By Benjamin Radford
Undesirable clowns—those malicious misfits of the halfway who terrorize, hang-out, and threaten us—have lengthy been a cultural icon. This publication describes the background of undesirable clowns, why clowns move undesirable, and why many of us worry them. Going past conventional clowns similar to the Joker, Krusty, John Wayne Gacy, and Stephen King’s Pennywise, it additionally positive aspects weird and wonderful, lesser-known tales of peculiar clown antics together with Bozo obscenity, Ronald McDonald haters, killer clowns, phantom-clown abductors, evil-clown panics, intercourse clowns, carnival clowns, troll clowns, and masses extra. undesirable Clowns blends humor, research, and scholarship to bare what's in the back of the clown’s darkish smile.
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Extra resources for Bad Clowns
He wears ripped white gloves and sometimes employs a squirting rose that may or may not contain urine. He has the classic dual cones of hair on either side of his head like Krusty the Clown. His undersized, floppy green hat is adorned not only with a knife and a star (a classic cartoon trope signifying pain) but also prominent piratestyle skull and crossbones, which seems ironic only if you know nothing else about him. A clown in the Robert Williams painting Two-Fisted Buffoons (see chapter 7 and plate 16) is also adorned with a similar skull and crossbones pattern.
Though clowns play the fool, they’re usually smarter (and even more bitter) than they look. Obnoxio comics are littered with literary references, including allusions to Ray Bradbury, George Burns, and “Uncle Floyd” Vivino—who was also the subject of a 2002 David Bowie song called “Slip Away,” from his album Heathen. In 2001, Uncle Floyd appeared in a cameo as an announcer in a bad clown film by Insane Clown Posse titled Big Money Hustlas. As seen in his comic book, Obnoxio lives in a run-down New York City apartment with ratty furniture, empty wine bottles and papers strewn on the floor, along with what appears to be at least one rat and an armadillo.
Noel Carroll, discussing the interplay between humor and horror in the Journal of Aesthetics and Art Criticism, notes, “Standardly we do not laugh at our horrific monsters. . Fear must be directed at something that is perceived to be or believed to be harmful. One cannot be afraid of something that one does not believe is harmful. , that they are mind parasites from an alternative universe” (Carroll 1999, 150). Carroll attributes fear of clowns in part to their inherent impurity and defiance of easy categorization.
Bad Clowns by Benjamin Radford