It has already been well covered the disturbing imagery and obvious occult artwork at the Denver International Airport. If you’ve been to the DIA, you have surely seen the giant demon horse that greets visitors in front reared up and ready to mount a female of its choosing. A lot of fair-minded people have dismissed the horse with its glowing red eyes thinking it’s a tribute to the Denver Broncos. It’s not. The horse actually killed the artist during construction and it continues to send uneasy speculation through visitors of the busiest airports in the world daily.
The DIA is the brain child of the New Word Airport Commission, specifically Charles Ansbacher who was the founder and died in 2010. Upon his death, the following was said about him and his work at the airport”
Charles Ansbacher, the man who coined the name of the New World Airport Commission listed on the Masonic capstone in DIA’s great hall, passed away Sunday night. He was also instrumental in creating the airport’s enormous art program, which commissioned works such as the Tanguma murals and the Mustang.
According to this article from the Colorado Springs Gazette:
Ansbacher left Colorado Springs in 1988 to serve as director of the New Airport Art Program, a $7.5 million art initiative incorporating 30 art projects into Denver International Airport’s architecture, landscaping and interior design.
“This is … the largest, most comprehensive public art project of any airport on earth,” Denver Mayor John Hickenlooper told the Cambridge Chronicle. “It’s certainly the most provocative, the most transformational. … Ansbacher has enriched every place he has been by his own vision and his willingness to give of himself back to the community.”
http://diaconspiracyfiles.com/2010/09/16/new-world-airport-commission-founder-dies/
Given the vast amount of evidence provided here in previous articles it should be quite clear what is going on from the high degree Masons involved with the New World Airport Commission. It should be noted that the first two places in America to accept the legalization of marijuana was the gradual liberalization of Denver, Colorado and through the underground music scene in Seattle, Washington. Is it a coincidence that the Aurora theater shooting took place in a Denver suburb? Probably not. Is it a coincidence that two school shootings also took place in Denver suburbs inciting a national fervor in favor of repealing the Second Amendment? Probaly not. Is it any coincidence that mega rich liberal activists like George Soros and his friends support drug legalization and open boarders pouring fortunes of money into the cause of breaking down psychological resistance for an undefined objective, and that the first place in America to accept this open drug policy is Denver? Probably not. But that is all speculation, let’s stick with what we know and that is that the DIA has made obvious choices in art out of all possible works to pour 4.8 billion dollars into something that has been meticulously planned to be an art exhibited that purposely interacts with the public in very obvious ways—and that the shock value is very Masonic in its subversive message—a slow withering of resistance to their belief system with art that is clearly occult driven. If one does not understand the occult message—consciously, they might just be spooked by the images at the DIA, but not pay much attention otherwise. However, after reading these connected articles and having the curtain pulled back a bit into the occult beliefs of the high degree Mason’s behind The New World Airport Commission, the strategy becomes quite clear.
I had a guy read some of these articles and report to me that he was a Christian and had been a Mason for over thirty years—and he denied that there was anything malicious, or sinister about their methods. Well, I have seen it first hand—I have been places I shouldn’t have been, and I know well what’s going on behind the curtain. Also, I have right next to my reading stand a book I have picked through and read a half a dozen ways to a thousand called The Golden Bough by Sir James Frazer—a work of comparative mythology–this is the same book that pulled Jack Parsons into the occult. I understand how symbols have been used over time to invoke in the subconscious the effects of a well told story and how such rituals are meant to summon emotional change in the subjects. Over the last seven articles dear reader I have taken you on a journey into The Golden Dawn from Europe, introduced you to Aleister Crowley, Jack Parsons, explained the Scarlet Woman, and demonstrated how music has been used to subtly introduce the concept of mass collective sacrifice from millions upon millions of people. Not a literal sacrifice such as what might have been found in Mesopotamia, Egypt or in the Yucatan Peninsula, but intellectual sacrifice where millions of souls yield their mind to some foolish notion of a “greater good.”
I believe that the Bush family regards themselves as good Christians, yet they are high degree Masons who routinely attend the little gathering in the forest outside of San Francisco where a lot of the images seen at the DIA are quite at home—and those rituals have been explained extensively here. The participants actually believe they are acting on behalf of “the good” but that their “good” is more encompassing of higher knowledge than the simpletons who regulate their religious aspirations just to the Holy Bible. It is not an accident that Barbra Bush’s mother was involved with Aleister Crowley just after his activity with The Golden Dawn. Barbra would just happen to marry a guy who would become president and evolve into a high degree Mason who was in charge of the CIA, was ambassador to the United Nations, and is a Skull and Bones secret society member. George Bush the senior is such a good guy.
Aleister Crowley and Jack Parsons believed they were good guys too—liberating the mind of mankind from the shackles of sexual restriction. And high degree Mason’s like George Bush Sr. think they are good guys, and Barbra is a good lady—and everything they do is for the “greater good.” They are nice, altruistic, protectors of the weak, the ignorant, and the otherwise helpless. Charles Ansbacher likely believed the same thing from his point of view when he led the New World Airport Commission to erect the giant demon horse with red glowing eyes, built the runway in the shape of a swastika, had gargoyles in the luggage area, and murals scattered throughout which are consistent with the beliefs of Thelema which has been explained extensively.
There was a reason that Hitler used swastikas as his symbol for the Third Reich. Swastikas have a deep history in Europe as a good luck symbol and actually dates back to the Indus Valley civilization. In Jainism the swastika serves as a reminder of the cycles of birth and death and that mankind is born into one of four destinies, heavenly beings, human beings, animal beings, and hellish beings. Yet the focus of these various aspects comes together in the center. The swastika means virtually the same thing as the Christian cross. The reason that Christ hangs on that emblem is to invoke the message that through Christ redemption can be found with everlasting eternity. The swastika is intended to do the same thing; through the center of all those points is the way to enlightenment. In the case of the Denver International Airport Charles Ansbacher and his New World Airport Commission thought it would be fun, and good to have a living art exhibit exclusively dedicated to Masonic imagery to appease the “creator” with the same reverence as the Nazca painted their lines on the ground of Peru, or the proximity of the Great Pyramids to the gigantic Baalbrek triangulation from the air with Mt Sinai intending to appease Planet Earth’s creators. The DIA is simply the most recent attempt by the world’s wannabe high priests to place themselves between man and God as a mediator, and protector. From the point of view of those who think swatstikas are cool, demon horses with glowing red eyes are virtuous, and masked police officers killing doves are physiologically healthy, they are attempting to bring all of society to the center of the swastika, to the central point beyond all pairs of opposites, where animals, demons, and all human beings are equal to each other. By destroying the preconceived notion of “good” they can then bring all of humanity to a “higher” plane of reality—and for them—they believe they are doing a good thing. Just like Aleister Crowley believed he was doing good, and Jack Parsons did as well as he was sleeping with his wife’s sister right out in front of the entire O.T.O congregation hoping to invoke the Babalon goddess–the Thelema messiah so the world would be saved.
What makes the work of Charles Ansbacher, George Bush, and Aleister Crowley so evil is not their intentions—which I believe are always good. What makes them evil is that they presume to act on the behalf of individuals everywhere. If the plan at the DIA is to lower people’s resistance to illegal drug use so to free their mind to greater realities through a bombardment of freemason imagery—they assume incorrectly that all people need collective salvation to achieve proper self illumination. They assume that all people are functioning from the same mental restrictions as they are—their treacherous commitment to group activity and fear to stand on their own as an individual contributor to existence. If the goal of these secret societies is to invoke violence through renegade shooters so that innocent children will be killed in schools and movie theaters for the greater good of America forcing them to take a hard stance against the Second Amendment the instigators are evil for imposing their faulty belief system upon the masses.
Charles Ansbacher, the Masons behind the DIA, O.T.O members, Skull and Bones society members, and all groups everywhere are wrong with their basic premise in assuming that their thoughts are correct and good for all individuals. They fail in imposing collective salvation over the will of the individual human being and that is why they are vile. They are attempting to herd society into a direction of their choosing—and in the case of the DIA, their strategic movements are quite obvious and literal. They are unquestionably trying to move society into a direction that their occult beliefs conceive to be beneficial by the artistic rendition. They want to bring people to the center of the swastika—beyond all pairs of opposites for a goal that is important to them from the perspective of their very limited group assimilation.
The solution to resisting evil is not provided by one more group of robed old men and their Latin chants or their dedication to Mother Earth through some ancient belief derived from the Indus Valley. It does not come by more people smoking pot, or having sex with a Scarlet Women hoping to bring back to the world the goddess Babalon. It doesn’t come from gun control, a one world currency managed by the same type of people who brought us the art work at the DIA, or another stupid Miley Cyrus song with her tongue hanging out as if every man in America wants that thing on their phallic unit. It comes from the individual and the products of that mind and no other. It comes from a completely new way of looking at the same problem for the first time in history—a true product of individual minds at work following not the bliss of their high priest masters—but the sacred temples which exists not in stones and granite, but of their own cerebral enterprise between their two ears, two eyes, a mouth and the feel of their finger tips. It is there that true salvation resides and what is meant by the phrase—Who is John Galt.
Tomorrow as a kind of prologue to this series, you will find out who John Galt is and why he is important to you.
Rich Hoffman
The Overmanwarrior 