WE ARE ALL CLOWNS ON THE BUS
MONOLOGUE WRITTEN BY CLYDE LEWIS
I just got back from Gotham City, New York because there was a meeting of the parent company, Sun Broadcasting and they wanted me to be there to meet the staff and many of the talent. I was really impressed with the Country morning show guy from Seattle – Fitz of Fitz in the Morning and I even was able to drunkenly do “The Carlton” with Fresh Prince star, Alfonso Ribeiro, who does a syndicated 90s show for the network.
When I arrived at the airport, I intentionally wore my Batman shirt because I really wanted to see the Joker in New York but was too busy and tired to do so, however, the presenters of the massive radio gathering was able to take my Ground Zero logo and make it into a bat signal type stencil and put it up on the side of the Plaza Hotel.
When Janine and I returned, we recorded her podcast and immediately bolted for the theater to see the movie.
Let’s just say the movie lived up to the hype but the controversy was a bit overwrought — I have seen more violence in a Quentin Tarantino movie than in this flick.
The movie has been victimized by politically correct critics that want to frighten you about the film. The reason why I believe they are doing this is that it illustrates the clownish mob of those who bully people into doing things and push them to the point of losing their minds.
It is a movie about manufactured outrage, unwarranted criticism, and how elitism is hijacking the culture and here is a clue – it is not heavily right or left – the truth is it illustrates how we are all clowns and some clowns are able to be meaner and others are more meaningless, and, it is the meaningless that is ignored.
While the social warriors can complain about inequality and demand that things be canceled and abruptly changed, they don’t know the anger and the consequences that are lying in wait for a massive civil war or faceless and meaningless clowns that become famous when they kill, disrupt, and gaslight the world.
Back when I was a young radio host someone had introduced me to the comedy troupe, Firesign Theater. I became a big fan of their dry humor and their audio skit performances. The fourth album was called “I think we are all Bozo’s on this bus.” The story is a bit of political fiction as a number of people are riding a bus at a fair – that is literally a technology fair where everything is a simulation.
A trio of computer-generated holograms popped up outside the bus: the Whispering Squash, the Lonesome Beet, and Artie Choke), singing “We’re back from the shadows again” to the tune of Gene Autry’s “Back in the Saddle Again.”
They encourage the onlookers to attend the fair, which the Beet describes as “technical stimulation” and “government-inflicted simulation”. Then they disappear “back to the shadows again”. A young man named Clem boards and takes a seat next to Barney, an older man who identifies himself as a bozo person with a large nose which honks when squeezed; he says, “I think we’re all bozos on this bus.”
After a stewardess tells the passengers to prepare for “a period of simulated exhilaration”, broadcaster Floyd Dan tells them they are riding the rim of the Grand Canyon, the floor of which is five thousand feet below. The “bus” is apparently some sort of hybrid vehicle that can travel on the ground, yet turn into a jet plane which takes off for a “flight to the future.”
We eventually meet the President who sounds an awful lot like Nixon giving canned responses to questions that are given by the poor and those on welfare.
Of course, the whole affair is a political simulation. It actually pulls the rug out from under daily life and shows a simulation where everyone is triggered, everyone worries, and the outrage is manufactured.
Ironically, the robot president responds with oblivious statements which are confusing and aggravating.
B.O.Z.O. is the Brotherhood of Zips and Others. Bozos are people who band together for fun and profit. They have no jobs. Anybody who goes on a tour is a Bozo. Why does a Bozo cross the street? Because there’s a Bozo on the other side. It comes from the phrase, “vosotros,” meaning, “others” in Spanish. They’re the huge, fat, middle waist. The archetype is an Irish drunk clown with red hair and nose, and pale skin.
A Bozo basically hides among the people to play tricks on them that have them question their sanity and make them outraged.
The truth is, Firesign Theater created Clown World before it was a thing and it appears we need a bigger bus for this simulation and manufactured outrage.
There are plenty of clowns to fill it and until we point them out – we will continue to accept the hijacking of the culture by the canceling triggered clowns that see evil and political oppression everywhere.
Contrary to the self-assured image we work so hard to present to each day in public.
We do it on a daily basis. Most people go about their day fooling one another. In relationships, we put on a show for the significant other we wish to impress. This goes on for some time until we show them what goes on backstage in the bedroom. If we get past that illusion, whether we are faking a good time or an orgasm, the relationship starts to grow based on first impressions, bedroom acrobatics, and the ability to have the personality that is funny or deeply serious or vaguely political.
The more the couple gets to know each other they find quirks that irritate. Toothpaste squeezing from the middle, toilet paper rolling under not over, dirty underwear on the floor, flatulence, body odor you have been through this right?
Then the novelty wears off as someone gets a little selfish, someone shows neediness or vulnerability and this is the big hurdle – probably bigger than stinky socks. Then the baggage you think you unloaded from previous relationships, even family affairs come into play – dirty little secrets are found out and trust issues come up.
Someone decides there is something better – time to put on that clown face and do it all over again and again and again and again.
Always doing the same thing over and over again without any resolve; thinking that the ship will come in even though you are standing at the train station.
This may be your first leap into clown world a world that is ruled by passionate opinions, overwrought triggers, manufactured outrage.
Unfortunately, politics are now the triggering of clown derangement. Think of the times you have expressed an opinion that does not toe the extreme political line and have been shunned by those you thought were your friend.
We appear to be living in a clown world. Men are turning themselves into women, women are turning themselves into men, and brainwashed kids, god bless ‘em, don’t know what to turn themselves into. Meanwhile, small-souled bugmen are protesting outside McDonald’s for Szechuan sauce because of a cartoon, and deranged Social Justice Warriors can’t pull their eyes away from Donald Trump’s Twitter account.
The media is either a mouthpiece for fraudulent government or the resistance that was created through witch hunts and lies. Well, after at least two witch hunts, they now have their witch – it should be witches but of course, we still need to hear about the tied to corruption of Joe Biden but it won’t happen because the clowns are in control.
Faceless corporations are pretending to be social justice revolutionaries while at the same time warping the capitalist system out of all functional recognition for their own gains. Governments and the media are no longer even trying to hide their support for cultural Marxist policies, and as community spirit across the West continues to disintegrate, more pea-brains take to social media to shout at each other and drive culture deeper into the gutter.
Once-great Western cities have been reduced to barren corporate wastelands populated by millions of atomized, cultureless, and basically useless consumers roaming shopping malls, filling sports arenas and sitting glued to their Netflix-enabled 75” 4K TVs as they chow down on mystery foodstuffs.
You can see Clown World everywhere and it is very real. Michael Ingmire, a musician, and writer made a decent list as to how he sees the clownish world – the very world that the Joker is placed in – the very world where he cracks up.
Clown World, where the common core dumbing down of society has successfully rebranded communism as climate change.
Clown World, where ignorance is embraced and everyone is considered a genius.
Clown World, where the new green-with-envy utopia controls all the earth’s natural resources and everything humans are allowed to do including eating meat.
Clown World, where cow farts pose an imminent danger to the planet.
Clown World, where radical jihadists are elected to serve in Congress and write laws that silence the truth.
Clown World, where even the insipidly stupid can be elected to Congress.
Clown World, where we have invisible borders and wonder why there is a terrorist problem.
Clown World, where rich politicians vote themselves pay raises for doing nothing.
Clown World where a well known gay black actor fakes an attack and gets away with it.
Clown World, where anger laden young clown fascists beat journalists in the streets and the police do nothing.
Clown World, where the Clown Justice Department is co-opted by a political agenda and the Fourth Amendment is an arcane memory.
Clown World, where American Veterans live homeless in streets filled with human waste and used hypodermic needles.
Clown World, where Congressional leadership pursue the smell of the greasepaint, the roar of the crowd and not much else.
Clown World, where the mediocre is actively embraced at every turn and truly noble and talented citizens are treated as clowns.
Clown World, where Democrat Presidential candidates actively demonstrate how truly clownish they can be in order to somehow beat another clown in some clownish impeachment coup.
Clown World, where innocent babies are killed in an arbitrary manner by cruel clowns.
Clown world where you refuse to identify your kids by gender.
Clown World where Drag Queen clowns read to kids at the library.
Clown World, where the truth is treated as a virus.
Clown World, where there is a war for the control of our minds by clowns.
The biggest hot spot for clown world is the internet.
The internet has people living in something akin to a permanent state of road rage as they desperately try to fill the emptiness in their lives by becoming hysterical over events that have little to no impact on them.
Take a young girl with autism send her on a yacht worth hundreds of thousands of dollars – send her to the location in a gas guzzling limousine to the United Nations. Shove a microphone and a script in her hand. Tell her to show anger and emotional angst – have her scold people including other politicians, blaming her elders for their insufficient work on reversing climate change, and there you have it – an impenetrable spokesperson that because of her age, she is said to be honest and pure.
It would be unwise to criticize her because of her age – she is allowed to bad mouth everyone because of her politics and yes my friends – this is a great example of how clown world is here.
Where else but in clown world can a highly paid 16 year old yell at the world and tell them that they ruined he dreams when she is sailing on a Yacht and shaking hands with dignitaries.
Where else but in Clown world can a lunatic get past security at a climate change rally hosted by Alexandria Ocasio Cortez and present the odd notion that in order to stop Climate change we have to start easting babies. Cortez just listened not at all phased by it until someone was realizing that this was either a troll or an insane person who has lost their minds over the alleged 12 year expiration date of the world – yet again, that too is a clown world gaslighting that kids are now terrified of.
Momo was a token or meme magic meant to scare kids into suicide – her face was that of a billeken clown a wide smile of a demon and a representational the evil painted lady a carnival oddity of the plague years.
I know that my obsession with this pale faced clown witch got me in hot water but now we know that suicide rate in kids are going up and allegedly climate change is to blame – maybe it is because the end of the world pitch in the apocalypse is gas lighting children. These are the very children that an angry and frightened 16 year old girl with autism represents – does anyone have the decency to point out that this is a circus meant to gaslight people into being clowns?
The clowns are winning and we are allowing them to take over.
Those who make up the outrage don’t see the effect they have or maybe they do and have decided that it is okay to be a sociopath.
The reason this is happening is that technically we are all half-baked experiments-mistake-prone beings, born without an instruction book into a complex world.
None of us are models of perfect behavior: We have all betrayed people and have been betrayed; we’ve been known to be egotistical, unreliable, lethargic, and stingy; and each one of us has, at times, awakened in the middle of the night worrying about everything from money to kids to terrorism to wrinkled skin and receding hairlines.
This human behavior – it is normal but the clowns are telling you that you have to be like them or they will bully you to the point that you crack.
The recent Clown World outrage is the finger symbol that generally means “OK.”
But now, it is a symbol for White Power.
In USA Today, it was reported that a bi-racial Family was outraged after a Universal character made ‘OK’ symbol on 6-year-old’s shoulder.
Tiffiney Zinger said it was painful telling her daughter she couldn’t use a family vacation photo for her second-grade class project.
The photo shows the 6-year-old girl, who is bi-racial and has autism, posing with an actor dressed as the movie character, Gru, from “Despicable Me” during a Universal Orlando breakfast event attended by the Zinger family in March. The character formed an upside-down “OK” symbol with his fingers, recognized by some as a hate symbol, on the girl’s shoulder- the OK symbol is no longer Okay, so say the clowns, and you better remember this when you decide to use it.
Just last Saturday, Saturday Night Live featured Phoebe Waller-Bridge and Taylor Swift in an ad promoting her appearance. In the promotional video, Swift tries to fake a British accent and fails. Then she gives the dreaded Okay symbol and gets no outrage!
This from the darling of the LGBTQ community – uh, strike that not everybody was pleased with how her video, You Need to Calm Down, exploited the gay lifestyle – you just can’t please all the clowns in the world.
Bill Burr has always been a volatile comedian, but his latest Netflix special finds him more triggered than ever.
Just two weeks after Dave Chappelle released his new collection, Society Is Changing and That Makes Me Angry, another prominent comic is hot on his heels with similar complaints about #MeToo overreach and the easily offended masses who won’t let him tell the jokes he’s currently telling.
If Burr actually thought he had anything to lose by complaining about how hard it is to be a comedian in 2019, that the diehard fan base, he’s carefully cultivated over decades of stand-up wouldn’t come along for this ride, he might comport himself differently. But because he knows there’s a brewing cultural backlash aligned with his own beliefs about what topics should remain forever fashionable, he is able to couch his old-fashioned ideas in the premise that they’re just too powerful and dangerous.
They’re not, though. They’re mostly just hostile expressions of aggrievement. That’s been part of his bread and butter all along anyway, but now the focus of his ire has shifted. Whereas once he yelled about how fat people eating too enthusiastically at the airport disgust him, now he’s yelling about how hypothetical fat people might respond to his fat jokes, given the climate.
“Every joke!” he vents, five seconds into the special, before slipping into a mocking voice of a hypothetical audience member. “What did you mean by that? I didn’t go to the gym today, does that mean I’m fat? I feel triggered!”
There’s that word “triggered” again, the absolute worst thing a person can be in a comedian’s eyes.
I find it quite Ironic that the Joker Character in the new film is a failed comedian who is mocked at a comedy club called Pogo’s. Pogo of course was the name of the John Wayne Gacy Clown – this hasn’t triggered outrage yet but according to a recent story something else in the film has.
We all know that the Joker film triggered a lot of fear over possible theater shootings. Concerned Moms of the Aurora Shooting used the film as an excuse to talk about red flag laws and gun grabs.
The military also has been dispatched into being at the ready if the film triggers riots against the elite.
Now, some movie-goers are pretty horrified at when Joaquin Phoenix makes is transition to the Joker – the song Rock and Roll part 1 and 2 is being played.
The song plays for around two minutes as Phoenix walks down a long flight of stairs.
Glitter, real name Paul Gadd, was convicted in 1999 for downloading thousands of images of child pornography and was deported from Cambodia in 2002 on suspicion of child sexual abuse. He was jailed in Vietnam in 2006 for molesting two girls, and on his return to the U.K. was placed on the sex offenders’ register for life.
Then in 2015, Gadd was found guilty of attempted rape, several counts of indecent assault and another count of having intercourse with a girl under the age of 13, and was sentenced to 16 years in prison. In the wake of his criminal charges, several sports teams that heavily used the instantly recognizable 1972 song during contests, removed “Rock and Roll Part” from their playlists.
However, some still play it and I‘ll bet no one knows about who Gary Glitter is and what he ended up becoming.
We play Michael Jackson songs but of course, this is all suspicion and so since he is dead there is no way to convict or prove anything.
Michael Jackson even made his face look like a belliken clown and tried to transmogrify into Peter Pan – no outrage – not about the kind clown who grabbed his crotch on MTV.
He reminded us as to why we should fear a clown, especially one who intentionally made his face ghoulish—it was an intentional shape shifting act that some believe looked like Momo or a belliken clown.
The clown represents death, shape-shifting, the deceiver or trickster. The image of the trickster is a powerful one and anything associated with it, any triggering mechanism or meme could spark a backlash or ethereal blowback. The result is chaos. Chaos has no regard for race, creed, color or morality.
During the massive marketing campaign for the second Batman movie franchise the ‘Dark Knight’, images of Heath Ledger as the Joker started popping up everywhere. One of the most disturbing images was Ledger in joker make-up with puffy scars on his lips. While most clowns wear a full white paint and use colorful accents to their image, Ledger chose to wear “corpse paint” a term coined by death metal bands to invoke an image of death and decay. The colors they use are limited to black white and red.
Ledger’s Joker was the image of the classic “dead clown” and was even more ghoulish when you consider that after playing the Joker, Ledger died of a drug overdose.
With Ledger’s death, there was a cold feeling that came over Hollywood. There were so many people that felt that it was the part of the Joker that killed Heath Ledger. However, it was the clown that vexed Ledger and there were many instances where he was made to play a clown.
“Clowning Around” was an Australian film produced in 1992. It follows the story of 14-year old Simon Gunner, who has been in and out of foster homes all his life and dreams of becoming a professional circus clown.
The film was shot in Perth and Paris and was Heath Ledger‘s film debut.
He also played Bob Dylan in the film, “I’m Not There.” Coincidentally, in Don McLean’s hit song “American Pie” he refers to Bob Dylan as the jester.
The Joker was not Ledger’s final role. He appeared in the film ‘The Imaginarium of Doctor Parnassus’ as Pierrot, the sad clown, and the fool. Ledger died before the film could finish and so there were other actors that portrayed the role in creating a shape-shifting theme throughout the film.
Like any powerful archetype that begs to escape from the movie screen into reality, “The Joker” – or death clown – literally leapt from the movie screen into reality as an unstable 24-year-old killer named James Holmes opened fire in a crowded movie theater that was attending the midnight screening of ‘The Dark Knight Rises’, “the final movie in a Batman trilogy, following “The Dark Knight” in which The Joker was the principal villain,” as ABC News reported at the time.
What was it that Lon Chaney said about “clowns at midnight?”
The particular comic book that inspired Ledger’s portrayal the most was a one-shot Batman comic called, “The Killing Joke” written by comic writer and magic practitioner Alan Moore, who has written comics such as ‘The Watchmen’ and ‘V for Vendetta’ – which are full of Illuminati and satanic symbolism. ‘V for Vendetta’, in particular, not only quotes Satanist Aleister Crowley in several portions but mentions him by name.
Agent Codename V wears a ghoulish clown mask that is supposed to represent Guy Fawkes. His character has also leapt from the big screen and comic books and is now the official face of the computer group Anonymous. His clownish mask is also worn by activists and protestors worldwide.
Both times, characters associated with magicians have manifest in our reality either for good or evil. The image of the death clown is the most effective image because it plays on base core shadow archetypes.
Is the image of a clown mask in Joker by Joachin Phoenix going to be the equivalent of the Guy Fawkes clown death mask in V-for Vendetta? Time will tell.