From: Andrew Johnson
Date: 2006-11-03 18:36:08
Here is a little more info: www.policestateplann… One of a series of murals by Leo Tanguma adorning Denver Airport’s main terminal building. Source: Death in the Air, Leonard G. Horowitz Dr. Horowitz comments: The Death in the Air bookcover, depicts a Nazi-gas-masked-alien sticking the dove of peace with his sabre. His backdrop projects the horrific images of genocide, particularly affecting Black and Hispanic populations. This and the following related murals were painted by artist Leo Tanguma, October 1995. They adorn the two interconnected halls in Denver airport’s main terminal building. The construction was dedicated by Black and White leaders on behalf of separate Masonic (largely secret) segregated societies. This entire building and its contents is dedicated to the “New World Commission.” Why might Black and Hispanic genocide victims predominate? The Nazi alien symbolizes the Nazi-fascist links between contemporary population controllers and the military-petrochemical industrialists accountable for Hitler’s rise to power. Elite global industrialists, including the Rockefeller family in America and the Royal Family of England, were primarily responsible for “eugenics”, the first “racial hygiene” experiments pioneered in America against Black and mentally retarded people. The development and use of chemical sprays and gases for “pest control” and chemical warfare evolved largely from the twentieth century efforts of the I.G. Farben-Rockefeller petrochemical cartel. The “alien phenomenon”, as prescribed in The Report From Iron Mountain to facilitate globalism through the development of an enemy common to all earth’s people, is reflected in the face of the masked Nazi villain who obviously sprays the sick and dying masses as he flies by etherically above the suffering. The New World Order celebration begins. This colourful mural, also displayed in Denver’s “New World Airport” terminal, shows the dead Nazi-alien in the foreground surrounded by children only. Internationally parents are gone, symbolic of the contemporary globalist efforts to use psychological warfare to subvert the minds of new generations, and decimate the traditional family institution that resist state control. Front and center is, naturally, the “Deutsche Bursche”- the German boy- who pounds the Nazi-alien’s sabre with his hammer – the fascist symbol for communism. Germany’s war prone history is solemnly regarded but little understood, as is the British Royal Family’s ancestral links to German war lords and conquerors. Also prominent in the foreground are the Chinese and American children and the British and Italian youth holding their respective flags. The Chinese youth dominates in her match-up symbolic of Revelation’s prophesied “End Times” dragon coming in from the East to devour the West. The Israeli flag survives too above a cracked tombstone that symbolizes the demise of “War, Violence and Hate”.