If one of the arguments PUSHING an INFILTRATED AGENDA is a lie then you have to worry about the foundation of the CULT OF GROWTH. If every single PROOF TEXT is deliberately distorted then SOMEONE has trouble in River city. I would welcome anyone who could give evidence that anyone in Texas is alive or cares a whit. I would welcome a SCHOLAR who could defend a single argument from the Bible or church history or common sense and decency since church is A SCHOOL OF THE BIBLE defined by Paul and momentarily restored by the Campbells.

Because ACU's Carrol D. Osburn boasts of stopping the 'conservatives' and playing Prophetic roles to send out Chanellers to Facilitate the CHANGE, and because all of the discord seems to have that smell, I wonder if just ONE Bible or Greek scholar would defend what seems to be the Driven Purpose? I know of no reason why anyone with a Phd would have much of a clue to the ancient literature which NEVER DEFINES but shows how words were used at the time. Because nothing good comes out of EXTERNAL "plucking" or "twanging" I think someone needs to "give a reason for the hope that lies in them" and why they can pretend to train PREACHERS whom Jesus THOUGHT He had fired as "doctors of the law who take away the key to knowledge." Have ALL of the lights gone out in Texas? Rick Atchly asserts that NONE of our colleges teach the ANTI-instrumental position any longer shouldn't they TURN IN their College of the Bible and go do a Judas Maneuver?

Now, the BIG FAT LUCIAN OF SAMOSATA DISTORTION: Milton Jones in Seattle used this and ALL of the deliberate distortions to UNITE with a Christian Church by just TURNING THE COAT. I believe the small band of men have done the Book of Enoch thing and "have fallen and can never be restored." Jude quotes Enoch and THOSE FOR WHOM God is comming in judgment are specificially defined as those USED and seduced by Satan to form mixed-sex choirs, use instruments, jewelry, "putting on apparel" or clergy robes and creating the FALL of the holy Seithites.

Did the word PSALLO demand to PLAY A HARP long after Paul used the word to define melody IN THE HEART. So says all of those willing to force God and dead men to lie to give them authority for what they INTEND TO DO perhaps INTENDING to sow discord? Tom Burgess is the source of all of the false teaching. He says:

This is conceded by Everett Ferguson, A CAPPELLA MUSIC..., p. 3.

"The classical meaning of psallo continued into Hellenistic and post-New Testament times. The satirist Lucian of Samosata in the second century A.D. said 'It is impossible to pipe [aulein] without a pipe or to strum [psallein] without a lyre or to ride without a horse' (Parasite 17).

With that as authority, Tom Burgess and those who trust him insist:

With great pleasure I introduce this next witness Lucian's use of psallo was referred to us by a number of outstanding scholars. Some of them were: Liddell & Scott, Robinson, J, R. Mantey, and F W. Gingrich. Lucian removed all doubts about the word psallo when he says, "It is impossible to pipe without a pipe or to PSALLEIN without a lyre or to ride without a horse. " Examples 68 and 69 give this passage as well as one other which show Lucian's use of psallo Lucian wrote approximately 160 A. D. As an atheist he would certainly be free from religious bias!

Well, the quotation Burgess etal use, has the word STRUM and not PSALLEIN. Psallo means PLUCK and not STRUM which implies a PLECTRUM which PSALLO excludes. That is because it has its roots in PLUCKING the bow string of Apollo the Apollyon of the Muses afflicted church.

Lucian of Samosata was a performer just like the ones he poked fun at in his Parasite. His job was to ridicule all "gods" and not to worship them.

Liddell and Scott, Preface (pg vi), goes further than Arndt and Gingrich by connecting Lucian to this early Greek: <>It will be understood, however, that the age of a word does not wholly depend on that of its author. For, first, many Greek books have been lost;

secondly, a word of Attic stamp, first occurring in Lucian, Alciphron, or later imitators of Attic Greek, may be considered as virtually older than those found in the vernacular writers of the Alexandrian age. Further, the language changed differently in different places at the same time; as in the cases of Demosthenes and Aristotle, whom we have been compelled to place in different Epochs. And even at the same place, as at Athens, there were naturally two parties, one clinging to old usages, the other fond of what was new. The Greek of Thucydides and Lysias may be compared in illustration of this remark.

The dead giveaway is that that Lucian is violently attacking the RELIGIOUS PARASITES who can "spin the top and blow the flute and fleece all of the FAT-heads and SIMPLETONS." Still works. Secondly, being himself a PARASITE, Lucian wrote in Attic Greek because that is how he was TRAINED and what the rich and famous demanded for their aristocratic gatherings.

What the scholars missed is that PSALLO never meant PLAY THE HARP much less did it ever include singing at the same time: history notes that this happened among males when they were drunk or gender-challented.

One use of PSALMOS IS to "twitch or twang with the finger." This was from a bow string. And it means:
2. the SOUND of the cithara or harp, psalmos d' alalazei A.Fr.57.7; there were contests in to PSALLEIN

THE PARASITE, A DEMONSTRATION THAT SPONGING IS A PROFESSION. What Lucian REALLY said:

Once more, success in the other arts presupposes a diet as abstemious as any invalid's;
eat and drink to your heart's content, and you make no progress in your studies.
Other arts, again, are useless to their professor unless he has his plant;

you cannot play the flute if you have not one to play;
lyrical music requires a lyre,
horsemanship a horse.

But of ours one of the excellences and conveniences is that no instrument is required for its exercise.
Other arts we pay, this we are paid, to learn.
Further, while the rest have their teachers, no one teaches sponging; it is a gift from Heaven, as Socrates said of poetry.

http://www.piney.com/Lucianalexander.html

It is true: you CANNOT play LYRIC MUSIC without a LYRE. However, you can RECITE or SPEAK it. The "authorities" also know that Lucian wrote in ATTIC Greek and not Koine. He does not say that PSALLO means to play the harp but the phrase is PLAY THE HARP. Paul does not say PLAY THE HARP but "pluck the HEART STRINGS" otherwise you open up the process to the DOGS or CONCISION.

Psallo never meant more than PULL the strings WITH YOUR FINGERS but NEVER WITH A PLECTRUM to make a thwack or twang: a thwack DOES NOT MUSIC MAKE. Furthermore the Bible is not even METRICAL in the sense of "music" but RECITED with ACCENTS called Cantillation: Paul said and meant SPEAK ONE TO ANOTHER and "using that which IS written."

Rhapsodus (rhapsôidos). A Greek term derived from rhabdô, originally designating the man who adapted the words to the epic song--i. e. the epic poet himself, who in the earlier time RECITED his own poetry. Afterwards the term especially denoted one who made the poems of others a subject of RECITATION.

At first such rhapsodists were generally poets themselves; but, with the gradual dying out of epic poetry, they came to hold the same position as was afterwards held by the actors, professionally DECLAIMING the lays of the epic poets.

Epic verses were ORIGINALLY sung to musical accompaniment, but AFTER the time of Terpander [c. 647 BC, Lesbos], as LYRIC poetry became more independently cultivated, the accompaniment of stringed instruments fell into disuse;

and then gradually, instead of a song-LIKE recitation, a simple DECLAMATION in which the rhapsodist held a branch of bay in his hand, came to be generally adopted. This had happened even before the time of Plato and Aristotle (see especially Plato's Ion).

Socrates O that we were wise, Ion, and that you could truly call us so;
but you rhapsodes and actors, and the poets whose verses you sing, are wise;
whereas I am a common man, who only speak the truth.

Paul points to the demise of the WISE and buildters of "towers" and collectors of revenue because Messiah brought liberty FROM religion. He asks "where ARE the wise" and prophesy was also that there would be no CANAANITE (trader, traitor) in the House of the Lord.

DONKA D. MARKUS in Performing the Book observes, with Paul that you don't SING HISTORY much less the message of a 'god.'

"Nevertheless, I think that I need to be more explicit in stating that the music which I prescribe
is not the modern music which has been emasculated by the lascivious melodies of the effeminate stage
and has to no small extent destroyed the amount of manly vigor that we still possessed.

"I refer rather to the music of old with which people used to sing the praises of brave men and which the brave themselves used to sing.
"indeed, they consider a speech a form of composition that ought NOT to be corrected.

I would willingly ask them why they allow (if indeed they do allow) that history may be RECITED,

since it is written in the interests of truth and honesty, not for display?
Or why tragedy, when it requires a stage and actors, not an audience-hall?
Or lyric poetry, which requires not a reader, but a chorus and a harp-accompaniment?

However, this LYRIC performance which demanded a LYRE began as or ended as a homosexual affair:

They will respond that in these instances recitation has been established by custom.
In fact, behind the criticisms of the epic recital often lie issues about the performance of gender and social status.
In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a),

hupokritikos , ê, on, belonging to hupokrisis 11 , skilled therein, esti phuseôs to hu. einai having a good delivery, Arist.Rh.1404a15 .
2. suited for speaking or delivery, lexis -kôtatê ib. 1413b9, cf. Demetr.Eloc.193: hê -kê (sc. technê) the art of delivery, Arist.Rh. 1404a13, Po.1456b10, al. (but, the actor's art, Hp.Vict.1.24 (v.l. hupokritai), Phld.Mus.p.91 K., Gal.Thras.27). Adv. -kôs Chamael. ap. Ath.9.407a.
3. metaph., acting a part, pretending to,

critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting.
There is a persistent association between theatrics, bad rhetoric and effeminacy.
His testimony is important as it formulates general expectations about epic performance while at the same time shows
that epic can always slide into an effeminate mode of presentation.

Rhetoric was forever at pains to disentangle itself from unwanted associations

with female deception and histrionic art,
because it was viewed as the art of socially weak women and slaves,
and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups.

Epic's social image as a genre that glorifies male heroism has to be consistent with its mode of performance.

For Dionysius Thrax, the voice PITCHED to perform elegy or lyric is inappropriate because of the incongruity it creates between the epic content and its performance.

50 Signs of effeminacy appear in the preliminary vocal modulation of the recitator (liquido cum plasmate guttur mobile conlueris) and in his entire comportment and body language (patranti fractus ocello). Persius continues with the audience and the emasculating effect of the public performance

on those who passively submit to the allurements of the recitator's virtuoso voice.
The sweet voice is an agent of titillation, arousing the audience, evoking images of sexual gratification:

51 Indeed, this entire section of Persius' satire represents the recital as partaking in the infamous association of performance and effeminacy.

It partakes in the deconstruction of traditionally held values of male excellence. Persius manipulates terms used also in Seneca the Elder's moralizing discourse in regard to the decline and emasculation of declamation as practiced in the rhetorical schools.

Cyrus was asked how to PACIFY captured soldiers:

Grant, then, forgiveness to the Lydians, and to make sure of their never rebelling against thee, or alarming thee more,

send and forbid them to keep any weapons of war, command them to wear tunics under their cloaks, and to put buskins upon their legs,
and make them bring up their sons to cithern-playing (Kitharizein), singing (psallein), and shop-keeping (Hucksterism). (Or translated lyre playing and harping which is redundant)

So wilt thou soon see them become women instead of men,
and there will be no more fear of their revolting from thee."

http://www.piney.com//Heredotus1.html#Cyrus

Sounds like the Mother of Harlots using "speakers, singers and musicians" as SORCERERS (Rev 17-18) is trying to NEUTER you: Silence gives CONSENT. That is why Paul said to use ONE MIND and ONE MOUTH to speak "that which is written" or "Scripture" to glorify God (Who wrote the songs and sermons), to educate or teach, to comfort one another and to KEEP THE UNITY. The singing AND melody are IN THE HEART because Paul said "outside there be Dogs and concision" and if you don't keep the "heart twanging" confined to the spirit or MIND you will, as all of history knows, tittilate and manipulate the sexual impulses of bad people and they will as the Vineyard Mother promotes "have a sexual-like climatic experience with the spirit." She does not MINCE WORDS.

All of the BLACK text is from Clement of Alexandria who the sowers of discord CLAIM do not condemn instrumental music: if you cannot UNDERSTAND it then blame the preacher and not me. Jesus said that doctors of the Law take away the key to knowledge: that is their predestinated purpose from of old. Since ALL of the non-instrumental church of Christ preachers use the same instrumental lies about Clement of Alexander. If you are in the middle of DEFENDING a lie of Biblical proportions you had BETTER pay attention because you wont get this with your PhDuh!

John uses Circe--from which we get Church--as the pattern for the Mother of Harlots: she seduces people with enchanting music and then stikes them with her wand (sting) and turns them into Swine. Sorcery is a "pharmacy" word: Circe seduces with MUSIC and drugs and Nimrod knew the power of Music and medical science knows that it INJECTS or INDUCES endorphins which create the effects of FIGHT, FLIGHT or SEXUALITY. That is why music as the heretical "musical worship teams" is part of the ten-year plan to cause the owners to FLEE from what they might sense but not totally grasp. Only one or two will FIGHT to prevent the MASSIVE, PREMEDIATED and with a high hand sowing of discord and offending MANY or MOST of the original body. However, as the viper eggs hatch out cockatrices, those seduced by music as the Lucifer Principle confiscate the vacated pews of those with SPIRIT and that is why all of the Biblical examples and The Book of Enoch define musical seduction as WITHOUT REDEMPTION because the INTENTION is to silence the small quantity of Biblical teaching. My view based on all of the reading of Revelation is that the LOCUSTS are separating people based on their MARKS and we should rejoice and be glad: God gives us permission to hiss, clap and boo when He begins to beat them into hell with wind, string and percussion instruments:

http://www.piney.com/Isa30LXX.html

John uses Apollo known as Apollyon or Abaddyon or Satan who unleashes the LOCUSTS which have fatal stingers in their tail. In the legends the locusts were the MUSES whom the Motherof Harlots had send underground. Apollo unleashes them as Musical Worship Musicians in the end time. The fact that they have stingers agrees with John who called all of the performing arts in the church as SORCERERS who deceive the world and "put out their candles." The literature is filled with associating the grasshopper and locusts with the Muses--known as filthy prostitutes.

That is why John MARKS Zoe who is known as the "beast and female instructing principle" who forced the dumb brother, Logos, to form musical worship teams to worship Sophia and Zoe.

Even if John was demented, you are still left with the fact that 100% of known literature including the Bible associates Lucifer or Satan with the 'singing and harp playing prostitute.' WHY do you suppose that unlawful "pastors" lust to promote the PERSONA of prostitutes and, and if male either drunk or Sodomites. Even the word PSALLO connects 100% of the time with nasty men lusting for the brother singers to perform. The word PSALLO also has the root meaning of APOLLYON using his "twanging bow to shoot literal or LOVE arrows into you." Blood and warfare are the ONLY meaning of PSALLO. That is why even Simple Simons SHOULD be able to grasp that the command is to SPEAK (which excludes poetry or music) one to another and keep the PSALLO and GRACE in the heart and not let it BREAK OUT and burn you up as Paul explains in Romans 1.

Clement of Alexandria and ALL of those church fathers which Rick claims are not AGAINST instrumental music IN CHURCH wrote:.

http://www.piney.com/MuClement.html

Chapter I.-Exhortation to Abandon the Impious Mysteries of Idolatry for the Adoration of the Divine Word and God the Father.
Amphion of Thebes and Arion of Methymna were both minstrels, and both were renowned in story.
They are celebrated in song to this day in the chorus of the Greeks;
the one for having allured the fishes, and the other for having surrounded Thebes with walls by the power of music.
Another, a Thracian (A Barbarian), a cunning master of his art (he also is the subject of a Hellenic legend), tamed the wild beasts by the mere might of song; and transplanted trees-oaks-by music.

I might tell you also the story of another, a brother to these-the subject of a myth, and a minstrel-Eunomos the Locrian and the Pythic grasshopper. A solemn Hellenic assembly had met at Pytho, to celebrate the death of the Pythic serpent,when Eunomos sang the reptile's epitaph. Whether his ode was a hymn in praise of the serpent, or a dirge, I am not able to say. But there was a contest,
and Eunomos was playing the lyre in the summer time: it was when the grasshoppers, warmed by the sun, were chirping beneath the leaves along the hills; but they were singing not to that dead dragon, but to God All-wise,-a lay unfettered by rule, better than the numbers of Eunomos.

Babrazô , chatter, chirp, of the grasshopper, Anan.5.6.
Socrates. There is time enough. And I believe that the
like sheep lie asleep at noon around the well.
grasshoppers chirruping after their manner
in the heat of the sun over our heads
are talking to one another and looking down at us.
What would they say if they saw that we, like the many, are not conversing,
but slumbering at mid-day, lulled by their voices, too indolent to think?
Would they not have a right to laugh at us?
They might imagine that we were slaves,
who, coming to rest at a place of resort of theirs,

Chirruping is:

Liddell- Scott: teret-isma , atos, to, a humming, twanging, phormingôn [Apollo's Harp] ; chirruping of cicadas

The Locrian breaks a string. The grasshopper sprang on the neck of the instrument, and sang on it as on a branch; and the minstrel, adapting his strain to the grasshopper's song, made up for the want of the missing string. The grasshopper then was attracted by the song of Eunomos, as the fable represents, according to which also a brazen statue of Eunomos with his lyre, and the Locrian's ally in the contest, was erected at Pytho. But of its own accord it flew to the lyre, and of its own accord sang, and was regarded by the Greeks as a musical performer.

How, let me ask, have you believed vain fables and
supposed animals to be charmed by music
while Truth's shining face alone, as would seem appears to you disguised,
and is looked on with incredulous eyes?

And so Cithaeron, and Helicon, and the mountains of the Odrysi, and the initiatory rites of the Thracians, mysteries of deceit, are hallowed and celebrated in hymns. For me, I am pained at such calamities as form the subjects of tragedy, though but myths; but by you the records of miseries are turned into dramatic compositions

But the dramas and the raving poets, now quite intoxicated, let us crown with ivy; and distracted outright as they are, in Bacchic fashion, with the satyrs, and the frenzied rabble, and the rest of the DEMON crew, let us confine to Cithaeron and Helicon, now antiquated.

But let us bring from above out of heaven, Truth, with Wisdom in all its brightness, and the sacred prophetic choir, down to the holy mount of God; and let Truth, darting her light to the most distant points, cast her rays all around on those that are involved in darkness, and deliver men from delusion, stretching out her very strong right hand, which is wisdom, for their salvation.

And raising their eyes, and looking above, let them abandon Helicon and Cithaeron, and take up their abode in Sion. "For out of Sion shall go forth the law, and the word of the Lord from Jerusalem, (Isaiah 2:3) -the celestial Word, the true athlete crowned in the theatre of the whole universe. What my Eunomos sings is not the measure of Terpander, nor that of Capito, nor the Phrygian, nor Lydian, nor Dorian, but the immortal measure of the new harmony which bears God's name-the new, the Levitical song ( Ps. xcvi. 1, xvciii. 1.)

"Soother of pain, calmer of wrath, producing forgetfulness of all ills. ( Odyssey, iv. 220.
Sweet and true is the charm of persuasion which blends with this strain.

To me, therefore, that Thracian Orpheus, that Theban, and that Methymnaean,-men, and yet unworthy of the name,-seem to have been deceivers, who, under the pretence of poetry corrupting human life, possessed by a spirit of artful sorcery for purposes of destruction, celebrating crimes in their orgies, and making human woes the materials of religious worship, were the first to entice men to idols;

nay, to build up the stupidity of the nations with blocks of wood and stone,-that is, statues and images,-
subjecting to the yoke of extremest bondage the truly noble freedom of those who lived as free citizens under heaven by their songs and incantations.

That is why rhetoricians, singers and musicians were known as PARASITES and polite communities did a versionof TAR AND FEATHERING the "for hire"--called by Jesus HYPOCRITES--and known as PARASITES and rode them out ot town. Not, apparently in Texas.

But not such is my song, which has come to loose, and that speedily, the bitter bondage of tyrannizing demons; and leading us back to the mild and loving yoke of piety, recalls to heaven those that had been cast prostrate to the earth. It alone has tamed men, the most intractable of animals; the frivolous among them answering to the fowls of the air, deceivers to reptiles, the irascible to lions, the voluptuous to swine, the rapacious to wolves.

In Acts 20 Paul defines elders who are WOLVES lusting to lead people away for their own uses. Both the wolf and the dog were names for the male Catamites to which musical performance always attached. That is why Paul insisted that we worship IN THE SPIRIT and not in the FLESH to prevent the Dogs or Sorcerers from using and abusing God's people. No one can DISCONNECT religious musical performance from, as the fathers note, either flute-girls (synonym for prostitute) or if MALE wither "drunk, perverted or 'just for fun.'"

The silly are stocks and stones, and still more senseless than stones is a man who is steeped in ignorance. As our witness, let us adduce the voice of prophecy accordant with truth, and bewailing those who are crushed in ignorance and folly: "For God is able of these stones to raise up children to Abraham; (Matt. iii. 9; Luke iii. 8.) and He, commiserating their great ignorance and hardness of heart who are petrified against the truth, has raised up a seed of piety, sensitive to virtue, of those stones-of the nations, that is, who trusted in stones. Again, therefore, some venomous and false hypocrites (rhetoricians, singers, musicians=sorcerers) , who plotted against righteousness, He once called "a brood of vipers. ( Matt. iii. 7; Luke iii. 7.)

You will note that Clement, being Bible and culture literate, connects the pagan musicians to the brood of vipers Jesus identified slick speakers, singers and musicians as HYPOCRITES by pointing to Isaiah and Ezekiel condemning "mouth religion."

We have noted that John refused to baptize the generation of Vipers as Jesus refused to speak without parables to the "sons of the Devil who speak on their own" and Peter said we save ourselves FROM the crooked generation which points absolutely to the perverted male symposia where singing SKOLION songs with and without instruments is the meaning of "getting drunk on wine" by Paul.

But if one of those s even is willing to repent, and follows the Word, he becomes a man of God.
Others he figuratively calls wolves, clothed in sheep-skins, meaning thereby monsters of rapacity in human form. And so all such most savage beasts, and all such blocks of stone, the celestial song has transformed into tractable men.

"For even we ourselves were sometime foolish, disobedient, deceived, serving divers lusts and pleasures, living in malice and envy, hateful, hating one another." Thus speaks the apostolic Scripture: "But after that the kindness and love of God our saviour to man appeared, not by works of righteousness which we have done, but according to His mercy, He saved us. ( Tit. iii. 3-5.)

Behold the might of the new song! It has made men out of stones, men out of beasts. Those, moreover, that were as dead, not being partakers of the true life, have come to life again, simply by becoming listeners to this song.

It also composed the universe into melodious order, and tuned the discord of the elements to harmonious arrangement, so that the whole world might become harmony. It let loose the fluid ocean, and yet has prevented it from encroaching on the land. The earth, again, which had been in a state of commotion, it has established, and fixed the sea as its boundary. The violence of fire it has softened by the atmosphere, as the Dorian is blended with the Lydian strain; and the harsh cold of the air it has moderated by the embrace of fire, harmoniously arranging these the extreme tones of the universe.

And this deathless strain,-the support of the whole and the harmony of all,-reaching from the centre to the circumference, and from the extremities to the central part, has harmonized this universal frame of things,
not according to the Thracian music, which is like that invented by Jubal,
but according to the paternal counsel of God, which fired the zeal of David.

And He who is of David, and yet before him, the Word of God,
despising the lyre and harp, which are but lifeless instruments, (For Paul on lifeless instruments see 1 Corinthians 14)

and having tuned by the Holy Spirit the universe, and especially man,-who, composed of body and soul, is a universe in miniature, makes melody to God on this instrument of many tones; and to this instrument-I mean man-he sings accordant:

"For thou art my harp, and pipe, and temple. (Probably a quotation from a hymn. ) -a harp for harmony-a pipe by reason of the Spirit-a temple by reason of the word; so that the first may sound, the second breathe, the third contain the Lord.

THE CARNAL TYPENote that David's poems TEND to be poetic: therefore these polluted instruments are eleminated by his statement that only those things WITH BREATH can praise God

And David the king, the harper whom we mentioned a little above, who exhorted to the truth and dissuaded from idols, was so far from celebrating demons in song, that in reality they were driven away by his music. Thus, when Saul was plagued with a demon, he cured him by merely playing.

THE SPIRITUAL TYPE

A beautiful breathing instrument (Psalm 150) of music the Lord made man, after His own image. And He Himself also, surely, who is the supramundane Wisdom, the celestial Word, is the all-harmonious, melodious, holy instrument of God.
What, then, does this instrument-the Word of God, the Lord, the New Song-desire?

To open the eyes of the blind, and unstop the ears of the deaf, and to lead the lame or the erring to righteousness, to exhibit God to the foolish, to put a stop to corruption, to conquer death, to reconcile disobedient children to their father.

The instrument of God loves mankind. The Lord pities, instructs, exhorts, admonishes, saves, shields, and of His bounty promises us the kingdom of heaven as a reward for learning; and the only advantage He reaps is, that we are saved. For wickedness feeds on men's destruction; but truth, like the bee, harming nothing, delights only in the salvation of men.

You have, then, God's promise; you have His love: become partaker of His grace. And do not suppose the song of salvation to be new, as a vessel or a house is new.

For "before the morning star it was; " (Ps. cx. 3. Septuagint has, "before the morning star.") and "in the beginning was the Word, and the Word was with God, and the Word was God. (John 1:1)

Error seems old, but truth seems a new thing.

I will post some facts to PROVE that the LOCUSTS have been unleashed in Texas and they have SCORPION STINGERS in their tails. John says that this STING is called SORCERY where the Mother of Harlots (Rev 17) USES the rhetoricians, singers and musicians to REMOVE THE CANDLESTICK.

How can one be ignorant of where John POINTS and still be employed to TAKE AWAY THE KEY TO KNOWLEDGE which Jesus claimed was the OCCUPATION of the doctors of the Law. I sit astounded that heresy of BIBLICAL PROPORTIONS take place before our eyes and the once Christian colleges promote and applaude it. You have the final vote: with your money which they steal with the LAW OF GIVING. If you don't VOTE then you have been stung with music and The Book of Enoch says that you PROBABLY cannot recover for lying TO God and ABOUT God. Read Hebrews 6 and I will post some historical Pliny about the musical grasshoppers and locusts with Scorpion stingers in their "tails" Wow! Awesome! And we THINK that we would not have drank the Jonestown KoolAid.

If Rick is correct--and evidence supports Him--that NONE of the once-Christian colleges teaches the NON-INSTRUMENTAL position anymore then PARENTS and people with WILL should be informed by a massive PR campaign. I can affirm that even "conservative" colleges bring in INSTRUMENTAL people masked as NEUTRAL, or incompetents to debate the pro-instrumental position.

All of the BLACK text is from Clement of Alexandria who the sowers of discord CLAIM do not condemn instrumental music: if you cannot UNDERSTAND it then blame the preacher and not me. Jesus said that doctors of the Law take away the key to knowledge: that is their predestinated purpose from of old.

John uses Circe--from which we get Church--as the pattern for the Mother of Harlots: she seduces people with enchanting music and then stikes them with her wand (sting) and turns them into Swine. Sorcery is a "pharmacy" word: Circe seduces with MUSIC and drugs and Nimrod knew the power of Music and medical science knows that it INJECTS or INDUCES endorphins which create the effects of FIGHT, FLIGHT or SEXUALITY. That is why music as the heretical "musical worship teams" is part of the ten-year plan to cause the owners to FLEE from what they might sense but not totally grasp. Only one or two will FIGHT to prevent the MASSIVE, PREMEDIATED and with a high hand sowing of discord and offending MANY or MOST of the original body. However, as the viper eggs hatch out cockatrices, those seduced by music as the Lucifer Principle confiscate the vacated pews of those with SPIRIT and that is why all of the Biblical examples and The Book of Enoch define musical seduction as WITHOUT REDEMPTION because the INTENTION is to silence the small quantity of Biblical teaching. My view based on all of the reading of Revelation is that the LOCUSTS are separating people based on their MARKS and we should rejoice and be glad: God gives us permission to hiss, clap and boo when He begins to beat them into hell with wind, string and percussion instruments:

http://www.piney.com/Isa30LXX.html

John uses Apollo known as Apollyon or Abaddyon or Satan who unleashes the LOCUSTS which have fatal stingers in their tail. In the legends the locusts were the MUSES whom the Motherof Harlots had send underground. Apollo unleashes them as Musical Worship Musicians in the end time. The fact that they have stingers agrees with John who called all of the performing arts in the church as SORCERERS who deceive the world and "put out their candles." The literature is filled with associating the grasshopper and locusts with the Muses--known as filthy prostitutes.

That is why John MARKS Zoe who is known as the "beast and female instructing principle" who forced the dumb brother, Logos, to form musical worship teams to worship Sophia and Zoe.

Even if John was demented, you are still left with the fact that 100% of known literature including the Bible associates Lucifer or Satan with the 'singing and harp playing prostitute.' WHY do you suppose that unlawful "pastors" lust to promote the PERSONA of prostitutes and, and if male either drunk or Sodomites. Even the word PSALLO connects 100% of the time with nasty men lusting for the brother singers to perform. The word PSALLO also has the root meaning of APOLLYON using his "twanging bow to shoot literal or LOVE arrows into you." Blood and warfare are the ONLY meaning of PSALLO. That is why even Simple Simons SHOULD be able to grasp that the command is to SPEAK (which excludes poetry or music) one to another and keep the PSALLO and GRACE in the heart and not let it BREAK OUT and burn you up as Paul explains in Romans 1.

Clement of Alexandria and ALL of those church fathers which Rick claims are not AGAINST instrumental music IN CHURCH wrote:.

http://www.piney.com/MuClement.html

Chapter I.-Exhortation to Abandon the Impious Mysteries of Idolatry for the Adoration of the Divine Word and God the Father.
Amphion of Thebes and Arion of Methymna were both minstrels, and both were renowned in story.
They are celebrated in song to this day in the chorus of the Greeks;
the one for having allured the fishes, and the other for having surrounded Thebes with walls by the power of music.
Another, a Thracian (A Barbarian), a cunning master of his art (he also is the subject of a Hellenic legend), tamed the wild beasts by the mere might of song; and transplanted trees-oaks-by music.

I might tell you also the story of another, a brother to these-the subject of a myth, and a minstrel-Eunomos the Locrian and the Pythic grasshopper. A solemn Hellenic assembly had met at Pytho, to celebrate the death of the Pythic serpent,when Eunomos sang the reptile's epitaph. Whether his ode was a hymn in praise of the serpent, or a dirge, I am not able to say. But there was a contest,
and Eunomos was playing the lyre in the summer time: it was when the grasshoppers, warmed by the sun, were chirping beneath the leaves along the hills; but they were singing not to that dead dragon, but to God All-wise,-a lay unfettered by rule, better than the numbers of Eunomos.

Babrazô , chatter, chirp, of the grasshopper, Anan.5.6.
Socrates. There is time enough. And I believe that the
like sheep lie asleep at noon around the well.
grasshoppers chirruping after their manner
in the heat of the sun over our heads
are talking to one another and looking down at us.
What would they say if they saw that we, like the many, are not conversing,
but slumbering at mid-day, lulled by their voices, too indolent to think?
Would they not have a right to laugh at us?
They might imagine that we were slaves,
who, coming to rest at a place of resort of theirs,

Chirruping is:
Liddell- Scott: teret-isma , atos, to, a humming, twanging, phormingôn [Apollo's Harp] ; chirruping of cicadas

The Locrian breaks a string. The grasshopper sprang on the neck of the instrument, and sang on it as on a branch; and the minstrel, adapting his strain to the grasshopper's song, made up for the want of the missing string. The grasshopper then was attracted by the song of Eunomos, as the fable represents, according to which also a brazen statue of Eunomos with his lyre, and the Locrian's ally in the contest, was erected at Pytho. But of its own accord it flew to the lyre, and of its own accord sang, and was regarded by the Greeks as a musical performer.

How, let me ask, have you believed vain fables and
supposed animals to be charmed by music
while Truth's shining face alone, as would seem appears to you disguised,
and is looked on with incredulous eyes?

And so Cithaeron, and Helicon, and the mountains of the Odrysi, and the initiatory rites of the Thracians [ouch!], mysteries of deceit, are hallowed and celebrated in hymns. For me, I am pained at such calamities as form the subjects of tragedy, though but myths; but by you the records of miseries are turned into dramatic compositions

But the dramas and the raving poets, now quite intoxicated, let us crown with ivy; and distracted outright as they are, in Bacchic fashion, with the satyrs, and the frenzied rabble, and the rest of the DEMON crew, let us confine to Cithaeron and Helicon, now antiquated.

But let us bring from above out of heaven, Truth, with Wisdom in all its brightness, and the sacred prophetic choir, down to the holy mount of God; and let Truth, darting her light to the most distant points, cast her rays all around on those that are involved in darkness, and deliver men from delusion, stretching out her very strong right hand, which is wisdom, for their salvation.

And raising their eyes, and looking above, let them abandon Helicon and Cithaeron, and take up their abode in Sion. "For out of Sion shall go forth the law, and the word of the Lord from Jerusalem, (Isaiah 2:3) -the celestial Word, the true athlete crowned in the theatre of the whole universe. What my Eunomos sings is not the measure of Terpander, nor that of Capito, nor the Phrygian, nor Lydian, nor Dorian, but the immortal measure of the new harmony which bears God's name-the new, the Levitical song ( Ps. xcvi. 1, xvciii. 1.)

"Soother of pain, calmer of wrath, producing forgetfulness of all ills. ( Odyssey, iv. 220.
Sweet and true is the charm of persuasion which blends with this strain.

To me, therefore, that Thracian Orpheus, that Theban, and that Methymnaean,-men, and yet unworthy of the name,-seem to have been deceivers, who, under the pretence of poetry corrupting human life, possessed by a spirit of artful sorcery for purposes of destruction, celebrating crimes in their orgies, and making human woes the materials of religious worship, were the first to entice men to idols;

nay, to build up the stupidity of the nations with blocks of wood and stone,-that is, statues and images,-
subjecting to the yoke of extremest bondage the truly noble freedom of those who lived as free citizens under heaven by their songs and incantations.

That is why rhetoricians, singers and musicians were known as PARASITES and polite communities did a versionof TAR AND FEATHERING the "for hire"--called by Jesus HYPOCRITES--and known as PARASITES and rode them out ot town. Not, apparently in Texas.

But not such is my song, which has come to loose, and that speedily, the bitter bondage of tyrannizing demons; and leading us back to the mild and loving yoke of piety, recalls to heaven those that had been cast prostrate to the earth. It alone has tamed men, the most intractable of animals; the frivolous among them answering to the fowls of the air, deceivers to reptiles, the irascible to lions, the voluptuous to swine, the rapacious to wolves.

In Acts 20 Paul defines elders who are WOLVES lusting to lead people away for their own uses. Both the wolf and the dog were names for the male Catamites to which musical performance always attached. That is why Paul insisted that we worship IN THE SPIRIT and not in the FLESH to prevent the Dogs or Sorcerers from using and abusing God's people. No one can DISCONNECT religious musical performance from, as the fathers note, either flute-girls (synonym for prostitute) or if MALE wither "drunk, perverted or 'just for fun.'"

The silly are stocks and stones, and still more senseless than stones is a man who is steeped in ignorance. As our witness, let us adduce the voice of prophecy accordant with truth, and bewailing those who are crushed in ignorance and folly: "For God is able of these stones to raise up children to Abraham; (Matt. iii. 9; Luke iii. 8.) and He, commiserating their great ignorance and hardness of heart who are petrified against the truth, has raised up a seed of piety, sensitive to virtue, of those stones-of the nations, that is, who trusted in stones. Again, therefore, some venomous and false hypocrites (rhetoricians, singers, musicians=sorcerers) , who plotted against righteousness, He once called "a brood of vipers. ( Matt. iii. 7; Luke iii. 7.)

You will note that Clement, being Bible and culture literate, connects the pagan musicians to the brood of vipers Jesus identified slick speakers, singers and musicians as HYPOCRITES by pointing to Isaiah and Ezekiel condemning "mouth religion."

We have noted that John refused to baptize the generation of Vipers as Jesus refused to speak without parables to the "sons of the Devil who speak on their own" and Peter said we save ourselves FROM the crooked generation which points absolutely to the perverted male symposia where singing SKOLION songs with and without instruments is the meaning of "getting drunk on wine" by Paul.

But if one of those s even is willing to repent, and follows the Word, he becomes a man of God.
Others he figuratively calls wolves, clothed in sheep-skins, meaning thereby monsters of rapacity in human form. And so all such most savage beasts, and all such blocks of stone, the celestial song has transformed into tractable men.

"For even we ourselves were sometime foolish, disobedient, deceived, serving divers lusts and pleasures, living in malice and envy, hateful, hating one another." Thus speaks the apostolic Scripture: "But after that the kindness and love of God our saviour to man appeared, not by works of righteousness which we have done, but according to His mercy, He saved us. ( Tit. iii. 3-5.)

Behold the might of the new song! It has made men out of stones, men out of beasts. Those, moreover, that were as dead, not being partakers of the true life, have come to life again, simply by becoming listeners to this song.

It also composed the universe into melodious order, and tuned the discord of the elements to harmonious arrangement, so that the whole world might become harmony. It let loose the fluid ocean, and yet has prevented it from encroaching on the land. The earth, again, which had been in a state of commotion, it has established, and fixed the sea as its boundary. The violence of fire it has softened by the atmosphere, as the Dorian is blended with the Lydian strain; and the harsh cold of the air it has moderated by the embrace of fire, harmoniously arranging these the extreme tones of the universe.

And this deathless strain,-the support of the whole and the harmony of all,-reaching from the centre to the circumference, and from the extremities to the central part, has harmonized this universal frame of things,
not according to the Thracian music, which is like that invented by Jubal,
but according to the paternal counsel of God, which fired the zeal of David.

And He who is of David, and yet before him, the Word of God,
despising the lyre and harp, which are but lifeless instruments, (For Paul on lifeless instruments see 1 Corinthians 14)

and having tuned by the Holy Spirit the universe, and especially man,-who, composed of body and soul, is a universe in miniature, makes melody to God on this instrument of many tones; and to this instrument-I mean man-he sings accordant:

"For thou art my harp, and pipe, and temple. (Probably a quotation from a hymn. ) -a harp for harmony-a pipe by reason of the Spirit-a temple by reason of the word; so that the first may sound, the second breathe, the third contain the Lord.

THE CARNAL TYPE Note that David's poems TEND to be poetic: therefore these polluted instruments are eleminated by his statement that only those things WITH BREATH can praise God.

And David the king, the harper whom we mentioned a little above, who exhorted to the truth and dissuaded from idols, was so far from celebrating demons in song, that in reality they were driven away by his music. Thus, when Saul was plagued with a demon, he cured him by merely playing.

THE SPIRITUAL TYPE

A beautiful breathing instrument (Psalm 150) of music the Lord made man, after His own image And He Himself also, surely, who is the supramundane Wisdom, the celestial Word, is the all-harmonious, melodious, holy instrument of God.
What, then, does this instrument-the Word of God, the Lord, the New Song-desire?

To open the eyes of the blind, and unstop the ears of the deaf, and to lead the lame or the erring to righteousness, to exhibit God to the foolish, to put a stop to corruption, to conquer death, to reconcile disobedient children to their father.

The instrument of God loves mankind. The Lord pities, instructs, exhorts, admonishes, saves, shields, and of His bounty promises us the kingdom of heaven as a reward for learning; and the only advantage He reaps is, that we are saved. For wickedness feeds on men's destruction; but truth, like the bee, harming nothing, delights only in the salvation of men.

You have, then, God's promise; you have His love: become partaker of His grace. And do not suppose the song of salvation to be new, as a vessel or a house is new.

For "before the morning star it was; " (Ps. cx. 3. Septuagint has, "before the morning star.") and "in the beginning was the Word, and the Word was with God, and the Word was God. (John 1:1)

Error seems old, but truth seems a new thing.

I will post some facts to PROVE that the LOCUSTS have been unleashed in Texas and they have SCORPION STINGERS in their tails. John says that this STING is called SORCERY where the Mother of Harlots (Rev 17) USES the rhetoricians, singers and musicians to REMOVE THE CANDLESTICK.

How can one be ignorant of where John POINTS and still be employed to TAKE AWAY THE KEY TO KNOWLEDGE which Jesus claimed was the OCCUPATION of the doctors of the Law. I sit astounded that heresy of BIBLICAL PROPORTIONS take place before our eyes and the once Christian colleges promote and applaude it. You have the final vote: with your money which they steal with the LAW OF GIVING. If you don't VOTE then you have been stung with music and The Book of Enoch says that you PROBABLY cannot recover for lying TO God and ABOUT God. Read Hebrews 6 and I will post some historical Pliny about the musical grasshoppers and locusts with Scorpion stingers in their "tails" Wow! Awesome! And we THINK that we would not have drank the Jonestown KoolAid.

If Rick is correct--and evidence supports Him--that NONE of the once-Christian colleges teaches the NON-INSTRUMENTAL position anymore then PARENTS and people with WILLS should be informed by a massive PR campaign. I can affirm that even "conservative" colleges bring in INSTRUMENTAL people masked as NEUTRAL, or incompetents to debate the pro-instrumental position.