Praising Jesus or Mocking Jesus Like Judas

It is a little-known mystery that the Judas bag (he was a thief) was for "carrying the mouthpieces of wind instruments." Judas would be classed along with the clergy who "piped" while praising Jesus but was just mocking Jesus to frighten or panic Him into rising up like a warrior to go into battle against the Romans. This was the sicarri (assassin) test of a good leader. The clergy being ignorant of God's Word, also looked for a literal David to lead them into battle. Of course, the priests and Levitical Warrior musicians were prepared, as under the Kingdom period, to lead him to victory by inducing panic into the enemy and force the unwilling army to walk into "the valley of death."

The Temple clergy, strange in all "like the nations temple-states", would try to force Jesus to dance the Dionysus, choral dance which would mark Him as effeminate. Science now knows that music creates the "fight or flight" syndrome and both have a sexual relationship. That's why it feels good -- for a short time. It didn't work on Jesus. Praising Jesus can only be done by telling others what He has done in His own words. Otherwise we are just mocking Jesus by selling "chicken soup for the flesh."

Jesus was telling us that Judas was the personification of Satan, and the Jewish clergy had become much like the prophets of Baal and Asherah trying to blacken the character of John the Baptist -- Elijah to them. God told Elijah that His voice was not in the earthquakers or whirlwinders or firebreathers; He spoke in "the voice of a whispered silence" according to Karen Armstrong. Even God was willing to dialog and didn't fall into hysterics when challenged.

The gravest insult they could hurl at God was to identify Him as the god Dionysus or Bacchus. Only very strange men ever fell into the "triumphal" dance of Dionysus' musical worship girls. To say, pagan musician was to say either male or female prostitute.

According to the word WRATH used by Paul before he restricted the "music" for the assembly or synagogue, the supernatural sign is that people are self-elevated and they become buffoons or clowns. When you reject the word (See the Core Gospel) God sends you strong delusions through strong deluders and "you love to have it so."

Because I have called, and ye refused; I have stretched out my hand, and no man regarded; Proverbs 1:24

But ye have set at nought all my counsel, and would none of my reproof: Proverbs 1:25

I also will laugh at your calamity; I will mock when your fear cometh; Proverbs 1:26

Laugh is: Sachaq (h7832) saw-khak'; a prim. root; to laugh (in pleasure or detraction); by impl. to play: - deride, have in derision, laugh, make merry, mock (-er), play, rejoice, (laugh to) scorn, be in (make) sport.

"The triumphal hymn of Moses had unquestionably a religious character about it; but the employment of music in religious services, though idolatrous, is more distinctly marked in the festivities which attended the erection of the golden calf." (Smith's Bible Dictionary, Music, p. 589).

Mock is: Leag (h3932) law-ag'; a prim. root; to deride; by impl. (as if imitating a foreigner) to speak unintelligibly: - have in derision, laugh (to scorn), mock (on), stammering.

Bruner in The Holy Spirit says that "church music is low level glossolalia--just speaking in tongues.

In the Classical literature and pottery or painting art, the Greek "glosokomon" is described or pictured as the little box or bag which carried the mouthpieces (perhaps reeds) of the musical prostitute's flute bag. It is pictured below on the leopord-skin flute bag to the right. We have retouched this from a photo of a broken vase.

The Greek-influenced religion at the time of Jesus would try to triumph over Him in fulfillment of Psalm 41 that Judas would not triumph over Him. From Numbers 10:7 we understand that the "alarm" with loud musical rejoicing was also the word for "triumph." Now, from the Greek World we know from:

Strabo Geography: [9.3.10] As for the contests at Delphi, there was one in early times between citharoedes, who sang a paean in honor of the god; it was instituted by the Delphians. But after the Crisaean war, in the time of Eurylochus, the Amphictyons instituted equestrian and gymnastic contests in which the prize was a crown, and called them Pythian Games.

And to the citharoedes they added both fluteplayers and citharists who played without singing, who were to render a certain melody which is called the Pythian Nome.

There are five parts of it: angkrousis, ampeira, katakeleusmos, iambi and dactyli, and syringes. Now the melody was composed by Timosthenes, the admiral of the second Ptolemy, who also compiled The Harbours, a work in ten books;

and through this melody he means to celebrate the contest between Apollo and the dragon, setting forth the prelude as anakrousis, the first onset of the contest as ampeira, the contest itself as katakeleusmos,

the triumph following the victory as iambus and dactylus, the rhythms being in two measures, one of which,

the dactyl, is appropriate to hymns of praise, whereas the other,

the iamb, is suited to reproaches (compare the word "iambize"), and the expiration of the dragon as syringes, since with syringes (pipes) players imitated the dragon as breathing its last in hissings.(pipings)

And later, Strabo shows how song and instruments had corrupted simple speaking because of the influence of the theatrical musicians who never had much of a reputation:

[14.1.41] Well-known natives of Magnesia are: Hegesias the orator, who, more than any other, initiated the Asiatic style, as it is called, whereby he corrupted the established Attic custom; and Simus the melic poet, he too a man who corrupted the style handed down by the earlier melic poets and introduced the Simoedia, (loose song) just as that style was corrupted still more by the Lysioedi and the Magoedi, and by Cleomachus the pugilist, who, having fallen in love with a certain cinaedus (obscene talker, sodomite) and with a young female slave who was kept as a prostitute by the cinaedus,

imitated the style of dialects and mannerisms that was in vogue among the cinaedi. Sotades was the first man to write the talk of the cinaedi; and then Alexander the Aetolian. But though these two men imitated that talk in mere speech,

Lysis accompanied it with song; and so did Simus, who was still earlier than he. As for Anaxenor, the citharoede (sang and played the cithara),

the theatres exalted him, but Antony exalted him all he possibly could, since he even appointed him exactor of tribute from four cities, giving him a body.guard of soldiers.

Further, his native land greatly increased his honors, having clad him in purple as consecrated to Zeus Sosipolis,(City-Saviour) as is plainly indicated in his painted image in the market-place.

And there is also a bronze statue of him in the theatre, with the inscription, Surely this is a beautiful thing, to listen to a singer such as this man is, like unto the gods in voice.

The Jews hoped that Jesus would sing and dance and that John the Baptist wore "soft" clothes -- the clothes of a catamite, a male prostitute. Even the worshipers of Dionysus were sincere. They sincerely believed that if they could force others into a "spiritual feeling" Dionysus would have triumphed. This would give glory to the invisible Dionysus but the glory would be accepted (gracefully) for the god by the theatrical performers for leading you into the presence of God. There is no greater superstition than that music can lead you into the presence of God or that God "uses the team to land upon."

Below, the dancer leans on his oxgoad-like stick because he has been exhilarated by a literal new wineskin worship. The flute case rests to the right; the little box or bag, always attached, is the glosokomon or the Judas Bag (the message is that he was a thief -- getting paid for non-biblical performance). In Corinth, the female or effeminate performers were uncovered because the final "act of worship" could not be performed fully clothed. When women performed they uncovered their hair or head. This is why Paul didn't want any signs of the pagan form of prophesying (uncovered singing with instruments and speaking in tongues from the new wineskin). For women to be "non-sedantary" in the public assembly was, and is, dangerous because of the minds of men.

There were other available words to describe a purse, but the Spirit said that Judas had his "glosokomon" with him in which he could put the money. A glosokomon would not be there without being attached to a flute case. And it was prophesied that Judas would not "triumph over" Jesus (Psalm 41:13). This first "triumph" or alarm is described of the two silver trumpets which could panic the enemy but not used during the assembly of the congregation (Num 10:7). This psalm describes how the clergy and secular world would try to influence Jesus by the magical, enchanting methods learned in Babylon.

This "triumph" (Hebrew 7321) was to make a great sound with instruments and "make a joyful noise or shout for joy." God reserved this for alarm signals and to panic the enemy. He outlawed if for the congregational assembly (Numbers 10:7) because He wanted to speak to them while they "came before Him in silence and awe."

Did Jesus send Satan and Judas an early warning message by accusing the clergy with piping to try to get Him to dance?

This Judas bag is from the Greek and is used only of Judas:

Glosokomon (g1101) gloce-sok'-om-on; from 1100 (speaking in tongues) and the base of 2889; prop. a case to keep mouthpieces of wind-instruments in, i.e. (by extens.) a casket or (spec.) purse: - bag.

It is made up of two words:

1. Glossa (from Strong's g1100) means "speaking in tongues" especially an unacquired one.

2. Kosmos (g2889) means the "orderly arrangement" or the "adorning" world. this is derived from (g2864 or Komizo which means "to carry off." The orderly world involved the "music of the heavenly spheres" taught by Pythagoras and leared during his educational tour to Babylon

"Yet, through all there was an overarching harmony. The Greek word cosmos which we translate by universe originally meant beauty and harmony. The Pythagoreans discovered mathematical formulae for the musical harmonies. They believed in the harmony of the sounds produced by the movement of the stars. Therefore, they spoke of cosmic harmony of the spheres, each of which has a different sound, but all together creating a harmonious sound. If you delete the half-poetic, mythological elements from such ideas, then you can say that they had a universal, ecstatic interpretation of reality." (Tillich, Paul, A History of Christian Thought, Touchstone, p. 333).

In the description of a vase:

In the center the bearded, wreathed instructor is seated on a high-backed chair playing a chelys (lyre) and singing with his head thrown back. Four notes, represented by circles, issue obliquely from his mouth. He wears a himation (draped cloth) or mantle draped about his lower body and his staff rests against his chair. His age is further indicated by a sagging breast. Facing him on the right is an ephebe seated on a diphros (stool), playing the double flute. He wears a bordered mantle which obscures all but his hands and a fillet around his neck. Above him runs an inscription KALOS, "(he is) beautiful". At his side a boy or monkey squats on his haunches, wearing a fillet, bracelets and anklets. Behind him stands another ephebe, closely draped in himation and awaiting his turn with flute in hand, perhaps having just vacated the chair behind him. At the extreme right of the composition an ephebe, loosely draped in a himation, stands holding a staff, listening. On the left behind the master another youth holding a chelys (lyre) bends over to feed (?) a panther or cat reclining on a diphros or stool. A standing ephebe, loosely draped in a himation, waits further to the left, holding out his flute in his right hand as if to say that he is ready to perform next. Above him is the vertical inscription KALOS (retr.), kalos,"(he is) beautiful". Beyond are a seated youth playing the double flute and a seated dog. A spotted sybene (flute case) and a glottokomeion (reed case) hang from the back of the chair while a purse is suspended from the wall(?) above the seated youth. The two figures on the left and that on the right wear wreaths; the remainder wear fillets.

Two komasts, wreathed, walk to the left, side by side. At center one takes short steps with knees slightly bent. Facing left, he plays the double flute. He is nude and carries a sybene (flute-case) on his left shoulder. In it are two spare flutes.

Attached to it by a thinner cord in a glottokomeion (reed case). Behind him is a bearded man who stoops forward to lift with both hands a large kotyle which has been sitting on the ground. He wears a mantle thrown over his shoulders and high boots. Arranged in an arc around the figures is the inscription EPIKTETOS EGRASPHEN (sic), "Epikitetos made (me)."

Strabo in his Geography wrote

[10.3.19] Further, one might also find, in addition to these facts concerning these genii and their various names, that they were called,

not only ministers of gods,
but also gods themselves.

For instance, Hesiod says that five daughters were born to Hecaterus and the daughter of Phoroneus, from whom sprang the mountain-ranging nymphs (like har-meggido little hills striving to be mountains), goddesses, and the breed of Satyrs,

creatures worthless and unfit for work,
and also the Curetes, sportive gods, dancers.

And the author of Phoronis speaks of the

Curetes as "flute-players" and "Phrygians"; and
others as "earth-born" and "wearing brazen shields."

Some call the Corybantes, and not the Curetes, "Phrygians," but the Curetes "Cretes," and say that the Cretes were the first people to don brazen armour in Euboea, and that on this account they were also called "Chalcidians"; (chalc, brazen) still others say that the Corybantes, who came from Bactriana (some say from among the Colchians. Also a note: "they occupied Bactriana, and acquired possession of the best land in Armenia"), were given as armed ministers to Rhea by the Titans.

Paul understood that the musical worship in Corinth involved trying to "triumph over" others to prove that they had the performance talent which Paul connects with the "trained speakers" of the Greek theater. The very symbolic but powerful way to denounce speaking in tongues was to compare it to the instruments of warfare or the instruments involved in "body burning" practiced by the Jews from time to time or by the magical practices which were learned from the Chaldeans. In chapter 14:2 and 9, he implicates "speaking into the air" which was a common practice in Corinth and the Greek world. Click for more.


The shepherd's stick or oxgoad was to prop up the drunk dancer-musician: Glosokomon attached to flute case is the Judas Bag

The loud noise (it was not music) during animal sacrifices was to remind people that they were sinners and had no right to come before God's presence. Neither clergy nor sacrifices were included in God's Book of the Covenant of grace. Animal sacrifices were imposed because of the rejection of Grace at Mount Sinai. There, Israel lapsed back into the musical worship of Osiris under the golden calf symbol of Apis. As a result, God gave them the Book of the Law which was not good because it had no spiritual value. However, the sacrifices completed by the clergy would keep them out of God's presence and keep them from being destroyed. Music was a sign of this alienation from God to force them to fall on their face. In Christ, we can come boldly before the throne of Grace with only ONE Mediator: Lord Jesus Christ in Whom dwells full Deity (Col. 2:9)

One could play the harp to soothe the lambs but to blow the flute or play the harp and direct it toward God was to pollute Him and treat Him (as they treaded Him in Jesus) like a musical prostitute (Ezekiel 33:30-35). However, in pagan worship, praising the god was often done by mocking the god.

Polluting God with Music

We assuredly understand that Christian musicians often have high ideals. However, when the authority to rule over others with music is assumed from the Bible it is fair to point out that every Old Testament musical term is derived from polluting, warfare, prostitution or some other very destructive idea. It was used by Israel in the Kingdom Period simply because they had "fired" God as their king and demanded a human king like the nations so that they could worship like the nations:

You say, "We want to be like the nations, like the peoples of the world, who serve wood and stone." But what you have in mind will never happen. Ezekiel 20:32

God rescued Israel to protect His own name because Irael was a stiff-necked people. However, He predicted that:

If you ever forget the LORD your God and follow other gods and worship and bow down to them, I testify against you today that you will surely be destroyed. Deuteronomy 8:19

Like the nations the LORD destroyed before you, so you will be destroyed for not obeying the LORD your God. Deuteronomy 8:20

They worshiped like the nations and He did destroy them, their temple and their musical clergy.

This is true because God is pure or Holy Spirit and it is not possible to worship a Spirit with our bodies. This is why Paul said that we must sacrifice our living bodies upon the altar to be burned up so that we can offer spiritual or rational worship with out minds.

This is why God put His spirit into us: so that we can dialog spirit to Spirit. Music, as with David, was always the message: "I have lost God and don't know how reach His Spirit."

Literal music is more often a symbol of God's judgment as in the trumpets in the book of Revelation. The "song" God sung to Israel in Isaiah 5 is another good example of turning religious festivals into music and wine festivals.

A musical team can mock Jesus by hiding His Word from His people, or a musician can do it with a "lifeless" or "carnal" instrument. Rather than praising Jesus they may just praise themselves:

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

The most common word for praise in a religious sense was, as in the case of David, the sign that he thought that he was lost beyond redemption. Attracting the attention of the gods in like the nations worship was common as clearly seen by Jezebel's Asherah and Baal musical prophets.

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], feign self mad , give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

This does not mean that David was evil but it does mean that he was alienated from God when He was permitted to move the ark to Jerusalem and could never return to Gibeon again to consult with God.

That is what they were doing "in the days of Noah" when they refused to listen to God's Word. And that is what the overwhelming majority will be doing when Jesus comes: pray that we are not listening to a trumpet quartet when the final triumph is blown.

And from that we have the name of Lucifer:

Heylel (h1984) hay-lale'; from 1984 (in the sense of brightness); the morning-star: - lucifer.

In a painting called Mocking Jesus you will see how "praising Jesus" was done:


Perhaps the earliest illustration of a recorder as such is The mocking of Jesus (after 1315), a fresco from the Church of Staro Nagoricvino, near Kumanova in (Yugoslav) Macedonia, painted by the court painters Michael and Eutychios, in which a musician plays a cylindrical duct-flute (or shawm), the window / labium [female sexual symbol] which is clearly visible, and at the foot of which there is an open finger hole for the little finger of the lowermost hand. [the side blown flute is also symbolic]

Doesn't this painting tell you what the Macedonians thought about making music to approach Jesus even in 1315? Were they "Pharisees" or "legalists" or "sectarians"? No. They were simply devoted to the Word of God and could not imagine such a thing being called "worship."

The prophecy of all mockers is like that of the king of Tyre representing Lucifer where music is often connected with commercial-religious institutions and used to take away the inheritance of the people and attract more seekers or customers:

And it shall come to pass in that day, that Tyre shall be forgotten seventy years, according to the days of one king: after the end of seventy years shall Tyre sing as an harlot. Isaiah 23:15

Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered. Isaiah 23:16 (Remember means "remember me as a male")

We know that "theatrical performance" does not automatically implicate people who sincerely believe that God wants their talent. However, I believe that the message in Corinth is that the music-Lucifer-pagan connection was so strong that he would say, "Don't take the chance?"

The king of Babylon was also, like Judas, the personification of Lucifer. However, in the end, Isaiah warned:

Thy pomp (musical triumph) is brought down to the grave, and the noise of thy viols: the worm (maggot) is spread under thee, and the worms cover thee. Isaiah 14:11

If God really loved to listen to instruments why would He not say: "In spite of thy instruments thou hast fallen?" No. It is self-evident that musical performance must be purely theatrical if it is not considered "magical" or if it teaches no more truth than the oldest, fatest, ugliest man in the congregation. God always called it pomp and noise.

The king of Babylon turns out to be the whore of Babylon in Revelation 18:

And the fruits [the last dog days] that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all. Revelation 18:14

[Dainty carries the "Lucifer" idea. It means limpid, sumptuous, bright, clear, gay, radiant, brilliant from lampo and related to Lamech the father of the children of music, warfare, cattle collecting away from the hunters and Naamah the enchantress. The Jewish literature about the time of Christ claim that Satan taught these children how to seduce men.]

Therefore, for the last time God will put down the marriage of music, commerce and religion:

And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be, shall be found any more in thee; and the sound of a millstone ["grinders" was equivalent to prostitute] shall be heard no more at all in thee; Revelation 18:22

This has always been recognized as the end-time religion of the masses. The church will still be a tiny group "outside of the gates" where God answered the prayers of the Jews while the clergy was darkness-bound in the temple with music, where Jesus suffered and died as they musicially tried to triumph over Him and where we must go if we want to meet him. If we can paraphrase God, He will save "a tiny drop of juice out of a rotten grape out of a whole cluster out of a hwole vine out of a whole vineyard." He built the "vineyard" and the clergy destroyed it with wine and musical festivals (Isaiah 5).

Jesus outlawed any human teacher as having authority and said:

Woe unto you, lawyers for ye have taken away the key of knowledge: ye entered not in yourselves, and them that were entering in ye hindered. Luke 11:52

Eiserchomai (g1525) ice-er'-khom-ahee; from 1519 and 2064; to enter (lit. or fig.): - * arise, come (in, into), enter in (-to), go in (through).

Music is the culprit in all ancient traditions as having the primary purpose of "taking away the key of knowledge." Indeed, music is popular because it stops rational thinking and leads us emotionally to accept what we hear without the ability to critically evaluate it. It is not possible to undergo the injection of that "spiritual feeling" created by music and be rationally aware of what the preacher says. That is why you believe that you have heard a good sermon but cannot tell anyone what you learned an hour later. Is this deliberate? Me? I want to remain sober, take notes, flip to the passages and try to listen to the quiet voice of Jesus. And if error is taught I have Paul's command to challenge it. (this was always openly in their practice of dialog as opposed to preaching}.

Because Jesus only accepts "worship in spirit (mind) and in truth (his word)" we may be sincerely thinking that we are praising Jesus but may be mocking Jesus by refusing to listen to His Words and by preventing others from listening to Him and speaking to Him in prayer. For instance, it is possible to get that drug high (endorphins) from music and go away feeling good (until the drug backlash hits) but cannot possibly do your own communing with God during communion.

Well, it is a fact that instrumental music has always been attributed to Satan. If we can hear God we understand that He revealed this fact. Others came to that conclusion because music had the power to take away the mind and cause people to do that which they would not otherwise do. The professional prophets (always sexually or emotionally abnormal) could sell the music as the actual god speaking to you -- for a price, always for a price.

This is recognized by all competent scholars:

"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). Click for Instruments as Idols

One "pastor" agrees that all musical instruments were at first "the devil's instruments." However, God saw how powerful they were and allowed his people to use them to worship Him. Like, wow!

When the Bible, all ancient history and all of church history acknowledges the facts about music, and we do not have a single instance of God saying, "I like that music" we are walking on spiritual quicksand to create turmoil and divisive sectarianism in the church by heaping the theatrical performers on the backs of the paying audience. Many musical churches finally have to get tough when the theatrical group becomes the tail that wags the dog.

Jesus is the Master and we are the disciple. A disciple does not come to "class" and sing, clap, dance and play instruments to attract the attention of the Professor. A disciple obeys Jesus removed the burden of Old Testament worship where "worship" means to bow down and labor. He invites us all to:

Come unto me all ye that labor and are heavy laden, and I will give you rest. Matthew 11:28

The labor which was always the product of the clergy who demanded to be the mediator between God and man was:

Phortizo (g5412) for-tid'-zo; from 5414; to load up (prop. as aa vessel or animal), i.e. (fig.) to overburden with ceremony (or spiritual anxiety): - lade, be heavy laden.

In order to feel good music must first create anziety in order to create the drug high (endorphins or morephine-like) which makes you feel good. This creates spiritual anxiety so that you return over and over to get the drug high. This is the very definition of legalism. See how music is part of the BURDEN laded to take people captive (heresy) for their own uses.

However, Jesus -- who fired the Jewish clergy -- invited us to:

Take my yoke upon you, and learn of me; for I am meek and lowly in heart: and ye shall find rest unto your souls. Matthew 11:29

Jesus is humiliated, cast down, of low degree. This was opposite to the self-elevated clergy whom you could not question. See how Jesus died to give us REST.

Rest is from the burdens of the clerg:

Anapausis (g372) an-ap'-ow-sis; from 373; intermission; by impl. recreation: - rest. (repose, relax, refresh)

To honor the Master Teacher you go find a humble scholar who has no higher motive than that you learn something each time which you never knew before. If he spends the time singing and playing music then you know that he cannot be either humble or a good teacher of your subject.

Jesus define this as "worship in spirit and in truth" rather than as "your church house" or "my church house." And Paul taught it to the churches: "Speak the revealed words of Christ to one another, the result will be teaching and admonishing one another and the internal results will be singing gracefully (melodious) to God who resides in the human Spirit."

Paul informed the superstitious Athenians that you don't have to fight against God: He is not far from all of us. Therefore, He does not as did pagan gods, need to be called to the temple with music.

I am just a reporter but the world has always had a dim view of theatrical performers telling those without talent that they are the musical worship team. I will be happy to answer any questions, bear any burden, suffer any abuse to get you to sit down and quietly listen to God because He is already in His Holy Temple -- you.

See how MUSIC is the device of HERESY.

Kenneth Sublett

Grand Inquisitor: Dostoyevsky, Fyodor

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