Denver Airport Murals Explained
The Denver Airport Murals and the “Deep State”: A Forewarning by Dr. Leonard G. Horowitz
Author Colin St. John did a nice job with his article published by Thrillist Travel. (10-31-17) BUT, as one of his main sources, I must apologize for excusably neglecting the important question he asked me, and concludes with: “If something confidential or even malevolent were being shrouded, why would the architects, artists and designers — all with the government’s stamp of approval — be so flamboyant?”
The answer to this I tell you here as an expert in media persuasion technologies research and development. The answer was taught to me by retired Lt. Col. Jack Kingston, previously with the Joint Chiefs of Staff at the Pentagon. “The best covert operation is one that is done in broad daylight in front of everyone’s eyes, yet no one sees a thing.”
Subsequent to learning that lesson, I realized that “evil” interests committing global genocides are theologically bound to their doctrine that requires popular choice in support of their quasi-revealed (adequately concealed) agendas.
Think about it this way. If you were Satan, very jealous of the Creator, to claim victory over God and civilization you would need to persuade people to follow you; choose evil over good; choose degeneration and chaos over peace and order; choose terrorism and political enslavements over human freedoms; and choose poisonous drugs over natural medicine and faith healing. And those outcomes can only be achieved by “informed consent,” albeit the information given is generally “misinformation” strewn with omissions and misrepresentations of important facts.
Accordingly, the murals beautifully depict the “bigger picture.” But as “art” it is subject to speculation and conspiracy theories.
That controversy too lends strength to the evil administration, because of “plausible denialability.” It is public knowledge that plausible denialability is regularly abused by the CIA, for instance, to protect its covert interests. Agents are given information on a “need to know basis only,” securing compartmentalization of administration and the administration itself.
In these murals, genocide is represented to be associated with “New World Order” governance. And who leads the dance in Taguma’s mural?–a Scottish Rite Freemason, begging the unanswered question, was this artist directed to include that imagery, and if not, why did he do so?
In short, much like Hollywood movies that spin 80% truth to produce entertaining lurative fiction, propagandists do the same for governments worldwide. As Mr. Curtis Fentress candidly admitted to St. John, “Well, I really can’t speak to it. I’m sworn to secrecy.”
And that admission–a “selling out” of sorts–aids-and-abets the “Deep State” that administers the globalization and genocide depicted in Taguma’s murals. Fentress contributes to the problem, not the solution. Even the designer of the DIA chooses deadly silence, lives in denial, or doesn’t even see, how he contributes to the genocide depicted.
Here is a link to Colin St. John’s article confirming the secrecy and conspiracy first evidenced at length by this author (Horowitz) in Death in the Air: Globalism, Terrorism & Toxic Warfare.
THE FOLLOWING ART SOURCES FROM DR. HOROWITZ’S PHOTOGRAPHY WITHIN THE DENVER “NEW WORLD AIRPORT” NOT LONG AFTER THE FACILITY OPENED IN 1994.
The blade is swished through the air leaving a rainbow chemtrail polluting the air of the people below, suffering from the toxicity and genocide. The children are closest to the sword (lower left) and a image much like the 911- twin towers destruction (lower right) is also depicted.
Notice also the flowers at the top left of the image is a Columbine blossom, suggestive of the Columbine massacre.
Notice there are not adults here. Only children are left to celebrate the New World Order.