Massacre Occurred on Pagan Sacrifice Day
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“[The Miami Showband massacre of 1975] was the worst atrocity to strike Northern Ireland and it represented a new practically unfathomable low in that bloody saga as people tried to wrap their heads around how three musicians who’d simply gone there to entertain a large crowd could be cold-bloodedly murdered.”
RTE Nationwide Documentary, 31st July 2005
“On 30 July 1975 the Miami Showband played a gig at the Castle Ballroom in Banbridge, Co. Down. One of the most successful bands in the country, they had played at various places in Northern Ireland on numerous occasions, and were well-known on both sides of the border.
In the early hours of the morning, five members of the band left the town and headed towards the border in a minibus, driving along the main north-south road towards Newry. Most of the band’s equipment had gone on already in another van, driven by their road manager.
Some time around 2.30 a.m. on the morning of 31 July, the band’s minibus was flagged down by a group of armed men wearing army-type uniforms and waving a red torch in circular motion – the standard practice for mobile vehicle checkpoints. The driver assumed that it was a legitimate checkpoint, and pulled over into a lay-by.
When he did so, a car which had been driving behind them also pulled in.
The band members were told to stand outside the van with their hands on their heads, facing the field beside the road. A number of armed men were in the vicinity of the minibus – perhaps as many as ten, though other accounts suggest between five and seven. Some at least of these were dressed in what gave the appearance of being military uniform.
Some were wearing berets. One of the survivors recalled the van driver as saying that he had the impression they were British Army, not UDR soldiers.
The band members were asked for their names and addresses, while some of the armed men appeared to be carrying out a search of the minibus. One of the band, Stephen Travers, concerned that his guitar might be damaged in the search, approached the men at the back of the van, asking them why they had his guitar case open. He was pushed and punched back into the line-up with the other band members.
A few seconds later there was a loud explosion from the rear of the van. Two of the armed men were killed instantly. Travers and another band member, Des McAlea, were hurled into the air, landing in the field beside the road. There were a number of bursts of gunfire at that time also, in which Travers was hit.
The other members of the band, Anthony Geraghty, Brian McCoy and Francis O’Toole, died from multiple gunshot wounds.
Stephen Travers, badly injured, lay on the ground beside the body of McCoy.
Someone walked towards him, then he heard a voice near the van shout ‘I got those bastards with dum-dums [expanding bullets]; they’re dead.’ The footsteps receded.”
Houses of the Oireachtais Joint Committee on Justice, Equality, Defence and Women’s Rights Interim Report on the Report of the Independent Commission of Inquiry into the Bombing of Kay’s Tavern, Dundalk July, 2006
The Miami Showband Massacre described above, ‘coincidentally’ occurred on an ancient human sacrificial date in the Occult Calendar, which is still celebrated by pagans and Satanists, and which is known as Lughnasadh (pronounced Loo-na-sa).
Date of Attack July 31ST – August 1ST: Lughnasadh – The Great Sabbat Festival.
“[The film ‘The Wicker Man’]…should be considered a cautionary tale, you know, watch this, it could happen; avoid it.”
Robin Hardy, Director, ‘The Wicker Man’- ‘The Wicker Man Enigma’, DVD Extras, 2001- 01.00
July 31st, being the first day of Lughnasadh is also known as ‘August Eve’ or ‘Lammas Eve’ after Lammas, the Christian festival which was superimposed over the old pagan holy day.
Being concerned with fertility, thus life itself, it is one of the most important events for both the ancient pagan calendar, and the modern witchcraft calendar, as illustrated on the below ‘Wheel of the Year’:
Wheel of the Year. Source: Fair Use. Available from: The Tarot Forum [ Archived here ]
“The festival of Lughnasadh speaks of fullness and bounty of richness and sacrifice. As cornfields ripple in the late summer breeze and whisper golden promises of the grain harvest to come, we know deep within our psyche that the darkness is but a heartbeat away.”
Carole Carlton, ‘Mrs Darley’s Pagan Whispers: A Celebration of Pagan Festivals, Sacred Days, Spirituality and Traditions of the Year’ [ Archived here ] [Added Emphasis]
…thus in the darkness before scientific understanding, a sacrifice, often human, was offered by the ancients, most famously by the Celts, on special ‘holy days’.
These days are still celebrated in various ways.
“The witches’ Sabbats are eight: Of these, Imbolg, Bealtaine, Lughnasadh and Samhain are the ‘Greater Sabbats’; the Equinoxes and Solstices are the ‘Lesser Sabbats’. […] the Greater Sabbats tend to involve both the ‘Eve’ and the following ‘Day’[…]
… the Greater Sabbats … have Gaelic names[…] because Ireland was the only Celtic country never to be absorbed by the Roman Empire, and so it is in Ireland’s mythology and in her ancient language that the lineaments of the Old Religion can often be most clearly discerned.’ Even the Celtic Church remained stubbornly independent of the Vatican for many centuries.”
Janet and Stewart Farrar, ‘A Witches’ Bible: The Complete Witches’ Handbook’, 1996, Pg 20 [ Archived here ]
Over millennia, as happened with all ancient heathen holy-days, Lughnasadh was reappropriated into monotheism, giving us the Christian ‘Lammas’ festival. As such human sacrifice to pagan deities has been gradually replaced by a symbolic offering.
For at Lammas the ‘Loaf Mass’ of Christianity, corn dollies or loaves of bread usually serve as symbolic sacrifices replacing humans.
“Like Yule [Christmas], Imbolc [Saint Brigid’s Day],and Ostara [Easter], in certain parts of Europe the ancient celebration of Lughnasadh and the first grain harvest was melded with Christianity during the early middle ages [becoming Lammas], as the influence of the Christian church spread.[…]
James Elder Christie (1847–1914). Wood Engraving. Illustration for The Illustrated London News, 1 June 1878.
Introduction of Christianity into Britain, Christian Missionaries interrupting a Human Sacrifice, in the Exhibition of the Royal Academy.
Source: Public Domain. Available from: Wikicommons [ Archived here ]
[…]Early Christians would take the first loaf of bread from the harvest to the local church and be blessed by a priest, leading to the Old English term Hlaf Maesse, or Loaf Mass, which is where the term Lammas comes from.”
Mabon House Blog, ‘The History of Lughnasadh and Lammas’ [ Archived here ]
So Lughnasadh / Lammas is deeply associated throughout history, with being a time for sacrifice, especially among the ancient ‘mystery religions’ of the Northern Hemisphere such as Gaelic / Celtic paganism and druidism.
Elements of these archaic and undeniably barbaric practises appear, as we shall see, to still hold heavy influence.
“The Mythical Origins of Lughnasa
The name Lughnasa is derived from Lugh[…]
By QuartierLatin1968, Own Work. 16 Sept 2010. A three-headed altar discovered in 1852 in Reims (rue Houzeau-Muiron).
Source: CC BY-SA 3.0. Available from: Wikicommons [ Archived here ]
[…]The warrior god Lugh was one of the central figures of ancient Celtic mythology. […]During Lughnasa the Celts did all they could to appease Lugh. They would show him respect by…performing sacrifices…”
Blarney Blog, ‘Lughnasa: A Celtic Harvest Festival’ [ Archived here ] [Added Emphasis]
…and at this traditional ancient time of human sacrifice, on 31st July, the beginning of Lughnasadh, the Miami Showband Massacre occurred.
This is the date upon which, after a summer of growth, the ancient sacrificial ‘harvest-home’ festivities:
John Glover (1767–1849). Painting. 1835. My Harvest Home. Source: Public Domain. Available from: Wikicommons [ Archived here ]
…of Lughnasadh begin:
“Lughnasadh or Lughnasa (pronounced LOO-nə-sə; Irish: Lúnasa; Scottish Gaelic: Lùnastal; Manx: Luanistyn) is a Gaelic festival marking the beginning of the harvest season that was historically observed throughout Ireland, Scotland, and the Isle of Man. Traditionally it was held on […]Sunset on 31 July – Sunset on 1 August (Northern Hemisphere)[…] or approximately halfway between the summer solstice and autumn equinox. Lughnasadh is one of the four Celtic seasonal festivals; along with Samhain, Imbolc, and Beltane. It corresponds to other European harvest festivals, such as the English Lammas.
The festival is named after the god Lugh...”
‘Lughnasadh’, New World Encyclopedia [ Archived here ] [Added Emphasis]
Lughnasadh is the last of the Great Occult Sabbat Festivals of the Summer, which begin on Summer Solstice – June 21st – 22nd, and last for 13 weeks until the Minor Sabbat ‘Mabon’ on September 21st.
The Satanists’ ‘Occult Calendar’ comprises of 4 periods of 13 weeks each. After Halloween, Lughnasadh is arguably the most important of these Satanic Sabbats, for this is when thanks is traditionally given in propitious sacrifices, which are murderous ceremonies carried out in order to symbolically return life to a deity in thankful return for the fruits of life received.
The very idea that such practises are still going on, let alone at the hands of those either tasked to protect us, rule over us, or entertain us, may seem hard to believe for the sensible reader at this early stage of this book. Whatever your beliefs, a good beginning into understanding can be made by reading the below:
“…the Satanist believes that numbers contain inherent power.
Thus, they literally order their lives by occult numerology – such numerology also is a key component in astrology, another system of divining that Satanists observe very closely. The occult calendar is divided into four (4) segments of 13 weeks each.
The number, “13” is considered divine by the occultist for a couple of reasons:
- The Bible assigns ’13’ the meaning of “rebellion against constituted authority”, plus the depravity that caused Satan to rebel against God.
- The occultist assigns ‘6’ to represent the number of man, and the number ‘7’ to represent the number of divine perfection. Thus, as a person climbs that “Jacob’s Ladder” toward self-perfection in the realm of the occult, the number ’13’ represents the state of divine perfection, self-achieved perfection, and Illumination (6+7 = 13).
Thus, the occult calendar is comprised of four periods of 13 weeks each. We list these periods for you, below.
[…]
- Winter Solstice – 13 weeks – Minor sabbath
a. December 21 – Yule
b. December 21-22 – Winter Solstice/Yule. One of the Illuminati’s Human Sacrifice Nights
c. February 1 and 2 – Candlemas and Imbolg, a.k.a. Groundhog’s Day. One of the Illuminati’s Human Sacrifice Nights
d. February 14 – Valentine’s Day- Spring Equinox – 13 weeks – Minor sabbath but does require human sacrifice
a. March 21-22 – Goddess Ostara – Note: Easter is the first Sunday after the first new moon after Ostara. March 21 is one of the Illuminati’s Human Sacrifice Nights
b. April 1 – All Fool’s Day, precisely 13 weeks since New Year’s Day!
c. April 19 – May 1 – Blood Sacrifice To The Beast. Fire sacrifice is required on April 19.
d. April 30 – May 1 – Beltaine Festival, also called Walpurgis Night. This is the highest day on the Druidic Witch’s Calendar. May 1 is the Illuminati’s second most sacred holiday. Human sacrifice is required
- Summer Solstice – 13 weeks – When the sun reaches its northernmost point in its journey across the sky
a. June 21 – 22 – Summer Solstice
b. June 21 – Litha is one of the Illuminati’s Human Sacrifice Nights
c. July 4, America’s Independence Day, is 13 days after Day of Litha and 66 days from April 30
d. July 19 – 13 days before Lughnasa
e. July 31 – August 1 – Lughnasa, Great Sabbat Festival. August – One of the Illuminati’s Human Sacrifice Nights- Autumnal Equinox – 13 weeks – Minor Sabbath but does require human sacrifice
a. September 21 – Mabon – one of the Illuminati’s Human Sacrifice Nights
b. September 21 -22 – Autumnal Equinox
c. October 31 – Samhain, also known as Halloween, or All Hallows Eve. This date is the Illuminati’s highest day of human sacrificeIsn’t it interesting how the “profane” – you and me – are led like a flock of sheep to observe the important festival days of the Mysteries’ Religion?
You may not understand that you are ordering your year after pagan holidays, but you are! The annual calendar for the entire Western world is ordered by these Satanic festival times and days.
[…]
The human sacrifice required during many of these occult dates needs to contain the following elements, each one of which is exaggerated to the highest possible degree:
Biblioteca Capleyades Blog, ‘Occult Holidays and Sabbats’ [ Archived here ] [Added Emphasis]
- Trauma, stress, and mental anguish, sheer terror
- The final act in the drama should be destruction by a fire; preferably a conflagration.
- People must die as human sacrifices, especially children, since Lord Satan looks upon a younger human sacrifice as his most desirable”
The Miami Showband massacre conveniently fulfils the apparently required attributes for a human sacrifice as listed above, for the Miami Showband, while not children, were all in their youth, and, as popular musicians, filled with promise.
The following quote is from the father of modern Satanism, the 33rd Degree ‘Knights of Malta’ Freemason, and UK Crown secret service agent, Aleister Crowley:
Aleister Crowley as Baphomet X° O.T.O. 1919. Source: Public Domain. Available from: Wikicommons [ Archived here ]
…thus appears to indicate an institutional toleration of human sacrifice. Crowley famously writes:
“the bloody sacrifice has from time immemorial been the most considered part of Magick. The ethics of the thing appear to have concerned no one; nor, to tell the truth, need they do so… [the ideal sacrifice] should be virgin — the whole potential of its original total energy should not have been diminished in any way. For the highest spiritual working one must accordingly choose that victim which contains the greatest and purest force…and for nearly all purposes human sacrifice is the best.”
Aleister Crowley, ‘Magick in Theory and Practice’, Pg 95, 1929 [ Archived here ]
This ‘youthful’ attribute of unspent potential ‘life essence’ delivered in sacrifice on ‘Holy Days’ and using the young for maximum supposed efficacy, such as apparently happened to the Miami Showband, appears to be obliquely referred to in the famous play attributed to William Shakespeare, ‘Romeo and Juliet’:
John William Waterhouse. Portrait Painting. Oil on Canvas. 1898. Juliet. Source: Public Domain. Available from: Wikicommons [ Archived here ]
The leading character, Juliet Capulet, was born just as the rites of the harvest festival are beginning.
“NURSE:
…of all days in the year,
[…]
On Lammas Eve at night shall she be fourteen.”
William Shakespeare, ‘Romeo and Juliet’, Act One Scene Three [ Archived here ]
…her date of birth featuring in such a tragedy to is enormously symbolically significant.
Juliet’s life ended before she could reap and enjoy life’s metaphorical ‘harvest bounty’, the fulfilment of adulthood and its bonds and fruits, exactly as was in the spirit of Crowley’s instructions as to performing a sacrifice, not to mention in the massacre of the young members of the ‘Miami Showband’, an atrocity which occurred just as their lives were beginning and professional careers burgeoning; so they too, were unable to ‘reap the rewards’, indeed here we find the intrinsic purpose of sacrifice, ergo:
“[a]t Lammas we encounter figures of sacrifice, including the Wicker Man[…]
Thomas Pennant (1726-1798). An 18th century illustration of a wicker man, the form of execution that Caesar wrote the druids used for human sacrifice. From the “Duncan Caesar”, Tonson, Draper, and Dodsley edition of the Commentaries of Caesar translated by William Duncan published in 1753. Source: Public Domain. Available from: Wikicommons [ Archived here ]
[…]and John Barleycorn:
10`Artist Unknown. 1810. The arraigning and indicting of Sir John Barleycorn, Newly Composed. By a well-wisher to Sir John, and all that love him. Printed by C Randall. Stirling edition. Source: Public Domain. Available from: National Library of Scotland [ Archived here ]
[…t]hese figures may be ghosts of rites of human sacrifice practiced by our ancestors, but for us today they are reminders that something must die so that others may live. John Barleycorn, for example, represents the spirit of vegetation and the harvest, and the grain that must be felled so that we can make bread for sustenance.”
Herbis Orbis Blog, ‘Lammas and the Etiquette of Sacrifice’ [ Archived here ] [Added Emphasis]
Thus, as mentioned, the practise today has been, in public, superseded by symbolic offerings such as corn dollies taken from the ‘body’ of the old year’s harvest, and which are buried in an offering to represent the spirit of the corn.
This further explains the ancient significance of Lughnasadh.
“[The] Pagan celebration that was usually held on the last day of July… also marked the harvesting of the first grain. How success a harvest had been would determine how good life was going to be through the winter months. For the Celts their harvest season would happen a quarter of a year after Beltane. The first crops would be harvested at Lughnasadh. […] Part of the folklore would also include the making of corn dollies. […]
By Mountainash333 – I handmade this item and I took the photograph at my home. Previously published: Ebay and Etsy., CC BY-SA 3.0. Available from: Wikicommons [ Archived here ]
[…]These would be made using straw from the first harvest. The dollies had to be kept safe all through the winter, ready to be buried in the spring when the new crops were sown in the fields.
LAMMAS IS ALSO ONE OF THE SCOTTISH QUARTER DAYS
As is often the case, there are more than one folklore tales and legends associated with Lammas. It is also celebrated in Scotland as one of the quarter days, which together with term days make up the four divisions of the legal year. In history, these would be days when leases and contracts would start and end, servants would be dismissed or hired, ministers stipends would have to be paid along with rent and interest on loans. The other days are Whitsunday, Martimas and Candlemas.”
‘Lammas Folklore and Legends’, Mything Links: Mythologies, Fairytales and Folklores [ Archived here ]
The above appears to indicate the ancient importance of human sacrifices, and how their pagan rites still echo, and have done so for millennia. In fact as we shall see, the entire festival of Lughnasadh/ Lammas, is built on the premise of the ritual which is known as the replacement ‘Divine King’; and according to some, the famed Druidic ‘wicker man’ was apparently long associated with this custom:
“Lammas’ Wickerman is a large wicker man shape used by Druids to burn in effigy.”
‘Lammas Stick Man Ceremony’, Artempowerment, 15th August 2020 [ Archived here ]
This type of sacrifice was described by Strabo, the celebrated Ancient Greek geographer, philosopher and historian who lived during the transitional period during during which the Roman Republic was transformed into the Roman Empire (64/63 BC–c.24 AD). He is most renowned for his work the Geographica, an early anthropological study which described the history of indigenous peoples from different regions of the world and in which he describes how:
“[T]he Druids…prepare a colossus of hay and wood, into which they put cattle, beasts of all kinds, and men, and then set fire to it.”
Strabo 64 or 63 BC – c. 24 AD-The geography of Strabo.
Strabo; trans Hamilton, Hans Claude, 1811-1895; Falconer, William, 1801-1885 [ Archived here ]
…a practise which was also described by Caesar:
_(cropped).jpg)
Author: Ángel M. Felicísimo, from Mérida, España. Sculpture. Julius Caesar. Source: Public Domain. Available from: Wikipedia [ Archived here ]
…in his description of the Druids of Gaul, the Ancient France, a short sea journey from Ireland, and the British Isles, by which the religion likely spread. Caesar describes how:
S.R. Meyrick and C.H. Smith. 1815. Imaginative illustration of ‘An Arch Druid in His Judicial Habit’. Source: Public Domain. Available from: Wikipedia [ Archived here ]
“[T]he Druids as the performers of…sacrifices; have figures of vast size,[…]
Saturday Magazine August 25th 1832. Superstitions of the Druids. Source: Fair Use. Available from: History of Information [ Archived here ]
[…]the limbs of which formed of osiers they fill with living men, which being set on fire, the men perish enveloped in the flames.”
The Works of Julius Caesar, (parallel English/Latin) tr. W.A. McDevitte and W.S. Bohn [1869], at sacred-texts.com Gallic Wars Book 6 (53 B.C.E.) 6:16 [ Archived here ]
Caesar’s above record of human sacrifice, is actually described as an accurate representation of the rituals of Freemasonry, in the below cited document ‘A Letter from the Grand Mistress’:
“…the Pagan Priesthood was always in the Druids or Masons […] Casar’s Description of the Druids of Gaul is as exact a Picture of a Lodge of Free-Masons as can possibly be drawn[…and…] there are even some Masons who know nothing of it…”
A Letter from the Grand Mistress of the Female Free-Masons, to George Faulkner, Printer, 1762, pg 378 [ Archived here ] [Added Emphasis]
The above text is asserted by Masonic apologists to be:
“…a mocking response [published anonymously by Jonathan Swift] to James Anderson’s Constitutions of the Freemasons (London, 1723).”
Marsha Keith Schuchard, ‘Swift, Ramsay, and “the Cabala, as Masonry Was Call’d in Those Days”’, English Language Notes, Volume 56, Issue 1, 1st April 2018 [ Archived here ]
…thus is asserted to be so unreliable as to be utterly false. However despite this, an official contemporary Masonic ‘wiki’ (online encyclopedia) not only cites it as a genuine document, but in fact cites the piece as the earliest known reputably published source of the origin of the key Masonic symbols of the bee and beehive, stating:
“A Letter from the Grand Mistress of the Female Free-Masons to Mr Harding the Printer, found in the Halliday Collection, Royal Irish Academy, Dublin…is believed to have been created between 1727 and 1730, and while originally attributed to Jonathan Swift, the true author remains unknown.”
David Harrison and Jeff Peace, ‘The Lost Symbols of Freemasonry: The Beehive’, Masonic Encyclopedia [ Archived here ] [Added Emphasis]
…indicating that the document is officially regarded by the Freemasons as genuine, thus its assertions regarding their inferred practise of sacrifice, must shockingly therefore be valid.
As previously stated, the figures of the Wicker Man, John Barleycorn, and many other such sacrificial rituals through history from pre-history to the present appear to form part of the ancient ‘killing of the king’ ritual of appeasement, the ‘Divine King’ ritual. To understand the Miami Showband massacre and other contemporary atrocities it appears we must first understand this ancient ritual.
“There are several legends about the European ‘sacred king’ or ‘divine king’ associated with this holiday. The basic idea is that ‘the king and the land are one.’ The king is the representative of the people and the God, and the land is the Goddess. At Beltane, they join in order to create the fruits of the harvest, and at Lammas, the king/God dies in order to feed the people and start the cycle of rebirth.”
Thea Sabin, ‘Wicca for Beginners: Fundamentals of Philosophy and Practice’, 2006 [ Archived here ] [Added Emphasis]
This ‘Killing of the Divine King’ is in practise a ritual human ‘substitute’ sacrifice. Dating back to ancient prehistory, it continued into the classical era, and if we take the evidence presented here into account, apparently continues to the present day and is a ritual so important in folklore that is forms the entire premise of Sir J G Frazer’s:
Contemporary Photograph. James George Frazer (1854-1941). 1933. Source: Public Domain. Available from: Wikipedia [ Archived here ]
…mammoth anthropological textbook on ‘Comparative Religion’ named ‘The Golden Bough’, a volume of essential reading, in which he introduces the phenomenon of the ‘Killing of the Diving King’ by asking:
“Who does not know Turner’s picture of the Golden Bough?[…]
_The_Golden_Bough_-_Joseph_Mallord_William_Turner_-_Tate_Britain.jpg)
J. M. W. Turner: The Golden Bough. 1834. Painting. Oil on Canvas. Source: Public Domain. Available from: Wikicommons [ Archived here ]
[…] In antiquity this sylvan landscape was the scene of a strange and recurring tragedy. […] In this sacred grove there grew a certain tree round which at any time of the day, and probably far into the night, a grim figure might be seen to prowl. In his hand he carried a drawn sword, and he kept peering warily about him as if at every instant he expected to be set upon by an enemy. He was a priest and a murderer; and the man for whom he looked was sooner or later to murder him and hold the priesthood in his stead. Such was the rule of the sanctuary. A candidate for the priesthood could only succeed to office by slaying the priest, and having slain him, he retained office till he was himself slain by a stronger or a craftier.
The post which he held by this precarious tenure carried with it the title of king; but surely no crowned head ever lay uneasier, or was visited by more evil dreams, than his. For year in, year out, in summer and winter, in fair weather and in foul, he had to keep his lonely watch, and whenever he snatched a troubled slumber it was at the peril of his life.
The strange rule of this priesthood has no parallel in classical antiquity, and cannot be explained from it. To find an explanation we must go farther afield. No one will probably deny that such a custom savours of a barbarous age, and, surviving into imperial times, stands out in striking isolation from the polished Italian society of the day, like a primeval rock rising from a smooth-shaven lawn. It is the very rudeness and barbarity of the custom which allow us a hope of explaining it.”
Sir James George Frazer OM FRS FRSE FBA, ‘The Golden Bough’, Chapter 1. The King of the Wood, Section 1. Diana and Virbius, 1922 [ Archived here ]
…which we will draw on to this end.
Remaining the standard reference work on Comparative Mythology for nearly a century, and despite the fact that:
“Many serious objections may, indeed, be raised against Frazer and his methods or, rather, his want of method in dealing with the enormous comparative material brought together by him in The Golden Bough, as well as against his inadequate analyses and his evolutionistic theoretical conception of religion on the whole[…] still we must ascribe to Frazer a first-rank position within the sphere of the modern science of religion, owing not only to his unparalleled diligence in research and capacity for work, but also on account of his many fresh suggestions and his ability to animate the scientific discussion.
This holds true also of the important problem of the central position of the king from a social-religious-cultic point of view. Though Frazer cannot be said to be the first to have raised the problem, we must nevertheless accord him the merit of having fully realized for the first time the importance of this religiohistorical phenomenon, with which he has dealt in a long series of works.[…]
Frazer’s own contribution to the subject-matter has since been carried on in the sphere of ethnography, folklore, and the study of comparative religion in different realms of culture.”
Studies in divine kingship in the ancient Near East by Engnell, Ivan, 1906-1964-Publication date 1967 [Added Emphasis] www.archive.org/details/studiesindivinek0000engn/page/1/mode/1up
Thus ‘The Golden Bough’ it is still essential reading for those wishing to understand the human psyche in its ‘savage’ state, the authors, scientists and academics he paved the way for, who have enabled understanding of not only the ‘savage’ and miodern psyche but the way these ancient beliefs transitioned into monotheistic religions, Christianity, Judaism and Islam; not to mention the horrific and hitherto largely hidden ‘wound’ it inflicts on modern man, in the secret continuation of paganism exposed here:
“Frazer brought these accounts to a wider public with his description [of the] Kond [peoples’] human sacrifice as ‘the best known case of human sacrifices, systematically offered to ensure good crops’ (Golden Bough abridged version p434). To him, the sacrifice was primarily a fertility ritual, and he stressed the identification of the victim with the goddess, on his theme of ‘sacrifice of the living god’. Frazer’s account in turn has been quoted extensively as one of the best documented examples of human sacrifice, in the context of the idea that human sacrifice was virtually a universal feature of primitive society […] as the [biblical] story of Abraham and Isaac would seem to suggest.”
Felix Padel ‘Sacrificing People- Invasions of a Tribal Landscape- 2009 Edition https://www.goodreads.com/book/show/18075157-sacrificing-people
The work of Frazer explains why:
“[a]s Lammas, or Lughnasadh, bears down on us […we may address…] the metaphor of the God as a plant. Known as the Corn King, or John Barleycorn, in British tradition, the Sun God or “Son” God (child of the Goddess) dies a sacrificial death in order to feed all of us in the web of creation. He “dies,” but it is not true death, for he has already re-seeded himself in the womb of the Goddess. As he returns to the Underworld, he is already in the process of being reborn.
It is compelling to think of the God as a plant. Like the corn he is represented by, he releases his seed naturally in the course of his life-cycle. The new corn seeds are already germinating when the parent plant dies off. Yet the corn seed is, literally, a living part of that plant. So the corn is “resurrected” in the next season of growth.”
‘Lughnasadh and the Sacrifice of the Corn King’, Vegan Wican 24th July 2014 [ Archived here ]
…and we are reminded in another great work on ritual, Margaret Murray’s ‘The God of the Witches’, that:
“Lammas, the 1st of August, was one of the four great festivities of the Old Religion, and there is evidence to show that it was on the great Sabbaths only that human sacrifice was offered…as the Divine Victim […king].”
Margaret Murray, ‘The God of the Witches’, Pg 176 [Added Emphasis]
…for this ‘killing of the Divine King (victim)’ is actually a ceremonial ‘substitute sacrifice’ the likes of which has been carried out globally for millennia, and which, forming the very premise of the book ‘The Golden Bough’, which pioneered the study of Comparative Mythology and Anthropology and enormously inspired the work of the greatest minds of the modern age including T. S. Eliot, Sigmund Freud, Carl Jung, Robert Graves, Joseph Campbell, William Butler Yeats, H. P. Lovecraft, James Joyce, Ernest Hemingway, William Gaddis and D. H. Lawrence to name but a few.
Thus ‘The Golden Bough’, a mammoth treatise on the killing of the ‘Divine King’, written with the purpose of explaining the entire history of magic and folklore, is for all its errors effectively the document upon which the modern understanding of humankind is built.
Frazer’s thesis of the killing of the Divine King is present in the works of myriad academics and experts including Robert Graves, Alfred Loisy, Geo Widengren and, as illustrated, and quoted below, Elisio Ferrer, (who writes to this very day, and whose website can be found and books purchased here) are expanding on Frazer’s work, he states:
https://eliseoferrer.com/the-sacrifice-of-the-sacred-king-myth-ritual-and-meaning/ © Sacrificiodelreysagrado.com (Star Publishers). Fair Use
“The sacrificial and violent death of the Sacred King (the queen´s son or Neolithic goddess’s son) was the foremost part of an archaic ritual that, periodically pursued the propitiatory influence of Earth Goddess ‘s invisible forces and energies on cosmos renewal and the tribe’s impurities and sins expiation. It was one of the primitive cultures and world’s protohistory’s most characteristic «religious» events which marked the thereafter man’s relationships with the «sacred» realm.
[…] This ancient and complex ritual phenomenon was typified by James G. Frazer in «The Golden Bough: A study in Magic and Religion» (1890-1922), […] as the «Sacrifice of the Sacred King»; which alluded to the dramatic fate of a young «monarch» who, first under the tutelage and rule of the crown queen, then as sovereign king, and finally as king’s surrogate, was meant to cover the earth with his blood[…] the sacrifice was already being executed in historical times on what Frazer described as «temporary kings»: […] figures who accessed the royalty privileges with the sole purpose of becoming a sacrifice and ritual death object […] the truth is that the king, or his substitute (his first-born son, a volunteer or a convict chosen for the occasion), was sacrificed within a ritual of cosmic regeneration and/or expiation of illnesses, impurities and sins, to resurrect in spring. In such a way that the return to life (resurrection) of the Sacred King assassinated that year was represented in the rite and in the liturgy through the prior choice of an alternative victim, who had to be sacrificed at the end of the year or at the end of the following cycle.
Robert Graves’s evocative images.
Although [it] emerged without a doubt at the Neolithic matriarchy time (and perhaps before), in my book «Sacrifice and drama of the Sacred King», I placed the Sacred King ritual’s magnificent moment shortly before the matriarchal tribes invasions by the shepherds and warriors hordes: «It was in the male’s revaluing role context as life generator through carnal union, along with the first agricultural manifestations and their annual sun cycles dependence, where the Sacred King’s figure and his magical-ritual sacrifice must be placed in a perfectly outlined and defined way. The Sacred King was a fertility agent identified with the sun, guarantor of material abundance and, ultimately, of cosmic annual survival and regeneration». […]Robert Graves comments, in this sense that «the tribal queen annually chose a lover among her entourage of young men, a king who had to be sacrificed at the end of the year, making of him a fertility symbol rather than an erotic pleasure object. His blood, once dead, was spread over the field so the trees, crops and flocks would bear fruit. His flesh was torn (after some had also been scattered over the fields) and eaten raw by the queen’s fellow-nymphs, priestesses wearing animal masks.”
The Christian myth archaic origins, according to Eliseo Ferrer [ Archived here ]
This aspect of one manifestation of the ritual is referenced in the film, ‘The Wicker Man’.
Still from ‘The Wicker Man’ 1973 Source Fair Use [Archived here ]
Ferrer continues:
“…The sacrifice constituted (as I fully explained in my book) an authentic fertility ritual that generally ended in a cannibalistic Eucharist[…]
In a similar way, Osiris was quartered and his body fragments were scattered through the Valley of the Nile; similarly, Dionysus was also torn to pieces by the Titans, and with identical rites the bacchantes took communion. As consequence, and as a goddess son or lover’s resurrection sign, «plants sprouted and edible fruits germinated; Violets sprouted from Attis’s blood; from the blood of Adonis, the roses and the anemones, and from Osiris’s body the wheat, the maat plant and all kinds of medicinal and beneficial herbs for men».
The Sacred King and the Christian myth.
As I have explained in detail in my work («Sacrifice and drama of the Sacred King»), which starts from Frazer’s initial theses about the Sacrifice of the Sacred King and addresses its implications in the Christian myth (through a diachronic succession that encompasses vegetation cults, mystery cults, Indo-Iranian savior mythology, Gnostic myth, and Church myth of Christianity), «the neolithic and protohistoric sacrificial ritual periodically regenerated cosmic forces through new creation and made possible the resurrection of crops and the proliferation of cattle. Alike the seed and the cereal plant, the Sacred King had to die in order to be resurrected: just like the seed of the grain died under the ground in winter to be resurrected in spring under the breath of water and sunlight. It was about two solidary phenomena that appeared inextricably involved and in permanent functional symbiosis; for if the cereal’s destiny inspired the cyclical destiny of the death and the Sacred King’s resurrection, his death in ritual sacrifice encouraged and made possible the cereal germination and that of the entire cosmos in general». […]So much so that we can ensure that, in those Neolithic and Bronze Age societies, there was neither plant nature rebirth nor resurrection or hope for the cosmos continuity (including the cyclical destiny, after death, of men and animals) without the Sacred King’s sacrificial death.”
Ibid.
This heathen ritual, the killing of the ‘Divine King’:
Michael Maier. Emblem 44 , Atalanta Fugiens. 1617. Source: Public Domain. Available from: Wikicommons [ Archived here ]
…is apparently still in use within the Freemasonic lodges in the form of ritual theatrics:
Illustrations of Masonry by William Morgan. 1827. Source: Public Domain. Available from: Sacred Texts [ Archived here ]
…and outside the lodges, apparently in the form of ritual murder:
“‘The Killing of the King’ is a Masonic ritual, dating back to the murder of Hiram Abiff in King Solomon’s Temple in Masonic legend. Since then, the forces of darkness in all their various guises have used similar ritualised murders to dispose of their enemies, all down the ages…
Masonry does not believe in murdering a man [or woman] in just any old way and…it [goes] to incredible lengths and took great risks in order to make this heinous act of theirs correspond to the ancient fertility oblation of the Killing of the King.”
King-Kill 33: ‘Masonic Symbolism in the Assassination of John F. Kennedy’ By James Shelby Downard with Michael A. Hoffman II [ Archived here ] [Added Emphasis]
Quite how “incredible” these “lengths” are, and extent of the risks the Masonic establishment appears to gleefully go to, in order to surreptitiously fulfil such heathen sacraments, in plain sight of billions, is revealed in this document and our other writings.
The wicker man, and the killing of the ‘Divine King’, is not limited to dusty volumes and the apparent rituals of secret societies and cults, indeed the ritual has also been prominent in popular culture, most famously in a 1973 cult horror film, known as ‘The Wicker Man’ in which:
“Sergeant Howie (Edward Woodward) arrives on the small Scottish island of Summerisle to investigate the report of a missing child. A conservative Christian, the policeman observes the residents’ frivolous sexual displays and strange pagan rituals, particularly the temptations of Willow (Britt Ekland), daughter of the island magistrate, Lord Summerisle (Christopher Lee). The more Sergeant Howie learns about the islanders’ strange practices, the closer he gets to tracking down the missing child.”
https://www.rottentomatoes.com/m/the_wicker_man_1973 [ Archived here ]
…in the film, after the plot unravels, it becomes clear that the child was never missing and the entire ‘disappearance’ has been an elaborate ruse designed to lure Howie to ‘Summerisle’ in order that he be sacrificed by being burnt alive in the Wicker Man, as a substitute Divine King, for Sergeant Howie, in going to Summerisle as a policeman, thus with ‘kingly’ power over the residents, unwittingly takes on this role, and whose death in flames encased in a wicker man is intended to appease the nature spirits and restore the failing crops.
The climax of the film, depicting his human sacrifice, was curiously shown at the occult-symbolism filled Olympics opening ceremony in London 2012 and is described as:
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Screenshot from the US trailer of The Wicker Man. 1973. Source: Public Domain. Available from: Wikicommons [ Archived here ]
“…arguably the bleakest ending in cinema history anywhere…”
‘Crossing the Streams’ by Jim Rohner, March 2017 [ Archived here ]
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A poster for The Wicker Man. 1973. Source: Fair Use. Available from: Wikipedia [ Archived here ]
The film was remade very poorly in 2016.
Notably the most famous song from the (original 1973) film; the very melody that forms the musical theme of the movie, is set on a Lammas/ Lughnasadh night:
“It was upon a Lammas night when corn rigs are bonny beneath the moon’s unclouded light I held awhile to Annie”
Robert Burns, one of his ‘Songs,’ (music by Giovanni). The Rigs O’ Barley, 1783
Tune: Corn Rigs are bonie
Rather surprisingly human sacrifice, in the form of a wicker man, exactly as portrayed in the aforementioned film, continues as a theme in modern British culture beyond the Olympics (as linked to above) as it forms the theme of a ‘Wicker Man’ ride at Alton Towers theme park!
“Come join us near the woods and partake in our celebration. How far you choose to go…that is your choice. What part you choose to play…only you can decide. Be chosen on the night where the living meets the dead.”
Scarefest at Alton Towers, 2017, “The Welcoming: Be Chosen”
…if the apparent practise of human sacrifice had been eliminated from the western ‘civilised’ world, and did not appear to have been occurring during the so called ‘Troubles’, then this could be viewed as harmless fun, however in the context of its apparent ongoing use by an occult obsessed so-called ‘elite’, this roller coaster would appear to have much deeper significance:
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The Wicker Man. Fair Use, CC BY-SA 2.0 DEED Attribution: Henry Burrows. Available from: Wikicommons [ Archived here ]
…as a mass induction into the occult, in the form of a Masonic ‘Revelation of the Method’:
“…the…Masonic “Revelation of the Method”…alludes to the process wherein murderous deeds and hair-raising conspiracies…and every manner of horror show are first buried beneath a cloak of secrecy…and then, when finally accomplished and secured, slowly revealed to the unsuspecting populace who watch…deep-frozen…as the hidden history is unveiled.”
Michael Hoffman II, ‘Secret Societies and Psychological Warfare’, 2001
So lets examine the chain of association connecting the events referred to and deconstructed here.
The Miami Showband were massacred on July 31st on Lammas Eve the first day of Lughnasadh; it appears that human sacrifices at Lughnasadh to the sun-god Lugh were a common event.
Lugh is derivation of the Celtic deity Lugus.
Lugh was a solar deity and hero god, master of all arts, skills and crafts, whose name may indicate “Light”; thus is a likely precedent of ‘Lucifer’ the biblical fallen angel and ‘Light Bringer’, still an entity apparently worshipped by Freemasons/ Satanists today.
“”Lucifer, the Light-bearer ! Strange and mysterious name to give to the Spirit of darkness! Lucifer, the Son of the Morning! It is he who bears the Light, and with its splendors intolerable, blinds feeble, sensual or selfish souls? Doubt it not!””
Albert Pike, ‘Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry’, Pg 321, 19th Degree of Grand Pontiff
“I hereby promise the Great Spirit Lucifer, Prince of Demons, that each year I will bring unto him a human soul to do with as it may please him, and in return Lucifer promises to bestow upon me the treasures of the earth and fulfil my every desire for the length of my natural life. If I fail to bring him each year the offering specified above then my own soul shall be forfeit to him. Signed…{Invocant signs pact with his own blood }”
Manly P. Hall 33° Freemason, ‘The Secret Teachings of All Ages’, ‘The Lost Keys of Freemasonry’, 1928, Pg 316 [ Archived here ]
“Albert Pike had only specified and unveiled the dogmas of the high grades of all other masonries, for in no matter what rite, The Great architect of the Universe is not the God worshipped by Christians”
William M. Schnoebelen, former 32nd degree Mason ,‘Masonry: Beyond the Light’, 2011 [ Archived here ] [Added Emphasis]
“When the Mason learns that the key to the warrior on the block is the proper application of the dynamo of living power, he has learned the mystery of his craft. The seething energies of Lucifer are in his hands and before he may step onwards and upwards he must prove his ability to properly apply (this) energy.”
Manly P. Hall 33° Freemason, ‘The Secret Teachings of All Ages’, ‘The Lost Keys of Freemasonry’, 1923, Pg 76 [ Archived here ]
The Celtic god Lugh, pronounced ‘Loo’ has a strikingly obvious etymological link, as well as a striking visual and ritual similarity to Lucifer:
“LUGH is the Celtic Lord of Light, said to be skilled in all the arts. The festival of Lughnasadh bears his name, which means light or brightness.”
Raven Grimassi, ‘Encyclopedia of Wicca and Witchcraft’, 2003, Pg 226 [ Archived here ]
…so it appears that Lugh is actually an ancient version of the high level Masonic and Satanic deity, Lucifer:
“Who was Lugh? He was a fire- and light-god of the Baal/ Hercules type; his name may be from the same root as the Latin lux, meaning light (which also gives us Lucifer, ‘the light- bringer’). He is really the same god as Baal/Beli/Balor, but a later and more sophisticated version of him.”
Janet and Stewart Farrar, ‘A Witches’ Bible: The Complete Witches’ Handbook’, 1996, Pg 103 [ Archived here ] [Added Emphasis]
…so who was Baal?
Well, also known as Moloch or Molech:
“In the Bible, Baal (also rendered Baʿal) was an important Canaanite god, often portrayed as the primary enemy of the Hebrew God Yahweh.;…’ One of the main prophetic objections to Baal-worship was its association with ritual sex. That Babylonian religion involved ritual sacred harlotry is clear in the original sources, where it was associated with the goddess Ishtar…Another issue is that of child sacrifice. The prophet Jeremiah indicates that infant sacrifice was offered to Baal as well as to other gods (Jer. 19:5).”
‘Baal’, New World Encyclopedia
It should be noted that in keeping with the idea that the god Lugh’s association with the vile practises of the worshippers of Baal, that such practises were widespread, as ancient human sacrifices made to Lugh were preceded in the Irish calendar for countless millennia, even further back into the murk of history, in the worship of Lugh’s even more ancient precedent, known Crom Dubh or Crom Cruach, the “black crooked one”, the devil who had to be appeased with human blood at each harvest-home, at Lammas/ Lughnasadh:
“Crom Cruach was a god of pre-Christian Ireland. According to history he was propitiated with human sacrifice and his worship was ended by Saint Patrick.[…]
St. Patrick and Crom Cruaich. Illustrated by L.D.Symington. 1907, Katharine Tynan, The rhymed life of St. Patrick https://archive.org/stream/RhymedLifeOfStPatrick#page/n9/mode/2up
Source: Public Domain. Available from: Wikicommons, https://en.wikipedia.org/wiki/Crom_Cruach#/media/File:St._Patrick_and_Crom_Cruaich.jpg
[…]
He is also referred to as Crom Dubh. The festival for Crom Cruach is called Domhnach Crom Dubh, Crom Dubh Sunday. [The last Sunday in July, as ‘harvest home’ is effectively Lughnasadh/ Lammas-time]…
The references in the dinsenchas poem in the 12th century to sacrifice in exchange for milk and grain suggest that Crom had a function as fertility god. The description of his image as a gold figure surrounded by twelve stone or bronze figures has been interpreted by some as representing the sun surrounded by the signs of the zodiac, suggesting a function as solar deity.
Human sacrifices to the Irish God Crom Dubh were made to ensure a rich harvest and fair weather.
The legend of Crom Cruach is a sinister one. The ancient texts of the Metrical Dindshenchas claim that the people of Ireland worshiped the God by offering up their firstborn child in return for a plentiful harvest in the coming year.
Crom Dubh, the ‘dark, stooped one’ who lived in the underworld throughout winter, emerging on 1st August [at Lughnasadh / Lammas] to claim the ‘first fruits’, in the form of Eithne the corn maiden, and bringing her on his back (hence his stoop) down to the underworld.
He once enjoyed the unreserved worship in Ireland and other Celtic countries, before the church and tribal wars brought about the cultural and ethnic genocide of old Europe.”
Danette Wilson, ‘Crom Cruach: the other Wicker man‘, The Agora 28th July 2016 [ Archived here ] [Added Emphasis]
…and it is pertinent that:
“The 11th century Book of Leinster states ‘In a rank stand twelve idols of stone; bitterly to enchant the people the figure of Crom was of gold.’ This is thought to refer to a circle of standing stones at Magh Sléacht [Moyslaught the plain of adoration] near Killycluggin (the plain of Tullyhaw in County Cavan) in the sacred number of thirteen- the sacred king and his twelve companions. It may be that in ancient times a human sacrifice was made here…”
‘Crom Cruach: The Crooked God’, 13 September 2013, Confessions of a Hedge Witch
…and that:
“The Sacrifice of Crom himself seems to have been enacted in very ancient times by the sacrifice of human substitutes at a phallic stone surrounded by twelve other stones (the sacrificial hero-king’s traditional number of companions).”
Janet and Stewart Farrar, ‘A Witches’ Bible: The Complete Witches’ Handbook’, 1996
This is reinforced by the ancient Irish poem the ‘The Metrical Dindshenchas’ which states:
“He was their god, the wizened Cromm, hidden by many mists: as for the folk that believed in him, the eternal Kingdom beyond every haven shall not be theirs.
For him ingloriously they slew their hapless firstborn with much wailing and peril, to pour their blood round Cromm Cruaich.”
Unknown Author, Edited by Edward Gwynn, ‘The Metrical Dindshenchas’, Volume 4 English Translation, Pg 19
“Fair enough, but surely all that human sacrifice stuff was left behind centuries ago?”, the ‘rational’ reader will presume- well apparently not, for Freemasons at higher degrees would seem to be proud followers of the ancient human sacrificial mystery religions:
“The signs, symbols and inscriptions[of the Freemasons] date from…the Sumerian civilizations…Chaldea [Babylon], Assyria, Greece, Rome and even in Mexico and Yucatan…some rites of the Scottish Rite of Freemasonry of our Mother Jurisdiction have been in existence from time immemorial. For we teach the same grand truths, the same sublime philosophies… as those adepts of the ancient mysteries taught in their esoteric rites.”
Henry C. Clausen, 33°, Sovereign Grand Commander, The Supreme Council 33°, A&ARFM, Mother Jurisdiction of the World, pp. 5-7, Messages for a Mission, 1971 [Added Emphasis]
It is claimed that:
“Masonry is the descendent of, or is founded upon, a divinely imparted religion which long antedates the prime date of creation as given in our Bible. It is all that remains to us of the first world religion which flourished in an antiquity so old that it is impossible to affix a date. It was the first unified religion… To this, such symbols as the pyramids, both in Egypt and South America, bear witness […]
Human sacrifice as shown in the Codex Magliabechiano, Folio 70. Heart-extraction was viewed as a means of liberating the Istli and reuniting it with the Sun: the victim’s
transformed heart flies Sun-ward on a trail of blood. Source: Public Domain. Available from: Wikicommons
[…]The ancient mysteries were temporary custodians of the ancient truth and closely allied to the Masonic work of today… the relation of the Mysteries to Masonry has oft been recognized, and the golden thread of living continuity can be traced through them to modern Masonry. The Mysteries…are all parts of that ancient thread which has its origin in that primeval religion which terminates today in masonry”
Foster Bailey, 33rd degree Mason, ‘The Spirit of Freemasonry’, 1996
…thus this extract from ‘The Masonic Initiation’, by W. L. Wilmshurst also can be seen to have a profound meaning:
“We profess to confer Initiation, but few Masons know what real Initiation involves; very few, one fears, would have the wish, the courage, or the willingness to make the necessary sacrifices to attain it if they did.”
W. L. Wilmshurst, ‘The Masonic Initiation’, Pg 17 [Added Emphasis]
So overwhelming evidence exists that the Miami Showband Massacre occurred on an ancient human sacrificial date, that of Lughnasadh, to the god Lugh, himself a version of the bloodthirsty demonic deities Lucifer, Cromh Dub, and Baal.
THE MATHEMATICAL ODDS OF THESE ANOMALIES BEING COINCIDENTAL LESSEN WITH EACH CHAPTER…
READ ON THEN YOU DECIDE.
