Transcription
[Music] Hey guys, today we got a video that I've been wanting to make for a long time now, but never really got around to doing it. We've known about this for a while; we even have a crypted video talking about a story involving these hybrid clown creatures that had wings. But I wanted to go deeper into this topic and make a video that kind of puts it all together.
Now, we didn't come up with this at all. I first learned about it through the Conspiracy RS channel, but I later found another channel called Understanding Conspiracy, and I believe he's the one who came up to this theory. It's very interesting, as it kind of reveals the clown world that we're living in today. It's all right in our faces, even with the celebrities and music that most of the youth listen to nowadays. It's cool to dress up as a clown, and it's as if it's a fashion thing now. But where did this all come from, and what is the origin of the modern-day clown?
Shout out to Understanding Conspiracy; go check out his videos as he breaks this down in great detail. I'm sure many of you guys will like his stuff. So, with that, let's get started. What is a clown? Well, the mainstream definition would be a comic entertainer. You know, you have a clown at a birthday party for kids. I guess they're supposed to be funny, but it's not really a good connotation; that's why when someone is a joke or not to be taken seriously, we insult them by saying, "What a clown." So a clown isn't something you really want to strive for, as it's typically associated with being laughed at or humiliated—a jester or a fool, someone to be made a mockery of.
But then why would anyone want to dress up as a clown? I mean, I get it, sure, for Halloween or maybe for just a party, people want to dress up as different things for fun. But I think it's much more than that, even ignoring that Halloween is a pagan holiday for contacting spirits. But I think there's much more to this clown archetype than just dressing up in a comedic and exaggerated way. Clowns are associated with emphasized vulnerability, a supposed way for them to connect better with the audience. But this also connects with clown fetishes and heightened sexuality, also known as chiliasm. People get turned on by clowns, which makes no sense if they're supposed to be just creepy, exaggerated comedic entertainment. But it would make sense if it's part of some type of negative influence. Are clowns benevolent or demonic? And this isn't to be all Christian either and be like, "Oh, stay away from that because it's demonic." No, not at all. It's literally just asking the question, "What are clowns?" The videos that I've seen on this topic, topic, come from that angle, and I thought it'd be interesting to try a different approach, looking at it from an esoteric point of view, questioning what they are and where do they come from. Are they connected with the metaphysical? Because it seems that it's not just comedy; they're associated with some very dark stuff. Just think of Pennywise. This is deeply ingrained in our culture. Clowns, for some reason, are traumatizing and horrifying to our psyches, which explains why people have clown phobias. But it gets deeper because it's insane to see how much this concept can be found in the media, our culture, and now people dress up as clowns because it's the newest trend. But they may not fully realize the origins of this Western idea of a clown and the potential for these beings to be a way to open oneself to demonic possession.
The origins of the modern-day clown of the West is a strange history. We can start with the Harlequin, but this is not necessarily a clown just yet. This is just the earliest insertion of a jester into theater. But what's interesting is that it's specifically played the role of a demonic or mischievous magician character with supernatural abilities during the Renaissance period. The Harlequin character began to evolve, marking a significant departure from the traditional jesters and fools that had populated European courts and festivals for centuries. Unlike these earlier figures who primarily served to entertain and amuse with their wit and physical comedy, the Harlequin was imbued with a darker, more occult aura.
The Harlequin is a central figure from Commedia dell'Arte, an improvisational theater form that emerged in Italy during the 16th century and quickly spread across Europe. Characterized by his vibrant, psychedelic patchwork costume of diamond-shaped patterns and his mask, the Harlequin is instantly recognizable for his physical agility and acrobatic skills. Historically, this character served, served as a comic servant, known for his cunning and cleverness, using wit and mischief to outsmart his masters and pursue his romantic interest, typically the character Columbine. Distinct from traditional jesters and clowns of earlier periods, the Harlequin brought a new dimension to the stage, combining elements of drama, comedy, and a touch of the mysterious. Harlequin was even initiated by a fairy, making it clear that there's a bridge between the worlds of visible theater and hidden occult forces. In the play, *Harlequin Student, or the Fall of the Pantomime, with the Restoration of the Drama*, published 1741, in the last section, Mercury curses Harlequin and his friends, saying, "Down, down to Hell," from Henry Rose, which would hint that the origin of Harlequin is demonic, something that was once well known but has now been forgotten.
Commedia dell'Arte was a type of theater from Italy that started in the 1500s and lasted into the 1700s. It was primarily directed to the elite circles of society, from outdoor stages to the grand halls of nobility. This tradition marked the revival of theatrical arts in Europe after a period of suppression by the church, which had deemed such public entertainment morally questionable during the decline of Rome. These troupes, known for their impromptu performances, suddenly reintroduced secular theater to a society starved for entertainment, integrating through their acts elements of comedy that traced back to ancient Greek plays. Yet, beneath the surface of humor and improvisation, Commedia dell'Arte carried undertones of the occult, catering to an audience that found delight in the more esoteric aspects of its performances. The actors, behind their iconic Venetian masks, tapped into a repertoire of characters and themes that often skirted the edge of societal norms, infusing their acts with a sense of mystery and forbidden knowledge that appealed to the taste of the elites. This character was not merely a source of laughter; it was a figure representing a type of demon that evolved from older European legends, such as the Wild Man.
The main funny character in Commedia dell'Arte plays was known as Arlecchino in Italy. This character, famous for wearing a colorful patchwork costume, was also known by different names in other countries: Arlekin in Germany, Harlequin in France and England, and Arlequín in Spain. Each version of the character was unique, but all of them kept the core qualities of being playful, acrobatic, and mischievous. Early stories link Arlecchino to nature spirits and deities that, over time, were seen as demonic in the Christian era. Arlecchino traces back to the legends of the Wild Man, a figure often shown as a giant carrying a club, a symbol of untamed nature and power. One of the oldest tales tells of a French monk encountering a group known as the family of Herlequin, described as demonic forces causing chaos, especially during Carnival. This group was so-called "The Wild Horde," and that Arlecchino connection to forces of nature and the Underworld, suggesting a lineage that predates even Medieval Europe. The name Hellequin, associated with this group, eventually evolves into Arlecchino, cementing its link to these ancient, possibly demonic origins.
In medieval tales, Harlequin's sexuality is portrayed in a more negative light. For example, a story by the Norman poet, Wace, depicts a witch who, on her deathbed, calls upon Hellequin to marry her. Hellequin arrives with a host of demonic figures for the wedding, ultimately dragging the witch's soul to hell. This story not only emphasizes Harlequin's connection to themes of death and the afterlife but also portrays him as an object of dark desire. He is the demon lover, drawing souls into a nefarious pact with the underworld, similar to the myth of Hades and Persephone. The medieval French demon known as Telhequin in Germany traces back to Norse and Teutonic myths. This figure, associated with Hel, the Norse goddess of the underworld, symbolizes death and the afterlife. Hellequin suggests a connection to hell and elder trees, sacred in these myths. The name evolved across cultures: Herlekin in German tales, Herleking in English, and even linked to Hern, the hunter, a figure resembling the Green Man in Robin Hood in British lore. These characters are all manifestations of ancient fertility deities, with the phallus becoming the symbolic maypole featured in May Day festivities. The Wild Man embodies this theme of natural force and fertility, described as a giant covered in foliage, carrying an uprooted tree. Strangely, this Wild Man became associated with darker mythological beings and was considered demonic. Orcus, meaning "Wild Man" in the Gallo-Roman era, was a deity of the underworld, leading the Dead's processions and connected to Pluto or Hades, classical lord of the underworld. This connection to death and the underworld emphasizes the Wild Man's darker aspects. Over time, the demon Hellequin, also known as Hurlekin, took on the role leading the Wild Horde, blending the Wild Man's image with more explicitly demonic attributes, which eventually influenced the development of the Harlequin character in theater.
So, at its core, Harlequin traces back to these legendary Wild Men or giants, being connected with the realm of demons and endowed with mystical powers. This symbolism, steeped in the lore of the ancient and the arcane, was integrated into early theater, transforming it into a form of ritual magic. What we're looking at here is not just a character but a type of cultural archetype that has morphed over time into what we now recognize as the modern-day clown. We will discuss this more in a bit, but it's clear from the beginning of the entertainment industry, clowns have been a dominant figure and continue to have a strong influence on our media today.
The next evolution of the clown, emerging in the 1700s, was Pedrolino, or the comic servant. This version could be seen as the first iteration of the modern clown, yet it was very different. Missing were the psychedelic themes and vibrant colors; instead, Pedrolino was clad in plain white servant attire, a far cry from the colorful clown that we recognize today. This was typically how the clown was originally presented, and the French had their own version, which was Pierrot. It had the black and white face paint with the frilled collerette, sometimes with a dun cap. This was the sad clown. He was seen as a loser, often yearning for the love of Columbine, who usually breaks his heart and leaves him for Harlequin, which we now know as a demonic clown. So Pierrot is the sufferer who had his girl taken by a clown and that is made into a fool character. He was there just to be laughed at because he was so pathetic because he couldn't get the girl he wanted, who was taken by the Harlequin character, which is based off the older fertility gods.
During this transition, a kind of void appeared, leading to a blending of the characters. The once pathetic clown, Pierrot, either became Harlequin, or the two characters merged, giving birth to the modern-day clown. This new entity combined elements of both, marking a significant departure from the traditional servant role to something entirely different. This transformation was done by the Debens, a family with Free Masonic ties, who collaborated with Joseph Grimaldi to reinvent the clown's costume. This new design was shockingly different and, honestly, more terrifying than the clown images we're familiar with today. The introduction of vibrant colors and patterns marked a stark contrast to Pedrolino's simple white garb. It begs the question, where did the inspiration for such a dramatic and unsettling design originate?
Joseph Grimaldi, born in 1778, is renowned for shaping the modern image of the clown. He significantly expanded the role of the clown in the harlequinade, with his design, white face makeup still being the gold standard today. Grimaldi's early roles, including *The Little Clown in the Triumph of Mirth*, *Harlequin's Wedding* in 1781, and *The Talisman, or Harlequin Made Happy* in 1796, were imbued with deep occult themes. These performances suggest that theater, particularly through the clown archetype, served as a form of occult ritual, mixing entertainment with ancient practices. What's crazy about this whole thing is that the modern-day clown was literally invented by Freemasons, including Joseph Grimaldi, who was initiated into a lodge in 1807. There's a deep connection between circuses, clowns, and Freemasons, which may be too deep to dive into for this video, but it definitely emphasizes the occult connections of the clown. Yet, where did Grimaldi get the idea for this clown? The British were very active in India during this time, and just like the Harlequin was based on European demons, the clown of Grimaldi is most likely based on Indian demons like the Rakshasas.
So they basically dressed up the clown as a Hindu demon in order to replace the Harlequin, and you can even find images of the Rakshasas, which means "demon," in an upside-down position where the head is supposed to be the crotch, and they have the exact same depiction with the Grimaldi clown, hinting that they took many elements from Hindu culture. Rakshasas were a populous race; they were powerful warriors, expert magicians, and illusionists. As shape-shifters, they could assume different physical forms. As illusionists, they were capable of creating appearances which were real to those who believed in them or who failed to dispel them. Some of the Rakshasas were said to be maneaters and made their appearance when the slaughter on a battlefield was at its worst. Some of the more ferocious ones were shown with flaming red eyes and hair, drinking blood, similar to representations of vampires and later Western mythology. Generally, they could fly, vanish, and had maya, magical powers of illusion, which enabled them to change size at will and assume the form of any creature. In the Ramayana, the Rakshasas are portrayed as mainly demonic beings who are aggressive and sexual. They're depicted in a similar fashion with masks that are brightly colored with strange patterns, some that are strikingly similar to the clown of Grimaldi. Some are literally depicted with white skin and red hair. They are a form of hybrid, sometimes depicted with animal heads, which connects the clowns to the Nephilim.
The Rakshasas are not the only demons depicted in this fashion; you can find this in a variety of different cultures. Like in Balinese culture, they have the Rangda, which is a panther or lion-like creature, supposedly a good spirit that is protective. The masks have a very similar theme with the bulging eyes, bright colors, and fangs. But Rangda is the king of spirits, which fights against Rangda, which is a demon queen that is depicted with white skin, large breasts, and red hair. They have different ways of depicting her through statues as an evil witch or even with these strange clown-like costumes with stripes and a horrifying fanged and goggle-eyed mask with a long protruding tongue. Rangda is similar to Durga, but unlike Durga, who is a benevolent mother goddess of fertility, Rangda is the negative aspect to this, similar to other demonic female spirits such as the Jezebel spirit, harpies, sirens, and Lilith. Essentially, they're a type of succubus, which connects back to fertility, demonic spirits being the origin of the clown. In this case, it's the female version. You can find similar practices in Sri Lanka with the Rakshasa masks that are used in rituals as a tribute to a race that earlier ruled Sri Lanka and had 24 different forms. You can find the same types of masks and references in a variety of different cultures.
In Japan, they have their own form of this practice with the Oni, or demons or ogres, that are associated with supernatural powers. They're also known for carrying clubs with an inclination towards murder and eating humans. What's fascinating is that these beings were said to have six fingers and six toes, which connects us back to the Nephilim. Are many of these cultural practices forms of ancestral worship in which they're venerating beings that once inhabited this realm? Or perhaps we were in a reality where at one time we could more easily see these beings, a time when the realm between physical and spiritual weren't so separated? Even the Bible describes these giants as having six fingers, and in the early newspaper accounts, there were reports of finding the skeletons of giants with double-rowed teeth and six fingers. Are these different cultures from around the world referencing the Nephilim of the Bible, a race of hybrid beings that resulted from fallen angels meeting with human women?
So essentially, according to the Bible, the sons of God, fallen angels or demons, took a physical form, so shape-shifters, and had sex with human females to create a race of giants or hybrids. These Nephilim were seen as gods and depicted with pale skin and red hair. It's interesting to consider that many giants are described as having red hair, and the reason for the clown hair being red is never really explained. Why is it red? Also, this entire idea of clowns being connected to demons, or you could say extradimensional beings, is deeply ingrained within the psychedelic culture. During trips on DMT, shrooms, or LSD, many users report experiencing jester, trickster-like entities that play with the viewer, usually in a negative way. Even the jester's hat looks sort of like horns. These beings resemble the same demonic beings that we've been looking at in Hindu culture, but many artists depict these beings with clown-like features and checkerboard psychedelic patterns.
Are clowns actually a physical manifestation of these higher-dimensional beings, fallen ones that live on a higher plane of existence? And through the psychedelic experience, some people are forced into a level of reality where they experience these entities in a traumatic way. This was well documented in *The Spirit Molecule*, where several participants reported encountering clowns, jesters in their journey, finding themselves in a strange dimension that resembles a circus, carnival, or even a casino. Even Terence McKenna said that the archetype of DMT is a circus. Are these just archetypes, and if so, why would they be such prevalent concepts in the collective unconscious? Perhaps it's more than just a philosophical form but an actual entity that lives on a different level of reality, and through different endogens, the veil can be lifted temporarily. Perhaps these entities can influence through doors that are hidden to people who are not in control of their spiritual energies, allowing for possession and negative influence.
Now, some may say, "Well, how is that the case?" And it's not even to take a Christian angle or anything, but to see how this archetype or entity has influenced our world and how it can also influence the individual in harmful ways. So are clowns actually the evolution of this ancestral worship of Nephilim beings that, through theater and masonry, eventually led to the modern-day portrayal of the clown that we see today? Now, if clowns are really based on fallen angels or demonic entities, then it really sheds light on what is occurring in the modern day. And it's not far-fetched to consider the idea that by dressing up as a clown, you're actually opening yourself up to demonic possession. That's the whole concept of the circus. The Freemasons who designed it knew the history of Harlequin and what it represented, and so they turned it into a spectacle, the origins of our entire entertainment industry.
The idea that we're told is that most of these cultures practicing ancestral worship are doing these rituals to these demonic entities and dressing up in a mask to scare them off, but that doesn't really make sense. If anything, it makes more sense that these entities, being trickster gods, would allow the practice to continue without the practitioners being aware that it's actually keeping their influence and power intact. So it's a form of veneration, and you could say evocation. If this is the case, then think about the amount of clown symbolism that we see in the modern day. Once you follow the history of the clown, you can see all the negative influence and symbolism clearly. You have movies that are glorified, like *The Joker* and even *Harley Quinn*, and those movies are pretty dark, and those aren't even close to the amount of horror films made with killer clowns, which apparently the killer clowns are from outer space, or you could say another dimension. Then you have *Beetlejuice*, which is basically a clown demon that haunts a family home—hidden influence that has been normalized in the form of entertainment.
It's just sick that people would go watch stuff like *Terrifier*, where literally people were fainting and vomiting during screenings due to its graphic content. Why would anyone want to watch something like that? With *Harley Quinn: Birds of Prey*, they hinted these anti-heroes being angels, perhaps fallen ones, and it's interesting that this movie became popular with the viral trend of clown core. Like, it's this trend to try to look like a clown and share it. It may seem innocent, but the weird part about it is it doesn't even look good, and it's kind of cringe, honestly. And you see this a lot with the modern clown world ideologies; they have some fantasy with being a clown, although we're well aware of the connotations of this archetype. It's almost as if this whole thing is trauma-based. Is it really just a way to dress up and look cute, or is it more indicative of how easily these people can be influenced, a form of demonic possession? You could argue whether aware of it or not, and I'm not saying if you dress up like a clown once or something that you're going to be possessed, but some people literally have some kind of fetish over it, and that type of obsession does not seem to be natural.
This is happening to the entire entertainment industry, and it's getting worse every year, especially in the music industry. I mean, even Cardi B's dressing up like a straight-up clown, and Uzi's a vampire basically. But why is this becoming their entire identity? Like, if it was just once or twice for a music video, okay, sure, you could just say they're inspired, but at this point, it's obvious they have some fascination with the look. I think most people are like, "Okay, Cardi B's gone too far," but just look how Doja Cat transformed into a complete demon, and no, I don't think it's a good look at all. Doesn't even look cool; it's just kind of weird. Within the past five years, all these movies trying to make clowns cool have influenced this whole clown core genre, which is leading to all these celebrities embracing this new look, which I don't think is a coincidence. We all know these artists are controlled, so why is it that their managers want them to try this new look? I mean, really, Future's dressing up like a clown; Dua Lipa's… this isn't even close to the amount of clown influence that has been over the music industry for decades, but it's just weird that we're seeing it ramp up now, and people are starting to notice it and be like, "Okay, this is not normal." The clown world is making itself more apparent.
The entire idea of makeup most likely comes from these Nephilim and ancestral worship practices. You can see the same thing in a variety of cultures where they paint their faces white and nose red in order to contact these beings. I mean, think about Queen Elizabeth and the Mad Hatter from *Alice in Wonderland*. There must be a reason why they're depicted in this way. This is also a trend in the fashion industry. After the rise and popularity of clown core, designers began showcasing bizarre clown suits and big fashion shows to join in on the viral new clown look, which they've been doing for some time, but it's just weird that it made its rise again recently. One of the things that I thought was super weird is last year there was this whole show influenced by this, called *The Amazing Digital Circus*, which makes it clear that they're 100% aware of the secret symbolism of the clown, and there are many other shows that make similar references, but this one's very blatant. It also has a lot of views; the pilot has 200 million views on YouTube. What's it about? It's a psychological dark comedy about these weird, bizarre characters that hate their lives and want to leave the circus, or really, what's their prison reality? What's crazy is it seems to be directed to kids, but the weird thing is people can tell that there's something creepy about this show. It's basically about a girl who gets trapped in a crazy virtual world, is with these five characters who are humans, but they're on some other realm, so they have different avatars. It seems it's obviously referencing that these characters have some type of trauma. You have a doll with an eye missing or X, and then you have this purple bunny character, which is like the only one who's happy to be here or something. Then the ringmaster is called Cain. I mean, they're really on the nose with this one. But this girl puts on a headset and gets trapped in this false reality on another digital plane, or they're trying to tell you astral plane. The girl can't even remember her own name, and basically, the ringmaster, with the top hat, the dude with the big mouth, has to just distract them, so…
That they don't all go insane, so I don't know. They go walking around the circus, and they find this horrible room which has "exit" written all over the walls. Basically, once you lose your mind, or lose yourself, you start to turn into this abstract, demonic form, which is portrayed as this black goo with many eyes. It really does get kind of creepy with all the glitching, and it really goes to show how there are people in the entertainment industry that are well aware of the symbolism of the clown, its association with trauma, and how these entities are trapped on another dimensional plane of reality.
It's even worse with some of their recent promotions. Just a week ago, they announced that Pomy is about to go on many more adventures, even though she feels trapped and is trying to get some sleep so she doesn't go insane. I guess I'll leave it at that. There are many more references to be made, and I can go much deeper into the development of the circus, but please let us know what you think.
Don't forget to check out Understanding Conspiracy. He has done the most research on this, and I think he's doing an amazing job. Thanks for watching, everyone. Hope you enjoyed that. And all we can hope is that our minds may be unveiled. Let go of everything you think to be true, relax the mind, and ask the question: Do I truly understand what this reality is?