A number of things indicate the writing's on the wall

As I explained in the second part of this look at the ominous omens indicating a New World Order could be on the horizon I suggested World Goodwill’s "Coming One" could already be waiting in the wings, just biding time until the right moment arrives for a Google search to produce the big reveal... because if anyone should know that person’s identify there's a certain someone who could possibly serve as a gatekeeper with his finger right on the pulse.

Just take a look at the writing on the wall and tell me the Google Chrome logo doesn't have you thinking: "Mark Of The Beast." Yeah, that's right... 666, biblical numerology to suggest the Coming One being summoned on “World Invocation Day” could be the Antichrist himself... although you'd have thought the United Nations and its cronies have already supervised enough pain and suffering in the world to leave the beast with very little left to achieve.

Then again, perhaps that's a bit naive, there're probably a lot more parts of the world yet to experience the genocidal wrath of the chosen few. And, being something of a betting man, I know where I'd have my money on for the Coming One's big arrival... it would have to be Denver International Airport.

But before I explain the reasoning behind that choice let me first point out that pareidolia simply can't get Google off the hook on this, the Chrome logo quite clearly just another of the many corporate emblems that give the game away about the movers and shakers profiting from the military-industrial complex.

Far too many to write about here and not because there are so many, although there are so many, but because I’d like to focus instead on the most demonic aviation hub on the planet – without a shadow of doubt – that serves as Denver International Airport.

DIA, as it’s better known by locals, opened on 28 February 1995 as a replacement for Stapleton International Airport... although why Stapleton needed replacing at the time was beyond the understanding of the vast majority of the city’s more than 700,000 inhabitants as it meant the new facility was 19 miles further away from downtown Denver than Stapleton had been.

The airport, occupying a whopping 34,000 acres of land east of Denver, opened behind schedule, over budget and with a baggage system that didn’t work. The initial cost of construction had been estimated at US$1.7 billion but the completed project had elevated the bill to US$4.8 billion – a massive US$3.1 billion over budget – while irregularities surrounding its construction included independent contractors being hired for different parts of the airport, with contracts terminated immediately after the work’s completion, leading to a belief a strategy existed to keep organisations from understanding the full scope of the project.

The work allegedly resulted in an enormous 110 million cubic yards of earth being moved from the site raising suspicions massive construction also took place underground, while the project saw 5,300 miles of fibre optics being installed even though it’s only 3,000 miles across the country from coast to coast.

DIA also allegedly has a fuelling system capable of pumping 1,000 gallons of jet fuel per minute – an absurd amount for a commercial airport – and a vast tunnel system (big enough for trucks to circulate in) that can accommodate underground trains, although it remains largely unused as if some enormous future expansion is planned. And, even though the project had already gone way over budget, granite imported from all over the world was deemed essential to the work there.

And that baggage system with huge teething troubles? Well, that was supposed to run through a network of underground tunnels that have allegedly never been operational... so, it seems, the system is still defective.

But, despite being an extremely costly indulgence suggesting the existence of a vast underground complex, there’s nothing incredibly sinister about the project yet... but that comes courtesy of the artwork on display to commuters using the hub.

The first thing that’s likely to hit travellers arriving at the airport is a 32-foot sculpture named “Blue Mustang” – aka “Blucifer”, as christened by locals – that rears against the Colorado skyline. With veins bulging across midnight-blue haunches, it has arterial-red eyes that glow at night and stare directly at approaching traffic.

Commissioned in 1993 it was designed by Mexican-American sculptor Luis Jimenez, known for large-scale fibreglass works depicting themes of the American West that have stood in the Smithsonian and the National Museum of American Art, and was constructed from fibreglass, with steel armature, that weighs 9,000 pounds, was constructed in sections and has an automotive-paint finish.

On 13 June 2006 65-year-old Jimenez was working in his studio in Hondo, New Mexico, preparing Blucifer’s final pieces for transport to Denver when a massive section came loose from a hoist and swung down onto his leg, severing his femoral artery and causing him to bleed to death in his studio, surrounded by the work that had consumed the last decade of his life.

The Jimenez family decided they would complete the artwork and his sons, Adan and Orion, finished the sculpture according to their father’s designs with the aid of studio assistants. Blue Mustang was finally installed at Denver International Airport on 11 February 2008 – almost 15 years after the original commission.

The sculpture's appearance sparked immediate controversy, with people describing it as terrifying, demonic and inappropriate for children. The glowing red eyes, which lit up at dusk, were particularly unsettling... parents complaining their kids were scared. Residents called for its removal. An online petition, demanding the horse be taken down, gathered thousands of signatures but Blucifer has gone nowhere.

In fact the airport seems to have adopted an innovative approach to play down the demonic presence of the sculpture, with its social media accounts regularly referencing the rearing beast with obvious affection and DIA gift shops cashing in through Blucifer merchandise... I bet the occultist Lucis Trust delights at the notion of travellers taking home effigies of a demon horse.

Still, you’d think an apocalyptic equine was about as bad as it could get at Denver Airport but that’s where you’d be wrong... there’s a whole lot more nightmarish iconography to keep travellers on the lookout for unsettling omens.

From malevolent murals and grimacing gargoyles Denver’s international hub is filled with strange symbolism, there’s even ancient Navajo nomenclature embedded in the floor. It’s as much a New Age cathedral littered with occult symbolism and references to secret societies as it is Denver’s gateway to the world... if there’s one thing you can be certain of it’s that the DIA’s artworks are not an aggregation of odd choices made by people with poor taste, they’re a cohesive corroboration of the global elite’s clandestine intent.

At that immense cost of US$4.8 billion it’s pretty clear that whatever’s on display at the airport is the product of meticulous planning and is there for a very cohesive reason with the airport’s Masonic capstone a case in point. Situated in the “Great Hall”, a term also used by the brotherhood to refer to their meeting halls, there are cryptic symbols on the stone and a “keypad”, which gives the appearance it’s been written in Braille and allegedly speaks of the New World Order.

The capstone includes reference to the non-existent “New World Airport Commission” so has been widely interpreted as referring to the Illuminati. There’s also a time capsule buried under it to be opened in 2094, while an angled arm seems to have a purpose other than decorative.

Then there are the murals, painted by Leo Tanguma, that apparently represent peace, harmony and nature although you’d have to be an extremely brainwashed individual to reach that interpretation of them... as, analysing their symbolism, they seem to be telling a terrifying version of future events than many people liken to a prophecy.

The political and social references, plus the occult detailing, basically turns the murals into a New World Order manifesto that Tanguma reportedly claimed he’d been given precise instructions for and a payment of more than US$100,000, although he later denied he was given guidance and denied any suggestion of hidden meanings in his artwork. But typically his more usual works of Chicano art had been politically charged and community oriented, rather than his visions on display at DIA... which give out a totally different vibe.

Let’s start with his work “Peace and Harmony with Nature” which has a central motif of children saddened by extinct animal and plant species, while in the background there’s a forest on fire with a blazing city further back. One of the children holds a Mayan tablet depicting the end of civilisation, while the city seems to be surrounded by an ominous haze as if it had been hit by a biochemical weapon. Strangely the city gives the impression it has been frequently retouched and painted over many times as if to reflect a sequence of pivotal events.

At the base of this “peaceful” scene there are three open caskets containing dead girls from different cultures laying alongside the extinct creatures. So, what’s that all about? A prediction of racial extinction perhaps? After all, accounts abound of the military having developed race-specific chemical weapons.

And so, moving on, the next mural under the spotlight, “Children of the World Dream of Peace”, is a two-part piece that, viewing from left to right, begins with the portrayal of children of all creeds and colours, dressed in folk costumes, giving weapons wrapped in their country’s national flags to a… German boy?

Wielding a hammer and forging a huge sword, the boy’s Bavarian costume is a bit of a give-away, with the overall impression being of countries giving up their military might and their national identity for a “common good”... yet more imagery of the New World Order perhaps, with one government and one army.

But why is it the German boy at the centre of everything? Well, there are those who mention “Operation Paperclip” – which brought thousands of prominent Nazi scientists and researchers to the US after the second world war – as there appears to be a huge amount of German and Nazi symbolism at the airport.

Battle of the Weddell Sea, Station 211, Neuschwabenland, Fourth Reich? Mean anything to you? Well, maybe they are all terms that fit neatly into the fabric of the New World Order? Once again I feel the need to emphasise here that there are no coincidences in the DIA imagery... everything that exists has been done for a very specific purpose!

Laying at the bottom of the mural is a strange alien-esque soldier holding a rifle, with two doves perched on the weapon’s butt, who’s entwined in a gender-blurring wrap that ribbons around the children and leads off to the second segment of the mural which sees the strange soldier, now garbed in combat clobber and brandishing a rifle and scimitar, hovering over an endless line-up of crying parents holding their dead infants.

It’s important to remember here that the 1990s were an age of extreme political correctness so for the US’ largest airport by area to be so off-the-wall beggars belief. In the space between the line-up of bereaved parents there are images of dead children laying on bricks. There’s no trace of violence on them, they’re simply devoid of life as if they’d been poisoned by the deadly gas emanating from the rainbow above them.

The monstrous soldier, protected by a gas mask, points with his scimitar towards a dove flying towards a letter below, said to be a representation of an actual missive written by 14-year-old Hama Herchenberg who died in Auschwitz on 18 December 1943. The concentration camp in Auschwitz was infamous for its use of toxic gas... so you have to ask yourself whether this represents appropriate imagery for this space.

A second brush with “Peace and Harmony with Nature” seems to depict the aftermath following much of the world’s population being exterminated by toxic gas, with people gathered in celebration around a genetically-modified glowing plant. Immediately above this plant is a regal presence, perhaps Mayan, Toltec or Incan?

The extinct species from the first brush with this iconography are all back in evidence and there’s even a little dove appearing out of the plant. You also get the impression the people seem so much happier there are now much fewer of them on the planet. And, if you look closely at the baby tigers, they appear to have human faces, with the whole mural smacking of genetic modification and Wicca-esque magick.

In fact the imagery is all very suggestive of what many people regard as another Masonic monument... the Georgia Guidestones, demolished in July 2022 after one of the stones was damaged by a “mystery” explosion.

The stones had also featured a capstone, with a time capsule buried beneath it, and had stood 19ft-high near Elberton, east of Atlanta, since 1980 having been commissioned under the pseudonym R C Christian.

The Guidestones, revealed to a crowd of about 100 people on 22 March, weighed 119 tons and had engravings on them in four ancient languages – Babylonian cuneiform, classical Greek, Sanskrit and Egyptian hieroglyphics – proclaiming: “Let these be guidestones to an Age of Reason.”

And written in eight languages – English, Russian, Mandarin, Arabic, Hebrew, Swahili, Hindi and Spanish – were instructions for a post-Doomsday rebuilding of society.

“Maintain humanity under 500,000,000 in perpetual balance with nature,” the instructions said. “Guide reproduction wisely – improving fitness and diversity; unite humanity with a living new language; rule passion, faith, tradition and all things with tempered reason; protect people and nations with fair laws and just courts; let all nations rule internally resolving external disputes in a world court; avoid petty laws and useless officials; balance personal rights with social duties; prize truth, beauty, love – seeking harmony with the infinite; be not a cancer on the Earth, leave room for nature, leave room for nature.”

The Guidestones also functioned as an astronomical calendar and every day at noon the sun shone through a narrow hole in the structure and illuminated the day’s date on an engraving... spooky stuff, but now they’re gone, demolished after damage as mysterious as their first appearance east of Atlanta in 1980.

But, DIA is still around to feed the Masonic mythology and it’s really on another level to the Guidestones. While the message conveyed by Blucifer and apocalyptic murals seems clear enough there’s even more cryptic symbolism to enlighten visitors to the hub.

Gargoyles? Of course, they’re hidden above head height in the baggage-claim area. The art installation called “Notre Denver”, inspired by Notre Dame Cathedral, was created by the American sculptor Terry Allen and features two cast-bronze gargoyles perched inside suitcases who watch “over the east and west baggage-claim areas”. Allegedly when the airport first opened the baggage system didn’t work... probably just the gargoyles playing tricks on passengers.

The floor across the airport’s Great Hall on level five is also a source of much debate and is said to be festooned with a strange set of symbols running along its base from the south to north end. But I’m certain the airport is filled with far more strange symbology than I can cover here but from what I’m taking from my research so far seems to suggest a very strong Masonic and Fourth Reich feel to the hub, which is going a fair degree towards confirming my suspicions that the Nazis were never really defeated, rather they just picked up sticks and toddled off to North and South America after World War II, while establishing a colony for themselves deep beneath the Antarctic continent.

In fact I’d wager the whole caboodle to have been one big Illuminati mind-control exercise to change the face of society and lead the planet further down the road to the “End Times” for want of a better label for it... all just a complicated game using national fervour to drum up a climate for the dawn of the New World Order, of which the Fourth Reich seems to be playing a pivotal role in if the imagery at Denver International Airport is anything to go by.

I can’t possibly imagine I’ve done justice to the complexity of the symbolism on display at the hub but I think a glance at a final mural may prove indicative of events that perhaps took place on the planet in the distant past and may soon be about to unfold once again, which the Georgia Guidestones were perhaps deemed a bit too revealing of.

Maybe they’d already done their job anyway, with DIA offering a more plausible means of deniability about the New World Order plan, although I really can’t see why the majority of the world’s population haven’t seen the light yet.

So, in a final attempt at enlightenment here I’ll offer up this little mural (pictured below) supposedly from the airport's creepy collection. I mean, who in their right mind would see an alien sprinkling life on Earth in this artwork? And those little faces at the top, they couldn't possibly be extraterrestrials keeping an eye on the planet from above, could they?

But hey, nothing to worry about at all... it's just abstract art, not a portent for a future thousands of years in the making. Certainly not part of a New World Order manifesto!

That's just complete nonsense of course, if it were true would DIA have teased visitors to the airport during its 24th birthday celebrations in 2019 with an animatronic gargoyle installation that greeted them with humorous quips such as: “Welcome to the Illuminati headquarters… I mean Denver International Airport.”

Well, would they? Funny though, I wouldn't have been at all surprised to discover the celebrations had also been marked by generous discounts on Blucifer merchandise too... what every family needs in their living room at home!