Blue_Opossum

Morning of November 29, 1981. Sunday.



I am back in the living room in Cubitis, more in the southwestern area of the larger room. It seems to be “isolated” somehow and I am perhaps the only one in the entire region. There is a very vivid awareness of the type which I would label as a type of “faux lucidity”, as, even though I am fully, consciously aware and it is so vivid, I am not certain of the nature of the “level” of my dream (regarding the particular “eerie” band of consciousness), and so see it as a potential aspect of really being fully awake at the time - it is an unusual state of knowing you are dreaming, yet still thinking you are somewhat conscious in an actual place with eyes open - a bit hard to explain, I think.

In one area to the south, near the left; the narrower section of wall at the end of the hallway (that was to the right of the kitchenette entrance though the layout is distorted), I see a large shadow slowly and very smoothly sweep across that area on the wall. It is shaped like a bird, seemingly a raven. There is an unusual sense of timelessness. This exact same theme (and very similar imagery) repeated later on (a few months later), but seemed to occur at an open construction site late at night in Wisconsin rather than my old Florida home as here.

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Over time, this seemed to create the phrase within my mind - “time is raven-winged”, (a possible play on “time flies” though also in the context of time being a “scavenger”).

This may sound negative, but we (my wife Zsuzsanna and our two oldest children at the time) had a positive enriching experience with helping an injured raven in real life years later.

The bird shadow symbol (usually rendered as being in flight), sometimes “sweeping” though sometimes falling, which primarily represents the waking point itself, has been common in a number of my waking transitions since early childhood. “Frozen” and motionless bird shadows with no source projected onto a stage used as a living space by a female tulpa was an extremely vivid scene in a dream of recent apex lucidity of the type of augmented awareness that almost surpasses real life perception. When your mind is able to freeze the birds in flight rendering to where only the hovering shadows are projected, that is near-ultimate dream control.

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Morning of November 9, 1981. Monday. Last reviewed and supplemented on Friday, 28 July 2017.



I become aware that I am sitting on the left arm of a couch in what seems to be the Loomis Street house. However, there is a feeling that the orientation is rotated in layout from the south wall of the living room to north wall of the dining room, so that the left arm of the couch is on the east side rather than the west side. It is not known if my dream implies that the living room and dining room have exchanged their locations as I am not focused on much other detail. I do see that there is a small side table on the left of the couch, which has at least a lamp and a rotary telephone. Still, it might be implied that I am in the dining room rather than the living room as I am vaguely aware of what could be the kitchen entrance farther off to my right rather than what would otherwise be the entrance from the porch.

An unknown male is sitting on the couch to my right, but not that close to me at first, only close enough to just reach me with his left hand. He seems to be an unknown and unfamiliar door-do-door salesman, possibly in his thirties.

He has a large snake hand puppet which covers nearly his entire left arm. It is not that realistic, though not as simple as a sketchy cartoon-like model.

He does not try to convey the idea that the puppet is talking though he does makes its mouth move. He does not seem to express that he knows that I know it is just a puppet. Perhaps he does not realize that I know it is just a puppet. (This is not certain.)

At another point, he mostly seems to remain behind the left side of the side table on the opposite side of me (to my left), reaching around with his left arm from the front. I make no attempt to acknowledge him or communicate in any way. Although he does not seem threatening, I remain annoyed, because I feel he is being childish, especially as my dream self identity is probably about twenty years old and such an approach is not what I would consider entertaining or even amusing. Although it seems he would have had to teleport to change position in this way (as I did not see him walking or moving to my knowledge), I do not think about his location changing as such and curiously, I do not see him as an imposer, only an annoying person of whom I do not reflect as having any backstory in this scenario.

When I awake, my left arm is numb, due to having my weight on it. (This is not a common event.)

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I do not believe that this dream is relevant to my conscious self’s day to day reality, and therefore, I do not believe that it has an “interpretation”. Here is why I believe this:

I believe that my awareness of the lamp on my left solely relates to my potential to become more aware in real time within my dream. I believe that the telephone on my left relates to either potential real-time communication with other levels of my consciousness or possibly thoughts perceived as originating from other people. I do not believe that there is any more to it than this because the experience is in real time, and is not a “recording” to “interpret” after the fact. (After all, in real life, you would go by what you experience as it is happening, not make claims that features like lamps or tables were something else the day before.)

The fact that I am “sitting on the left arm” of the couch rather than its seat implies liminal awareness that there is compromising weight on my left arm as I sleep.

The personified preconscious’s form as a door-to-door salesman implies a persona or feature that I would perhaps only see once, or at least not very often. The puppet is on his left arm, which means he is, in a rather odd and indirect way, trying to relay that my left arm is in a problematic position.

A puppet in a dream, in previous dreams, has been validated to be an “invitation” for my dream self to take control of my dream (though this same symbolism has also been validated as such in non-lucid dreams in most cases). In this case, it seems more about waking up and gaining control of my left arm.

Biological waking symbolism (more specifically, paresthesia waking symbolism) is the foundation of this dream and there is no reason to read more into it other than perhaps signifying the snake as a healing factor in getting my arm to move correctly again. The fact that the snake is not that realistic may be because my arm does not have its full natural use at the time.

Note that I have studied a lot of dreams in which a snake features. A snake often has completely different meanings in different dreams, which only the dreamer of the dream can come to correctly resolve.

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Morning of October 27, 1981. Tuesday.



I find myself wandering through an area near a fictitious outdoor café in Arcadia, Florida, on West Oak Street, near the Tree of Knowledge. The sidewalk is over twice the width it is in reality. It seems to be late afternoon even though an unlikely mist seems to rise from the ground at one point (but does not rise above my waist). (Mist such as this is a dream state indicator, a factor of the dream state itself.)

I begin to cheerfully interact with schoolmates and four of us sit down at a small round table sheltered under an umbrella. Eventually, our waiter approaches. He turns out to be Roosevelt (a former classmate and friend), but he is walking slowly from the south with his arms horizontally up in front of him as if mocking the sleepwalker stereotype (as seen on “The Honeymooners” for example), with his eyes rolled up so that only the whites of his eyes are visible. He is now apparently a zombie (the original meaning, not the popular modern misuse of the word). There is no threat, only seeming pretense. The situation seems rather comedic and I sense we are all being filmed, though I feel that Roosevelt is more aware of the supposed script. (Roosevelt is this dream’s personified preconscious. He is acting like a “zombie” or sleepwalker to make my dream self aware that I am dreaming, although this often does not work as my non-lucid subconscious self does not have viable synaptic gating to perceive my conscious self identity as in waking life. This factor has been rendered in the majority of my non-lucid dreams, which is unrelated to the myth of “interpretation”.)

Time passes, and more and more people apparently become zombies, who mostly roll their eyes up and mainly just walk around slowly with their arms stretched out in front of them like sleepwalkers, not any sort of threat at any point. I notice that the whole town of Arcadia has taken on the look of Dodge City as it appears in the “Gunsmoke” television series, though more like an isolated ghost town (which has occurred as a setting in other dreams).



In my dream’s final segment, I vividly hear nails being pulled from wood and thin boards being pulled apart with crowbars and I see that all the large old wooden buildings were only facades over the “real” commercial buildings, the facades now all being taken down, as the movie’s filming has apparently ended. All the “zombies” are seen to be actors in a new comedic movie featuring Arcadia as a tourist attraction inhabited by bumbling zombies. Behind another series of wooden facades (which are also being taken down), I see Lake Katherine (which is incorrectly rendered as being just north of Oak Street and the Tree of Knowledge). A single motor skiff moves through the water, being steered by an unknown cheerful male of perhaps thirty, who turns his boat to go right of my viewpoint (waking factor orientation). I feel a strong and clear sense of joy and happiness and the clear awareness of the sun rising and birds singing as my dream self focuses on the wakes left by the boat, and I think “wakes” as I am waking (which has happened in a number of other dreams, which of course is very amusing waking process autosymbolism in a dream that reflects the dream state itself in every way imaginable, including the facades being taken down; autosymbolism for the start of the final waking process and the breaking dawn waking autosymbolism; the end of the illusory dream state).

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Morning of October 24, 1981. Saturday.



I am in a music store that is similar to one in real life (in La Crosse). At one point earlier on it seems I am having two dreams at the same time (not all that uncommon for me when considering the different types of parallel dreaming and ambiguous “junk” composites). My alternate dream solely involves Toby T urinating outside against the outer wall of an old brick apartment building (of about four storeys) seemingly in the early afternoon in an area where people see him from the windows of the second storey. No drama unfolds, though this causes me to see him as eerily disrespectful and possibly even perverse for some reason.

Meanwhile, my main dream involves trying out new electronic keyboards in the store, including electric pianos. I do most testing while standing and trying the ones near the counter. The ones I try are not really suitable. Mostly, I continue to test with Beethoven’s “Für Elise”, but in every case, there are not enough keys to play the full range of the song (though I seemingly try to adapt in some cases). Some of the keyboards are not even made correctly. For example, the black keys go all the way across (or with too many in a row) instead of having the C# and D# two-black-keys sections as apart from the F# to A# three-black-keys set, thus making it impossible to tell what notes you are playing - note the wrong keyboard design with this entry that apparently actually exists (I did not change the image). With a couple of the keyboards, the keys are just too small, rendering it unplayable (as with some portable ones in real life - unless played by a child). One keyboard does not actually seem electric, just like an odd miniature piano with only about a two octave range. A couple products seem fake, or at least not feasible as a usable instrument.

I say to no one in particular (though likely more directed at the cashier or perhaps the manager if he is nearby at the time), “How do you expect me to play Beethoven on a piano like this?”

At one point, I pick up an accordion and my dream starts to become more and more vivid. When I attempt to play some keys on the accordion, it actually starts “singing” in layered human voices, somewhat like a barbershop quartet. All it sings is the musical phrase “strawberry fields forever” and I am filled with awe and enhanced perception. However, even though I am becoming lucid at this point, I soon wake.

This dream was precognitive (though solely from my personal perspective) as it was some time before I ever actually saw or learned more about digital sampling keyboards.

Morning of October 17, 1981. Saturday.



In this dream, I am walking with my old science teacher from high school when I lived in Arcadia (though we seem to be in Wisconsin in my dream). There is a mix of other males including a couple classmates from WWTC (WWTI at the time), and some coworkers from Eco (Ecology) 3 in La Crosse. We are walking through a large wheat field which seems to go on forever at first. The science teacher (who is male, but not very intelligent for his station) is talking on and on about something, but it is not clear what he is saying. I believe it may relate to whatever job is being set before us all to do.

Over time, we seem to be at work somehow getting wool from the wheat field (rather than from sheep - yet it is somehow still sheep’s wool), as some sort of industrial product for other companies. Eventually however, I am the only one left in the field, as everyone else is gone.

Over time, I find my way into a machine shop similar to the one I worked at in real life (Eco 3), but it seems to be abandoned. There are piles of wool sitting randomly askew over various punch-presses and drill-presses, much of it hanging off the edges. There is a strange mournful feeling as if everyone else had died or perhaps abandoned their life’s purpose. Later on, the pure white wool seems to have naturally changed into dirty or tainted “steel wool” from just sitting around for a long time - but is like wet, rusty iron (in a sponge-like form) that crumbles fairly easily, as if the workers did not perform their duties in time, I think, or again, perhaps all died before finishing their work and so the factory was then perhaps closed or abandoned from there. It seems an enigma, though.

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This dream dramatizes oversleeping. The dream state is represented by “wool” (and the field is recognized autosymbolism for liminal space, a specific level of awareness in REM sleep) and then the iron manifests as potential thinking skills and logic that is only viable in consciousness. It becomes rusty from both physical inactivity in sleeping an hour or so longer and the slower Saturday morning waking transition. The association with “steel wool” and its appearance may or may not be incidental, though again, the metal is mostly perceived as rusty iron, with steel typically associated in waking life with “stainless”.

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Morning of September 29, 1981. Tuesday.



A seemingly shorter dream (after a series of unrelated dreams), deemed shorter in conscious afterthought (which consequently probably seemed much longer than it was, almost “timeless” at the time) involved a boy’s spirit (a young boy, Scott R, who my sister was watching in real life at the time, as his mother had abandoned him) somehow becoming part of a bumblebee, yet also moving about in an invisible “cloud” of some kind at the same time. He is singing a melancholy song about being a bumblebee. One line is “Beh-beh-beh-bumblebee” (which is not a stutter but a slow musical intonation). It almost seems like a sort of prayer as well as a “cheerful” yet somehow mournful inference.

At the waking stage, he lands on the top of the south fence of the backyard of my sister’s house on Loomis Street, which divides her backyard and the neighbor’s backyard.

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This is part 2 of a random but extensive set of dreams pertaining primarily to fence autosymbolism (which means it is inherent to the dream state, not waking life). A fence is rendered as a metaphorical barrier between the dream state and the waking world, though can also serve as induction and dream state revivification in some cases (though not as often as doors do in my case).

In addition to liminal space autosymbolism, the very common dynamic of vestibular system correlation is present, with a bee as representing synaptic gating (due to the association with a bee “buzzing” and loosely associated with electricity as such). Thus, the bee is the preconscious factor of this dream. (The preconscious is often personified, and because the bee seems to have Scott’s essence on one level, it is partial personification here.)

An additional but inexplicable factor is that the boy (Scott) also had the same dream during the same time period (though from his viewpoint as actually seeming to be a singing bee). Most people do not accept shared dreaming (or in fact anything they cannot explain) even though I have experienced it continuously since earliest memory, especially with Zsuzsanna. However, this series is for explaining fence autosymbolism and to help rise above the deception of “interpretation”. People will believe whatever they want regardless of someone else’s knowledge and experience. After all, each life is unique.

In part 1, I wrote a little about the relevance of the rabbit. In that dream, it was a factor of returning to deeper sleep (even though it occurred during what would otherwise be the waking process), while this dream is a factor of closeness to waking (and was the last dream of my sleep cycle). (The rabbit goes under the fence but is stuck for a time within the fence itself. The bee in this dream lands on the fence with the assumption it will keep flying. Neither dream relates to waking life, but the dreaming process itself.)

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Morning of September 19, 1981. Saturday.



Summary of meaning: It seems in this dream there was a subliminal suppression of the preconscious (in me not wanting to wake immediately). I assume this due to the checkout dream exit symbolism being sustained by the cashier not being present. This took (presumably) a book being dropped behind the counter by the unknown dream character (preconscious assumed, as this act wakes the aardvark) to activate the transformation into my emergent consciousness, as a book is a symbol for a more discernible dawning focus and utilizing critical thinking skills.

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This was a rather ridiculous dream as dreaming of talking animals is not that common for me. The location seems to be some sort of unusual atypical composite of my sister’s house (Loomis Street), the main La Crosse library, and with features of a grocery store.

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At one point, there is an unknown female near what is seemingly a checkout (though I am not sure if she is buying groceries or checking out a book - it is quite ambiguous and hard to discern all the imagery at first). There is no one at the checkout however, and she also seems to drop something behind the counter on the other side, possibly a book.

My dream becomes much more vivid after this. A talking aardvark wanders out on four legs, from behind the counter, seemingly both complaining about people as well as talking about something he seems to find enjoyment in, wobbling off to my left and more in view at times. (It seems that what fell behind the counter possibly startled him, though there is a vague association that he was meant to be the cashier and somehow transformed.) My dream soon loses cohesion after this.

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This seems like a typical dawning consciousness dream (though with unusual emergent consciousness waking symbolism), but why did my transitional waking self (projected form) become an aardvark prior to waking? It is possible that the talking aardvark came from an association with the blue aardvark from “The Pink Panther” cartoons. Apparently, one of the names, Claude - as used by the ant according to one resource, is my first name, and I vaguely recall having seen this particular cartoon at least a couple times, thus that might be the main influence here.

The dream exit symbolism here is based on a checkout analogy, as the dream self leaving the dream.

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Morning of September 12, 1981. Saturday.



This dream was mostly uneventful but had some strange scenes. One is of a man walking down the sidewalk who seems to be wearing a goldfish bowl on his head complete with a goldfish swimming around although everything inside the bowl is green. His face does not quite look human, though, but it is not really menacing.

There is also some sort of adoption agency on that same street (seemingly one of the commercial streets in La Crosse, probably where “The Dragon’s Lair” video game parlor was at the time in real life). I see an “elf” who resembles the boy my sister Marilyn was taking care of for some time (even traveling to Florida when my family then moved back to Wisconsin with my sister and her husband helping out).

It seems elves are now interacting more with humans and some of them are being adopted from the nearby agency. I see an older man (possibly a relative of mine, I think, but I cannot identify him - there is a slight resemblance to older brother Earl) - and he picks up the small male elf who is mostly in green (and about the size of a four-year-old) and the elf says, loudly and clearly, as he sits on one of the man’s shoulders after a hug, “Oogaly oogly” (that is “oo” rhyming with “fool” and pronounced out as oo-ga-lee oo-glee).

It could be a play on “ugly”, but not sure why. It may have something to do with the fact that my sister did not get to adopt the boy because his real mother decided she wanted to keep him after all.

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Morning of September 8, 1981. Tuesday.

Dream #: 5,377-02. Reading time (optimized): 1 min.



I am in high school in Florida (living in Wisconsin in reality). It is a tenth-grade class with an unfamiliar female teacher of about twenty years old. I do not recognize other students. The classroom’s orientation is to the east with the entrance ahead to my left.

As the teacher speaks, her class does not pay attention. I do not feel as if I am in the setting in the last scene, though it is more vivid. I feel sad the teacher is not getting her point across. There are details from history about Napoleon and the French Revolution.

In the row to my left, about two seats ahead is a tall student with an unusual appearance who reminds me slightly of the RanXerox character. He holds his hands out in front of his chest and over his desk. He makes a gesture that implies “digging through the air,” like peddling an upturned invisible bicycle with his hands. He looks back at the class with sarcasm for the teacher, seeming to imply she is not worth hearing.

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My father made a novelty bicycle in the late 70s that he could pedal with his hands. The RanXerox character reminded me of a coworker (though I saw him as a classmate in my dream).

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“Dig” has opposite meanings. It can intend something positive (as in “I dig this teacher”) or define a sarcastic, taunting comment. The hand movement could infer a revolution (French Revolution) or an analogy to digging a hole for sleeping.

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Morning of August 16, 1981. Sunday.



This was a somewhat disturbing dream (in some ways) that related to Santa Claus, strangely enough. However, it all led up to one obvious pun in the end. I sometimes wonder about these “building up” pun dreams. What if you wake up before the outcome or “intended ending”? I suppose this means that the pun is never heard or realized, but what if the very reason for the longer aspects was to prepare for something that my dream did not finish, such as the “punch line” so to speak? I am sure that happens all the time regarding any setup that is not resolved before waking - thus many dreams remain “unfinished” for many different reasons (for example, when you wake from environmental noise, physical discomfort, change in consciousness, etc.).

In my dream, Santa Claus is after some sort of new element that will enable him to fly his sled faster and without reindeer. This is a rather strange juvenile dream, I suppose, for a young adult to ponder, and not even anywhere around Christmastime as it is.

The element is called Saturnium. He uses his elf minions and sycophants to hunt down any trace of the element. He gets closer and closer to attaining enough and at a later point, I enter into the actual scenario and I am then seen as “physically present” for the first time. I approach him and sort of break into the flow of the (implied) “movie” and I ask him what he will do with all that Saturnium. I ask specifically, “What will you use it for?”

He grins in a menacing manner, sitting on his throne (with gold backing) in some sort of large seemingly commercial business building or warehouse where he apparently lives. He responds by saying “My sleighing (slaying) will soon begin”; meaning to kill, rather than for a Christmas “sleigh” - all this dreaming for one bad pun in the end. There was even a different “broken” dream (a partial “reset” from around the same time period) where this whole thing repeats - but it is me who answers my own question with a question relative to the play on slay/sleigh and Santa does not speak; he only smiles menacingly to confirm that the answer is “yes”. One comment I make, “to build your slay?”, does not really make that much sense as the implied pun.

Morning of June 23, 1981. Tuesday.

Dream #: 5,300-02. Reading time: 50 sec.



I am in the Chipmunk Coulee region in Wisconsin, where I have not lived since I was about five years of age. I am in a clearing just outside a wooded area on a hill. It seems isolated, peaceful, and beautiful. I am unaware of anyone else.

Eventually, it is nighttime. I see a big bright greenish-yellow light that I cannot identify. At first, I think it may be a spacecraft. As it comes closer, I see it is a giant firefly, about the size of a small airplane. It does not seem to be a threat, though there is a sense of puzzlement and wonder.

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[projected transitional vestibular system correlation]

This event type, though always different in each sleep cycle, is a result of projected anticipation of the waking process itself and stems from the correlation of the imaginary physicality of the dream state with my legitimate physicality and orientation.

Yellow (especially as light) is a factor of emerging consciousness associated with sunrise, often only discernible in the final stage of a dream.

I anticipate the dream state as being unlike waking life. The result of my thought creates a UFO, but it resolves as the increasing mental energy of my emerging consciousness. The result is a positive and wondrous association.

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Morning of June 7, 1981. Sunday.



There is a great battle between a hummingbird and a mockingbird near a fence on the “edge of time” or near where nothing else exists, as if it means the fate of mankind. I hear a voice say “the hummingbird rivals the mockingbird”. It also appears in print like some sort of important adage.

This dream combines a couple unusual associations related to the “song” of both birds. There is an old joke about the hummingbird “humming” - “because it doesn’t know the words” and a mockingbird “mocks” the songs of other birds, apparently.

Additionally, there may be a play on “hummock” - a general geological term referring to a small knoll or mound above ground as a subtle link to a grave - or to human mortality.

Morning of December 22, 1980. Monday.



It seems that I am watching an episode of “Sesame Street” being filmed (or some sort of television special related to the usage of muppet characters). I can see a large television camera aimed at an area that appears to be a wall of about four feet high or more. The muppets are randomly moving about (waist up only as in the real television show) in a mostly featureless setting, but there appears to be a party atmosphere of some sort.

One of the unknown typical “hairy” muppets goes out of camera range and the person controlling him comes out from the left side of the wall, goes in back of the camera and comes around to go back on scene from the other side to within camera range. Eventually, several others do this. This is realized in-dream as a “fake pass” (almost with the sense I am “learning” something) and supposedly makes it look as if a lot more muppets are moving about, especially as some are changed in a minor way before moving back in front of the camera. Not much else happens.

Morning of December 21, 1980. Sunday.



I am back in high school in Arcadia, but some of the students seem younger than would be typical. There is a (unfamiliar; unknown) mean-spirited freckled boy wearing glasses. He insults me and a couple other students by usage of the term “tackletoes” (or possibly written as “tackle toes” or “tackle-toes”). I have never heard the term at all in real life to my knowledge (and the real name for this condition is “hammer toe"). In my dream, this (fictional?) insult is both against people who have a strange condition of where all their toes are bent up in an upside-down “v” shape as I later see illustrated in a dictionary in my dream along with the term’s entry, as well as having a meaning of implying someone that gives up easily or cannot progress in life (in the sense that one has been “tackled” by someone else, it seems).

There is a fictional association (false memory) in a shorter false awakening state, being aware that my brother-in-law had often used this nickname for me. The only nickname I had ever heard him use like this in reality was “twinkle toes”, though rarely. This of course was a typical insult that was far more relevant to the one who used it (as is often the case with insults of any kind), as Fred Flintstone was sometimes known as “Twinkle Toes”, and my brother-in-law actually reminded me of Fred Flintstone at times.

Night of December 20, 1980. Saturday. (My 20th birthday.)



There is a lot of clarity and vividness but I have only a semi-lucid awareness. I am traveling on a mostly enclosed rollercoaster and going up but eventually I am horizontally riding through what is almost like a car wash. This dream is somewhat glitchy in its augmented energy as undefined forms move about and I can almost make out waveforms moving in the air in some areas or detached miniature wings (that move on their own with no implied body, bird or otherwise).

After I move through a doorway (consciousness shift) that still has the essence of a car wash, my dream becomes astoundingly vivid though still glitchy and with an odd ambiance. I look to my right and see a sparse Christmas scene. Santa Claus is seated on a thrown. He leans forward and opens his mouth fairly wide in an odd “silent bark” at me. I am vaguely aware of a very slight sound which is only slightly like a lip-smacking sound. I feel vaguely threatened but he remains sitting, looking a bit crazed.

Eventually, I climb down from the mostly enclosed rollercoaster as if climbing down over a stack of broken bed frames (dream sign).

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There are a few typical generic dreaming metaphors here, including detached wings (this dream’s flight symbol), which here actually relate to the incorporeal essence of the dreamer (even though I do have a “dream body” in this particular dream), and the rollercoaster (also a form of “flight” since it is metaphorical for the consciousness shifts that occur in the dream state), which becomes a stack of “broken bed frames”, which is analogous to the dissolution of my dream in addition to a play on “climbing out of bed” after my dream ends. I have only had a few “bad Santa” dreams. In most of these dreams (including a few where I was either the “real” Santa, implied to be a temporary stand-in, or where I wore the outfit) there is either a sense of great joy or no particular dominant emotion. The car wash aspect may relate to cellular functions or other bodily functions (related to cleansing, such as especially with the liver or kidneys) while in the dream state though on another level is another form of water induction which is very common in my dreams.