Nancy Wilson… and more.

Wilson, Nancy 20/2/1937<O>13/12/2018

Michael: This fragment was a third-level mature artisan – second life thereat.  Nancy was in the passion mode with a goal of growth.  An idealist, she was in the emotional part of intellectual centre. 

Body type was Solar/Saturn. 

Nancy’s primary chief feature was self-deprecation and the secondary stubbornness. 

The fragment Nancy is fifth-cast in sixth cadence; he is a member of greater cadence five.  Nancy’s entity is seven, cadre four, greater cadre 1, pod 129. 

Nancy’s essence twin is an artisan and the task companion a warrior. 

Nancy’s primary needs were: expression, expansion and power. 

There are 10 past-life associations with Arvin and 6 with Merlin. 

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What a truly great voice.  Though over the years, I had attended many Nancy Wilson concerts, one in particular remains the most memorable.  It was the late set at the Blue Note Jazz Club in New York City’s West Village.  A Saturday night performance, it was at the end of the run and Ms. Wilson was in fine form.  With me that evening was Milan Newcombe, the rather eccentric lover of mine who had the most magical residence in Toronto’s Kensington Market.  

Milan and I met about a month before the 350th anniversary celebrations of Montréal in May 1992.  The day of the anniversary, there was a parade through the city’s main artery at night time; quite a unique and spectacular sight.  We stayed that weekend in a loft at the corner of Ontario and St. Laurent Streets and that night, I wore a pair of six-inch, black patent leather Bally talons hauts, a pair of extra short blue jeans that nicely sported the goods, a large, white pirate’s shirt, a confident smile whilst holding hands with the coolest motherfucker I had met since having met Merlin – Milan made a most pleasurable adventure of living. 

Jazz singer Nancy Wilson celebrated her 80th birthday on February 20th, 2017

Having just returned from a weekend in New York City with Manhattan cabaret singer, Frans Bloem, I was crawling the halls of the St. Mark’s bathhouse at Wellesley on Yonge, in a bid to get over decidedly banal sexual relations with Frans.  A great human being to be sure but sex should not be as ennuiyant and tedious as needlepoint.  Well into the late hours, after a few hookups, a long lean body caught my eye as it lay there, waiting to either prey or be preyed on.  

An hour later we emerged into the gritty, callously unforgiving light of daybreak and hopped on our bikes.  Together we rode west along Wellesley, cut through University of Toronto campus and onto Spadina, rode south on said avenue to the most magical lair imaginable.  There above a series of Chinese shops, Milan owned the two storey apartment that was filled with an assortment of Bohemians – or at least trust fund types, bored out of their skulls whilst waiting to collect their inheritance.  

Milan possessed the largest music library, I had yet or since seen.  Moreover, within that library were the most extensive recordings of harpsichord music.  If that were not specialised enough, Milan owned a harpsichord which, after we had riotously slapped, nipple-bitten, punched and me gourmandise his pygmy fin whale schlong: girth and length that makes your upper lip sweat and eyes roll back like Whitney Houston in full song, he would spend the next hour playing what proved the most captivating instrument.  Always at such times, I would become sponge-like and expansive, feeling as though in between wakefulness and sleep with a plethora of the most lucid past-life dreams flooding and surfacing my conscious mind.  Not surprisingly, that harpsichord proved a touchstone to our past-life connections and specifically to the life as court musicians in London, England during the reign of King George III and the Regency when Milan, Merlin and I plus a whole host of others whom I have known in this lifetime were greatly, creatively fulfilled.  

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Newcombe, Milan 08/02/56 Toronto <O> Toronto

This fragment was a third level mature sage – first incarnation at this level, likely to repeat the level – in the passion mode with a goal of acceptance.  An idealist, he was in the intellectual centre, emotional part. 

Milan’s body type was Saturn/Venus. 

Milan’s primary chief feature was impatience and the secondary arrogance. 

The essence twin is a sage, also discarnate.  An artisan task companion he’s got, who is incarnate. 

This fragment is second-cast, cadence sixth in the greater cadence, entity six, cadre one, greater cadre 7, node 414.  Milan is in the same entity as Arvin and Merlin, sharing a strong connection through the arts. 

The three primary needs for Milan were: freedom, power and communion. 

Q: Past lives of note for Milan:

Michael:       This fragment has had many lives in the theatre and in performing, as would be expected, due to his soul age, mature and role, sage. 

He has been a well-known courtesan in nineteenth century France, to a second-in-command lieutenant to Napoleon Bonaparte and was involved in many secretive meetings to which she was privy, due to her ability to keep silent. 

She, however, was found guilty of espionage, at a later date, and hanged, at the age of 24. 

This sage has also performed with students of Hippocrates in the fifth century Common Era in Crete and also became interested in herbal medicine at that time. 

Lives in the performing arts total 24 altogether and have been both notable, such as in China in the eighth century as a puppeteer or in the caves of Borneo when he was a painter of walls with what would be called ancient hieroglyphs. 

This fragment was also present in the sixteenth century in Venice and was a student of a lesser artist, not sure about the name. 

Q: Past lives with Arvin:

Michael:      First of all, let us comment that these two fragments did have an agreement which had to do with the validation of personal expression. 

Number of past incarnations total twenty and include:

  1. These two fragments were present in the “George” life; King George III of England, when the sage was a fellow musician and trumpeter. The sage was competitive with the artisan and envious of the artisan’s natural talents.
  2. They have been married once before officially in an area of the Middle East, eleventh century BCE, when they were in an arranged marriage having to do with land and money exchange. They did get along reasonably well due to the entity connection but did argue.
  3. Makers of small ornamental objects in the first century Common Era, Crete. Both were female and cousins.
  4. These two fragments completed a sequence having to do with abandonment/abandoner in the São Paulo incarnation. The female artisan seduced the sage and then subsequently refused to continue in the relationship which led to emotional turmoil for the sage.

This first part of this sequence took place in the 1300’s in Spain when the reverse occurred but the sexes were the same, artisan still female, seduced by the sage then abandoned. 

Had this not been an agreement, there would have been mindfuck karma incurred. 

(KB: this was an important set of incarnations) 

 Q: Past lives with Merlin and the ET:

This fragment was present in the life aforementioned in the fourth century in an area of Tibet and was the mother of the task companion, former-Merlin but separated when the scholar, former-Merlin, was quite young due to religious training. 

There have been an additional four of note including one in the ninth century in China when these two fragments were enemies and came quite close to incurring karma; through combat, not agreed upon in advance, as well as one in the first century Common Era when they were married to the same male fragment; Common Law, Palestine area. 

This sage has also shared three past associations with Arvin’s essence twin which have included living in a small village in western Canada in the 1400’s both male.  They were childhood friends. 

Additionally they have fought side-by-side “on stage” when members of a travelling theatrical group in northern Italy in the sixteenth century.  The essence twin died of a fall which the sage tried to prevent but was unable to, happened when both were teens.  

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Milan was magical; his home lit throughout by candelabras and the salon an exacting reproduction of an 18th century English salon.  One of the most beautiful things about sleeping over with Milan at his magical lair, was that many were the nights when I would – whilst lying next to him in bed, pleasured and satiated – spontaneously astral project.  During these marvellous OBEs (out-of-body experiences), I would get up out of my body, turn around to look at our smiling pleasured faces harmoniously lying in bed fast asleep, see the cord of silvery white light that attached my astral body to my physical body.  This cord more so resembles a caravan of tiny balls of light that are unbreakable and which attach at the solar plexus of both bodies – astral and physical.  Milan was the most sensual lover and the greatest kisser.  

This song was Milan’s favourite tune and Nancy Wilson his favourite Jazz singer – just as Natalie Cole and Betty Carter mine and John Hirsch was Ella Fitzgerald’s undisputed biggest enthusiast.  Until having met me, Milan had never listened to Jazz or explored the genre.  However, like all persons in the positive pole of their goal of acceptance, he embraced, appreciated and explored the newfound treasure that for him Jazz would prove.  With an intensity never before experienced, Milan insisted on venturing to every Jazz concert imaginable.  To that end, we took several trips to Chicago, New Orleans and, of course, New York City to nurture our souls and forge to greater depths the bond we shared.  Whenever the loving was good and god do I love a cock… especially his – hey, three billion women can’t be wrong, Milan would then play some Nancy Wilson.  Our love faded on my relocation to Vancouver – he hated grey, dreary and rainy weather, I was come undone one early morning whilst meditating in the pyramid in Vancouver, Milan appeared to me and said so long.  I knew that he had died that day – another lover passed of AIDS.  I will ever experience the sweetest memories when listening to Nancy Wilson.  

Sweet and very blissful dreams indeed be yours Nancy: griot, linguist, shaman and truly great performer.  

As ever, thanks for your ongoing support, dream without giving a damn… cause you can and all the more reason to push off and start flying.  

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©2013-2020 Arvin da Brgha.  All Rights Reserved.  

At Last, The Day Has Finally Arrived.

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With a spring in my step, I came up for air at Piccadilly Circus Station, whistling Ludwig Minkus’ glorious recurrent melody from La Bayadère with thoughts of the astounding Natalia Osipova uppermost in my thoughts.  

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I was returned to the Royal Academy to hunt for coffee table books.  

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More than that, I was on a mission; returned to Fortnum & Mason was I, directed there by the gracious clerk at The British Museum’s Grenville Room.  

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Armed with just over a dozen rose petal jellies, there was no less spring in my step as by now I sang aloud my merry little melody from La Bayadère.  I truly felt as though, on this trip to London, I was lucidly awakened in the most sensual dream.  Dreams so luscious are the ones which cause you to pause, smile and whisper near-mischievously, “Arvin, this is a dream and you’ve earned it.  Now push off and start flying.” 

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At such times, there is no thunder more glorious than the roar of my very soul as I laugh, enjoying my creative soul fulfilling itself.  I was reminded of those early days in our relationship in Manhattan when whilst ambling late at night for staying at Merlin’s agent Joyce Ketay’s Upper West Side apartment, whilst holding hands, I would push down as in dreams but end up doing an assemblé, in place of flying.  His rosy choirboy lips would warm in a smile whilst the ubiquitous fag or joint was elegantly perched between left index and middle fingers. 

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Bailing into to Piccadilly Circus, still feeling mighty spiffy of spirit, I opted against heading back down into the Underground – the place leaves me with sooty phlegm each time nose-blowing.  With that, I bailed out of the Circus and onto Shaftesbury Avenue and made my way to a favourite joint, Ben’s Fish n Chips.  

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There at a cosy table in the rear, I leisurely pleasured myself whilst finally reading the HRH Princess Margaret biography; it is delicious.  

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Blisters be damned, I elected to walk from Shaftesbury Square up to The British Museum and take in more art.  This being a Friday, there were school kids everywhere; my goodness, children have got powerful noise-making lungs!  Then again, what is childhood but play for the soul, which after having recently lived and died is now reborn and gets to celebrate and run up and down in a brand spankingly new and excitingly different body – to say nothing of being in the company of reincarnational travel companions some of whom now you can get a good schtup off of this time around, seeing that last time he now she looked like Quasimodo and even so, you weren’t then same-sexed focussed.  Ha!  

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In the bookstore was a clerk with whom I shared an interesting conversation last winter; he was a dead-ringer for scholar soul, right down to the glasses.  He suggested that I could take refuge in the Japanese wing and avoid the madness that was happily reincarnated souls screaming their lungs out and running hither and yon.  

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Before I could get there, moving around one corner from one gallery to the next, will you look at what I happened on.  

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On seeing it, I was readily warmed of spirit and let out a celebratory, “Yeah, yeah, yeah!”  In that moment, the sense of fellowship and belonging I only ever feel when in Canada for being around First Nations cultures, whether at a pow wow or not, proved the most refreshing drink for my questing soul around a corner in my favourite city, London.  

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Up one elevator, down one corridor then up another elevator and one was then posited into the most serene of galleries.  Now this is more my kind of groove.  

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All this exquisite splendour and not a single recently reincarnated soul running about and screaming way too powerful lungs out for such a tiny body.  

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This proved an interlude of slow-dancing with my very soul… the vibrations here were utterly harmonious with spirit.  

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Photography can never do this masterpiece justice.  

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I am reminded with this gem of the fabulous kimono of Merlin’s hung in our Cabbagetown home.  

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Can you hear my soul purring…

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Phenomenal. 

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My very favourite piece in the gallery; warm, fecund, sensual, curvaceous, feminine, grounding.  It truly is perfection; this after all is what womakind are: perfection of creation – we men just can’t handle it, hence religions which all without exception oppress womankind and tell them that creation is outside of themselves and some warring male god somewhere.  Ha… we men can never endure the pain of labour then get up a completely new aspect of creaturehood – no longer a woman but a mother to whom that child will ever be more closely bonded.  Love this piece.  

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This was the most beautiful adventure… for now, with a couple of coffee table books and toys for kids of a friend’s, I crisscrossed Russell Square Park and slept with my blistered feet raised whilst being held closer in sleep’s warm nurturing bosom and was readily tugged under into the world of lucid, inspired dreams.  

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On a gloriously balmy mid-November evening, I emerged from Covent Garden Station into a sea of humanity filled with love and laughter as the weekend was begun.  As lovers ambled past holding hands, I was reminded then of my life twenty-nine years earlier when the Berlin Wall was being toppled.  I was grateful in the moment because back then, two days before Merlin’s passing, I could not imagine myself being still focussed in this life with so much death and dying around me. 

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Yet, here was I with my happy little lambious (Merlin called me Lamb because I was more 9 parts enraged grizzly than timid lamb) self, in Covent Garden about to see a ballet because Marianela Nuñez, Natalia Osipova, Vadim Muntagirov, Matthew Ball, Francesca Hayward, Joseph Sissens, Steven McCrae, Iana Salenko were part of the most glorious group of ballet dancers.  

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Oh my, look at this; there have been changes afoot since last winter.  

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My pilgrimage to the shrine of high art is finally here!  What’s this, new coat check, new toilets, new dining area… wow! 

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No sooner than was I sat and along came a Jurassic hybrid, no chin, back so long may well have extra vertebrae and a neck that is too thick and long to be on a woman’s body but I am not judging just saying,.. 

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Well I did not cross the Atlantic just for this obstruction and her pheromone were decidedly reptilian.  As Frederick Jones would say, “I’m not havin’ it!” After a few gracious words with the accommodating ushers, my offer to stand through the entire performance seemed reasonable enough. 

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I stood on the steps up to the last row that was more centre of house than my ticket.  I did my best to ignore the chinless spinster who sat at the edge of the row, who promptly repositioned her handbag, as if it were a blasted Birkin!  Naturally, she kept eyeing me.  As I always carry Shaniqua in my back pocket, I was ready to hiss, the minute she stepped out of line.  

During the performance after the Bronze Idol danced his spectacular solo, I lost myself and yelled the loudest bravo in the house and wouldn’t the old bat have something to say, “Be quiet!” to which I leaned in and hissed, “grip harder on your butt plug and shut the fuck up!” Why do people insist on leaving their homes and act as though they are lord or lady of anyone else’s reality.  

Never mind her, the lovely Russian couple who sat in the front row looked back and approvingly yelled “Da!” at my exuberance.  Truly, what a glorious night in the theatre.  You cannot possibly begin to fathom the amount of flying dreams I have had since that night; it is as though, I perpetually am now flying-without-moving.  Of course, I haven’t yet shaken that exquisite Minkus melody from my lips but so be it.  There was something simply transcendent about having experienced the purity and perfection of the Kingdom of the Shades opening of Act III that will ever keep me richly inspired.  

Love is all and whatever it is that makes you want to fly without moving when awake grab on and tightly hold on – drugs don’t do it, they do you!  As ever, come closer let’s have a group hug and a bit of air frottage because life, alas, is the sweetest of dreams!  

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© 2013-2020 Arvin da Brgha.  All Rights Reserved.  

Oxford Circus. Pimlico. Barbican.

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Bright and early Tuesday morning and it was off to Oxford Circus in search of more art.  

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No faking this; the hustle is fucking real. 

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As I poured through this joint, I recalled my advice to the London cab driver whilst crawling along Pall Mall two days earlier.  

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Well if Daddy Warbucks’ little girl ain’t toothless, what is one to do but vacuously laugh with every breath.   

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As though I had just walked in on the most malodorous dump, I was out of this dive in a New York minute.  

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As I came up out of the Underground, I felt as though I had just endured a room whose stench was dirty ashtrays, liquor and coffee.  Once at Hyde Park Corner, I made it to Apsley House, only to discover that it was not open during the week.  Took the time to breathe the crisp – though not cold like Canadian – air with Hyde Park’s trees’ transitioning foliage predominantly apricot-coloured.  

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Vauxhall Tower (St. George Wharf Tower.)

Arrived at Pimlico and the air was comfortably cool; so nice to have a brilliant sunny day for a change.  Nonetheless, you can bet your bottom dollar that I was protected by my extra thick-lensed black shades. 

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After working almost exclusively at nighttime and since before that when in the theatre, I have developed a genuine sensitivity to sunlight.  You cannot convince me that we are not much too close to Sol for comfort.  So to Tate Britain I was returned.  After the scam that was the Klimt / Schiele, I was not rolling the die on Turner Prize 2018.  

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I went into this exhibition with zero expectations.  Like the British Museum, I love the gift shop at Tate Britain as opposed to Tate Modern’s.  I was on the hunt for unique gifts to purchase; this ticketed event was a gamble.  

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You cannot begin to fathom the degree to which I was wowed by the breath of this artist’s genius.  

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Remarkably, there was no end to this genius’ vision.  

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There is, throughout his art, movement and fluidity with the greatest grace and attack.  

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This is a colossal retrospective and his talent was unmatched.  

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The sensuality is breathtaking.  

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Every painting was a newly discovered masterpiece.  

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The breath of his work is astounding.  

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What a truly marvellous discovery.  

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His work left everyone moving through the exhibit in a state of harmony.  There was such peace and serenity in each salon and every salon had some wow moment masterpiece.  

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One key element of his art was that each work was hung in the spot-on perfect frame.  

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Masterful!

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For me, Edward’s genius epitomises where dreams and genius merge and produce the most uplifting art.  

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Quite simply, there are no words.  

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Besotted.  

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The moment that I laid eyes on this tableau, I immediately thought of Francis Bacon.  

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Breathtaking…

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Now, this is Art,  Next-level tapestry.  The fluid sensuality is overwhelming.  

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This is everything.  

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I would gladly have paid thrice as much to view this exhibition.  

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This was like nothing I had seen before and it far exceeded anything that I had expected.  Truly beautiful.  After dining on a late lunch in Pimlico, it was back to Bloomsbury for a nap before heading out into the evening.  

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Though I was rather looking forward to hanging out at Ronnie Scott’s, the idea of listening to Charlie Parker and John Coltrane (an entity mate) being butchered by some Israeli appropriationist was not exactly high on my must-do list.  

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Happy was I to be in the comfy seats at Barbican Centre Cinemas to watch a LIVE relay from Covent Garden of that evening’s performance of La Bayadère, which at week’s end I would be attending.  By far, this was the most glorious of cinematic experiences.  I could not believe the sight of Natalia Makarova when she appeared on screen. 

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She was now full-bodied as we mostly get on ageing.  Last time that I had seen her was during a class we took together at NYC’s Harkness House ballet school during summer 1983.  That late spring was the last time that I had also seen the ballet live; it was May 19, 1983 and my favourite dancer, the dimpled, shy and oh so sweet, Fernando Bujones was dancing the role of Solor.  

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As ever, thanks for your ongoing support and dream as lucidly as you want to… 

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©2013-2020 Arvin da Brgha.  All Rights Reserved.  

@ROM

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Monday past, in a bid to escape the near-insufferable heat – why does it seem to be even hotter at nighttime? – I rode up onto the sidewalk from the bike lane in a bid to park my bike, I was accosted by yet another vile, little, arse-munching, lisping ninny. Why is it that white females and white gays are so quick to be animus-charged and spew so much hate… every frigging time. As you can well imagine, I was quick on the rebuttal with even more forceful vituperative-charged impatience.

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This past Pride parade, which I have never once attended, I was being invited to come to march in solidarity with the missing and murdered victims of Toronto’s gay serial killer. Without hesitation, I was almost violent in my refusal to do any such thing.

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Two years earlier, whilst returning home from a work gig, I had to cut through the remnants of that year’s pride parade on Wellesley Street East, when just east of Church Street en route home, I had a tall skinhead-looking guy with lots of tatts and no shirt on with rainbow-coloured open leather vest, start shoving my bike, which at the time I was walking rather than riding.

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Soon, he began taunting me: “Yeah Bud! All Lives Matter! Next someone in back of me shoved me into him and soon enough, I was being kicked in the arse, shoved, punched and my bike similarly abused. At the end of it, somehow, I managed my way home with bruised pride and a bike, which eventually had to be repaired. Later, when I got home, I discovered that earlier at the start of the pride parade, the Black Lives Matter group had been invited to participate in the march.

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Somehow, it was assumed that they had crashed the parade; either way, their presence was clearly not wanted because they were being verbally assaulted and also pelted with water bottles from accounts I learnt from persons, who had witnessed the episode on Bloor Street East at the start of the parade. At the time of the assault that I endured, during which not a single soul on the crowded street and sidewalk did anything to intervene, the attack made no sense; sure, I knew from personal experience that gays are the most racially hostile persons – still, it seemed a bit extreme to be attacked out of the blue.

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Like the true Rat that I am, having taken the lisping, arse-munching bigot to task, I slipped into the cool, airy sophistication of the ROM, which lords over that end of Yorkville. I had been intent on seeing the spider exhibition in B2; however, the elevators were not going there. So in the end, I opted go up to level 4 and take in the visionary fashion exhibitions by Iris van Herpen and Philip Beesley.

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As previously, I had been so underwhelmed by the Dior exhibition @ ROM, I went into this one expecting very little.

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Boy, was I wowed! This was like the most surreal, lucid dream imaginable. Two designs into the exhibition and I had to hightail it to the photograph and bio of the artist; I was readily impressed and warmed by her soulfulness.

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This was so phenomenally uplifting an exhibition that I soon turned on John Coltrane’s, who happens to be an entity mate of mine and Merlin’s, 1958 masterpiece, Blue Train.

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Those lines! Truly sublime and elegant.

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Truly visionary.

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Seeing these gorgeous fascinators, I was readily reminded of New York City milliner and friend of Merlin’s, Frederick Jones who – like so many black American friends of both mine and Merlin’s – perished of AIDS in the 1990s.

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The fascinators also reminded me of the gorgeous recent royal wedding, which for having looked at it several times to date, I have now noticed more persons than initially on the day of.

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What I found truly fascinating was that Charlie van Straubenzee has the exact same facial quirks as does Merlin’s oldest friend; the same shudder followed by mouth and nose-twitching.

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Well, after all that, I could not wait to cross to the other salon and discover Philip Beesley’s creative genius.

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By this point, I was certain that I would be just as equally wowed!

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I was completely besotted!

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For this visionary tour de force, I switched to Miles Davis’ 1959 gem, Kind of Blue.

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Blow that horn Miles!

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Notice the raptor-like birds staking their predatory claim to the fashion victim.

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This exhibition was so breathtakingly beautiful, I was left swaying and bobbing, pretty much like Baroness Fellowes to the gospel choir singing, This Little Light of Mine, as her nephew, HRH Prince Henry, Duke of Sussex got into the Ascot Landau carriage and the elegantly ravishing Meghan, HRH Duchess of Sussex wowed the world – I don’t think that I have ever seen a white dress so white; I have been referring to it as supernova white, the damn colour so fiercely popped.

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One of the most touching moments at the recent royal wedding was when designer Roland Mouret repeatedly kissed Victoria Beckham on the cheek with his sexually dynamic lover, James Webster, being the centre of my libidinally focussed and undivided attended.

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Some of Philip Beesley’s whimsical designs look like something that Isabella Blow would readily have favoured. So sad to have recently lost equally stylish, unique and creative fellow English eccentrics, Annabelle Neilson and Lucy Ferry-Birley.

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I really loved this dress.

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This masterpiece is truly iconic.

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This confection of autumnal oak leaves really moved me.

To truly be appreciated, these next marvellous creations had to have been filmed.

For this series of suspended installations, I listened next to Thelonious Monk’s 1958 masterpiece, Misterioso.

By far, this was one of the most enjoyable exhibitions ever mounted @ ROM.

This truly was amazing! Wow!

ROM

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As ever, thanks for your ongoing support and sweet dreams as ever.  

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©2013-2020 Arvin da Brgha. All Rights Reserved.

All Too Human… And Then Some!

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Well, after having been dazzled by Natalia Osipova, there was no doubt what next adventure my soul had to devour.  I arrived at Pimlico Station and enjoyed the cool brisk walk to the red and white gorgeousness of the neighbourhood architecture.  I arrived at 08:50, a good hour ahead of the opening.  I took the time to place my palm on as many of the august sycamore trees in the neighbourhood as I could.  There were some high-end cars waiting out front of the Tate Britain Museum to take in All Too Human as yet another jetliner roared towards London Heathrow.  Definitely bulletproof, a stately Benz sat closest to the entrance with a smoky grey Bentley, SUV no less, parked furthest of the cars.  

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Eventually, persons began turning up and the engaging West African security agent who had the same strong, proud, full-lipped mouth as Leontyne Price’s closed one of the two heavy black doors to protect me as I waited outside the main glass sliding doors as a private event was underway — thus one couldn’t be allowed inside.  Finally, persons began leaving, one of whom — in a beautifully vivid red coat — was Cherie Blair CBE, QC.  She was proud-looking and had the kind of broad body that as I child was so familiar when growing up in the West Indies.  She had that air about her that bespoke a life in the public eye; someone made a curt remark and she was quick on the rebuttal.  I was much humoured and reminded of Saddam Hussein trading insults with the men who moments later gladly terminated his life.  

two-plants-1980

Finally, it was on to the business in hand and what a beautifully stunning exhibition; one of the best contemporary art exhibitions that I have attended in years.  The greatest discovery was the lush, richness of the Lucian Freud still-life, Two Plants.  Thoroughly layered, engrossing and lyrical in its deft vividness.  I was left teary eyed by its sublime beauty. 

Sleeping by the Lion carpet Leigh Bowrey

Of course, I was moments earlier moved to dewy-eyed focus when drinking in the rich tableau of the portrait of creative artist and true eccentric, Leigh Bowery whom many years earlier I had seen perform in New York City.   I was reminded, of course, in Leigh’s passing of the countless many whom I have lost along the way to AIDS.

All Too Human

The poster for the show at Russell Square Tube Station in Bloomsbury.  A wonderful tribute to Leigh who covered a fair bit of ground during his lifetime… sweet and blissful dreams be yours…  

Francis-Bacon-Portrait-1962

Naturally, I booked my flight based on two things: one, Giselle with Osipova and secondly, a joint exhibition featuring Lucian Freud and Francis Bacon.  For that, I would gladly hop a Tesla to Iapetus.  Of course, this exhibition was a pilgrimage of sorts for me and it was a way of paying homage to the artistic accomplishments of cadre mates.  

Study for Portrait of Lucian Freud Francis Bacon

As per the portrait of Lucian Freud above, these two artists are cadre mates of mine and Merlin’s.  Lucian Freud is a mature priest in our entity (6).  Along with Rudolf Nureyev and Grace Jones, Francis Bacon is next-door in entity 5 of our cadre.  Francis is a mature artisan, Grace Jones a mature warrior and Rudolf Nureyev a mature sage… and how.  I was thoroughly warmed to have drunk of their spirits.  

Portrait of Isabel Rawsthorne 1966 by Francis Bacon 1909-1992

This particular portrait, Isabel Rawsthrone, I especially loved.  Raw, primal and emotionally intense there is something decidedly operatic about the focussed intensity of this portrait.  After initially getting over the intensity of it, it proves rather warm and enveloping.  

Three Figures and Portrait 1975 by Francis Bacon 1909-1992

This was a thoroughly arresting and soul-stirring adage; it was a beautiful way to have begun the day’s adventures.  

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After walking past the noise of the construction/renovations taking place on the first floor — one of the workers was a real pulse-racer, looking as he did like no end of hot, rough sex and in work gear no less!  Then it was downstairs to take in the Impressionists in London exhibition.  I did not buy the catalogue.  I always am a bit put-off by the association of the word “dream” when describing the works of impressionists.  There is nothing unfocussed or diffused about dreams.  Trust you me, as someone who recalls at least half a dozen dreams on average, oftentimes, dreams prove the most lucid part of any given day.  Perhaps, it was all the wine the French impressionists consumed but the maudlin-feeling lighting just doesn’t do it for me… most times.  

Notting Hill Gate

Having had my fill, off I went from Pimlico to Nothing Hill Gate in the wet snow and made the long trek to Kensington Palace where one of the most glorious flying dreams in this lifetime was set — also, in that dream was a then incarnate, Diana, Princess of Wales with her two beautiful-spirited sons, the future HRH Prince William, Duke of Cambridge and HRH Prince Henry of Wales and Duke of as-yet-known after he marries his beautiful bride, Ms. Meghan Markle — a mature artisan, to his mature warrior and an entity mate of his no less.  

Kensington Palace

On the long trek along Broad Walk in Kensington Gardens from the high street, I enjoyed the look of snow everywhere.  The odd flake fell from time to time as joggers braved the fierce wind off the park.  One brave soul with a shock of close-cropped red hair, sported the greatest thighs as he jogged strictly in a pair of wrestler’s shorts.  He proved warming for my blood, indeed.  

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As I got towards the edge of Kensington Palace the handsome raven above swooped in from off my rear right and towards the palace.  He alighted, cocked the head at me and kept taking to the wind to come closer, all the while fixing me with a hard gaze.  “Yes, of course, you can see my heart.  Love is the password” I said aloud to the totemic creature as it kept on calling at me and edging ever closer, though, not being confrontational.  Satisfied with my password, seemingly, it bobbed and took to the air never to alight again.  I rather appreciated the warm welcome.  

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I loved the sparse beauty of the King’s Gallery at Kensington Palace, which — for me at least — was lauded over by the Equestrian Portrait of HM King Charles I by Sir Anthony van Dyck, who happens to be in entity 1 of my cadre; he, presently incarnate and one of my oldest friends, shortly is about to return from his winter stay at his Acapulco penthouse; I will be visiting him later this spring on the Canadian west coast.

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A truly beautifully tailored, handsome suit, this one.  I am not a big fashion person — I believe that one is best dressed when naked and preferably tumescent.  I did, though, rather enjoyed the movement through the Diana, Princess of Wales exhibition.

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A very beautiful second-level mature artisan, she was too.  

HRH Catherine Duchess of Cambridge

Having been inspired by Diana, Princess of Wales’ portrait, I made my way to Charing Cross Station in Trafalgar Square and cut across the street where there was a broken water main flooding the street.  As usual, Yoda was there doing his routine and, no doubt, earning a pretty quid.  I took in the HRH Catherine, Duchess of Cambridge-curated exhibition, which had opened two nights earlier on my arrival.  Though, I had stood outside the National Portrait Gallery to catch a glimpse of her arrival, I soon dashed off in the increasing snowfall, if I were to make my Jazz at Lincoln Center performance across town at the Barbican Center.  So, having missed seeing her in person, the next best thing was to go gaze at the portrait of HRH Catherine, Duchess of Cambridge.  I love it as it is so layered and complex; she is a late-mature warrior soul.  

National Portrait Gallery

As I move very, very quickly, I was out of there and soon grabbing a take-away fish and chips at Ben’s on Shaftesbury.  I then headed back to my hotel, ate, napped and got ready for a night at Royal Albert Hall to see OVO.  

Royal Albert Hall

Never before had I taken in a Cirque du Soleil performance — I have my reasons…  Nonetheless, I just wanted to enjoy anew the ambiance and acoustics of the marvellous auditorium.  

OVO

The show was no more engaging or exciting than bad bathhouse sex, which if it weren’t so late, one would never have bothered engaging in.  A perfectly forgettable tourist sort of thing to indulge when there was no other nighttime entertainment going that was worthwhile.  I could have taken in 42nd Street in the West End but I had already seen it at least a dozen times when then living and dancing in New York City in the early 1980s.  The idea of taking in 42nd Street was only slightly less irritating than the thought of messy bathhouse sex… options… choices, indeed!  

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After the show, on the long walk from Royal Albert Hall to South Kensington Station, a young mesomorph asked me for a fag — I don’t smoke — but it was obvious what he was after.  He sat across the narrow aisle on the eastbound Piccadilly Line ride and the rest proved a rather memorable night.  

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The morning after the night before, it was off to Windsor Castle, of which I will next blog.  

All Too Human Catalogue

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As ever, sweet dreams and thank you for your ongoing support.  

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©2013-2020 Arvin da Brgha.  All Rights Reserved,

Here’s to You!

Just a wee glimpse into my magical life where dreamquests are all begun in the groovy comfort of my collapsible pyramid.  I have had a pyramid since 1984 in one form or another.  This incarnation of my dream chamber, I rather love.  Being surrounded by art is about being greatly inspired.  

Happy New Year!  Thanks for your ongoing support and here’s wishing you the very best this year!  Sweet dreams as ever! 

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©2013-2020 Arvin da Brgha.  All Rights Reserved.

Four Standing Figures.

Four Standing Figures Henry Moore

Four Standing Figures

Lithograph

12.5 x 15 in

11/50

©1978 Henry Moore

Provenance: Collection of Arvin da Brgha

Let there be art.  Let there be love.  

Back in 1982, Merlin and I were holding up at the Trockadero loft — home of Natch Taylor and his dancer lover, William Zammy Zamora.  Theirs was a beautiful loft in New York City’s Chelsea where across the street presided the block-long, imposing green edifice of one of those grand buildings found only in America.

One evening after rehearsals for a dance concert, I hung out with dancers from the Nanette Bearden Dance company, then finally made my way home late at night.  When I got in, Merlin was at the loft’s rustic kitchen/dining table with a large sketch pad with director, Jim Henson with whom he would be working in Toronto, filming the inaugural season of Fraggle Rock.  Tall, slightly drooped and intense, Jim briefly chatted but remained focussed on the task in hand.

Presently, he and Merlin were going over sketches and design ideas on respective pads for the shows.  At the time, whilst standing behind Merlin seated at the table, I remarked that the sketches were not unlike Henry Moore sculptures.  Both men simultaneously responded, “Hmm” to which we all laughed as it was reminiscent of the creatures in Mr. Henson’s feature film, Dark Crystal which had weeks earlier opened wide in theatres.  The film was a definite favourite of Merlin and mine.

Merlin remarked that the design were not dissimilar to Henry Moore’s sculptures whose massive curvaceousness, Merlin and I had agreed were feminine, .elegant and beautiful.  This discussion about art was had late at night, after having fucked like rottweilers at the Hotel Chelsea where he held up one weekend when in town from Toronto to both network but mostly to secure a right, proper ploughing of which he could never get enough… we both could never get enough.

On the whole, both men agreed that there were unconscious Henry Moore influences to their design sketches.  Those sketches would be further refined and were recently shared herein.  What none of us at the time could have known, was how spot-on was my observation.  As it would turn out, Henry Moore happens to be an old soul artisan who is an entity mate of both Merlin’s and mine.  Furthermore, Jim Henson who is an early mature artisan, also happens to be strongly bonded to Henry Moore, Merlin and I as he is in entity one of cadre one, greater cadre 7, pod 414, to all three of us being in entity six, of cadre one, greater cadre 7, pod 414.

Always, it is nice to find the ties that bind and it was really good of me to have picked up on that cadre connection when looking at the sketches and throwing Henry Moore ‘out there’ as it were.  The evening was lovely but I was in my restless youthfulness, dying to be alone yet again with Merlin and get on with the business of sinfully sweating whilst celebration life… love.

As ever, thank you for your ongoing support and do know that I shall shortly be starting a podcast, plus volume two of both my dream memoirs and the Michael Overleaves appendix will be launching soon, here at my art filled and recently redecorated home…

Sweet dreams as ever!

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©2013-2020 Arvin da Brgha.  All Rights Reserved.

Here’s to Life! A celebration of the 70th anniversary of Merlin’s birth.

 

On this the eve of the July 21, 2017, 70th anniversary of Merlin’s birth, I am still over the moon and greatly inspired for having travelled to London, England, Paris and Versailles France and Amsterdam, the Netherlands in June.  I wanted to take in the pomp and pageantry of trooping the colour, revisit the National Gallery in Trafalgar Square, the British Museum, the National Portrait Gallery, Tate Britain, Tate Modern… and did!  I really loved my visit to the new wing of the Tate Modern and the beautiful panoramic views that it affords of the north bank across River Thames.

Staying in the beautiful SW10, I had a great place to stay and had a marvellous time.  Great it was to revisit Westminster Abbey, feeling the sense of history and the grandeur of the abbey.  Every moment of being in London was sheer magic.  This city, more than any other, readily evokes a sense of home –- somehow, in its magical agedness, there vibrationally is something perfectly harmonised about London with aspects of the West Indies into which I chose to reincarnate and where my sense of ‘home’ is grounded.

The LGBT exhibition at Tate Britain was a bit underwhelming; however, I enjoyed being exposed to the many female artists and their Lesbian-themed art, which heretofore I was not cognisant of.  Naturally, the male perspective has always been prominent in homoerotic art.  Without doubt, the best exhibition was at the Queen’s Gallery at Buckingham Palace and the Crown’s exhibition of aspects of the Canaletto collection.  Naturally, I did have to return to the National Gallery to take in my favourite Sir Anthony van Dycks in their collection; among them, that ode to sage essence grandeur, King Charles I’s Equestrian Portrait of Charles I.  The Rotunda at Ranelagh remains my favourite and most moving Canaletto; of course, it did prominently feature at the end of a flying dream, during early pubescence, that had me dreamquest to a past life in London, England.

That past-life was shared with Merlin when we were musicians at court in late 18th century London.  During that lifetime, we knew 1st Duke of Brontë, Vice-Admiral Horatio Nelson.  Apparently, Viscount Nelson was a great raconteur and it was likely his tales of his love of Nevis which proved the seed that eventually led to my choice at the level of soul to have reincarnated into Nevis –- which incidentally Canadians are wont to mispronounce as Knévis…  Sorry, the third world natives are not wrong; besides no one in London would ever think to say, Knévis.  The correct pronunciation is Kneevis… Knévis is no more correct than is Kanarda the correct pronunciation of Canada.  Enough about the risible ignorance of elitist petit bourgeois Canadians and their need to forever condescend.

So, there was I arrived in London with umbrella, pea coat, raincoat and it was all hotter-than-hell climes for the two weeks!  After trooping the colour, I decided to escape the heat of London and decamp à Paris… what was I thinking; goodness, it was at least 5 degrees hotter there!  Alas, Paris has become an armed camp -– I suppose this is what Paris during the Nazi occupation in WWII was like.  Either way, I could not wait to hightail it out of there.  Firstly, though, I had to head off to Versailles where previously I had not been.  Goodness, what grandeur -– the scales are truly phenomenal.  If I had ever had a dream set on the grounds of Versailles, it is highly likely that I would have awakened and assumed that I had just dreamquested to a marvellous world where the architectural scales surpass anything witnessed here on Earth.

In all that heat, I was told it was just a stroll away from the entry gates of Versailles to Grand Trianon to take in the Pierre Le Grand exhibition celebrating the 300th anniversary of Peter the Great’s trip to Paris.  Finally, after 50 minutes in my brand-new Crockett & Jones wellingtons, I arrived to what was not an especially impressive show.  However, the last piece — a beautiful bust of the Tsar — made my sweaty and blistered foot ordeal worthwhile.

After having been quite underwhelmed by Paris –- save of course my visit to Père Lachaise cemetery where I left pine cone tributes to Marcel Proust, Chopin, Oscar Wilde and Honoré de Balzac –- it was off to Amsterdam.  Finally, I had escaped hellish climes!  Amsterdam proved the most gloriously idyllic experience.  With a cool welcome breeze off the North Sea, the temps were in the low 20s and, of course, everywhere just about everyone rode a bike.  As I made the pilgrimage to the Rijksmuseum to be richly inspired, I was warmed as passing cyclists called out to me in my white panama hat that I purchased at Chateau de Versailles to beat the heat, “Hello!”  “Hi there!”  “Hi ya!”  This excursion to Amsterdam was truly soul-warming.  Nothing was more glorious than entering that salon and seeing Night Watch and the Meager Company.

Whilst browsing, I thought of George Hawken and wondered if ever he had made it to Amsterdam.  Just like that, on coming around the corner, the first painting I noticed in the salon which contains Jan Vermeer’s The Milkmaid, was an exquisite, stunning still-life of white asparagus.  The one legume that George considered the perfect signature to a fine meal -– cooked by himself -– was asparagus.  His most memorable meals ever featured asparagus coated in the most sublime sauces made from scratch.  I was truly warmed on seeing the still-life seconds after nostalgically thinking of him.  Yet another moment of synchronicity.

On preparing for the video to celebrate the 70th anniversary of Merlin’s birth, I decided last week to head off the costumer, Malabar on McCaul Street where George lived in the late 80s to early 90s.  Inspired by the first dream of Merlin had 39 years ago in July 1978, I decided to get a cowl as a tribute to the cowl Merlin wore in the inaugural dream encounter with him, four years before having met on Friday, October 1, 1982 in New York City.  So, there was I at Mount Pleasant Cemetery last Saturday, July 15, 2017 in my cowl and the panama hat purchased at Versailles to escape the heat.  I thought it fitting as Merlin always loved wearing panama hats.

My trusty friend, J.J. who happens to be an artisan entity mate whom I have known in 20 past lives –- which is a high incidence of contact -– was the director.  Initially, I had hoped to throw a white party on the lawn to the southwest of the chapel at Mount Pleasant Cemetery and have a drone film the event where a gathering of friends would raise a glass to Merlin on the anniversary of his ennobled birth.  Merlin always threw a white party each year for his birthday at his parents stunning backyard in north Toronto’s Servington Crescent.

The plan was not approved by the cemetery and thus, one had to improvise.  I got my panama hat and my cowl and together, we proceeded with a dozen long-stem white roses to visit Merlin’s resting place.  I had a pretty good idea what I was after.  With the matching white cowl, I wanted to evoke the magic of meeting Merlin in that initial dream which is shared in volume one of the dream memoirs which is already published: Merlin and Arvin: A Shamanic Dream Odyssey.

Get your copy!  Thanks as ever for your support!

In the hardcover edition of human civilisation’s first dream memoirs, the initial dream encounter with Merlin is shared.  The dream begins on page 110 in the hardcover edition.  I wanted the same sense of wonderment and magic that I felt for having met Merlin in that first dream four years prior to having met reflected in the video.  In that dream, Merlin’s appearance was preceded by a white totemic creature which seemed, in its astral plane outréness, to be part Russian wolfhound, part alpaca, part dog.

So, moving to the lawn, having descended the steps of the chapel, I began walking across the open lawn towards the statuesque lion festooned mausoleum with the five remaining white long-stem white roses.  Seven roses, of course, were left at Merlin’s grave -– one rose for each of our seven glorious years together.  As I stepped onto the lawn, it seemed magical… timeless even.  Slowly, confidently as I approached the filmmaker at the other end of the lawn, I thought of Merlin and that initial dream.

Just then, I very distinctly thought of Merlin greeting me by purring, “Hello Lambs.”  As if right on cue, from off stage left, an adult deer came from behind the bushes and tombstones that line the far edges of the open lawn.  Never before had I seen a deer at Mount Pleasant Cemetery.  Indeed, the good burghers of Forest Hill who clearly regularly jogged in the park-like setting stopped and were overheard remarking that they had never seen a deer in the cemetery before.  All that I could do was tear up and continue walking as the deer then bolted and ran from stage left to right as I continued my stride uninterrupted –- unfazed by the appearance of an adult deer on the grounds of the cemetery.  What is more astounding, is that J.J. at the time was filming my walk; at the last minute, I decided against a run-through as I was concerned about the natural light possibly changing if we were to rehearse the shot.

Unbeknownst to me, the deer after having made it to stage right, then returned to the centre of the lawn and stood there perfectly still whilst observing my progression across the lawn.  J.J. who was astounded by the occurrence remarked that he had just witnessed a miracle.   There is no doubt in my mind as I tried to recapture the magic of that initial dream encounter that there was a subtle validation of that dream from the magical shaman himself on the other side by having had Merlin’s spirit step in as director emeritus and had the deer enter the shot as validation and a token of his appreciation of the love that we shared and my steadfast loyalty to him.  After crossing the lawn and turning to watch the deer stand there, looking down the lawn at me, I felt such utter peacefulness and abandonment of spirit — just as when alone and intimate in the dark with Merlin.

Yes, I believe in magic as did Merlin and as though an appreciation of having stridently done everything to fulfil his mandate to me, Merlin’s astral body conjure up the same magic here and now as he had in July 1978 –- four years before slipping inside a Hell’s Kitchen walk-up and readily winning me over with his sexy elfin charm, magic and sex that proved the most grounding shamanic passion… every time.

All the music chosen for this 13-minute video is music that Merlin loved whilst incarnate and to which he returned time and again -– whether at Joe Morton’s tiny Upper West Side apartment in autumn of 1983, Toronto’s 20 Amelia Street in tony Cabbagetown.  From Glenn Gould’s mastery of Johann Sebastian Bach’s Goldberg Variations, to Elton John, Stevie Wonder, Gladys Knight and Dionne Warwick singing That’s What Friends Are For –- in that segment of the video, I included friends whom Merlin valued: Kareem Benezra, myself, Wayne Robson and his oldest and most loyal friend, the ever-gracious, Maxime Gascoigne-de Montigny.

Of course, for Stevie Wonder’s Isn’t She Lovely, I exclusively included photos of Merlin and his very handsome and gracious father, David Ben-Daniel.  Whereas I favoured Sir Paul McCartney’s Hey Jude, Merlin ever loved George Harrison and especially My Sweet Lord.  Of course, one Saturday, whilst staying at actor, Joe Morton’s Manhattan apartment, when Merlin and I secretly committed to being together, we slow-danced to Supertramp and Roger Hodgson’s unmatched magical vocals on Supertramp’s Breakfast In America.

Additionally, Jeffrey Osborne’s On the Wings of Love which was one of Merlin’s favourite ballads is also included.  Merlin loved Black male soul singers: Otis Redding, Marvin Gaye, Jeffrey Osborne –- most especially –- George Benson, Al Green, Teddy Pendergrass, Donny Hathaway, Barry White.  Most of all, I am especially proud of the video that J.J. and I have created; I think that it masterfully captures the depth of my love and fealty to the most fabulously magical shaman encountered on this incarnation’s spiritual odyssey.

Naturally, before having left for Mount Pleasant Cemetery, I had flooded my apartment with the music that appears in the video.  Perhaps, unwittingly by so doing, I was evoking Merlin’s spirit which later joined us when he played ultimate director and pulled off the most magical bit of stage direction –- an adult deer in the middle of a cemetery in the heart of mid-town Toronto.  Lastly, I played the sublimely soulful Shirley Horn’s interpretation of, Here’s to Life!  Whilst raising a glass of coconut water, I had forgotten to pick up some champagne the evening prior and it was too early in the morning to find champagne anywhere –- the lighting was way too good.  Besides who knows if that magical deer would have been anywhere about.

Here’s to life… most of all, here’s to Merlin… here’s to dream shamans everywhere!

Merlin &amp; Arvin 1987

Going forward, please know that this wordpress joint: http://www.dreampoetica.com is being synchronised with my author page: http://www.arvindabrgha.com  Everything that’s appeared here over the years, now can be found there.  In coming weeks, there will also be other links to other sites associated with this celebration of Merlin and his mandate to me:

“Please my darling, I want you to write about our lives together.  I promise you, however possible, I am going to send you dreams to include in the story of our love… our lives together.”

Of course, there is my Instagram account:  Instagram Arvin da Brgha

The YouTube channel is:  Arvin da Brgha YouTube

Do please be patient and stay tuned as there will be a site where one can purchase merchandise that’ll greatly assist with the costs of having overleaves channelled that will yet appear in the five volumes of human civilisation’s first dream memoirs to come.  Also, there will be a podcast link.

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For now, here’s to life, here’s to you and thanks so much for your ongoing support all these years!

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©2013-2020 Arvin da Brgha.  All Rights Reserved.  

Happy Reading…

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Recently, I made a quick visit to Montréal to catch the March Chagall exhibition at Musée des Beaux Arts de Montréal.  The exhibition closes on June 11, 2017 when I will be away.  For that reason, I simply had to go.  Besides, in advance of my trip, i needed to indulge my soul at Spa Ovarium.  

The show was more stunning than the Marc Chagall show at Toronto’s AGO (Art Gallery of Ontario) a few years back.  For one, the décor of the show was spot-on.  What’s more it is a tribute to Montréal more august Jewish community — comparable to Toronto’s — that this show was so extensive and rich in works of art.  There were pieces in this exhibtion that not even I previously knew of.  Hampstead, TMR (Town of Mount Royal) Westmount, Outremont, Côte-Saint-Luc, Côte-des-Neiges, all Montréal neighbourhoods with strong distinctive Jewish burghers.  He had a strong sense of Montréal’s Jewishness for taking in this exhibition as compared to Toronto’s.  I returned the next day to soak it all in before returning to Toronto.  After the initial visit, I Ubered along rue Sherbrooke Ouest to Est in search of Spa Ovarium.  

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There, I had what was possibly the greatest massage ever — thank you Valerie —  This woman is truly magical, shamanic even.  First I indulged a neuro-spa, then massage then capped it off with the limitlessness of a bain flotant which was exceptional.  

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Twenty-five years earlier, I had been to Montréal to celebrate the city’s 350th anniversary.  At the time, my companion was the very exciting and truly eccentric, Milan Newcombe — his Michael Overleaves appear in Volume I of A Six Volume Michael Overleaves Appendix which débuts June 21, 2017.  Two weeks after the 375th anniversary on May 17, 2017, there was still excitement in the air.   I met up with an old Writer friend from high school has lived in Montréal for the last twenty-plus years.  We dined on exquisite Thai fare in Old Montréal at his beautiful loft.  We then walked along rue Saint-Catherine Ouest through the Gay Village and shared  a toast to Montréal — both of us sipped on calming teas.  

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Calvary

Oil on Canvas

1912. Marc Chagall

Provenance: Museum of Modern Art, New York City

En route back to Toronto, though there had been forecast for more rains this very wet and soggy late Spring, there was nothing but sunshine.  Driving along Highway 401, I captured beautiful photos of prismed light in a streak of clouds… it was truly magical.  Then, I got in to the most glorious piece of mail, a hardcover copy of both Merlin and Arvin: A Shamanic Dream Odyssey and A Six Volume Michael Overleaves Appendix.  In the photo, the mug bears a copy of the Camel Mandala which Merlin created in 1977 for one of his choice friends.  A detail of the Lion Mandala (1986) — which he created for me and it proved the last mandala that he would create — serves as the cover art for what proves Human Civilisation’s First Dream Memoirs, Merlin and Arvin: A Shamanic Dream Odyssey.  The detail of the Phoenix Mandala for Slava Gagarian — his Armenian Jewish theatre mentor who lost his entire family during the Shoah — serves as the cover art for A Six Volume Michael Overleaves Appendix.  

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Here’s to life, here’s to lovers everywhere and here’s to you for your support these past several years.  I am ever grateful.  Happy reading!  

The Rabbi of Vitebsk

Oil on Canvas

1914-1922 Marc Chagall

Provenance: Fondazione Musei Civici di Venezia, Galleria Internazionale d’ Arte Moderna di Ca’ Pesaro.  

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©2013-2020 Arvin da Brgha.  All Rights Reserved.

Dolphin House Pets and Glimmers of El Greco’s Muse (Redux)

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On the cusp of the Art Gallery of Ontario’s Georgia O’Keeffe Exhibition opening this month, I am repost this blog.  Do please enjoy.  

Whilst the Moon transited both Libra and my fifth house, these next dreams occurred on October 1, 1989.  Too, it was the seventh anniversary of that magical, and a bit cool, Friday evening in Hell’s Kitchen when Merlin and I would meet… yet again. 

Of course, at the time, he was rather ill with full-blown AIDS and horribly suffering from Candida.  However, as I have known more than 200 persons to have passed of AIDS, Merlin’s AIDS-related illnesses were mild manifestations of what can eventualise with AIDS.  I have always been grateful for that. 

These dreams – one a touchstone dream with Olaf Gamst’s old-souled son as he was during a life when he was an assistant, muse and lover of El Greco’s, the other a dream set remotely in the past on this planet or possibly on another world where the indigenous folks were decidedly extra-human though Sol III human-looking enough – were welcome inspiration. 

Too, the dreams were dreamt during the second sleep cycle that day.  Back then, I took naps as often as I could afford.  Merlin fainted several times each day and the sheer gravity of what we moved through was exhausting at times.  As he would have it, no one knew that Merlin fainted multiple times daily. 

At the time of these dreams, I had taken to the pyramid to meditate with crystals and eventually ended up privately crying at the share stark finality of what imminently loomed on the horizon.  Thus, sleep was a welcome refocussing of my energies – if only briefly.  Of course, sleep and its elixir, dreams, ever kept me focussed, inspired and aware of the macroscopic. 

 

In this the first dream, I see Eleanor Bissell – my Canadian-History and English teacher at Harbord Collegiate Institute; she was doing some gardening in a blue dress that was floral-printed.  This garden had tall old trees in it.  There were hydrangea plants – large ones at that.

I went over and I greeted her and said, “Hello, Mrs. Bissell.”

I told her who I was and she had on her glasses and her breath was short.  She was just the same as when I knew her in the waking state.

 

This dream, the second, was set in another time and another place.  I was captured by this man in a castle-like dwelling.  A very Moorish setting, like in Spain, it was; it was not Moorish architecture like in Northern Africa but it was more so in southern Spain.  Perhaps, it was Andalusia or thereabouts.

It was brown stone which had been burnt by the Sun for years and years, tens of millennia, as a matter of fact.  I got captured and I was taken back into a room with a man; he was saying to me, “Of course you’re mine.  You’re 63%!”

This percentile was supposed to signify, if you like, being bad or evil.

He was describing things to me because he was the epitome of what one would consider evil.  I was saying, “No I’m not.”

I was saying that I didn’t want to be there and wanted to be let out.

The thing is, it was not me; rather, I was the son and he was a bronzed person; he was very swarthy but not Black.  I was his offspring; I was, in fact, his son.  Then some people came in and they were all there and I asked if I could get out with them.  They, however, said no that I couldn’t because they were alright.

They said that they were all 50% and that I was not.  I supposedly had to be 50% and therefore, as I was his son, I had to stay there with him.  I was really upset and somehow I managed to be stealthily taken away during the night, after the father left, by a woman.

She wore long flowing garb and she was again very Mediterranean or Middle Eastern-looking.  She had long limbs and café au lait complexion.  She told me how it all went that I was her son, by the same man, and that she was one of his many lovers.

However, he was never supposed to have a child by her; as a result, when she became pregnant because he so loved her, he broke with tradition and he had her put up in this particular part of the castle.

It was really fortified and very abandoned-looking but she held out there.  Nobody ever came to this part of the castle and it was very terraced and had a lot of inner walls in it.

The walls here were of a slight sandy colour and we were alone at nighttime.  As we were talking, there was battle going on behind us over in another part of the castle; the battle occurred in another part of the fortified town that supported the castle.

There were a lot of cries because there was battle going on.  You could hear a lot of horses neighing and cantering, as in the Crusades, if you like.  I don’t, however, recall having heard any gunfire.

She was telling me not to worry because he would never harm me.  Said she, I was quite well protected.  He did love me in spite of his cruelty and there was no way that he could hurt me because she was fiercely protective of me.

If he had done anything to me, she would be forced to expose him and he knew and feared that eventuality.  She told me to just go on outside and play.  So, I went out into the yard and it was a wonderful elaborate garden – very organic.

It had this pool and there inside were dolphins.  I went in to play with them.  It was a muddied pool but very large like a manmade lake.  They were playing with me as I frolicked in the water with them.

One of them had its fluke pressing down on my bum from above me.  Whilst sandwiched between them under the surface the other used it nose to push up against my breastbone and solar plexus; thus, they propelled me through the water at great exhilarating speeds.

It was a beautiful sense of motion because, of course, they travelled quite fast and they always stayed clear of going out too far.  There was a point at which they had jokingly made a fast turn and I hadn’t caught up.

So I went to stand up and it turned out that it was a very large pool and a rather deep, deep pool.  I panicked when I broke surface and they assisted me back to the shallow area.

When I came back indoors both the father and mother were there now – the swarthy humans, that is.  I said to them that there was something here in the pool a big opening, you could feel it.

I also sensed it from the dolphins as being something in the pool that they themselves feared.  The father figure was laughing and told me not to worry about that because he knew, of course, what it was.  The mother had remained quite silent and looked at me, all the time, because she was slightly to his left and behind him as he spoke.

All three of us were next in a room in the castle and, somehow, the dolphins were here as well.  There was a break in the floor, a wide open hole, and they came up and were swimming and churning up the same muddied-looking dark water.

A man then entered who looked like and was, in fact, the American actor who starred in the film, Paris, Texas.  I think that the actor’s name is, Harry Dean Stanton, but I am not certain of that; he is a scrawny, hard-faced, thin-lipped man.

He came in and had a gun and said, “I want to get paid.  I’m doing work in this building and I’m not getting paid.  I’m tired of being held up here.  Deliver!  Or else I’m going to take you out and shoot you.”

It was an interesting-looking silver gun.  I was standing up on a cabinet and he went to shoot me but I knew that he wouldn’t shoot me.  He had, in fact, turned the pistol so that the two shots rang off to my right.

What surprisingly came out, when he fired the shots, was water; however, it had light in it.  It was like lasered water and it shot out in a large chunky jet and went almost instantaneously to the wall and crashed there.

He shot rounds of it and both parents remained absolutely icy cool; they paid him very little mind.  Later on, the mother telepathically told me not to worry because he couldn’t harm me; too, she telepathically shared that I was not to move and give in to fear.  I was not to show any signs of panic.

*This was clearly a civilisation which was set here on Earth long millennia before the current ape-central, fear-ruled madness we now know.  This was a time long ago in human history when there was contact between both humans and cetaceans.  Telepathy was de rigueur; too, psychic abilities were more evolved then.

Perhaps, this was an Atlantean society or some other civilisation which predated the Atlantean.  The persons were seemingly of Mediterranean extraction and it was, however, definitely not Egyptian.

I would guess that it was post-Egyptian – the latter having occurred easily more than 60 thousand years ago; although, Europeans in their racist elitism – never having had anything to rival pyramids in Europe – reworked the agedness of Egyptian civilisation to their ends.

**I am now left to believe that this was in some way an Extra-Human civilisation where the humans closely resembled Earthly humans.  They were, however, swarthier and were archly telepathic.

Too, their foreheads were also considerably higher and had a slight concave look at the top.  Dolphins, it seems, were kept as indoor pets – just as cats and dogs are for humans.  Hence, there was the watering hole, which led to a vast underground network, where the animals could come and go from the fortified castle to the ocean, however far off.  END.

 

Almost instantaneously, in this the third dream, I was in another scene; it was one in which I was playing and my companion was Lars Gamst.  We were drawing, in fact, we were painting.

Lars said to the same actor, Harry Dean Stanton, who was now with me in this new dream – both the parents, incidentally, were no longer about.  Lars wanted the actor to assist him by editing.

The guy misunderstood him and didn’t know what was what.  What Lars was doing was covering the painting with a black wax and, later, he was then going to strip it off.  So he needed the actor to go and get the chemicals and equipment to go and strip off the wax.

He was somewhat impatient that the guy was so stupid and didn’t understand; Lars had had to spell out what he wanted.  I was trying to explain to the guy what to do and what Lars meant, as well as, the process involved.

When he did go away to get the things, I came over and approached Lars and assisted him in the painting of the work that he was doing.

*A rather insightful dream this one and the energies with Lars were, as ever, pleasant and sublime.  I find this a rather telling dream too because, in later years, on having Lars’s Michael Overleaves charted, I would learn that not only is he an old soul – first level old slave and entity mate to his equally old-souled father (Olaf Gamst) and sixth cast artisan like myself but he was the favoured muse of Doménicos (El Greco) Theotokópoulos and his chief assistant.

Naturally, for Lars to be so immersed creatively in a painterly fashion – in the dreamtime – was truly about revisiting a skill and time in the past which brought him great fulfillment both spiritually and creatively.  This was so clearly an astral plane encounter between us.

Being in Lars’s presence was quite expansive; you could actually feel his soul being deeply creative.  So fully dilated were his pupils, Lars’s eyes were almost pure black.  He was terribly eccentric and clearly there was much bleed-through from his having been greatly inspired in that lifetime by El Greco.  He worked feverishly with great attack.

He quite appreciated the fact that I was not a dolt and could be of able assistance to him.  This was such an astral plane encounter that it was as real and connected as that time we rode the subway together and the connectedness we shared blew my mind.

Incidentally, in that sixteenth century lifetime, Lars was much younger than the great artist and they did have a passionate relationship.  I have a distinct impression that there was a bleed through of what Lars looked like, in that lifetime, as his features were not as they are now; he was more Latin and darker, strong-nosed.

It was an aquiline nose.  Too, he was robust-energied and had massive hands like those of a sculptor’s.  Terribly expressive and passionate, too, were his hands.  END.

 

I was on the phone whilst speaking with Owen Hawksmoor, in this the fourth dream, and I could see about his apartment as we spoke.  I was calling him because I wanted to get laid and I was really raunchy and stir-crazy but he was not up to it.  I start calling him on it and I told him, “Oh yeah, why don’t you get up and go to the bathroom?  And drop your teeth in the glass of water, on your way, before you come back?”

In a very sarcastic manner, I had laced into him to which he responded by being coolly dismissive of me by broadly laughing at my desperation.

Somehow, Pandora da Braga was part of this dream and she had an awareness of my play for Owen and my resultant rejection.

 

*Featured art:  Santiago el mayor by El Greco.  At the time of the dream, Lars appeared as he did in a past life; his was a strong aquiline nose in the dream.  This look features prominently in many of El Greco’s works.  In that past life, Lars was a favoured muse, assistant and lover of El Greco’s who was in a recent incarnation the sublime American artist, Georgia O’Keeffe. 

As Lars is a slave soul, the look of St. Francis and also the look of Christ carrying the cross are those of a slave soul; at least that’s my impression.  Since, Christ was a seventh level king soul on his last life, the El Greco Christ of the aquiline nose is decidedly not a king soul and more so a slave with priestly airs.  Perhaps, this is how Lars looked then. 

What I also love about this particular El Greco painting is that the green draping proves an evocative prelude of things to come, as it were, with regards Georgia O’Keeffe’s sublimely sexualised flower paintings. 

For that matter, I love how Georgia O’Keeffe’s sensual masterpiece, Jack in the pulpit No. IV is a reanimation of El Greco’s Christ on the cross which is in the National Museum of Western Art, Tokyo, Japan

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Art:  Santiago el Mayor

Oil on Canvas

97 x 77 cm

1610 El Greco

Provenance: Museo del Greco

Christ on the Cross

Oil on Canvas

95.5 x 61 cm

1600 El Greco

Provenance: National Museum of Western Art, Tokyo, Japan

Jack in the Pulpit IV

Oil on Canvas

40 x 30 Inches

1930 Georgia O’Keeffe

Provenance: National Gallery of Art, Washington D. C.

Grey Lines with Black, Blue and Yellow

Oil on Canvas

48 x 30 Inches

© 1923 Georgia O’Keeffe

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