Charismatic

Charizo or Charismatic Worship and homosexuality: From Apollo, Apollyon or Abbadon: erotic sense, grant favours to a man, gratify or indulge a humour or passion, Glossei (tongues and blowing the flute), hedonistic, perverted. See John Wesley It is important to note that the Bible uses common words and gives them an uncommon meaning. Faith and Grace are "goddesses" constructed around human attributes. "Faith only" or "Grace centered" intends to PERMIT violating the Will of God believing that "to sin makes grace abound." Charis in the Biblical sense means to have divine influence on our heart.

Charismatic worship makes all of the "sounds" in Revelation 14 which are all signs of doom. Another angel speaking to those still spiritually "alive" commanded "preach the gospel."

See Rubel Shelly On Isaiah 5

The effeminate connection:

Vineyard New Wineskin Worship
See Charismatic and Homosexual connection among the Greeks
Effeminization of Church and Christianity
Music and Effeminate Worship

Number Two

Dionysia Drama Theater Music

Jesus said that worship is in THE NEW PLACE of the human SPIRIT which is the human MIND. Worship happens IN TRUTH according to Paul when we Teach that which has been taught or give heed to the inspired Word.

ALL external worship is PAGAN and Perverted.

A Cappella Worship Leader
Aquinas, Thomas Praise Singing.
Praise Songs as Christian Voodoo
Ancient Pagan Praise Leader
Music as Brainwashing
Musical Performers Dancing as Perversion
Latter Rain, praise teams, praise singing, charismatic
Praise Worship Ploughs the Ground Hosea 10:ll
Rubel Shelly Praise and Thanksgiving
Rubel Shelly Psalm 106
See how CHARISMATIC music was born of sodomy preferably in the form of Pederasty. YOU ARE HERE
See that ZOE is Eos or Helios or Aphrodite or Lucifer: the singing and harp-playing prostitute.
See how it works out when the "children and effeminate rule over you."
See more notes on a cappella.
See Edward Fudge on A Cappella
fix See the Orthodox view and warning about shamanism and demonism

THERE IS NO SPEAKING OF GIBBERISH IN THE BIBLE! Babbling was induced by drugs, wine, body movements and especially music.

Clement in Stromata1 notes that:

Euphorus and many other historians say that there are seventy-five nations and tongues, in consequence of hearing the statement made by Moses: "All the souls that sprang from Jacob, which went down into Egypt, were seventy-five."

According to the true reckoning, there appear to be seventy-two generic dialects, as our Scriptures hand down.

The rest of the vulgar tongues are formed by the blending of two, or three, or more dialects. A dialect is a mode of speech which exhibits a character peculiar to a locality, or a mode of speech which exhibits a character peculiar or common to a race.
<>The Greeks say, that among them are five dialects-the Attic, Ionic, Doric, Aeolic, and the fifth the Common;
and that the languages of the barbarians, which are innumerable,
........are not called dialects, but tongues.
See that TONGUES are always DIALECTS where MY language is more important to me than, say Koine Greek, which was almost a universal language in Corinth.

See Charismatic Music as ancient Pagan superstition Heresy means LIFTING you up with SONG to steal you for THEIR use and profits. That's why they are called Latter Day Profits.

Charis, outward grace or favour (as we say well or ill favoured), grace, lovelines, impulses of kindness, favour. The word eusebeia means reverence towards the gods or parents, piety or filial respect,

For ye are not come unto the mount that might be touched, and that burned with fire, nor unto blackness, and darkness, and tempest, Heb 12:18

And the sound of a trumpet, and the voice of words; which voice they that heard intreated that the word should not be spoken to them any more: Heb 12:19

THE "HARPS" IN REVELATION WERE SIGNS OF DOOM:

and I heard the voice of harpers harping with their harps: Rev 14:2
And I heard a sound from heaven
..........like the roar of rushing waters and
..........like a loud peal of thunder. The sound I heard was
..........like that of harpists playing their harps. Rev 14:2NIV

Sound is:

Echos (g2279) ay'-khos; of uncert. affin.; a loud or confused noise ("echo"), i.e. roar: fig. a rumor: - fame, sound.

Echo (g2278) ay-kheh'-o; from 2279; to make a loud noise, i.e. reverberate: - roar, sound.

And there shall be signs in the sun, and in the moon, and in the stars; and upon the earth distress of nations, with perplexity; the sea and the waves roaring; Lu.21:25

Echeion , ( [êchos] ) drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2.

II. in the lyre, = chalkôma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5.

2. Adj. êcheion organon sounding instrument, Ph.1.588, cj.ib.444,510.

Organon, 3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organôn ekêlei anthrôpous, of Marsyas, Pl.Smp.215c ; aneu organôn psilois logois ibid., cf. Plt.268b ; o. poluchorda Id.R.399c , al.; met' ôidês kai tinôn organôn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2.

êchetês , ou, ho, Ep. êcheta^ , Dor. achetas , acheta^ , ( [êcheô] ) clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., achetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.

A. clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., achetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.

Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]

Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?

don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree kardian to agitate one's

Echeion , ( [êchos] ) drum, gong, Plu.Crass.23, Apollod. ap. Sch. Theoc.2.36, Procop.Gaz.Ecphr.p.153B.; tambourine, as head-dress, Herm.Trism.in Rev.Phil.32.254; used for stage-thunder, Sch.Ar. Nu.292; as sounding-boards in the theatre, Vitr.5.5.2.
II. in the lyre, = chalkôma, apptly. a metallic sounding-plate, Hsch.; so of the palate, Gal.UP7.5.
2. Adj. êcheion organon sounding instrument, Ph.1.588, cj.ib.444,510.
Organon, 3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organôn ekêlei anthrôpous, of Marsyas, Pl.Smp.215c ; aneu organôn psilois logois ibid., cf. Plt.268b ; o. poluchorda Id.R.399c , al.; met' ôidês kai tinôn organôn Phld.Mus.p.98K. ; of the pipe, Melanipp.2, Telest.1.2.

êchetês , ou, ho, Ep. êcheta^ , Dor. achetas , acheta^ , ( [êcheô] ) clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., achetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.

A. clear-sounding, musical, shrill, donax achetas A.Pr.575 (lyr.); kuknos E.El.151 (lyr.); epith. of the cicada, chirping, êcheta tettix Hes.Op.582 , AP 7.201 (Pamphil.); achetat. ib.213 (Arch.): abs., achetas, ho, the chirper, i.e. the male cicada, Anan.5.6, Ar.Pax1159 (lyr.), Av.1095 (lyr.), cf. Arist.HA532b16,556a20: Orph.A.1250 has Ep.acc. êcheta porthmon the sounding strait.
Donax n1 n2 n3 [from doneô, "a reed shaken by the wind, " cf. rhips from rhiptô]

Luke 7:24 And when the messengers of John were departed, he began to speak unto the people concerning John, What went ye out into the wilderness for to see? A reed shaken with the wind?

Don-eô, A. shake, of the effects of the wind, to de te pnoiai doneousin they shake the young tree kardian to agitate one's mind, hêmas edonêsen hê mousikê, II. of sound, murmur, buzz, of bees, prob. in h.Merc.563; d. throon humnôn rouse the voice of song, Pi.N.7.81:--also in Med. or Pass., luran te boai kanachai t' aulôn doneontai Id.P.10.39 ; of bees, Choeril.2; rhoizêmasin aithêr doneitai Ar.Av.1183 .--Poet. word, used in Ion., X.Smp.2.8, and late Prose; of medical percussion, Aret.SD2.1

Pi.N.7.81 Pindar, Nemean Odes 7

[22] since there is a certain solemnity in his lies and winged artfulness,
and poetic skill deceives, seducing us with stories,
and the heart of the mass of men is blind. Strike up the song! The Muse welds together gold and white ivory with coral, the lily she has stolen from beneath the ocean's dew. [80] But in remembrance of Zeus and in honor of Nemea, whirl a far-famed strain of song, softly.

          On this spot it is fitting to sing with a gentle voice of the king of gods.

To plough the same ground three or four times [105] is poverty of thought,
like babbling "Corinth of Zeus" to children.

"Yobal (Jubal). (Note: Jubilee or "a blast of trumpets" is from Jubal which means "to lead with triumph or pomp.") and Tobalkin (Tubal-Cain), the two brethren, the sons of Lamech, the blind man, who killed Cain, invented and made all kinds of instruments (or metal weapons) of music.

Hippolytus V

"Yobal made reed instruments, and harps, and flutes, and whistles,
        and the devils went and dwelt inside them.
        When men blew into the pipes, the devils sang inside them,
And Satan had been made ruler (or prince) of that camp Fol. 12b, col. 2.

And when the men and women were stirred up to lascivious frenzy by the devilish playing of the reeds which emitted musical sounds, and by the harps which the men played through the operation of the power of the devils, and by the sounds of the tambourines and of the sistra which were beaten and rattled through the agency of evil spirits, the sounds of their laughter were heard in the air above them, and ascended to that holy mountain.

Paul showed how true gifts would be exercised IF there happened to be one in Corinth. There was not even the slightest spiritual insight. Therefore, by defining the gifts Paul showed them clearly that they were STILL CARNAL. But, if you had the BEST GIFT it would mean that God had equipped you to go serve others in the model of Paul as the "suffering Servant."

But covet earnestly the best gifts: and yet shew I unto you a more excellent way. 1Co.12:31

The charismatic gifts of prophecy or the MANTIC gifts meant that you had been driven over the edge into madness. In this state such as being FILLED with wine meaning "being piped down with wine," people believed that the insane ravings wa proof of the gods inside.

You may want to click and see how a preacher for a Christian church in the Northwest justifies women musicians 'performing' for the worship service.

THOUGH I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. 1Co.13:1

Plato: Apology of Socrates and Crito crito,17.2 speaking directly to the charismatic prophesying being practiced by the women in Corinth:

hoi korubantiôntes: here a species of madness seems to be indicated, under the influence of which men

imagined that they heard the flutes
that were used in Corybantian revels.
and the song of the bacchanals in Eur. Bacch. 123-127,
Corybantes, wearing helms three-rimmed,
Stretched skins to make my drum's full round;
Then they, in hollowed caves, lithe-limbed,
With drums, and, with the flute's shrill sound
Full Phrygian, bacchic ditties hymned.

This is Paul's meaning of "clanging brass and tinkling cymbals" which, in church, was equated to speaking in tongues.

When the Lord is in His Holy Temple (me) the whole earth should keep silence. Why is that so important today when so many lambs are being aggitated so they can be fleeced:

Trumpet is:

Salpiqc (g4536) sal'-pinx; perh. from 4535 (through the idea of quavering or reverberation): a trumpet: - trump (- et).

And this word, Yet once more, signifieth the removing of those things that are shaken, as of things that are made, that those things which cannot be shaken may remain. Heb 12:27

Wherefore we receiving a kingdom which cannot be moved, let us have grace, whereby we may serve God acceptably with reverence and godly fear: Heb 12:28

Saleuo (g4531) sal-yoo'-o; from 4535; to waver, i.e. agitate, rock, topple or (by impl.) destroy; fig. to disturb, incite: - move, shake (together), which can [-not] be shaken, stir up.

The reason you had better serve God with reverence and Godly fear is:

For our God is a consuming fire. Heb 12:29

Liddell and Scott note:

Saleuô [salos]

I. to cause to rock, make to oscillate, shake to and fro, Eur., Anth.; sa. tous ochlous to stir them up, NTest.:--Pass. to be shaken to and fro, totter, reel, chthôn sesaleutai Aesch.

Ochlos

I. a moving crowd, a throng, mob, Pind., Aesch., etc.; ho ochlos tôn stratiôtôn the mass of the soldiers, Xen.; tôi ochlôi in point of numbers, Thuc.; hoi toioutoi ochloi undisciplined masses like these, id=Thuc.
2. in political sense, the populace, mob, Lat. turba, opp. to dêmos, id=Thuc., Xen.
3. generally, a mass, multitude, ochlos logôn Aesch.
II. like Lat. turba, annoyance, trouble, ochlon parechein tini to give one trouble, Hdt.; di' ochlou einai, genesthai to be or become troublesome, Ar., Thuc.

Latin: Vulgaritas (volg- ), a-tis, m. [vulgaris] , the great mass, the multitude (postclass.), Arn. 3, 123 and 155

The leader of the vulgar, charismatic religion as a "spiritual" army:

Dêmagôgeô , to be a leader of the people, kalôs d. Isoc.2.16 ; têi men exousiai turannôn, tais d' euergesiais dêmagôgôn Id.10.37 ; cf. dêmagôgei: stratêgei, Hsch.: usu. in bad

Turanneuô: to be a turannos, an absolute sovereign or despot, and in aor. to become such, Hdt., etc.: to be a prince or princess, Eur.

The dêmagôgeô continued: 2. c. acc. pers., d. andras curry favour with, X.An.7.6.4 , cf. Arist.Pol. 1305b26, al.:--Pass., to be won over, conciliated by popular arts, J.AJ 16.2.5.

Xenophon, Anabasis

X.An.7.6.4 [4] When the Lacedaemonians asked what sort of a man Xenophon was, he replied that he was not a bad fellow on the whole, but he was a friend of the soldiers, and on that account things went the worse for him. And they said: "He plays the demagogue, you mean, with the men?" "Exactly that," said Heracleides. [5] "Well," said they, "he won't go so far, will he, as to oppose us in the matter of taking away the army?" "Why," said Heracleides, "if you gather the men together and promise them their pay, they will hurry after you, paying scant heed to him."

b. = psuchagôgeô, ton pothon, of a work of art, Him.Ecl.31.6; to theatron, of Homer, Id.Or.20.3.

He uses spectacle of sight, sound and emotion to dominate: theater.

Theatron [theaomai]

1. a place for seeing, esp. a theatre, Hdt., Thuc., etc.
2. collective for hoi theatai, the people in the theatre, the spectators, "the house, " Hdt., Ar.
3. = theama, a show, spectacle, th. genêthênai, theatrizesthai, NTest.

Theama [theaomai] that which is seen, a sight, show, spectacle, Trag., Thuc., etc.

Kosmo-phthoros , on, destroying the world, AP11.270.

Theatrizô 1 2 [theatron] to bring on the stage:-- Pass. to be made a show of, a gazing-stock, NTest.

Similar to theatrizo:

Mossunikos , ê, on, made by the Mossunoikoi, mazonomeia Ar.Fr. 417

These are the MUSES or musicians of Revelation 18:22. They serve Apollo or Abbadon or Apollyon. They are known throughout the literature as the LOCUSTS-musical performers. The Cynics known as "dogs" were intimately involved as sorcerers:

Kunaô , = kunizô, play the Cynic, Luc.Demon. 21. [homosexuals]

kumbalizô , play the cymbals, Men.326, LXX Ne.12.27, Arr.Ind. 7.8, Chor.in Rev.Phil.1.10.

And at the dedication of the wall of Jerusalem they sought the Levites out of all their places, to bring them to Jerusalem, to keep the dedication with gladness, both with thanksgivings, and with singing, with cymbals, psalteries, and with harps. Neh 12:27

Meceleth (h4700) mets-ay'-leth; from 6749; (only dual) double tinklers, i. e. cymbals: - cymbals.

Other related words are:
Drakizô , play the buffoon, Gloss.
Parasi-tor . a-ri, v. dep. [id.] , to play the parasite, to sponge: parasitarier, Plaut. Stich. 4, 2, 54: parasitando pascere ventres suos, id. Pers. 1, 2, 3 .
Kômôidoloicheô , play the parasite, peri tina Ar.V.1318 .
Lumeôneuomai , play or act the lumeôn, Plb.5.5.8.
Sophistiaô , play the sophist, Eubulid.1, Plu.2.42a, 545c.
Kunaô , = kunizô, play the Cynic, Luc.Demon. 21.

Parasitor . a-ri, v. dep. [id.] , to play the parasite, to sponge: parasitarier, Plaut. Stich. 4, 2, 54: parasitando pascere ventres suos, id. Pers. 1, 2, 3 .

The dêmagôgeô continued: 3. c. acc. rei, introduce measures so as to win popularity, ta pros hêdonên tôi plêthei D.H.Dem. 17 ; boulas d. LXX1 Es.5.70(73) .

Hêdonê , Dor. hadona (or in Trag. chorus hêdona S.OT1339), hê, ( [hêdomai] ) enjoyment, pleasure, first in Simon.71, S.l.c., Hdt.1.24, al.; prop. of sensual pleasure.

3. Pl., desires after pleasure, pleasant lusts, X.Mem.1.2.23, Ep.Tit.3.3, al.

Chara , hê: ( [chairô] ):--joy, delight, Voluptous

II. in causal sense, d. tina make him popular, App.BC5.53, Pun.133.

THE PUNIC WARS

20:[133] Carthage being destroyed, Scipio gave the soldiers a certain number of days for plunder, reserving the gold, silver, and temple gifts. He also gave prizes to all who had distinguished themselves for bravery, except those who had violated the shrine of Apollo. He sent a swift ship, embellished with spoils, to Rome to announce the victory. He also sent word to Sicily that whatever temple gifts they could identify as taken from them by the Carthaginians in former wars they might come and take away.

Thus he endeared himself to the people as one who united clemency with power.

He sold the rest of the spoils, and, in sacrificial cincture, burned the arms, engines, and useless ships as an offering to Mars and Minerva, according to the Roman custom.

Saleuô [salos] continued:

II. intr. to move up and down, to roll, toss, as on the sea, Xen.:--metaph. to toss like a ship at sea, to be tempest-tost, be in sore distress, Soph., Eur.

2. of a ship also, to ride at anchor: metaph., sa. epi tini to ride at anchor on one's friend, depend upon him, Plut.

Salos
I. any unsteady, tossing motion, of an earthquake, Eur.: the tossing or rolling swell of the sea, id=Eur.; so in pl., pontioi saloi id=Eur.

II. of ships or persons in them, a tossing on the sea, Soph.: --metaph. of the ship of the state, tempest-tossing, id=Soph.; salon echein to be in distress, Plut.

Charisma to Christ the Spirit meant

Charisma (g5486) khar'-is-mah; from 5483; a (divine) gratuity, i.e. deliverance (from danger or passion); (spec.) a (spiritual) endowment, i.e. (subj.) religious qualification, or (obj.) miraculous faculty: - (free) gift.

From this definition it is impossible to have a "miraculous endowment" to speak by inspiration and do so under the bondage of passion or pride.

The Orphics were those from a vegetarian background in Romas 14. Orpheus was the father of charismatic worship called threskia. This demanded lots of music which drove them into a mad state which was peddled as "spiritual." Orphic "worship" is in force when the church performs rituals believing that they have a beyond- Christ and His Word (the School Book) power over God or can exert a supernatural influence over the audience. This attitude is defined in the Greek literature as sorcery or witchcraft.

The Dionysiacs were wine drinkers and meat eaters but also musical in the sense of PLEASURING one another and leading themselves "into the presence of the gods" for fun and pleasure.

In Romans 15 Paul defines a "synagogue" as he does in all of his use of assemblying or gathering. He said that Jesus Christ did not PLEASE Himself and we know that he was attacked with the "pipers" who continued after the Abomination of Desolation. The Jewish clergy truly believed, based on direct testimony, that Dionysus would be their lusted after Messiah. When He would never sing and dance when they piped they murdered Him. Shortly, the Roman government would restrict the Dionysian worship to small groups held in daylight. Much of the music, shouting and instruments were to HIDE the pain of the "initiation."

Paul insisted that we should not PLEASURE ourselves when we assemble to speak with ONE MOUTH and ONE MIND that which was written as the only way to glorify God. This would allow people with all kinds of background to assemble in the church or "school of the Bible." This you CANNOT REFUSE and follow Christ and follow Paul's direct command.

Pleasure is.

Aresko (g700) ar-es'-ko; prob. from 142 (through the idea of exciting emotion); to be agreeable (or by impl. to seek to be so): - please.

Airo (g142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

h5375: The burden of the beasts of the south: into the land of trouble and anguish, from whence come the young and old lion, the viper and fiery flying serpent, they will carry their riches upon the shoulders of young asses, and their treasures upon the bunches of camels, to a people that shall not profit them. Is.30:6

Plato Ion 534a continues to speak of the female musical worship team - the Muses:

"In the same manner also the Muse inspires men herself, and then by means of these inspired persons the inspiration spreads to others, and holds them in a connected chain. For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise; [534a] just as

.... the Corybantian worshippers do not dance when in their senses,

... so the lyric poets do not indite those fine songs in their senses, but when they have started on the melody and rhythm they begin to be frantic, and it is under possession--as the bacchants are possessed, and not in their senses, when they draw honey and milk from the rivers--that the soul of the lyric poets does the same thing, by their own report.

For the poets tell us, I believe, that the songs they bring us are the sweets they cull from honey-dropping founts [534b] in certain gardens and glades of the Muses--

like the bees, and winging the air as these do, And what they tell is true. (Plato then explains a lot of musical worship and even preaching)
"For a poet is a light and winged and sacred thing, and is unable ever to indite until he has been inspired and put out of his senses, and his mind is no longer in him: every man, whilst he retains possession of that, is powerless to indite a verse or chant an oracle. Seeing then that it is not by art that they compose and utter so many fine things about the deeds of men--

Liddell and Scott

charis or pleasure includes:

4. love-charm, philtre, Luc. Alex.5, Merc.Cond.40.

2. esp. in erotic sense, of favours granted (v. charizomai 1.3 ), alochou charin idein Il.11.243 , cf. A.Ag.1206: more freq. in pl., X.Hier.1.34, 7.6, etc.; biai d' epraxas charitas ê peisas korên; Trag.Adesp.402; in full, charites aphrodisiôn erôtôn Pi.Fr.128 , cf. Pl.Phdr.254a, al.

Aphrodisios [From Aphroditê] [Or ZOE or Lucifer]
I. belonging to Aphrodite, Plat.
II. Aphrodisia, ta, sexual pleasures, Xen.
2. a festival of Aphrodite, id=Xen.
III. Aphrodision, ou, to, the temple of Aphrodite, id=Xen.
IV. gratification, delight, tinos in or from a thing, sumposiou Pi. O.7.5

See how the symposium was often a wine festival of males where the flute-girls were always prostitutes and the male musicians were Sodomites. Paul told the elders to NOT GO NEAR WINE which spoke of these gatherings even when the wine was heavily watered so you didn't have to turn around and puke too often.

V. daimonôn charis homage due to them, their worship, majesty, A.Ag. 182 (lyr.); athiktôn ch. ib.371 (lyr.); horkôn E.Med.439 (lyr.)

Daimôn [Perh. from daiô B, to divide or distribute destinies.]

I. a god, goddess, like theos, thea, Hom., Trag., etc.:--in Hom. also deity or divine power (theos denotes a god in person), Lat. numen; pros daimona against the divine power; sun daimoni with it, by its favour, Il.:--so, kata daimona, nearly = tuchêi, by chance, Hdt.; en tôi d. theôn en gounasi, Soph.

2. one's daemon or genius, one's lot or fortune, stugeros daimôn Od.; daimonos aisa kakê id=Od.: absol. good or ill fortune, Trag.; esp. of the evil genius of a family, Aesch.

II. daimones, in Hes., are the souls of men of the golden age, forming the link between gods and men:--later, of any departed souls, Lat. manes, lemures, Luc.

III. in NTest. an evil spirit, a demon, devil.

Paul warned the Corinthians against RISING UP TO PLAY which was like the Greek symposium involving food, drink, singing, music and homosexual PLAY.

But I say, that the things which the Gentiles sacrifice, they sacrifice to devils, and not to God: and I would not that ye should have fellowship with devils. 1Co.10:20

These were the BULL DEMONS representing the Egyptian trinity:

Daimonion (g1140) dahee-mon'-ee-on; neut. of a der. of 1142; a doemonic being; by extens. a deity: - devil, god.

These demons DISTRIBUTED GIFTS. That is why Paul compared the counterfeit gifts in Corinth as out of their own spirit. Jesus defined the Jewish clergy as sons of the Devil because they SPEAK ON THEIR OWN. Therefore, if you had the best singing, dancing, clapping, playing instruments and speaking in "gibberish" every known--even speak the tongues of angels, you should be WATCHED because often the demonic spirits steal in when you OPEN yourself.

Daimon (g1142) dah'ee-mown; from daio, (to distribute fortunes); a doemon or supernatural spirit (of a bad nature): - devil

VI. Special usages:

1. acc. sg. as Adv., ch. tinos in any one's favour, for his pleasure, for his sake, ch. Hektoros Il.15.744 ; pseudesthai glôssês ch. for one's tongue's pleasure, i.e. for talking's sake, Hes.Op.709, cf. A.Ch.266; rarely with Art., tên Athênaiôn charin estrateuonto Hdt.5.99 .

charis 1 [chairô]

1. acc. sg. as adv., ch. tinos in any one's favour, for his pleasure, for his sake, charin Hektoros Il.; glôssês charin for one's tongue's pleasure, i. e. for talking's sake, Hes.:--then much like a prep., Lat. gratia, causa, for the sake of, on account of, tou charin; for what reason? Ar.; so, emên charin, sên charin for my, thy pleasure or sake, Lat. mea, tua gratia, Aesch., Eur.:--also, charin tinos as far as regards, as to, epous smikrou ch. Soph.

2. with Preps., eis charin tinos to do one a pleasure, Thuc.; ouden eis ch. prassein Soph.:-- pros charin prassein ti id=Soph.; pros charin legein Eur., etc.; pros charin boras for the sake of my flesh, for the pleasure of devouring it, Soph.:-- pros charin alone, as a favour, freely, to their heart's content, id=Soph.:-- en chariti for one's gratification, pleasure, en chariti didonai or poiein tini ti Xen., Plat.:-- dia charitôn einai or gignesthai tini to be on terms of friendship or mutual favour with one, Xen.

V. daimonôn charis homage due to them, their worship, majesty, Aesch.; so, horkôn ch. Eur.; euktaia ch. an offering in consequence of a vow, Aesch.

If you are doing this it is anti-Christian, anti-direct commandment and anti-human nature.

Jesus Died to remove both the burdens and the burden laders. Paul defines church or synagogue and outlaws any thing which would create the burden Jesus died to remove which was "spiritual anxiety created by religious rituals." Be sure that you are not BEING USED to perform to validate and pleasure your leader.

The burden is:

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

Phoros (g5411) for'-os; from 5342; a load (as borne,) i.e. (fig.) a tax (prop. an individ. assessment on persons or property; whereas 5056 is usually a gen. toll on goods or travel): - tribute.

The rest God in Christ came to earth to give totally repudiates the ceremonial aspect of Threskia or Thracian or Orpheus or Dionysian "worship."

Anapauo (g373) an-up-ow'-o; from 303 and 3973; (reflex.) to REPOSE (lit. or fig. [be EXEMPT], remain); by imp. to REFRESH: - take EASE, refresh, (give, take) rest.

Pauo (g3973) pow'-o; a prim. verb ("pause"); to stop (trans. or intrans.), i.e. restrain, quit, desist, come to an end: - cease, leave, refrain.

All things are delivered unto me of my Father: and no man knoweth the Son, but the Father; neither knoweth any man the Father, save the Son, and he to whomsoever the Son will reveal him. Matt 11:27

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

Take my yoke upon you, and learn of me; for I am meek and lowly in heart: and ye shall find rest unto your souls. Matt 1 11:29

For my yoke is easy, and my burden is light. Matt 1 11:30

The apostles were to preach the gospel and make disciples by BAPTIZING them and teaching them what HE had taught.

A disciple is a student: the students were the only ones called Christians. At baptism God gives us A new, holy spirit or when we request it at baptism He gives us A good conscience or consiousness or a co-perception.

Then Jesus gathers (synagogues) the twos and threes and teaching ONLY those whose spirit or heart or mind He has personally sprinkled from the UNholy spirit or mind.

Beginning in the garden of Eden, the serpent diverted the minds of Adam and Eve from the Living Word of God. The serpent was not a snake but a sexual symbol. His/her name was known to be a Musical Enchanter who wholly seduced Eve as one seduces a bride BEFORE her wedding. That is why Cain (meaning a musical note) was OF that evil one.

Church is ekklesia or synagogue or school of Christ: Charismatic intends to silence the voice of God through His Word.

See the connection between the Naga Serpent Worship and Speaking in tongues
See Cattulus for the music, emasculated "priests," and sodomy are eternal MARKS.
Are self-composed hymns IDOLS?
See the sexual, voodoo connection with modern hymns. This proves that such "music" which produced a charismatic worship A. Musical Praise in the Old Testament

Aristotle, Politics

[1342a][1] it is clear that we should employ all the harmonies,

yet not employ them all in the same way, but use the most ethical ones for education,
and the active and passionate kinds for listening to when others are performing (for any experience that occurs violently in some souls is found in all,
though with different degrees of intensity--for example pity and fear, and also religious excitement;

for some persons are very liable to this form of emotion, and under the influence of sacred music we see these people, when they use tunes that violently arouse the soul, being thrown into a state as if they had received medicinal treatment and taken a purge;

the same experience then must come also to the compassionate and the timid and the other emotional people generally in such degree as befalls each individual of these classes,
and all must undergo a purgation and a pleasant feeling of relief; and similarly also the purgative melodies afford harmless delight to people ).
THIS DEMONIC PURGATION gives meaning to simple Baptism where God gives us A new or holy spirit.

Exairesis taking out the entrails of victims, the entrails themselves, offal, taking out of patients from a bath,

Apollo [Abaddon or Apollyon] is the god of harmony and washings.

katharmos, cleansing, purification, from guilt, purificatory offering, atonement, expiation, purging, evacuation, discharge.

Therefore those who go in for theatrical music must be set to compete in harmonies and melodies of this kind (and since the audience is of two classes,

one freemen and educated people,
and the other [20] the vulgar class composed of mechanics and laborers and other such persons,

the latter sort also must be assigned competitions and shows for relaxation;
and just as their souls are warped from the natural state, so those harmonies and melodies that are highly strung and irregular in coloration are deviations,
but people of each sort receive pleasure from what is naturally suited to them,

owing to which the competitors before an audience of this sort must be allowed to employ some such kind of music as this );
but for education, as has been said, the ethical class of melodies and of harmonies must be employed.

I am the Charismatic

"Charisma is a presence that excites us. It comes from an inner quality - self-confidence, sexual energy, sense of purpose, contentment - that most people lack and want.

This quality radiates outward, permeating the gestures of Charismatics, making them seem extraodinary and superior. They learn to heighten their charisma

with a piercing gaze, fiery oratory, an air of mystery.
Create the charismatic illusion by radiating intensity while remaining detached.

Symbol: The Lamp. Invisible to the eye, a current flowing through a wire in a glass vessel generates a heat that turns into candescence. All we see is the glow. In the prevailing darkness, the Lamp lights the way.

From Way of Life:

"Shortly after it began to emerge in 1901, Pentecostalism sensed through some strange form of intuition that success would come through emotionally-charged music. The first pattern was jazz. Speaking of the years 1901 to 1914, Howard Goss said, 'Without it (jazz) the Pentecostal Movement could never have made the rapid inroads into the hearts of men and women as it did. Neither could we have experienced a constant victorious revival over the fifty years' (The Winds of Change, p. 212). (see another Winds of Change)

He also noted: 'It was generally not the conventional church-hymn singing of that era. Entirely unpretentious, there appeared to be neither poetry nor musicianship in the composition. But, there was something far more effective than either.... WE WERE THE FIRST, SO FAR AS I KNOW, TO INTRODUCE THIS ACCELERATED TEMPO INTO GOSPEL SINGING' (Ibid. pp. 207,208).

"The Pentecostal leader should know for he was the most prominent among the early founders of the Movement. He was the leading organizer of a nation-wide gathering of Pentecostals held at Hot Springs, Arkansas in April, 1914. He was elected General Superintendent of the Pentecostal Church Incorporated and served as the General Superintendent of the United Pentecostal Church until 1951" (Wilson Ewin, The Pied Piper of the Pentecostal Movement, Wilson Ewin, 1986, pages 49-51).

The following is a description of an interracial convention of Pentecostals in Cleveland, Tennessee, in September 1929:

"The spirit moved some to dance, others to speak in the unknown tongue, to shout, to jerk, or to fall in a dead trance. Mourners in ever-increasing numbers fell on their knees, elbows in a folding chair, at the altar, while the exhorters clapped hands to the time of the music ... After half an hour of this, the singing came to an end. Also the instrument strummers, worn out, dropped out one by one, leaving only the piano player and a tambourine whacker, whom I could not see, to carry on the STEADY AND ALMOST TERRIFYING RHYTHMIC NOISE. Terrifying because it impressed me as being the production of the wild, subconscious human animal, one which we seldom come upon in such frightfully self-regimented herds.

But the extreme mesmeric orgies of such primitive groups have been often enough described. And after all, my purpose is simply to make clear HOW THE INDIGENOUS SONG MERGES INTO THE HYPNOTIC RHYTHMIZING USED IN THIS INDIGENOUS TYPE OF RELIGIOUS PRACTICE" (George Pullen Jackson, White Spirituals in the Southern Uplands).

See how the frontier Awakenings had developed an orgasmic blend of Voodoo and frontier ballads.

TWILA PARIS, popular CCM singer, has been associated with the charismatic-oriented Youth With A Mission (YWAM) since 1976. In an interview with a YWAM leader in New Orleans in 1987, I was told that a large number of the short-term workers with YWAM are Roman Catholics.

PAT BOONE is a member of Jack Hayford's Foursquare Pentecostal Church. In 1996 Boone released an album of heavy-metal rock songs under the title "Pat Boone in a Metal Mood -- No More Mr. Nice Guy." There were songs by openly demonic rock groups such as Alice Cooper, Guns N' Roses, Ozzy Osbourne, and Judas Priest. On April 15, 1997, Boone's pastor joined him on a Trinity Broadcasting Network broadcast with Paul Crouch and defended his heavy metal album.