Voice Transmissions With The Deceased
by Friedrich Juergenson
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187 CHAPTER 37
No doubt possible: Stalin speaks – Conversation between Stalin and Hitler – The sleeping and the awake, the clear and the confused – A song for Hugo
The transmission continued, and Lena announced a new contact. This time she whispered very fast and excited: “They are waking up Stalin!…” Upon this a woman’s voice said calmly in broken Russian: “One should not kill…” “Forgive me!…” said a tortured male voice. The voice spoke Swedish with a Russian accent, it sounded as if the man was in a half sleep. I had earlier heard Stalin speak on radio broadcasts and I think I can recognize his voice, which had a special timbre, and a typical way of speaking. But I could make out very little from this short sentence, since it was spoken in Swedish and apparently distorted by fear.
Later, I received at several occasions recordings with Stalin’s voice, which was so clear that I have no doubt about it, and not only because he was addressed by those present by his name.
During a different recording, one could hear Stalin call Hitler by his first name, very strong and loud. Lena was commentating the short conversation. “Adolf!” Stalin called with Russian expression.
“What do you want? I am dead…” answered Hitler from a distance.
“They are waking Stalin!” Lena signaled.
Right after that a rapidly spoken sentence, which sounded so distorted that I had to listen to it at (the slower) 9.5 cm speed. The result was 188 baffling, a voice that was very similar to Stalin, said in a normal way and volume: “Friedrich, Pravda (truth) is dead!”
In September the transmissions from the realm of the dead continued. Among them was a certain Jakup, who was also called Mufti. I knew his voice from previous recordings. The man spoke German and Arabic. He had a beautiful, expressive voice, and in between he would sometimes laugh so heartily that his voice would crack.
This time Stalin spoke again. His Russian pronunciation wasn’t flawless, it revealed a Georgian accent. He addressed Jakup and said with humor: “Jakup friend, do you hear? Don’t joke around…because if he’s not afraid of the souls of the dead, then Friedel like us is not afraid of the devil with horns…”
Count Ciano and two female voices also took part in the conversation. The mood was very relaxed and they laughed a lot.
But what I got to hear from the deceased wasn’t always something funny. On the 12th of September I had a recording that at the same time seemed oppressive, shocking and tragic. A well-known voice to me of a German Jewish woman spoke in what seemed to be half-sleep. The woman was very excited almost desperate and she was trying to express her feelings and inner unrest with a grotesque poem. A male voice tried unsuccessfully to calm her. But the man too was agitated and confused. Both spoke German.
I thought a long time about this seemingly confusing conversation, about this agitated female voice that apparently lost all control over her words. Why did she express her feelings in such a way?
189 As concerns this song, it brought me a very special message when it was repeated for the third time. For chronological reasons I will revert to it in depth later.
Maybe these two people died a violent death, perhaps they were tortured in a semiconscious state by distorted memories?
To my great relief I could hear both voices later speaking calmly and fully awake. Still it happened a couple times that the two would fall back into a half-sleep and experience their painful nightmares anew. Luckily these hallucinations didn’t last long, these episodes were getting shorter with time. In these cases fully awake spirits stepped in and awoke the confused. Sometimes it would happen that the frightened souls were lulled into a deeper sleep more or less in the way used to calm small children.
In the late fall of 1961 I received numerous, purely musical transmissions. I was very pleased because they consisted of solo, ensemble and choir songs of the most diverse variety. All of these musical offerings from short current hits up to classical operas and oratorios were used to transmit purely personal messages to my wife, my sister Elly and myself, and all of this in clear, unmistakable ways. I would like to point out that all the messages were presented tactfully, lovingly and humorously, so that we always felt inwardly touched and encouraged.
There were songs, operettas and operas, whose melodies and chords were used by the popsers with preference. For example the Hebrew dance song “Nagila hava” was brought to me four times, every time 190 with a new text, and every time in that strange polyglot language to which I have become quite used over the years.
The opera “Rigoletto” was often used by the popsers for their messages. The explanation could be found in the fact that I sang its leading role years ago and knew the opera practically by heart. When I heard these familiar tunes on the radio, I immediately turned on the tape recorder even when Lena wasn’t signaling any contacts.
It was especially through Verdi’s Rigoletto that I was able to receive a curious, funny and drastic contact where Lena took part in the performance with her lovely soprano.
One evening I was able to record a very peculiar transmission in which five people took part and which was presented in the form of a comedy skit. A woman and three male voices that I recognized were speaking. In the distance I heard a wonderful female voice that I had heard many times before but did recognize by name. The singer had a dark-hued mezzo soprano voice, she sang in a minor key in Italian, English, Swedish and German. The song was dedicated to Hugo, and I shall present it to you in translation.
The singer started out in a strong voice then politely quieted down when the other voices started to talk, and you could hear her sing mainly in the pauses.
“Maelar…listen! Listen, listen, hear…we’re driving…hear…we speak from the other side of the sky…listen our program…for the radio the sky is clear…it…in sky your relative… little Hugo was in Moelnbo, we couldn’t…he was already dead…”
191 “listen you should appear in our life (i nostra vita) Hugo wants to listen over the radio Frederico… Friedel loves…” “Bengt!” (A small boy who is liked by our family) “We’re coming to Hugo…listen a good path, for Hugo a good path today…Hugo was a good human being…Hugo was so undemanding, so humane…Hugo was a good human…in Maelarhoejden…”
These naive childish words were expressed with such inner warmth, with so much softness and gentleness that you were unwittingly swept along by the song.
I often heard her singing “your relative”, but I was never able to find out her name.
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