The Irish Showbands Would ‘Do No More’ Performances after Massacre at ‘Donaghmore’
More Mystical Toponomy? – a bus full of popular musicians were killed in Buskhill Road, Buskhill, Donaghmore
- Buskhill Road – Buskhill,
- Donaghmore
“I declare, it’s marked out just like a large chessboard. It’s a great, huge game of chess that’s being played, all over the world, if this is the world at all, you know”
Lewis Carroll (1832-1898), ‘Through the Looking-Glass and What Alice Found There’ 1872, Pg 38 [ Archived here ]
In apparent accordance with Mystical Toponomy / Psychogeography – passengers of a bus were not only killed in Buskhill Road, Buskhill, but at Donaghmore:
Donaghmore – sounds like – i.e. the phonetic sound is that of, ‘do no more’, especially when spoken with an Irish accent, as proven in this video excerpt embedded below, from a native Irish man, who pronounces the name ‘Donaghmore’ at 00.04:
This apparent reference to the groups destruction encoded in the Twilight Language of Mystical Toponymy clustered around the event would likely go completely unnoticed were it not for the other, more easily spotted apparent anomalies, i.e. Lughnasadh and Buskhill Road, and the others to follow…
“This is the prop that is placed in the Group or “dreaming mind” of the masses. Being programmed-while you are awake–by symbols of which you are unconscious–is essentially a description of mass hypnosis.
Having placed a ritual prop in the Group Mind, it is necessary to place it in physical space as well.”
Michael A. Hoffman II, ‘Secret Societies and Psychological Warfare’, 2001 Edition, Pgs 176 [ Archived here ]
Playing in the North of Ireland was something ALL Showbands, not just the Miami, and virtually ALL artists would ‘Do No More’, after the massacre at Donaghmore:
“[t]he result of all this has been that a whole generation of teenagers have grown up deprived of the normal social outlets that kids can expect elsewhere.”
Narrator from TV Footage, ‘ReMastered: Miami Showband Netflix Documentary’, 1m:30s – 2m:04s
Previously despite the ‘Troubles’, since the 1960s as the musical avant garde grassroots from the US and UK led the world in culture, the Showbands provided the youth of Ireland an impoverished, agricultural and culturally backward society, with an sorely needed alternative to the divisive sectarian religious dogma, and offered music which transcended the centuries old divisiveness of traditional sectarian folk songs that had infused Irish society on both sides, with prejudice, intolerance, and hate for centuries.
The Showbands transcended this.
“Dubbed as the dancehall explosion, the age of the showband is credited with introducing the country to rock ’n’ roll and releasing the youth from the shackles of conservative Ireland[…]
At the height of its popularity in the mid-1960s, up to 800 acts were said to be criss-crossing the country on a nightly basis.”
Eoin Burke Kennedy, ‘Dancehall dynamos honoured on stamps’, The Irish Times, 23rd September 2010 [ Archived here ]
The showband phenomenon gave the youth of Ireland, for a few short years, an insight to how carefree life can be when sectarianism is forgotten, and thus enabled the youth the chance to sample something of what the kids of mainland Britain enjoyed, as working-class youngsters from both Catholic and Protestant backgrounds came together and danced, innocently and ecstatically to a cabaret version of the British and American ‘hit parades’ played by mixed bands.
Left: Author’s Own Work. Screenshot of Map showing location of Donaghmore. Source: Fair Use. Available from: DuckDuckGo
The Showband phenomenon, meant that one or the other of the scores of bands would be playing in a far flung corner of rural Ireland every weekend and served as a de facto youth network, with the bands acting as intermediaries guiding the transition between youth and adulthood, enabling the rites of passage essential to a healthy and fulfilled adulthood; for such cultural facilities enable:
“… “sanctuaries” and “safe havens” that provide teens alternate spaces—apart from the often more vulnerable domains of school, family, and neighborhood.[…] as intermediate “transitional” settings between the worlds of adolescence and adulthood, settings that combine valuable components of both: a youth-centered focus and openness to youth culture with the presence of caring supportive adults [the Showbands] who serve as bridges to adult worlds [and] can emancipate youth’s often untapped capacities for individual and collective agency and social emotional development […in…] powerful developmental settings that support active processes of youth empowerment, self-discovery, character development, healing, sociopolitical awakening, and acquisition of valuable social capital.
Reed W. Larson and Bic Ngo, ‘Introduction to Special Issue: The Importance of Culture in Youth Programs’, 27th December 2016, Volume 32, Issue 1 [ Archived here ]
[…] is it possible, for example, that a youth’s immigrant background or membership in a “minority” culture or race can create barriers to the experience of belonging, empowerment, and awakening […] Culture matters because each day youth and [musicians] bring their cultural experiences to the [youth], and these experiences influence how they think, act, and learn. The culture people bring can include expectations about how things should be done, cultural beliefs and frameworks for interpreting things that happen, and dispositions toward other cultural groups—including stereotypes, positive attitudes based on prior experiences, or an unexamined sense of privilege as a member of a dominant culture. Low-income minority and immigrant youth may carry with them feelings of perpetual uncertainty about their physical safety […due to…]frequent experiences with adults in official roles (i.e., teachers, police) who treated them in hostile, unpredictable, or demeaning ways…
Culture matters because it permeates every aspect of [life]. It shapes fundamental beliefs [at a] developmental stage when use of stereotypes and acts of bigotry can increase and when peer-groups can become more closed and hostile to out-group members […] Adolescents also become more able to detect unfairness, discrimination, and differential treatment by adults […] and to understand processes that shape cultural/racial attitudes, behavior, and conflict […] about issues of ethnic identity and cross-ethnic relationships […and…] can provide valuable contexts for youth to develop a range of culture-related skills, including those for building understanding across cultural groups and for identifying and controlling their biases and prejudicial behavior[…]”
However participation in this essential forum for interaction is something they would ‘do no more’ after the incident at Donaghmore in 1975, after an atrocity which enabled the cessation of the culture, which rather conveniently seems to fit it with a concurrent British psychological operation to take over, as far as possible, all recreational activities used by Catholic youth, (just as they now have done on the mainland to graffiti art and the broader culture) thus removing any autonomy:
“[T]he British attempted to lay the ground for depriving the Nationalists of the management’ of social, cultural or recreational activities. With the help of the Peace Movement in 1976-77 they attempted to cut the ground from under the feet of the 32-county Irish sports federation, the Gaelic Athletic Association, whose Constitution proscribes membership of British soldiers and favours British withdrawal and the unity of Ireland. In other cases, the Royal Ulster Constabulary, with around 60 Community Relation Officers in t977, operated RUC youth clubs and ‘Blue Lamp Discos’, welcoming, according to police figures, 30,000 teenagers a month. As the police themselves explained: the organizers of these ventures, continually emphasise that they are policemen first and community relations officers second, and that the Community Relations Branch is just another specialized unit which a modern police force requires if it is to serve the community properly by reducing or preventing the production of irresponsible citizens.”
Roger Faligot, ‘Britain’s Military Strategy in lreland’, 1983, ‘Control of Population’, Pg 123 [ Archived here ]
Protestant youth were simultaneously targeted including by using the means of peer pressure, propaganda and coercion to ally with Kitson’s ‘counter-gangs’. So it appears that in the prosecution of the psychological war on the people of Ireland, that:
“facilities…should be provided, but clearly in the framework of counter-insurgency plans…under military tactical supervision”
Ibid.
…i.e: only in ways which advanced the goals of the British state.
This appears to have been achieved through the infliction of trauma based mind control, including through the apparent ritual assassination of key figures, (just as they have done to British graffiti writers and the broader autonomous culture).
This appears to have been coordinated by entities who at the top level of psychological warfare were attempting:
“To bring present-day humanity into the time of vegetative Arcadia, [which] in occult lore, requires human sacrifice; that is, ceremonial immolation, or as it is known in modern parlance, “serial murder.” The dreaming mind of the Group Mind, upon hearing the words [Donaghmore] or pronouncing them in conversation, is not perceiving them in the textual abstract but in the oral-primal, the phonetic domain of dreams. Therefore what is being invoked in the mind of the masses when the words, [Donaghmore] are broadcast’, [in the context of the Miami Showband Massacre] is not [Donaghmore ] but [Do No More]”
Michael A. Hoffman II, ‘Secret Societies and Psychological Warfare, 2001 Edition, Pgs 176-177 [ Archived here ]
Then, in the vacuum that followed, through the offering the both consciously and subconsciously terrorised and traumatised populace, a militarised alternative that almost completely ended, (until the rise of punk rock and the new wave enabled it on a much smaller scale) the unsupervised mixing of the two factions, thus more easily enabling the depersonalisation of ‘the other’ required for the violent ‘processing’ of Ireland through terrorism, in atrocities apparently orchestrated, perpetrated and propagandised by:
“…Black Arts adepts who wear police badges, occupy judge’s seats and media editor’s desks [who] are not simply “crazed,” nor are such intensely publicized [apparent] ritual murders merely superstitious sacrifices to some kooky devil-god. […]
Michael A. Hoffman II, ‘Secret Societies and Psychological Warfare’, Pgs 77-78 (1992 Edition) referring to the ‘Son of Sam’ murders [ Archived here ]
This theater of death began as a ritual for the cult-members themselves and ended as a giant magical ceremony for the processing of the entire nation, […]
This is the alchemical psychodrama for the transformation of humanity. We are processed just by reading or watching “the news.””
This is especially effective when the news contains report after report of hideous violence against those we love, admire, adulate and care about in deeds apparently punctuated with what would seem to be occult symbolism in the form of key ‘Trigger’ words designed to mock, disempower, and subconsciously traumatise.
THE MATHEMATICAL ODDS OF THESE ANOMALIES BEING COINCIDENTAL LESSEN WITH EACH CHAPTER…
READ ON THEN YOU DECIDE.
