their art,
justifying their existence in a society that was both seduced and repulsed by them. By claiming the polemical antitheatrical language, these players escaped from the ideological margins to which their opponents had tried to relegate them.
Using the artifices of mimesis (imitation) and comedy they pointed out and
defused their opponents' anxieties about music, theater, and sexuality,
 creating a space for players in the cultural mainstream."

Thus, Lucifer (ZOE) is gender variant, was in the garden of Eden and as the kings/queens of Babylon and Tyre and the end-time worship (now) is called the "harp playing prostitute" wanting to be remembered as male but ENRAGING THE MALES because they know better.

Johannes Quasten. In Music and Worship in Pagan and Christian Antiquity, beginning on page 41:

"Philodemus considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self deceptive the view that music mediated religious ecstasy.

He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit.
He found it significant that, on the whole, only women and effeminate men fell into this folly.
Accordingly, nothing of value could be attributed to music; it was no more than a slave of the sensation of pleasure, which satisfied much in the same way that food and drink did.
"Women and girls from the different ranks of society were proud to enter the service of the gods as singers and musicians. The understanding of this service was universal: these singers constituted the 'harem of the gods'." (End of Quasten)

When males fell into this it was not a sign of Seeker-Sucking power but of sexual deviation. Real or imagined, the males run for the hills because the "authority" Paul outlawed was "authentia" which is sexual authority "both erotic and murderous."

By attempting to "pipe and get Jesus to dance" and by hoping that John wore "soft clothing" there was a universal priestly lustful hope that Jesus might be Dionysus and would accomodate their effeminate lusts.

This is the meaning of the pictures above.

Kenneth Sublett

Musical Worship Page (Never Biblically or historically approved)


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