Tonight my home is awash in the music of Jessye Norman… this brings me inordinate comfort at this time. Sweet and truly blissful dreams dear ennobled soul. As I am unable to do little else, owing to being emotionally overwhelmed, I pause here to republish this blog of earlier this year. So very glad that I was able to attend the Glenn Gould Prize Gala this past February.
As I work 7 days a week, I was debating whether or not to attend the Twelfth Glenn Gould Prize Gala at the Four Seasons Centre for the Performing Arts. That morning en route home from some errands, I discovered that someone had jumped from a neighbourhood condo. I got in and realised that there was no more feet-dragging; to hell with being dog-tired. I got on the phone and called up Lucian Mann-Chomedy and said, “My darling, we are going to the Jessye Norman Gala!” As ever, always positive, Lucian chimed in, “Oh my, oh yes, how lovely. Well, I’ll be both honoured and delighted.” Indeed, life is for living!
Merlin and I met Friday, October 1, 1982 in a Hell’s Kitchen Walk-up, the following Monday evening, on his return to Toronto, Merlin called up crying. The man whom he had spent so much of our first evening together speaking of, had died; Glenn Gould had died. For the seven years that we were together, Merlin listened to Glenn Gould’s interpretation of J. S. Bach’s Goldberg Variations at least thrice weekly. Indeed, the first gift I purchased Merlin, was a recently released recording of the Goldberg Variations at Christmas 1982: I think that it is safe to say that that gift sealed the deal, I was a keeper for sure.
As I had waited until the last minute to get seats, I was sat in Ring 4 rather than the usual Ring 3. This, alas, was my view of the stage and of course, the butterflies are from the set for Atom Egoyan’s masterful staging of Mozart’s Cosi Fan Tutte, which the moment I saw the set, I began chuckling to Lucian on recall of Tracy Dahl’s unsurpassed performance as Despina.
As I was too busy trying to throw something together for Instagram, I was heard gasping when it was announced that the head of the Glenn Gould Foundation’s Jury this twelfth prize was none other than the actor, Viggo Mortensen, who then walked out onto stage. He, indeed, who in a few days time will be attending the Governors Ball where he may or may not be holding an Oscar.
Out onto the stage arrived the Twelfth Prize Laureate, Jessye Norman. Truly, it was a shock to the very core to see Madame being ushered out in a wheelchair. Suddenly, I was reminded of the events of earlier which caused me to rush home and purchase two tickets for the event. That aside, there was no greater joy than drinking of her soul’s inspiring beauty.
This beautiful gala was so filled with touchstones for me, none more so than the moment that bass baritone, Ryan Speedo Green was in full song. When he sang, “Aprite un po’ quegli occhi” from Wolfgang A. Mozart’s Le Nozze di Figaro.
Yes, indeed, this marvellous aria’s orchestration included a harpsichord. Straight away, I was teary-eyed as memories of the truly eccentric and delightful Milan Newcombe readily surfaced; Milan will ever remain a lover like no other.
During the intermission, I ran into two old friends not seen in at least 1.5 decades; we spoke of nothing but our surprise at Ms. Norman’s entrance. Life really does march full speed ahead.
After the intermission, it was the announcement of the Glenn Gould Foundation’s Progidy Prize with the recipient being none other than, Cécile McLorin-Salvant, the most fabulous Jazz singer on the planet. Is this not an evening to remember during Black History Month indeed.
This stunningly unforgettable gala was closed out by the final recitalist being the divinely gifted soprano and Glenn Gould Foundation Prize juror, Sondra Radvanovsky in full song, singing Verdi.
The gala concluded with Ms. Norman returning to the stage and singing a duet with Cécile McLorin-Salvant. This was a moving, emotionally intense evening and my life was greatly enriched for having chosen to attend. The gala was nothing short of magical.
As a tribute to this marvellous evening in the theatre, I will include herein two dreams, which were originally audio-cassette-recorded in the 1990s. Before each deam, one of Glenn Gould, the other Jessye Norman, I will include each individual’s Michael Overleaves.
Gould, Glenn Herbert 25/9/32 – 4/10/82, Toronto
This fragment was a sixth level mature artisan in the repression mode, with a goal of growth, an idealist in the moving part of intellectual centre.
He had a Mercury/Saturn body type.
Glenn’s primary chief feature was self-destruction with a secondary of arrogance.
Glenn was third-cast in his cadence and his cadence is fourth in the greater cadence. He is a member of entity four, cadre five, greater cadre 17, pod/node 819.
This fragment has an artisan essence twin who was alive during Glenn’s life but there were no plans to meet. This fragment is still incarnate on the physical plane.
The fragment who was Glenn has a scholar task companion, who was in a previous life, Carl Philip Emmanuel Bach. They were not incarnate at the same time.
However, the fragment who was Glenn was exerting considerable influence on Carl Philip Emmanuel.
These two fragments had many lives together, once as luthiers, three times as court musicians, nine times as brothers of the cloth, twice as brothers in the flesh, as well as completing several important life monads, including student/mentor and master/slave.
In the immediate past life, the fragment who was Glenn had as his three primary needs: security, communion and exchange. Only the first of these was ever even partially satisfied.
So here we had a warrior-cast artisan who had seriously conflicting overleaves and a primary chief feature of self-destruction. He had a goal of growth but a repression mode which would not allow him to flourish.
He had a need for communion, but was sexually ambivalent and socially inept. Undeniably, he had great talent but took no pleasure from performing in public.
This fragment has a great deal of scholar energy that was used in the immediate past life to enable Glenn Herbert to painstakingly examine and interpret the works of Johann Sebastian Bach.
He was very interested in form and structure for all of his adult life. This fragment was, unfortunately, the victim of a severe obsessive-compulsive disorder, also for all of his adult life, which worsened considerably during his third and fourth decades.
This fragment did not, as popular wisdom teaches, retire from public life because of any strong beliefs in the recording industry. Glenn Herbert retired from public life because he could no longer bear to be in crowds, even if he was distanced by a proscenium.
Needless to say, this fragment did not complete work on his fourth internal monad.
Astral Plane Glenn Gould Recital!
Nothing is more uplifting than finding oneself at a great musical performance on the astral plane. This dream was about being richly inspired and by Glenn Herbert Gould, no less; it was truly marvellous an adventure for the spirit.
The dream occurred, on Tuesday, October 6, 1992, whilst the Moon transited both Aquarius and my ninth house.
I am in France where I leisurely browsed through a store; perhaps, it was somewhere in Paris. It seemed here like at nighttime. Whilst in one corner of the store, I noticed that there were all these big slabs of cheese in packaged containers. There was a woman coordinating the display of the cheeses. Sometimes the cheese was being grated and other times not. There and then, I decided that I was going to buy one slab of the cheese that was packaged in a rectangular box.
The cheese was about an inch thick and about eight inches long. The cardboard box that it was in was white and almost like the size of a box of Cream of Wheat. Surprisingly, the box was rather heavy. Though not unlike cheddar, it was a dark cheese. The smell of this cheese was really hard – quite the bite to it. It had seemingly been opened for too long as parts of it was growing hardened and turning colour. I knew straight off the bat that I wanted to have some to take home with me.
So, off I went to purchase the slab that I liked. Everyone here was, of course, speaking French which I quite so understood and liked. Interestingly, I too was speaking very competently in French. It was obvious that I was not too heavily accented as the others were pleasant-enough with me.
The second dream had me leaving the store; I then found myself hovering in the air. Whilst in flight, I went into a building which had a green – oxidised-copper – roof. It was part of a long set of buildings that had very, very tall stone chimneys. These were chimneys that were not unlike the ones at the Palais du Louvre. As a matter of fact, the building was similar to the Canadian Parliament buildings though it was not those buildings.
This complex was considerably longer. These were a series of complex buildings. Here, I was easily thirty storeys up whilst in flight. I looked down at the complex which at maximum could not have been more than five storeys tall. After having contemplatively observed the complex for awhile, I began very slowly gliding down through the air. I intently studied a procession of persons, way below, who were bailing out of very large buses; they were, as a matter of fact, tour buses.
This was all happening in a courtyard-like area and away from the bustle of the street. I next noticed some men who appeared; they seemed, in their long, flowing white robes, to be priests. They were not Arabic or Muslims in caftans; rather, they were definitely Whites. The buildings here were long on the order of Palais Richelieu in Paris. When I finally alighted, we had to go through this incredible entrance.
This led into a wonderful sandstone building; it was very modern with a neo-classical design. On the order of being imposing, the door to this place was massive. They seemed to be the doors to a temple. To get to the entrance, there were many steps which one had to climb. On entering, off to the right, there was a passage that one could take.
An aisle led along another passage; it seemed illumined by a skylight. The priestly men had all entered before me. They preceded a procession of adherents who had come to partake of some ritual. I had gone to explore, off to the left, because it was the wing of the building that had reminded me of the Palais du Louvre. Going there, I wandered about being fascinated by the place.
Some women were posing for artists in this particular wing. They wore modern garb but were very exceptionally beautiful. What was most intriguing about their look was that it was exactly as they would have appeared on the finished canvases. They were very nubile young women; they had to hold their poses for interminably long periods. Here several kids kept on going through the place; they were seemingly art students.
They were all very North American, middle class with their loud, snobbish bourgeois affectations. Right away, it was obvious that all the muses were still virgins. Theirs was an innocence that could never be affected. They were all teenage girls whose bodies were very voluptuous and full. These were not skinny people at all. There was one point at which one girl was holding different poses. Each girl would be painted by from three-to-five artists, at a time. Thus every pose would be captured from different perspectives.
At one point, they told her to take a break; they then reverted back to an earlier pose. This was so that they could return to that work and put some more work into finishing it up. When she changed the pose, she had also turned some 180 degrees. This particular model, whom I was studying, wore socks with Oriental-looking sandals. Inside her socks she kept little items of hers. Whilst she was making the transition, she simply reached up her foot and pulled up her right leg to reach down into the socks.
Hers was a pair of blue-coloured socks – pale blue. To just above the ankles was the extent to which the socks rose. Looking at her, she took out something from about her ankle which looked like a wafer. Not the least bit self-conscious, she ate it at once; it seemed like a chocolate wafer which she favoured. She seemingly needed it to get an energy boost so that she could stay focussed on the tedious work that she did. After having found it all very interesting, I moved on sufficiently knowledgeable of the goings on here. Walking along a corridor, I ended up going into a room where everyone was very strange.
A guy there was a lot like Galen Shim – my very beautiful, Hong Kong-born, Eurasian friend. He reclined on a bed with his head close to the door. When I came in, I noticed that he was naked. When giving him a massage, I began by oiling his body. It was quite fragrant oil. Rubbing down his body, I began working on his toes and feet. Afterwards, I got up to leave but he very silently began coming with me. So out we went and joined the procession of persons; among them this time were several kids. Mostly, they were teenagers – amongst whom I did not want to be.
Galen or the guy who seemed like him, here the guy was not wearing glasses as before nor would Galen for that matter, and I kept walking through the place. Pretty soon, after we had left the noisy kids, we started hearing the most beautiful music. This was one of the rare times that I found the music of the pipe organ to be beautiful. Within the complex, we happened on this wonderful cathedral inside which were most of the people from the procession. On entering the structure, it seemed more like a concert hall. We soon learnt that the hall was specifically built so that only Johannes Sebastian Bach’s music could be played there.
Never before had I heard classical music sound so beautiful. We stood there transfixed whilst listening together. Who then should I notice way at the front of the hall, at the pipe organ that sat high on the dais-like stage, but Glenn Gould. I could see his right profile as if in close-up. My god, this was rapture and then some. He was playing with such rapt abandon that I steadied myself and whispered more to myself than to Galen, “My god, what an incredible dream to be having…”
There seemed to be a skylight on the side of the high-ceilinged nave. Instead of there being stained glass windows, windows for that matter, there was only intense light raining down through what seemed to be a skylight system. The centre of the halved skylight was a wonderful neoclassical, oxidised, copper-looking, greenish flying buttress. Here the look, though modern, was more in the style of Islamic mosques or even Moorish architecture rather than the classic Gothic signatures.
A series of the most intricate and complex circles intertwined, like some riotous jungle vine, in the cathedral-like, concert hall’s stonework. Breathtakingly beautiful it was. I stood there, just inside the entrance to the hall, on the left of the wide aisle. This was a very wide-bodied structure. As you progressed down the aisle, there were different levels where one could go up and sit. These were either on the right or left. The central aisle was covered by the most beautifully designed red carpet.
This place was considerably wider than Notre Dame Cathedral. Unlike the Parisian Gothic structure, it was not a darkened affair. Here it was very intensely bright out. The light coming in on the right and left side of the flying buttress-like, central girder fell through a slightly frosted glass. The light was an intense – almost aquatic – blue. Interestingly, there were no beams or columns, supporting the unusual central, flying buttress-like beam. For looking at the light, one became slightly languorous. I felt paralysed with pleasure; there before me, down the massive hall, sat Glenn Gould.
He wore the most thick-fabricked garb; it seemed from an earlier age. All the men in the white gowns were up at the front. They were all transfixed – as well they should have been. Though I love Johannes Sebastian Bach, at the time, I had some reservations as I am not especially fond of pipe organs. I suppose that it is because it has always had too many religious associations during my childhood. The persons attending the concert were there simply to recharge their batteries. They seemed, all of them, as if not quite in their bodies for being so transfixed – they were otherwise-engaged.
Eerily, I had a sense that these were all persons who were between lives as is Glenn Gould. They were in a form of processing, a form of deep meditation on the order of sleep, as they prepared for the next incarnation. This fugue was the most complex music imaginable. Indeed, the music seemed designed for those between lives. The fugue was composed for astral plane habitués who, sans bodies, could best endure the music’s intensity. Getting a sense that I really shouldn’t be there, plus the fact that I finally couldn’t get into the pipe organ, I started taking my leave of the place.
Galen, or the person who seemed a lot like him, and I then went out front. There we waited for the specific tour buses to show up and take us away. Whilst I waited with Galen, or the person who seemed a lot like him, I was joined by Pandora. It seemed that most of the people who were here were very young-souled. They seemed to be on a pilgrimage, like visiting the original Gohonzon in Japan or going on the Hajj, at Mecca.
As the pipe organ played, I could hear in the tone of the place a faint whisper from the men in white robes. Their thoughts, it turned out, could be telepathically heard. Even earlier, when I had been hovering in flight high above the complex, I knew that this was more so a political institution rather than not. This was a structure which was just as colossal as the temple at Karnak and considerably older. This place was mind-bogglingly complex and massive. The temple was posited directly in the centre of it all.
Just like La Chapelle in Paris is comparably dwarfed, by its surroundings, so too the massive concert hall-like temple was dwarfed by the complex. This architectural marvel was simply soul-inspiring. Whilst all the buses were waiting, I took to one of the buses with Pandora. I had gotten impatient waiting to be assigned to one. We spoke in French because everyone else here did the same. This was not unlike a Parisian bus – the seats all faced each other. Seated close to the front, we were on the left side of the aisle behind the driver.
As though getting close to Saint-Sulpice Métro, I got up and said goodbye to Pandora. I wanted to get off there then walk back to her rue de Grenelle apartment. Pandora planned to go out then come home later so had asked me to wait for her at her place. Here it seemed as if nighttime coming on to dawn. Speaking guardedly in French, I made sure that I was speaking properly and not just fumbling partout. Really, I rather enjoyed this experience of being together with Pandora.
I was very serene enjoying the very beautiful experience. Galen, or the person who seemed a lot like him, had silently slipped from my side when Pandora came and joined me.
*Of course, it would turn out that the person in question was Louka Duplessis and not Galen. I would meet Louka, who accompanied me in this dream, the day following this dream. Just prior to meeting for the first time, it is not uncommon for me to dream of persons who will prove important in my life experience.
Norman, Jessye 15.9.45 ✟ 30.9.2019, Georgia
Jessye is a first level old priest in the passion mode, with a goal of rejection – functioning for the most part in the positive pole of discrimination, a spiritualist, in the emotional part of intellectual centre.
She has a Jupiter/Saturn body type.
Jessye’s primary chief feature is arrogance, with a secondary of stubbornness.
This fragment was third-cast in her cadence and her cadence is fifth in the greater cadence. She is a member of entity five, cadre six, greater cadre 33, pod/node 212.
She has a discarnate priest essence twin whom she did know earlier in this life but this fragment died in Vietnam. She has a warrior task companion and they have worked together and continue to do so occasionally.
Her three primary needs are: freedom, expression and power.
The warrior energy gives Jessye tremendous organisational powers and her stubbornness has enabled her to stick in there when the going got very rough many times.
Jessye is a warrior-cast priest who has been a spiritual rebel in this life. This is, by the way, not the first time this fragment has sung professionally. This fragment was a well-known castrato in seventeenth century Italy and performed many times before the crowned heads of Europe.
Jessye has great need to serve her concept of the higher ideal and has done so admirably by combining the folk music of her people with her operatic repertoire.
She performs well, as do most entity five fragments. This fragment has always enjoyed her work. Singing has been an extension of her inner spirituality. It is, in fact, a form of meditation for her.
Now that’s a Hollywood wife!
These rather lucidly awakened dreams were experienced with an intense sense of wonder and joy, on Monday, July 2, 1990. At the time, the Moon transited both Scorpio and my sixth house.
This first dream found me in a very busy place. When going south towards the Danforth, it was not unlike being on Broadview Ave. It was at night-time. I came there and found that there were tons and tons of Black people. Even so, it seemed like Toronto and at Broadview Subway station because there are all these streetcars there. One of the streetcars was improperly parked, as a result, it was going to go and turn around.
Waiting for it to do what it had to do, there was another streetcar out in the street. It was really more like a red-rocket streetcar. It was not like one of the newer ones. Everyone here was Black. There were no Whites or other non-Blacks that I saw. Everybody was in the street which was very jam-packed. They were getting ready to cross, after the streetcar had passed, to go in.
There was now a system, where you paid your fare aboard the streetcar, so that you did not have to enter the front doors of the station on Broadview. When you got aboard the streetcar, it was mandatory that you pay a fare. So it did not matter whether you paid a fare at the proper entrance or not. There were many people queuing up to get aboard a streetcar.
Passing these people who were seated there, I went through the proper entrance. One of them seemed like Gabriella Vartan† and they were talking about me. I came around and began going down the steps, into the nether regions, en route to the trains. There was this little old lady who was taking her time, holding up things, so I pushed her to my right. I made my way down then had to go around taking another flight of stairs; I then kept on going. There were a whole lot of levels to this subway system.
When I got down, there was this little cul-de-sac where there were these Black guys – homeboys – hanging out. However, they were not Black American. I found one of them very attractive and smiled at him. He, however, was very homophobic. He went running upstairs to go call the police on me. The train then came into the subway and it was a very, very large train. It towered very high to the ceiling. It was like an Amtrak train which seemed like a double Decker train. It was mostly silver, however, it turned out not to have been double Decker.
When it stopped, I began running full speed because I did not want the guy to come back and board the same car as me. I ran to the front of the train only to find that one couldn’t board there. Instead, one could only enter this train where the cars joined each other. You could enter the front or backdoors of each car but not the front ones of the first car. It was very sleek, round and Deco like a train from the 1930s. The whole place did have a feel of the ‘30s to it. It was very neo-Gothic like the Chrysler or McGraw-Hill buildings in New York City, or for that matter, even the Empire State Building.
It was reminiscent of very early in the twentieth century which was all about great architecture – of things being large, mammoth and spiralling upwards, too, things getting faster and faster. That sense of adventure about the wonderful world of commerce that one had created. It was that time when people had not yet begun to see, as we now know, the consequences of things being bigger and better and faster and all the effects on nature. I got onto the train heading, again, towards the front. Somehow, I felt relieved because I had lost the guy. I was there and noticed a stout man who was either High-Yellow or, perhaps, even White.
The people here were very strange because they were just rather unusual. Even though they looked White, they seemed more bronzish, actual bronze, than the pinkish tonality of the waking state. This was not a place that I knew. It was very otherworldly here, I soon realised. I did not get a seat and as I stood there I then noticed a woman. She was standing at the very front of the train. The train progressed with unusual speeds, I immediately noticed. When the train had shaken, the stout man had tried to brace himself by putting out his foot that was already out in the aisle.
In the process, he had stomped me and I had had to pull my foot out from under his and pushed his away. He wore business attire, a suit and tie, as though en route to an office job. The woman who was standing up was playing on a wooden flute-like instrument that was less than a foot long. However, the thing about all this was that she had unusually short arms. They were fully functional hands with tiny little fingers that nimbly danced over the valves of the wooden, wind instrument. Her arms were like a Thalidomide-damaged child’s.
Then I noticed too that there were other people on the train, about three or four musicians, practicing as well. I soon realised that everyone on board had some sort of physical deformity. They were just ill-proportioned people with torsos that were too long or arms that were too short. Arms too long or what have you, moreover, this also applied to the legs. The most pronounced cases were always the musicians like the female flautist – two or three of the other musicians were male.
Someone else who was on the train began laughing and, out of nervousness, I joined in. The person was laughing at the woman. She, however, hadn’t paid them any mind. Nobody else was paying people, who were laughing, any mind. They did not see anything wrong with the people who were being laughed at. I then got off the train and was out in this concourse area, where the trains arrived, before I went upstairs. Before I would go upstairs I saw this child seated in the middle of this white blanket that seemed more like diaper material than flannel.
The child wore a salmon-coloured merino. He had little, white, cloth diapers on. The infant had, again, very unusually, unusually short, short legs that made it look almost like a child because it was seated upright on its bottom. However, it had a very big torso – matured, such that the child seemed like a very big, big child for its age. Its head was very large with a very developed large and soulful-looking face. At the time it made me thing of Jake Hudson. Jake does have a very large head and face. I was trying to connect with him. He reached out his short little arms, crying out and said, “Dad, I want to go.”
There was this youngish man, who was blond like the child, and he seemed not unlike the guy Olaf Knight. He picked up his son and used the blanket, on which the child sat, that had these straps and put him around his shoulder. Like an African mother would, carry her child when in the fields, thus he was carried on his father’s back. He walked off with the child, who was holding on to him, except that the child was really an adult male. It was all very strange here in this otherworldly place.
I ended up coming upstairs and going out in the outdoors. There were people here – again, mostly Black people. I was talking to them when I heard the strains of Richard Strauss‘s Four Last Songs beginning. I beamed and excused myself from the people, with whom I was interacting, and went running off up this plaza. It was a clay-tiled plaza and when I got there, I saw the symphony. I went and sat in lotus position and sat very close to the front. There was a gathering of persons in a semicircle and I was, as a matter of fact, the closest to the stage.
The stage was above on a dais and it was edged by old gold juniper. The juniper was really, really nice and quite fragrant, refreshingly so, to the smell. Along came, from around a corner walking, Jessye Norman – the high priestess herself. She had been preceded by her divine voice’s magic. She was, of course, singing Four Last Songs. She wore a beautiful, beautiful, glistening black dress that seemed almost organic with a life of its own. It was twinkling on and off but the lights were lifelike like fireflies.
They were sequins but they seemed, somehow, to be organic. It had hues of gold, silver, bronze, and dark green hues like pine and blue hues like lapis lazuli. It was very, very intensely rich a fabric. She started singing the first song, Frühling, and it was very hauntingly beautiful. She saw me and beamed down at me. It was so connected between us. I was so enthralled and overpowered; I was quite smitten by her. I thought very rapturously awakened,
‘Yes! I’m having a dream of Jessye Norman. So very good to see her again, my god here she is and performing Four Last Songs.’
She then came almost to the lip of the stage and stopped as though about to sneeze. Then she held her breath and started laughing because it was so hysterical. The look on my face was one of being truly horrified for her. This had actually caused her to crack up. Then she began singing again and began making gestures for me to move or be removed. I was stunned and thought this some sort of betrayal.
‘Why is she snubbing me like this?’ I wondered. Then these two huge, burly guys came to eject me out of the area. As I was leaving, I could hear her starting to sing again. I was very, very upset.
I was, in the second dream, in this large house that was a very many-storeyed place. It had many apartments. I came out and it had a very slanted roof that one could go out onto. This roof was, however, very dangerously precipitous. I was looking about and thinking of Carl Leroiderien because, somehow, someone was talking about him. This White man was talking to me and telling me that Carl had been enquiring after me.
He then went on to ask me if I smoked dope which I denied. I can’t think of it doing anything for me except, perhaps, to make me sneeze at the most. Sometimes if mixed with hashish, I then got a massive headache. “It doesn’t do anything for me, I don’t really like it. I don’t see the point to it and I don’t smoke it.”
At the time that he was saying this, we were climbing some very, very steep stairs. Then at that point, after she had given her performance, I encountered Jessye Norman again. She was seated on a bench and called me over. She said hello very warmly and apologised saying, “I hope you weren’t upset. You realise that it was a misunderstanding. I wasn’t laughing at you; it’s just that you don’t seem to realise where you were.
“You were, well there are certain degrees of protocol and you were ahead of the dignitaries. And you shouldn’t have been so close to the stage because one of the reasons why your nose started bleeding was, in this dimension, if you’re this close to the stage… when I’m singing, when I hit certain notes it can shatter your eardrums but also shatter your mind.
“So you see it was very crucial that I get you out of there. Also, I was having a very bad allergic reaction to the plants at the edge of the dais. They made me want to sneeze. It wasn’t at all you or exclusively you.” In having embraced me thus, she was being most healing. I did, in fact, have quite the nosebleed. As I was being hustled out of the place, by the burly guards, it was then that I realised that my nose was bleeding.
At the time, I had thought it strange. As this dream progressed very lucidly and linearly, there was no point at which either burly guard had so much as touched me. I was so upset. It was so very good, after the fact, to have had her explain as she did.
*This dream really does validate the notion that all persons encountered in the dreamtime, without exceptions, are separate entities and not figments of one’s imagination. END.
When I was being bounced by her, I was so stunned, upset and humiliated. Had she not explained as she had just done, I would have awakened from this dream with a totally different perception of events. I had also no way of knowing that she was having an allergic reaction to the juniper which, at the time, I found so wonderfully soothing. What’s more, I hadn’t a clue that I had thrown the Chi of the place by having disrespected protocol.
I would never have thought that my nosebleed was due to her singing. In fact, it is possible that I could have awakened and not recalled that, indeed, I had had a nosebleed which I had totally forgotten until she had mentioned it. Jessye Norman has indeed straddled, with great élan and diplomacy, many a dimension with great frequency and fluency.
I then began holding her hand and told her that there were times that I had dreams of her, in which there were sometimes cetacean-looking creatures that came and did formations around her as she sang hyper-dimensionally. She was just enthralled and pleased. She squeezed my hands and laughed a healthy, really wonderful laugh. She was quite smitten by me and encouraged me to write it all down.
Her eyes here were so very large, soulfully dark and focussed right into me. It gave me a high just to have experienced them. I was wearing, when close to the stage, a satin merino-like shirt. So at the time of being bounced out, I had passingly thought that I had been dressed too scantily for her liking.
In any event, it was quite interesting.
This third dream was truly hysterical. It seemed like on Eglinton Avenue East, between Yonge Street and Mount Pleasant Road. It was at nighttime. There was a lot of goings on. Shirley MacLaine was there, Warren Beatty and Madonna Ciccone, as well. Warren Beatty was the man of the hour and the centre of everybody’s attention. He had a great deal of sexual energy and magnetism. He had been performing for the camera and for everybody around. It felt very staid to me though.
One very interesting thing that happened was that he had been heavily drinking and, whilst laughing, had bent forward. He then began uncontrollably coughing and was holding his chest and faking a massive heart attack. Next thing you knew, we were in a very crowded area and it turned out that he had not been faking the heart attack. He had a very, massive, massive heart attack. He was dead just like that. He was gone within moments. It was just incredible. Shirley MacLaine became utterly hysterical. Her bawling was like from some Greek tragedy.
She went into a trance-like frenzied state and began calling on astral guides and her Pleiadean guides. Pulling out a very impressive clutch of crystals, she threw herself onto him and tried healing him of death. She was placing them all over his body – at the chakras and elsewhere. It was too humourous for words. Meanwhile, as Warren Beatty died, Madonna came rushing up to the scene. It had all been too late and they couldn’t rush him to a hospital. There was no way that he could have been revived.
They had been out in some desert area having a big party; there were no doctors around. There was nothing that they could do; he couldn’t be saved. He was dead… he was gone. Shirley MacLaine started cursing to the gods, saying, “This is so unfair. He hasn’t even been able to make the sequel to Dick Tracy. And right when he’s at the top of his career this is happening?”
“Well you know this will really immortalise him now. Definitely, this is great publicity, right at this point in his career.” someone had dryly said who was not attached to his whole entourage. I had heard this but Shirley MacLaine hadn’t heard it. Madonna came and whatever she thought about I could telepathically hear it. Her immediate response was, ‘Oh shit! This is just going to fuck up my goddamn career. If only I’d gotten a child by him. Shit why did I have to have that abortion of his child. Shit!’
She was thinking fast. She was someone who knew how to manipulate the media. She was really pissed off because it would have meant immediate Hollywood sainthood for her, were she to go on and have Warren Beatty’s only child, after he had tragically died. She was really pissed off because this was media manipulation beyond her wildest schemes, ‘I’ve got to get him out of here. I’ve got to have the best genetic engineers flown in immediately…’
I was stunned when I read her thoughts because, of course, she intended to harvest his seed and impregnate herself and then have a premature love child of Warren Beatty’s. I was stunned by this woman’s phenomenal megalomania. ‘During the autopsy, I’ll have his sperm taken out and I’ll have it copyrighted. It’ll be my possession. I’ll have it engineered so that I’ll have a child… a son. God we can even have twins…’ She, all the while, was cowering over his face… kissing him and doing the wailing widow number, ‘…Can you imagine, Madonna?’
She privately squealed to herself – unaware, of course, that she was broadcasting to someone like me. She was so triumphant at having had that idea because all she knew was that people who so loved Warren Beatty would take to her now. She was insecure as to whether or not she would endure through time. However, with this, she knew that she would automatically become iconic. She would become truly the virgin mother! She would be actually giving birth to some dead man’s child – he of course being, Warren Beatty. It was destiny. After all, she was ‘the’ Madonna.
She had this flash that this was why she had always been so drawn to crucifixes. She was going to capitalise on the whole drama by making sure that it would be a son. Of course, not to be outdone by that old, other Holy Mother with the virgin birth, she would eclipse that Madonna by having twin sons. Again, La Stupenda squealed with delight to herself. I passingly wondered if I were the only one to be privy to her thoughts. Then I realised that from my detachment, as everyone bawled and was truly horrified as though these were Olympians and not mere mortals, that I was the only one.
‘What could be better than having two Warren Beatty lookalikes crawling around the planet and who were his twins? And his only heirs! With today’s genetic engineering it will be a great coup. ‘Think of the press! I’ll be guaranteed perpetual immortality. I’ll be iconised for all history…’ I thought then and there, ‘My god, this woman is monstrous.’
In any event, the funeral was upon us and by some strange quirk of the dreamtime, I was very much so a part of the funeral. I was as though a fly on the wall, as it were, and aren’t you lucky? Why, was I participating? I do not know?
In any event, I was dressed to the nines. I had on a wonderful, lace outfit with a mantilla with my veil covering my face. I was part, somehow, of the funeral party. It turned out that Warren Beatty had had five wives and, at the point at which he died, his fifth wife was a High-Yellow woman. She was part Black, part White, partly Latina. He had had all these wives. They had always been paid and kept to remain silent. They were never brought out in the public or media. It was one of Hollywood’s biggest secrets.
People, obviously, never knew about it. It had never once been spoken about. There was an interesting turn to all of this… I had been going along Eglinton East on the south side. It was as though I was going towards Yonge Street; however, it was not Eglinton Avenue East. Madonna was going to be late because, luckily, it was that time of the month for her. She was off having herself impregnated, by way of a turkey baster, with Warren Beatty’s frozen sperm – the planet’s most expensively rare caviar fertiliser of sorts.
I was attending the funeral with a short woman who was the fifth wife’s mother. She seemed a lot like Sybil Ben-Daniel and wore a brown coat over her dress. I walked with my right arm embracing her as she was on my right. I had burly bodyguards all about me, before, beside and behind me. They were real Mossad-goon-cum-Wrestlemania types. My pants were those flare-legged Giorgio Armanis that allowed me to stride throwing my legs.
There was a lot of train to them and I had such utter style. I had enormous energies about me and great flare. My eyes were bedazzling even though mantilla-veiled. They were what were, of course, fuelling my high spirits. The onlookers were lapping up my entrance; I felt wonderful. We then went into the church and the mother was talking about, “We want the money to go to the Church because the Church is really the staple of society and civilisation. The Church does so much good.”
I just decided to let her babble on and kept my tongue in check. However, I cussed her under my breath saying, “You demented old fool. What Church are you talking about?”
The church had a metallic-silver front and it looked not unlike York Cinemas on Eglinton Avenue East. It was not a very big church on the inside. As we got inside, I turned around and hissed at one of the bodyguards because he had earlier stepped on my train. Of course, we were surrounded then by the paparazzi and the little people. His Bigfoot’s footprint was there on the pant’s train. I reached back and slapped his face real hard, calling him a fucking asshole.
Of course, I knew that it was safe to do it here because everyone here knew, only too well, that side of me. However, I couldn’t wreck my public image doing so outside. As we got closer to the church, I began striding firmer with each step in anticipation of getting his oafish arse. I was really careful not to show that side of me when in public. I started going down the aisle and there at the end was Warren Beatty’s corpse in the open casket. It was a pure black casket that glistened. It was a dark black wood and a really gorgeous casket.
Escorting the mother-in-law, I came all the way down the aisle. I decided that I would go into the first pew on the right. The first pew on the left actually went further down the aisle and did go past the casket. It held men in white flowing robes; they were priest of whatever denomination this was – very cream, ivory-coloured and obviously very Catholic. I went and sat down and immediately behind me was the fifth wife’s family. They were very Hispanic-looking more so than Black. They were very handsome in that family.
I turned around and smiled at one of the men and the energies coming from them weren’t as I had expected – I had thought that they would hate me. I knew Madonna; I was apparently part of her hangers on. Somehow, I had known her through dance. I thought that, for that association, they would hate me. However, they displayed no such hostilities towards me.
Finally, the fifth wife came and was walking very slowly, regally. She carried a globular bouquet consisting of tiny, little white roses that were sprinkled in amongst some baby’s breath. There were one or two little red roses as well. She wore a white, lace outfit. Deliberately dressed as though attending her wedding, she was not though veiled. She came down to the casket and knelt before it, like Jacqueline Kennedy-Onassis at the rotunda, staking her claim on history by her performance.
She sobbed in a controlled breath and then got up and walked around to the right end of the casket. Facing the church, she was now behind it and up on the altar. She was before the pews on the left side of the aisle. She knelt down again and this time began wailing and ululating. She was doing ritual port de bras with her torso and head as well. She kept on holding on to the bouquet.
It was a very Latin; a very emotional display; definitely, not Jacqueline Kennedy-Onassis. It was very soulful and moving. One really felt for her. Finally, Madonna made her entrance and began slowly progressing down the aisle. There was utter silence in the place because everybody was thinking, ‘Oh dear, poor Madonna was slutting with Warren Beatty at the point of his death. Here is the fifth wife and is she going to create a scene or not?’
Well, of course, she is. The fifth wife is Latin so, of course, there will be theatre. When the fifth wife had been crossing the casket, I took in her body which was very wide-beamed. I knew then, in a flash, that she was pregnant with Warren Beatty’s child and four months pregnant. It was clearly no Immaculate Conception as per Madonna’s little trick. She was a very big-boned woman. She got up when Madonna entered the church and stopped crying.
Madonna saw her and avoided her glance as I turned and watched this fascinating bit of theatre unfold. Everyone was really excited at the potential fireworks about to go off. She started coming down to confront Madonna. I immediately and intuitively knew that there was a gun inside the bouquet that the fifth wife so firmly clutched. Positioning the gun, the fifth wife began holding the bouquet to her stomach. Madonna, staying her ground, kept on proudly walking down the aisle.
She wore black; it was an outfit that was not dissimilar to mine. She wore a short veil and not a mantilla like I did. She came walking down towards the casket staying closer to the left pews. The fifth wife came around the right side of the casket and was walking down the right side of the aisle looking at Madonna. She had a very, very vexed and determined – an almost trance-like, expression of self-absorption on her face. All the energy in her body was directed at Madonna.
When she was about five feet away from Madonna, she held up the bouquet and callously said, “I’m going to blow your fucking brains out!” It was filled with so much venom that it reverberated throughout the very high-ceilinged-though-tiny church. It was also very Gothic an interior. Madonna stopped truly catatonically horrified. You could see it beyond the veil. She had no entourage or bodyguards. She showed up alone, so confident was she of the coup that she had just scored at the geneticist’s.
She was so flustered that she gallantly stuttered back, “I dare you…” She was very nervous and said very quickly with a weak, little laugh. She was also vamping à la Breathless Mahoney – the character she played in Warren Beatty’s Dick Tracy film. She was, however, visibly ashen. Madonna was visibly shaken with fear.
Those persons in the left pews automatically screamed out and crouched down for cover because the fifth wife had held up the bouquet in both her outstretched arms like the gun that it so obviously hid. “Come on. You wouldn’t want to do that. That’s just stupid…” Madonna bravely said. “…You can’t do that. Besides Warren’s already dead. What are you trying to prove? You can’t do this to me! Don’t be stupid.”
The woman, however, started slowly walking towards her not buying her bullshit. At that, Madonna turned around and started to bolt and she fell down over her long-trained dress. She had already made it to the back of the pews on the left. She was much too vain, to run outside and possibly be murdered in front of the little people. So she got up and began running around the far side of the pews. Of course, as she ran away, the fifth wife could easily have shot her in the back.
Then Madonna got really pissed off, stopped against the far left wall of the church, holding out her palm at her attacker saying, “Stop it! You don’t want to do this. This is stupid. You can’t kill me. I’m Madonna!” She was just winded; the expression on her face was unbridled rage, fear, terror, chutzpah, all in one. Then the fifth wife pulled the trigger, which was the only sound in the place, releasing the magazine.
Madonna cried out and began pleading with her. It was truly a spectacle. It was really pathetic. The fifth wife then pulled on the trigger and there was a loud plopping sound. Everybody just screamed and the place became flooded with blinding blue light. It turned out to have been an older-model camera and the flashbulb from the camera as it went off.
At that, the fifth wife laughed this loud, truly callous, heavy-from-the-womb, ripe, wicked, vindictive, victorious-all-in-one laugh. It echoed throughout the church. When her echo collapsed, as Madonna stood there truly disempowered, the fifth wife uttered in a weary breath, “I always said to Warren that you’re an ugly slut. This picture will prove it.”
At that the fifth wife turned and came and sat down on the pew next to me. Her Latina family members were just going wild clapping and hysterically shrieking. Now that’s a Hollywood wife! Poor Madonna was still standing there involuntarily shaking. She was holding her chest and gasping for air like an asthmatic. Her left hand placed on her chest, with her right hand holding on to the pew, thus she stayed her ground.
Although her hand was on her chest, she was being most clever. However I knew that really where it should have been was at her pussy because what the fifth wife instinctively knew, as did I, was that she had just miscarried. Madonna was profusely bleeding. Poor Madonna was so humiliated. The look on her face was truly sad; she was sweaty and runny-nosed. She soon collapsed and had to be taken away. Of course, she would be beaten out of having Warren Beatty’s heir by the fifth wife.
The whole thing was so funny and hysterical. I was so stunned that the fifth wife was going to pull this stunt. I really thought that it was a gun; I had, at least, gotten this flash that it was a gun. The idea to have a bolt release, affecting a gun, was truly ingenious. The picture turned out to be truly horrific. It was all a joke being played on Madonna by Hollywood’s film elites who could not have cared less about her and her parvenu ambitions.
The whole affair was so very wickedly political. The whole thing was so hysterical. I wondered as to what next was going to happen. Is the fifth wife going to come forward and produce the first Warren Beatty heir – the true child? A child that would look like Warren Beatty – more like a child of the future being of multiracial heritage and a bronzed version of Warren Beatty would the fifth wife bear.
What then will she do about Madonna’s copyright of Warren Beatty’s sperm? Will the fifth wife, for producing the heir, win the legal rights to them and have them destroyed if she chooses to? Will this not, in fact, begin a Pop Religion rivalling the King, Elvis Presley’s, if Madonna had won custody of the sperm and gone on to impregnate herself and bear those miscarried twin sons because of her bonds to Warren Beatty and his two pseudo-virgin-birthed children – sons at that?
Truly, this is iconography for the new millennium, indeed.
*A very, very interesting dream. Certainly, that I would be dreaming about these people is interesting enough. I don’t pay much attention to any of them beyond the passing. I had seen Dick Tracy three weeks ago. That the whole thing would evolve the way it did was rather insightful. I was totally surprised, as much so, as was Madonna in the church.
I really did think that she was going to be shot. I thought that it would be so messy. You know, I just did not want having anybody’s can’t-wash-out bloodstains on my Giorgio Armani pants. A truly, truly funny dream this was.
*What can I say, dreams are purely experiential. I dream it and awaken, immediately bringing forth the dream experiences, committing those experiences to audio-cassette tapes. I rather enjoyed being alone and visiting with Jessye Norman in the earlier dream. Clearly, those dreams were set on a parallel Earth in another dimension and one in which the mostly Black population is differently proportioned than we humans of waking state Earth are.
On the eve of the Oscars, I thought this a fitting offering. I could never have fathomed the outcome of the fifth wife’s agendum until it unfolded. Ingenious, to say the least, was her use of the bouquet. As ever, sweet dreams and don’t forget to push off and start flying… and so what if you bump into a wall, just attempt doing so again and this time believe that you can effortless transcend the barrier. Perception is, alas, everything.
As ever my dear sweet ennobled friends, I am ever grateful for your continued support. Please do spread the word, far and wide about this happening dream joint on the cosmic wide web. Always remember to push off and start flying… I love you more.
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