What Killed Fans At Astroworld, Part 2

Frequency, volume and microwaves are techniques of weaponized crowd control

Part 1: What Killed The Youth At Astroworld

Dangerous frequencies, targeted beams… these are not make-believe. They are patented and deployed by military, intelligence and corporations. But before diving into the deep end, let’s first explore the simpler, more innocent possibilities that led to 11 cardiac arrests and eight official deaths at Astroworld, in Houston, Texas, during the concert of Travis Scott on Nov 5, 2021.

There is still no video evidence of the “surge” or stampede that the old media blames for the deaths of the flower of youth. A localised crush at the front does not account for reports of deaths in various locations of the venue where spacing was adequate.

Part One: What Killed The Youth At Astroworld

Nov 9, 2021

Marketing to max

Before jumping to conclusions, it’s important to say that audience behaviour could be the result of excitement — crowds are influenced by music and atmosphere.

Music is a commodity business today. Once upon a time a rock band toured to promote albums. Nowadays events are the moneymaker. Size, scale, volume and pazzaz are everything.

Producers and managers know it’s good business to light up the audience. They stimulate every sense, taste, smell, touch, hearing and sight: the eyes blinded by volcanic flashes, the body pummeled by pulsing sound — we can even smell the excitement.

The body releases, through sweat, airborne chemical messengers that attract us to others. Pheromones are like hormones on the outside — they send signals, and not just sexual. They tell us when to bond and when to back off, they alert us when someone else is having a good time, if they found food or nectar, and they mark our territory.

Pheromones were only discovered during our grandparents’ lifetime and they’re still not fully understood, especially in humans. They make us happy, they make us aggressive. They can explain going “a litttle bit psycho.”

Then there’s endorphins, responsible for “runner’s high” that give a feeling of euphoria or deep relaxation. Do it often enough and you may actually rewire the part of the the brain that controls mood and cognition.

Festival goers will recognize some of these positive influences. And now we know electromagnetic frequencies can stimulate them.

Dark side

There are other ways in which music controls us, squeezing us like soft fruit, juiced like produce, the adrenaline pressed out of grapes at harvest, literally crushed by foot in the lagar.

Electronic dance music has become increasingly functional, intended to achieve a specific effect on body and emotion. This is the difference between output and outcome in management speak. All music makers focus on output but EDM seems specially geared to achieving the emotional response that makes the festival business model so profitable.

There’s even a field of research, neurosonics, that explores rhythmic stimulation and how this may heal and shape the body. But low or high-frequency infrasonics can also hurt you: it’s even been developed as a weapon of crowd control.

Go outside the hearing range of 20 to 20,000 Hertz and you can make the body experience deadly effects: 19 hz is the resonance of the human eyeball and can create apparitions. At 7 hz you reach the frequencies of the brain and the vital organs. These frequencies, at high volume, can induce panic attacks, make people piss themselves or vomit. Extended exposure can even rupture parts of the body. [1]

Such extended exposure is a particular concern with EDM because it has a more narrow dynamic range than other musical schools. Compression is a way of increasing loudness (search the Loudness War) but it means the signal-to-noise ratio can be as little as 4 LU (loudness units). That compares with 6.5 LU for pop and 30 LU for classical or jazz. If the music’s coming at you at 120 decibels — that’s relentless bombardment.

Add the fact that artists tend to mix between tracks and this means listeners can be exposed to dangerous frequencies for the full length of a performance.

Sonic weapon

There is nothing new about blasting sound. By legend the Israelite priests shook the walls of Jericho with the blare of trumpets 3,500 years ago and it’s been part of warfare ever since. [2]

In 2017 U.S. diplomats, intelligence and military staff began feeling sick and dizzy at work, which the Central Intelligence Agency blamed on microwave warfare. A medical study found differences in the brains of 40 affected diplomats, compared to a control group and, though they could not pinpoint the cause, the National Academies of Sciences, Engineering, and Medicine in Dec 2020 said directed, pulsed radio frequencies could not be ruled out.

Long Range Acoustic Devices have long been used by military and law enforcement: for example at Occupy Wall Street protests in 2011, and they are currently used to scatter migrants and pirates. In Britain, the youth are dispersed from shopping centres with “mosquito” magnetic acoustic devices that blast frequencies that specifically bother teenagers and that boomers’ degraded ears cannot hear.

Range and rage

The Sci-Fi end of mind control has always veered between the Manchurian Candidate and Frankenstein: one being the desire for a brain-washed, programmed assassin and the other, the experiment that goes wrong. Experimental technology lies somewhere in between.

The American physicist and parapsychologist Elizabeth Rauscher is one of the few to go on record. A researcher at the Lawrence Livermore National Laboratory (overseen by Jeff Bezos’ grandfather Lawrence Preston Gise) she identified the frequency spectrums from happiness to aggression.

She was quoted as saying: “I'll be able to affect the behavior of 80 per cent of the people in this town without their knowing it. Make them happy — or at least they'll think they're happy — or aggressive."

The trouble with these ultra low vibes is they are close to the body’s operating frequency but also that of the Earth. To target a specific group the target must be in close quarters, preferably kettled or contained.

A second requirement is to amplify the frequency with the use of microwave energy at a matching rate. Research suggests that 1.0 to 3.0 Gigahertz can be directed using a dish aerial.

Was this used to provoke the Rwandan massacres of 1994 in which the U.S., France and Britain, were implicated? I doubt whether you could direct a beam from a fast-moving vehicle, let alone a plane. Perhaps regular AM radio was enough to broadcast messages inciting one clan to attack another. There is no reason to doubt the technology, however. It is well established. [3]

So what happened at Astroworld on Nov 5, 2021 during Travis Scott’s concert? If you wanted to test the newly modified RNA as part of the ongoing non-clinical trials of the gene therapy, or to find the safety limit of microwave, EMF or sound in a controlled setting, this would be one way to do it.

The volume, overpowering vibes and marketing of rage would provide ample cover.

Travis wouldn’t

In this business Travis Scott is literally the front man. He does not control his concerts or even his own actions. He is an act. Behind him is a corporation.

Music is part of advertising: it even has its own name, “sonic branding.” Certain products and brands are associated with styles of music: Levi’s jeans with pop, Puma sportswear with rap. Nearly two-thirds of 14-to-25 year-olds cite music as their main influence when choosing between brands (Pincus, 2004). Rap is also known for “darkside” products, like drugs, weapons and alcohol (Englis, Solomon & Olofsson, 1993).

Behind every star is an industry as Britney Spears shows. On the surface she could not be more different to Travis. Yet listen to her story.

Slave Princess

A documentary has just come out by the journalist Liz Crokin. She explores the saga of whether Britney Spears is simply another pop star addict — or whether someone has enslaved her and stolen her fortune. [4]

Crokin gets behind the “he said, she said” or good girl, bad girl and exposes how music is controlled by lawyers and protected by politicians. Forces control the music business that no single person can withstand.

The gangsters she reveals are not Dillinger or Tony Soprano but officials working in the court system, grey-suited accountants and elected lawmakers. The control what pop stars say — and what you hear — through social media and new corporations.

So next time you say it ain’t so: think about who’s informing you.

Crokin specializes in exposing human trafficking, child abuse and slavery — making her a good match for Hollywood. She shows how a network of evil individuals conspire to steal fortunes and entrap stars, even using bodyguards to spy on them, drug or frame them so that they can be judged incompetent and be deprived of control of their fortunes.

Hollywood and companies like Disney search for future stars and victims through child trafficking, working with the military and contractors like DynCorp (now Amentum) who captured young women from the Balkans. Predator Jeffrey Epstein used a private jet that shared a tail number with the State Department. Numerous Disney executives have been convicted of child abuse.

Politicians and government defend them: John McCain's widow runs a child trafficking charity yet freely admits that she knew about Jeffrey Epstein for years. Kamala Harris was California's Attorney General and refused to allow Britney Spears to challenge her control by guardians.

During the 2016 presidential election, Spears was forced to appear with Hillary Clinton — Wikileaks documents revealed Spears was acting against her will in standing beside the ageing politician. Yet when Congressman Matt Gaetz spoke up in support of Spears he was framed in a child trafficking case (later shown to be bogus).

Spears' former lawyer Jon Eardley says when he tried to speak to Spears, the phone was physically wrested away from Britney. Next, Eardley himself was taken down. First a California district judge Philip Gutierrez ruled that Spears' was not mentally competent to advise any lawyer — only her compromised former business manager and co-conservator Lou Taylor. When Eardley tried to file a case alleging racketeering, wire fraud and money laundering related to Spears' estate, his office was burgled and files deleted. The case was never brought.

The story ends with Eardley accused of harassing Spears' father (her guardian) by phoning him too often and Eardley being stripped of his law license. For good measure, he was also sanctioned and banned from ever talking to Britney again.

From this short summary you can see this is not simply a battle between a star and her family. This is state-sanctioned gangsterism, involving corrupt lawyers who work with pedophiles, compromised politicians and lawmakers. Corrupt lawmakers — including Charlie Crist who brokered Jeffrey Epstein's sweetheart deal — have now proposed The Free Britney Act that pretends to help cases like hers but would deny those in guardianship any right to legally challenge their conservatorship. Instead it would put conservatorships under full government control, effectively making their plight even worse.

Film maker Liz Crokin concludes: "What Britney's story has told us is that the fight against the injustice of human trafficking can never end. We were show through Britney's ordeal that institutional corruption extends into every level of power, even to the highest office in the land. We learned that organized criminals can be rich, famous and powerful — and protected at the highest level by people who eloquently preach morality on TV while practicing the opposite in private."

So what?

Agreed. It’s not Astroworld. But it shows how the music industry is directly controlled at government level. You can forget the rapper image as a gun-totin’ outlaw. He’s an employee with a punch card who does what he’s told.

Never believe a story until the government’s denied it. Or in a modern version of the epithet, until Rolling Stone magazine has called it horse shit.

Rolling Stone, Nov 2021 — Satan, Not Travis Scott, Is to Blame for Astroworld Tragedy, TikTok Geniuses Declare: Some videos on the platform, which have received more than a million views, claim eight deaths were the result of demons.

I can tell you, as an Executive Producer in network news, why Rolling Stone is frightened of this story: it only dared write 700 words. This should be the biggest story since the concert at Altamont when Hell’s Angels stabbed Meredith Hunter or Woodstock where three people died.

Many people think Rolling Stone magazine was formed by the CIA in 1967 to launch the new music and hippie scene in Laurel Canyon and divert the youth away from the antiwar movement. If so, it’s still a loyal lapdog today.

Halfway through the story RS mentions the dreaded word: 5G. Hell yeah, many would say. Several researchers claim to have found carbon nanotubes in the Covid vaccines. The patents exist. It is not a conspiracy theory. Who knows if they’re actually there but if they did enter a body — they would go nuts in the presence of electromagnetic energy.

Some reports say the Astroworld Six Flags was a 5G hotspot. I have not had time or means to investigate.

Was a weapon tested on Nov 5? We will probably never know. But until now there has never been a concert branded as “See ya on the other side” and that gave sonic cover for an experiment — and then suffered 11 cardiac arrests and eight deaths.

Note that a negative test, full vaccination, meaning both shots of Pfizer or Moderna, or one of Janssen, was required for entry to Astroworld.

Once upon a time, visiting music festivals was a way to complete our identity and meet like-minded people. Today’s experience is also physical, even neurological. And that is not something which we or the performers control.

[1] Shanjeev Reddy, RAGE, 2015 — Is EDM damaging your ears?

[2] Eric Niiler, History Com, 2018 — Sonic Weapons' Long, Noisy History

[3] Joe Vialls, Educate Yourself, 2003 — Operation Crimson Mist, Electronic Slaughter in Rwanda

[4] Liz Crokin, 2021 — Slave Princess