• Lisette Verri

Denver Airport Mocks Conspiracy Theorists in New Ad Campaign

A marketing campaign has been launched to advertise and inform the public of renovations slated for the Denver International Airport. As if it really needed them since the airport is already a state-of-the-art multi-billion dollar structure. Regardless, renovations are scheduled and the notorious "conspiratorial" art has been moved to storage facility until renovations are complete (around 2021).


The artwork at Denver International Airport has stirred a multitude of conspiracy theories and numerous analyses. This campaign which makes a joke of the conspiracy theories that surround the collection ruffled the feathers of legitimate conspiracy theorists everywhere.

And, why wouldn’t it?

It was clearly around 9-11 during Bush’s term when a campaign was launched to make conspiracy theorists look like looney-tune nut jobs. Suddenly, any critically thinking person who wasn’t so quick to swallow the official story of what happened on that day were characterized as fitting a psychological profile of paranoid, low IQ, lunatic fringe prone to flights of imagination and having "mean world syndrome." Yes, that is a manufactured term certainly not found in traditional psychiatric diagnostic tools. These characterizations were inserted into public consciousness along with a discrediting campaign that ran marathon news cycles in the months following the 9-11 event. An army of paid shills were deployed to shape the supposed "psychological profile" of the conspiracy theorist. And the gullible fell for it, lumping legitimate critical thinkers and researchers in the same group as the loonies in the minds of the population-at-large.

This campaign is no different. Any ad campaign is designed with certain goals in mind, to communicate something, to convey a piece of information and to reach a target audience. What exactly are they communicating here and who is their intended audience?

Now, I’m not going to spend time rehashing all the conspiracies around the Denver Airport. There’s plenty of information already online. I do not subscribe to all of it, but there are certain things that speak for themselves. They are obvious, out in the open, able to be validated and researched, and these are the things that one would be hard pressed to convince me otherwise.

Things like an underground facility, the questionable funding sources for this enormous structure that seems to perpetually need expensive renovations to the tune of multiple billions roughly every other year or so. The last one budgeted at $2 billion was in 2017. Or the fact that the controllers of the City and county of Denver and its aviation department seem to be connected to a certain secret society. I’m sorry, I don’t believe alien reptilians live beneath the Denver Airport, as most thinking people do not. That doesn’t negate the fact that this ongoing multi-billion dollar project with megalomaniacal goals and extraordinarily deep pockets seems to be a significant part of the New World Order.

It’s clear the art exhibits are an important part of the identity of this airport, due in large part to the infamy caused by those very conspiracy theorists they are attempting to mock. Not every ad campaign will be in good taste and I always think it’s a terrible idea to insult a group of people in order to further one’s own cause, making it part of their branding and identity. But, we are getting very close to the primaries and it seems rather coincidental that the timing of this campaign coincides with an agenda to lump legitimate critical thinkers in with a group of loonies, rehashing a smear campaign utilized by political strategists in previous administrations.

Nothing new here.

The billboards are a mockery. This is plain. And, that's a very good question. What are you doing? Building an Illuminati headquarters? Not such a far-fetched idea, really, considering the billions being invested into this building with the surface structure clearly not reflecting the amount of money poured into it. Denver is slated to soon become a Smart City, by the way.

Jeppesen Terminal is named after Elrey Borge Jeppesen, an American aviation pioneer noted for his contributions in the field of air navigation. He developed manuals and charts that allowed pilots to fly much more safely. He founded the company that bears his name in 1934.

Jeppesen is an American company that specializes in aeronautical charting, navigation services, flight planning, pilot supplies and aviation training. The company is a subsidiary of Boeing

Commercial Airplanes. Elrey Jeppesen had alleged involvement with CIA extraordinary rendition flights which were essentially "torture flights" in which they would torture prisoners who may have had information the CIA needed.

From Wikipedia:

Extraordinary rendition, also called irregular rendition or forced rendition, is the government-sponsored abduction and extrajudicial transfer of a person from one country to another that has predominantly been carried out by the United States government with the consent of other countries.

The first known foreign rendition by the US was that of airline hijacker Fawaz Younis who, in September 1987, was abducted after being lured on a yacht in Italy and brought to the U.S. for trial, authorized by President Ronald Reagan. President Bill Clinton authorized extraordinary rendition to nations known to practice interrogation, which has been called on occasion torture by proxy. The administration of President George W. Bush rendered hundreds of illegal combatants for US detention, and transported detainees to US controlled sites as part of an extensive interrogation program that included torture.

Extraordinary rendition continued under the Obama administration with targets being interrogated and subsequently taken to the US for trial.

Art has long been used as a tool of ideological communication and it seems that certain billionaires have a penchant for specific types of art for their personal collections. The artwork at Denver International comes from the minds of socialist/communist artists, all hand selected by the controllers of the city of Denver and the airport, and designed to reflect the mindset that they want you to accept. Denver intends to become a smart city and a smart city will always attempt to set itself apart by having its own government system.

Underground reptilians ruling the world from below?

No. Globalist technocrats who want you to think in a certain way, to see the world through a manufactured lens and every piece of artwork will speak to that agenda. And, speak to it in a powerful medium, art, which taps into the soul, the emotions, and the heart. In the art world, art is like currency. And we’ve seen it a lot lately… and you know who I’m talking about and what I mean. There is no denying that art plays a significant role in this mechanism, this order of dark art, of social engineering and magick through dark art.

The artist of the infamous Denver Airport mural is named Leo Tanguma, a communist and his artwork reflects it well. Tanguma, in an article he wrote regarding the mural says:

“First of all, I am Mexican-American, and very proud of my community, our culture, and our historic struggle for social justice and self-determination. I identify with other oppressed groups here in the U.S., and with oppressed people everywhere.”

Tanguma is a Marxist socialist communist who is deeply moved and motivated for this cause and expressed this mindset with his art as a form of political activism. But, why would DIA commission a communist activist for the exhibit? Well, it turns out that most, if not all of the artwork for the airport’s exhibits, particularly the permanent collection come from artists of the same ideology.

He goes on to say, “The most recurrent theme in my numerous murals across the years has been the struggle for human liberation and human dignity.”

"Blucifer," or the "Blue Mustang," created by artist Luis Jiménez, was one of the earliest public art commissions for the airport back in 1993. The 32-foot tall sculpture is positioned between the inbound and outbound lanes of a major thoroughfare, Pena Boulevard. Jiménez was killed in 2006 at age 65 by this very sculpture when a part of it fell on him and severed an artery in his leg. At the time of his death, he had completed painting the head of the mustang but the rest was completed by others and unveiled at the airport on February 11, 2008.

Luis Jiménez is known for his controversial work and claimed that one of the underlying reasons his public sculptures have been so controversial is because of their themes. He said that he intended to keep bringing into view what he believed has been a much overlooked perspective, to keep reminding us that our history is made up of many points of view, many tales and tellings.

He says his work is designed to be the re-examination of the context and purpose of public sculpture, the making and remaking (in other words, the writing and rewriting) of the "untold tales" and "popular myths" of the continually changing American West. His sculpture titled "Vaquero" is an example.

From an article in Houston Press from 1999:

A few years ago, controversy erupted over Moody Park's Vaquero, the gun-toting statue that pays exuberant homage to the Mexican cattlemen and horsemen of two centuries past. Installed in 1981, three years after the Moody Park riot, Jimenez's vividly painted fiberglass sculpture of a Mexican cowboy riding a bucking blue horse with red eyes has always had its detractors and defenders.

Some area residents thought the sculpture depicted a drunken Mexican, and that the Vaquero glorified violence in a violence-plagued area; those residents collected hundreds of signatures and petitioned the city to remove the statue from the park. But other residents viewed the Vaquero with pride and respect. Based on traditional monuments of historical figures on horseback, the statue powerfully conveyed the spirit of the vaquero in the taming of the West, but at the same time raised the problem of how such a work is perceived in the changing life of a community. Perhaps critic Dave Hickey stated it best: "There are no wrong ways to respond to the work of Luis Jiménez. There are only different ways of looking at it."

From the Encyclopedia of World Biography:

Among Jiménez's most famous sculptures was "Southwest Pietà" (1984), which fused Christian and Native American imagery. It showed the mythological lovers Popocatepetl and Ixtacihuatl after whom the two large volcanoes near Mexico City are named; the deceased Ixtacihuatl lies on her lover's lap, in a pose reminiscent of Michelangelo's famous sculpture of the Virgin Mary holding the lifeless body of Jesus. The figures are embedded in the back of a bald eagle.

This sculpture too encountered criticism from activists. "Critics, who say it depicts the aftermath of the rape of an Indian maiden by a Spanish conquistador, say it is offensive to those of Spanish heritage," noted an Albuquerque Journal article quoted by Santiago. The sculpture was moved to Albuquerque's Martineztown neighborhood.

His creative genius and his work is political activism on a deeply cerebral level that cleverly provides a provocative visual of two opposing historic ideals with interpretations all dependent upon the observer.

His main influences were José Clemente Orozco, an outspoken communist and Diego Rivera, who was the husband of famous painter Frida Kahlo, another outspoken communist. His roots are in pop art and modernism, mediums that emerged from this ideology and purpose. Jiménez is a Marxist socialist who uses his artwork as a form of political activism with the goal to rewrite American history, particularly in the American West.

Rewriting American history, particularly in the west, is an important tenet of their “revolution.” The idea has always been to manipulate and rewrite the story to reflect the tenets of the communist movement which will always be anti-American, unpatriotic, with the express purpose to utterly annihilate western civiliation. And it's backed by billionaire funding sources, names I probably do not need to mention here.

Every artist commissioned for the Denver Airport exhibit, particularly in the permanent collection shares this ideology and have spent the bulk of their lives creating art as a form of social engineering. This is your conspiracy. And, they will do everything they can to prevent you from realizing this fact. The question you need to ask yourself is, who has commissioned this artwork and why?

Remember, it was social media that made Denver Airport’s art exhibit famous. The problem is, it backfired on them, went against their narrative and was exposed for what it is and they don’t like that at all. Why would the Denver International Airport commission artwork that brings an anit-American communist message designed to manipulate and rewrite the history of the American West? Why would they insult conspiracy theorists in a marketing campaign for yet another expensive renovation project, timed conveniently two months before the primaries? Is this a political strategy and if so, who is behind it?

Now, truthers… get to work and expose this thing and if you want to do any good for anyone, for the love of God, keep alien reptilian shape-shifters out of the narrative.

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