Jeff Walling: Eight Points Of Antiism

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

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

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

Nietzsche (in The Birth of Tragedy) treats Dionysus as a dynamic of time
........... that destroys old forms and brings forth the new

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

Of course, Dionysus was honored at Apollo's shrine at the Oracle of Delphi.

 

Click to see how a Seeker System restores the ancient pattern of Apollo who is Appolyon or Abbadon.

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

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

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

See how Hitler informs the modern NAVIGATING THE CHANGES system of SHEPHERDING and DISCIPLING.

An online article notes that: In 1981... "the church of Christ at 816 N. Andover Rd, Andover, Kansas held a youth rally at the high school. Brother Walling was a guest speaker.

During a panel discussion, which was moderated by Church Northrop (whom I know and have confidence in, ps), a question was asked about the scripturalness of instrumental music in worship. Northrop correctly affirmed such was not authorized and showed from Ephesians 5:19 and other Scriptures that acappella music is authorized.

At this point Walling, who was not on the panel, came to the platform and in the presence of the young people literally pushed Northrop away from the podium and declared instrumental music in worship is simply 'a matter of opinion...a gray area.' Walling has continued to advocate that same position over the years (See Behold The Pattern, 5114 Montclair, Colleyville, TX 760343, p. 215).

But Jesus defined performers as hypocrites and we know that
"Using the artifices of mimesis and comedy they pointed out and

defused their opponents' anxieties about music, theater, and sexuality, creating a space for players in the cultural mainstream."

But all of the world's history fairly screams out that attempting to worship a Spirit God with the stimulation of the carnal senses places one totally outside of the cultural mainstream of the Word of God and squarely in the middle of the highway of contemporary, distorted culture.

"These first shamans became the itinerant blacksmiths, who in later mythic lore appeared as dangerous wizards producing "immortal thunderbolt matter" made from crude rock. Miracle of miracles, it was "analogous to that of spiritual, whereby the individual learns to identify himself with his own immortal part."

And Zillah, she also bare Tubal-cain, an instructor of every artificer in brass and iron: and the sister of Tubal-cain was Naamah. Gen 4:22

 

Choresh (h2794) kho-rashe'; act. part. of 2790; a fabricator or mechanic: - artificer.

 

Tuwbal Qayin (h8423) too-bal' kah'-yin; appar. from 2986 (comp. 2981) and 7013; offspring of Cain; Tubal-Kajin, an antediluvian patriarch: - Tubal-cain.

 

Yabal (h2986) yaw-bal'; a prim. root; prop. to flow; causat. to bring (espec. with pomp): - bring (forth), carry, lead (forth).

 

Qayin (h7013) kah'-yin; from 6969 in the orig. sense of fixity; a lance (as striking fast): - spear.

 

Quwn (h6969) koon; a prim. root; to strike a musical note, i. e. chant or wail (at a funeral): - lament, mourning woman.

 

Thus saith the Lord of hosts, Consider ye, and call for the mourning women, that they may come; and send for cunning women, that they may come: Je.9:17

Tubal-Cain is a Kabir, "an instructor of every artificer in brass and iron"; or, if this will please better, he is one with Hephaestos or Vulcan -- Vul-cain, the greatest god also with the later Egyptians, and the greatest Kabir. The god of time was Chium in Egypt, or Saturn, or Seth, and Chium is the same as Cain.

Jabal is taken from the Kabiri -- instructors in agriculture, "such as have cattle," and Jubal is "the father of those who handle the harp," he, or they who fabricated the harp for Kronos and the trident for Poseidon.

In the Sons of God

No. 4 on the list, Ammenon is the Babylonian Ummanu, meaning "artificer," and is the equivalent of Kenan (Cainan) which means "smith."

[Genun is "Jubal" in the musical sense and Kenan in the "smith" sense]

No.7 on the list, Edoranchos may also be read as Euedorachos, a form which can hardly be different from Emmeduranki, a legendary King of Sippar, the city sacred to the sun-god Shamash.

8. The right claimed by certain "sons of judges" to take the maiden heads of poor men's brides is, apparently, the ancient and well-known jus primae noctis which, as the droit de cuissage, was still reputedly exercised by feudal lords in Europe during the Middle Ages (see 36:4).

Yet at a time when the Sons of God were regarded as divine beings, this story may have referred to a custom prevalent in the Eastern Mediterranean:

 

a girl's maidenhead was ritually broken by "equitation" of a priapic statue. A similar practice obtained among Byzantine hippodrome-performers as late as Justinian's reign, and is hinted at in records of the medieval English witch cult.

9. Many details of the Genun story, taken from the fifth-century A.D. Ethiopian Book of Adam, are paralleled in midrashic writings.

Although Genun's name suggests "Kenan," who appears in Genesis V:9 as the son of Enoch, he is a composite Kenite character:

 

the invention of musical instruments being attributed in Genesis to Jubal,

  and of edged iron blades to his brother Tubal Cain.

Genun was said to occupy "the Land of the Slime Pits," namely the southern shores of the Dead Sea (Genesis XIV:10), doubtless because the evil city of Sodom stood there (see 32:6).

Candidates for initiation into the KABIRI were crowned with a garland of olive and wore a purple band round their loins. The dancing was then begun.

 

In fact, homosexuality was part of the ritual, what the historians in their scholarly dungeons called their "most immoral tendencies." The purpose was

to evoke a passage beyond earth to a higher life.

 

That is, "to lead the worshipers into the presence of the gods."

That is, in their mystical dances, continued leaping into the air achieves a shamanic state of trance, a transfer of consciousness analogous to the transformation of the

magician into a bird whereby the apprentice masters his powers to join a gay brotherhood"who, by nature, are superior to other men." 14  "Smiths and shamans are from the same nest," also declares a Yakut proverb from early North America, cited by the mythologist Mircea Eliade. 15

Paul silenced women and limited senior males to lifting holy PALMS with no one waving effeminate arms. Paul the demanded that they conduct the ekklesia or school of the Bible WITHOUT wrath which is ORGE.

CLICK FOR 1 TIMOTHY 2

In 2 Timothy 3 paul repeats a common them of:

First, defining the pagan ritualism which identifies singing and music
Then, he defines the ekklesia or school of the Bible.
The command is to SPEAK that which is written.

Another understanding at the time of Jesus in The Testament of Judah:

The Testament of Judah repeats Judah's giving up his sceptre of the kingdom to "buy off" his daughter-in-law after using her as a "holy whore" or sacred prostitute. Tamar and Judah's family was all mixed up with Canaanite women. Tamar is one example of the "law" describing women who rule:

For I gave my staff, that is, the stay of my tribe; and my girdle, that is, my power; and my diadem, that is, the glory of my kingdom.

Then I repented for these things, and took no wine or flesh until my old age, nor did I behold any joy.And the angel of God showed me that for ever do women bear rule over king and beggar alike;

 

and from the king they take away his glory,

and from the valiant man his strength,

and from the beggar even that little which is the stay of his poverty.

23. Now I have much grief, my children, because of your lewdness, and witchcrafts, and idolatries,

which ye will work against the kingdom,

........... following them that have familiar spirits

 

ye will make your daughters singing girls and harlots for divinations and demons of error,

........... and ye will be mingled in the pollutions of the Gentiles:

for which things' sake the Lord shall bring upon you famine and pestilence, death and the sword, avenging siege, and dogs (gays) for the rending in pieces of enemies,and revilings of friends, destruction and blighting of eyes, children slaughtered, wives carried off, possessions plundered, temple of God in flames, your land desolated, your own selves enslaved among the Gentiles, and made eunuchs for their wives.

Paul's warning about the female exercise of authority is because it means "sexual power." History is filled with females or effeminate men trying to move the worshiper into the presence of God. There simply cannot be any other motive for using "best looking sister singers" than to attract distorted men with "sexual authority."

Jubal "handled" the musical instruments. Handle means without authority and sexual:

Taphas (h8610) means to "seize, capture, take hold of, use unwarrantable authority. The organ he "thrust himself forward to handle" was the:

 

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

 

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

The SEXUAL AUTHORITY can be exercised by either sex:

Authenteo (g831) ow-then-teh'-o; from a comp. of 846 and an obsol. hentes, (a worker); to act of oneself, i.e. (fig.) dominate: - usurp authority over

Autos (g846) ow-tos'; from the particle au , [perh. akin to the base of 109 (blow air) through the idea of a baffling wind] (backward); "of one self."

 

Aer (g109) ah-ayr'; (to breathe unconsciously, i.e. respire; by anal. to blow); "air" (as naturally circumambient): - air.

Josephus and others use authority in this sense:

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

Paul's warning to Corinth needed little explanation because the "sisters" might have just come out of paganism as performers at the Oracle of Apollo.

Or perhaps been used by Lucian the Oracle Monger. Lucian and Apollo are clearly the "proof persons" for the modern Seeker form of "worship" which is as old as the Tower of Babylon where Nimrod did his best work by trailing along a ministry team of "best looking sisters."

There are no historical exceptions to the rule that the sister singers were the "harem of the gods." And, of course, of the god's agents.

"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'." Music and Worship in Pagan and Christian Antiquity, beginning on page 41

The worship of Zeus and Bacchus was the Abomination of Desolation involved in sacrifices in the Jerusalem temple. At the time of Jesus the clergy was still INFECTED. Their piping was in the hopes that Jesus was their BACCHUS messiah rather than Jehovah.

The INITIATION RITE was the Masculine Journey of homosexuality.
........... "One of the greatest of all Greek dramas, The Bacchae powerfully dramatizes the
........... conflict between the emotional and rational sides of the human psyche.
........... When the people of Thebes deny the existence of the god Dionysos,

he punishes them

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

"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

This person is always bearded, naked, playing the pipes and carrying a NEW WINESKIN where the spout was always a PHALLIC symbol and MORE than a symbol.

When the agents of change shout so loudly we should understand that many are lost souls trying to whistle their way through the cemetary after they have lost their faith by an older generation of change agents. According to the story of Genun or Jubal, when you have fallen for Lucifer's mix-sex teams and instrumental music there is no turning back, no turning back. The only solution is to try to gather companies upon companies to share the misery.

Plato noted what is absolute truth:

See the Republic, x.2. By the Platonic doctrine,
........... the ideas of things in the mind of God were the realities;
........... the things themselves, as seen by us, were the images of these realities
........... and poetry, therefore, describing the images of realities, was only at the third remove from nature.  

If you put the poetry to a TUNE, add modern complex harmony, play the flute, and DARE TO DANCE WITH GOD then you are well beyond a VIRTUAL REALITY into deep spiritual danger.

But that is the end-time game for the theater.

"This paper is about live dramatic performance as distinct from the technology-based phenomenon known as virtual reality (not in fact or name), which is the logical extension of film and computer technology and which promises to enable us to 'perform' in dramas of our own devising.

I would argue that live dramatic performances are themselves models of a kind of virtual reality. That is, in keeping with the etymology of the word, they are virtual in the sense of

'resulting in the effect

but not in fact' of something.

"Live theater also presents a kind of virtual reality in another sense of the word; it is virtual because it exists in the mind, in the imagination...

 

"The excitement of the stage relies on the very fact that we know that what is on stage is not true,

 

that we know these are actually actors, and that the actors know we know it. As Wendy Lesser has written in an attempt to distinguish between theater and film: ' 

The central fact about theater is that it places us in the presence of fictional characters. In that element of fiction, it differs from reality; and in that element of presence, it differs from film.

"The Greeks believed that they were revealing a divinity eternally present in nature.

In reality they were creating new aesthetic norms and canons (new laws) expressive of a new view of life. "A similar movement, first from static to dynamic conceptions of reality, and afterward from religious awe to a disillusioned rationalism, can be traced in history from the other chief art form of the Athenian polis, the tragic drama.

And of course, A Capella can be traced to the tragedy or the GOAT SONG.  Capella is the Goat (Aix) constellation and points directly to the worship of the starry host to which God abandoned Israel at Mount Sinai BECAUSE of musical idolatry. 

These guys, including Lynn Anderson, tell you how to conduct prayerful brinkmanship in order to "facilitate" or "manipulate" change and then giggle like surprised girls that change is actually taking place: Surprise! Surprise! Surprise!

Don't you understan what I'm talking about?

Because thou hast spoiled many nations, all the remnant of the people shall spoil thee; because of mens blood, and for the violence of the land, of the city, and of all that dwell therein. Hab 2:8

Woe to him that coveteth an evil covetousness to his house, that he may set his nest on high, that he may be delivered from the power of evil Hab 2:9

All who seek to set their nest on high follow, like the king of Babylon as Lucifer's change agent and Herod, are eventially eaten up by maggots and their noise will cease:

All your pomp has been brought down to the grave, along with the noise of your harps; maggots are spread out beneath you and worms cover you. Isa 14:11

Thou hast consulted shame to thy house by cutting off many people, and hast sinned against thy soul Hab.2:10

For the stone shall cry out of the wall, and the beam out of the timber shall answer it. Hab 2:11

Woe to him that buildeth a town with blood, and stablisheth a city by iniquity Hab 2:12

Behold, is it NOT of the Lord of hosts that the people shall labour in the very fire, and the people shall weary themselves for very vanity? Hab 2:13

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

Woe unto him that giveth his neighbour drink (from new wineskins or drunk on ignorance), that puttest thy bottle to him, and makest him drunken also, that thou mayest look on their nakedness Hab 2:15

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

For the violence of Lebanon shall cover thee, and the spoil of beasts, which made them afraid, because of mens blood, and for the violence of the land, of the city, and of all that dwell therein. Hab 2:17

David sang to awaken his lyre and all pagans believed that the gods lived inside musical instruments

What profiteth the graven image that the maker thereof hath graven it; the molten image, and a teacher of lies, that the maker of his work trusteth therein, to make dumb idols? Hab 2:18

Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it. Hab 2:19

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

And Jesus answered: And if thy hand offend thee, cut it off: it is better for thee to enter into life maimed, than having two hands to go into hell, into the fire that never shall be quenched: Mk.9:43

That is where the Babylon Whore will go with her musicians and instruments (Revelation 18)

I would they were even cut off which trouble you. Ga.5:12

Jeff Walling Quoted: There is a great deal of tension, which makes this an exciting time.

Click to see how this is the goal of ancient paganism.

Jesus came to relieve the tension by firing the troubling Jewish clergy who mocked God and His Word even as they laded tension upon people like pack animals. I have watched little children torturing animals and it truly made for an exciting time. My brother decided to leave home and join the Navy because of what he got for rubbing a dog's "but" with a turpentine-soaked corn cob. The dog died from too much excitement.

Know what I mean?

Of this Willow Creek or Navigating the Winds Dogma: "We enjoy an incredible edge in confidence vis-àvis the free churches." He cautioned, "The cost of this approach is hard work and loads of strife with church insiders." Christianity Today

The Germans largely reject this movement because they saw it in operation in the 1930s strife.

Know what I mean?

Hitler: Völkish State: Supporters (emotional) and Leaders (Intellectual)

Rubel Shelly: The Machiavelli FAX of Life Resisting Change

Machiavelli Prince Ch3-Ch6-Ch7

Mein Kampf Vol 1, Ch 6

Mein Kampf Vol 2, Ch5, Ch8, Ch11

And, do you understand what I'm talking about here: adults actually brag about a supernatural call to be a "doctor of the law" and about lading tension upon people. Exciting, don't you know, comes from the anxiety which causes pain which is relieved by the production of endorphins (morphine-line). But deliberately inducing a drug high among the excitable youth will create more damage than good.

Pan was a little queer "god" who PLAYED all kinds of things including his pipes. The JUDAS BAG was for carrying the mouthpieces of wind instruments. They were also called TONGUES. The Greek word is made up of (1) speaking in tongues and (2) of the WORLD or devoted to Satan who indwelled Judas.

The PIPING trying to get Jesus to sing and dance was the DIONYSUS or BACCHUS perverted song and dance of the GAY MINSTRELS (Yes, always homosexuals worshiping the GOD OF THE NEW WINESKINS). This was the worship of Zeus and Dionysus as the ABOMINATION OF DESOLATION in the Jerusalem Temple.

See how the Branch of the terrible ones is connected to the Abominable branch which means "singing with instrumental accompaniment."

The Judas Goat scheme, Jesus identified the "multitude" as sheep to whom He spoke only in parables because as sheep they had little interest in truth because they follow a few "black sheep" who are the apparent leaders. In the church, the "black sheep" are often the elders who are just as ignorant as the regular sheep but they have A MARK PUT ON THEM as focus leaders but not chosen by the sheep.  

They get quite violent when you try to turn "church" from pagan worship center or slaughter pen back to "synagogue" or school. The Judas Goat is in charge because he knows where he is leading them A Judas goat is also able to get the sheep to follow him. He leads the sheep up to the slaughter pen but at the last moment slips out of the way after the sheep are already on the move and cannot be stopped. He has figured out that the shepherd will protect him as long as he leads the sheep to whereever the shepherd desires. He knows that hireling shepherds eat lambs In myth and real history he is the Pied Piper who can get the "mice people" to follow him.

The Judas Goat offering was imposed as a result of Nadab and Abihu.

 

Comedy

 

"In the Comedies the high-and-mighty, whether God or mortal, will be lampooned. Comedy (Côm-ôidia = Cômos-song) echoes the less formal Revels (Cômoi), both of which celebrate the resurgence of Indestructible Life. The comic actors wear grotesque masks and over-stuffed body-suits with padded buttocks and stomach and a large leather phallus - even if the actor is playing a female character!

 

This is because Comedy harks back to our rural Phallic Processions to invoke the powers of Fertility and to drive off pestilence.