Crown Issued Weapons Used in The Miami Showband Massacre
The above, like the other ‘coincidental’ references mocking the victims, appears to be a ‘cold joke’, especially in the apparent symbolic degradation of the members of the Miami Showband into being mere ‘targets’ for ‘shooting practice’, in which the arms used in the massacre were found to have been Crown issue Ulster Defence Regiment firearms:
“Almost every single weapon used in the Miami Showband murders originated from the UDR or the Police in Northern Ireland.”
Stephen Travers, ‘ReMastered: The Miami Showband Massacre-Netflix Documentary’, 29m.46s – 28m.55s
…and appeared to be from a cache stolen apparently with the involvement of the head of the UVF, Robin Jackson:
…a psychopathic serial killer, also known as the Jackal, a murderer often of civilians unconnected to the conflict who was a senior part-time soldier with the Royal Ulster Volunteer Force.
He is alleged to have organised and participated in a series of killings, against Catholic civilians, killings reciprocated on the other side by Nationalist paramilitaries.
Allegedly the leader of the Glenanne gang which operated mainly in the so-called murder triangle, an area of counties Armagh and Tyrone.
Thanks to his status, during the so-called ‘Troubles’ in the North of Ireland as working as a double-agent in the capacity as an asset run by the UK spy agencies, he was the head of one of General Sir Frank Kitson’s counter-gangs:
“These groups are mainly recruited in Protestant ghettos. They possibly most closely fit the definition of ‘counter-gangs’ employed by Kitson in Kenya; armed groups recruited among the Loyalist population, which operate independently but yet under strategical British army control.
Roger Faligot, ‘Britain’s Military Strategy in lreland’, 1983, ‘Control of Population’, Pg 123 [ Archived here ]
They strongly resemble the MRF [Military Reaction Force] -led units, except that there may not be any British soldier involved.
The first two categories present some disadvantages: SAS or MRF men may be captured, and become a considerable embarrassment to the authorities, or even – like David Seaman, sickened by the tasks he was asked to perform – desert and reveal their real role.”
Loyalist paramilitary thugs were, in fact working with impunity as unofficial ‘death squads’, waging a ‘dirty war’ unimpeded by the rules of engagement which hampered the regular British Army from carrying out atrocities, he commanded the UVF’s Mid-Ulster Brigade from 1975 to the early 1990s, leading a gang which consisted of soldiers from the British Army’s Ulster Defence Regiment (UDR):
…as well as police officers from the Royal Ulster Constabulary (RUC), and members of the Mid-Ulster Brigade of the Ulster Volunteer Force (UVF).
“[Margaret Urwin: Justice for the Forgotten], One of the weapons tested and found to have been used in the Miami murders a Luger pistol was found about ten months after the murders now with the pistol was found a silencer wrapped in insulating tape. Robin Jackson’s fingerprints were found on the silencer but there was a ‘mistake’ made by the fingerprinting department initially in their report and they said that his fingerprints were on the tape.
[Alan Brecknall: Investigator, Pat Finucane Centre] Robin Jackson come with a ready made excuse for why the fingerprints would have been on the insulating tape.
Clearly somebody tipped him off.
[Alan Brecknall:] And the question has to be asked why was someone within the police force giving Robin Jackson information if this is the most notorious Loyalist gunman in the North at that time.
In this position he was fed intelligence on alleged members of paramilitary organisations and given Crown issued arms with which to kill them, and was effectively above the law; being given advance information of any investigations which may threaten his freedom, or his ability to mobilise. Thus protected he was never convicted of any of at least 50 killings in Northern Ireland have been attributed to him, thus he never served any lengthy prison terms.”
‘ReMastered: The Miami Showband Massacre-Netflix Documentary’
In the circumstance of the Miami Showband killings:
“a 2011 Historical Enquiries Team report […] found that mid-Ulster UVF man Robin Jackson claimed in police interviews he had been tipped off by a senior RUC officer to lie low after his fingerprints were found on a silencer attached to one of the weapons.
He was later acquitted on a charge of possessing the silencer.“
‘Miami Showband Victims Receive £1.5m in Damages’, BBC News, 13 November 2021 [ Archived here ] [Added Emphasis]
As Kitson himself freely admits, in his book on ‘Low Intensity Operations’:
“[T]he process is a sort of game […] without regard to customs, doctrine or drill.“
Frank Kitson, ‘Low Intensity Operations, Subversion, Insurgency, Peace-keeping’, 1971 [ Archived here ] [Added Emphasis]
…which effectively means operating without regard to either morality, due process, Standard Operating Procedure, Human Rights Charter, or law. Meaning in effect that:
“…what the British state has been doing for twenty or thirty years [in Ireland is] on a par with what happened in Chile or what happened in Argentina. It may not have been on the same numerical scale, but the policies were the same.”
Dan Glazebrook, ‘British State Collusion with Loyalist Death Squads in Northern Ireland: An Untold Story of Our Times’, August 20th, 2010 [ Archived here ]
These tactics are now being used, albeit at a much lower intensity, on autonomous artists, especially graffiti writers such as myself and my peers, on the UK mainland, and apparently as far away as Russia, through collusion by an art market led by Charles Saatchi, in illegal collusion with state organs, apparently including the intelligence agencies, police and essential services such as local councils, charities and the NHS, as detailed in this chart, apparently in order, as in Ireland during the ‘Troubles’ to:
“[…d]epriv[e us] of the management’ of [our own] social, cultural or recreational activities…[meaning t]he whole scheme would be under military tactical supervision.”
Roger Faligot, ‘Britain’s Military Strategy in lreland’, 1983, ‘Control of Population’, Pg 123
‘Coincidentally’ the nickname used by Jackson, ‘The Jackal’, at the time he was actively engaged in illegal collusion was used contemporaneously by Charles Saatchi:
“In Celtic mythology, the jackal was associated with the underworld and death.[…]The jackal was also seen as a symbol of transformation due to their ability to change its appearance. They were often associated with shape-shifting and were thought to be able to take on human form.”
Andy Willis, ‘Jackal Symbolism Meaning, and Totem’, Spirit Animals and Symbolism, 6 August 2022 [ Archived here ]
In the 1976 film, ‘The Omen’, the Jackal’s ancient satanic symbolic relevance is referenced in the attribution of the jackal as being the mother of the antichrist whose body is uncovered in possibly the most chilling scene in the most terrifying film of that era, as shown in the screenshot below:
Screenshot from the film, ‘The Omen’. 1976. Source: Fair Use.
…and in the shadow of the antichrist as seen in the film poster:
‘The Omen’ film poster. 1976. Source: Fair Use.
Saatchi ‘the Jackal’ also in line with the apparent occult symbolism inherent in both psychological operations, and identified above, here depicts himself as Satan:
Charles Saatchi book, ‘Be the Worst You Can Be’, poster. Source: Fair Use.
…in his book ‘Be the Worst You Can Be’.
“Jackal embodies cunning and deception across various narratives, often manipulating situations for personal gain while interacting with other animals, like the […] Lion, ultimately influencing outcomes through stratagems and trickery.”
‘Significance of Jackal’, Wisdom Library [ Archived here ] [Added Emphasis]
Thus apparently acknowledging symbolically the involvement of the UK Crown security forces, (the metaphorical ‘Lion’ as depicted in the British coat of arms):
Coat of Arms of the United Kingdom. Source: CC BY-SA 4.0. Available from: Wikicommons [ Archived here ]
…in the colonial ‘low intensity warfare’ both in Ireland against the population on all sides, and now against artists, and thus the broader public, on the mainland in the deprivation of public access to autonomous art.
This phenomenon is known as the ‘Imperial Boomerang’:
As Connor Woodman writes: “the ‘imperial boomerang effect’ is a term for the way in which empires use their colonies as laboratories for methods of counter-insurgency, social control and repression, methods which can then be brought back to the imperial metropolis and deployed against the marginalised, subjugated and subaltern within. With weak moral and legal restrictions, empires are gifted a free hand to test new technologies and social hierarchies on colonised populations. Once honed, the circulation of personnel and knowledge through the empire spreads these repressive methods across colonies – and back into the domestic heartland.”
It is no surprise that the countries of the West which were most deeply committed to imperialism and colonial rule are the ones now turning on their own people.
Beyond McCarthyism: the Imperial Boomerang and the Endless Present https://bellacaledonia.org.uk/2025/04/20/beyond-mccarthyism-the-imperial-boomerang-and-the-endless-present/ [Archived here ]
This atrocity is apparently regarded by the establishment as a cold joke.
So what is a cold joke?
“Among the strongest expressions of lack of respect is the cold joke.
During the occupation of Kuwait, some Iraqis who had killed a boy told his family they wanted money for the bullet. They could have simply forced Kuwaitis at random to give them money. The added cruel humour of this demand is what makes it a cold joke.
The language used by people carrying out atrocities is riddled with cold jokes. The Iraqi military security under Saddam Hussein used Kadhimiya prison in Baghdad for touring political prisoners. The tank of battery acid into which they were thrown to their deaths
was known as ‘the swimming pool’ Argentinean soldiers under the junta called the machine they used to give people to give people massive electric shocks ‘Susan’ and a prisoner’s interrogation by these means was called ‘a chat with Susan’. Under apartheid, South African interrogators had nicknames for kinds of torture: ‘telephoning’, ‘playing the radio’, ‘the submarine’, ‘the aeroplane ride’, and so on. Some of the same terms crop up in Argentinean accounts, showing that there is a revolting international language in which to be amusing about torture.
The cold joke mocks the victims. It is an added cruelty as well as a display of power: we can put you through hell merely for our mild amusement. It adds emphasis to us and them: we the interrogators are a group that share a joke at the expense of you the victims. It is also a display of hardness: we are so little troubled by feelings of sympathy that we can laugh at your torment.”
Jonathan Glover, ‘A Moral History of the 20th Century’
So, in context of this grotesque mockery and devaluation of life, we can see that these atrocities were apparently carried out with sadistic glee; indeed it is apparent that in the persecution of musicians in Ireland, and we artists on the mainland, that:
“…Freemasons applaud violence, terror and crime providing it is carried out in a crafty manner. One section of the (masonic) notes says humor is all-important and the most appalling crimes may be committed under its cloak. …Jack the Ripper was going about his crimes in just this way, committing ghoulish murders with a Puckish sense of fun.
If Masonic supremacy appears in jeopardy, it is re-established by a show of strength, by crimes of violence, perpetrated to demonstrate… the far-reaching power of Freemasonry to initiates the world over…”
Stephen Knight, ‘Jack the Ripper: The Final Solution’, 1976, Pg. 163 [ Archived here ] [Added Emphasis]
…this is inflicted through symbolic displays of the sadistic gloating of apparent impunity as illustrated above.
THE MATHEMATICAL ODDS OF THESE ANOMALIES BEING COINCIDENTAL LESSEN WITH EACH CHAPTER…
READ ON THEN YOU DECIDE.
