Morning of February 9, 1983. Wednesday. It is up to the individual dreamer to “decode” every precise clue that either the Universal Mind or Merkaba vehicle (experienced when awake as a blue flash in the left eye) gives them based on layering everything he or she sees into personal mythology to eventually “live the dream” so to speak, with one’s partner, together as Yin and Yang incarnate rather than just personal ascension (of which needs to come before the twin soul union). Everything in existence must be used correctly and confirmed, with no room for doubt or “interference” from the unenlightened or uniformed. In my case, I did not know it would all turn out so literal, almost like a grand comedy. (For example, even my wife’s step father’s name is “Davy Jones”, the “real” mermaid’s father. Hilarious.) This dream transition (the Eurythmics songs being the catalyst) started in February 9th of 1983 (what I would call the “prototype” or “birth” of this dream scenario), February 9th also being the date I came to Australia (in 1994, exactly eleven years later). Although my real “mystery girl’s” name was “known” as either Savannah or variations of Susannah when very young, the name Jennifer in this case stands for the shape-shifter or mermaid form. In fact, “Jennie Haniver” actually is a faux mermaid created from skeletal sea life remains. (One of our youngest daughter’s middle names is Revinah, which is “Haniver” in reverse; a bit of trivia for relentless clue-seekers.) Most versions of this dream (both in their lucid and non-lucid forms) were quite epic and would be too long to address the variations in one entry. It also seemed to be a direct continuation of my “Reptilian Girl” dream (from February 9th, 1977 - once again the same date but years apart) which even correctly rendered the scar on my wife-to-be’s wrist in real life before I met her; hers is the same distance from the bottom of the palm as mine and amusingly seems like the “continuation” of my own larger scar (near-fatal accident from age two) when our arms are held together. Mostly, the scenario is based on the statue at the La Crosse public library coming to life and assuming the form of my wife-to-be (whom I first made real contact with in March of 1991). This bronze statue (known as “Reflections III”, which was also the name of a novel my wife-to-be had been working on, including being the third written form) is described as follows: “This piece was donated in 1979 by Dr. Adolph Gundersen. It depicts a young woman resting on top of a carved base which was designed as an integral part of the sculpture. The figure and the base create ‘complementary negative images and contradicting planes’ in the words of the artist. The title is intentionally ambiguous, referring to reflections of the figure in the base, reflections in the pool of water before it, and the intellectual process of reflecting upon an idea.” My “mystery girl” and I are intimate (and most of my dream scenes take place at night, where she eventually becomes the “Reflections III” statue “again” before dawn). At times, “normal” people seem to be aware or come to learn of her existence (though there are those who deny her existence, as with Jennie in “The Bermuda Depths”, much to their later misfortune). At one point, she becomes a shark and devours people who are pursuing me. At another point, she becomes a black panther (related to my own becoming a black panther in dreams of the night of April 9, 1982 into the next morning, but of an unusual “reshaping” in which in my dream, I become a black panther and catch and eat a rabbit, though in this dream, she is a black panther and actually transforms into a rabbit as she is running, all this inspired directly from a scene from “Cat People” seen on the night of April 9, 1982, the same date I was married in 1994). In the last part of my dream, after she becomes a rabbit, she jumps into the water becoming a dolphin. I see her leap in the distance as the sky grows darker. (This is likely an influence from “The Incredible Mr. Limpet”, although Don Knotts becomes a fish, not a dolphin, as wrongly written in some plot descriptions by people who obviously did not really know the movie.) There is an ominous scene where the statue is gone. People go out to “hunt” her, but I know they will never find her. It is my intention to “go to the other side of the ocean” to find her. This goes all the way back to 1965 from my dream “The Thinker” and later “breakthrough” dreams (such as “Sentient Flood” from 1990) where “living statues” seem to relate to an “awakening” of something important to the dreamer’s real-life path. It may be a major archetype for others as well, though I cannot be sure since I can only “see” my own experiences. After these dreams, I had a strange feeling I would be meeting her in real life (even marrying her), which of course…I did, in 1994. Relevant influences and tie-ins: “The Incredible Mr. Limpet”; 1964 Don Knotts movie “It”; 1966 Roddy McDowall movie (secondary influence) “The Bermuda Depths”; 1978 television movie (main influence) “Portrait of Jennie”; 1948 movie “Jennifer”; Eurythmics song from 1983 as here, which directly followed “Sweet Dreams (Are Made of This)” (catalyst transition) “Ocean Girl”; David Essex song
Morning of September 11, 1982. Saturday. Dream Series: The Experience of Prescience, the Inexplicable Dream State Phenomenon. Part 7 I seem to be living in the future though I am unsure of what the implied date is. At any rate, it seems to be (at least at first) an odd combination of the television series “Hogan’s Heroes” and George Orwell’s “1984” (as well as influence from “Logan’s Run”). There is a large room full of computers (reminiscent of NASA) where everyone is watched. It seems sad and strange that public surveillance is everywhere. Still, there is a focus on the question of who is watching the people who are watching everyone else. The group in control of the world government is called “The Delegates”. They mostly drive around in black jeeps and black limousines. The unfamiliar town in my dream is called something like Maryborough or Marlborough. I become aware of my “mystery girl” (precognitive wife-to-be character) over time. Photographs are somehow made by computers. However, it is illegal to keep photographs older than a certain date. There are barbed wire fences throughout “ordinary” neighborhoods. I want to be with my dream girl, but it seems we may have to find a region beyond the reach of these “Future Delegates” (the term being used in my dream relating to younger politicians who are training to control large groups of people). I discover photographs in a drawer of features of the past that the government does not want people to know about. Some of it seems Biblical. At this point I seem to be in a movie. Werner Klemperer (an actor from “Hogan’s Heroes”) seems to be in charge of looking for my “mystery girl” and me near a beach. A number of black vehicles are in the area. In the last segment, I am somehow standing atop an airplane (without any fear of falling) while hugging my “mystery girl”. In the distance is Manhattan. A tower of the World Trade Center is burning. It seems like “the sky is falling”. I perceive, on some levels that it may be the end of the world. However, I still think it may be possible to reach a livable region where government does not exist. In the end, we jump into the ocean, still hugging. Zsuzsanna was a fan of “Hogan’s Heroes” before we met though she did not know one of the stars (Bob Crane) had been murdered. (For some reason, I had a precognitive dream of Bob Crane’s death, which had similar dynamics as this dream).This dream had some influences from “Logan’s Run”. The precognitive dream about Bob Crane, I “cleverly” gave the title “Hogan’s Run” (before his death).When I went into a library for the first time with Zsuzsanna, in Maryborough, I saw the same edition of a book (right on the top of a stack of books on a cluttered table) called “Space Opera”. This had the story “Tonight the Sky Will Fall”, first seen on September 11th, 1966 (about a week after starting school for the first time in La Crosse). My father and brother-in-law used to get various books from a nearby landfill. This included science-fiction digests, “Outdoor Life” magazines, and adult cartoon digests, all of which my reading skills increased through. With “Space Opera”, I had “Friday the Thirteenth”. This included a story about a girl riding a white horse (and who had special abilities relating to telepathy and remote viewing). Zsuzsanna was born on Friday the Thirteenth and was photographed atop a large white horse as a child around the same time as another related dream.There is a redhead in “Tonight the Sky Will Fall” named Leila. Zsuzsanna has a red-haired half-sister named Lelia. A main factor of the story is that his dream girl turns out to be real and that his dreaming brought the universe into existence.The level of surveillance and items like webcams, I never thought could reach the level it was in my dream, yet it has gone eerily beyond that which was featured in my dream. Still surveillance as such supposedly lowers crime in at least some areas. This is probably more related to connecting to the collective unconscious than solely personal insight.
Updated 04-02-2018 at 12:25 PM by 1390
Morning of March 5, 1982. Friday. Dream #: 5,555-01. Reading time (optimized): 2 min. In my dream, I enter a building in the region I live in real life that is first like a shopping mall in La Crosse. Eventually, I am at a party, though I feel out of place as I do not drink in real life. (Important note: In this instance, my dream self has this specific knowledge of my waking-life identity, but in other dreams, it does not. With that differing status, I might drink as a result. This factor disproves the existence of the subconscious.) There is also a vague awareness of being in the basement of a church or cathedral. The only person I recognize is John Belushi. He approaches me without invitation and casually talks about his death. He tells me death is like dreaming at first before moving on. As he talks, my dream becomes vivified, but not to the point where I am consciously aware I am dreaming at a higher level. He is wearing a dark suit that changes at times, from a shimmery material to duller and back again. He is drinking a pinkish drink from a small cocktail glass. I am aware the people at this party are either in the casual process of dying or are living people sleeping, all in the same dreaming location (enigmatic space). A couple of times, John Belushi walks away to talk to someone else, but they ignore him, so he walks back to me. I start thinking that maybe it is not me he is talking to, but someone whom he sees as someone else, perhaps a friend, and I am somehow in the same location but unseen. After leaving the building, I look back and notice a big white bat above it, flying in a circle. The structure now looks like a foreign mausoleum, though also like a miniature cathedral. The motions of the bat remind me of stop-motion animation as in “Jason and the Argonauts” from 1963 (a recurring dream distortion since childhood). I vaguely perceive the white bat only represents death in this dream because I had read about it in a so-called dream dictionary. (I do not believe in dream interpretation in the way others propagate this misconception.) Many people might call this dream precognitive (so I have included the label), but the content indicates it was telepathic, as John Belushi’s death occurred about the same time as my dream. I was not a fan and had not seen his movies. I had no way of knowing his status and held no recent thoughts of him. This dream is the only one in which he ever appeared. My dream is principally literal co-occurrence with an event I could not have known about consciously. Humanity has no viable explanations for experiences of this nature. Their typical response is with ignorance, denial, derision, and deceit no matter how much evidence is to the contrary. That sums it up for humanity’s ultimate failure to understand either the nature of enigmatic space or what dreams are.
Updated 12-22-2019 at 08:06 AM by 1390
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.
Updated 08-24-2015 at 10:22 AM by 1390
Morning of December 8, 1980. Monday. On the morning of December 8, 1980, I had an eerie dream of going out to the chickenyard (in Cubitis, Florida) to check for eggs (this being a couple years after we had moved to Wisconsin) and there was a strange empty feeling. A few chickens were around and roosting in the afternoon. They had their heads down as if trying to avoid the sunlight or glare from the tin roof. There are no eggs anywhere for me to gather. There are large skeletal remains of a walrus (the whole body) on the ground under the higher-up cages to the west, lying on its left side (with its head north) and facing me. I can see the tusks and skeletal features - strange because this was the only time I had ever dreamt of a walrus in my life to my knowledge. This was just before John Lennon was shot, even though in the song “Glass Onion”, he sings “the walrus was Paul”, although John was the lead singer of “I am the Walrus” and there is the mention of being the “eggman” as well, so there are two implied connections in my dream (“I am the walrus” and “I am the eggman”). My dream had a wintry atmosphere (though almost like being on a cold sandy beach). (It obviously was colder in Wisconsin in December than in Florida but dreams are certainly not always relevant to the current season in real life). In an offset dream, I am in the area closer to the railroad tracks where it is not mowed or cut very often. Looking east, I see a row of red tulips; some that are bent down so that the bud was pointing downwards and I was seeing it at times in an uncomfortable blurry way as if through glasses with “rings” of different focal aspects (onion-like). This is seemingly a reference from “Glass Onion” and “looking through the bent-back tulips”. The buds bending downward seem to reflect a vague sense of melancholy. I consider this dream precognitive. This is different from the John Belushi precognitive dream in that this dream came some hours before John Lennon’s death while the John Belushi one, apparently at about the same time as his death, and John Belushi was actually in that one.
Updated 12-17-2017 at 06:09 AM by 1390
Early morning of November 8, 1969. Saturday. (Between 1 and 3 am.) In my dream, my female classmate, Carol Waters, is swimming in a very small “swimming pool”, which seems to instead be a section where concrete is otherwise to be poured into the hole that is presently filled with water (as part of an internal floor foundation my father had been working on). The water in it may be a result of recent rain even though the setting seems indoors, though there are possibly missing external walls behind me or on either side as well as the roof not being constructed yet. It reminds me a bit of an actual construction area my father worked at previously but also (more likely) could be from newer construction on the new rabbit shed on the north side of our backyard. There is another person in my dream besides me and Carol Waters; seemingly my father, standing with arms akimbo to the south (facing north) of the small “swimming pool”. I am to the east of it. There is a sense of puzzlement in the scenario. It seems to be midnight or after in my dream, which may be reflecting the actual time in this case. My father seems to be puzzled as to why Carol Waters (her real name) is using it as her own private “swimming pool”, as he needs to finish his work and pour the concrete (after removing the water), though he would not actually do this work so late at night. She is “swimming” upright, almost vertically in a seemingly physically impossible way; in an unusual very swift manner back and forth (east to west and back). The scene is highly unlikely, as the area for the concrete to be poured would not be deep enough to use as such (assuming Carol is actually upright in the water, though she may just be doing a wrongly perceived or distorted dog paddle). My father says that she is “afraid to come out of the water” giving me a vague awareness of the Brian Hyland song “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini” (even though I am not certain of what Carol is wearing in my dream, as she never comes out of the water). This dream was in the middle of the night, seemingly coming out of a very deep sleep. It also seems too cold (even for Florida) to consider that someone would be swimming at this time. It seems amusing in that her surname was Waters and this is the only dream I documented as ever having her specifically as a character and was related to her being in the water. Trying to be as accurately detailed as possible here, I will add the nature of the setting as in being of typical very clear perceptual bilocation. The scene, as well as its implied in-dream location, also seems to be oddly set between the south inner and outer wall of my bedroom, partly in the front yard in front of my father’s room (original room before he built the extension into the carport). This sense of bilocation occurred in the majority of my dreams when young (and still occurs more sparsely) though I had not previously given the specifics online. A probable meaning to this dream is that I was merely focused (in-dream) on the dreaming process itself; that is, the water being the essence of the dreaming mind, projecting myself as Carol the swimmer, the pool not being a real pool (dream state as opposed to waking consciousness), my dream being short (not that much water in the faux pool), and the building incomplete (dream not fully rendered even though vivid). As most dreams have a precognitive or remote viewing layer, this one foreshadowed newer work my father was to become involved in. (He added a new area to the rabbit shed as well as becoming more involved in local construction involving houses, churches, and park utilities.) Also, immediately after my dream, he talked about rainwater making the concrete too wet and had to do additional work. Additional notes. There was an association with an apparently fictional lyric “she was afraid to come out of the ocean, she was afraid to come out of the sea…” (as I often misremembered song lyrics as a child). Also, I always, even at this age, felt the song was a bit ambiguous, as it was not clear if the bikini or the polka dots were yellow. I did not see Carol Waters as shy in real life. melatonin simulacrum subsequent mediation / water lowering waking symbolism
Updated 12-05-2018 at 06:37 PM by 1390
Morning of October 13, 1969. Monday. This is titled “The Three Lives of my Dream Girl” not because the precognitive rendering of my wife Zsuzsanna has three lives in it but because it was directly influenced by “The Three Lives of Thomasina”. I find myself in what seems like an indoor intersection where four staircases go upwards from each direction (yet seems bilocated within the Cubitis living room yet has the typical feeling of being inside and outside at the same time). I follow a black cat that seems a bit familiar (though actually is not in reality as we had a white cat called Snowball). I do not reach the top of the stairs but I do reach an isolated mezzanine that I am aware of by looking over the top step from about the sixth step down. My mystery girl is sleeping on her back. There is a pale orange glow. I am wary about bothering her so I turn and crawl across some sort of monkey-bars-like structure. I find “my” staircase and begin to look for my bed to make sure I am in it. Looking back, I see a two-dimensional giant orange tabby cat head just beginning to peak over the implied skirting of the odd adjacent mezzanine (from wherever I now am) and behind the head of the mystery girl’s bed, the floor of the mezzanine (or loft) which now seems hexagonal. I get a vague impression of the oversized black cat statues being alive (though they never actually move) and I hear a vague buzzing sound, like crickets but lower in pitch. I have come to realize that an intersection may be some sort of real-time artifact indicating shared dreaming.A staircase is a real-time symbol of the dream’s status and relates to a potential shift in consciousness, including waking.Zsuzsanna was a cat breeder who went to cat shows when we first wrote, making this dream precognitive in an additional secondary way.A statue coming to life (which does not fully unfold here) is a waking metaphor (waking precursor) that symbolizes the conscious mind becoming more active.A black cat is a circadian rhythms factor (cats being typically perceived as nocturnal) and signifies threads of dawning consciousness in liminal space. In my case, the recurring black cat, or in some cases “shadow cat” or humanlike panther, is a variation of the preconscious personification, though ironically is typically more helpful than when in human form.This is a common daybreak dream (which are about as common as return flight dreams - which represent about twenty percent of all dreams), validated by the presence of the color orange (moderate waking priority) and the giant cat head (almost like a flat stage prop) coming up over the head of the bed as being analogous to sunrise and the emerging conscious self.
Updated 04-24-2017 at 06:52 AM by 1390
Morning of September 13, 1979. Thursday. This dream is from 1979; September 13th, wife’s birthday; and of which there are earlier and later versions. My first journal title for this was “I Don’t Wanna Be a Tree!” Evidence studied and validated as of Sunday, 26 July 2015 shows that the original (prototype version) also fell on the morning of September 13th (1970, coming before my “Tornado” dream) and was apparently influenced by a repeated episode of “My Three Sons” titled “It’s a Woman’s World” during the last part of my last awake period. The following synopsis was given in the newspaper: “Steve find’s himself cast as a tree in Dodie’s school play, more or less proving Robbie’s point that females are instinctive manipulators”. This is somewhat amusing in that I presently have three sons. My dream primarily involves my best friend Toby T and I mostly mowing or raking leaves in what seems to be a deserted and seemingly isolated area on the top of a hill. At times, though, my “mystery girl” appears in shadow and silhouette in the background. Toby and I seem to be working in the middle of the night at times. It vaguely seems like a version of my sister’s house on Loomis Street where I was staying when my wife and I first made contact, though smaller (although it also seems partly modeled after the Chipmunk Coulee house). As time passes, Toby makes suggestions that the property is owned by a witch but that she has somehow transformed into a tree (supposedly accidentally). Eventually, I seem to have strong feelings for the “mystery girl” and am eventually turned into a tree myself, seemingly being at the same location of the original and only tree in the area. Toby does not seem to notice even though I yell for a short time to get his attention. I hope that I will not be “trimmed” or “chopped down” in my future. I seem to be the only tree around for some distance, although there are smaller shrubs and such in the area. It is late fall and there are a lot of leaves everywhere on the ground but I see no leaves on “my” own branches. Toby sits down and starts reading from a book, “I think that I shall never see a poem as lovely as a tree”. I become annoyed and try to move, but he takes it as some sort of “haunting” signs and goes elsewhere (but is still working in the general area. Meanwhile, the mystery girl is human and it seems that I have taken her place as a tree (to “free her”) and I wonder what will happen to Toby. She seems to be dressed in a sort of “cavegirl” outfit, or perhaps a bikini made of pieces of bark. I have changed the status to “precognitive” as it features the “mystery girl” (my yet-to-be wife, with the same appearance as to real life though I had not yet seen her in reality) and it had some valid associations (not all of which are here online) including the area she lived in Nimbin when younger in reality that I could not have known about in any way.
Updated 07-25-2015 at 07:37 PM by 1390
Morning of April 9, 1969. Wednesday. This is one of many recurring vivid and more defined dream types that “introduced” me to my soulmate long before it dawned on me that the majority of my dreams (the ones that were not immediately precognitive or remote-viewing composites or of certain other types and layers) were related intricately to my distant future. Although certain facets were established even before my wife-to-be was born, this was one of the clearest at this time. I suppose some would think it strange to dream of someone all their life, eventually discover that the person and all prior in-dream nuances and parallels were real, then actually “live the dream”. I have never cared what other people think of this reality of mine, especially as I have only seen deceit and distraction and “cop-out” mentality regarding the unexplained. This dream scene always took place in one of two areas of the West Elementary School playground. One area was near the north edge of the playground, about the middle section, and just west of the large banyan tree. The other area was more near the south end of the playground, just north of the seesaws. Other than I, the only other in-dream character was a mysterious dark-haired gypsy girl (seemingly of about seventeen to eighteen or so, no older than twenty) of an olive complexion who spoke with a very unusual accent, which was mixed ethnic (Romani) Hungarian and Australian - something I had never even actually heard in real life. Although she wore black she sometimes also wore pink. Her name was usually Susannah or sometimes Savannah (although that may be a perceived distortion). Later, I came to learn of the Hathor patterns and her actual maiden name and various seeming “codes” throughout history, one set related to the Vaudois, where at least one non-native ancestor was linked to. These dreams were different in that it often felt as if I was going to sleep within my dream itself (a rather odd awareness). I would be lying on the ground (as a child) and she would be stroking my hair and intoning “sleep…sleep”. She would usually be seated and facing west, my head (to the east) in her lap. She would “confide” in me and say that it would be a long time but that I would eventually live with her (she even said how she was only a baby at the time - which proved to be literal). Of course, I had different associations because I was not sure what this could mean, mostly due to her somewhat motherly nature at times (though she was not like my actual mother). I had been aware of this “mystery girl” before and her first presence was as the large green “animated” eyes only - the earlier Rose Street dreams (which I wrote of in older entries on one site). Also, a classmate and friend, Brenda W, became part of a composite archetype that also represented her in numerous dreams and parallel associations. The birthplace of this “mystery girl” (Port Kembla) was also directly inverted to my birthplace across the ocean in America. Event after event and “coincidence” after “coincidence”; even though I was aware of certain patterns, I was not aware of the more extreme Pascal-Triangle-like layers until after 1991.
Night of November 29, 1968. Friday. This (in quotes) is the original title and has remained so. I had entitled this as such due to there already being a story I was familiar with called “The Grasshopper and the Ants” (However, the Wikipedia entry is entitled “The Ant and the Grasshopper” - a variation I had never heard of before). This dream was one of many at a very early age that was very vivid and unforgettable in scenery and “momentum”. I am not even “in” this one. It is more like I am floating and viewing things in another world. In my dream, there is a young female ant named Susanna (a variation of my wife Zsuzsanna’s name interestingly enough but pronounced without the “zhu” and “zha” sound although I did originally call her Susanna at times), possibly influenced by the Stephen Foster song “Oh! Susanna“. In that song, there is the line “The sun so hot I froze to death” and the grasshopper in the original story will supposedly starve in the winter or possibly freeze to death. I have accepted the precognitive implications for four reasons; the bride’s name being Susanna, my wife being petite (thus much smaller than I), and the nature of our mixed marriage. She also has more than three younger brothers. Also, the building in this dream was similar to the one I first stayed at with my wife - even called Clarence (my middle name) House. There is also the association with “clodhopper” and “grasshopper” as detailed below. Though I was not certain of the grasshopper’s name, there was a vague association with Marco Polo. This was a long dream, but I only summarized the main scenes originally. It involves the female ant being “courted” romantically and secretly in a “jungle” - or rather, an area with more grass and stones and such, a fair distance from her home. The female ant’s younger brothers were like composites of three Hot Stuffs and Huey, Dewey, and Louie - but with ant-like features. The scenes were not that cartoon-like at times, but rather like an animated painting. The ants seem to live in a scaled-down condominium rather than an anthill though, so it is kind of funny. There was also some sort of implied practical joke routine related to “condominium pandemonium”. I was not even quite sure what the words meant. I do not think I heard this exact term in real life, or maybe it had been a newspaper headline or some such. Her rather mean-looking brothers do not want her involved with the grasshopper or any chance for a “mixed marriage” (which is rather a self-fulfilling prophecy, I suppose, as I have been technically in a mixed marriage all these years - even though one man, a Jehovah’s Witness, thought we were brother and sister). The main, most vivid scene has an interesting meeting between the female ant and the male grasshopper (and note the play on my first name of Claude - I was actually called “Clodhopper” in real life for a short time by at least two classmates as well as “Kadiddlehopper” - from Red Skelton’s fictional comedic character Clem Kadiddlehopper). I can sense or hear romantic music playing. The grasshopper offers his love a rose. She accepts it but says “Thank you, but I like dandelions much better” in the voice of a (unknown) human female. There is not much drama after this. I am not certain what happens, but I do know the three brothers will be bothersome to both their ant sister and their grasshopper brother-in-law. The real-life joke has a couple variations, but only one relevant to the reversal of the romantic scene from my dream. A teacher asks a child what her favorite flower is and she says “dandelion” (or “chrysanthemum”). The teacher asks “Can you spell that?” and the child says, “Actually, I like roses much better”.
Updated 10-13-2015 at 02:11 PM by 1390
Night of July 25, 1968 to Morning of July 26, 1968. Important: The above date reference has been validated to be the first, most vivid, and longest version of this recurring childhood dream theme (as well as of the most precognitive layers). My dream starts out with a precognitive scene, with Linda, a girl I knew from school, feeding “our chickens” in the backyard at Cubitis (this was when we still had a rabbit farm - and a worm farm - and my father had not even begun to think about raising chickens yet). The look is quite the same as it would be, with high, wobbly fences and several different enclosures, as well as the eventually partly dismantled rabbit shed being a part of it all. In fact, a little later on, he had made a concrete rabbit for an entrance ornament, in which, later, it also looked like a chick lying on its back (as if hatching from an egg), the rabbit’s ears transforming into the chicken’s beak in the visual “translation”. The girl is still outside when the moon is out, although the chickens are far less active. It then seems like I am looking at the images in a sort of farming magazine or real estate catalog (I did a little “photo projection” in real life at the time, so the change is not that unusual to me). Eventually, I cross the highway (at night) and there is a “haunted house” where the house of Karen and Kenny S should be, and no other houses around it. I think it is two floors, or maybe three. (Karen’s was only a small one-storey house and very similar to mine.) When I walk in, I notice a dark blue cartoon-like spider named “Hairy”/“Harry”, about half as high as I am. It has mischievous animated human eyes, but is more like just an oval with the eyes and lines for the mouth and coming out of the “body” for the legs. I think this is connected with a cartoon version of “The Addams Family”, as I eventually see a few other characters, which are not really frightening in any way. A little later, there is a visually “perfect” scene (as if exactly replayed) from “Tickle Me”, an Elvis Presley movie that eventually features a haunted house with a “hidden treasure”. The scene seems to somehow relate to the hand in the box (Addams Family) to the hand coming out of the tiny door above the fireplace and punching people as in “Tickle Me” (with a brief impression of seeing myself in the scene). The imagery is exact and very vibrant. There is also the scene with the “ghost grandmother” in the rocking chair which somehow seems to be occurring in my father’s larger walk-in/sliding doors closet, yet I am still in the “haunted house”. Later on is an additional part that was also precisely precognitive. I open a small window in a door and see a werewolf moving towards me a certain way, and there is some sort of funny game-like idea (similar to older “Captain Kangaroo” show openings that I had never seen before at that time) of shutting the window (in the door) with the door open - or leaving the window open, but with the door closed and so on, but the werewolf (starting out like a shadowy figure) - a sort of gray color and looking sort of “stiff” like a toy or model with hands raised that are not moving much, and a slight swaying side to side as he walks. At the same time, I understand that he is my brother-in-law, Verdell. Later on, for some reason, when he (my brother-in-law, Verdell) was visiting in real life (he only came down to Florida with my sister every two years or so for a few days), he bought a werewolf (wolf man) model with no explanation, even surprising my sister (there were various monster models in the store). The original model was grayish; the image (above) is of a painted figure but is from the same kit. In my dream, Verdell had looked just like the model, no shirt, pants held up with a belt, and no shoes. There was even a rat running around his foot. Later on, after a few other misadventures, I find myself in a locker room (precognitive to one I spent time in later on in life; I had not at that point known what the one at the new middle school - featured in my dream - looked like - everything was correctly oriented). In fact, I was wondering how I got in such a place, inside of a seeming residential home. I later notice a very strange-looking cat (like the one from Disney’s “Cinderella”, whose name is “Lucifer”) sitting on a dark purplish-indigo velvet pillow with golden tassels - on top of what seems to be the hallway water fountain. However, it changes into (or is chased off by) a more normal-looking cat. It is then female and jumps up and “kisses” me (exactly like the opening credits for “Bewitched”, and with fluttering stars, real sparkles, and such - years later, I found my wife had a cat named Sparky when I first met her) and turns into Brenda (the girl who often seemed to represent my unknown future wife). There is quite a bit more that I did not record fully when younger. During this particular time period, I wrote all my dreams out - often with pictures - on color notebook paper (not allowed for usage in school later on), mostly lighter hues of pink, purplish, greenish, yellowish, and bluish. I guess it was a pain for teachers to have to try to read pencil print on color paper (especially darker such as purple), hard enough to read on white paper.
Morning of June 29, 1978. Thursday. This is a very strange mashup dream - the final version being eerily precognitive (regardless of the odd plot), the sparser “prototype” (but far more comedic and cartoon-like) first occurring February 7th, 1978 (shortly after seeing the last “Logan’s Run” episode on its first airing, which was called “Stargate” - unrelated to the later series of that name) - there was a more extensive “repeat” that was more “logical” in some ways (and again, less comedic), on the night June 28th, 1978 to the morning of June 29th, before Bob (Robert) Crane (star of “Hogan’s Heroes”) died in real life - so I am assuming a rather complex level of precognition and synchronicity here. There was also an “anniversary version” on June 29th, 1979 - which had uneasy implications in memory of the prior even though I already accepted it as precognitive regarding the Bob Crane issue. It all is related to a fictional adventure movie that is a combination of two real-life television shows, “Hogan’s Heroes” and “Logan’s Run”. I had finally written a story, but did not keep it when I heard that Bob Crane had died the next day. There has been a later series of the “Logan’s Run” title, and there is apparently going to be a remake. In my dream, it is “Hogan’s Run”. I will try to include some of the more basic scenes from all versions. I actually play the role of Hogan (Bob Crane) from almost an external awareness of some kind (as if I am hovering above the character at all times) - only the “Hogan’s Heroes” characters and relevant personas are in my dream - none from “Logan’s Run”. One scene involves soldiers marching at Stalag 13, although it is also like a “Logan’s Run” scenario in some ways. There is a scene where General der Infanterie Albert Burkhalter (Leon Askin) yells at Col. Wilhelm Klink (Werner Klemperer) about needing to “control his men” as they seem to be marching around in a disorderly fashion almost like out-of-control robots (this scene seems to also take place in front of my sister Marilyn’s house on Loomis Street - one of the first dreams since moving from Florida in the last days of June, but there are more trees - though in real life, some of them had gotten Dutch elm disease - incidentally forming DED as an acronym). There is another scene where General Burkhalter suddenly transforms into a gurgling infant in a restaurant where he and Col. Klink are seated at opposite sides of a round table. He is eating applesauce and gets some in his “hair” and on Col. Klink. However, he has only one long strand of hair sticking from the top of his head and forming a slight spiral, but has almost the same face as his adult form. This is possibly due to the word “Infanterie”, as Col. Klink refers (sarcastically) to Burkhalter as “being in infantry” during the meeting - which at that point, seems to actually be in Germany. There is a disjointed part of my dream that seems to connect to Foghorn Leghorn cartoons, with “duplicate” dog characters related slightly to the soldier scene - then they seem to blur one into another and a scene with two men marching into each other as they become one, slightly disoriented for a short time. There is a place that sounds something like “Wavering Heights” or “Waverling Heights” (I first assumed a corruption of “Wuthering Heights” - which was coincidentally one of the first things my wife’s mother mentioned when we first made contact) - which I think is one of the main cities in another area that Hogan is trying to get to. (Coincidentally, the place I lived at years later, with my wife and two children at the time, was called “Wavell Heights”, a suburb of Brisbane.) In my dream though, a “waverling” seems to be some sort of name for a half-grown fish. At the main vivid part, and the seeming outcome (but which changes), Hogan is on some sort of raft that is propelled by some sort of high-tech gadget or motor. There appear to be farm animals aboard. They are singing happily about escaping from the prison camp and going on to freedom on the other side of the big river (even though there is supposedly more pollution where they are going). The song they are singing at one point (see link) is actually one Bob Crane sang in real life with one of the Smothers Brothers. I also used to hear it when I was in sixth grade (where a main issue was pollution at that time, including a song called “Take My Hand My Son”), the lines I most remember being “Pollution, pollution, wear a gas mask and a veil, then you can breathe long as you don’t inhale”. I had my own “stupid version” for a time and not knowing any better, sang “then you can breathe long as you don’t get ill…” I guess I should not feel too bad, as two girls I knew (one being the “other”, Susan R, and the other girl, Susan C), once sang “The answer is blowing in the wind-ow”. In the end, everything goes really weird and “bubbly”. They go through a “stargate”, which is more like some sort of giant culvert (or part of a dam’s spillway?) or a standalone circular “door” at one point - a portal into another “world” (recurring from late 1960s). They appear to have a miniature Statue of Liberty on board. The raft goes faster and faster, the mood turns happily more cartoon-like, the characters on the raft are leaning more and more forward; the water is spraying about their raft like it is the fastest thing ever. The music gets faster and high-pitched in a near-Mickey-Mouse-like way, almost to the point of being highly annoying and distorted in a surreal sense…“If you visit American city, you will find it very pretty…looong as yooou don’t inhaaale…”. Suddenly, it turns out that Hogan had been sleeping all that time and was still drugged from an attempted escape and in a state of dying. A voice rings out menacingly yet with a melancholy atmosphere. It is the very serious voice of Col. Klink…“I told you…(dramatic pause)…No one ever escapes from Stalag thirTEEN” (stronger accent on “teen”). My dream ends there. Although this section was quite eerily precognitive of the “real Hogan” dying shortly after, it is also a strange play (influence) of the “Deadly Dream” movie from 1971, with Lloyd Bridges - in which it ends the same way and he dies. The level of “personal foreshadowing” unknowingly triggered by subtle prior causes versus willful (conscious) manifestation versus natural intuition and precognition (in various in-dream composite forms) is completely different in each individual, as everyone has a completely different path and ongoing perspective. Not expecting the death of Bob Crane at only 49 and also having “Logan’s Run” coincidentally rerun just prior to the “prototype” of my dream, and likely unknown or unrealized aspects or incidental connections or “triggers”, contributed to a very strange mix of composite precognition and “typical” dream mashups that oddly, can also be traced back to other causes which seem to be a sort of foreshadowing as well. I have noted a lot of people who have precognitive “mashups” (or odd, incongruous though precognitive composites too complex to be coincidental) who rarely notice or acknowledge them. http://www.guntheranderson.com/v/data/pollutio.htm http://www.rense.com/general83/911sc.htm
Night of November 24, 1977. Thursday. My dream features a raccoon and a Siamese cat that live in a large city and work together as detectives (apparently in the world of humans). This recurred a few times, but all instances before the television series “Simon and Simon” was filmed or aired. The name of the fictional series in my dream was firstly “Sammy and Sammy”. There was this odd idea that the raccoon and the cat were somehow brothers. There are scenes of the Siamese cat and raccoon sitting together on the front steps of a courthouse. However, in another scene, this “courthouse” looks like the front of the apartment building on the “Sesame Street” television series and may in fact be a spin-off from that children’s show. I view the scene as some sort of projection from a book (somewhat different implications than my dream details below about the “living book”) which is about half of life-size and appears along the north east area of my room facing west. I do not directly interact with this imagery. The animals are larger in scale than the setting. “Sammy and Sammy” was seemingly not “well received” in my dream by the public, so, using a pattern a little closer to the word “Siamese” (I assume) - the title became “Simon and Simon” and seemed more “correct” in an additional (or “reset”) dream regarding the fictional show that became popular. Obviously, when the actual television series was later known and I saw it for the first time in real life, also on November 24th (1981), I was intrigued. Of course, the detectives on the real show were human. In a dream of the same time period (also including on the same morning) I had a large book on oceanography, which was like a “living book” that was similar to another one that featured the above fictional series (and I apparently had several more “living books”). Over time, the images in the photographs on the pages would seem to come to life or at least appear as a sort of implied portal into the scene (though obviously not big enough to go into physically). It was very peaceful to look at the various moving images. In one dream, I was able to use the charts and graphs on certain pages in an interactive way (and this was before I ever used a computer in real life). I watch small schools of fish move about deep in the ocean. The imagery in this dream was fairly realistic compared to certain other dreams.
Updated 07-28-2015 at 10:06 AM by 1390
Morning of October 22, 1977. Saturday. Steve J, Steve W, and possibly Tina L, and others and I are visiting what is supposedly Chick Corea’s house. There is something very special about the house and it has some sort of “magic” as well as being haunted. This has something to do with the jazz fusion group Return to Forever. We go up a flight up steps which seem to be fairly narrow and along the wall (and with no railing). Later, the area looks much like my boarding house on King Street before I lived there or saw any of the inside and there was a very clear precognitive sense. There is some minor ambiguity at one point which is related to a book or movie called “Korea’s House”. There is a point where we are all leaning back against the wall slightly to stop ourselves from going over the other side of the staircase and it also appears I am watching the scene (including seeing myself) from another perspective. We look as if we are slightly distorted from fun-house mirrors. There is also something about lightning (or a bolt of lightning) moving around inside the house as if it was a “pet” of some kind. There is the idea that someone hanged themselves on a chandelier in one room (which turned out to be related to something the pinhead Leonard S told me later on when I lived on King Street and thus also precognitive, though the story was only his fantasy). Last updated in 1980 with regard to the precognitive validation.
Morning of October 2, 1977. Sunday. Pearl Bailey (who shared my mother’s middle name of Mae) lives a few houses north of me in Cubitis on the same side (east) of Highway Seventeen. She seems to almost be like my mother, or perhaps a “replacement” for my deceased mother, though my mother did not die until 2002 in real life (yet on this same date). She tells me about a pterodactyl seen in the area and from there my dream has Hollywood-movie-like aspects. (In the background, there is some sort of association with “won’t you come home, Pearl Bailey”; and there may also be an association with Beetle Bailey.) I eventually have a long, dramatic battle with the pterodactyl while flying a helicopter. It also seems it is part of a movie we are filming with a real pterodactyl and a possible real risk to me. I am not defeated and actually enjoy this adventurous dream. (In real life, I had a larger plastic model pterodactyl that I used in a trick outside photograph of my father where it looked “life-sized”. It had an interchangeable wing, one of which was implied to be injured/torn.) I have tagged this as precognitive due to the interesting coincidence of a different “Bailey” being listed directly before my mother’s obituary in 2002. A helicopter (as well as a pterodactyl or pteranodon) is a flight symbol, and as such, signifies a real-time subliminal awareness of being in the dream state (and may or may not have an additional meaning), this being a natural association with the consciousness displacement of falling asleep or waking up. In fact, an astounding twenty percent of the tens of thousands of dreams I have documented and studied over fifty years contain flight symbols as such, often being directly linked to the waking prompt for obvious reasons (almost as obvious as the biological-based falling event, which rarely has an “interpretation” and is often solely the incidental precursor to waking).
Updated 11-22-2016 at 06:35 PM by 1390