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Bored of the same old conversations? Spice things up with "The Nephilim Looked Like Clowns" and dive into fascinating, unconventional topics!

Are you tired of the same old conversations? Do you often find yourself struggling to know what to say? Are you over discussing the news, sports, or the weather? It's time to put boring discussions behind you by leaving a copy of The Nephilim Look Like Clowns on your coffee table, your toilet, your local library, your mother's car, your boss's office desk, or that person you really like's bed. Instead, what the hell is this? Oh, that? Why, it's just a book about how the modern costume of a clown is a caricature of Ancient Giants and modern demons. Stay away from my children! This is a conversation you can't wait to have. My family used to think I was crazy, but thanks to The Nephilim Look Like Clowns, they know I'm crazy. The Nephilim Look Like Clowns—it's no laughing matter.

Hey everyone, welcome to today's show, episode number two of Truth Seekers. That was an ad for my guest's new book, titled The Nephilim Look Like Clowns. Right now, you can get this on Amazon. Here's a copy; I got the green screen going, but it's a very professional-looking, very clean book. I just got my copy in the mail yesterday, and I'm looking forward to reading it. Let me go ahead and bring on my guest today. He's from the Understanding Conspiracy Channel, Paul STS. He's an author, a presenter, a researcher, and a family man. Welcome, Paul, it's good to have you on my channel.

Thanks for having me, it's great to be here. I really appreciate the opportunity to talk with you. I've been a long-time subscriber to your channel and have been following your work for years. When you asked me to come on, I was like, yeah, let's do this. It sounded like a great idea to me. I was telling you before, I'm very proud of the book you've written and the work you've done. I really liked the commercial a lot. As someone who feels the need to promote myself more, I like how you stayed with the funny theme, the clown theme throughout, with a little circusy kind of music in the background. It's nice because for people looking into new topics and ideas, it can be creepy and scary. I like it when people can take it with a grain of salt and present the information in an interesting and fun way because we're learning and it's fun.

Let's begin. The book is called The Nephilim Look Like Clowns. It's based on actual historic research and spans from religion to religion, myths, and legends, which are right up my alley. Let's start with the Nephilim. As someone with a Christian background, that is what boosted me onto the path where I find myself today, which is the Book of Genesis, the Nephilim, and the account of the flood. This also helped pique my interest in the apocalypse, the Deluge, and the story of Noah. There's that little enigmatic passage about the Mighty Men of old, the men of renown. The Nephilim were in the earth in those days, or the Giants, and also afterward. What do you see the Nephilim as? Traditionally, they were known as the Watchers and things of that nature. What's your perspective of the Nephilim based on your research so far?

There are a lot of misconceptions about the Nephilim, to be honest. I've heard quite a lot of people think fallen angels are Nephilim. I've heard that distinction quite a lot. A lot of people say demons are just fallen angels as well. In my research, I've discovered there's a huge distinction between the two, and they're actually all individually separate entities for different purposes and reasons for being in existence. I come at this from a Biblical perspective, and a lot of my research is grounded in biblical mythology. The Book of Enoch definitely fills in a lot of holes in that passage you mentioned in Genesis 6, where it says, "There were giants in the earth in those days.

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Nephilim are not fallen angels or demons; they're a unique hybrid of half-angel, half-human beings that became worshipped as demigods but turned into monstrous giants.

To be honest, I've heard quite a lot of people think fallen angels are Nephilim. I've heard that distinction quite a lot. A lot of people say demons are just fallen angels as well. However, through my own research, I've discovered there's a huge distinction between the two, and they're actually all individually separate entities for different purposes and reasons for being in existence. Obviously, I come at this from a Biblical perspective, which is no secret on my channel. A lot of my research is grounded in biblical mythology, and the Book of Enoch definitely fills in a lot of holes in that passage you mentioned.

In Genesis 6, there's a brief mention of giants in the earth in those days, and also after that, when the sons of God mingled with human women and created these monsters that became like heroes of old. The narrative then quickly moves on to talk about the creation of man and the flood, which leaves many questions unanswered. However, if you look to outside sources like the Book of Giants and other extra-biblical apocryphal texts, such as the Book of Enoch, they fill in those gaps. It appears there was a faction of angels known as the Watchers, who were tasked by God to oversee humanity. They were meant to be emissaries for God, ensuring mankind's well-being without directing worship towards themselves.

However, the Watchers failed in their mission. They mixed with human women, taking wives, and as a result, their offspring were the Nephilim—half-angel, half-human hybrids. Initially, these beings were considered men of renown, heroes, something beautiful and unprecedented. They were quickly idolized and worshipped, becoming the demigods of the Earth. But as they continued to grow, they consumed more resources, and when the cattle, herds, and grains couldn't sustain them, they turned to eating people. This led to a nightmare of existence during the anti-Diluvian age, marked by cults worshipping the Earth, the Sun, pantheons of gods, and the Giants themselves, often making literal meat sacrifices to satiate the Giants' hunger.

The Giants reveled in their power and pride, believing no one could stand against them. This period saw the development of humanity through six generations from Adam, with Cain and Seth's lineages progressing side by side. Cain, angry and rebellious against God, used his knowledge destructively, creating cities and dominating the land. In contrast, Seth's lineage lived more harmoniously with nature, using God's knowledge for good.

It seems there was a situation where the Watchers purposefully chose to corrupt God's creation, possibly as part of a rebellion. This might be linked to the Great Rebellion described in Revelations, where a third of the angels rebelled. Samyaza and Azazel, with Samyaza as the leader of the Watchers, made the choice to defy their divine mandate.

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The Watchers rebelled against God, teaming up with Cain to corrupt humanity by creating a hybrid race, leading to a cosmic struggle between divine and corrupted lineages.

The seven sacred sciences seem to have been used by some to subjugate and dominate, while others, like Cesley NES, aligned more with nature, using God's knowledge for good and to live in harmony with nature rather than against it. This situation appears to be akin to an "enemy of my enemy is my friend" scenario. The Watchers, who were purposefully making the choice to corrupt God's creation, seemed to have their own rebellion. It is unclear if this is the Great Rebellion described in Revelations, where a third of the angels fell, but it appears that Samyaza and Azazel were key figures. Samyaza, the leader of the Watchers, made a pact with the other angels, acknowledging the consequences of their actions and deciding to proceed together.

In the Book of Enoch, the exact verbiage was something like, "Let us bind ourselves by mutual execrations," which essentially means hatred for their enemy, mankind. This animosity likely stemmed from God favoring Adam over them. Before Adam, the Earth was likely their domain, and some angels did not like the idea of bowing down to a new creation in God's image. This narrative is reminiscent of the Lord of the Rings lore, where elves were created first, followed by dwarves, and then mankind, leading to some elves being unhappy about mankind inheriting Middle Earth.

The story of the Nephilim involves the Watchers, through mutual anger towards Adam and God, teaming up with Cain, who was also in rebellion against God. The daughters of Cain were given to the Watchers to mate with, creating a hybrid race. This was an attempt to hijack creation and place their seed in positions of rulership over the world. The lineage of Jesus, from Seth to Noah and down to Jesus, aims to undo the corruption of this serpent seed. There are various arguments about when this corruption happened, with some suggesting that the devil slept with Eve in the Garden of Eden, making Cain the serpent seed. However, it seems simpler to view the Nephilim as the serpent seed, being half-dragon and half-human.

The Watchers, specifically the seraphim angels, are described as fiery flying serpents. The Nephilim likely inherited draconic features from their fathers, leading to the idea that they looked like clowns due to the hybridization of human and dragon traits. This concept is symbolized by the cracking paint of a clown, representing scaly skin. The imagery of clowns in this context is tied to the hybrid nature of the Nephilim, blending human and dragon features.

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The Nephilim's dragon-like features and cracked skin symbolize their hybrid nature and the struggle for survival in ancient myths.

The dragon imagery and the concept of the Nephilim suggest that these beings would have inherited features from their fathers, resulting in a mix of draconic and human features. This hybridization is where the idea of the Nephilim looking like clowns originates, as the combination of human and dragon traits gives rise to clown-like features. This foundation is crucial to understanding the symbolism behind the imagery.

The cracking of the paint on the cover of the book, as seen behind the speaker, can be interpreted as representing scaly skin. This cracked, white skin effect is symbolic of the Nephilim's skin, which predominantly had a white base and a scale-like appearance. Additionally, this imagery can be linked to dried-up sand lakes, suggesting that these entities now reside in dry places. According to the Bible, when a demon is cast out of a man, it wanders in dry places seeking a new vessel. This multifaceted symbol of the cracked background was a collaborative effort, with the speaker's wife playing a significant role in its creation.

Furthermore, our very skin, when observed closely under a microscope, appears somewhat scaly in nature. The Nephilim, described as giants with distorted features and cracked skin, evoke a sense of fear in our collective subconscious. These gigantic beings, who were said to eat humans, have left a lasting impression on our psyche.

The Lost Book of King Og touches on similar themes, portraying the Nephilim and giants referring to humans as their "smaller selves." This perspective suggests that humans were the anomalous beings, not the giants. In today's world, giants would indeed be considered anomalous. The book is essentially King Og expressing his hatred for Nimrod and lamenting the Nephilim's serious fertility issues. They were dying out due to a lack of females to impregnate, and humans had become a scarce commodity. The book's central theme revolves around a promised star child or moonchild who was supposed to rejuvenate the Nephilim race but was murdered by Nimrod, thwarting their chance to continue as a race.

While the validity of the book as a true account is debatable, it provides insight into the fertility issues and genetic incompatibilities faced by these genetic abominations. The Nephilim's inability to reproduce without human women highlights the odd and intriguing details of their existence.

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The book explores the downfall of the Nephilim, their genetic struggles, and their eventual extinction due to internal conflict and divine punishment.

The point of the book revolves around a promised star child or moonchild, a woman destined to help rejuvenate the Nephilim race. However, Nimrod comes along and murders her, leading to the protagonist's anguished cries against Nimrod for ruining their chance to continue as a race. The book essentially depicts him screaming to the heavens, lamenting the lost opportunity. While the validity of this account is questionable, the fertility issue provides insight into the genetic incompatibilities these beings faced. They lacked females, which is an odd detail when considered.

This raises questions about the physical feasibility of these beings, given the rumors of their immense size. Ancient temple doorways, some as tall as 30-40 feet, and traditions within Islam regarding the heights of patriarchs like Adam, suggest that there might have been some compatibility between these tall creatures and the humans of that era. Humans were likely much taller and lived longer back then, which aligns with the idea that the original Nephilim were mountainous, monstrous titans, not merely 30 feet tall but around 150 feet tall.

Our realm might be scattered with the bodies of these gigantic beings, forming much of our landscape today. Over generations, as the angelic side of the Nephilim diluted, both humans and giants became smaller. The Nephilim, however, always remained slightly larger than humans. The Book of Enoch describes that the Nephilim died before the flood, with God making the Watchers witness their children fighting and killing each other. This period, possibly lasting 125 years before the flood, involved the remaining Nephilim's offspring engaging in power struggles and petty squabbles, leading to their demise.

In the Book of Jasher, a period known as the mixing of kinds is described, where the descendants of the Nephilim, now smaller and less powerful, began manipulating DNA. Some rebellious angels, who did not mate with women, taught humans how to alter their own DNA, leading to the creation of chimera beings and cryptids of various forms. This genetic tampering with all of creation ultimately led to the flood, as described in these ancient texts.

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Ancient beings taught humans to manipulate DNA, creating hybrids like mermaids and giants, which survived the flood and influenced cultures.

The ELO or Neil, as they were called by different names, were still around and teaching humans how to manipulate their own DNA by that point. Some angels who didn't mix with women and were in rebellion were still present, teaching mankind knowledge rather than mixing with humans. This led to humans learning how to mess with themselves, resulting in the mixing of kinds. The Book of Giants describes how they took 200 of each type of animal and started mashing them together, creating chimera beings and cryptids of all shapes and sizes, thus messing with the genome of all creation. This is when the flood came. The Nephilim were already dealt with by that point, but they were present before and after, as described in the Book of Deuteronomy and Numbers. They were warring with giants called the Rephaim in the lands of Canaan, trying to wipe them out.

There are many theories about how this happened, but no definite answer. One interesting theory is that some people knew a flood was coming. With Noah building a boat, humans might have thought they needed gills or fins to survive, leading to the creation of sirens or mermaids. Humans started hybridizing themselves with fish, resulting in these creatures. The Phoenician fish gods emerged from the seas after the flood, inspiring cultures. This raises the question of whether they were the reemergence of corrupted, hybridized humans after the flood.

People might have prepared for the flood by giving themselves abilities like hibernation, mixing with a bear to live underground, or becoming a harpy to fly above the rainwater. Everything on the land was destroyed, but not what was in the sky, under the land, or in the sea. This could explain the reemergence of corrupted DNA. The term Rephaim means resurrected or healed ones, essentially undead. It's possible that some Nephilim spirits went back into their bodies after the flood and were resurrected.

There are multiple cultural names to describe these events and creatures. The terms Nephilim and flood are biblical. Nafal means to fall in various forms, and Neph means tyrannical giant ruler or king, indicating a tyrannical giant king of a fallen nature. The blending and mixing of DNA and blood are important because they trickle down throughout history. This is not just a mythical event from long ago; it has implications that reach into the modern day.

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Nephilim were tyrannical giant rulers with divine-human traits, influencing history from ancient myths to modern times.

The term "fall" or "falling" can be used in multiple ways, such as "falling over," "falling," "to fall," "to fall from grace," or "to fall over onto the floor." The word "neph" essentially means a tyrannical giant ruler or king. Therefore, Nephilim translates to a tyrannical giant king of a fallen nature. The etymology of this term is fascinating, especially considering its implications in history.

The blending and mixing of DNA and blood are crucial because this concept trickles down throughout history. The children of these beings had children, and this lineage extends to the modern day. It is not merely a mythical or cartoonified event from the past; it has significant impacts on modern society. For instance, the Watchers and their descriptions are essential to understanding this phenomenon.

Clowns are typically described as having very pale, almost "fanto white" skin. The term "fanto" refers to beings that descend from the heavens, much like angels. The Watchers descended to Mount Hermon, which is a well-documented event. This descent is crucial to understanding their role and influence.

Moving to the flood and Noah, a popular myth and legend outside of the Book of Genesis, specifically within the Genesis Apocryphon found in the Qumran Cave Scrolls, and also mentioned in the Book of Enoch. Noah's birth is described in these texts. He was born with white skin, red patches, golden hair, and eyes that illuminated light. His father initially thought Noah was one of the sons of God's children due to his unusual appearance. However, it was explained that Noah was a divine human destined to be the father of all mankind after the flood. This description allows us to infer what the Nephilim might have looked like: white skin, glowing eyes, and red patches, resembling a polka dot clown.

The Book of Amran, also found in the Qumran Cave, describes visions of angels with serpent features. One angel had the face of a viper, and another had the face and skin pattern of an adder, black and white. This suggests that angels had animalistic serpent features. There is a hierarchy among angels, with different classes having distinct appearances. Lower-level angels, or messenger gods, look more human, while those closer to God have more animalistic features. For example, in Ezekiel, living creatures are described with faces of a lion, a lamb, and a head rotating around each other with six wings, appearing as flaming monsters. Other descriptions include chariots covered in eyes and seraphim, which are higher-order angels.

This structured understanding of the Nephilim, Watchers, and their descriptions provides a clearer picture of their significance and influence throughout history.

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Angels closest to God are described with animalistic, serpent-like features, reflecting their divine hierarchy and power.

In the narrative, angels are described as having distinct features, with one having the face of a viper and another the face of an adder, complete with the same black and white skin pattern. This indicates that the angels in this story possessed serpent-like features. Furthermore, there exists a hierarchy of angels with different classes. Some angels, particularly the lower-level ones known as messenger gods, appear human. However, those closer to God exhibit more animalistic traits.

In the book of Ezekiel, the living creatures are depicted with faces of a lion, a lamb, and a head that rotates around each other, possessing six wings and appearing as flaming monsters. Additionally, there are descriptions of wheels and chariots covered in eyes and the Thrones. The seraphim, the closest to God, are described as having six wings: two to cover their eyes, two to cover their bodies, and two for flying. These seraphim are considered God's closest confidants, trusted to descend to Earth as Watchers. It is suggested that the Watchers were likely seraphim, reptilian, and dragon-like creatures.

The Bible, while not focusing on appearances, provides glimpses through various sources. Outside the Bible, many cultures revered these beings as gods, worshipping their offspring, the Nephilim. By examining these external stories, one can infer their appearances. The speaker's work involves an anthropological study of folk traditions across continents, where people dressed like spirits or ancestors, referring to the ancient builders of their civilizations and cultures, the Watcher class angels, and their offspring, the demigods. These traditions often involve dressing in a manner that Western cultures would describe as clown-like to channel these beings.

The speaker then transitions to discussing the Elven standard of beauty, drawing connections between elves, Nephilim, clowns, and other alien or angelic beings. The term "El" initially referred to mighty leaders in Hebrew and Phoenician, symbolized by a bull with horns and a shepherd's staff. Over time, "El" evolved to mean God, but not the all-encompassing deity, rather a mighty one. This term is often lost in translation, simply referred to as God today.

The norms of ancient times, when these texts were written, were different. For instance, the dragon lords from Asia, China, and possibly Japan, emulated their "El" by dressing like them. These beings were often described as beautiful; however, in Norse mythology, there were factions that were the opposite of beautiful, indicating a diversity in their appearances.

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Ancient myths across cultures share strikingly similar themes of beautiful gods and brutish giants, reflecting a universal narrative of cosmic battles and diverse beings.

The translation, though loose, essentially means a mighty one, somebody different in comparison. It's important to consider the norms of the times when these ancient books were written, as they were quite different. For example, the dragon Lords from Asia and China, and possibly Japan, dressed in a way that emulated and looked up to these mighty figures. They were often described as beautiful to behold, although some were not. In Norse mythology, there were classes of beings: the beautiful ones and the not-so-beautiful ones. This is similar to the Fomorians in Celtic culture, who were deformed and monstrous, in contrast to the Tuatha Dé Danann, who were tall, elvish, and beautiful gods. The Tuatha Dé Danann were always at war with the Fomorians and eventually became the fairy culture in another dimension.

This pattern of conflict between beautiful and monstrous beings is also seen in Greek mythology with the Clash of the Titans, where the gods of Olympus fought against the brutish Titans. This pattern is prevalent across many cultures, indicating a similar event. When considering the Nephilim, they likely had a wide variance in their appearance, much like the reptile kingdom. However, they shared core features such as white skin, gold or red hair, huge bulging eyes, and a massive wide smile with fangs. This pattern can be traced through various cultures, such as the Gorgons of Greece, the Rakshasa of India, and the Wandjina of Australia.

In colder climates like Europe and Siberia, there were the wild men, tall, club-wielding, hairy beast-like men. In Bulgaria, which traces its heritage back to Thracian culture, there are still ancient traditions of Dionysian worship festivals, where people dress like wild men with colorful, grinning masks and bulging eyes. These traditions are similar to those found in the Americas, where tribes fought with tall, white-skinned, red-haired giants. The Paiutes, for example, fought with the Si-Te-Cah, cannibalistic red-haired monsters, and eventually genocided them. Other tribes, like the Duwamish, dealt with the Nunnehi, similar white-skinned, red-haired giants who would steal women and children and play pranks on humans. One day, the young men of the tribe stood up to the giants, resulting in the giants killing 13 of them.

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Giants with sick humor and magical powers terrorized tribes, but their core traits and eerie presence remain consistent across cultures.

The myth revolves around red-haired, tall, cannibalistic giants who once lost a battle but continued to cause trouble for the Nung Nuns. The Nung Nuns were known for stealing women and children, leading to their frequent disappearances. The giants would often wander into human camps, playing pranks like lifting houses and placing them in trees, then laughing about it. The humans had no choice but to deal with these antics. However, one day, the young men, or Braves, stood up to the giants. In retaliation, the giants went berserk, killing 13 of the young men by throwing them into the air and letting them slam down to the ground, ripping their heads off, and decimating the tribe.

Interestingly, these Nung Nuns had a magic cream that made them invisible. They were described as having a sick sense of humor, often making jokes with their phalluses and doing horrible things. Despite their cruel behavior, they were also noted for their laughter, resembling jesters or jokers. This oral tradition highlights their odd sense of humor.

The giants were believed to be descendants of feathered serpents or plumed serpents like Quetzalcoatl. Similar myths exist worldwide, such as the rainbow serpents of Australia, dragons of Europe, and various water dragons in Africa. The environmental factors influenced the appearance of these giants; those in the north were hairier due to the cold, while those in the south were more naked, gangly, and thin. Despite these variations, certain core traits remained consistent: big bulging eyes, wide grins with fangs, and white skin.

The discussion then shifts to the commonalities in the descriptions of these beings, not just physically but also in their styles of dress. The speaker mentions researching genetic factors and predispositions to skin conditions that could shape their cartoonified look. For instance, the pasty white skin prevalent throughout history, such as during the Victorian era, is a notable trait. In Africa, many tribes, including Aboriginal tribes of Australia, painted their skin white as an homage to their gods. This practice of painting the skin white is seen as a form of reverence, often linked to their deities.

The speaker plans to delve deeper into these commonalities, showing pictures to illustrate the points, starting with the "Mad Hatter." They highlight the widespread practice of painting the skin white among various tribes worldwide, emphasizing its significance as a tribute to their gods.

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Tribes around the world use white paint and red headdresses to honor their gods, reflecting a deep spiritual connection.

One's a great picture, that one right there, of the nose condition and stuff. I'll have you educate everybody on that in just a minute. All throughout Africa, there are many different tribes, and this extends down into the Aboriginal tribes of Australia and across the world. We can find these different tribal people that painted their skin and still do white as a reverence or an homage to their gods. Essentially, as I've studied these things, oftentimes they will say this is an homage to our gods. They will put on all of this white paint, white makeup on their body. Sometimes it's decorative or whatever, sometimes it's completely white or whatnot. And then, of course, we've got pictures and stuff too.

The whiteness of it is not Caucasian at all. It's albino without being albino. It's almost like peasant white skin; they shined, you know, they had scaly white skin. It was odd, it was like paper white. It's not pink Caucasian rose white or peachy white. You have great examples there. The most common things these ancestor spirit culture worshippers do is they put chalk paint or grease paint on themselves and make themselves as white as possible. That's just the base. You find a red feathered headdress made of reeds or feathers, which is also very common, or a highly elaborate ornate diamond-jeweled and crusted fabric headdress of some kind. It depends on the wealth they have in the region where they're doing these traditions. They all have their own means to do it, their own culturally specific aesthetics, but you follow the common aesthetics between all these cultures, and it's always a white paint base with a red headdress of some kind.

They often put red on the nose, actually redding the nose up with red paint or putting red polka dots all over the face or multicolored patterns and squares or red somewhere all over the body on top of the base. They tell you what they're doing; we can speculate, but just ask them, and they've openly told you: we're mimicking the spirits, we're mirroring them, we're dressing like the gods to channel the gods. It's a tool to them; the costume serves a specific purpose. They're trying to emulate something that's going on in the spirit realm.

When the Nephilim died, they never left the Earth; they just became disembodied, and that's explained in Enoch. They became the wandering spirits, the unclean spirits, what we classically know today as demons. They are the disembodied spirits of these once clown-like giants. It's no secret in the DMT community, the psychedelic community, that when you go to the DMT realm, which I believe is just the warp to the wo of the physical world, it's still the world. You're not going anywhere special; you're just seeing more of what's here, the spirit dimension to the physical. I call it the plumbing of the universe. It's a perfectly necessary part of existence, the spirit realm, the astral realm. It needs to exist for this to exist; it's the code that projects our reality. But it's the place of disembodied forms, the place of no physicality. In fact, where we are here, physical is the prize. They're trapped in a place without a body, trapped in that code and blending into each other, formless.

Most people who take psychedelics end up going to this place. They see jesters; that's the most common thing. They consistently see jester-looking entities with big wide grins, huge bulging eyes, and horns like a jester's hat, with multicolored pattern fractal skin. Obviously, they're in a disembodied weird psychedelic version of their former selves, a lot more hyped up and colorful. But when they were in physical form, they had serpentine clown-like features, so it's hardly surprising in spirit form they look like jesters. These are just words we have; they don't dress like a jester with bells and have a scepter and a silly hat. The skin is shaped like that, the form is shaped like that. These are all inherited features from the reptilian dragon side of the family. I like to call that cartoonified perceptions and whatnot.

So, I want to talk about this. The next feature I really want to talk about is the clothing and stuff too, but particularly the nose, the red nose, the clown nose.

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Even ancient legends and genetic quirks can explain the eerie resemblance of clowns to some real-life conditions.

In their disembodied, weird, psychedelic version, these beings appear as a lot more hyped up and colorful compared to their former selves. When they were in physical form, they had serpentine, clown-like features. Thus, it's hardly surprising that in spirit form, they look like jesters. These are just words we have; they don't dress like a jester with bells and a scepter. Instead, their skin and form are shaped like that, which are inherited features from the Reptilian Dragon side of the family. I like to call that "cartoonify" perceptions and whatnot.

I want to talk about the next feature, specifically the red clown nose. This was great for me because here on my channel, I've discussed the Dark Ages and medieval times. I particularly enjoy the bestiaries that show these mutant tribes of humanoid beings. According to legend, humans can become mutated to the point where it's prevalent throughout their entire tribe. For example, it's not just one guy that sort of looked like he had a dog head; it's an entire island tribe or village of hundreds of dog-headed people.

This mutation could also happen to the Nephilim and other angelic-type gigantic humanoids. You mentioned rosacea and a byproduct of that, rhinophyma. Rhinophyma is considered the end stage of rosacea, the most extreme form. It manifests as the nose growing and expanding, filled with pus, becoming a giant red bulbous ball. The nose turns into what we would traditionally describe as a clown nose. The only way to treat it is to shave it off with a hot wire and resculpt the nose into something more human, a horrible and painful process. This condition is completely genetic; it either happens to you or it doesn't.

Many people naively think it's related to alcohol consumption, but it has nothing to do with drinking. It’s a genetic predisposition predominantly found in white people, often referred to as the Curse of the Celts. This curse can manifest in two ways: extreme rosacea or hemochromatosis, which is an inability to process iron out of the body, leading to too much iron.

I have hemochromatosis because both my parents carry the same genetic marker, and it manifested in me. Both parents must have it for the child to develop it, and even then, there's no guarantee it will activate. In my case, it did, making me very unlucky. Some people get the Curse of the Celts manifested as rosacea, with red polka dots on the face and skin blotches, which again is a clown feature.

I believe the Nephilim had incredibly pale skin inherited from the daughters of Cain. There is an extra-biblical text that gives fascinating insight into where the white skin comes from. A lack of melanin seems to be the reason for developing this condition.

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The curse of Cain explains why some people have pale, blotchy skin.

To have it for the child to develop it, and even then, there's no guarantee it'll activate either. It just happened to activate in one out of four people, and it did in me, so I'm very unlucky. Some people, instead, get the curse of the Kels manifested like this, and they get this rosacea where they get red polka dots on the face and skin blotches, which again is a clown feature, predominantly having the white skin with polka dots. I believe the Nephilim had incredibly pale skin inherited from the daughters of Cain. We can get into where that comes from in a minute. I think there's an extra-biblical text that gives fascinating insight into where the white skin comes from. If you have a lack of melanin, this seems to be the reason you develop this condition. The Nephilim had zero melanin; they lacked melanin through and through. It wouldn't surprise me if, as they got older, they had the genetic eruptions that humans develop and ended up with an end-stage rosacea, rhinophyma, or bulbous nose. This seems like a natural conclusion and explains the red nose in a scientifically grounded way, which is plausible because it's predominantly pale-skinned people who suffer from this issue, and the Nephilim were the palest of the pale.

If you look at the book of The Book of Lamech of Cain and Leviathan, it was only released about four or five years ago by the Vatican as an extra-biblical text. It's considered blasphemous, a brutally blasphemous book. Lamech of Cain, I think he was the seventh generation from Cain, befriended a giant reptile monster called Leviathan and went on a mission to discover who Cain mated with to create us. He was trying to find an answer to this question: where did we come from and why do we have white skin? The children of Cain have extremely leprous, white, chalky skin, described as leprosy. That's the mark of Cain, having this dead-looking, zombie-like, vampire-like, chalky, sickly, and disgusting skin. If it's the daughters of Cain who mated with the Nephilim in the sixth generation from Jared, then that's where the Nephilim inherited the white skin from, initially from the Mark of Cain. They carried that down, so that's an interesting source. Again, it's an extra-biblical text explaining that was the Mark of Cain originally.

The book of Lamech is crazy; you should read it. The stuff in there is nuts. It gives you a glimpse into the type of world an antediluvian world really was, with Nephilim walking around. It's a horrible place to be. You were talking about the physics of a giant mating with a woman. They go into that, and penetration isn't necessary. It's talking about girls basking in the enormous phalluses and bathing in the semen. It's truly horrible, like the women of Cain whoring with the watchers in that mountain over there, and no one knows what goes on. It's a disgusting world to be alive in, with monsters all over the place and cults being created. It seems like the sons of Cain were the ones heading up these monster sun-worshipping cults. Lamech creates his own cult revolving around worshiping Leviathan, this snake creature he befriended and rode around everywhere. It's chaos, absolute chaos.

Some things may be off, like the daughter of Lamech marrying Noah and all these types of things. There are two Lamechs: a good Lamech from Seth's lineage and a bad Lamech from Cain's lineage. A lot of people assume it was the daughter of Lamech from Seth who married Noah and birthed the children. This book says no, it was the daughter of Cain's lineage, Naamah, who by the eighth generation, the curse was lifted, and the mark disappeared. She tricked Noah into not realizing she was the daughter of Cain, got on the boat with him, and allowed Satan onto the boat. It's a whole other thing.

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Books can reveal hidden truths that challenge our beliefs and reshape our understanding of history.

The books provide us with an insight into various aspects, although some details might be inaccurate. For instance, there is a discussion about the daughter of Lamech marrying Noah. Notably, there are two Lamechs: one from Seth's lineage and another from Cain's lineage. Many people assume it was the daughter of Lamech from Seth's lineage who married Noah and gave birth to his children. However, the book suggests it was the daughter of Cain's lineage, Namar, who by the eighth generation, saw the curse lifted and the mark disappeared. This narrative proposes that she deceived Noah into not realizing her true lineage, thus allowing Satan onto the boat. This idea is considered blasphemous by some because it implies Cain's lineage survived the flood.

Shifting focus to the skin condition and melanin, there are two types of melanin: eumelanin, responsible for brown and black hair, and pheomelanin, responsible for red and yellow pigmentation in the skin and hair. People with an abundance of pheomelanin tend to have red or blonde hair. The red pigment might be linked to iron, as iron rusts to a red color, and the condition of having too much iron, which predominantly affects Caucasians, could be related.

Regarding the Gothic style of dress, in the 90s, it became trendy with people wearing more white makeup to appear like vampires or characters from The Addams Family. The term "Gothic" derives from "God" or "the mighty ones," and this style is reflected in architecture with large buildings, huge doors, spires, and domes. The Gothic style of architecture correlates with the Dark Ages and the Middle Ages, where castles and cathedrals were built. The vision of Gothic style also connects to the Elven standard of beauty, where humans emulated the dress and appearance of these beings, as depicted in modern fiction like "The Dark Crystal." In the prequel series "Age of Resistance," the Skeksis, representing Nephilim, dressed in a Gothic, godly manner, influencing the Elven creatures' royalty to adopt similar styles.

In summary, these narratives and styles reflect a blend of historical, mythical, and cultural elements that have trickled down into modern human practices and fiction, illustrating a continuous emulation and adaptation of perceived beauty and power.

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Ancient tribes emulated their gods' appearances through fashion and rituals, reflecting their standards of beauty and power.

The movie The Dark Crystal has a TV miniseries prequel called The Age of Resistance. Within this series, the Skeksis are depicted, which for all intents and purposes, can be likened to the Nephilim. They are portrayed with Gothic attire, including huge frilly collars. The little Elven creatures in the series end up worshiping the Skeksis, and their royalty starts dressing similarly to the Skeksis. This concept of emulating a higher power or beauty standard is something that has trickled down into human societies, including various tribes.

In my work, I aim to show that these tribes emulate a standard of power and beauty they look up to. There is a reason behind their fashion sense, style, tribal dress, traditions, and rituals. They are trying to emulate what they consider a symbol of power or beauty. This emulation explains practices like head boarding, where tribes squash an infant's head with boards at birth to create an elongated skull. They believe that the more cone-shaped the head, the more beautiful it is by their cultural standards. Similarly, some tribes put rings around their necks to stretch them out, as having a long neck is considered beautiful.

The Emms or Zamu Mims, known as the long-necked ones in the Bible, have very long, serpentine-like necks. It is possible that tribes tried to emulate what the Nephilim looked like in their specific regions. In Australia, for instance, the Wanjina are depicted as clown-like, pale-skinned electric gods. The tribes around them paint their skin in electrified patterns and colors, mimicking the Wanjina's appearance as depicted in ancient rock art.

These beauty standards are based on representations of their ancestors, which they consider gods. This is visually represented in my 44-episode series on my channel, where I provide images to back up my claims. The patterns are undeniable and consistent across different continents. These traditions have continued through time, allowing us to understand what these beings looked like through rock art, paintings, stone artwork, and carvings.

I believe these beings were around much closer in time than we think, as there are fresh depictions of them in some places. History is convoluted, and it's challenging to determine how ancient some of these traditions are. These cultures may have survived and maintained their traditions for so long due to constant communication with the spirit realm, keeping them in touch with what these beings looked like. They engage in intense rituals, taking psychedelics, dressing like the gods, and performing chants, drumming, and dances to enter a trance-like state. This cacophony of ritual helps them open up to the spirit realm, making their practices deeply intense and spiritually significant.

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Ancient rituals and traditions connect people to the spirit world, but in the West, these practices are hidden due to Christian influences.

The survival of ancient traditions and rituals across various cultures is a fascinating phenomenon. These traditions have endured for so long, possibly due to constant communication with the spirit realm, which has kept them in touch with their origins. The rituals are not just about dressing like the gods; they involve taking potent psychedelics, performing chants, repetitive drumming, music, and dances. This creates a cacophony of ritual aimed at inducing a trance-like state, making participants as open as possible to the spirit realm and allowing the spirit to inhabit them.

This intense ritualistic practice is not confined to one region; it spans from India to Australia, Africa, North and South America, Europe, the Inuits in the far north, and even the lands of Siberia and China. Despite the modern perception that humanity has become more civilized and moved past such practices, these ancient folk traditions persist. In the anglicized, westernized view, spirits are often dismissed as primitive or barbaric notions, overshadowed by science and reason. However, in many ancient cultures, dressing in specific ways is believed to channel spiritual power. The attire is seen as incredibly important, allowing individuals to gain strength and knowledge by embodying their ancestors.

In these cultures, rituals often involve consuming specific substances, such as drinking blood, to satisfy the spirit's desires. The spirit then experiences pleasures through the vessel's senses and, in return, grants knowledge, strength, or other abilities. This can be particularly useful for tribes in conflict, providing them with enhanced capabilities.

In the Western world, similar practices exist but are often disguised. For instance, people might dress as clowns, which is a cartoonized amalgam of Nephilim features. This symbolic representation creates a channel for spiritual entities, much like in other cultures. However, due to the highly Christianized nature of the Western Hemisphere, these practices are more hidden. When Westerners encounter demons, they often invoke Christ for protection, making spirits more cautious and less overt in their manifestations.

In contrast, in regions where Christianity or Islam has not significantly influenced the local beliefs, spirits can be more openly present. In such places, spirits might possess individuals and communicate directly with the tribe, who welcome these interactions as divine messages. The lack of fear of being cast out or having Jesus evoked allows these practices to be more visible and accepted. In the West, however, these spiritual practices remain occult and hidden due to the prevalent religious beliefs and the perceived threat they pose to the spirits.

=> 01:06:24

Clowns aren't just for fun—they're rooted in ancient spiritual practices and Freemasonry history.

If you go to a random tribe in the middle of Africa, one that has not been either Islamicized or Christianized but still practices ancient ancestral roots religion, the demon there knows there's no chance any of these people will call Christ out at any moment. They tend to be more readily open about themselves; they let the tribe see the person be possessed, talk to the tribe through the vessel they're now possessing, and literally channel messages. The tribe, in turn, claps along, saying, "Isn't this great? The gods have come to talk to us." They are not worried about being cast out or having Jesus evoked.

However, in the West, they have to be hidden. It becomes an occult practice here, done through our version of ancestor spirit worship costume, which is called a clown. This has been hidden under the guise of being just fun for the kids, a harmless symbol of laughter and joy, something silly and not serious. But it is identical to the costumes worn by other cultures who know what they are doing and why they are doing it. Ignorance to the spiritual law does not make one immune to it. Dressing like a clown, whitening the skin, putting on a redhead dress, and wearing multicolored, fractal-patterned clothing—all these things combined together bring one closer to channeling. It is like wearing a Ouija board; it’s the same concept.

On my channel, I delve into the history of the clown costume, which is quite literally an invention of Freemasonry. It was created by the son of a very famous Freemason in the 1800s. Around 1799 to 1800, he was put in charge of a theater in London. This man's father, Charles Dibden, was a powerful media mogul, incredibly famous in his day. He was responsible for writing all the music and plays, and he was credited with keeping the morale of the British army up with his songs. Charles Dibden was idolized by the government for his contributions to art and the industry of Britain at the time.

In true nepotistic fashion, Charles Dibden's son was given the privilege of heading up the theater in London, becoming the screenwriter and playwright. For some reason, he decided to change the costume of the clown, which had never been done before. The clown was based on Pedrolino, the Italian name for the servant of the rich man in the commedia dell'arte tradition. This tradition began with the collapse of Rome in 500 AD and developed over a thousand years through the Middle Ages. Pedrolino always dressed in plain white rags, nothing special.

However, in the 1800s, after over a thousand years of unchanged dress, the son of a prominent Freemason decided to dress Pedrolino, or as Britain called it, clown (meaning clodhopper or drunken fool), in a psychedelic, fractal-patterned, multicolored dress. This was unheard of and had never happened before in history. From that day, this costume became the industry standard for all future clowns. There is no record in any memoirs of where the inspiration came from or where Charles Dibden got the idea to change the costume.

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The iconic clown costume, introduced in the 1800s, was inspired by Indian temple demons, blending ancient iconography with European performance art.

People could instantly recognize Pedrolino, who was the servant of the rich man. He always dressed in plain white rags, nothing special. However, in the 1800s, after over a thousand years of unchanged dress, the son of a prominent Freemason decided to dress Pedrolino, or as Britain called it, clown—which meant CLA Hopper, a drunken fool—in a psychedelic, fractal-patterned, multicolored dress. This was unheard of and had never happened before in history. From that day, that costume became the industry standard for all future clowns. It is never described anywhere in any memoirs where the inspiration came from, nor is it mentioned where Charles Dibden got the idea to change the costume. It is just mentioned that he did it, it was a hit, and everyone loved it and copied it from then on.

If you look into it, it turns out his father, the famous Freemason, was heavily connected to India. His brother Tom was a soldier in the East India Company, which was currently colonizing India. He had made trips back and forth to India regularly and was going to move there but had to cancel his trip due to bad weather. Traveling by boat in the 1800s was life or death; it was pretty dangerous. It seems he chickened out because of the stormy weather. The point is, he loved India and knew Indian iconography very well. He clearly brought it back to Britain and told his son to dress the clown like the ruses of India that adorn the temples. There is a specific type of costume that the rates wear, which is a war outfit worn by the demons on the temples. These demons are often depicted with their arms up or in a handstand position, especially in Bali, where you find their iteration of the rasar. That rasar demon's countenance, with the wide smile, bulging eyes, and half-dragon, half-human hybridization, was mimicked perfectly in the brand new costume of a clown.

The brand new costume of the clown in the 1800s, which became the standard for all clown costumes today, was modeled after the Indian flavor of Nephilim known as the rasas. It is uncanny how identical they look. If you put the two pictures next to each other, you would think they are the same being. This connection was never mentioned anywhere because people didn't think others would figure it out. But now, with the internet and the ability to compare these things, it is very obvious where the inspiration came from. A clown has always been a representation of a demon, even prior to clowns being a thing. During the medieval period, the closest thing we had was Harlequin. This is where modern jesters, especially Venetian ones, get their style from—the diamond patterns and the acrobatic, leotard-like effect.

Harlequin was introduced in the 1600s by a band of traveling performers who kept encountering the European folk tradition of the Wildman. People would dress up like wild beasts with clubs, in fractal, multicolored, crazy clothing, get absolutely drunk, and have a huge party, followed by fasting for 40 days. Because they kept seeing the Wildman in every European country they visited, they incorporated it as a stock character in their performances. Harlequin was also the servant of the rich man, similar to the clown. Harlequin was originally a demonic type character, a brute who used his staff, representing the club of the giant Wildman. Harlequin had a slapstick, which he used as a magic wand to slap the ground and change the scene, keeping the crowd entertained during scene changes. He was rude, crude, energetic, cheeky, and naughty—essentially demonic, modeled after European demons and the Wildman.

As time went on, Harlequin became more fancy, more civilized, witty, and quick. Meanwhile, Pedrolino remained the dimwitted foil to Harlequin's quick-wittedness. This dynamic created the comedy. Over time, as Harlequin evolved, Pedrolino, or the clown, remained the slower, more comedic character.

=> 01:15:00

Clowns have always symbolized demons, cleverly disguised to entertain kids while channeling dark spirits.

The character of Harlequin in slapstick comedy was akin to a magic wand, using his slapstick to change scenes and keep the crowd entertained. His role was multifaceted; he was rude, crude, energetic, cheeky, naughty, and demonic. Harlequin was meant to represent European demons, modeled after the wild man. Over time, he evolved to become more sophisticated, witty, and quick, contrasting with his dimwitted foil, Pedrolino. This dynamic created a comedic balance.

As Harlequin's demonic traits diminished, the British clown began to assume that role. This transition coincided with a costume change, adopting an Indian version of the demonic attire rather than the wild man look. Historically documented, these changes reflect the consistent representation of clowns as demons, even in Western and British standards. The anthropological context suggests that clowns were introduced into popular media, such as theater, to bring the concept of ancestor spirit channeling to the West, disguised as children's entertainment.

The Freemasons capitalized on this, with circuses emerging during America's expansionist movement. Theaters were less practical in a mobile society, leading to the creation of railway systems and traveling circuses. These circuses were predominantly run by Freemasons, including PT Barnum, who was associated with the Oddfellows and introduced the three-ring circus, symbolizing the Oddfellows' logo.

Ten circuses collaborated to produce a grand performance, "King Solomon and the Queen of Sheba," which toured America with thousands of participants and animals. All aspects of the show, from costumes to backdrops, were crafted by companies that supplied Freemason Lodge rituals. This epic performance was a symbolic ritual dedicated to King Solomon, a figure of great importance to Freemasons.

Symbolically, the circus ring leader or ring master, wearing a black top hat, represents the crown of Solomon. In Freemason Lodges, the only member allowed to wear a hat is the Worshipful Grandmaster, symbolizing the crown of Solomon and denoting the highest honor. This ritualistic element was seamlessly transferred to the circus, with the ring leader embodying the Lord of the Ring, controlling the spectacle much like Solomon controlled demons to build his temple.

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Circus ringmasters and their black top hats symbolize King Solomon's crown, echoing Freemason rituals where only the Grandmaster wears such a hat, turning public entertainment into hidden rituals.

The ringmaster of a circus wears a black top hat, which represents the crown of Solomon. This symbolism is rooted in Freemasonry, where the only member allowed to wear a hat, traditionally a black top hat, is the Worshipful Grandmaster of a lodge. The Freemason website publicly states that this hat represents the crown of Solomon, signifying that the Grandmaster is the king of the lodge. In symbolic rituals, it is the highest honor, which is why only the leader gets to wear the crown, or the hat. This Lodge ritual has been transferred into the circus, where the ringmaster, wearing the hat, becomes the Lord of the Ring.

King Solomon, according to Jewish texts, used a ring given to him by the angels to control demons to build his Temple. Similarly, the ringmaster orchestrates the performance with clowns, akin to Solomon orchestrating demons. This analogy for Lodge ritual is hidden in plain sight, and the public unknowingly participates in these rituals, even paying to see them. To the uninitiated, it appears as mere entertainment—a fun family outing with animals and performers. However, to the initiated, it is a Lodge ritual performed on a mass scale, with a level of symbolic detail that is uncanny.

Circuses, despite being old-fashioned, still carry this symbolism. For instance, the Shriners in America run most circuses and have a clown sect within each Shrine, where they dress as clowns to entertain children in their hospitals. This practice, while seemingly charitable, has layers of symbolism and even allegations of tax fraud. Above the Shriners is the Royal Order of the Jesters, an invite-only fraternity that takes only 13 members a year. To be a Jester, one must be a fully-fledged 33-degree Freemason and have reached the top levels of the Shriners. The Jesters claim to focus solely on fun, but their high status within Freemasonry suggests deeper symbolic significance.

This symbolism extends to popular culture, such as in the movie "Willy Wonka & the Chocolate Factory," where Willy Wonka, with his cane and top hat, resembles a ringmaster. The Oompa Loompas, with their painted faces, add to the circus-like atmosphere. The public perceives it as strange and entertaining, but to those aware of the symbolism, it is a continuation of these ancient rituals.

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Being a Jester in the Royal Order of Jesters is the highest honor in Freemasonry, but it's shrouded in secrecy and strange rituals.

Taking 13 members a year, it is of the highest honor to be a Jester, a member of the Royal Order of the Jesters. They claim to be a fraternity solely focused on fun, nothing else. However, to be a member, you must be a Freemason, fully fledged with 33 degrees. You have to go through all the levels of shrining to the top levels of being a Shriner, and then you may get invited to be a Jester if you're lucky. If you ask, you'll never get to be one. It is considered the highest pinnacle honor of the craft of Freemasonry to be a Jester. This might not make sense until you contextualize it with my research, which reveals that it represents the very beings they're in contact with—the demons they're in community with.

This is why the Shriners dress like clowns publicly. They are channeling demons and, lo and behold, they visit dying children in hospitals while dressed like clowns. They claim they are there to perk up the children and make them laugh before their last moments. But is that what they're really doing, or are they going to terrified dying children dressed like the very thing they're channeling to feed off the energy? What’s really going on? I'm not sure.

Also, they say a lot of truth is said in jest. Historically, court jesters often had the ears and eyes of kings and queens. This concept trickles into modern-day magicians who perform and travel from country to country. Houdini, for instance, was surrounded by conspiracy theories suggesting he was a spy in cahoots with different governments and royalty.

I wanted to comment more and check off some notes. Let’s discuss the style of dress, starting with the head and moving downward. The conical hats, often seen in ancient times, are significant. In Freemasonry, there is a ranking system called the Order of the Elu. The term "Elu" is derived from "Elf," indicating a connection to the Elven race. The conical hat, sometimes loose or hard, is seen in wizard and witch hats, and even in royalty, who wore long conical hats with veils.

These hats might be connected to their pasty skin condition and possibly rhinophyma, where the nose becomes hard and bulbous. Research suggests that these conditions are genetic. I theorize that these creatures might have been extremely photophobic, sensitive to sunlight, which could cause conditions like rosacea and rhinophyma. Photophobic individuals are more sensitive to sunlight, which can burn their skin faster.

The hat at the top, known as the Hat of the Wise in ancient times, was initially not an insult for stupid children. The tall cap was worn by children as a sign of wisdom.

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Photophobia can make people extremely sensitive to sunlight, leading to faster skin burns and conditions like rosacea.

Some people are extremely photophobic, which means they are not afraid of the sun but are very sensitive to it. These individuals often have to wear sunglasses all the time as the sunlight hurts their eyes and can burn their skin much faster. Photophobia is one of the main causes of conditions like rosacea. When people sensitive to sunlight are exposed to the sun more frequently, it can start reddening their skin, causing them to get sunburned easily.

I want to talk about the hat, specifically the Hat of the Wise from ancient times. The dunce cap was initially not an insult for stupid children but was worn by children who were bad, in the hopes that it would make them wise like wizards or other regal, wise figures. This tall cap was seen as a symbol of wisdom and education. Historically, the Nephilim were described as educators, similar to Azazel from the Book of Enoch, who taught children to paint their faces. This ties back to the Elven standard of beauty, where faces were painted to exaggerate features, making eyes look bigger and mouths wider to resemble the elves or Nephilim. It is possible that the Nephilim painted their faces to appear less scary to humans, trying to look more humanlike.

One interesting aspect of clown symbolism is the conical hat worn at birthday parties. Children wear these hats, which are reminiscent of the ancient wise hats. Other features of clown dress include the white skin, red nose, face paint, and red hair. The conical hat is also significant, as elongated skulls have been found worldwide and are often associated with the Nephilim in conspiracy theories. Clowns also have a ruffle around the neck, which historically represented Elizabethan servant wear. A floppy ruffle indicated that one couldn't afford the starch to make it rigid, symbolizing lower status. This ruffle is also thought to represent a reptilian feature known as a lizard's frill.

The frill around the neck is distinctly reptilian, similar to the frilled lizards found in Australia. This feature has been masked as a clown ruffle of Elizabethan fashion. A film called "Clown," released in 2014, explores this idea further. The film introduces a fictional Scandinavian reptile monster called the Clin, which looks like a clown and eats children. In the movie, a man finds a clown costume in the attic and uses it for his daughter's birthday, leading to a series of eerie events.

=> 01:31:16

Clowns in media often symbolize ancient reptilian predators disguised in human form.

In Australia, clowns are quite common and can be seen everywhere. This phenomenon is distinctly reptilian, as the frill around the neck of a clown represents the reptilian frill, masked as a clown ruffle of Elizabethan fashion. Another clue that supports this idea comes from a film I watched, which was released in 2014, called Clown. This Scandinavian film created a whole mythos around a fictional creature called the Clin, a Scandinavian reptile monster that lives in a cave and eats kids. The Clin looks like a clown in the film.

In the movie, a man finds a clown costume in the attic and decides to wear it for his daughter's birthday because he couldn't find a clown costume elsewhere. After performing at the party, he realizes he can't take the costume off as it starts fusing to his skin. He even tries to rip the red nose off, only to rip his own nose off, leaving him with a torn-up face. As the film progresses, he starts transforming; his hair turns into a multicolored clown wig, and he becomes possessed by the Clin, needing to eat five children to be free of the curse and remove the skin. Interestingly, I discovered this film in 2022, six years after I began my research, and it confirmed many of my theories. The ruffle around the clown's neck in the film had spines running through it, resembling a reptilian frill, which hinted at the true nature of the clown costume.

The multicolored pattern of the clown costume can indicate two things: the disembodied nature of fractal monsters in the DMT realm or the serpent-patterned skin. Additionally, clowns are often depicted with a black slit going down each eye, a common feature among predator animals. Predators have slit pupils for pinpoint precision on a flat horizon to track their prey, while prey animals like goats or lambs have horizontal pupils for a wider view to spot predators. This slit pupil trait is likely inherited from serpent seraphim parents, making clowns with slit eyes resemble ancient dominant predators on Earth.

Another example is from the TV series Supernatural. In season two, episode six, the story revolves around a circus clown who a little boy invites into his house. Once inside, the clown eats the boy's parents. It turns out the clown is an ancient Indian demon called Arasa. This episode aired in 2002, and I only learned about it a year ago, seven years into my research. This show confirmed my theories, as the clown represents demons, specifically.

=> 01:35:15

Clowns in media are often symbolic of ancient demons, feeding off fear and hidden in plain sight.

The series Supernatural features a notable episode in season two, either episode two or six, where the story revolves around a circus clown. A little boy lets this clown into his house after the clown knocks on the door and asks to be invited in. Once inside, the clown eats the boy's parents. It is later revealed that this clown is actually an ancient Indian demon called Arasa. This episode aired in 2002, and it was only a year ago that I learned about it, despite being seven years into my research and having already made the Rasar connection. This show confirmed what I had discovered, indicating that the creators knew exactly what they were doing. The clown represents demons, specifically the Racasa demon, and this symbolism is pervasive in media.

This concept of clowns as demonic entities is not isolated. For instance, the clown in Supernatural is an interdimensional entity that manifests in the physical realm, feeds off fear, and cannibalizes children. This idea aligns with the portrayal of clowns in other media, such as the Nephilim creatures with elongated skulls. The notion that clowns are symbolic of something sinister is further supported by their frequent appearance in various forms of entertainment. For example, McDonald's mascot is a clown, which some believe hints at darker undertones regarding what the company is rumored to serve.

Moreover, the symbolism extends to other mascots like Wendy's and Jack in the Box. The latter, although presented as a bobblehead, is essentially a clown. Symbolically, a Jack in the Box represents a demon in the void, much like the Hellraiser cube, which, when played with, summons pale-skinned monsters from another realm. The jester that pops out of a Jack in the Box is meant to scare, representing hidden entities in the astral realm. Similarly, mimes, with their black and white fractal patterns, pretend to be trapped in a box and cannot communicate, mirroring the Nephilim who are disembodied and trapped in the astral realms.

This pervasive symbolism is believed to be the work of secret societies imposing these ideas on the public, continuing traditions unknowingly and unwittingly channeling demons through these costumes. It is considered nefarious and evil by those who understand the deeper meanings behind these symbols.

Additionally, there is a genetic condition where individuals are born with overly large tongues, giving the impression of a much larger mouth. This condition often requires surgery to reduce the tongue's size, which involves cutting and sewing it back together. The process can result in a split tongue, resembling a lizard's, unless it is sewn back to appear normal. This physical trait, along with the symbolic portrayal of tongues sticking out, ties back to the broader theme of demonic representation in media and folklore.

=> 01:39:10

Ancient beings like the Nephilim influenced our myths and appearances, from split tongues to clown-like features and tall hairstyles.

When they perform this surgery on babies, they cut the tongue bone, resulting in the babies having a huge tongue sticking out the whole time. This makes the mouth look much bigger. To fix this, they slice the tongue in the middle, giving it a lizard-like appearance. The tongue looks split, and to make it look normal again, it must be sewn together, making it a lot smaller. If it isn't sewn together, it would remain split, resembling a lizard's tongue.

We also discussed the Nephilim and the Watchers of old, who are often depicted with clown-like physical features. Paul provided great information about their demon connection and the spiritual energy they carried, often being seen as evil and cannibalistic. This brings a new perspective to stories like Little Red Riding Hood, where the phrase "my, what big nose you have" could be a reference to a big clown nose. The Nephilim were sometimes seen as gods of old and worshiped as such, with clowns, jesters, jokers, and mimes being part of this imagery.

The etymology of the word "clown" is also intriguing. According to Edom Online, it comes from "CL" or "Clin," meaning a man of rustic or coarse manners, or a peasant. The origin is obscure, possibly Scandinavian, with connections to Icelandic "Clooney" and Swedish "clones," meaning a hard knob, which relates to the clown's knob nose. There might even be a connection to the word "clone," suggesting that these beings might have looked very similar to each other.

We also talked about their style of dress, including the dunce cap, wizard cap, and cap of the wise, which imply knowledge. In the Book of Enoch, the Nephilim were considered teachers who taught mankind various skills, such as crafting weapons, painting faces, and mixing drugs known as pharmaka. Their tall hairstyles, especially during the Victorian times, were also notable. These hairstyles, like the macaroni style, were very large and beehive-like, possibly to mimic an Elven standard of beauty. They powdered their faces to appear very pale and pasty, and their hairstyles might have been an attempt to emulate cone heads, with hair growing around their head.

=> 01:43:31

Tall hairstyles and extravagant fashion might hint at historical attempts to emulate an otherworldly or giant-like beauty standard.

The hairstyles of the past were notably tall and large, often referred to as the macaroni style. This term is famously referenced in the American song "Yankee Doodle," where the character puts a feather in his cap and calls it macaroni. The macaroni style involved manipulating hair into elaborate shapes, possibly influenced by an Elven standard of beauty. People would powder their faces to appear very pale and pasty, and their hairstyles resembled beehives. There is speculation that these styles might have been designed to accommodate conical heads, necessitating either small hats perched on top or very tall hats.

Additionally, people often carried parasols, umbrellas, wands, sticks, or staffs, and wore gloves—a fashion that transferred to nobility and Freemasonry. It is speculated that the original wearers might have been photophobic, needing to shield themselves from sunlight. If they were extraterrestrials, as some believe, they might have found Earth's light source harsh and thus covered as much of their bodies as possible with clothing, large collars, veils, and other accessories.

The large shoes worn by these individuals could symbolize their gigantic stature and large feet. This exaggeration of features, like tiny umbrellas, tiny hats, stilts, big gloves, and big shoes, was a caricature of the truth, hinting at their giant features. The concept of multiple clowns emerging from a small car symbolizes a legion of demons coming out of a human body, with the car representing the human vessel in dreams. This imagery is a cartoonish version of a deeper truth.

The theory extends into various facets, including pop culture references like serial killers. For instance, John Wayne Gacy, a serial killer clown, killed 33 young boys—a number significant in Freemasonry. He only began dressing as a clown at the height of his killing spree and was a member of local Freemasonic lodges. Gacy's proximity to the Royal Order of the Jesters, a group involved in human trafficking, suggests he might have started dressing as a clown to gain power while committing his crimes. This association with a secret society could have influenced his actions, making his clown persona a transactional tool for his heinous acts.

=> 01:47:29

Clown costumes have a dark history linked to real-life crimes and murders.

An hour and a half drive away from his local Royal Order of the Jester Lodge, he was a member of the Moose Lodge himself, the Blue Lodges in that area. Additionally, he was only a couple of hours' drive away from the Indianapolis Hub headquarters of the Royal Order of the Jesters. When you realize that the Royal Order of the Jesters are involved in human trafficking, and it seems like he got caught talking to two young men about trafficking young boys to him, it's likely he started associating with this secret society. He then started dressing like a clown when he realized the power it would give him while he was murdering people. It was like a transaction: "I'll dress like a clown, murder and rape these young boys, the demon within me that's now being channeled gets the pleasure from it, he gains some kind of power." I think it was all intimately linked when you really start looking into these things.

There are examples of people who have dressed like clowns and inadvertently ended up becoming killers, whether they liked it or not. For instance, there was one story of a woman, a young girl, who was having sex with her boyfriend. She said, "Let me just go change," put a clown costume on, freaked him out (he was terrified of clowns, and she knew it), and then she stabbed him 17 times in the chest. Was the clown costume necessary to do that? It seems odd, doesn't it? You have the story of the Florida doorstep killer, a woman who supposedly opened her door and got shot in the chest by a clown holding balloons and some flowers. The clown left the flowers and the balloons at the doorstep and walked off after killing this woman in front of her child. The young boy grew up after witnessing his mom get shot. Time went on, and this person practically got away with murder. I think she got off on a technicality or something like this because it turns out it was the husband's lover who murdered the wife. The case went on for so long due to lack of witnesses and evidence that she moved with the husband. So, the husband actually went away with this woman who was being accused of being the murderer because it seems like they were having an affair. She was still dressing like a clown and has been seen captured dressing like a clown in a restaurant they were organizing and running together in some other state. It's a really messed up story, but the point is she dressed like a clown to go and murder somebody.

There are plenty of examples of cartel members dressing like clowns to go out and murder other members of other gangs. It seems like clown killing is really common, like having a clown involved with murders is actually more common than it should be. It's even the queen here, "off with your head," you know she's basically portrayed as a clown. That's another feature of nephilim, the high brow ridge with the blue shading. Well, the nephilim would have had large glowing blue eyes. That's another common descriptor. So, that's just to make it look like when you close your eyes with makeup on, you end up looking like you have enormous eyes. It's another nod and a wink. It's there, it's all there.

I also wonder too, like I do research into comparative mythology and stuff. When it comes to beings dropping down from the heavens or coming down from the skies, I've found many examples where it's not just humanoid but animals as well that are said to have come down from the skies. A lot of Native American legends talk about these holy animals or the first animals that dropped down from the heavens. They looked down upon the Earth and they descended safely for some reason instead of just falling at terminal velocity and squishing into the ground. You've got the Thunderbirds, the Raven as well, and oftentimes they're white, especially if they're prophetic in nature. Look for this sacred animal: Jesus comes back, he's on a white horse. There's The White Buffalo. Oftentimes they're seen as appearing in the heavens. There's also sometimes references that people make to what's known as the white devil. I'm specifically thinking of Ace Ventura: Pet Detective Part Two, and he's called the Quin Orcha, the white devil or whatever.

=> 01:51:16

White beings from energetically charged realms may have telepathic abilities, resembling clowns without mouths who taught ancient civilizations.

Dropped down from the heavens, they looked down upon the Earth and descended safely, instead of just falling at terminal velocity and squishing into the ground. These beings, often referred to as thunderbirds, include the Raven as well. They are often depicted as white, especially if they are prophetic in nature. For instance, Jesus comes back on a white horse, and there is the White Buffalo. These sacred animals are often seen appearing in the heavens.

There are also references to what's known as the white devil. This term is notably used in Ace Ventura: Pet Detective Part Two, where the protagonist is called the "Quin orcha," or the white devil. It's interesting that there would be white devils that descended down, resembling fallen angels or creatures. This notion ties into discussions about the plasma apocalypse, energy, electromagnetism, and their roles within and beyond our world.

I theorize that there are different places of power, which are more energetically charged than other places, either on the surface or below the Earth. If these beings come from such energetically charged regions, it might affect their spirits, minds, and synapses, allowing for seemingly fantastic abilities like telepathy. These white beings, descending from electrically charged regions or emerging from within the Earth, might be telepathic in nature. They would communicate through thoughts rather than speech, similar to the Wanjinas of the Kimberley regions of Australia. These beings, who don't have mouths, are considered clown-like offspring of rainbow serpents. They supposedly taught the people of the region how to build and make civilization.

The Wanjinas are also associated with bringing rain and thunder, with electricity emanating from them. Their attire, adorned with white dots, represents rain coming down from their shoulders, resembling a giant clown ruffle. They look remarkably like clowns, which is quite odd. Despite their silent nature, they taught mankind through telepathy.

Australia has a very unique mythos about spirituality, believing in something called The Dreamtime or The Dreaming. This ethereal realm coexists with the physical realm, blurring the lines between spiritual and physical. In The Dreaming, creation occurred, where giant serpents carved mountains with their bodies. This mythology explains the origins of various creatures, many of which are vicious monsters that do horrible things to humans. However, the Wanjinas are considered more benevolent because they taught humans valuable skills, working on behalf of their serpent god parents.

The Wanjinas are a quintessential Nephilim analogue but without mouths, which is quite peculiar. In every other sense, they resemble western clowns, with stereotypical big red afros, polka dot clothing, and white ruffles. This uncanny resemblance to clowns is striking and noteworthy.

=> 01:55:22

Ever wondered if ancient legends and royal bloodlines hint at hidden connections in our genes?

The WAN are considered more benevolent because they taught so much great stuff to humans and brought them out. However, they were working on behalf of their parents, the Ang, the serpent Gods. They are a quintessential Nephilim analogue, but this particular flavor didn't have a mouth, which is odd. In every other sense, they look just like a western clown. If you add some images up, it's uncanny; you look at that and you go, that's a clown—a stereotypical big red afro clown wearing polka dot clothing with a white ruffle.

I'll put these pictures back up because I want to hear some of your commentary on it. As far as the mouthless creatures, that's come up through medieval times as far as those legendary tribes of mutated humans. According to legend, there was a tribe of humans that didn't have mouths and they breathed by carrying flowers with them. They got their sustenance and nourishment by smelling the flowers because they couldn't actually eat. I thought that was an interesting connection.

One thing I'm going to start with is this image right here. This is a girl who has rosacea. You'll notice she has blonde hair, sometimes referred to as dirty blonde. The same type of melanin in the body is responsible for creating this hair color. Often, these people are more sensitive to sunlight. This is not like a sunburn; however, if she were out in the sun, she would have to be much more protected than everyone else. This gives rise to a more red, flushed face, like a blushing look.

Feel free to comment as we go; I'm just going to let these play. If you want me to stop, just let me know. I do have a question for you regarding the red hair and royalty connection. When we look at the Royals, especially in England, they have very similar genes and genetics. You yourself seem to carry some of those traits, like having red hair and a more pinkish tone to your skin. My question is, have you ever wondered if you have relatives far back in time, not like a demonic Nephilim relative, but some sort of connection to giants of old?

It's possible. I think in a way we're all kind of corrupted by this now. It's so diluted into the bloodline of all humanity that we probably all have a little bit of Nephilim corruption in some way, shape, or form. A good example in a biblical story is Esau. He was unlike his brother Jacob, and why was he unlike his brother when they both came from the same source? It's because I think it's a recessive thing, like the way genes work. We all have recessive genes that can activate at any moment for whatever reason.

There are examples of people being born with horns randomly or other odd features that aren't otherwise human. These things do happen randomly. There are tribes where the legs are fused together, or people have hoofed feet. These traits randomly pop up among all humans of any race. I think that's predominantly a human issue, which is why we're not supposed to dwell on genealogies anymore. Christ made it clear that it's a fruitless effort to trace perfect bloodlines. We are all corrupted, which is why we need to be born again, why there needs to be a new Heaven on Earth, and why we need to flush the Earth of demonic corruption in the astral realm. We all need new bodies because everything got corrupted.

=> 01:59:24

Don't judge people by their lineage or appearance; focus on the spirit within.

It seems to be a naturally born thing, and all people have traits like huffed feet, you know what I mean? These traits just randomly pop up sometimes in all humans of any race. I think that's predominantly a human issue, which is why I believe we're not supposed to dwell on genealogies anymore. Christ made it clear that it's a fruitless effort to trace one's lineage to claim uncorrupted blood. It's fruitless because we're all corrupted, which is why we need to be born again. This is why there needs to be a new Heaven on Earth, and why we need to flush the Earth of the demonic corruption in the astral realm. We all need new bodies because everything got corrupted, and that's why we even need a savior. Christ came to undo this issue of corruption and sin.

I personally think it could be possible that we all have Nephilim traits. There is a contingent of leaders in the world who are obsessed with their bloodlines, believing they have the Divine Right to Rule because they think they have half-angel blood from when the Watchers mingled with humans and created the Nephilim. Even if they are Nephilim descendants, they look just like me or you. You can't tell the wheat from the tares, as Christ made it clear. We should leave that to Him and His angels for the final harvest. Who are we to decide who is and isn't a Nephilim? Focusing on blood or genealogies can lead to wrongful actions, such as killing people for the wrong reasons.

We shouldn't make judgments about whether someone is a Nephilim or not, because you don't know people's hearts. You can't tell if someone is saved, walks with God, or if they are evil or a psychopath just by their appearance or professions. A lot of times, people will lie if they're bad, claiming to be good. Governments do this all the time, poisoning and killing their own people while professing to support them.

When discussing religion and spirituality, it's important to note that we can't go around labeling people as Nephilim, shape-shifters, or anything else because we don't know their inner energy. Evil can pretend to be good, and good people can make mistakes too. This is where the danger of judgment comes into play.

However, getting back to the Nephilim, we can see some of their actions throughout history. Some people claim to have a relationship going back to them through their blood and find that very important. While blood is more physical, I believe it is the spirit that gives blood power, not the other way around. The spirit within the blood is the invisible portion that produces the physical.

These bloodlines focus on materialism—meat, drinking blood, sacrifice, wealth, tangible material wealth, power, and dominance over land and people. They are not focusing on higher things or building up treasures in Heaven, as Christ would say. They are obsessed with materialism and their own power over others within the materialistic realm.

=> 02:03:20

True power comes from the spirit within, not material wealth or dominance.

The conversation begins with a discussion on spirituality, emphasizing that "it is the spirit that gives blood power, not blood that makes us good or evil." The speaker elaborates that it is the spirit within the blood, the invisible portion, that produces the physical. This perspective contrasts the physicality over spirituality, highlighting that Bloodlines focus on meat, drinking blood, sacrifice, wealth, tangible material wealth, power, dominance over land, and dominance over people. They are obsessed with materialism, including their own power over others within the materialistic dimensional world.

The speaker clarifies that they do not subscribe to the dualistic view that the material world is evil and the spirit world is good. Instead, they believe that "the physical world is a spiritual world and the spiritual world is just as much a part of the physical one." They stress the importance of finding a balance between the two. The controllers, the evil ones, lean heavily towards focusing on power and dominance in the physical, material realm, perhaps lacking any connection to the spiritual, which may explain their evil actions such as raping, stealing, pillaging, murdering, and torturing. These actions are attributed to a "fleshly, physical, carnal basic level of consciousness and understanding of reality."

The conversation then shifts to whether these individuals can be saved, with the speaker acknowledging that it is possible but uncertain, as it is not up to them to decide. They ponder the difficulty of escaping such a "lower basic level."

The discussion continues with a mention of different cultural depictions across time, such as geishas with face paint, Japanese Kabuki, and Aborigines. The speaker offers to share a compilation of images, emphasizing the "Fear Factor and subconscious phobia" that humans generally have towards clowns, even if they have never seen one before. This fear is likened to the fear of caves, which the speaker personally experienced.

The conversation touches on horror movie protagonists with white faces, such as Michael Myers, Jason Voorhees, the Joker, the Queen of Hearts, and Beetlejuice. The speaker also mentions the "white Devils" in rock and roll, offering to share pictures for approval.

Finally, the speaker explores the idea of electromagnetics, plasma, and electricity creating light, drawing a connection to the birth of Noah and his eyes lighting up, as well as Superman's eyes emitting light. They propose a scenario where Nephilim walk into a dance club with black lights, suggesting that their appearance would change with the changing color of their surroundings, and they would no longer be described as white.

=> 02:07:26

Imagine if ancient beings like the Nephilim could change colors under black lights, just like in a dance club.

The discussion begins with the topic of electromagnetics and plasma and their relation to electricity and light. This connection sparks a memory of the birth of Noah, whose eyes emitted light, similar to the eyes of Superman, and the broader theme of light emission. The conversation then shifts to a hypothetical scenario: imagine walking into a dance club with black lights. If the Nephilim were to enter that same club, their appearance would change with the lighting, making them appear blue rather than white. This leads to a comparison with blue gods in Hinduism, such as Dr. Manhattan, suggesting that these gods might actually be white but appear blue due to their environment.

The speaker reflects on the variation of colors among reptiles and notes that humans do not typically exhibit such color diversity, particularly blue skin. They suggest that the blue skin of Hindu gods might be a reptilian feature inherited through generations. The conversation touches on the symbolism of snakes and serpents, which the speaker believes dates back to ancient times. The speaker expresses interest in the Hindu gods but is unsure of their place in the broader narrative.

The discussion then moves to the nature of the Nephilim, questioning whether they were physical beings or aliens from another world. The speaker does not believe in outer space or other planets but suggests that extraterrestrial beings might come from another place on Earth, possibly an unknown continent or within the Earth itself. They propose that these beings could be from an enclosed system within our world.

The conversation concludes with a contemplation of whether these Nephilim or clown creatures might return. The speaker believes that they can already return through demonic possession and that the clown aesthetic is being pushed on society today. They mention that clown fashion became popular in 2013, suggesting a deliberate effort to enable the return of these beings.

=> 02:11:26

Clown aesthetics are being pushed in fashion to make people more susceptible to possession.

Have you ever thought about or do you think that these clown creatures or Nephilim, or however they originally were, the quintessential reality behind them, do you see or think about whether or not they will return? Will they come back, return, show up, or be born back into this world?

I think they're working on that now, absolutely. Not only can they return already through people, but they can also possess people. That's what demonic possession is all about. As I've explained, the costume of a clown is a useful tool to enable that to happen more readily. They are pushing clown aesthetics on people today and on our society. Clown fashion is a very real thing that became popular in 2013 down the catwalks and the runways of all big high-end fashion companies and industries. We're going to start seeing our own clothing in the outlets start to reflect more clown-like aesthetics, and that's on purpose. It's to create more channels to make more people reflect the spirit realm so people could be more readily possessed, and the Nephilim can return through that means.

I also think they are working on creating new vessels for these disembodied spirits to inhabit that aren't human. The transhumanist agenda is angling towards creating an immortal body for them, a vessel, an empty vessel for them to use. I wonder if there's a clone connection with that empty vessel thing. Cloning could be another way. If you could clone human bodies that don't have a pre-ordained soul from God, then it's an empty vessel game for them. The problem with possession is that you have to share, which is not ideal. The host can get kicked out any minute as soon as that vessel realizes they can call the name of Jesus and cast demons out, and that's not really optimal for a demon. What they would love is a vessel that's already empty to begin with, so it's kind of safe.

I think there are multiple means, but I think they are working on it. In terms of physical giants walking around again, I don't think we're going to see that, but the spirit of these things will get back somehow. I think transhumanism is the most likely method—creating some kind of brain using AI algorithms and holographic forms, something that can house consciousness.

This provides another implication which leads to another question for me. Last time that happened, there was an apocalypse. God took care of that and said, "Oh, the world's all toxic and dirty and nasty. There are all these Nephilim clowns running around, eating people, scaring people or whatever. I'm going to wash it away." There are prophecies, especially within Christianity, saying that there will be a cataclysm by water and then a cataclysm by fire. The second one is similar to the first one. The signs of the coming of the second one are similar to the signs of the coming of the first one, where the things that were happening just before and leading up to the Deluge would be repeated and seen once again before a destruction by fire.

Tribulation in Christianity does talk about a third of the Earth being burnt up, like two-thirds of the earth. I believe it's already happened. I believe the fervent heat happened. There's plenty of evidence of melted mountains and buildings all over the Earth. In the very end of Revelation, it says that Gog and Magog will be gathered to make war with the camp of saints, and then fire comes down from heaven and burns everything up. Gog and Magog could be the Nephilim resurrected for all we know. Who knows? Mass speculation, because we know Gog and Magog have been represented as giants, especially in British mythology. I wouldn't like to be alive to witness these things come back in physical form myself.

I can't wait. I'm harnessing all of my ninja skills. I'm out there, ready. My last question for you is: Do you see or have you seen any connections to the Dark Ages or medieval times as far as that being a time of real mystery?

=> 02:15:21

The jesters of medieval times, once seen as mere entertainers, may have been channels for demonic influences whispering into the ears of kings.

The discussion begins with the notion that Gog and Magog could be the Nephilim resurrected, as they are represented as giants in British mythology. The speaker expresses a preference not to witness these entities in physical form, unlike another who is eager and ready, harnessing all their ninja skills.

The conversation then shifts to the Dark Ages and medieval times, exploring connections to the Nephilim and their manifestations. The speaker notes that during the medieval period, with the collapse of Rome, many out-of-work actors, seen as dirty in the new Catholic Rome, had to travel to find work. This led to the Commedia dell'arte movement, a roving troupe of actors performing improvised shows. Some became jesters for kings and aristocracy, evolving into the tradition of the Court Jester.

Jesters, fundamentally, are mimics of the king, representing a mockery with their scepter and floppy crown. There is speculation about whether jesters, possibly channeling the spirits of the Nephilim, had influence over kings. However, the speaker has found no indication in their research that court jesters are representations of the Nephilim.

The discussion then touches on Carnival settings, particularly Venetian and Spanish carnivals, where harlequin characters representing the Wildman have blended with jesters, creating a hybrid jester-clown image. This Venetian jester mask resembles what is seen in the DMT realm, leading to the term "jester" to describe such visions.

The speaker concludes by noting that the Dark Ages are shrouded in mystery, and while clowns as we know them are a relatively new invention from the 1800s, comedy has always been a part of human existence.

=> 02:19:21

Clowns evolved from medieval jesters and ancient rituals, embodying both comedy and dark, demonic symbolism.

In the DMT realm, clowns appear to have evolved similarly to the way Harley Quinn did from the Wilder Man to the leotard-wearing Harley Quinn, then to the clown, and eventually to the demonic representation of the rack. Through the medieval period, the court jesters developed into a more pale-skinned representation of demons. However, the Dark Ages shrouded this evolution in mystery, especially concerning clowns. What we now call a clown is a relatively new invention from the 1800s. Although there have always been comedians since humans have existed, a comedian is not the same as a clown.

For the final part of this discussion, I will share some images to visually illustrate these points. On my website and YouTube channel, I often display pictures and movies to aid in understanding. Here, we see the cookery of Bulgaria and Romania, an ancient tradition where people dress like the wild man of their region, dance, and jingle bells to scare away spirits. This practice, called apotropaic, involves dressing like evil spirits to ward them off. However, I believe this is naive and wrong since nowhere else in the world do people believe that dressing like something scares away a demon. Instead, they believe they are channeling demons.

Zooming in on one image, we see what looks like a typical western party hat, white skin, rosy cheeks, and a red nose, resembling a clown. These tall pom-pom-covered, multicolored hats are borrowed from these traditions. Modern iterations in the music industry also dress similarly, channeling demons for power, influence, and talent.

In Japan, the Anu tribe women traditionally tattoo wide smiles on their faces upon reaching puberty. This beauty standard likely emulates an ancient idea of Elish Beauty. Traditional theater masks and African tribes also channel their ancestors with polka dots, predominantly white skin with red dots, and reed headdresses. They spin around to look like spirits in the spirit realm, essentially wearing sound suits.

The Rak Chasar of Sri Lanka are depicted with wide grins, tongues sticking out, bulging eyes, and serpent hybrid human features. They perform dances to ward off or invoke these Nephilim spirits. Similarly, the Hyoka or Pueblo clown kachinas of the Americas have black and white fractal patterns, odd red head horned antennae, serpent skin, wide smiles, and traditionally wear red shoes. They believe they are channeling the spirits of the Wakinyan spirits, the Thunder Gods, and play the role of both shaman and clown in their societies.

=> 02:23:19

Clowns across cultures are more than just entertainers; they channel spirits and embody ancient rituals.

The transcript discusses various cultural representations of clowns and their significance. It begins by mentioning sound suits worn by individuals, likening them to clowns. One example given is the Rakchasar of Sri Lanka, described as "grinning, tongue-sticking-out, bulging-eyed, serpent hybrid humans." These are identified as the Nephilim, who perform dances to ward off or revoke evil spirits.

Next, the Hyoka or the Pueblo clown kachinas of the Americas are described. These figures feature "black and white fractal patterns, odd red head horned antenna, serpent skin, wide smile," and are known for eating watermelon to mimic flesh. They traditionally wear red shoes, similar to clowns. The Pueblo clowns believe they are channeling the spirits of the Wakinyan spirits, or Thunder Gods. In their culture, the clown plays a dual role as both a shaman and an example of improper behavior, which is integral to their society.

The transcript then explains that different tribes across the plains of America dress similarly but for different reasons. For instance, in the dry regions of Nevada, the H people dress this way to invoke rain, representing the rain god. Conversely, tribes in northern America, where it rains frequently, dress this way to communicate with the Wakinyan spirit to prevent storms.

The conversation shifts to a discussion about clowns with horns, noting that jesters often wear crowns that resemble horns. The speaker mentions that every generation sees a new iteration of the Joker, especially around Halloween, when the spirit realm and the physical realm are believed to be at their thinnest. This, they argue, facilitates the channeling of demons.

The Bti Bola of Rio is mentioned as a modern version of a Portuguese tradition, where bloodthirsty gangs dress like clowns. The transcript also touches on the historical aspect of clowns, noting that in antiquity, clowns often had beards and facial hair, unlike the clean-shaven clowns commonly seen today.

Another example given is the Bua of India, where a tribe member channels a spirit, and the rest of the tribe communicates with it through rituals involving live chickens. The transcript also references Joseph Grimaldi, who wore the first clown costume modeled after the Rusa demons.

Finally, the transcript mentions a satanic cult in Ukraine and Lithuania that dresses like clowns, likening their appearance to a movie scene. It concludes with a reference to a fashion style inspired by Leigh Bowery and the Venetian clown style, which is a blend of clown and court jester aesthetics.

=> 02:27:16

Clown costumes across cultures often channel ancient demonic or ancestral spirits.

Grimaldi, wearing the first clown costume, modeled it after the rusa demons. Here's another example of them channeling the same demons in India, another version of the bua cola. In Ukraine and Lithuania, there are satanic cults dressed like clowns. It looks like a scene from a movie, but that's real life. These are real people who dress like demons and clowns. This fashion style, inspired by Leigh Bowery, a famous fashionista, has evolved over time.

The Venetian clown style is a mashup between a clown and a Court Jester, modernized into what you see in the DMT realm today. Dressing this way is dangerous, with more fractal-looking designs. An African tribe has a similar Harley Quinn design with white face paint, akin to 80s glam rock fashion, channeling their ancestors and resembling the Venetian Jester. This is far more ancient.

People claim to see similar figures in the DMT realm. Here's a stylized version from somewhere in the Asian continent, with black slits down the eyes, resembling clown makeup. These represent generals or ancient war heroes, believed to be spirits of the undead. Another African tribe has red hair, braided to emulate their beauty standards. In Bern, Switzerland, there's a statue of a giant eating babies.

In India, the bua colo tribe channels the spirit around the Figure Head. Creepy clown sightings represent the spirits of the dead or DMT jesters. Grimaldi's first costume again shows Chinese gods with bulging eyes, multicolored skin, and red hair in a temple in China. Another African representative of the fractal pattern features black and white lined beings, similar to the peblo clowns of the Americas, with big, wide, glowing, bulging eyes.

Harley Quinn's progression started with plain, brutish white skin rags with multicolored patches, evolving into a fancy leotard. The clown took over as the demonic character. During rituals, they always wore bells, shook themselves around, and made a lot of noise. In Vietnam, during their Day of the Dead ritual, they dress in multicolored, ribbon-fractal pattern psychedelic clothes, with giant masks and sharp-toothed wide grins, representing their version of the Nephilim.

A cannibalistic tribe in Papua New Guinea wears white skin, white makeup, and red reeds as a headdress. Despite the low-quality images, you can see the tradition of skinning up and redding up the hair. The DMT jesters mess with humans for their own pleasures. In Korea, a shaman called a mang wears a black top hat, similar to Freemasons, and channels the spirits of entities through a ritual, donning very clown-like, ringly clothing.

=> 02:31:21

Clowns across cultures share ancient, mystical origins and motifs.

In the mountains of Papua New Guinea, there exists a tribe known for their distinct appearance. They have white skin, wear red reeds as a headdress, and have red hair. This tradition is aimed at emulating something significant, possibly related to their cultural beliefs. The idea of DNT gers messing with humans for their own pleasures is also prevalent in their folklore.

In Korea, there is a shaman called a mang, who wears a black top hat similar to those worn by Freemasons. She channels the spirits of entities through a ritual, donning clown-like, ringed clothing. This shamanic practice is visually reminiscent of Joseph Grimaldi, a famous clown, whose costume was inspired by the rakshasa demons of India, specifically from Bali and Thailand. The clown costume we recognize today has its roots in these ancient traditions.

There are also depictions of clowns in various cultures, such as a Japanese or Chinese deity with a long tongue, sharp teeth, pale white skin, red hair, and red lips. In Switzerland, there is a statue of a demon eating babies, and early posters from the Ringling Bros. Barnum & Bailey Circus often featured giants, symbolically representing something significant. The circus clown in Las Vegas is another example of this imagery.

In Switzerland, a festival features participants wearing masks with common motifs like big teeth and wide grins, reminiscent of the rakshasa demons from Sri Lanka. These masks have bulging eyes, reptilian features, and snakes embedded into the headdress. Similar motifs are seen in the Hyoka demons and Papua New Guinea tribes, who use red noses and feathered headdresses, sometimes with white chalk motifs around the neck.

Ancient Aboriginal depictions in the Kimberly region of Australia show gods that look like clowns, with ruffled collars, polka dot patterns, and red afros, but notably, no mouths. These images are painted on rocks and are not modern creations. The Wanga and the rainbow serpents are also part of this ancient tradition, showing variations of old clowns.

In China, face changers rapidly change their masks, displaying motifs similar to clowns or hybrid human-dragon figures. In Africa, a tribe considers tall men with very white teeth and big whites of the eyes attractive. They achieve this look by getting high on an amphetamine-based drug called chatter, which makes them chatter their teeth continuously.

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Clown motifs and rituals around the world often have deep, mysterious, and sometimes dark origins.

Let me tell you about Wanga and the Rainbow Serpents. The offspring of the rainbow serpents are more variations of old clowns. Here's a Rasa mask again, and there's the Papini tribe. These are the Face Changers, the magicians who rapidly change their masks in China, constantly altering their faces. The motifs are very similar to clowns or hybrid human-dragon hybrids.

In Africa, there's a tribe with unique beauty standards: men must be tall with very white teeth and big whites of the eyes, which is considered attractive to females. They get incredibly high on an amphetamine-based drug, chattering their teeth and maintaining a wide-eyed look and a smile while wearing red motifs. They adorn their hair with jewel-patterned elongated skull hats, and the tallest, most big-teeth, bulging-eyed male is considered the most attractive. This beauty standard is copied from Nephilim features.

During Halloween, clown features are always popular. The redhead motif is seen in the Oni demons of Japan and China. There's a festival where a man is possessed in the Bua Cola, and the tribe participates to gain information and power. A more modern version of Portuguese rituals in Brazil includes Red Nose Day, which raises money for kids in need but also gets the entire Western Hemisphere to dress like clowns in a yearly ritual.

There are more clown posters, which some believe are demonic. For example, no one has a mouth as wide as depicted naturally, suggesting a demonic representation. There are clown sightings and the Royal Lord of the Jester Pin, with their slogan and mascot, Ailly Kins, a naked man-baby with an erect penis. Clowns are also used in media, with the Batter Baller based on the Spanish-Portuguese version of the same thing.

Old clowns and their rituals are seen in various cultures. The Wildman rendition and the fighter Conan have their own takes on big, wide-grinning masks. The Kukeri of Bulgaria features the hairy variant of the Nephilim with multicolored patterns. In Sri Lanka, there's a story of a god born of a queen, whose king killed her and threw her and the baby into a pit. The Nephilim monster grew up, ate his mother's carcass, and decimated the entire village, including his father. The monster, with a grin and a smile, is depicted holding the bodies of two humans he is about to eat.

African rituals often channel spirits, with old Greek theater rituals and representations of ancestor spirits. The Booth of Cola features masks with tongues sticking out, channeling gods. The Battiola in modern media and the Kukeri again show typical clownish features. African tribes and Harlequin motifs are common, similar to the Morris dancers of England, who dress in multicolored ribbons to communicate with their spirit versions.

In summary, these rituals and representations across various cultures often involve channeling spirits, ancestor worship, and hybrid human-dragon motifs, with clowns and their features appearing prominently in both historical and modern contexts.

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Ancient traditions of spirit worship and demon channeling are reflected in modern clown costumes and rituals worldwide.

The Battiola modern media explores various cultural traditions and their connections to spirit communication and ancestor worship. For instance, the use of bright colors and clownish features is common among African tribes and is similar to the Morris dancers of England, who dress in multicolored ribbons. These costumes are intended to represent spirits, and in some African tribes, they spin around in circles wearing these suits to become a blur, attempting to look more like spirits. These are referred to as sound suits.

In the medieval period, the comedial arts were prominent, and the first circus was created by Philip Asley. African spirit worship practices, such as elongating the skulls of babies to resemble gods, were also common. This tradition is reflected in the costumes that inspired the first clown, Joseph Grimaldi, and the demon-like figures with hair shooting off to the sides, resembling clowns.

The Booth of Cola is an example of a demon-like figure, often depicted with blood smeared around its mouth, symbolizing the sacrifices made to it. This ancient tradition continues in Northern Spain and has a modern iteration in Rio, which leans heavily into the demonic. Similarly, the shamans of Korea and the wild men of Europe are depicted in various AI-generated images, showcasing their terrifying appearances.

African spirit worship has links to Haitian vodou culture, and the Bo of Cola is another example of this tradition. The Gorgons of Greek mythology are often misunderstood; they were actually hybrids of humans and snakes, similar to the Rakshasas of India. The East India Company and Shriners International also have connections to these traditions, dressing in clown-like attire.

Inuit masks from Northern Canada represent their own version of the Nephilim, and there are depictions of monsters consuming their own mother's carcass. The elongated skulls of Africa, the bells of Portuguese tradition, and various shamanistic practices all share a common theme. For example, the Pedrolino and Rakshasa masks feature bulging eyes, pale white skin, and predominantly red lips. These cultural representations, though specific to each culture, fundamentally depict the same underlying themes.

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Clowns are just our modern version of ancient mythical creatures shared across cultures.

In the discussion, various cultural representations of mythical creatures were explored. For instance, another rakasa of India was mentioned, followed by a description of an Inuit mask from Northern Canada, which is their version of the Nephilim. This was illustrated with a vivid image of a monster consuming its own mother's carcass, with a leg sticking out of its mouth. The conversation then shifted to the elongated skulls of Africa, the bells of the Portuguese tradition, and shamans. Pedrolino, a character from these traditions, was highlighted alongside another rakasa mask characterized by a tongue sticking out, slightly bulging eyes, pale white skin, and predominantly red lips.

As the discussion progressed, hyoka masks were mentioned, emphasizing a running theme across various cultures. Each culture has its own specific way of representing these creatures, but fundamentally, they all depict the same entity. The Shriners were noted for their appreciation of these representations, which resemble clowns. It was suggested that our modern clowns are just a version of these cultural creatures. An extinct tribe from South America was also mentioned, with their remaining memories and practices of channeling spirits being discussed.

Side-by-side examples of the Dragons of China, the Offspring of the Nephilim, and a modern clown were presented, illustrating the origin of the clown figure. The conversation then delved into the Elven race, speculating on their long lifespans and multiple stages of puberty. It was suggested that if they lived for hundreds of years, they might develop unique physical features such as tails or horns, which some humans are born with and often remove at birth. The idea that Nephilim might grow bony parts of their skeletal structure as they age was also explored, along with the possibility of their hair and scalp changing over time.

The discussion concluded with a reflection on the Elven standard of beauty, hypothesizing that older Elven beings, who live to be a thousand years old, might appear more bearded or clown-like, with horns or tails. The younger ones, who do more work and are seen by humanity, would be clean-shaven and more robust. The host expressed gratitude to Paul, the guest, for his interesting insights and open-minded approach. Paul was given the stage to promote his work, including his popular book sales and YouTube channel, where he shares his journey in search of truth.

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Discover the mind-blowing truth behind ancient giants and modern demons with 'The Nephilim Look Like Clowns'—a conversation starter you can't miss!

Thank you so much, Paul. I just want to say that you're an awesome guest. The reason I really wanted to have you on my channel is because you have a good mix, from my perspective, of interesting topics. You've written a book and have other engaging content on your YouTube channel. You appear to me to be open-minded, have good energy, and are earnestly looking for the truth for yourself while sharing your path with others. I can resonate with that.

Let's give you the stage for a moment so you can give yourself shout-outs and let people know where to find you and how to get your books. Specifically, your book sales are through the roof right now—very popular. I got my own copy right here and look forward to checking it out. Here you go.

Paul: Well, thanks for having me, first of all. It's been great. Like I said, I've been a follower of yours for years, so I'm happy to finally connect with you. We can definitely do this again and talk about any topic you want. I'm a scattershot conspiracy theorist first and foremost; I talk about anything and everything on my channel. I'm predominantly known as the Nephilim clown guy. If you want to get your own copy, just go to Amazon and search "The Nephilim Look Like Clowns." You can't miss it; it's pretty obvious what it looks like. Give it a read if you want. If you don't want to read the book, all the information is readily available for free on my channel in a 44-episode series under a playlist called "The Nephilim Look Like Clowns." It spans over eight years. The early videos are not that great because it's a fresh idea, but the later episodes are a lot more put together, professional, and visually presentational. You can see my entire thought process from start to today if you check out that playlist. It has all the images to back up what I'm talking about. I showed you just a third, maybe a quarter, of the images I've collected over the years that depict the aesthetical similarities between all these cultures across all continents, as well as the history of the clown. I flesh it out a lot more than what we talked about here today, but I think we did a good job of giving a very holistic image of the type of work I do on this subject. You can find me on Understanding Conspiracy—that's my YouTube channel. I talk about a lot of other things on there as well. I hope you had a good time listening to this. Thanks for having me again.

Host: Yeah, I have actually had a great time doing this. We've just scratched the surface of so many different things that we could really go into even more detail about. Maybe next time we can get into the "little season" topic. I love that one and providing my own insights. JC and I touched on that while discussing the Middle Ages and medieval times. That'll be another topic I'm really interested in talking about with you. Thank you so much for joining me. Everybody, this is Understanding Conspiracy. If you're in my chat, let's give him a round of applause through positive emojis—hearts, stars, happy faces—whatever you guys like to send him off with a tsunami of good vibes to represent the good vibe tribe over here on my channel. Be sure to check out my website, jammer.com. I've got my own books on Amazon as well, but I'll save all of that for another time. I have my copy of "The Nephilim Looked Like Clowns," and it's very well done, very professional looking.

I'm going to run your ad one more time before we go. I love it so much; I'm so inspired. I'm like, man, I need a cool ad like this. Let's go ahead and share the ad, then we'll do the outro, and I'll say goodbye personally to you in just a second.

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