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Morning of February 15, 1975. Saturday (a day after Valentine’s Day, which seems related).



Like a lot of my dreams (especially when looking just a tad deeper) this one had intriguing word plays as well as layers of apparent long-term precognition as is often the case (when the precognition is far more impersonal or only indirectly related to my real path) - which is oddly foreshadowed by pop culture references as well (and I have not been the only one to notice this - there are a lot of articles on this phenomenon).

The setting of my dream seems to be some sort of modern “castle” but is actually a distorted version of my brother Earl’s house during the time he lived in Cubitis several houses south of us on the same side of the highway. My mother would sometimes walk down to get a ride into town when his wife was going to work at Tinsley’s IGA store.

The house has a smaller fictional room on the west side (in what would otherwise be the front yard), connected to the main hallway, but where there is only an outside wall at that point in reality (but which eventually leads to the large living room at the north end of the house - it was actually a bit similar to our house). There is a fictional character who seems to be a variation on the “mystery girl”, who is a witch, and who goes by “Willow o'the Whip” (or “Willow of the Whip” - meaning that she uses a whip). She dresses a bit like the Heidi character (from the infamous Heidi Saha poster and magazine) but is not her and seems a bit older as well. This is a distortion of a real-life phrase regarding eerie swamp gas sightings, known as “Will-o’-the-wisp” (or variations thereof), which I incorrectly wrote in my childhood journals as “Willow-the-whisp” (could not spell back then, either). On a side note, there was a rumor that the Saha magazine was published and then recalled and destroyed because of its “scenes of torture” and exploitation of the model (which I think got confused with the model kits related to the ads from Warren magazines, which actually did have a miniature torture chamber). I guess people will believe anything except something that makes any sense. (How do you “recall” a magazine that was already sold and read, by the way? It’s not exactly like food or a defective product.)

At any rate, there isn’t much drama or interaction. I am aware that a “sacred” whip exists and is kept in this special smaller room. For some reason, when the door is opened, a mist flows in. The whip is a cat o’-nine tails (which is written at least a couple different other ways). There is also something about getting Valentine’s Day candy - a white heart-shaped box tied with a red ribbon. The “mystery girl” gives this to me. The whip supposedly has magic powers along the lines of a magic wand (or relative to Wendy the Good Little Witch’s magic wand, it seems).

At one point, the whip seems to be missing and I am very annoyed and seek it out. There is also an idea (or a possible in-dream “reset”) that the room was actually like a vault at a bank, when regarding the whip as a rare and magical treasure.

Again, as with a lot of my dreams, there are numerous layers and even Pascal-Triangle-like constructs. For example, some associations (as well as nine of “cat o’-nine tails” being “my” number as “Yang”):

Willow was associated with a female witch, whereby, much later on, a witch named Willow was on the television series “Buffy the Vampire Slayer”, based on the movie from 1992. There was also a completely unrelated movie relating to witchcraft, called “Willow” from 1988 (but which was the name of a dwarf). This was during the time when I first started having my mystery-girl-based panic attacks in public (and almost passed out in the theater when seeing this movie - not sure why) which stopped just shortly before I saw the PAIA ads in 1991 (and was precognitive to several dreams) and worked out the “mystery girl” was a real person all those years (since earliest childhood, in fact - thousands of layers coincided over a lifetime, including the exact location I used to “stare at” as a boy from the other side of the ocean) - and thus we married in 1994.

Still, another layer relates loosely to a relative/ancestor due to the fact of a weeping willow being on his tombstone, though this was fairly common according to resources - I just did not know it at the time. It was also loosely related to the fact that he was supposedly kept in a “dungeon” (or at least underground or a “prison pit” or whatever) and supposedly whipped by someone called Proctor according to my father. According to one website, he was “appointed Major of the Second Regiment in place of Lewis Bond, declined.”

In my dream however, I did not associate the whip with anything negative, and again, it was supposed to produce a form of magical energy when swinging about in the air. I also used a whip (on the ends of silver oak branches) in real life as a teen and it put harder muscles in my arms then when weight-lifting.

Morning of February 14, 1965. Sunday.



This was a very long early childhood dream with “resets” - and it also recurred later, though the main longer-lasting and more vivid and emotional one was on that cold Sunday in Chipmunk Coulee. I had been able to determine the exact model of the car as I grew older. It was a red 1922 Phaeton in the dream. Although I had at times associated it with a Ford, the actual proper term is apparently “1922 Lincoln Phaeton”. In this early childhood dream, one of the most vivid of this time period, my father somehow “was” the car. The car becomes involved in an accident somehow (or goes off the road) which I do not actually see occur (but does not really show more obvious damage in-dream) and is apparently red because that is the color of the blood that was from my father which supposedly “painted” the car - being a melancholy perspective rather than more macabre. Interestingly, there were no other cars in the dreams, so one assumption, in having a clear understanding in-dream that the car “was” my father, I thought maybe the car had just stopped working rather than being in an implied accident - and there was also something regarding the thickness (or “wearing down” by the environment) of the car body’s coat of paint. I see it parked in the middle of an old back road in the coulee region at different points near mostly dense forests. My father did not have any health problems at this time. Actual health problems were not more apparent until 1969 and into the 1970s when we once again lived in Florida. Because we had moved between Wisconsin and Florida a couple of times, there was also a problem at one point with my father’s blood circulation and blood thickness relative to climate adjustment later on.

My father actually died on February fourteenth of 1979 (from blood clots) - Valentine’s Day (and I have had dreams on other Valentine’s Days involving parental loss and such), but that is not the main unusual aspect of this. After his death, when I lived on King Street (on my own for the first time) I was given a couple special edition car magazines discarded from a local book store on the south-side of La Crosse. Interestingly, there was a larger fold-out in the middle of one - of the “same” red 1922 Phaeton. I had it on my wall for several years, which sort of created an unusual “retroactive” mood and “continuity” at the same time, regarding the dream. It really made an impact on the nature of my life and personal path, almost like giving me more “grounding”.

That is not all of course. I also consider this a type of “artifact” event, which happened with a couple other patterns (including a light green pendulum-shaped wall clock), and with another one (relative to the mole cricket/lobster “hybrid symbolism” seemingly coming out more or on the horizon so to speak). The 1922 red Phaeton appeared in other dreams in my youth (even before I had the poster). It became the in-dream “car of choice” in some dreams involving the “other” (a female classmate that seemed “in competition” on the spiritual plane with my wife-to-be, before I knew the mystery girl was actually a real person).

Although the majority of my dreams were precognitive in highly precise ways, often in ridiculous, impersonal, and trivial ways (such as dreaming detailed Harvey comic book plots just prior to seeing and reading them in real life, as well as new television commercials), I consider this dream element more of a personal and paranormal nature because of the lifelong time period involved and because of the several layers. Another layer was that a slightly similar reddish antique car appeared in the movie “Fear No Evil” from 1969 and it went off the road, crashing - which actually strangely tied into my dream themes regarding the “mystery girl” and the “other”.

Most mainstream people or westerners would likely find it amusing how I believe certain movies (certainly not all - it depends on the person regarding their associations) have such a strong influence on dreams and even the nature of precognition and self-fulfilling prophecy, almost like a cycle of liminal associations “feeding off each other” - after all, imagery is an extraordinarily powerful force regardless of the source (and of course I remain perplexed at why so many people dream about zombies when this aspect is completely lacking from my dream life and always has been other than one or two comedic ones in my lifetime regarding the old-school aspect of so-called zombies). I have seen amazing examples of self-fulfilling prophecy in movie associations, often absentminded reenactments by other people, sometimes somewhat startling. People sometimes dismiss the paranormal nature of certain types of dreams because they claim people seek and find patterns where there is no actual connection, which is ridiculous because of the very nature of fractals in all things, something humanity seems to only be learning about now (but which I knew of as a young child). I do not look for patterns; patterns find me.

Although other types of cars have featured in my dreams later on, including the red 1958 Plymouth Fury (“Christine”), none have held such a dominating place and seeming importance as the red 1922 Phaeton. This was solely a “dream car”. I never had close contact with one in real life.

Morning of February 9, 1975. Sunday.



The original 1975 title for this was “It Didn’t Work”. This is the first time I have changed the title since then to be more descriptive.

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I travel with a friend and schoolmate, Kenneth Hill, to find my “mystery girl” who I am supposed to marry in Australia in a couple months. I keep going as far as I can to the southwest, thinking it is a short walk from my home, sometimes going southeast, such as towards where the train tracks and farms beyond are in real life (although some scenes and changes of direction seem like typical dream “resets”).

Along the way, his foot gets stuck under a railroad track rail, but I save him by pulling on his arms to help him get free prior to the train arriving. It seems to be afternoon at this point. (This actually seems to be just beyond my backyard, though I pull him westerly back towards the backyard, so our implied direction keeps changing.)

Time passes. We reach a door. Kenneth stands directly to my right. I open the door in a hallway - as it now seems as if we are still in my Cubitis home, the fictional door being on the west wall (but seemingly in a different area than the hallway closet door, more to the south) and I only see the ocean beyond, starting directly from the doorway.

“It didn’t work,” I tell him sadly as my dream fades.

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This dream occurred years before I knew my “mystery girl” existed in real life. This was also the date (in 1994) when I arrived in Australia. We married on April 9th, 1994 in the Hervey Bay Botanic Gardens in Queensland.

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• This dream is of the threshold type, which was more common in my childhood and young adult years. This type renders a doorway as a dream’s implied exit symbolism. (It may be less common now due to the fact that our bedroom does not have a doorway, being partly open to the kitchen and lounge room, though with a curtain over the kitchen side.)
• The other side of the fictional doorway in real life would have been the southwest bedroom. Although I had been “blocked” from my “mystery girl” by the ocean in other dreams (though not as a general occurrence) as an association with her being on the other side of the world, because water symbolizes the dynamics of sleep in real time, this seems like a logical ending (though typically, water lowers when waking, though the ocean being implied to be inside a house would make it not very deep other than relating to its seeming bilocated nature).
• The threshold dream type often renders my emergent consciousness as a different character or feature (though seemingly still linked to the preconscious factor). In this case, Kenneth seems to be the passive preconscious factor while it is my dream self that initiates the final symbolism. (The preconscious usually only dominates the dream’s last segment when there is no first-level dream sign or waking indicator, confirming one of the main dynamics and actual purposes of dreams.)
• Last check and update on Monday, 17 July 2017.

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Morning of January 1, 1975. Wednesday. (New Year’s Day.)



Summary: Two cats quickly going in opposite directions meet on our Cubitis carport and their movement ceases as they stare at each other until my dream ends. This dream was possibly at least partially influenced by the limerick “There once were two cats of Kilkenny“, as the term “Kilkenny cats” did seem to be in the back of my mind at one point in-dream but was not spoken aloud (though the cats do not fight or even move as in the limerick). A younger neighbor and friend I waited with at the school bus stop on weekday mornings had the first name of Kenny, which may have added to the associations.

It is early morning in Cubitis just prior to the time I would be going out to wait for the school bus on a normal school day and the sun has not fully risen. I become aware that I am going onto our carport at the start of my dream for this reason.

Seemingly out of nowhere, two (unfamiliar to me) cats suddenly approach each other and both assume a stand-off position in our carport near the front entrance of our house, facing north and south. Immediately before I actually see them, I get an uneasy sense of a loud two-layered human-male-like “Ugh!” as if both of the cats had somehow “said” or “exclaimed” it simultaneously, each with a sense of implied disgust at the other, immediately prior to their near-collision.

Time seems “frozen” for seemingly several minutes as the cats stand completely motionless, facing each other from only about an inch apart (nose to nose). I get an eerie feeling that they may somehow have additional human-like attributes (though there is no real evidence for that other than the unvalidated assumption that they spoke).

Soon, at least a dozen (unknown) reporters, both male and female, having donned primarily early 1960s dress styles, appear on our carport as if out of nowhere. They are evenly gathered around, both standing and crouched in a semicircle (open to the driveway), with cameras (a male near the main door seemingly using a Polaroid 185 Land Camera) and yellow notepads with pens (though I briefly notice one female making continuous cursive loops rather than words or sentences). The reporters are gathering around the cats (though not that closely - about a yard or more away) and appear to be ready to plan or begin some sort of television or radio broadcast on the event. The cats do not make any other sounds and continue to remain motionless throughout the rest of my dream. I still feel a growing and somewhat unpleasant eeriness that they are “more than cats” and I almost expect something else to happen but nothing else does. There is a strange mythical awareness that neither cat will ever move again.

Analysis from my primary standpoint: This seems to be a play on the “old year” meeting the “new year” face to face or “blocking” potential progress into the new year with any issues of the previous year, almost in a mythical sense; thus, the in-dream uneasiness and “waiting for something to happen” even though a new year is basically just a continuation of the prior day. My family did not have a Polaroid 185 Land Camera but the camera has a feature that resembles the bellows of an accordion, which my father was well-known for playing and writing popular polkas and waltzes for. The reporters had a very vague association with cartoon characters on “The Bugs Bunny/Road Runner Hour” though they did not really appear cartoon-like in any way in my dream. The “reporters” are there perhaps to “record” my progress in my path into the new year and my otherwise blocked passage into the new day, one cat being “of me”, the other a potential rival with opposite opinions, perhaps; likely a classmate I have conflict with.

Analysis from my secondary standpoint: What people have seemingly failed to see throughout the entire history of so-called dream “interpretation” (as I have never seen much evidence of it in commercial publications) is that certain types of dream events often reflect the dreaming process itself. In this case, it would be my dream self being “blocked” from the knowledge of the holiday, part of me wanting to wake up in thinking I have to get up for school (though I do not) and another area of my (dream-self’s) mind saying “Hey, you can sleep longer today, what’s your hurry?”. Of course, dreams are typically multilayered, sometimes with so many layers, it sometimes takes years for certain facets to reveal themselves.

Morning of December 8, 1974. Sunday.



Steve J, a classmate whom I did not dream about very often, is with me on some sort of “quest” that involves the search for a supposedly magical idol of some sort. It is apparently some sort of smaller ancient statue; primarily (tainted) silver, and closely resembling Kali images I have seen.

Not much happens as we search and converse informally. We wander about through a “castle” (or possibly an abandoned temple) which actually seems more like the high school building on the inside (the dream manifests an unfamiliar, or likely fictional, location out of a familiar location - this is a recurring natural aspect of my dreams). Revae M, a female classmate (she was sometimes seen as a “know-it-all snob” as far back as fifth grade and was sometimes perceived as having no sincere friends) ends up in another part of the “castle” (or temple) somehow. Steve makes a joke about her probably thinking she owns the place and suggests we find the idol before she does.

Eventually, the idol seems to be in the “basement” (or dungeon?). There are some enjoyable scenes which were fairly common at the time. They involved somehow “surfing” down the stairs on our feet (fairly swiftly) without needing to walk down - and the act creates a sort of intense feeling of freedom. I have even done this a few times in recent dreams. In some cases, it seems extremely vivid and realistic (sometimes triggering lucidity) even though it is not really possible in the manner it is done in the dream. I find myself doing this in dreams of my old high school, sometimes swiftly moving past others on the steps, and the boarding house on King Street; I even somehow slide around the ninety-degree turns quite easily in both locations.

In this dream however, it is possible that the presence of the idol is causing us to have the “ability” to slide downward, which has negative connotations, almost as a subtle warning depending on the viewpoint.

We find a small somewhat semicircular nook in the wall and realize that Revae has taken the idol, which is actually quite small if the wall recess is anything to go by, even smaller than a human hand.

We walk around and eventually find the silver idol (which again, looks a bit like Kali) lying on the floor on its side. Over time, we somehow realize that the idol is actually now Revae, or rather, she has been “absorbed” into the idol and trapped. We place the idol back and leave the “castle” (or temple) and the news seems to be shared with other classmates about how Revae is now “gone”. However, there is some ambiguity here (or perhaps a dream “reset” and partial “replay”) whereby, there may have never been an idol in the first place and Revae was the first to become one through some sort of curse by going into a particular room or area or just by thinking a certain way in the particular room.

Revae M seemed to symbolize the “unattainable female” (although it is likely also relative to her status of “unworthy” regarding my general outlook on life, based on her false view of being “superior” as a rule), an aspect that seemed relative to each dream where she appeared.

Using the school building to “define” the castle/temple is not a first-time event. There are several occurrences of this in my early childhood dreams. It is likely relative to attempting to take the mystery out of the ambiguous nature of the public education system and the sometimes both fabricating and condescending nature of authority. The basement classrooms in my school have also been seen in dreams as a castle dungeon with obvious symbolic parallels relative to transient situational perspective (relevant to exaggerating the comparisons).

This dream also appeared to have a precognitive layer:

Morning of December 5, 1974. Thursday.



I am in the Cubitis living room with my father. We are both sitting on chairs. There is an impossibly large accordion near the southwest area of the room, standing upright and slightly taller than a person. The bass section with the bellows is separated from the other part and revealing a sort of eerie “tunnel” or more like a hallway inside the bellows and implied gateway to “another world”. A glow comes from inside the “hallway” which seems longer on the inside than the outside as the bellows are not stretched out that much, probably only about a quarter of the length possible (relative to a real accordion). My father is not speaking. It is more like an unusual contemplation by both of us of this implied “portal”. Nothing else happens though my dream at this point is very vivid. I do not think about going into it or what could come out of it, I am just aware it is there.

Morning of November 30, 1974. Sunday.



I am wandering around in an unfamiliar area yet somehow am also aware it is part of my school. I find a large utility room, seemingly underground, which has a portal into another dimension in a west wall. This portal starts out as a very large, long square tunnel or metallic hall, somewhat like part of a huge ventilation system - yet large enough for a person to stand fully upright within. All of the sides; floor, ceiling, and walls; are like thin aluminum but not as pliant as would be the case in reality. Still, I make a sort of hollow clomping sound (with nuances somewhat like flexing roofing tin) as I walk through the silvery hall towards an unknown destination. At one point I notice a very large pipe with green sludge flowing out.

After seemingly a fair amount of time turning down various identical passageways, I end up in another world, apparently an alien planet. The race of human-like beings are about seven feet tall on average and have striped purple and white skin in a zebra-like pattern. Their features remind me vaguely of a more detailed and “realistic” Doctor Seuss character (such as a hairless Grinch) as previous in-dream aliens have sometimes appeared, but still with that sense of cartoon-like unlikelihood in conscious afterthought.

The dominant focus is of a giant beige-brown cobra (about six feet high when in striking position) that is known as “Terra Cotta”. It is originally kept in a cage of sorts by the “Zebra Men” but gets out shortly after I enter their world. It follows me back into my world (yet does not pose any direct threat at any time). Several friends and I plan to trap it back in its own world again, the main one being Charles D on his bicycle in one scene. There is some discussion of using it as a money-making endeavor with a carnival or some such, and also something about writing a book, but this does not clarify or continue.

For some reason, “Terra Cotta” seems a very familiar titular form in-dream at one point, apparently via a false memory, of being the name of a well-known war movie; I think about Pearl Harbor. In real life, after my dream, I mentioned it to my best friend Toby T on the school bus and he apparently had a similar association.

A partial influence of this dream may very loosely be based on the terra cotta warriors (also written as terracotta and terra-cotta) which I had not really known much about at this time. There is a terra cotta “monk with cobra” in Mianyang, China.

Morning of November 23, 1974. Saturday.



This was not that clear of a dream (that is, not that vivid regarding dream self awareness). I wander into an area near a small city in possibly another country (possibly in the Middle East though this is not certain) and it is very narrow even though there are many tall commercial buildings. Everything, including every building and structure, is “unrealistically” narrow, almost as if it was purposely designed to be about half the size of a typical alley width. There is at least one outdoor area that seems to be selling clothes but with the seeming essence of a magazine vendor. I see a jetliner fly overhead (from my left to my right) at one point in the final moments (with even a vague awareness of white noise), and I see several people walking around. However, just on the outskirts of the main part of town, I am somehow aware that there may not be enough space for me to even walk down the street or sidewalk. I do not really feel trapped, just puzzled and slightly annoyed.

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This short dream, though somewhat unique in my own lifelong dreaming history (though there have been other settings with limited space, sometimes relating to narrowing or truncation leading to instigation of the waking process), follows the same generic pattern in meaning as hundreds of other dreams.

Typically, coming out of an alley in a dream brings on astounding vividness. That does not happen here as I remain in the same general area for the most part.

Anything relating to the selling of clothing relates to the waking transition and "preparing” the temporary waking self (even though this form is sometimes incorporeal or hybridized into unusual forms, not necessarily even human).

The typical waking sign of the airplane flight (sometimes rendered as a flying bird or other feature including a model airplane or very distorted airplane parts) is seen here near the ending.

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2 minutes 30 seconds to read.

Saturday morning, 16 November 1974. (Reviewed Sunday morning, 28 August 2022.)

"Hot Stuff's Day Out"

Dream # 2,889-01.



My dream begins in an unrealistic version of my Cubitis bedroom. There is no west wall, so the room is open to the outside. The house sits atop a hill that overlooks a forest in an unknown region in daylight under a blue sky.

I walk to where the floor ends. Instead of my feet slipping forward with me falling backward (as occurs in the first post-hypnagogic dream of every sleep cycle), REM atonia results in vivid vestibular-motor phasing with the blissful sensation of somersaulting down the hillside over the tall grass. The event has the essence of slow motion.

After I stop somersaulting upon reaching the foot of the hill, my dream self’s imaginary body temporarily modeling my sleeping position at this point, auditory phasing initiates as one of the only “narrators” I have experienced in the dream state. (Otherwise, such a transition is typical, as vivid phasing responses often occur with linearity. For example, hallucinatory vestibular-motor phasing triggers hallucinatory auditory phasing here.)

The unseen narrator, speaking in a loud unfamiliar voice with a British, Australian, or New Zealand accent coming from an unknown overhead source, does not express awareness of my presence. He seems to be engaged in a formal voice-over for a PBS documentary. I look up and see a statue several feet away that resembles an Easter Island statue, except it is only about eight feet high. The narrator talks about “African gods.” (Yes, I know Easter Island and Africa are in different regions of the world, but dreams often render falsehoods to prevent confusing dream content with real-world aspects.)

In my dream’s final scene, I watch three unfamiliar male explorers (probably in their forties) ascend the hillside. They are wearing beige safari outfits. I am on a cliff without the implication of having climbed up (no slope navigation, otherwise regular in my dreams). I enter a cave with the men, though they seem unaware of my presence. (One of the men vaguely reminds me of Abel from DC’s “House of Secrets.”)

An adult version of Hot Stuff the Little Devil (a Harvey comic book character) walks out from a deeper part of the cave to greet the men. The men appear terrified, remaining motionless, but I find the situation hilarious. The amusing “devil” wears a diaper (as in the comic book). There seems to be no threat, only a curious comedic essence. (A demon or devil would not otherwise appear in a lucid dream or most dream states with any level of self-awareness because of conscious bias, that is because I know they do not exist.)

My vestibular-motor phasing response resulting from REM atonia has occurred throughout every sleep cycle since childhood. Managing this physiological event or integrating spontaneously into the phasing effect is unrelated to the misconception of “astral projection,” a term that a legitimate lucid dreamer would never use.

Statues are a fundamental response to my intuitive, metacognitive, or lucid recognition of REM atonia that occurs throughout all dreams in healthy people. This attribute was one of the first natural and self-evident properties I recognized about “lucid dreaming” (or any mode of dreaming) at age 4, long before I heard the term. (On a side note, someone who “interprets” dreams in contrast to recognizing causality could not be a lucid dreamer despite any claims they might otherwise make.)


In addition to statues being an intuitive or lucid response to REM atonia, caves also regularly appear. However, it is often in induction rather than an outcome (as in this instance). Caves are how I intuitively (or lucidly in hypnagogia or post-hypnagogia) perceive my entry into a deeper sleep.

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Morning of December 15, 1974. Sunday.



“Doom (Ab Initio)” - my original dream journal title (age 13) - was a sort of movie-like dream relating to the end of the world, as “doom” was set forth (as a “seed”) in the very beginning of mankind (whether by intent or some sort of “divine logic”) - related to the term “void ab initio” somehow, as there is a link between space and it being another kind of “void” (the original meaning being “of no legal effect” rather than a great, open, “empty” expanse - of course space is not empty in entirety). The term “ad astra per aspera” in my dream, which I think is related to the name of the rocket which friends and I travel on (and linked to a different dream from 1979 with a similar scenario), is translated as “to the stars through difficulties” (although there are numerous variations of this phrase in English, including such as “through adversity to the stars” and “a rough road leads to the stars”). Even though mankind supposedly “ends” in my dream, a type of man will exist in other parts of the universe much later on, after centuries pass. (Some sort of changed DNA?) My dream seemingly implied that modern man was never meant to be a “real” creation of God, using the term “to be treated as invalid from the outset” (void ab initio).

Even though this dream seemed somewhat like a “normal” science-fiction story dream (far more common around this time period, I would say) there were also other reflections on a more philosophical level, many ideas of which did not survive the journey into waking up…or maybe the forgotten bits were just gibberish.

Morning of November 9, 1974. Saturday.



Two small creatures are arguing, but it seems more like I am hearing or reading a script at times. They are in my father’s old room (south end of the house) in the dark under a bed that is aligned along the west windows. One is like a small lobster or crawdad (a play on “father” and his comedic routines or “crawl dad”?), the other like a small crab. I am mostly only aware of their odd shadowy forms at one point. One is a “gig”, the other a “wag” (not sure which is which - probably the lobster is the “wag”, as a lobster has a tail).

They argue about which one of them is better at various things, including standup comedy and what seems like an old Vaudeville (“Vaude” rhymes with “Claude”, both my father’s first name and mine) routine with each blaming the other about the end of Vaudeville. Not much happens. There is a point where they mostly end up only saying “…but I’m a gig” and “…but I’m a wag”. (“Gig” is the first part of “giggle” which relates to comedy and laughing, and “wag” is also short for “waggle” with the same last four letters as “giggle”.)

I try to think of what the term “Gigs and Wags” means, and think “wigs and gags” after waking. I Googled the term “Gigs and Wags” but only got one match - a typo in a 1925 newspaper ad that reads “Gigs and Wags gons renovated” when it was supposed to be “Gigs and Wagons”, I think.

I think this relates to plays on “Vaude”, “giggle” (again, for “gig”), “crawDAD”, and “crab” (in that my mother sometimes called herself a “crab” and was also a Cancer by the so-called zodiac sign). It may be a comedic or “downplayed” dream restaging of a lesser argument between my parents (which was in the back of my mind later on) as well as relate to my father’s celebrity status, though he was not primarily a comedian but a musician/singer (also in reference to “craw” for throat as he actually used that word to mean throat at times). It also relates, outside of the actual conversation (where the sex of the voices was not quite ascertained) the difference between male (lobster or crawdad in this case - and with a “tail” - which in Latin becomes the term for the male reproductive organ) and female (crab - some of which have a somewhat oval body and no “tail”).

Morning of November 9, 1974. Saturday.



This is perhaps one of my funniest early teenage dreams (firstly at 13) that there were a few versions of (eventually “practiced” lucidly into a fully comedic dream ending the same way as the original) and which I also wrote a detailed story of years ago including additional elements which different dream versions manifested randomly.

The main characters are me, my best friend Toby T, and a version of Brenda W who looks and sounds quite different and seems to be a symbol of my unknown wife-to-be as with most dreams she featured in (but not all). It starts out in my bedroom in Cubitis, sometime in the morning around nine o'clock, and on a Saturday. Toby and Brenda had both walked from their houses, which are not all that far from mine but did not see anything unusual, apparently.

There is a smaller orange spacecraft that is mottled with a darker brownish orange in a sort of fancy “rounded flame” design. It is to the southernmost edge of my house, on my side (east) of the highway. The spacecraft looks much like a larger Volkswagen Beetle without wheels and is facing north. The two “aliens” that walk about, seemingly looking for certain kinds of flowers or weeds, seem very mysterious in a way, but actually look mostly like thinner “lighter” versions of the Apollo astronauts and their faces are not visible through the helmet. Looking at the “face” of their helmets, I am reminded much of the screen of an Etch-a-Sketch but with a more mysterious “glow” somehow.

The “V” of the Volkswagen symbol may be relevant here due to my life-long layered associations with this special letter (relating to higher levels or a play on “higher planes” as well as the formation birds fly in). Also, at the time in real life, I had a large orange model Volkswagen Beetle (remote-control, and which ran on real fuel - it made a lot of noise, somewhat like a miniature lawn mower) that my father had gotten me for a Christmas and birthday combo, but I had not played with it for awhile at that point.

The three of us talk for awhile about the possible intent of these aliens. They otherwise move and walk about just like normal men. We consider how one of us should hide on the spacecraft to see where they go from here or maybe even see where they came from. I decide to volunteer for the mission. Eventually, something interesting happens in which this dream references a past dream as if it really happened (recurring). Brenda is able to help me become invisible with some sort of witchcraft (Wendy reference likely linked to the “Casper Spaceship” series) so that I will be able to hide on the spacecraft prior to their leaving. (This comes from a much older dream where I became invisible through the power of a smaller candy-cane-shaped walking cane and was able to help her marionette play be the most successful at the school.) She is also able to somehow hypnotize the aliens from a distance as an additional precaution that they will not be able to see me at any point. She plays around by creating a simple “happy face” (eyes and mouth only) on the front of the helmet/visor of the supposed aliens in an Etch-a-Sketch-like fashion.

I eventually go outside and into the backseat of the spacecraft, on the right side. There is no fear or concern, but there is a very strange emotion of leaving my home and not seeing it again as well as an odd feeling of being ready to leave the planet itself but still with a strange sadness. (The mood and sensations of this entire dream event in the last section was somewhat precognitive in the exact way I felt in real life upon riding an airplane the first time, something I physically had not experienced but which was correctly represented in my dream somehow; emotionally, mentally, and physically; yet also precognitive to the closer upcoming time of our actual move from that location in Cubitis by car.) The two aliens come into the craft from both sides at the same time, the inside being mostly just like an actual Volkswagen Beetle with a few additional airplane-like indicators. They do not notice me. We start to ride along (somewhat like a hovercraft at first) and eventually rise into the air, going faster and faster. It is a strange sensation. However, Brenda’s hypnosis seems to have worked too well and they seem unsure of what to do. In fact, they just sort of sit for awhile as if forgetting what some of the controls are for, mostly seeming stupefied at their predicament. Although I cannot see their faces, I see them turn to look at each other a couple times (though seeing only the sides of their helmets).

Soon, the telephone lines become a potential hazard and the craft rocks and dodges them somewhat randomly with a few near-misses. Eventually the craft goes really fast but slows again, seemingly over southern Mexico or the northern area of South America (although I get the impression of Cleveland, Ohio for some reason, but that seems illogical in light of the residents and general look - although we were supposedly going north, not south or west). I notice that the two aliens/Apollo astronauts have vanished completely (apparently from Brenda’s magic being too powerful), both becoming a small pile of silvery dust in their seats (my Etch-a-Sketch had leaked silver dust in real life - I even ended up cracking it open to look inside but of course I immediately threw it out worrying about being poisoned). The spacecraft plunges downward, landing “perfectly” on the top of a merry-go-round in a playground or park (I am aware it is a Saturday) with a large number of Mexican or Brazilian children running about, some playing in sprinklers and laughing loudly at the spacecraft. I am aware that none of them speak English, yet I still feel a compulsion to ask in English (more to the implied unseen “hidden cameras”) “Hey, anyone know how to fly this thing?” A Latino boy of about nine jumps into the front looking around curiously and laughing in a cheerful way (Interestingly, I sense his name is Lorenzo, which I realize at this point is now the name of my next-youngest son but named after a grandfather). I get a slight impression of the song “Saturday in the Park” (1972 album Chicago V - another “V”). Thus it ends as a comedy farce which seems to color my day in a humorous, useful way regardless of the “failed” outcome.

There are a few precognitive layers in this as is often the case. One, the appearance of Brenda with a different personality representing my not-yet-known wife. Two, the feelings of leaving our home in Cubitis to move to Wisconsin when at the time of this dream, I did not know we would be moving and I had not even considered it (as well as the later airplane ride nuances). Three, the orange colors of the “spaceship” remind me of the U-Haul trailer my father got during that same move later in real life. Four, the recurring idea of “getting past Mexico” to continue on across the ocean to be with my soulmate in Australia. Five, the young boy named Lorenzo - my future son at the time?

Morning of November 3, 1974. Sunday.

Dream #: 2,876-07. Reading time: 52 sec.



In my dream, Susan R is sitting outside on a brick fence in Arcadia late at night, and I am standing, facing her. She tells me that something will eventually be happening to take me on a different path, away from her (implying destiny, with a sense of finality and certainty).

On cue, a Catherine wheel detaches, or someone throws it from somewhere unknown in the distance (perhaps three or four blocks away), and it moves high up into the sky. I think of shooting stars (even though the feature is first going upward before arcing downward). I am unsure what could have propelled it like this. Susan tells me that I will hear my name in a song relative to this event. My “dream girl” (Zsuzsanna before we met) connects to my destiny.

Though there is the essence of eeriness, it is not ominous. I watch the small and distant object on an arced curve, soon resembling a glowing pinwheel. (The scenario seems partly influenced by reel three of a “Casper the Friendly Ghost” View-Master pack, titled “The Falling Star,” where an anthropomorphic five-pointed star befriends Casper.)

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The song “Catherine Wheels” (by Crowded House, 1993) uses my first name (Claude). Zsuzsanna and Paul Hester shared a brief correspondence, and he hugged her once in waking life.

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Morning of November 1, 1974. Friday.



Note that this dream journal title came long before any other associated names which I have since learned of (though I have never seen anything related to the “Dinosaucer” series that apparently first aired in 1987 and do not know much about it at all).

This dream ends a little like the flying saucer dream from my childhood, though a brontosaurus emerges in this one (somewhat snake-like) instead of the apocalyptic elephant. This dream is much shorter than the elephant version and is not as emotional upon ending (and does not directly imply the end of the world as in the elephant dream).

After hearing about reports of a possible alien invasion in my dream (from my mother’s large pale green radio), I find myself near my school. The single flying saucer that eventually lands looks like the one from the original “The Day the Earth Stood Still” (from 1951). I do not recall much vivid detail other than the brontosaurus neck and head emerging from the door of the flying saucer. (I never see the body at any point.) There seems to be an eerie (though unrealistic) contrast between the dinosaur’s head and neck and the shadow it casts near the outer area of the spacecraft.

It is possible that there is an association with a cereal prize/premium that was called “Noggin Nodders” (from Kellogg’s). I had several of every piece in the set in different colors. The one that seemingly influenced this dream in part was a snake head emerging/wobbling from a log.

Night of October 23, 1974. Wednesday.



I am in my middle school library, in eighth grade, the middle area of the first aisle, and it seems an atypical time for being there, perhaps even at night. There are two girls together at another large table, south of me, facing me (though I originally seemed to be seated facing north; my dream apparently “jumping” into a different orientation). I ignore their presence for a time (one being Patty A, which is not feasible, as she would have been in high school this year). I get the strong impression that the very large boa constrictor (which was killed in real life during a break-in with much other damage to my school, by continuously being struck against the wall) is in a vivarium about halfway up on a long bookcase, between rows of books. There is a sort of vague dream within a dream (more like a daydream within my dream) that I somehow indirectly protect the girls from the escaped snake and also an impression that it crawled near their feet without them realizing it. This also seems like some sort of brief “reset” in a typical dream “replay” at one level. (Regarding the antique car in the next paragraph - “Chitty Chitty Bang Bang” - there is an odd association with Patty’s friend Olga, regarding the sound of the name being similar to the car horn sound “ooga”.) Nevertheless, I could not imagine what kind of person or persons would indulge in such activity regarding the real-life events concerning the break-in, especially in thoughtlessly killing the pet snake. There were also bomb scares in real life (especially in May of 1974), and evacuations that year.

From to my left on the shelf, midway up, I pull out a very large, heavily annotated edition of “Chitty Chitty Bang Bang” which also oddly seems to be Bible-like (possibly because of the serpent association). I get the impression that the library is also an airport - in that there is a larger airport within the library rather than the other way around. I contemplate the possible likelihood of “Chitty Chitty Bang Bang” actually being one of the vehicles used in flight to and form the supposed airport. Not much else happens, although I sense I am supposed to be in a classroom at the time but am not due to stubbornness and disinterest (and I am also somewhat concerned about not being dressed appropriately and seemingly wearing light blue and white vertically striped pajamas at one point).

There seems to be a lot of strange criticism of the book in the annotations (with various notes on how unlikely or ambiguous each paragraph’s events are), and implying the author (Ian Fleming) was in a psychiatric hospital at the time he wrote it as well as unable to walk or move much. I also wonder if any of the airplanes from this place would be safe to travel on, also contemplating my leave of school with no plan to come back because of the possible lack of safety, as I falsely recall that flying in a poorly maintained aircraft is how I get to and from school. I do not question any of the various errors in my dream scene perspective (such as school-library-airport composites). Supposedly “Chitty Chitty Bang Bang” in-dream is considered the worst book ever written according to critics, also wrongfully implying it being solely for ages four and under. In reality, I really liked the movie (and the book was not bad in my opinion, either) though never took critics seriously in any way as it is, though as can be expected the name “Chitty” was altered to its expletive form by classmates and even kids from the elementary school.