White Light

Characterized by the absence of static, of any type. Love on a stick, meaning in concentrated form.

We bandy this term about a fair amount, it issues forth from our lips, and pens, with great frequency which, no accident, is the mortal coil in pursuit of its roots reflecting the desire each of us has to upgrade, so to speak, to eventually return unto the fold. White Light is a synonym for liquid Love, a visual interpretation of what Love is.

To place someone or something in White Light is to wish them optimal growth, like dousing them with fertilizer in a cosmic sense. Of course, such wishes open the door for lateral and bi-lateral expansions. All doors being open in the case of White Light make it even more interesting to see which one, or ones, the people being surrounded by it will choose.

Another way to look at placing yourself, others or a given situation in White Light is to think of it as an opportunity for the greatest degree of success, the best use of resources. And we can do no higher service to our fellows, brothers and sisters, than to place them in Love, surround them with it, what White Light IS. Ecco fatto (there you have it.”)

~ Rudolph Valentino

Rudy’s Birthday

Numerologically, two numbers in particular are keys to understanding the trajectory of Rudolph Valentino’s life, Eight and Seven.

I like to think of him as “Infinity Man” because the address of the house he was born in, Via Roma, 116, Castellaneta, Italy adds up to 8 which when turned on its side becomes the infinity symbol. And the cemetery where he is buried in Los Angeles uses that same symbol as its logo which, again, when turned upright becomes an 8. Alpha and Omega!

Rodolfo was born on 5-6-1895. (Happy Belated, RVG!) The number he is working, therefore, is 7.

“These individuals share their high vision and reveal new possibilities through their creative endeavors as they express truth and beauty. Their intense eyes and sparkling energy and their crisp, refined qualities reveal them as high-minded “angels” in human form. Having found unconditional, but not naive, trust in themselves and others, they see the inherent perfection and larger workings of a loving Spirit, even in the most difficult of circumstances. Inspired by a higher purpose, they find deep meaning in uplifting and moving others to a more refined, elevated sense of their own lives.” ~ excerpted from “The Life You Were Born to Live” by Dan Millman.

What a confirmation of how the public perceived and reacted to Rudy, his arc as an actor, public and private persona! And that was always his stated goal, that his pictures and the parts he played move audiences to a higher place, in other words, expand consciousness. Bravo, Rodolfo, for a life well-lived! ~ Wayne Hatford

Valentino’s Spirit Guides

As chronicled by a number of his biographers, Rudy had an avid interest in spiritualism and the information he received, whether intuitively or through participating in séances and automatic writing sessions, was instrumental, he would say, in conducting his life. In fact, during his marriage to Natacha Rambova they both pursued channeling as a tool for enlightenment, and it was by this means that Rudy wrote and Natacha edited “Day Dreams,” published in 1923.

The two most frequently cited spirit guides are ‘Black Feather’ and ‘Meselope.’ In channeling my contribution to his legend, the posthumous autobiography, “Rudolph Valentino The Untold Story,” I decided to solicit Rudy’s reflections on how they impacted his life, then and now. ~ Wayne Hatford

BLACK FEATHER (Native American spirit guide)

Black Feather was the type who would tap me on the shoulder prior to any important life decision, as if to say “Rudy, is this really what you want to do?” He was a validator, therefore, of last resorts. Not him per se, but his imploring me to reflect placed me exactly where I should be: on the hot seat as emperor of my own domain for we are our only final arbiters, in all cases. Black Feather’s presence in my life also injected instinct, a most important element of Native American lifestyle, what their survival often depended on. So I followed mine, and was encouraged to by him, in direct communication and not, within and without.

He was a mentor par excellence et je suis fort reconnaissant du rôle qu’il a joué, (and I am very grateful for the role he played) often center stage. Merci, mille fois! (A thousand thanks!) We work together now which you should not be surprised to hear, as comrades and compatriots.

MESELOPE (Ancient Egyptian spirit guide)

A different story, as he and I did know each other once in incarnated life whereas that is not the case with Black Feather. Meselope was a scholar who advised me, a sounding board in the position I held under Pharaoh Horemheb, that of Vizier, the one you (speaking to the author) are also familiar with, where we sometimes walked the halls at night seeking shooting stars. Later he moved up the ranks to keeper of my scrolls, master scribe, overseeing others. So that life-time left a strong imprint on my soul and I carried the energy inside and, as I expressed Rudy, some of it appeared. Meselope knows how to anchor. That is how he helped Natacha and I when we called out to spirits to respond to our questions, held automatic writing sessions to create our book. He, too, is a trusted comrade.

Meselope carries the scent of ancient Egypt, incense, perfume, and along with that, the consciousness, great order and purpose of that society. For me, in that incarnation, it was truly a wonderful place to be alive. Oddly, he has an even stronger connection with Natacha having once been her father and then again her prince. His was an exemplary role in each of our lives. I remain eternally grateful to him and here we do also converse. What a solid, constructive force in the Universe, this is Meselope!” ~ Rudolph Valentino

 

Arts et Métiers, Rudy-style

Rudy was a big fan of integrating his own life experiences with cinematic art, something he was innately able to accomplish as an expression of self.

Indeed, he was talented in a number of arenas, having a natural affinity for other careers which could have allowed him to assume those mantles, should he have wanted to do so. Rudy did work as a dancer, and gardener, for example, but he surely would have also been an excellent auto mechanic, photographer, or movie director. The roads not taken!

All of his personal interests and abilities were brought to bear on his work in front of the camera, and I propose Rudy used these bits and pieces of his personal reality to help create the color and vibrancy his screen roles encapsulated. As celebrated as his public persona became, there was always a sense that deep down inside he was an “every-man,” therefore infinitely relatable. Rudy showed us his heart, in a way that no other actor, before or since, has ever done. ~ Wayne Hatford

A Rudy Postscript to “The Untold Story”

My most recent book, “Rudolph Valentino The Untold Story,” examines many of the personalities that surrounded him, his exploits, relationships, films and more. And it provides the reader with context, how Rudy perceived those people and experiences at the time, reflected in the mirror of NOW. The following comments were given to me recently, as a postscript. ~ Wayne Hatford

Vengono scritti già in questo secolo, anche nel passato, diversi libri che danno occhio alla mia vita, la persona che ero, e sempre sono, nel’Al di là...(Both in this century and the last a number of books have been written that examine my life, the person I was, and still am, in the Great Beyond.)

Has everything been explained? Did the authors detailing that life-time get things right? Yes and no. Each perceived it through their own lens, perhaps not so surprising. As a result, they have tended to ignore or fixate on certain aspects, sometimes both.

Did I want to tell all in “Rudolph Valentino The Untold Story” whose title implies that I did? No, Signori, perche questo sarebbe stato troppo facile. Invece, vi voglio far pensare, riflettere(No, because that would have been too easy. Instead, I want to make you think, reflect…)

But what this book reveals is a significant tranche of my essence as well as sanguine bits of insight and information. Not only that, it confirms and refutes conclusions that have previously been drawn. E più di nulla, sono molto lieto e volevo farvi capire questo. (And most importantly, I am, by nature, an ebullient individual and wanted you to understand that.) Some claim I was often despondent or melancholy, no, only rarely so. Sopratutto nel corpo di Rodolfo, ho bevuto la vita copiosamente, goccia per goccia. (Especially in that incarnation, I drank of life copiously, savoring every drop.)

Somehow I knew there was little time to waste!” ~ Rudolph Valentino

Charlie Chaplin

Here Rudy recollects about his interactions with Charlie, especially when they were both associated with United Artists Pictures.

Although he was somewhat of an enigma, I found him rather brilliant, engaging, and conversant on any number of subjects. He was also quite eclectic in his personal tastes and very sure of himself professionally. We did socialize upon occasion but never approached the border of intimate friends, the kind who would share most things.

During “The Eagle” shoot, he appeared several times to reassure me, and the cast, I suppose to marvel at our accomplishments, be the goodwill ambassador for United Artists Pictures. He knew our work would please the public, had a smell for that kind of thing.

I did not witness any of the quirks that have been assigned to Mr. Chaplin over the years, nor did I ever observe him in character as the little tramp, even though hints were there, present in the way he moved ~ body language you say today. I remain grateful for the opportunity he, Doug, and Mary gave me: to become a part of their film family.” ~ Rodolfo Valentino

Synchronicity in “Son of the Sheik”

Having just viewed Valentino’s final film again, this time at the Castro Theater in San Francisco, I was struck, not only by the perfection of the script in terms of visual story-telling, but by what this role obviously meant to him on a soul level. He somehow knew that this was to be his last cinematographic effort and he wanted to leave us begging for more, to go out at the top of his game.

What is most interesting to me is that by playing both roles Valentino chose to reveal his inner self, seemingly in conflict, in the personas of the Sheik, paterfamilias, still vital and stubborn despite his age, and Ahmed, his prideful and passionate son. The script uses their perceived differences to advance the plot but my contention is that this role was particularly integrative for Valentino. Since he would never reach the age of fifty, he got to experience what being older might feel like, wearing the skin of the Sheik, père. Indeed, it must have been fun for him to play at that through the use of make-up and camera effects.

Valentino, as perhaps no other actor ever could, was able to project the father/son bond, on both sides of the coin, when they appeared together in split screen. How else could two characters be so solid and warm in each other’s presence while at the same time fully maintaining their respective individualities as defined by the script? The big fight scene near the end says it all, especially when the camera reveals father and son briefly linking hands as a sign of their mutual trust and support.

In my opinion, this dual role was therapeutic in some sense as, according to biographers, he did not have a strong bond with his own father. Here he was able to experience that, of his own volition. Having completed this film and already aware that it was going to be successful at the box office before he died, Valentino was able to leave this world knowing that he had given it his all. That is why, I believe, his star became fixed in the firmament and has never dimmed: because he truly showed us his heart!

 

 

 

Mirrors

Mirrors are magical devices, not only for glancing or protracted viewing but also as ‘glamour-enhancers’ ~ meaning a quick look, unfocused, is all we need sometimes to adjust that which has gone askew. We can use mirrors, therefore, to right ourselves ~ as tools or more specifically as linkages between our personalities and souls because a mirror is one place where we can see both, simultaneously.

What does a mirror show of a thousand years ago? How it was and when; therefore, it’s an apparatus for expanding consciousness, a gateway to other dimensions.

In terms of what might be useful, it would be good to strategically place a few mirrors in your home or living space ~ a must actually, as they are also transmitters, able to be used to amplify energy. When possible, create the endless reflection of mirror facing mirror, if nothing more than to remind you of you, the many yous that are part and parcel of ‘the you’ you now perceive yourself to be. Mirror = ‘Specchio.’  I do like my language, that native one, for this word: specch-i-o, looking at yourself under a glass, like a specimen, as that is also what a mirror allows us to do. They are magnifiers too, and that is why they lend grace to any environment. Janice pointed out (making reference to my first book, “Letters from Janice) that ballrooms are often awash in mirrors. Rightfully so, as that’s where we can lose ourselves, cut loose from our personalities ‘du jour,’ even escape to other realms while still clothed in a body. Interesting, don’t you think? So, you can imagine with mirrors, use them as a means for mind expansion and time travel.

Visualize yourselves in other garb; see yourselves in other guises in terms of your features and sex. Squint and then look – mirrors are a wonderful tool for self appreciation and assessment, in other words, for soul-gazing.” ~ Rudolph Valentino

Poetry

Rudolph Valentino penned a book of “Other World” inspired poetry, entitled “Day Dreams,” in 1923.  Here he comments on his on-going love affair with that genre.

“You ask about poetry and why I am partial to it. The answer is simple. Poems tell stories in concise and picturesque ways, often with a witty turn of words. As far as the poems in “Valentino Speaks” are concerned, that, at least, was the intent!

There are certain rhythms in my poems which can be both felt and heard. Thusly encoded, they are talismans, dedicated to life itself. All have been inscribed with a personal wish of love to those who wish to read them. 

Poems may also be thought of as paintings on a page. The words are shadings and colorings whose purpose it is to give shape to thought. Each starts out as a blank slate, a tabula rasa to be used by the poet to display his or her creativity with language. The forms are many, from Alexandrine to free verse, more often than not involving the juxtaposition of sound and some sort of play on words. These, however, are merely devices. The single most important aspect of any piece of poetry is that it has the potential of touching us emotionally, on the most basic of levels. 

Poems strike chords in our psyches as do the chimes of a clock or the sounds of an operatic aria.  In other words, they promote visceral reactions. There are harmonic chords afoot in all of life’s circumstances. The gift that poetry offers is to make them more audible. 

What is every poet’s dream? To shed light on thoughts so that they may truly be seen.” ~ Rudolph Valentino

 

What Would Rudy Say?

Well, we have already found out, and more is in the offing! It’s been fascinating for me to team up with Rudy’s essence, his spirit on the Other Side, to produce  “Valentino Speaks” and “Going for Excelsior.” I’ve learned so much, both about myself and how the Universe works, in the process!

That said, a new book project has begun, yet to be named, that will focus on the Valentino phenomenon, his personal life, films, some of the people he knew, etc. Rudy’s observations, from his current vantage point and knowledge base, removed from the shackles of personality. In other words, the big picture, unfettered!

From time to time, I will keep you apprised of my progress. Cosa direbbe Rodolfo? Fra poco, sapremo! My goal is to publish the new material sometime in 2014.

Wayne Hatford