“What you are about to read will shock you but.it will give you some insight into what went through young minds as they watched their country being blown to pieces and friends being shot dead on the very streets where they once played together. Try to picture how you would react if chaos reigned all around you, in a situation where your own life, or those of your family and friends, was not a promise any more.

When I joined the Ulster Volunteer Force (UVF) in the early 1970s, I thought it was right and necessary. The country was in turmoil. It really did seem as if civil war was just around the corner. I joined in order to defend my homeland from the danger of being overrun by Republican terrorists. We went from a defensive position to an offensive one as the body count rose and the country descended into total anarchy.[…]

The hearts of our cities and towns were being systematically blown to Kingdom come. Many men took to the streets to protect their homes and family. But this was deemed illegal for some in Northern Ireland and many ended up in prison or dead, for trying to protect their country. It’s all right for the authorities to kill, but when you try to defend and protect your homes and family, you are a criminal.

I know many people are going to say that a lot of innocent Catholics were killed. True, but this was considered a war situation […] there were times when innocent Catholics were targeted just to instill fear and get revenge for some atrocity committed by the PIRA.

I know of times when such operations were sanctioned by London, to hit hard and try to cause maximum death and destruction in order to score points in the political arena. The Secret Services could not do it all by themselves, so they enlisted men and provided the arms, explosives and expertise to carry out their dirty work. They were very careful in their selection, picking dedicated, sincere men with no criminal records to become low-profile, highly trained operators. These men in turn trained other members of their teams. They covered their arses as much as possible so that nothing or at least very little could be traced back to them.

In the early 1970s they enlisted people who were hell-bent on revenge, people who had lost relatives or friends to some PIRA murderous attack. They preyed on the vulnerable, people who were distressed after burying their loved ones; brothers, sons, uncles, friends.”

John Black, ‘Killing for Britain’, 2008 [ Archived here ]

On July 29th, 1975, two days before the Miami Showband massacre, a very curious car crash occurred.

It was curious as it killed a leading member of Ireland’s premier international Showband, the ‘Royal’, almost exactly to the date when Ireland’s other leading showband was massacred on an ancient pagan sacrifice day. The victim, Tom Dunphy, was, at the time, playing with another hugely popular new outfit, called the ‘Big Eight’.

Apart from the obvious ‘coincidence’ that after years of safe passage previously enjoyed during the violent sectarian ‘Troubles’, the musicians from two Irish Showbands met violent deaths within days of each other, we will find that if we examine the details of the events we are confronted by yet more disturbing ‘coincidences’, for, like the Miami Showband massacre, the death of Tom Dunphy was apparently clustered with the apparent symbolism of ‘Twilight Language’ and ‘Mystical Toponymy’.

This legendary Irish musician, Tom Dunphy, beloved by people from both sides of the sectarian divide, died in a car crash at Drumsna, near Carrick-on-Shannon at the age of 40.

Tom Dunphy was a highly gifted musician and a massive star, with his ‘Royal Showband’ playing alongside The Beatles in their early days, achieving top billing:

Poster. The Royal Showband featuring The Beatles at the Pavilion Liverpool. 1962. Source: Fair Use. Available from: Irish Showbands [ Archived here ]

“Brendan Bowyer and Tom Dunphy were the local heroes of the [Royal Show]band, now performing in legendary venues such as The Stardust in Las Vegas. At one stage in their early career, The Beatles had played support to The Royal Showband in Liverpool. Bowyer told a young Paul McCartney that if the four Liverpool lads could stick together, they would do well. Both Bowyer and Dunphy were pioneers of the showband era and had become superstars in every sense of the word. In 1971, however, despite a string of hits and international fame, they both quit the Royal and set up The Big 8, with T.J. Byrne once again at the helm.”

Stephen Travers and Neil Fetherstonhaugh, ‘The Miami Showband Massacre: A Survivor’s Search for the Truth’, Frontline Noir, Kindle Edition, 2017

Often playing in Las Vegas, the band were so highly thought of, that the ‘king’ himself, Elvis Presley, would often attend the bands’ Las Vegas concerts, and was personal friends with them.

However just three days before the Miami Showband massacre disaster struck:

“[…o]n Monday, 28 July, during the packed Galway Races Festival, [The Miami Showband] kicked off two sold-out nights at the massive Seapoint complex in Salthill. Just as they were preparing to go on stage for the second night, they were rocked to the core with the news of the sudden death of Irish superstar Tom Dunphy, who was killed in a car accident. He was forty years old. Dunphy was considered a grandee of the showband scene. Along with Brendan Bowyer in The Royal Showband, he had conquered the Irish music scene before achieving similar acclaim with The Big 8 in the USA. The band had just returned to Ireland for a series of one-night stands, having completed a six-month stint at the Stardust in Las Vegas.”

Ibid. [Added Emphasis ]

At the time of the crash Tom Dunphy was home from Las Vegas after a stint at the ‘Stardust’, pictured here as it would have looked at the time:

Photograph – Photographer Unknown. Unused Postcard for the Stardust Hotel, Las Vegas, Nevada. Dated to the late 1960s or early 1970s. Source: Public Domain. Available from: Wikipedia [ Archived here ]

…the name Stardust itself has curious ‘coincidental’ connotations. This occurs in the context of a possible reference to the funeral mass, via the word ‘dust’, itself from a passage originating from ‘Genesis’, the first book in the bible:

Author: Masaccio (fresco), Paolo Villa (photo and corrections). The Expulsion from the Garden of Eden. Between 1426 and 1427. Source: CC BY 4.0. Available from: Wikicommons [ Archived here ]

…in which Adam and Eve are cast out of the Garden of Eden.

“The exact phrase ashes to ashes, dust to dust is actually from the Church of England’s Book of Common Prayer and is used for burial services. However, the idea of returning to the dust and covering oneself with ashes both appear multiple times in the Bible.[…]

“Returning to dust” is a metaphor for death. God forms Adam from the earth (Genesis 2:7), and after Adam and Eve sin, God tells Adam, “By the sweat of your brow will you have food to eat until you return to the ground from which you were made. For you were made from dust to dust you will return” (Genesis 3:19). So, within the context of Judeo-Christian thought, dust is where humanity came from and where all humanity returns in death.”

G. Connor Salter, ‘Is ‘Ashes to Ashes, Dust to Dust’ in the Bible and What Does it Mean?’, Christianity.com, 12th February 2024 [ Archived here ]

It should be noted, that many people believe that:

“Everything was once dust, and everything returns to death yet again. This is the only certainty of life, and it’s not something that should get you down. When you understand and recognize that we’re all built of stardust and everything that makes up the universe, life feels all the more magical. In this big, wide universe, we aren’t so alone after all.

The phrase ‘ashes to ashes, dust to dust’ might have found its start in the original story of Adam and Eve, but it’s truly a tale as old as time itself. Today, it finds its way in popular culture, media, and literature. It is a constant reminder that we are made of the stars themselves, and these elements are as ancient and immortal as existence.”

‘To Dust We Return: The Cycle of Nature’ [ Archived here ]

…this symbolically loaded biblical reference came into massive significance just as Dunphy was ‘coincidentally’ on his symbolic journey of death from the ‘Stardust’ venue in Las Vegas, to ‘dust’, through his death and the ensuing Christian funerary ritual embodied by the “dust to dust” reference.

Thus we find we can equate ‘dust to dust’ = death, apparently via a ritual which was disguised as an accident and struck through with a cluster of ‘Twilight Language’ and ‘Mystical Toponymy’ as we shall see,

It may be also be significant that, the hugely popular 1969 Joni Mitchell song, ‘Woodstock’ (We are Stardust), as immortalised by Crosby, Stills, Nash & Young:

Photograph of Crosby, Stills, Nash & Young, The band seated and performing onstage. Source: Public Domain. Available from: Wikipedia [ Archived here ]

…was a huge hit still garnering substantial radio play across the US and Europe at the time of the incident, (as I remember hearing myself).

It bears the lines:

“We are stardust, we are golden,
We are billion year old carbon,
And we got to get ourselves,
Back to the garden.

[…]

We are stardust, we are golden,
We are caught in the devil’s bargain.”

Writer: Joni Mitchell, Stormy Forest Masters, Copyright: Crazy Crow Music, 11 March 1970 [ Archived here ] [Added Emphasis]

After the reference to “the garden” (of Eden), the “bargain” with the “devil” referred to (us) being “caught in” would appear, in Tom Dunphy’s case, given the context exposed over the following chapters, to be the entrapment of an innocent Christian man by modern followers of Lugh, for as we have already learned, the Miami Showband were massacred three days later, on July 31^st on Lammas Eve the first day of his festival Lughnasadh.

Dunphy of the Royal Showband had his ‘accident’ on the 28th July during the days approaching this pagan holy day, seemingly in preparation for the apparent ‘main event’, an atrocity apparently calculated to imbue with extra symbolic significance the state-sponsored terrorist ‘spectacular’ of the Miami Showband Massacre, and even further terrorise the innocent people of both faiths in Ireland, who previously joined as one, in order to enjoy music in an atmosphere which did away with the prejudice of sectarian divides.

This occurred in an ‘accident’ apparently so replete with the blatant occult symbolism of Twilight Language, and Mystical Toponymy, as is exposed in the following chapters, that many could surely not fail to miss the notion that there might be something very strange about the events, including their close proximity.

“”the Revelation of the Method.”… alludes to the process wherein murderous deeds and hair-raising conspiracies involving wars, revolutions, decapitations, secret archaeo-astronomic deity cult worship, 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…deepfrozen…as the hidden history is unveiled…

Michael A. Hoffman II, ‘Secret Societies and Psychological Warfare’, 2001 Edition, Pg 52 [ Archived here ]

In this particular case the ‘accident’ that killed Tom Dunphy occurred at a time of the pagan calendar, in which, in ancient times, preparations for the sacrificial rituals of Lughnasadh would be underway.

As already established in the Miami Showband Massacre section of this book, the ancient Irish god Lugh was a solar deity and hero god, master of all arts, skills and crafts, whose name may indicate “Light”; thus whom is very likely a precedent of ‘Lucifer’ the biblical fallen angel and ‘Light Bringer’, still an entity apparently, if the following writings by the highest degree Masons are to be believed, is covertly worshipped by Freemasons and Satanists today.

Illustration of Lucifer in the first fully illustrated print edition of Dante Alighieri’s Divine Comedy. Woodcut for Inferno, canto 33. Pietro di Piasi, Venice, 1491. Source: Public Domain. Available from: Wikipedia [ Archived here ]

“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 [ Archived here ]

“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’, Pg 316 [ Archived here ] [Added Emphasis]

“Palladism is necessarily a luciferian rite. Its religion is Manichaean neo-gnostism, teaching that the divinity is dual and that lucifer is equal of Adonay, with lucifer the God of Light and Goodness struggling for humanity against Adonay the God of darkness and Evil.. 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 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’, Pg 48 [ Archived here ]

If we examine the incident through the counterintuitive lens of the modern pagan idolatry referred to above, and the apparent proponents’ propensity for expounding their ‘feats’ publicly in code, in the context of this apparent mocking reference to the Christian funerary rites of “dust to dust”, as well as the related concept of “stardust”, the ‘accident’ may take on a chilling new clarity.

THE MATHEMATICAL ODDS OF THESE ANOMALIES BEING COINCIDENTAL LESSEN WITH EACH CHAPTER…

READ ON THEN YOU DECIDE.