Voice Transmissions With The Deceased
by Friedrich Juergenson

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176 CHAPTER 35

A message from Annie Besant, the late President of the Theosophical Society – The tenor who sings in seven languages

One day I recorded a beautiful bass voice. The voice was unaccompanied, and was a free improvisation. The vocalist used English and German. I didn’t recognize the transmission at the time, and had turned the dial much too early. I regretted this very much for the transmission was directed to me personally.

It started with: “Dear Friedel…” and ended with ”…love Moelnbo and the Magie…”

It was one of the most interesting transmissions that I had recorded until then, it was a message from Annie Besant. I had not known her personally, but it was Hugo who did. When he was Secretary General of the Theosophical Society of Sweden he had visited her in Adyar on the occasion of the convention of the International Theosophical Society, which took place in 1925 at the headquarters of the Society.

Annie Besant started her address in German, but switched to English later, she also added a few Italian and Russian words, and ended in Swedish.

The content of this message, which was directed to a mother (known to me), was by in large the following: Annie Besant was investigating the causes of the apparent depression and developmental problems of a young man who gave the mother many problems. Annie Besant suspected that the causes would be found in his early childhood. First of all, because the mother had to work during the day, the child was confined to a playing pen, so that he would not cause himself any harm during her absence. 177 The constant confinement in conjunction with a radio constantly playing in the background created an isolation and fear complex, which restricted his free development in later years, especially in school. Annie Besant’s explanation was very important to the mother, since she could now understand the developmental inhibitions of her son. Based on that, she later succeeded to steer her boy in a positive direction by changing his environmental conditions and surroundings.

Annie Besant’s explanation about looking back into the boy’s childhood proved to be absolutely correct. From that we can conclude that Annie was able to reconstruct the past clairvoyantly and to draw conclusions from it. She began her seven-minute talk with the words: “I am only Besant and I speak…” and closed in Swedish “…this was Annie Besant speaking.”

A musical recording was very clear, which was first introduced by a clearly defined rhythm. One could hear a sort of bass-drum and a woman’s voice said in German: “Freddie we’re watching…the dead…we’re sitting on the ship of the dead…the dead are sitting too…”

What followed next was a direct transmission. A tenor - one of the dead - was singing loud and clear. His voice was unknown to me. It is likely that the singer used an orchestral selection of a radio station as his accompaniment. The tenor sang in seven languages, his diction was excellent, and he seemed to be fluent in all those languages. He sang in Italian, German, English, Russian, Yiddish and Estonian. He even included a Swedish “Jaha”, however the seventh language, perhaps a fantasy language, I could not understand.

178 The whole thing was a real hit, an excellent proof of the virtuosity of the ‘popser’. The text also transmitted a personal message to me.

By the way, at the time, the term “Cosmo People” was mentioned for the first time. I assume that this meant the living dead.

The melody of the song was lively and high-spirited; the whole thing seemed full of life and funny. As the song came to an end, the deep male voice said humorously in Swedish: “…and a ten on the table!…”, with that he possibly meant the reward deserved for his brilliant performance.

I have given this recording the title “The Polyglot Song”. It represents excellent proof how clear, loud and skilled a ‘popser’ could blend in with a radio broadcast.