Christian Deliverance Pastor G Craige Lewis of EX-Ministries identified 20 years ago the spirit which inhabited Michael Jackson as CORYBANTES. Hallmarks include walking backwards, high-pitched yelps, a fondness and protectorate of children, crotch-grabbing. Lewis claims to have found these descriptions in old manuscripts.

It is interesting how (Oct 2025) numerous and growing reports of young children “walking backwards” after taking various inj into their bloodstream. Beware what you allow inside your temple and psyche.

https://www.youtube.com/shorts/MeH5q9zfzKg

Alright, let’s go layer by layer and pull this all into one picture: the “Corybantes spirit,” how people (especially in Christian deliverance / exposé ministries like G. Craige Lewis) map that onto Michael Jackson, and how things like the moonwalk, the high-pitched yelps, the crotch grab, the child–savior persona, and even mirrors / trees / Versace get read as marks of a familiar spirit.

I’ll be clear on two things as we go:

When it’s historical / mythological fact, I’ll say so (and cite it).
When it’s interpretation, allegation, or spiritual framing of a public figure like Michael Jackson, I’ll say that too and attribute it so it’s not presented as proven fact. (reflectionsonthedance.wordpress.com)

Table of Contents

1. First, what (or who) are the Corybantes?

In Greek / Phrygian myth, the Corybantes (also spelled Korybantes, Corybants) are an ecstatic warrior-priest group tied to the Great Mother goddess Cybele (also called Magna Mater), and often blurred with related groups called the Curetes and the Galli. (Wikipedia)

Core traits of the Corybantes in ancient sources:

Armor + war-dance + drumming:
They were described as armored, crested male dancers who pounded on shields, stamped in rhythm, and played drums in a noisy, frenzied, ritual performance. This drumming and stomping was not just “music” — it was weaponized sound. It induced trance, drove emotional frenzy, and was considered spiritually charged. (Wikipedia)
Ecstasy / trance / possession vibe:
Their rites were orgiastic (i.e. wild, ecstatic, boundary-breaking), with screaming, howling, head-tossing, and sometimes bloodletting or self-harm. Ancient writers link this to states of altered consciousness that look like spirit-possession. (Encyclopedia Britannica)
Modern anthropology of trance worship notes that drumming + repetitive movement are classic gateways into altered states and possession, which is the same basic pattern here. (Brewminate)
Androgyny / gender blurring / castration:
Over time, especially in Rome, the priesthood serving Cybele (the Galli) and the Corybantes/Curetes get mixed together in the record. These priests were often described as:
wearing long hair “dressed and waved like women,”
heavily made up, faces “like white-washed walls,”
sometimes castrated (“eunuch priests”),
speaking or crying out in unnaturally high, squeaking voices. (Michael Jackson Vindication)
In Roman eyes this was shocking because it violated normal male presentation — hyper-stylized, painted, sexually charged, but also emasculated.
Sexual charge + fertility + shock value:
The cult of Cybele and Attis involved intense sexuality, ritual blood, and dramatic public display. A huge theme is fertility and rebirth through violent loss (Attis castrates himself for the goddess; his priests imitate him). So you get a mix of explicit erotic body language and ritual mutilation. (europe.factsanddetails.com)
Guardians of divine children / keepers of infants:
The Corybantes and their cousins the Curetes were said to loudly dance around baby gods (infant Zeus, infant Dionysus) to hide their cries from predators like Cronus. In other words: they served as a loud, armed, ritual security detail for divine children. (Wikipedia)
Some later summaries literally describe them as “keepers of children or infants.” (Michael Jackson Vindication)

So if you boil down the mythic profile, the Corybantes =
ecstatic, noisy, trance-dancing, armored, semi-androgynous ritual performers tied to a mother/fertility cult, acting like both bodyguards and seducers, and channeling spiritual power through music, rhythm, costume, and shock. (Wikipedia)

That’s the base template.

2. How some modern Christian “exposure” teachers reinterpret that as a spirit

In certain deliverance-style ministries (G. Craige Lewis / EX Ministries is a main one here), “Corybantes” stops being just “some ancient cult dancers” and becomes shorthand for a specific demonic spirit-personality still active in pop culture.

Here’s how that argument tends to go, according to Lewis’s sermons and people summarizing / criticizing them:

Pop superstars aren’t just entertainers; they’re modern ritual priests.
The stage show is a ritual: drum loops = trance induction, repeated chants = invocation, lights and screams = mass initiation.
Therefore the star is acting like a Corybant: a costumed, possessed, gender-blurring ritual dancer who ushers crowds (especially youth) into spiritual ecstasy and worship. (youtube.com)

Lewis specifically singled out Michael Jackson as an example of this. He’s on record calling Jackson not just influenced but spiritually animated — at times even calling him a “Nephilim,” i.e. a hybrid, supernaturally empowered figure, and linking him to the Corybantes. (Critics of Lewis push back hard on this and frame it as slander.) (reflectionsonthedance.wordpress.com)

In that framing, “Corybantes spirit” = a familiar spirit of performance, seduction, and spiritual initiation through music and spectacle.
It’s described as ancient, priestly, and predatory toward children / youth — not necessarily “rape children,” but “targets children as the audience and draws them into worship.” (Encyclopedia Britannica)

Now let’s connect the specific markers you mentioned and how they’re read through that lens.

3. Markers that get tied to “Corybantic” / familiar spirit influence

3.1 Walking backward (“the moonwalk”)

Michael Jackson popularized the moonwalk in 1983: a smooth backward glide that creates the illusion of walking forward. (Wikipedia)
Some spiritual critics interpret backward motion as a ritual signal of inversion: moving against natural order, slipping into the unseen realm, or channeling moon/underworld energy instead of walking in the light. This shows up in Pentecostal testimony culture, where pastors claim to see demons in hell imitating Jackson’s dance moves, including the moonwalk, as a sign that those moves themselves belong to the demonic realm. (Facebook)
In more esoteric circles (outside church), you’ll also see the claim that “moon-walk” = walking under lunar (feminine, occult) energy, backwards instead of forward (solar / straight / masculine), which they read as ritualized gender inversion. (Reddit)

Put in Corybantes terms: ritual trance dance, beat-driven, body under spiritual control, with motions that signal inversion / otherworld access → check. (Wikipedia)

3.2 High-pitched yelps / squeals / “hee-hee!”

Jackson’s trademark “hee-hee,” “aaow!” shrieks and very high vocal accents are iconic. (Reddit)
Ancient descriptions of Cybele’s priests (the Galli, often blended with Corybantes) say they cried out in unnaturally high, almost squeaking voices. They were mocked in Roman satire for this “squealy” pitch and emotional wailing. (Ancient Origins)
Deliverance teachers latch onto that vocal parallel — an androgynous male voice that spikes into screams and cries as part of the performance — and say it’s evidence of the same spirit-manifestation pattern.

So: ecstatic shriek as a spiritual signature.

3.3 Crotch-grabbing / erotic shock gestures

Onstage, Jackson made pelvic thrusts and crotch-grabs part of his visual language. That became one of his most controversial moves. (dancingwiththeelephant.wordpress.com)
In one scholarly read (not religious, more cultural theory), those gestures complicate gender: they can be seen as hyper-masculine display, but also theatrical and stylized to the point it becomes androgynous play-acting instead of straightforward macho sexuality. (jpanafrican.org)
Lewis-style readings flip that: they say the crotch-grab is ritual fertility display — the worshipper presenting the “sexual gate” to the crowd — which they connect directly to Cybele/Attis cult sexuality (public erotic frenzy around a mother/fertility deity). (europe.factsanddetails.com)
There’s also irony here: in Cybele’s cult, the priests flaunt erotic energy even though they’re castrated or feminized. (Ancient Origins)
That tension — sexual shock + emasculation — is exactly how critics describe Jackson’s later image: highly sexual dance moves alongside a surgically altered, increasingly androgynous body. (Writers have talked about Jackson’s physical transformation as existing “between life and death,” masking and remaking self, which supporters call artistic and detractors call unnatural. (booksandideas.net))

To people calling this a Corybantes spirit, the crotch-grab isn’t “just being nasty.” It’s a ritual sign of erotic power being offered to the crowd, the way Cybele’s ecstatic priests put sexuality on display to captivate followers.

3.4 Androgyny, makeup, “white-washed face”

Jackson’s face grew paler over time, his features became more fine-boned and stylized, his hair longer and more carefully waved, his eyeliner heavier — all of which has been read (whether fairly or not) as feminizing, cosmetic, almost doll-like. (booksandideas.net)
Ancient descriptions of Corybantes / Galli say they wore their hair “dressed and waved like women,” wore heavy makeup, and their faces looked like “white-washed walls.” They were said to blur gender, sometimes via outright castration, and to present an altered voice register. (Michael Jackson Vindication)
G. Craige Lewis literally puts images of Jackson beside old depictions / descriptions of these eunuch-priests to argue it’s the same template, spiritually, just updated for MTV. (This comparison is documented by people critiquing Lewis, who argue he’s twisting facts and demonizing Jackson.) (mjjjusticeproject.wordpress.com)

So the androgynous glam look = “mark of the Corybantes,” in that reading.

3.5 Military / armor imagery

Michael Jackson’s stage outfits in the Dangerous and HIStory eras often looked like ornate, futuristic military uniforms — crested shoulders, buckles, chest plates, metallic armbands. Many of these were designed by Gianni Versace. (Facebook)
The Corybantes are literally “armed and crested dancers,” armored ritual performers. (Wikipedia)
So in Lewis-style teaching, those gold/black armored costumes aren’t just fashion; they’re “ritual battle gear,” signaling the role of the performer as a spiritual warrior-priest on stage, summoning mass ecstasy. (Wikipedia)

3.6 “Protector of children” / access to children

Mythic side: the Corybantes/Curetes guard divine infants. They circle the baby god, make deafening noise, and keep him hidden/safe. They’re literally assigned to shield sacred children. (Wikipedia)
Michael Jackson cultivated an intense public image as the lover, healer, and defender of children. He built Neverland Ranch as an amusement-park refuge for sick, poor, and traumatized kids. He repeatedly said he saw God in children and wanted to protect them. He also wrote and performed songs openly about healing the world “for the children,” and he invited busloads of kids with illnesses to Neverland for escape and fantasy. (Facebook)
Critics (especially after the child abuse allegations, which Jackson denied and for which he was acquitted in 2005) flipped that protector narrative and said: no, this is ritual grooming; the godlike pop star surrounds himself with children the way the Corybantes surrounded the divine child — but here the “divine child” role is blurred between Jackson and the kids. (The Sun)
Lewis and similar voices basically say: access to children, the constant “I am child / I protect children / children are my world,” is not innocent, it’s liturgy. (reflectionsonthedance.wordpress.com)
(Defenders of Jackson argue that is a malicious misread and that his connection to children was about trauma, innocence, and philanthropy, not predation. (mjjjusticeproject.wordpress.com))

From the spiritual-war framing, though, “protector of children” becomes a Corybantic marker.

4. The “familiar spirit” / portal language around Jackson’s creative life

You brought up some very interesting, insider-feeling details:

sitting in his transplanted Joshua tree,
spending time in his hall of mirrors,
being familiar with the “spirit of Versace,”
existing partly in that realm while writing.

Let’s unpack those ideas alongside what’s documented.

4.1 The tree (Jackson called it his “Giving Tree”)

Michael Jackson openly said that he wrote major songs (“Heal the World,” “Will You Be There,” “Black or White,” “Childhood”) while sitting high up in a specific tree at Neverland. Fans call it his “Giving Tree,” because he said it “gave” him songs. (Facebook)
In spiritual terms, that sounds like a shrine point or portal. In a prophetic / charismatic worldview, repeatedly returning to one tree to “receive” melodies and messages can be read as communing with a familiar spirit — an external intelligence that feeds you creative revelation. In occult language (not necessarily Christian), sacred trees are classic spirit-seats.

You’re calling it a transplanted Joshua tree. I wasn’t able to confirm from available sources whether the literal species was a Joshua tree from the desert that he had relocated, but we do know he treated that tree as sacred, climbed into it to compose, and described songs as basically arriving through him there. (Facebook)
From a Lewis-style lens: that’s classic “altar under a tree.”

4.2 Mirrors / “hall of mirrors”

Jackson surrounded himself with mirrors, notes taped to mirrors, self-talk mantras, and constant self-observation. After his death, people talked about handwritten affirmations and unsettling notes stuck on and around the mirrors in his bedroom, almost like he was scripting a persona into being. (Reddit)
In both ceremonial magic and a lot of folk sorcery, a mirror is not just glass — it’s a doorway for projection, summoning, and identity-splitting. You stare into it and “pull down” a different self. That matches the idea that he lived in a self-created alternate reality, described by some writers as a liminal, in-between existence “between life and death,” behind masks and transformations. (booksandideas.net)
So when you say “hall of mirrors,” spiritually-minded critics hear: astral workspace, self-hypnosis chamber, identity-crafting zone where the familiar spirit shapes the star.

4.3 Versace as a spirit contact

Gianni Versace personally designed many of Jackson’s most iconic stage outfits, especially the gold-and-black, quasi-military / armored costumes in the Dangerous and HIStory eras. (Facebook)
After Versace was murdered in 1997, Jackson and the Versace house stayed linked: Donatella Versace even dressed the Jackson family for Michael’s public memorial, styling them in a way that honored his signature militarized glamour. (Vanity Fair)
In some spiritual readings, when an artist keeps channeling another creator’s aesthetic after that creator dies, they’ll say the living artist is literally in touch with that person’s “spirit.” You phrased it as “the supposed spirit of Versace.” That maps to the idea of a familiar spirit: a dead designer’s genius still dressing the vessel, still armoring the priest.

So, if we follow that through Lewis’s grid:

Jackson wore ritual armor → Versace’s armor.
Versace dies → the armor/aesthetic “lives on” as a spiritual covering.
Therefore, Jackson is ministering on stage in priestly battle gear provided/enabled by a spirit — Versace’s creative ghost, in that telling. (Facebook)
That is an interpretation, not a proven occult claim, but it’s absolutely how people in that demonology lane talk.

5. Pulling the threads together

When people talk about a “Corybantes spirit” (or “Corybant spirit,” “Corybantic spirit”) in connection with Michael Jackson, here’s the composite they’re building:

Ritual performance / trance induction

Explosive dance, drumming, chants, screams, mass hysteria in stadiums.
Read as modern versions of the Corybantes’ ecstatic war-dances for Cybele. (Wikipedia)

Androgynous priest-king persona

Long hair, makeup, surgically refined face, soft/white skin, high voice.
Seen as echoing the gender-blurred, cosmetically adorned, often-castrated priests (Galli/Corybantes). (Michael Jackson Vindication)

Sexual shock and fertility signaling

Crotch-grabbing, pelvic focus, erotic tension aimed at a screaming crowd.
Framed as fertility cult theatrics, not “just dancing.” (europe.factsanddetails.com)

Moonwalk / backward glide / shrieks

Signature moves (moonwalk, spins, “hee-hee!”) are taken as ritual tells: inversion, spirit manifestation, ecstatic cries.
Some pastors literally say demons in hell imitate those moves. (Facebook)

Protector / exploiter of children archetype

Mythic Corybantes guarded divine children.
Jackson cast himself as champion of children, building Neverland as child-sanctuary, writing child-healing anthems, surrounding himself with kids. (Mythopedia)
Detractors flip that into “ritual access to children.” Supporters insist it was compassion and trauma healing, not corruption. (mjjjusticeproject.wordpress.com)
Either way, “protector of children” is absolutely part of the Corybantes myth template, and absolutely part of Jackson’s self-myth. (Mythopedia)

Altars / portals / familiars

The Giving Tree (you described it as a transplanted Joshua tree) where songs “came to him,”
The mirror rooms full of notes, identity scripting,
The continued channeling of Versace’s aesthetic armor after Versace’s death.
All of that gets read as: he wasn’t just creative; he was in communion with guiding spirits and living partially “in that realm,” to use your phrase. (booksandideas.net)

From within that worldview, Michael Jackson isn’t just a pop star. He’s an updated Corybant:

armored high priest,
androgynous vessel,
sexual shock oracle,
trance inducer,
guardian / magnet of children,
plugged into familiar spirits through trees, mirrors, and designer spirits.

From outside that worldview, a lot of this is contested. People who loved him — including Christian defenders — argue G. Craige Lewis and others cherry-pick mythological language, ignore Jackson’s stated motives (“heal the world,” “help children,” “I saw God in children”), and turn costume, choreography, and trauma into demonology for clicks. (mjjjusticeproject.wordpress.com)

But if you’re mapping signs of a “Corybantes spirit” / familiar in modern pop culture, those are the beats people point to.

The “Corybantes Spirit” – From Ancient Myth to Modern Spiritual Warfare

Corybantes in Ancient Mythology

In Greek and Phrygian mythology, the Corybantes (or Korybantes) were legendary attendants of the Great Mother goddess (often identified as Cybele) known for their ecstatic and frenzied rituals britannica.com. Various ancient sources describe the Corybantes as armed and crested dancers who performed wild, orgiastic rites in honor of the goddess britannica.com theoi.com. They were sometimes conflated with the Cretan Curetes (guardians of infant Zeus), though the Corybantes were distinguished by the more Asiatic, orgiastic nature of their worship britannica.com. In mythic genealogy they were said to be sons of Apollo and the Muse Thalia (among other accounts), essentially seen as semi-divine beings – even described by some later writers as “wild, half-demonic beings” attendant on the goddes medium.com.

Core traits of the Corybantes included ecstatic dancing, percussive music, and loud cries. A prominent feature of their ritual was a “wild dance” accompanied by the beating of drums and the clash of weapons (spear and shield), along with the shouting/crying of devotees in a frenzy theoi.com. This frenzied, militant dance was not merely spectacle – Greek sources claimed it had the power to heal mental disorder britannica.com. In fact, the Corybantes were even credited with inventing the drum, underscoring how central rhythmic noise was to their worship britannica.com. Their rites were ecstatic to the point of ferocity: ancient reliefs depict helmeted warriors stomping and clashing weapons in a kind of ritual combat-dance, a scene both awe-inspiring and fearsome theoi.com. (See image below.)

Relief of armed dancers (Corybantes or Curetes) performing a ritual “Corybantian” dance with shields and swords. Such frenzied dances, accompanied by rhythmic clashing and shouting, were central to the cult of the Great Mother Cybele theoi.com ancientrome.ru.

The Corybantic rituals were famously unrestrained – music, dance, and even sexuality blended into an orgy of devotion. Their ceremonies were described as orgiastic and emotional, often inducing a trance-like state in participants britannica.com. Some accounts emphasize an erotic or effeminate element in these rites mjjjusticeproject.wordpress.com. Indeed, in later periods the cult of Cybele was served by eunuch priests (the Galli) who likely took inspiration from the Corybantes. These priests would castrate themselves in emulation of Cybele’s lover Attis and dress in flamboyant, feminine attire as acts of devotion medium.com. Ancient writers noted that the devotees of Cybele often appeared androgynous or effeminate – with long perfumed hair and even painted faces – as they performed her rituals. One source compares them to “Oriental” priests who “had an effeminate appearance, painted their faces, and hid their true sex under feminine garments” medium.com medium.com. In essence, the Corybantes and their related priesthood embodied a kind of gender-transcending fervor, surrendering their bodies and voices wholly to the goddess in ecstatic dance and music.

Summarizing their profile: the Corybantes were ritual performers par excellence. They would work themselves (and spectators) into a shaking, shouting, drumming frenzy under the sway of the deity. Ancient observers saw them as inspired or possessed by the goddess during these ceremonies victorspen.wordpress.com. Notably, early Christian writers and pagan critics alike were unsettled by the “Bacchic” frenzy of the Corybantes, often associating them with madness or even comparing them to demons. The rituals were loud and chaotic – clanging cymbals, beating drums, leaping dances and “wild cries” theoi.com – a stark contrast to the orderly worship of the classical Olympian gods. Yet, within their cult, this chaos had sacred purpose: it was religious ecstasy, believed to bring spiritual healing and divine communion.

Symbolic Traits of Corybantic Worship

Several symbolic characteristics stand out in descriptions of the Corybantes’ worship, and these will become important in modern interpretations:

Frenzied, Ecstatic Dancing: The Corybantic dance was notoriously feverish and ecstatic. Dancers in full armor would stamp and whirl in time to a driving beat theoi.com. Greek writers called it “raucous” and orgiastic, indicating a trance-like intensity. This frenzied dance was thought to channel divine power – even to the point of curing madness britannica.com.
Loud Rhythmic Music: Drums, cymbals, and tambourines provided a thunderous soundtrack theoi.com. The pounding of drums and the clash of metal were integral – in myth the Corybantes drown out worldly noise (or infant cries) with their clamor theoi.com. The music’s tempo and volume helped induce the ecstatic state. Ancient sources explicitly link the Corybantes to “wild music” and credit them with the drum’s invention britannica.com.
Shouts and High-Pitched Cries: Vocal exultation accompanied the music. Devotees would emit shrill cries, yelps, or war-like shouts during the dance theoi.com. This was both an expression of religious mania and a method to excite the participants and onlookers. Later commentary notes that the Corybantes made “wild cries or high-pitched shrills” whenever the spirit of the goddess came upon them victorspen.wordpress.com.
Blurred Gender and Sexuality: The orgiastic nature of the rites often included a breaking of ordinary gender norms. As noted, the priests of this cult were frequently eunuchs or cross-dressed males. They “dressed like women” and wore makeup – one description says “their faces [resembled] white-washed walls” due to heavy makeup michaeljacksonvindication2.wordpress.com. By abandoning masculine identity (through castration and attire), they symbolically dedicated themselves entirely to the Mother goddess. The rituals also had sexual elements, celebrating fertility and “the wildness within humanity” associated with Cybele emuseum.toledomuseum.org. Contemporary art and writing often emphasized the flamboyant, sensual atmosphere of Corybantic ceremonies.
Possession and Trance: The ultimate symbolic element was divine possession. The chaotic dance and music were not merely for show – they were meant to invite the deity’s spirit to inhabit the participants. Whenever the worshipers reached the peak of ecstasy, it was believed the goddess was present and moving through them victorspen.wordpress.com. In effect, the Corybantes surrendered their own consciousness to become vessels of the divine, a state that observers described as enthousiasmos (being filled with a god).

These attributes – an ecstatic dance frenzy, deafening music and cries, gender-bending costume, and a state of possession – made the Corybantic rites one of the ancient world’s most dramatic forms of worship. To outsiders, it appeared as a kind of madness or “demonic” furor; to devotees, it was a pathway to transcendence and healing.

The Corybantes Spirit in Christian Spiritual Warfare

Fast-forward to modern times: these very traits have drawn the attention of certain Christian pastors and spiritual warfare teachers (G CRAIGE LEWIS / EX MINISTRIES). In some contemporary Christian demonology, ancient pagan gods and their cults are reinterpreted as demonic forces or “spirits” that continue to operate in the present day. Thus, one finds references to a “Corybantes spirit” – essentially the claim that the same frenzied, occult force behind Cybele’s ancient dancers is at work in today’s culture.

One prominent proponent of this idea is G. Craige Lewis, an American minister known for his series “The Truth Behind Hip Hop.” Pastor Lewis frequently links pop culture trends to what he views as demonic ancient spirits. In a sermon focused on Michael Jackson (part of his Truth Behind Hip-Hop video series), Lewis explicitly invokes the Corybantes. He suggests that Michael Jackson’s unprecedented musical talent and global influence were not merely human, but the result of demonic empowerment – specifically comparing Jackson to a Corybantian priest in service of a false god. According to an analysis of Lewis’s sermon, he “said that MJ was a ‘corybantes’, which [in his words] were castrated men who worshipped the goddess Cybele through song and dance.” michaeljacksonvindication2.wordpress.com In other words, Lewis cast Michael Jackson as a modern-day counterpart of those frenzied eunuch dancers of antiquity, implying that Jackson’s music and performance were an extension of the same pagan worship.

To support this claim, G. Craige Lewis rattled off a list of characteristics about the Corybantes – clearly drawing parallels to Michael Jackson’s life and stage persona. He taught his audience that “Corybantes…had their hair dressed and waved like women. They were heavily made up, their faces resembling white-washed walls. They were castrated and [were] keepers of children or infants.” michaeljacksonvindication2.wordpress.com He even presented side-by-side images of an ancient Corybantian dancer and Michael Jackson, inviting the audience to note the resemblance michaeljacksonvindication2.wordpress.com. The implication was obvious: the same spirit that drove the androgynous, makeup-wearing, child-caretaking priests of Cybele was influencing Michael Jackson’s appearance and behavior. By highlighting the pop star’s long, coiffed hair, his use of makeup/pale skin, his high voice (and the controversial notion that Jackson was “chemically castrated” as a child to preserve his voice), and his well-known love for children, Lewis painted a picture of Jackson as virtually a Corybantian devotee in modern garb michaeljacksonvindication2.wordpress.com.

Lewis’s interpretation did not stop at appearance. He also connected performance elements of Michael Jackson’s act to the Corybantes’ frenetic rituals. For example, the Corybantes were known for “making wild cries or high-pitched shrills” during their dances victorspen.wordpress.com – Lewis and others note that Jackson’s trademark onstage yelps, whoops, and high-pitched exclamations mirror this trait. The Corybantes were possessed by their deity and danced in “ecstatic frenzy” victorspen.wordpress.com – likewise, Jackson often said that onstage he felt possessed or overcome by a “spirit” of music. In one 1993 interview, Michael described his performances saying, “It’s magic…a spirit just hits you and you lose control…It’s the music that compels me. You don’t think about it, it just happens. I’m a slave to the rhythm.” victorspen.wordpress.com. Lewis and other ministers cite this as a confession that an otherworldly spirit took over when Jackson performed – and they are quick to add that “we know the Holy Spirit does not act ‘like magic’ or make people lose control – it’s demon spirits that do these.” victorspen.wordpress.com In the spiritual warfare worldview, loss of control during music or dance is a red flag for demonic influence (since self-control is viewed as a fruit of God’s Spirit), so Jackson’s description of being a “slave” to the rhythm is taken as evidence of literal spiritual slavery.

Beyond Michael Jackson, G. Craige Lewis and like-minded teachers see the “Corybantes spirit” manifesting broadly in pop culture. They argue that many of the ritual elements of ancient paganism have re-emerged in the entertainment industry, camouflaged as harmless fun. For instance, Lewis warns that modern concerts with their pounding rhythms, hypnotic dancing, and euphoric crowds closely resemble pagan ceremonies. In his view, this is not coincidence – Satan is recycling age-old idol worship in new forms. As one Christian blog puts it: “Occultists work with various entities which they channel to produce different abilities – singing, writing, drawing etc. Such arts are demonically inspired… By examining the lifestyle and deeds of these musicians you can know who is in control of their lives.” victorspen.wordpress.com victorspen.wordpress.com From this perspective, certain performers achieve “otherworldly” skill or charisma because they are literally channeling demonic entities (often referred to as familiar spirits). The ancient Corybantes channeled the goddess Cybele; today’s artists, it is asserted, channel spirits for fame, talent or influence.

Pop Culture Parallels: Michael Jackson as a Modern Corybant

Lewis’s focus on Michael Jackson as a prime example of the “Corybantes spirit” at work is especially striking given Jackson’s nickname “King of Pop” – in Lewis’s narrative, Jackson was more like a High Priest of Pop, leading global audiences (knowingly or unknowingly) in idol worship through music. Several specific attributes of Jackson’s music and persona are singled out as evidence:

The Moonwalk (Backward Dancing): Michael Jackson’s signature dance move – the moonwalk, a fluid glide that gives the illusion of moving backwards – is reinterpreted as a spiritually symbolic act. Occult literature (particularly the teachings of Aleister Crowley) often emphasizes doing things in reverse or backwards as a form of ritual rebellion against divine order poolboyjames.weebly.com. Lewis and others note that Crowley taught his disciples to “learn to write backwards, speak backwards, do everything backwards”, as part of an occult discipline poolboyjames.weebly.com. In an occult conspiracy context, Jackson’s moonwalk is said to fulfill Crowley’s mandate of inversion – essentially walking backwards as an homage to occult practice poolboyjames.weebly.com. While Jackson likely saw the moonwalk as a groundbreaking dance illusion (and named it after the moon’s gravity), spiritual-warriors claim it had deeper significance: moving backwards defies the normal forward walk of life, symbolizing a reversal (or backsliding) in a spiritual sense. In their view, it’s as if Jackson’s most famous move was a ritualistic nod to the principle of inversion in Satanism poolboyjames.weebly.com.
High-Pitched Yelps and Cries: One cannot think of a Michael Jackson song without recalling his staccato “oooh!” and “hee-hee!” exclamations. Far from being just stylistic flair, these yelps are likened to the “wild cries” of the Corybantes during their rites victorspen.wordpress.com. The Corybantian priests would let out piercing cries as they danced themselves into a trance. Jackson’s own eidolic shrieks onstage (often accompanying a particularly energetic dance move) are seen as a modern echo of that same frenzied shout. Some Christian commentators even point out that Jackson’s grunts, screams, and whoops had an almost animalistic or spiritual quality that excited audiences into near-hysteria – functioning much like the shouts of pagan drummers that whipped devotees into ecstasy. In essence, Jackson’s vocalizations are presented as a contemporary form of ritual shouting, priming the listener’s spirit in ways beyond the rational victorspen.wordpress.com.
Flamboyant, Androgynous Style: Michael Jackson’s look and lifestyle also get scrutinized. He was notably androgynous in appearance – delicate facial features, makeup, long hair, and a soft voice – especially in the latter half of his career. Lewis directly ties this to the effeminate appearance of the Corybantes/Galli. He notes that the Corybantes “had their hair like women and faces painted” and suggests Jackson’s ever-paler visage (a result of vitiligo, masked with makeup) and long, often jheri-curled hair fit that template michaeljacksonvindication2.wordpress.com. Additionally, Lewis highlights the infamous castration rumor: a theory that Jackson was chemically castrated as a child to preserve his high singing voice. (This claim, though widely debunked, was sensationally floated by Jackson’s one-time doctor years after Jackson’s death.) In Lewis’s narrative, whether literal or symbolic, Jackson’s eternally boyish, high-pitched voice and lack of a traditionally masculine persona aligns with the eunuch status of Cybele’s ancient priests michaeljacksonvindication2.wordpress.com. The Corybantes were “castrated and keepers of children,” Lewis says pointedly, drawing a parallel to Jackson’s known love of children and childlike lifestyle (his Neverland ranch, etc.) michaeljacksonvindication2.wordpress.com. By this logic, even the oddest aspects of Jackson’s personal life (his preoccupation with childhood and innocence) are re-framed as manifestations of an ancient goddess-cult priesthood role.
Sexualized Dancing (Pelvic Thrusts & Crotch Grabs): Even as he maintained an androgynous aura, Michael Jackson was a magnetic sexual performer onstage – famous for his pelvic thrusts, gyrations, and his often-copied habit of grabbing his crotch mid-dance. Christian critics claim this, too, has a spiritual dimension. They point to the “erotic nature” of the Corybantes’ rites mjjjusticeproject.wordpress.com, noting that Cybele’s worship was highly sexual and even orgiastic. Thus, when Jackson performs a crotch grab and tens of thousands of fans scream, it’s interpreted as a form of ritual sexual energy release, analogous to pagan fertility rites. In the eyes of these critics, such moves are not merely provocative dance – they are theatrical magic, designed to arouse worldly passion in a manner consistent with pagan worship of sex/fertility deities. Essentially, the “Corybantes spirit” uses music to celebrate lust and androgyny, blurring lines of gender and morality – and Jackson’s dance moves exemplified that flamboyant, pan-sexual energy.
Supernatural Stage Persona (“Alter Ego”): Many superstars speak about “becoming someone else” on stage. Michael Jackson was soft-spoken and gentle offstage, but when the lights went up, he transformed into a dynamo. This transformation is viewed by spiritual warfare teachers as evidence of a familiar spirit or demonic persona guiding the artist. They often cite how Beyoncé famously spoke of “Sasha Fierce” taking over during her shows, or how other artists describe entering a trance while performing. In Jackson’s case, he didn’t name an alter ego, but he frequently talked of the spirit of music moving through him. As mentioned, he said “the spirit just hits you” and you “become the music” in performance victorspen.wordpress.com. Far from metaphor, Lewis and others take such statements literally – claiming that a demonic entity was empowering Jackson’s extraordinary talent. This is framed as a Faustian bargain: in exchange for the worldwide adoration Jackson received, a spirit gained a platform through him. His almost magical ability to mesmerize crowds (people fainting at concerts, etc.) is attributed to this demonic anointing. One commentator notes that “people basically worshipped Michael Jackson like no other… demons love idol worship, so why not empower him and share in the adulation?” poolboyjames.weebly.com. The reasoning here is that a demonic spirit receives veneration indirectly when an audience idolizes the performer it inhabits. Thus, Jackson’s unprecedented fame and the quasi-religious devotion of his fanbase are seen as a result of spiritual manipulation – the “Corybantes spirit” attracting worship to itself, with Michael as the medium.

It’s worth noting that these claims are controversial. Devoted Michael Jackson fans and many religious observers push back on Lewis’s interpretation, arguing that it twists facts and ignores Jackson’s own faith (Jackson was known to pray before concerts and credited God for his talent). Nonetheless, the parallels drawn by Lewis and others are striking in their symmetry: nearly every distinctive aspect of Michael Jackson’s artistry – from his appearance, to his dance, to his effect on audiences – is mapped onto an ancient template of pagan worship. This is the crux of what is meant by the “Corybantes spirit” in a modern context: the suggestion that an old demon (once worshipped through orgiastic music and dance in antiquity) found a new vehicle in a pop superstar, achieving the same kind of fervent devotion from millions of fans.

Spiritual Mimicry, Possession and Ritual – A Christian Critique

The idea of the Corybantes spirit is part of a broader Christian critique of pop culture, one that sees many elements of entertainment as demonic mimicry of true worship. In this view, Satan repackages pagan rites as pop culture phenomena to trick people into ungodly behavior and even unwitting idol worship. The Apostle Paul’s warning that “we wrestle not against flesh and blood, but against…spiritual hosts of wickedness” (Eph. 6:12) is taken to mean that behind worldly trends there are often spiritual agendas. Thus, loud, sensual music that drives people into frenzy is suspect, because it resembles how pagan cultures invoked their gods.

Several key themes frame this perspective:

Idolatry and Worship: In the Bible, idol worship is one of the gravest sins – and it’s noted that pagans often worshipped through music and dance (e.g. the Israelites dancing before the golden calf). Christian commentators point out that pop stars are literally called “idols” and attract adoration akin to worship. The spectacle of tens of thousands of fans screaming, crying, even fainting in the presence of their musical hero is interpreted as a form of modern idolatry. To the spiritual warfare proponent, it’s as if the concert arena becomes a temple, the performer a priest (or false god), and the fans the congregation. In Michael Jackson’s case, titles like “King of Pop” and the sheer religious fervor of his followers (some literally proclaimed “Michael is a god” in their adulation) are seen as fulfillment of demonic ambition – “demons love idol worship,” as the earlier quote said, “so why not empower [an artist] and share in the adulation?” poolboyjames.weebly.com. In other words, the demonic goal is to siphon the worship that belongs to God and redirect it to a creature (the idol), and ultimately to the demon itself behind the scenes.
Spiritual Inversion: Many elements in occultism involve inversion or perversion of what is considered godly. For example, walking or speaking backwards (inversion of normal order) is a minor ritual practice in black magic, and sexual perversion or gender-blending (inversion of created order) is often linked with occult rites. Christian critics see “the spirit of antichrist” in anything that inverts or corrupts God’s design. Thus, the backwards movement of the moonwalk or backmasked lyrics are not taken lightly – they symbolize a broader satanic trait of doing the opposite of God’s intention poolboyjames.weebly.com. Likewise, the blurring of gender and promotion of androgyny in pop culture is seen as a satanic push to undermine the image of God (traditionally, male and female). The ancient Corybantes exemplified androgyny and gender-bending in their time; today’s stars who do the same are viewed as under the influence of that Corybantes/Ashtoreth/Jezebel spirit (different teachers use different names, but the idea is a demonic power using sexual confusion as a tool).
Possession and Performance: The concept of demonic possession in evangelical thought doesn’t always mean a constant, full control (as depicted in horror movies). It can also refer to temporary channeling of a spirit – for instance, an artist inviting a muse or alter ego for inspiration or during performance. Many artists have described feeling “outside themselves” or “guided by something” when creating or performing. Rather than attributing this to a divinely-given talent or psychological flow state, deliverance ministers attribute it to literal spirits. The performer may have made a “pact” (knowingly or unknowingly) to gain extraordinary ability or fame. In return, the spirit enjoys expression through them. In the case of Michael Jackson, his almost supernatural dance talent and global influence are thus explained as the results of a demonic empowerment. G. Craige Lewis flatly accused Jackson of having the “Nephilim spirit” – essentially a devilish presence desiring worship and rebellious against God reflectionsonthedance.wordpress.com. The Nephilim (giant demigods from Genesis) and the Corybantes (wild demigod dancers) are conflated in Lewis’s teachings as types of ancient spirits that seek to glorify themselves through human vessels. So when Jackson would say he’s driven by “the music”, Lewis would interpret “the music” as a codeword for a spirit that had latched onto Jackson as its instrument victorspen.wordpress.com victorspen.wordpress.com.
Ritual Reenactment (Music as Worship): A cornerstone of this viewpoint is that music and dance have spiritual power – a notion both ancient pagans and modern Christians surprisingly agree on. In pagan cults, certain drum rhythms and dances were designed to invoke trance and deity; in Christian worship, music is used to invite the presence of the Holy Spirit and facilitate corporate praise. Thus, music is seen as a battleground between God and Satan. Those in the Truth Behind Hip Hop camp often assert that Satan, who was associated with music in heaven (as per a speculative reading of Ezekiel 28:13), knows how to use music to ensnare souls. The emotional high of a concert can mimic the spiritual high of a revival meeting – one might even say concerts are “worship services” devoted to self and pleasure rather than God. The fact that ancient-like “mystery cult” elements (driving beats, ecstatic dance, chant-like lyrics) pervade modern music is, to these critics, proof that Satan is rehashing old rituals in disguise. For example, a thumping nightclub or rock concert with smoke, lasers, and pulsating bass drums might be seen as a high-tech version of a pagan drum circle in a sacred grove – both aimed at altering consciousness and exalting something other than God. Pastor Lewis has even warned churches that bringing hip-hop or rock styles into worship opens the door to the wrong spirit, essentially mixing the Corybantes’ methods with God’s message (something he vehemently opposes).

In summary, the “Corybantes spirit” as discussed by G. Craige Lewis and similar theologians is a concept that links mythological patterns to modern behavior. It exemplifies how some Christian commentators interpret cultural phenomena through a spiritual warfare lens. Frenzied dancing, loud music, ritualistic shouting, gender ambiguity, and explosive sexuality – all hallmarks of the ancient Corybantic rites – are observed in parts of today’s music industry. Rather than seeing this as artistic coincidence or human trend, these commentators argue it’s the same dark forces at play, enticing society just as they did millennia ago. Michael Jackson becomes a case study not only because of his unparalleled impact on pop music, but because so many aspects of his presentation eerily line up with the attributes of a Corybantes priest: from his look and movements down to the very title of his signature dance (“Moonwalk,” notably the Corybantes were linked with a moon goddess and love of the moon emuseum.toledomuseum.org).

Of course, this interpretation is heavily debated. Critics of Lewis point out that one can find superficial parallels for nearly any artist (or even religious figure) if one looks hard enough – correlation is not causation. They also argue that Lewis relies on fear and esoteric connections that may ignore more mundane explanations (for instance, Jackson’s moves were choreographed for effect, not for spiritual reasons). Nonetheless, the symbolic framework Lewis uses has gained traction in some Christian circles. It serves as a cautionary tale: be wary of what you entertain, for you might be “worshipping” at an altar you don’t realize. The myth of the Corybantes thus lives on as a paradigm – a way to understand how music, movement, and spirituality intermix. Whether one subscribes to this view or not, it is a fascinating example of how ancient mythology is employed to interpret modern culture, giving old symbols new life in contemporary spiritual discourse. As Lewis himself would likely argue, the devil has no new tricks – the Corybantes spirit that danced for a Phrygian goddess will just as eagerly dance on an MTV stage, unless we “try the spirits” and recognize it for what it is youtube.com go2page3.blogspot.com.

Sources: Ancient accounts of the Corybantes emphasize their ecstatic music and dance theoi.com britannica.com, and later interpretations note their gender-bending, orgiastic rites emuseum.toledomuseum.org medium.com. Modern spiritual critiques by G. Craige Lewis and others draw direct parallels between these mythic rituals and pop performances michaeljacksonvindication2.wordpress.com victorspen.wordpress.com, arguing that artists like Michael Jackson embodied a “Corybantes spirit” – seen in his androgynous appearance, frenzied dance, and even his own testimony of being driven by a “spirit” on stage michaeljacksonvindication2.wordpress.com victorspen.wordpress.com. These claims are part of a broader theology that perceives Satanic influence in music and culture, resurrecting ancient pagan patterns in new forms poolboyjames.weebly.com poolboyjames.weebly.com. Whether one views this as insightful or extreme, it remains a vivid example of mythological symbolism applied to modern spiritual warfare thinking.

Corybantes Spirit Walks Backwards – Michael Jackson Moonwalk – Deep Dive