Rihanna and the Aeon of Horus

Rihanna Horus


Rihanna wears a jacket with the eye of Horus on it.

She also performs on a Horus themed stage:

Horus.- He is the Sun God of Egypt of around 3000 BC. He is the sun, anthropomorphized, and his life is a series of allegorical myths involving the sun’s movement in the sky. From the ancient hieroglyphics in Egypt, we know much about this solar messiah. For instance, Horus, being the sun, or the light, had an enemy known as Set and Set was the personification of the darkness or night . And, metaphorically speaking, every morning Horus would win the battle against Set – while in the evening, Set would conquer Horus and send him into the underworld. It is important to note that “dark vs. light” or “good vs. evil” is one of the most ubiquitous mythological dualities ever known and is still expressed on many levels to this day.

Broadly speaking, the story of Horus is as follows: Horus was born on December 25thof the virgin Isis-Meri. His birth was accompanied by a star in the east, which in turn, three kings followed to locate and adorn the new-born savior At the age of 12, he was a prodigal child teacher, and at the age of 30 he was baptized by a figure known as Anup and thus began his ministry. Horus had 12 disciples he traveled about with, performing miracles such as healing the sick and walking on water. Horus was known by many gestural names such as The Truth, The Light, God’s Annointed Son, The Good Shepherd, The Lamb of God, and many others. After being betrayed by Typhon, Horus was crucified, buried for 3 days, and thus, resurrected.

These attributes of Horus, whether original or not, seem to permeate in many cultures of the world, for many other gods are found to have the same general mythological structure.

In the religion of Thelema, it is believed that the history of humanity can be divided into a series of Aeons, each of which was accompanied by its own forms of “magical and religious expression”. The concept of the Aeons was reinterpreted by the English occultist Aleister Crowley (1875–1947), the founder of Thelema, who claimed to have learned it from The Book of the Law, a sacred text he believed had been dictated to him by his Holy Guardian Angel Aiwass in 1904. The Book of the Law is divided into three sections, each of which describes a different aeon.

The first of these was the Aeon of Isis, which Thelemites believed occurred during prehistory and which saw mankind worshipping a Great Goddess, symbolised by the ancient Egyptian deity Isis. In Thelemite beliefs, this was followed by the Aeon of Osiris, a period that took place in the classical and mediaeval centuries, when humanity worshipped a singular male god, symbolised by the Egyptian god Osiris, and was therefore dominated by patriarchal values. The Book also asserted that in 1904, humanity would enter into a third aeon, the Aeon of Horus, which was controlled by the child god, symbolised by Horus. In this new aeon, Thelemites believe that humanity will enter a time of self-realization and self-actualization.

According to Aleister Crowley, an “Aeon of Horus” was soon coming in which mankind would become devoted to self-rights & liberties as we usher in a universal utopia united by a collective consciousness under one rule of law – his Law of Thelema called, “Do what thou wilt”, It is in this way that we would then become gods ourselves.

Of that age, Crowley writes:

“There is no need to develop the ethics of Thelema in detail, for everything springs with absolute logic from the singular principle, “Do what thou wilt shall be the whole of the Law.” Or, to put it another way, “There is no law beyond Do what thou wilt.” And, “thou hast no right but to do thy will.”

This formula itself springs ineluctably from the conception of the individual outlined in the preceding section. “The word of Sin is Restriction.” “It is a lie, this folly against self.” The theory is that every man and every woman has each definite attributes whose tendency, considered in due relation to environment, indicate a proper course of action in each case. To pursue this course of action is to do one’s true will. “Do that, and no other shall say nay.”” Aleister Crowley, Chapter – THE ADVENT OF THE AEON OF HORUS, Confessions

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Heavy Illuminati Symbolism In Australian Ad ” For The Love of Music”

By | June 18th, 2012 | Category: Latest News | 232 comments

This ad named “For the Love of Music” plays frequently on the Australian TV station [V]. It is heavily inspired (but not created) by Marco Brambilla, an artist that is very sought after by advertisers and record labels for his trademark “video tableaux”.  The ad is full of symbols and messages representing the hidden forces that control the music industry.  See for yourself:

CHANNEL [V] – Rebrand TVC 2012 from Where There’s Smoke on Vimeo.

The ad begins literally in hell as the Devil is shown covering his ears due to the great number of musicians down there.

This tableau apparently represents rock & roll. Why is hell full of rockers? Did they sell their soul to the Devil? Among the most recognizable figures are Kurt Cobain and Johnny Cash. This last singer was a devout Christian so it is rather odd to have him play in hell. Also, why is there a crucifix surrounded by fire down there?

The symmetry and the perspective lines conceal occult symbolism. In this following image, we can recognize the Illuminati’s most recognizable symbol.

The lines created by the rock formation above the Devil (highlighted by white lines) form a triangular shape. At the apex of it, a single eye is creepily watching the viewers.

Above the eye is a tableau representing electronic music with DJ’s and legions of dancers underneath them.

The tableau conceals a pyramidal shape (which I highlighted with white lines). At the base are dancers (or the masses) and at the top is an illuminated capstone and a solar eclipse acting as the eye in the pyramid.

The main figures of this tableau are Daft Punk, a duo that often laces it shows with not-so-subtle symbolism.

A pyramid stage at a Daft Punk show. The artists are symbolically over the base (representing the masses) but under the apex (representing the elite).

Right above the Daft Punk (but buried under the ground) is a triangle with Rihanna inside of it.

The triangle is a scene from Rihanna’s video Umbrella.

In my first article ever on Vigilant Citizen, I described the hidden meaning of the video Umbrella. In short, it is about Rihanna agreeing to be “protected” by a hidden entity (the dark forces of the industry) in exchange of her soul. The “triangle” scene was very symbolic.

In esoteric symbolism, the upright triangle is a phallic symbol. Rihanna “trapped” inside this triangle represents her being controlled (possessed) by the hidden forces of the industry. This scene therefore fits right in this very symbolic ad.

Above Rihanna is a tableau representing hip-hop. The scene contains many occult symbols and is laid out in classic Masonic fashion.

Twin pillars, a checkerboard pattern floor and a staircase to “illumination” make this tableau very Masonic.

We find the same layout and symbols in this classic Masonic engravement.

Moving around on the stairs are 2Pac and Biggie, arguably (well, not arguably) the two most important figures of rap history. There is however a figure above them, at the top of the stairs: A huge Kanye West drenched in light. Does this represent Kanye West being “recruited” by the Illuminated while 2Pac and Biggie being stuck on in the staircase? Is this why they are both dead now? Is this why their murders were never resolved? Hmmmm.

Above this tableau is the “heavens”, filled with pop stars such as Lady Gaga, Michael Jackson and Britney Spears – all stars that were (or still are) heavily controlled by the industry.

In short, this ad manages to pack in a minute and 45 seconds an incredible amount of symbolism and hidden messages regarding the music industry and the shady secret society that controls it. If most viewers won’t recognize a single symbol in this ad, those who have “eyes to see” understand that it hides in plain sight some of the industry’s darkest secrets.

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Madonna Demands all Traces of her DNA destroyed

Madonna MDNA

She’s one of the most meticulous pop stars on the planet who prides herself on her tenacity and perfectionism.

But paranoid is not a trait that her fans would label Madonna with – especially not towards them.

A report today has claimed that the Material Girl is so worried about her more obsessive fans that she orders sterile wipes of her dressing room after each show on her latest world tour.

The Mirror said that the singer has set up a ‘sterilisation team’ to clean away any traces of DNA that she might have left behind from her hair, skin or saliva.

And she is believed to have demanded that only herself and her entourage are allowed backstage and no one is allowed to even look at her dressing room once it has been made ready.

Concert promoter Alvaro Ramos, who is looking after the Portuguese leg of the tour, said: ‘We have to take extreme care.

‘In the end it is all to protect her and make her comfortable. I do understand it but it is taken to extremeness.’

The star also makes sure that her personal team build her changing room so there is no danger of anyone planting any hidden cameras.

Madonna is currenly on her MDNA world tour and has already played in Israel, Turkey, Italy and Spain and arrives in Portugal this Sunday.

She has already caused controversy by flashing her nipple in Israel and her bottom in Italy.

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