Apparently the Cuba Avenue elders approve of spending their preachercating funds on INVENTING new RACA words to pour on the heads of anyone who will not CEASE teaching what the Bible universally teaches. It always associates music with Satan, prostitutes and Lucifer the harp-playing prostitute.

Al Maxey and Cuba Avenue yearning to ESCAPE with the women and play the SISTRUM which was NOT a musical instruments?

Strangely, this revelatory fact has greatly troubled, and, yes, even angered, some men and women who are numbered among the ultra-conservative, highly legalistic and patternistic factions and sects of Christendom.

Which is CONTRASTED with Cuba Avenue as:

Grace-centered, Christ-focused awareness

Big Raca missed the point that the Biblical and HISTORICAL practice of churches including those which flooded into Restoration churches REPUDIATED instruments based on DIRECT COMMANDS, APPROVED EXAMPLES and UNIVERSAL PRACTICES. Therefore, one is a SECTARIAN when they ADD SOMETHING not absolutely necessary. Al Maxey and Cuba Avenue defends the SECTARIANS.

A musical instrument is an ORGANON which means a "machine for doing hard work" or for producing the shock and awe of PANIC as the reason pagans adopted MACHINES. Therefore, Al Maxey and Cuba Avenue are the LEGALISTS.

The use of music was the PATTERNISM of Lucifer as the "singing and harp playing prostitute" in the garden of Eden and the Mother of Harlots (Rev 17) who USES instruments and USES false speakers, singers and instrument players (Rev 18). John identifies them as SORCERERS as does ALL of the arousal singing and instrument terms. All religious PERFORMANCE is defined by Jesus as Hypocrites. Therefore, Al Maxey and Cuba Avenue are the only PATTERNISTS.

Both in the BEGINNING in Genesis and the ENDING in Revelation all of the PERFORMERS were called PROSTITUTES even as Peter calls those who corrupt the word as PROSTITUTES because they "sell learning at Retail." Therefore, Al Maxey and Cuba Avenue are promoting the Babylon Whore religion.

NEXT, ARE THEY AGENTS OF THE MOTHER OF HARLOTS as ULTRA-CONSERVATIVES trying to prevent the Lucifer Principle from being challenged. I don't know why Aldous Huxley would be called in to TRUMP what all Bible studens have always know when Huxley is about to MARK the musicators as bad characters PRODUCING other bad characters.

FURTHER PROOF: IS THIS A CONFESSION?

After silence, that which comes nearest
to expressing the inexpressible is music.
Aldous Huxley {1894-1963}

First, God commanded SILENCE when God is in His Holy Temple (Hab 2:19-20). The Holy Place was silent except for prayer: there was ABSOLUTE silence in the Most Holy place (our spirit) where we worship God IN the PLACE of our spirit and IN TRUTH which Al and Cuba Avenue do not spread.

Paul said the converted Jews worshipped IN the Spirit as opposed to IN the Flesh.That was BECAUSE the DOGS would be outside. They were the cynics whose style of singing (howling as in praise singing) identified them as homosexuals SEEKING a mate.

Second, how dare anyone accuse God of sending Himself as WORD and not being as competent as Al in EXPRESSING His Mind or Spirit. Al gets unlawful pay for EXPRESSING what he apparently thinks God CANNOT express. I heard a preacher make that very statement: BUT, for a PRICE he would speak FOR God.

Third, the most ancient writers always knew that POETRY and MUSIC was second or third REMOVES from the truth. The Bible is NOT metrical in the TUNEFUL SENSE. Therefore, you cannot MUSICATE the word of God without adding, subtracting or changing the WORDS. Music expresses ONLY EMOTIONS and SHUTS DOWN the rational (spiritual) brain so that you CANNOT make informed choices. That is why John etal called it SORCERER.

Lynn Anderson: Sounds right to me, Mr. Huxley! Something like this can happen to faith as well.

The rational, informational, and linear-sequential worlds of productivity tend to dominate in our lives these days.Consequently, the rest of our worlds suffer neglect, and we are losing touch with much of what it means to believe.

Of course, all of history and modern psychology knows that when you move from DIALOG in words to IMAGES and sights and sounds you have SLIPPED into the effeminate mode. Karen Armstrong in A History of God said that the Israelites were so effeminate as defined by Amos that they were UNABLE to engage in dialog with God.

The rest of the story told by Huxley includes just this:

"Abused as we abuse it at present, dramatic art (performance preaching) is in no sense cathartic;

it is merely a form of emotional masturbation.
It is the rarest thing to find a player who has not had his character affected for the worse
by the practice of his profession.
Nobody can make a habit of self-exhibition,
nobody can exploit his personality
for the sake of exercising a kind of hypnotic power over others,
and remain untouched by the process. From Source

Plato whom the MUSICATORS are trying to NEUTER proved that acting and music was both PRODUCED by effeminancy and PRODUCED gender-bleed in the performers. Men like Niceta etal prove that when you move from SPEAK (what Jesus example and Paul commanded) or SAY to SING it is both a MARK and a PRODUCER of effeminancy.

The dangers of music service.' De utilitate hymnorum
At the beginning of his sermon 'De utilitate hymnorum' Niceta of Remesiana notes, 'that there are some among us, and some in the Eastern provinces too, who hold that there is something superfluous, not to say, suspicious,

about the singing of hymns and psalms during divine service.' What, we might ask, was the basis for this suspicion of music?

Many Christians mistrusted secular musicians. Jerome paints an image of the singer as a deadly siren:

Jerome here accepts the Roman stereotype of the performer as prostitute: hired musicians were not only potential sexual objects, but were already prostituting their musical skills to gain profit.

While this conception of the musician might lead a pagan observer to warn the rich providers of banquets against employing hired entertainers, as lowering the dining-room to become another marketplace, Jerome looks at the situation from the viewpoint of a Christian virgin, and sees the performer as threatening, a corrupted and corrupting influence.

Al and Cuba Avenue missed that Jesus used the PSALLO cord and drove the money changers out of the Temple. These "changing tables" belonged to the agora or marketplace.

Jesus CAST out the musical minstrels meaning LIKE DUNG because they belonged under the control of master of "flute-girls and dung heaps."

Jesus identified the pipers, singers and dancers as belonging to the MARKTEPLACE along with pagan temples, singers, players, dancers, Sodomites and sellers of radishes and young boys.

Al Maxey and the Sistrum Players at Cuba Avenue will find NOT approval of musical performance in the church.

None of the Restoration churces used instruments and the Reformers had repudiated them.
Therefore, Al Maxey's Christian church friends are the DEFACTO MUSICAL SECTARIANS.

Because Al Maxey appeals to Huxley and huxely identifying the performing arts AS EMOTIONAL MASTURBATION and SORCERY or WITCHCRAFT, I do see how Al Maxey can escape coming under John's identifying of the Mother of Harlots using speakers, singers and instrument players as SEXUAL SORCERERS.

That would make any literate student look at the HARPS and see that NO ONE PLAYS harps and therefore, Al places himself with the DEAD VIRGINS as opposed to those to who the second angel sent a message for those STILL LIVING TO preach the gospel. Maybe Al is dead why still living.

More Big Al Maxey and Cuba Avenue playing backup with the Sistrum to follow. I am just in a quandry why Al has been spread so much hate mail on people who REFUSE to use instruments and take the LIBERTY of teaching what they understand? Really troubling.

Apparently only unloving troublemakers are to be silenced. At the same time whole churches such as Cuba Avenue sends Al Maxey into the web to weave quite ridiculous false "sermons" about the Bible. The motive is to SILENCE and RACAize those conservative churches which use the CENI principle Al does not know is articulated in the Bible, church fathers and all founders of denominations. That includes using a very cretive list of RACA words (Shelly probably has more) as WEAPONS to attach ANTI-instrumental churches of Christ. In addition to NOT using instruments they offend Al Maxey and a host of other deliberate discorders by CONTINUING to teach what the Bible and most of recorded history has always taught. The other FREEDOM FACT OF FAITH Al etal want to silence is that USING instruments in the attempt to worship God who is SPIRIT and church which is SCHOOL OF THE BIBLE (only) is the 6,000 year old claim that it is the MARK or CAUSE of sin.

It only takes a drop of Arsenic in your KoolAid to silence you: to wit, quoting the BOAST song of Moses post Red Sea as a CENI to authorize instrumental MUSIC in the ekklesia or synagogue when as church in the wilderness it was OUTLAWED. I will post some of the HOST of background to repudiate Al, Rick and all of those dedicated to turning you BACK to worship the Starry Host. I can post on and on to show that literate scholars DEFINED this as a MARK of not obeying God's Word.

FIRST, you should be Prophet-wise and even Psalm-wise and understand that God's JUSTICE would have left Israel in Egypt to self-destruct. In many ways they were worse than the Egyptians and they brought their DUNGY Abominations with them and NEVER changed. What Al does not understand is that Amos condemned the nation of Israel but also Judah. They were continuing the musical idolatry of Mount Sinai to which God ABANDONED them.

Secondly, the Red Sea is a repeat of the TYPE of creation and the flood where God REcreated things in which were VAIN and EMPTY such as the nation of Israel. I will post rough notes on Jeremiah 4 to which I will transfuse from time to time:
http://www.piney.com/Jeremiah.4.html

Because the Musical Idolatry was seen by God as a prayer, Stepen tells the readers that "God turned them over to worship the starry host."

Al Maxey and Cuba Avenue: The people of Israel had been delivered. For hundreds of years they had languished under the cruel oppression of their Egyptian taskmasters. The Lord God heard their cry for help, and He raised up a deliverer in the form of Moses. The sea divided before them, and they walked through on dry ground, as they journeyed away from Egypt. The sea closed up again upon the army of Pharaoh as they pursued the people of Israel.

Then in a moment of spiritual clarity (one which, sadly, would all too quickly fade) they perceived with awe the power of God displayed in their deliverance, and they sang a song to the Lord, which is recorded for us in Exodus 15:1-18.

This song of redemption was accompanied by dancing and the sound of instruments.
"And Miriam the prophetess, Aaron's sister, took the timbrel in her hand,
and all the women went OUT after her with timbrels and with dancing.
And Miriam said, 'Sing to the Lord, for He has triumphed gloriously'" [vs. 20-21]. There was great rejoicing and celebration that day as they sang, played and danced before the Lord.

Oh my, where do we start when people lift proof text out of context and do not know the STORY LINE but intend to brand with RACA WORDS those who will not bow when he pipes and who take the LIBERTY of continuing to repudiate musical "worship."

First, this was a BOAST SONG to which David and the Commanders of the Army later attached instruments. It intended to send a MESSAGE to any people standing in their way that OUR GOD destroyed the Egyptians and THEREFORE OUR God will destroy you also. That was not proof of spiritual worship and gratefulness but of PRIDE.

Second, all scholars note that while Moses SPAKE the Song, Miriam took probably the Sistrum and LED THE WOMEN out which meant to ESCAPE. The sistrum and the "answering" or responsisve singing was a form of browbeating and not worship.

"In the first place, it will be noticed from the account of the triumphant rejoicing on the shore of the Red Sea that the men sang only: 'Then sang Moses and the children of Israel this song unto the Lord, and SPAKE saying.'" (Girardeau, George, p. 33)

Masculine is SPEAK or SAY (as in Speak one to another). Feminine or effeminant is to SANG and CLANG: no recorded exception to the rule, Al.

"In the second place, it was Miriam and the women who used instruments of music on the occasion: 'And Miriam, the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went after her with timbrels and with dances." (Girardeau, p. 33).
Of course a tabret or sistrum is NOT a musical instrument and it gave its name for TOPHETH or HELL.

Thirdly, the sistrum was a RATTLE and not a musical instrument. It did not even make a SINGLE note. It was to establish a BEAT. Therefore, Al Maxey is obligated to go out and DANCE with the women and do the RESPONSIVE chanting which is defined as BROW BEATING.

Therefore, after condemning their MUSICAL WORSHIP which STARVED the people for lack of the word (Amos 8 Songs, Instruments) God continued with the PATTERN

Even when their enemies drive them into captivity, from there I will command the sword to kill them. I will not let them out of my sight; they will experience disaster, not prosperity." Amos 9:4

The sovereign Lord who leads armies will do this. He touches the earth and it dissolves; all who live on it mourn.
The whole earth rises like the River Nile, and then grows calm like the Nile in Egypt. Amos 9:5
"You Israelites are just like the Ethiopians in my sight," says the Lord.

"Certainly I brought Israel up from the land of Egypt,
but I also brought the Philistines from Caphtor and the Arameans from Kir. Amos 9:7

Look, the sovereign Lord is watching the sinful nation, and I will destroy it from the face of the earth.
But I will not completely destroy the family of Jacob," says the Lord. Amos 9:8

We know that most of the ISRAELITE nation was sent on to captivity and death IMPOSED because of musical idolatry at Mount Sinai."

Now, that we understand that this was NOT a musical worship service, we can look at another passage to see that the SINGING was a MARK of people NOT intending to obey the Word of God but to crush their enemies using "God" as a weapon when He had promised to drive out the enemy with wasps or hornets

Psalm 106:6 We have sinned with our fathers, we have committed iniquity, we have done wickedly.
Psalm 106:7 Our fathers understood not thy wonders in Egypt;

they remembered not the multitude of thy mercies;
but provoked him at the sea, even at the Red sea.

Psalm 106:8 Nevertheless he saved them for his names sake,
that he might make his mighty power to be known.

Psalm 106:9 He rebuked the Red sea also, and it was dried up:

so he led them through the depths, AS through the wilderness.

Psalm 106:10 And he saved them from the hand of him that hated them,

and redeemed them from the hand of the enemy.

Psalm 106:11 And the waters covered their enemies: there was not one of them left.
Psalm 106:12 Then believed they his words; they sang his praise.
Psalm 106:13 They soon forgat his works; they waited not for his counsel:
Psalm 106:14 But lusted exceedingly in the wilderness, and tempted God in the desert.
Psalm 106:15 And he gave them their request; but sent leanness into their soul

Now, there is no endorsement of singing with instruments as WORSHIP offered to God. We have shown that this was a boast song and the women, as in David's Return from War, most often stimulated the returning males. If a General leads three million people into a new land and SPEAKS a TRIUMPH OVER or victory speech, AND a women leads the other women to DANCE to the beat of a RATTLE, that does not constitute worship for individuals. Furthermore, the Bible is filled with PROOF that whatever happened when God brought them out of Egypt was DESTRUCTIVE and proved--like all musical ritualism--that they would NOT obey His Laws.

RANTING ONWARD: Ezekiel among others notes that

Ezek 20:6 In the day that I lifted up mine hand unto them,

to bring them forth of the land of Egypt
into a land that I had espied for them, flowing with milk and honey,
which is the glory of all lands:

Then said I unto them,

Cast ye away every man the abominations (filthy spectacle) of his eyes,
and defile (similar to h2490 below) not yourselves
with the idols of Egypt: I am the Lord your God. Ezekiel 20:7

Abominations are:

Shiqquwc (h8251) shik-koots'; or shiqquc shik-koots'; from 8262; disgusting, i. e. filthy; espec. idolatrous or (concr.) an idol: - abominable filth (idol, -ation), detestable (thing)

The idols speak of a ROUND thing: galal, roll, wallow, dung balls. The dung ball was a an image of the SUN whose worship God would abandon them to. They later ATE the sacrifices offered to Baal-Peor. The earlier worshiper had defecated and rubbed dung on the nose of the idol. The Israelites just came along and AT it.

Remembering that Jesus CAST OUT the Musical Minstrels like dung: dung in Greek is Kopros. Is that because the Jews worshipped Khephri?

Khepri. The creator sun-god at dawn is represented by a scarab (dung) beetle pushing the sun disc upwards from the underworld. The Ancient Egyptians would have noticed the dung beetles busily rolling their balls of dirt across the ground. The beetles would lay their eggs in the dung balls, and emerge from inside them, apparently spontaneously, so it was quite logical for the Egyptians to use the beetles to symbolise Khepri "he who is coming into being", self created of his own accord without undergoing the natural cycle of reproduction. Khepri, in the form of a gigantic scarab, would roll the sun like a huge ball across the sky, then roll it down through the underworld to the eastern horizon. Each morning Khepri would renew the sun so that it could give life to all the world. As a deity closely associated with resurrection, Khepri was believed to be swallowed by Nut the sky goddess every evening, where he would pass through her body to be reborn in the morning.

But they rebelled against me, and would not hearken unto me:

they did not every man cast away the abominations of their eyes,
neither did they forsake the idols of Egypt: then I said,
I will pour out my fury upon them, to accomplish my anger against them in the midst of the land of Egypt. Ezekiel 20: 8

But I wrought for my names sake, that it should not be polluted before the heathen, among whom they were, in whose sight I made myself known unto them, in bringing them forth out of the land of Egypt. Ezekiel 20: 9

The sistrum was a IDOL used by the prophetess of Hathor

Polluted is:

Chalal (h2490) khaw-lal'; as an "opening wedge" denom. (from 2485) to play (the flute)/: ... take inheritance, pipe, player on instruments, pollute, (cast as) profane (self), prostitute, slay (slain), sorrow, stain, wound.

This is used of Lucifer CAST AS PROFANE out of heaven. Jesus used a similar word to CAST OUT AS PROFANE the Musical Minstrels. The word means like casting forth DUNG.

They were still in Egyptian territory when the SINGING was proof that they would not listen to God. However, rather than leave them there

Ezek 20:9 But I wrought for my names sake,

that it should not be polluted before the heathen,
among whom they were, in whose sight
I made myself known unto them,
in bringing them forth out of the land of Egypt.

Ezek 20:10 Wherefore I caused them to go forth out of the land of Egypt,

and brought them into the wilderness.

Once they came to Mount Sinai they SPENT their lust in musical idolatry and POLLUTED the REST God gave them.

I will be back with more to prove that Al Maxey using the Victory or Triumph Over song as the CENI is legalistic, patternistic and clearly THE cause of most SECTARIANIZING in the Restoration Movement and among Baptists, Presbyterians and others.

Al Maxey has been the major attack atent agent what he calls legalistic, sectarian, patternism implying clearly that churches which DO NOT use machines to worship a Spirit God and continue to TEACH that it is wrong are NOT part of the church.

Some of his friends have infiltrated and diverted peaceable churches and have never spoken a single fact which is honest or truthful. Al's latest is a SECTARIAN KILLER he thinks: he also thinks that non-instrumentalists are in mortal fear of finding out the truth about the harps on spiritual Zion which Al does not know is NOT Jerusalem which is called Egypt and Sodom.

There is such a FLOOD of information thinking to WASH AWAY the truth that I can only address a few of them: we have looked at some of thes foundations of sand elsewhere. For now, I have collected my first thoughts into an article on the line so that they can see an HONEST rebuttal to all of the "texts" which are ignorant of the context and story line.

http://www.piney.com/Maxey.Miriam.html

This will link you to a TINY bit of the HOST of information about Revelation. Al and the musical proponets read just enough to yank out proof text by their roots. Subconsiously or unconsiously they force the Spirit OF Christ to lie for them. Anyone who has read Romans 14 and 15 in the same story line will SEEK to know the SECTS in Rome which Paul silences and without dipping his pen in the ink defines the SYNAGOGUE in Romans 15. The SELF-pleasing which he outlaws specificially was MACHINED by arousal singing and the use of instruments. The supporting texts also prove that it is the MARK of a DEMAGOGUE to use the "popular arts to appease the masses." He is the TYRANT and the word KLEPTOMA pops up over and over leading Paul to DENY that there was a LAW OF GIVING to cut the legs out from under future preachers who would USE the LAW to fleece peoplel to build a THEATER FOR HOLY ENTERTAINMENT knowing with a decades old agenda that he intended to DIVERT THE MONEIES and warn people not ot question those guided by THE HOLY SPIRIT person. They don't know that His Name is Jesus Christ the Righteous and sooner or later HE will CAST AS PROFANE the Musical Minstrels out of the once house of prayer.

The ekklesia or synagogue is a SCHOOL OF THE BIBLE. Whatever is written is written for our LEARNING. If we do not treat the word with integrityGod will send strong delusions to TAKE CAPTIVE false teachers and MARK them to be avoided. Grabbing isolated NEGATIVE teacing events and giving them a SECOND INCARNATION as an APPROVED EXAMPLE even when common sense wold exclude music when Jesus is our SOLE Teacher, is--like the Moses-Miriam event--the MARK of people who will NOT obey or even HEAR the word of God because of a SELF cloud of pride and hate.

Ex 15:20 And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand;
and all the women went out after her with timbrels and with dances.

There are many forms of the word PROPHET, but God will PROVE that she does not speak for Him. The Latin used of Miriam is also used once to speak of Jesus Christ which LEAPFROGS all of the Period of Wandering and Law and goes back to to the covenant made with Abraham. The rising up to PLAY at Mount Sinai in musicial idolatry cause God to REMOVE this Abrahamic Covenant of Grace and IMPOSE The Book of The Law of Moses to legislate for the lawless.

The spirit OF Christ spoke through the PROPHETS to univerally condemn music as the MARK and CAUSE of rejecting the Word. Otherwise, to prophesy meant to MAKE SELF a prophets in a singing, dancing and musical sense.

Exodus 15:[20] sumpsit ergo Maria prophetis soror Aaron tympanum in manu egressaeque sunt omnes mulieres post eam cum tympanis et choris

Prophe-ta I. a foreteller, SOOTHSAYER prophet (post-class.; cf. vates): prophetas in Adrasto Julius nominat antistites fanorum oraculorumque interpretes, Fest. p. 229 Müll. (Trag. Rel. p. 194 Rib.): prophetae quidam, deorum majestate completi, effantur ceteris, quae divino beneficio soli vident, App. de Mundo, p. 56, 29: sacerdotes Aegyptiorum, quos prophetas vocant, Macr. S. 7, 13, 9 : Aegyptius, propheta primarius, App. M. 2, p. 127, 3 .

John in Revelation 18 as well as ALL definitions of arusal singing and instruments calls it SORCERY used to DECEIVE the whole world. The Iraelite NATION was DECEIVED here and later by usurping women.

But of the Jewish prophets once to PROVE that Miriam was a propheteSS and not a PROPHET.

--Of the Jewish prophets, Lact. 1, 4, 1; 4, 11, 1; 7, 24, 9; Vulg. Luc. 1, 70.
Luke 1:70 As he spake by the mouth of his holy prophets, which have been since the world began:
Luke 1:71 That we should be saved from our enemies, and from the hand of all that hate us;
Luke 1:72 To perform the mercy promised to our fathers, and to remember his holy convenant;
Luke 1:73 The oath which he sware to our father Abraham,

MIRIAM, LIKE ALL POETS AND MUSICIANS, INTERPRETED FOR GOD without authority.

The INTERPRETER also idenfifies Miriam as claiming to be a MEDIATOR and the word points to the pagan "gods" known in Egypt as well as Greece.

Interpretes
I. An agent between two parties, a broker, factor, negotiator, div?m, the messenger of the gods, i. e. Mercury,
II. An explainer, expounder, translator, interpreter (syn. internuntius) portentorum, a soothsayer,

BUT Moses DID NOT NEED an interpreter: the NEXT explainer or prophet AFTER Moses would be Jesus Christ. That excludes Miriam as a "face to face" speaker or TRANSLATOR for God.

It is a proven fact that singers and musicians have always considered themselves inspired and they seek a WAGE to interpret the Word of God and LEAD the "worshipers" into the presence of God. In the Apocrypha, the New Testament and the Greek literature we know that Hermes or Mercury is claimed to be the LOGOS or Word. Shelly says that John got the LOGOS idea from Greek philosophy. However, the Hebrew word is DABAR which is the personified voice of God.

ALL poetry and singing is an INTERPRETATION usually several REMOVES from the truth. That is why Peter outlawed Al Maxey from doing PRIVATE INTERPRETATION meaning FURTHER EXPOUNDING. Only by LEAVING the path of Jesus and returning to slavery can anyone PROVE that instruments were anything but MARKS of rank superstitionism, patternism and legalism.

MIRIAM WAS NOT A MUSICAL WORSHIP MINISTER UNLESS WE HAVE RETURNED TO SUPERSTITIOUS, LEGALISTIC PATTERNISM.

Furthermore, Miriam TRANSCENDED the Law and was the "prototypical female usurper" in Paul's mind (?).

Egressaeque I. inf. egredier, Plaut. Poen. 3, 4, 32), (a). To step out, leave, b). To move out, march out, B. Trop. in speaking, to digress, depart, deviate, wander, B. Trop., to overstep, surpass, exceed

Plautus Poen. 3, 4, 32)

"AGORASTOCLES It's time to be quiet, for the door makes a noise. I see the Procurer Lycus coming out of doors; come this way, pray!
"ADVOCATI Why not? But, if you please, cover up our heads, that the Procurer mayn't know us, who have been his decoyers into so great a calamity. (He throws the lappets of their garments over their heads.)

4 His decoyers: "Illices." "Illex" was a bird-call, quail-pipe, or decoy used by fowlers for catching birds.

Transcendo or trans-scend. I. Lit. (freq. and class.; cf.: supero,ransgredior). to climb, pass, cross, or step over, to overstep, surmount.

We quoted PLENTY OF EVIDENCE that the Israelites brought their ABOMINATIONS with them from Egypt. Based on the actual WORDS used, the fact that God said that Miriam WAS NOT a PROPHET who spoke for Him and the DEFINITION of the Egyptian PROPHETESS, we can say with certainty that NO ONE should ever try to make Miriam (bitter and rebelious) into a Musical Worship Minister.

Furthermore, Miriams ANSWERING or INTERPRETING will be identified later by Moses as the PROOF of Idolatry which could be HEARD from a distance.

"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).

"We know that all of the Israelite brought Egyptian gods and practices with them and it is not far-fetched to think that Miriam, who had not yet been exposed to the Covenant of God's grace, was part of the consciousness-altering rhythms and which was part of a priestly myth-play brought to destructive consummation at Mount Sinai as the golden calf was called back into action. Marks

To which we will turn as a DISCIPLE rather than a MINER for CENI to impose musical idolatry.