5 Conspiracy Theories Surrounding the Denver Airport

Michael Smith/Getty Images
Michael Smith/Getty Images

On February 28, 1995, the Denver International Airport opened its doors and its runways to the general public after falling over a year behind schedule and spending a reported $2 billion more than its original budget had dictated. 

The massive new airport didn’t just take up lots of time and money—it also took up a lot of space: two decades later, it’s still the largest airport in the United States by area (53 square miles) with the longest public use runway available in the country (runway 16R/34L is 16,000 feet long—approximately three miles). DIA replaced Denver’s old Stapleton International Airport, which was plagued by problems (runways too close together, a general lack of space for necessary expansion), and its creation helped meet some basic needs that Stapleton simply couldn’t. Denver needed more room to serve the various airlines that had made—and wanted to make—the Mile High City a hub of operations, and DIA did just that. 

That all sounds normal enough, right? A city needed a new airport, and it got one, even though it took a lot more money and time than originally planned, as so often happens with large-scale public works (although there is some debate as to who actually funded the airport, but we’ll get to that). But for the last 20 years, people have wondered if DIA—giant, expensive, strange DIA—is home to something far more sinister ... like a conspiracy. Or a lot of conspiracies.

1. The Runway Shape

Although one of the underlying themes of the various conspiracy theories regarding DIA holds that Stapleton was a fine airport and didn’t need to be replaced, there is one inarguable point: the runways at Stapleton were not smartly laid out. The parallel runways were too close together for safe landing in bad weather, which happened around 150 days a year and cut the number of arrivals an hour from 80 to 36. DIA doesn’t have the same problem, but it does have something far more nefarious: a shape that many people have noticed looks curiously like a swastika, at least from the air. Taken on its own, such a shape could be brushed off as being just a really terrible piece of planning, but combined with everything else, it all looks very odd indeed. 

2. The Markings

The airport bears a series of “strange” markings on its floors that some people believe symbolize a new strain of hepatitis that could be used in biological warfare. In reality, most of the symbols are taken from Navajo language or are pulled from the periodic table of elements.

3. The Dedication Marker

There is one very weird marker that’s hard to ignore: a dedication marker and capstone that’s been placed over a time capsule (which supposedly includes a credit card, Colorado flag, and DIA opening day newspapers, among many other things) that is set to be opened in 2094. The symbols on the marker are associated with the Freemasons, a charitable organization that is often subject to their own conspiracy theories. The marker also mentions the “New World Airport Commission,” an organization that doesn’t actually exist (or does it? our brains are spinning!) but appears to be taking credit for building the entire airport. However, the contributors listed as part of the so-called NWAC, including an architecture firm and a metal company, do exist. And they just make buildings and metals. Well, probably.

4. and 5. The Tunnels and the Underground Bunker

The airport is home to a number of tunnels, including a tram that goes between concourses and a failed automated baggage system. That all sounds normal enough, but there is definitely something weird about that automated baggage system—mainly, that it cost a lot of money and then never actually worked. The system, which failed pretty spectacularly when it was first tested and just never got better, was one of the reasons for DIA's delayed opening. By 2005, most of the airport’s concourses had abandoned it totally, making both its bloated price and long delays feel like even more of a failure—or at least a really weird way to cover up the building of tunnels. 

But where do the tunnels go? Perhaps to some kind of underground bunker? Most of the people who believe in the various conspiracy theories regarding DIA seem to think that the airport is actually the headquarters for something far nastier than just an airport—like the New World Order or our own American government. This idea might sound pretty wild—just because the place is big? just because of all that weird stuff in the airport?—but there is something very strange to back it up: buried buildings. 

As the story goes, when DIA was first being built, five massive buildings were built somehow incorrectly. Instead of being blown up or otherwise dismantled, they were buried. Although theorists say that a construction worker ultimately blew the whistle on this very weird practice, finding his original testimony on the subject is almost impossible. 

BONUS: The Horse Statue and the Weird Murals

Conspiracy theories aside, it’s hard to deny the weirdness of DIA’s unofficial mascot—a massive horse statue called “Blue Mustang” that has already killed at least one man. At 32 feet tall and 9000 pounds (it’s made out of fiberglass), “Blue Mustang” is huge and imposing, and its glowing red eyes don’t help matters. This thing is giant and really scary—and it killed the man who made it. Really. Artist Luis Jimenez died in 2006 when a piece of the sculpture’s head broke off and severed an artery in his leg. 

Leo Tanguma’s two murals, which take up wide swathes of wallspace in DIA’s baggage claim, might have some nice names—they are called “Children of the World Dream of Peace” and “In Peace and Harmony with Nature,” respectively—but their actual content is terrifying. Death-masked soldiers stalk children with guns, animals are dead and kept under glass, and the entire world looks to have been destroyed. As if being at the airport isn’t bad enough. 

To his credit, the narrative of Tanguma’s murals ends on a happy note—with all that peace and harmony stuff—and the artist himself has said, “I have children sleeping amid the debris of war and this warmonger is killing the dove of peace, but the kids are dreaming of something better in the future and their little dream goes behind the general and continues behind this group of people, and the kids are dreaming that [peace] will happen someday. See how the little dream becomes something really beautiful, that someday the nations of the world will abandon war and come together.” Still, the last place anyone wants to see depictions of death and destruction in an airport. 

7 Ways Victorian Fashion Could Kill You

An 1862 engraving showing a skeleton gentleman at a ball asking a skeleton lady to dance, meant to represent the effect of arsenic dyes and pigments in clothing and accessories.
An 1862 engraving showing a skeleton gentleman at a ball asking a skeleton lady to dance, meant to represent the effect of arsenic dyes and pigments in clothing and accessories.

While getting dressed in the morning can seem like a hassle (pajamas are so much more comfortable), few of us worry about our clothes leading to our death. That wasn’t the case during the Victorian era, when fashionable fabrics and accessories sometimes came at great price for both makers and wearers. In Fashion Victims: The Dangers of Dress Past and Present, Alison Matthews David, a professor in the School of Fashion at Ryerson University in Toronto, outlines the many toxic, flammable, and otherwise highly hazardous components of high style during the 19th century. Here are a few of the worst offenders.

1. Poisonous Dyes

A drawing of Victorian fashions likely made with arsenic dyes
A drawing of Victorian fashions likely made with arsenic dyes
Bloomsbury Visual Arts

Before the 1780s, green was a tricky color to create on clothes, and dressmakers depended on a combination of yellow and blue dyes to produce the hue. But in the late 1770s a Swedish/German chemist named Carl Wilhelm Scheele invented a new green pigment by mixing potassium and white arsenic on a solution of copper vitriol. The pigment was dubbed Scheele’s Green, and later Paris Green, among other names, and it became a huge sensation, used to color walls, paintings, and fabrics as well as candles, candies, food wrappers, and even children’s toys. Not surprisingly, it also caused sores, scabs, and damaged tissue, as well as nausea, colic, diarrhea, and constant headaches.

Although fashionable women wore arsenic-dyed fabrics—even Queen Victoria was depicted in one—its health effects were worst among the textile and other workers who created the clothes and often labored in warm, arsenic-impregnated rooms day after day. (Some scholars have even theorized that Napoleon might have been poisoned by the arsenic-laced wallpaper hung in his St. Helena home.)

Arsenical dyes were also a popular addition to artificial flowers and leaves, which meant they were frequently pinned to clothes or fastened on heads. In the 1860s, a report commissioned by the Ladies’ Sanitary Association found that the average headdress contained enough arsenic to poison 20 people. The British Medical Journal wrote of the green-clad Victorian woman: “She actually carries in her skirts poison enough to slay the whole of the admirers she may meet with in half a dozen ball-rooms.” Despite repeated warnings in the press, and from doctors and scientists, the Victorians seemed in love with emerald green arsenic dyes; ironically, they acted like a reminder of the nature then swiftly being lost to industrialization, David says.

2. Pestilential Fabrics

Soldiers of the Victorian era (and earlier) were plagued by lice and other body parasites that carried deadly diseases such as typhus and trench fever. But soldiers weren’t the only victims of disease carried via fabric—even the wealthy sometimes wore clothing that was made or cleaned by the sick in sweatshops or tenements, and which spread disease as a result. According to David, the daughter of Victorian Prime Minister Sir Robert Peel died after her riding habit, given to her by her father as a gift, was finished in the house of a poor seamstress who had used it to cover her sick husband as he lay shivering with typhus-induced chills. Peel’s daughter contracted typhus after wearing the garment, and died on the eve of her wedding.

Women also worried about their skirts sweeping through the muck and excrement of city streets, where bacteria was rife, and some wore special skirt-fasteners to keep them up from the gunk. The poor, who often wore secondhand clothes, suffered from smallpox and other diseases spread by fabric that was recycled without being properly washed.

3. Flowing Skirts

Giant, ruffled, crinoline-supported skirts may have been fine for ladies of leisure, but they weren’t a great combination with industrial machinery. According to David, one mill in Lancashire posted a sign in 1860 forbidding the “present ugly fashion of HOOPS, or CRINOLINE, as it is called” as being “quite unfitted for the work of our Factories.” The warning was a wise one: In at least one printing office, a girl was caught by her crinoline and dragged under the mechanical printing press. The girl was reportedly “very slim” and escaped unharmed, but the foreman banned the skirts anyway. Long, large, or draped skirts were also an unfortunate combination with carriages and animals.

4. Flammable Fabrics

A woman with her crinoline on fire
Bloomsbury Visual Arts

The flowing white cotton so popular in the late 18th and 19th centuries had dangers to both maker and wearer: It was produced with often-brutal slave labor on plantations, and it was also more flammable than the heavy silks and wool favored by the wealthy in the previous centuries. One type of cotton lace was particularly problematic: In 1809 John Heathcoat patented a machine that made the first machine-woven silk and cotton pillow “lace” or bobbinet, now better known as tulle, which could catch fire in an instant. The tulle was frequently layered, to add volume and compensate for its sheerness, and stiffened with highly combustible starch. Ballerinas were particularly at risk: British ballerina Clara Webster died in 1844 when her dress caught fire at London’s Drury Lane theatre after her skirt came too close to sunken lights onstage.

But performers weren’t the only ones in peril: Even the average woman wearing the then-popular voluminous crinolines was at risk of setting herself ablaze. And the “flannelette” (plain cotton brushed to create a nap and resemble wool flannel) so popular for nightshirts and undergarments was particularly combustible if hit with a stray spark or the flame of a household candle. So many children burned in household accidents that one company came out with a specially treated flannelette called Non-Flam, advertised as being “strong’y recommended by Coroners.”

5. Arsenic-Ridden Taxidermy

Dead birds were a popular addition to ladies’ hats in the 19th century. According to David, “fashions in millinery killed millions of small songbirds and introduced dangers that may still make some historic women’s hats harmful to humans today.”

But it wasn’t the birds that were the problem—it was the arsenic used on them. Taxidermists of the day used arsenic-laced soaps and other products to preserve birds and other creatures. In some cases, entire birds—one or several—were mounted on hats. Some Victorian fashion commentators decried the practice, though not because of the arsenic involved. One Mrs. Haweis, a writer on dress and beauty, began an 1887 diatribe against “smashed birds” with the sentence: “A corpse is never a really pleasant ornament.”

6. Mercury

No upper-class man of the Victorian era was complete without his hat, but many of those hats were made with mercury. As David explains, “Although its noxious effects were known, it was the cheapest and most efficient way to turn stiff, low-grade fur from rabbits and hares into malleable felt.” Mercury gave animal fur its smooth, glossy, matted texture, but that velvety look came at a high cost—mercury is an extremely dangerous substance.

Mercury can rapidly enter the body through the skin or the air, and causes a range of horrible health effects. Hatters were known to suffer from convulsions, abdominal cramps, trembling, paralysis, reproductive problems, and more. (A chemistry professor studying toxic exposure at Dartmouth College, Karen Wetterhahn, died in 1996 after spilling just a few drops of a supertoxic type of mercury on her glove.) To make matters worse, hatters who drank while they worked (not an uncommon practice) only hastened mercury’s effects by hampering the liver’s ability to eliminate it. While scholars still debate whether Lewis Carroll’s “mad hatter” was meant to show the effects of mercury poisoning, his trembling limbs and wacky speech seem to fit the bill.

7. Lead

A Victorian facial cream containing lead
A Victorian facial cream containing lead
Bloomsbury Visual Arts

Pallor was definitely in during the Victorian era, and a face spackled with lead white paint was long favored by fashionable women. Lead had been a popular ingredient in cosmetics for centuries, David writes, because it “made colors even and opaque and created a desirable ‘whiteness’ that bespoke both freedom from hard outdoor labor and racial purity.” One of the most popular lead-laced cosmetic products was called Laird’s Bloom of Youth; in 1869, one of the founders of the American Medical Association treated three young women who had been using the product and temporarily lost full use of their hands and wrists as a result. (The doctor described the condition as “lead palsy,” although today we call it wrist drop or radial nerve palsy, which can be caused by lead poisoning.) One of the women’s hands was said to be “wasted to a skeleton.”

This article was republished in 2019.

The 25 Highest-Paying Entry-Level Jobs for New Graduates

iStock/kali9
iStock/kali9

When they finish their final exams, college seniors can look forward to job hunting. Roughly 1.9 million students in the U.S. will receive their bachelor's degrees this school year, and while some new graduates may be happy to take the first job they're offered, others will be looking for something that pays well—even at the entry level. According to Glassdoor, recent grads qualified for the 25 jobs below will have the best luck.

To compile this list of the highest-paying entry-level jobs in the U.S., the job search website identified employment opportunities with the highest median bases salaries reported by users 25 or younger. Positions in the tech industry dominate the list. Aspiring data scientists can expect to make $95,000 a year at their first job out of college, while software engineers have a median annual base salary of $90,000. Other entry-level tech jobs like UX designer, Java developer, and systems engineer all start at salaries of $70,000 or more.

Banking and business positions, including investment banking analysta ($85,000), actuarial analysts ($66,250), and business analysts ($63,000), appear on the list as well. The only listed position that doesn't fall under the tech, finance, or business categories is for physical therapists, who report a median starting salary of $63,918.

You can check out the full list of the 25 highest-paying entry-level jobs below.

  1. Data Scientist // $95,000
  2. Software Engineer // $90,000
  3. Product Manager // $89,000
  4. Investment Banking Analyst // $85,000
  5. Product Designer // $85,000
  6. UX Designer // $73,000
  7. Implementation Consultant // $72,000
  8. Java Developer // $72,000
  9. Systems Engineer // $70,000
  10. Software Developer // $68,600
  11. Process Engineer // $68,258
  12. Front End Developer // $67,500
  13. Product Engineer // $66,750
  14. Actuarial Analyst // $66,250
  15. Electrical Engineer // $66,000
  16. Mechanical Engineer // $65,000
  17. Design Engineer // $65,000
  18. Applications Developer // $65,000
  19. Test Engineer // $65,000
  20. Programmer Analyst // $65,000
  21. Quality Engineer // $64,750
  22. Physical Therapist // $63,918
  23. Field Engineer // $63,750
  24. Project Engineer // $63,000
  25. Business Analyst // $63,000

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