Waching daily Sep 29 2017

Even though IT's Pennywise brags about being everything you're afraid of, there are plenty

of clowns who may even be scarier than the extra-dimensional terror monster.

And we're not talking about those kinda-creepy clowns from Pee-Wee's Big Adventure, or even

the Insane Clown Posse.

There are some very real reasons to develop a serious case of Bozophobia; here are just

a few.

Sweet Tooth

Needles Kane, better known to gamers as Sweet Tooth, is a serial killer clown who drives

a well-armed ice cream truck in an apocalyptic demolition derby.

He's been driving that terrible truck since the first Twisted Metal game in 1995, and

he's only gotten creepier since.

Over the course of the original Twisted Metal series, he evolved from a standard killer

clown with green hair to a flaming, cursed monster who's forced to carry the fires of

hell around with him.

Sure, the fires of hell are pretty scary, but the 2012 Twisted Metal reboot made the

clown even creepier, making him a guy who tries to kill his entire family after going

insane with boredom.

Sweet Tooth spends years trying to find his daughter, who escaped the killing spree, so

he can finish what he started.

It's just video game fun that causes other people to get killed along the way.

The Joker

He's a force of pure chaos, and Batman's greatest enemy.

The Joker has had various origin stories over the years and they tend to involve falling

into a vat of chemicals while trying to escape Batman, but who he was before that is up in

the air.

In his original 1951 origin, he was already a villain known as the Red Hood. 1988's The

Killing Joke graphic novel elaborated on this story, making him an aspiring comedian who

had only turned to crime to support his pregnant wife.

But even within that book, this sympathetic backstory is called into question, with the

Joker saying that he prefers his past to be "multiple choice."

For every new Joker, there's a new origin story.

The lack of a clear identity is what the Joker is all about: He's dedicated to the idea that

the world makes no sense, and will murder, maim, and mutilate anyone who crosses his

path to illustrate that there are no reasons.

He's not just a mad clown, he's a clown that embodies madness.

"Haha."

Twisty

Few clowns have ever been as visually frightening as Twisty, the deranged killer featured in

Freak Show, the fourth season of American Horror Story.

Creator Ryan Murphy has even said that members of the crew would leave during Twisty's scenes

because he was just so frightening.

Once a circus clown who loved to entertain children, Twisty's career was ruined by false

rumors of pedophilia.

He failed at committing suicide with a shotgun, but succeeded in blowing off his lower jaw,

thus the half-mask with the terrifying smile.

What's underneath it is even more horrific.

Leaving reality entirely behind, Twisty begins kidnapping children in a supposed effort to

save them from their oppressive parents.

He's convinced children still love him and long to be entertained by his antics, even

as every child who sees him screams and runs away.

Maybe that horrifying mask was a bad choice.

Madcap

The best thing about a killer clown is that you can usually kill it, but that's not the

case with Madcap, Marvel's clowniest supervillain.

He first appeared in Captain America #307 as a nemesis to the all-American hero and

his pal Nomad, but he doesn't seem to care much about superheroes at all, until they

get in the way of his goal of spreading chaos.

Madcap has two superpowers.

First, he can't be hurt or killed; any injury he suffers heals almost instantly, and if

he dies, he comes back to life.

Second, he can make other people behave irrationally by making eye contact with them, making ordinary

citizens put themselves in danger, by dancing through traffic or even leaping off of buildings.

A clown who will kill you is scary, but a clown who cuts off his own fingers just for

fun is even scarier.

The Poltergeist clown

1982's Poltergeist is one of the all-time greatest haunted house movies.

And like most standard haunted houses, a lot of the horror early in the film comes from

inanimate objects moving on their own.

So when young Robbie notices late at night that a clown doll that was sitting in a chair

by his bed has suddenly disappeared, that's already scary.

And then things get really bad.

The 2015 Poltergeist remake overdoes its attempt to one-up this scene, with multiple clown

dolls in a much darker room, but nothing in that film measures up to the scares of the

original.

Violator

Few clowns are actually from hell, but the Violator is a straight-up demon.

He's the main antagonist in Todd McFarlane's Spawn comics, as well as the 1997 Spawn movie.

"Every time somebody farts a demon gets their wings.

Oops!

Twins."

His entire purpose is to mess with Spawn, who was given his powers by the forces of

Hell.

Since those powers will eventually run out and force Spawn's return to hell for all eternity,

the role of Violator is not just to tempt and corrupt Spawn into doing evil, it's to

manipulate him into using his powers recklessly.

Violator isn't just a murderous clown — he's here to shepherd a soul toward eternal damnation,

and he does it with a grin.

Clown

Perhaps no clown ever created is as terrifying as the creature at the center of Clown, an

ancient demon that devours children.

Clown takes over anyone who puts on the cursed clown costume, which is made from Clown's

own skin and hair.

In the film, this happens to Kent, a regular dad who's just trying to provide last-minute

entertainment at his son's birthday party.

Once he puts on the suit, he begins transforming into an inhuman, kid-chomping monster.

At first, the horror of Clown comes from Kent's loss of control as the demon takes over.

But by the end of the film, there's no saving him, and the horror comes from the rampaging

monster clown that he's become.

You can be sure of one thing: this is the scariest clown in movie history.

And there's never been a better advertisement for Chuck E. Cheese.

"Cannonball!"

"Gross, somebody peed in here."

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For more infomation >> These Clowns Are More Terrifying Than Pennywise - Duration: 6:16.

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A vida da única família brasileira na Coreia do Norte - Duration: 13:11.

For more infomation >> A vida da única família brasileira na Coreia do Norte - Duration: 13:11.

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No, Anthem Protesters Are Not Racist — But the Star Spangled Ban - Duration: 9:32.

No, Anthem Protesters Are Not Racist � But the Star-Spangled Banner Most Certainly Is

Sit-down and sit-out protests of the singing of the national anthem before National Football

League games have exploded into white-hot controversy yet again this weekend after President

Trump fecklessly proffered his (largely unwelcome) two cents � lambasting demonstrators as

�sons of bitches� � further dividing the fatally cleft populace into diametrically,

vitriolically opposed camps.

To Trump and others condemning the protests � initiated by quarterback Colin Kaepernick

to draw attention to disproportionate and unjustified police violence against minorities

in the U.S. � anyone possessing the gall to take a knee, sit, or remain in the locker

room during the Star-Spangled Banner hasn�t an ounce of patriotism in their body.

To those supportive of Kaepernick�s and others� protest � whether or not they

concur with his stance � the Constitution of the United States protects their right

to demonstrate and must take precedence over any consternation against the act, itself,

no matter how untenable or disrespectful the president and his ilk find sitting for the

national song.

Who�s �right� in all this, for better or worse, has unfortunately metamorphosed

into topics of debate surrounding the flag, the anthem, patriotism, and putative offense

to military veterans � rather than discussion remaining centered on the evidential proportion

of Black and other minority Americans winding up in early graves at the hands of startlingly

trigger-happy cops, as Kaepernick has intended.

He wanted white America � and, specifically, policy-makers � to pay attention to the

lethal manifestations of systemic racism seeming to play out policing�s most abhorrent failures

in this nation.

Instead, the debate has taken a darker turn.

With this controversy dominating social media, keeping the facts straight and dispelling

misinformation is imperative; thus, the current diatribe against protesters � that their

defiance of tradition in standing for the anthem is somehow, itself, a racist act � needs

dispelling of the sharpest order.

Particularly because the anthem, itself, celebrates the deaths of slaves.

Yes, despite constant complaints from conservatives, who lament the inability to criticize Kaepernick

without being deemed racists, Francis Scott Key�s ostensively patriotic ballad contains

deeply racist overtones championing the untimely deaths of escaped slaves � and that it does

so might be the most pertinent reason for debating who should stand for the singing

of that song.

If, that is, anyone should � ever.

To indoctrinate citizens from a young age, governments around the globe impress upon

youth through repetition of such mainstays as the Pledge of Allegiance and anthem � but

rarely do verses other than the latter�s first ever reach the ears of ordinary Americans.

Perhaps it�s time they do.

As made plain at the end of the third verse, and pointed out by The Intercept last year

when Kaepernick�s protest first exploded heads, Key � who penned the troubling poetic

lyrics in 1814 � would not have needed to hide the unabashed white supremacy dripping

from hand to paper.

And it shows:

�No refuge could save the hireling and slave

From the terror of flight or the gloom of the grave,

And the star-spangled banner in triumph doth wave

O�er the land of the free and the home of the brave.�

For background into the writer�s mindset, it�s necessary to revisit the Battle of

1812, in which the United States sought to wrest control of Canada from the British � a

plan failed from the start due to overestimations of military might against the fledgling nation�s

foe.

Capitalizing on American weaknesses, the British gleaned an advantage early � enjoining slaves

free and captive to fight for their cause in return for a vow not to be sent �back�

to their �owners� at the conflict�s end.

It worked.

�Let the landings you make be more for the protection of the desertion of the Black Population

than with a view to any other advantage.

� The great point to be attained is the cordial Support of the Black population,�

an article in Harper�s Magazine, cited by the Intercept, quoting the Royal Navy�s

Admiral Sir George Cockburn.

�With them properly armed & backed with 20,000 British Troops, Mr. Madison will be

hurled from his throne.�

Families and individual slaves flocked to British ships at the tantalizing prospect

of freedom, as adult men were fitted to a regiment known as the Colonial Marines, which

took part in a massive attack on Washington, D.C. � and the torching of the White House.

On the night of September 14, 1814, the British launched an all-out assault on Fort McHenry,

and, as the Intercept continues, �Key, seeing the fort�s flag the next morning, was inspired

to write the lyrics for �The Star-Spangled Banner.�

�So when Key penned �No refuge could save the hireling and slave / From the terror of

flight or the gloom of the grave,� he was taking great satisfaction in the death of

slaves who�d freed themselves.

His perspective may have been affected by the fact he owned several slaves himself.�

Revisit the lyrics yourself, now � in light of this information � and contextually with

the current anthem controversy, Kaepernick�s call to end the injustice by police, and the

festering wound slavery impressed upon Black America, which plays out today in each of

the aforementioned ways.

�The reality is that there were human beings fighting for freedom with incredible bravery

during the War of 1812,� continues the Intercept.

�However, �The Star-Spangled Banner� glorifies America�s �triumph� over them

� and then turns that reality completely upside down, transforming their killers into

the courageous freedom fighters.�

Key never elaborated on the poem which officially became the national anthem in 1932, including

the contentious and oft-debated third verse, which drew a substorm of disputation for the

Intercept under the premise Key had intended the term �slaves� to refer to �sailors

who had been seized and press-ganged into the British navy.

(The impressment of Americans was a central grievance cited by the U.S in the lead-up

to war.)�

But Pulitzer Prize-winning professor and esteemed historian, Alan Taylor, of the University

of Virginia (incidentally, of course, the recent scene of deadly confrontations between

white nationalists and their opposition) calls the third stanza, �Key�s dig at the British

for employing Colonial Marines,� in his book, �The Internal Enemy.� Taylor � who

intones the impossibility Key would have celebrated the deaths of Americans held by the British

� also contends,

�American rhetoric of the time cast the impressed sailors as defiant and unbroken

by British might � as the exact opposite of the slave.�

Further, Key himself didn�t shy away from the establishment�s fondness for slavery

� even capitalizing, literally, on the business of returning escapees, as the outlet reports,

�In his work, Key was the prototypical Washington lobbyist.

In the 1820s, he parlayed his celebrity as patriotic poet into a lucrative law practice

helping clients with business before the federal government.

During this period, Key also represented slaveholders attempting to retrieve their escaped �property.�

In time, Key became a confidant to President Andrew Jackson.

He was, in today�s parlance, a Washington insider.�

A single article could never pretend to touch the complexities of the Star-Spangled Banner,

Key, systemic racism, slavery, or even law enforcement origins as slave patrols and the

resultant brutality in 2017 � but the undeniably pro-slavery position touted and the precise

timing and reasons for the author�s statement in verse should not fall to the wayside in

deference to vapid indignation about patriotism.

We have an obsession � if not an inexplicably servile devotion � to symbols, in America.

Judging by the near-violent reactions some display to a quiet protest like kneeling for

the anthem, the fixation has been detrimental to evolution of national principles away from

those of long-gone white men to a modernized, inclusive quest for liberty for all races

and creeds.

Even veterans disagree on whether Kaepernick should or should not have the right to protest

� an odd development indeed in the Land of the ostensibly Free.

Sit, stand, hide, or sing � whatever action, if any, you take upon the singing of the Star-Spangled

Banner, it would behoove this country to finally dissect its shameful slave-holding past.

Better still would be championing freedom for all to express themselves as they please

� including the calling out of myriad stale symbols of oppression still very much a part

of our culture, when they should have been scrapped ages ago.

For more infomation >> No, Anthem Protesters Are Not Racist — But the Star Spangled Ban - Duration: 9:32.

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Trailer - Three Girls - BBC First - Duration: 0:31.

[Laughing]

Would you like to tell me what happened?

[Sobbing]

How many victims?

47

They're drowning in it

[Crash]

We're talking about 13-year-old girls

What this investigation needs is open minds