10
Surreal Messages:
Friedel’s Interpretation of the “Hitler” Monologue
I repeat what I wrote before: it would be unfair to Friedel not to reproduce the elements of his recordings that he appreciated most, while other people who do not have Friedel’s language skills and refined hearing, and depend on his interpretations are of course, skeptical. I would probably say that I, at least in the beginning of our relationship, belonged to the latter group.
Most astonishing, thus, is Adolf Hitler’s monologue that lasted for about ten minutes and was entirely interpreted by Friedel. There is so much substantial and credible material in Friedel’s account of the voice phenomena that, actually, I could have excluded this chapter. But because he drew so much heed to these surreal and difficult to interpret recordings, I will not put them aside. They were important to him, and I respect Friedel’s conviction that he was building a bridge to the other side in which everything is possible.
I have heard this voice several times and have not been able to make a comparison with Hitler’s voice because I have heard him only as a madman screaming. Maybe I can agree with Rune Moberg’s findings proposing that if one imagines Hitler as a calm and level-headed person, it could be him. But who can do that?
Of course the voice was tested very carefully by Hans Bender and the researchers at the Max Planck Institute. Speech spectrograms were performed to compare the anomalous voice with the original but it was almost fruitless because of the radio interference and because they could not find some sufficiently long comment by a calm and sensible Hitler to perform the comparison, which was not a surprise.
As Bender said: “You cannot rule out that it is really Hitler’s voice but it is also not (possible) to say that it is not Hitler’s voice.” However, he admitted that the voice was there and what was said and interpreted had a content, which definitely could not have been transmitted in a radio program. They got the exact time for Friedel’s recording but could not trace any broadcast from any country airwaves reminiscent of this voice and what it uttered.
For my readers’ elucidation, I will explain which kind of messages Friedel claimed to have received containing known names of people who had left life on the Earth, particularly during Friedel’s intensive period in the 1960s. I listened to a large number of such recordings, some perhaps half an hour long, and warned Friedel about their use during his demonstrations for visitors. They were so difficult to interpret by normal hearing people that he ran the risk of being discredited.
Purportedly, Caryl Chessman often came through in contacts with Friedel. Chessman sat for twelve years in the death chamber in the United States, before he was gassed to death in 1960—a case that upset the whole world. Friedel said that he got in touch with him two days after the execution.
It took several weeks before Friedel put this recording in order. In addition to Chessman, the mysterious Churchill is present plus three male voices, one of which, according to Friedel, probably belongs to Hitler. He also stated that those present in certain “remote calls” were in contact with other people.
Friedel wrote the following about this surreal contact with the world on the other side:
He talks lively. Chessman is talking with cheerful voice. He raises questions and receives answers, which, strangely enough, are in German. Most questions are about some aircraft. I share this conversation in translation:
“Is it possible?” asks Chessman. I can only perceive a part of the answer which, incidentally, is in English, German and Swedish.
“By … an opportunity (for meeting) with Dr. Kersten! … The power—friends’ … frequency standard … aircraft (craft) speed … Certainly! Forgot … now … … occult script of contact … everyone has to …”
Here is probably Hitler’s voice through the remote call and he speaks German:
“Do not walk, do not see, do not hear.”
“It’s hopeless,” adds one.
“What is it?” asks Chessman.
“Robots … in case they are many.”
A new male voice suddenly starts speaking English and German. I can clearly recognize a typical Jewish accent. It is an older man’s voice.
“Stockholm, Maelarhoejden.” he begins, energetic and eager.
“From Maelar, Maelarhoejden, lake, lake, where the transmitter is.”
“Aha! Maelaroden,” Chessman repeats.
“MAELARHOEJDEN!” the voice with the Jewish accent corrects him.
“… to Maelarhoejden, Maelarhoejden apparatus.”
“Why?” asks Chessman.
The answer is drowned by the noise but Chessman is laughing out loud:
“Mr. Churchill, can you believe it?” asks Chessman and now he speaks English and Swedish. A voice says in German: “Freddie, we have no land.” and adds in English: “you suffer when you are passionate.”
“Karl Johansson,” says Hitler! “adds one.”
“He’s dead,” Hitler responds softly.
Despite the broken phrases, it is clear that the call is being made on a flying vessel and that Chessman’s questions concern this.
Chessman has not said a word about his execution or touched his painful problems. His new situation seemed to completely capture his interest. It seems that he feels great relief when his voice betrays a hint of joy: yes, it sometimes sounds almost overconfident and you can see that he has difficulty mastering his mirth.
I find it remarkable that the name Maelarhoejden is insistently repeated several times. Apparently, they want to learn a foreign and important name that is difficult to pronounce. “From Maelar, Maelarhoejden, lake, lake, where the transmitter is.”
In the beginning I did not understand. I found the words two years later, and only after they provided a supplementary statement and an indication of the importance of the keyword Lake Maelaren.
Friedel’s interpretation of these talks and Hitler’s “monologue” is not only just surreal but in some pieces also poetic. But the amazing thing is that he actually had those conversations on tape (although some words are difficult to interpret without Friedel’s help) and that no one could explain where they came from—certainly not from some radio programs. So, dear reader, join in a strange document.
Friedel wrote:
Towards the end of May (1960) I received a transmission that now, almost three years later, I consider to be one of the most evocative and interesting I have recorded and one that deserves a detailed description.
As usual, Lena referred the wavelength to me but, when I misunderstood her, the first signal was initially lost for me. Then I set the radio to the correct wavelength. I regulated only the volume and let the recording run its course.
In this regard, I wish to interpose that Friedel’s way of reproducing the monologue in the book is rather unclear. Because you may get the impression that he could immediately understand what was said through the headphones, which did not correspond to reality.
Of course, initially he had no idea that it was Hitler who spoke. He had difficulty to interpret what was said. At the beginning, perhaps he thought that it was a regular radio broadcast but since Lena had indicated the wavelength to him, he suspected that there was a message in what was said and that the voice might speak directly to him. Later, he became convinced that it was Hitler who had spoken and he wrote:
The broadcast and the recording lasts nine minutes and ten seconds. It runs parallel to the Norwegian short wave, which at the same time performed Mozart’s Piano Concerto in D Major. Although nearby stations are noticeably disturbed, the clarity and volume of the broadcast can be compared with a regular radio broadcast.
What makes the strongest impression on me are the varied movements of the senses that can clearly be read from the speaker’s voice. This is how people usually speak in their sleep or under anesthesia when the boundaries of day consciousness have dissolved. There can be no doubt: this man speaks from the depths of his whole consciousness and one could take his opinion for a monologue if he was not interrupted by other voices. When this happens, lively, sometimes violent exchanges of words occur in which many listeners are drawn in and which are not carried out without humor.
This transmission could be regarded as an incomparable historical document for it is, in my interpretation, Adolf Hitler who speaks with a voice that cannot be mistaken.
Apparently, the message is conveyed over a ‘radar’ that is directly connected to my radio and respective tape recorder. Hitler sometimes presents himself clearly and distinctly. He also seems to be fully aware that his words are being recorded on my tape.
I have heard this monologue several times. The voice mentions the name Hitler but not in the first person, at least to my hearing and understanding although, as I said, I have not Friedel’s hearing capacity. That the message is directly connected to Friedel’s devices is consistent with his explanation that all messages, all the voices we receive, are personally targeted and cannot be intercepted by anyone else.
Friedel continues:
Goering’s, Keitel’s and Felix Kersten’s names are mentioned but one cannot reliably recognize their voices as they often sound distorted and sound as if coming from far away.
Hitler speaks mainly German. But this does not prevent him from occasionally combining it with Swedish, English, Russian, and even Hebrew words. As most of the dead, Hitler also distorts the verb, occasionally makes grotesque combinations of words and does not seem to use the article carefully. Apparently, the grammatical rules have lost their significance on the other side.
Hitler begins his message with a low voice that sounds somewhat older and dejected. As long as he speaks quietly and calmly, one can distinguish every syllable. But as soon as he gets into a rage or violently upset, his old voice relapses. The voice becomes shrill and the diction unclear. Surprisingly, such a sudden outburst of emotions passes quickly. It disappears as suddenly as it has come without leaving any trace of emotion in his voice. These violent emotional discharges fill his talk with heightened intensity. One gets the impression of taking part in an upset retrospective, or self-analysis, implemented ruthlessly against himself.
Thus, I stick solely to the clear words that I reproduce here—the transmission in abbreviated form: a disadvantage, which unfortunately is inevitable.
Despite his concentrated monologue, Hitler must have been aware of the piano concerto, and also because he speaks twice about the music, he is silent in certain pauses and stops his message at the last chords.
Already after the second set, he gets suddenly upset and says softly:
“If you do not want to stink on the ground … stand often in the middle of your time and vow to make amends! Führer! Zuhör!” (listen!)
Here, the voice changes and Hitler continues calmly:
“When the characters are no longer sufficient … then someone takes all the blame on himself, a father for his contemporaries … Does it not come to each one what belonged to him?”
After this issue there are some vague rebuttals and someone says:
“Friedel hear!”
The names Keitel and Hess are also mentioned.
“Pariah … bring your dignity with Gaut” (?) In time… denounce the thief!” recites Hitler emphatically. Once more the mood switches and Hitler speaks suddenly in a completely confidential tone.
“I’m Hatsch (?) … The air stinks from the head. No one cares about it … Maybe now? What does the state need? Malenkoff. Have you forgotten!”
From the distance a voice can be heard which clearly says:
“Contact with Göring two periods. Mrs. Jürgenson may want to …”
“Go your way Gerlitz” solemnly interrupts Hitler but then adds:
“Where?”
An indistinct exchange of words follows and then, suddenly, Hitler’s upset shout can be heard:
“There the wealthy Jerntmann! Driver! Führer!”
“Bite Flemmer! If someone falls in the distance.”
“Well, we’ll see—genuine!” states Hitler. After a while you hear him say:
“And then you climb the Atlantic?”
It sounds like a question that he poses to himself. For a long time, only the sound from the piano concerto can be heard. Then disturbances appear and somewhat later muffled sounds reminiscent of steps approaching can be heard.
“Contact person, there comes Bacchus!” Hitler exclaims suddenly with zeal.
It is wonderful. My father was jokingly called Bacchus by his friends. It was a pun on his name, Backelin. Would Hitler actually have met him?
“Voul schpagetti” (not spaghetti)? asks Hitler and adds something that sounds like:
“Fruit dinner with potatoes.”
“Thank You, maybe!” answers someone from afar.
I do not recognize this man’s voice.
“Now dawajte” (Russian: now they go). “Goering … two guilders!” said Hitler chuckling. It is the first time I hear Hitler convey a cheerful tone.
Again the music prevails on the radio for a long time; it’s beautiful, clear tones that roll up like pearls.
“Beautiful … thanks!” Hitler remarks.
“Nice name!” someone agrees.
But what happened then is the strangest thing, to suddenly hear Hitler walk a few steps, namely six distinct steps. Then he sighs and clears his throat discreetly. I must unwittingly think of the ingrained notion, which in most people is connected with the bodily nature of the dead. But in this case one could not speak of any “floating” and “weightless” spirits. On the contrary, the voice, the steps, and the sighs are highly prosaic, normal and concrete. Here, too, we are stuck in notions that in no way correspond to reality. And one more thing—Hitler must undoubtedly have been in a room of some kind because he says with strong emphasis:
“Like tortured … im Gefändezimmer.”
Maybe he means Gefängsniszimmer (prison cell) or possibly Pfändezimmer, a derivation of Pfandzimmer (mortgage office). Next, he exclaims with movement and regrets: “I could not save the life of Kersten! It often cuts into me! Children are naked. Phu.”
A sleepy female voice interrupts him and says softly:
“Ich schlafe” (I sleep) or maybe “ich schaffe” (I create) … in Berlin.
Hitler takes the floor again. Overall the voice sounds serious and searching.
“Mein Kopf ist tot … Tod ist der von oben gekommen” (My head is dead; death has come from above.)
“I see… my blood in the world that can cleanse and relieve … technology?”
Without waiting for an answer, he continues in a loud and trembling voice:
“First away with a bunch, the state contemplated … there is a way for you … for me? Shucks! Can you walk on your belly? Stop! You call … thank you!”
“Did Hitler become evil?” asks someone.
“Are you trying to understand him?” Hitler says quickly and ironically adds:
“Wouldn’t you be Hitler yourself?”
There are interferences in the radio, electrical discharges, whistling sounds. After a while Hitler’s voice infiltrates again and you hear him say: “I’m poor. By God in heaven!”
“The radio is on,” someone says.
“Thanks to Lena, thanks to Pelle,” whispers Hitler. Suddenly he says in Swedish:
“It was Hitler.”
The remote call is switched on and a male voice is heard quickly saying:
“Wicander, wake Reinfeldt!”
Hitler’s voice trembles with indignation as he exclaims loudly:
“Lie down (!) In my house. Mr. Wicander how can the (ordlek) … Have contempt in me. In your heart you peel yourself for usury! Tig! Tig!”
In his outraged speech, one can clearly recognize the Austrian accent.
“One day we will arrive in Austria! If someone falls for it.”
The effect of this line strikes like a bolt of lightning and Hitler gets a real outburst of rage: “Megaphone! Mesrach!” he shouts in a trembling voice.
“Watch out with Myrdal! Mr. Freud! It is not at all … it is not a question of Israel. Who’s hitting me? First you know my dear… now you are evil! … I am very pleased.”
A dull bang follows. It sounds like someone slamming a door. Once again, the sound penetrates step by step; the music now overpowers all other sounds. This is how we hear Hitler say in a subdued voice: “Often suffer from the cold … the dead.”
Suddenly he adds very loudly and with movement: “Where is there justice? … Defamers.”
Silence returns. Only Mozart’s pearling sounds flow like a rippling spring stream. The concert is coming to an end.
“How beautifully he plays,” Hitler remarks but then suddenly adds solemnly:
“Oh God what a far sight!”
“Don’t be arrogant,” a male voice interrupts him. But Hitler does not allow himself to be disturbed.
“Wolf, and there at the inn?” (Asking him). “What kind of host is it? What is a remote city? Which port is it? Bremen, Scholten.”
When a female voice comes into the Norwegian radio broadcast, I accidentally touch the knob and for a few seconds the wavelength disappeared. I quickly turn back to the previous wavelength but can only perceive a few detached words.
“Don’t talk … you have to give signs,” I hear Hitler say. His voice seems tired and subdued.
“Also Lenchen?” asks a deep female voice.
“What do you say to Freddie?”
There are disturbances and I cannot understand the answer. I only manage to pick up the voice of what seems to be a female robot that ends the broadcast a bit monotonously:
“Radar goes bad here … he just says travel with Bojewski’s ship … Federico, Mälarhöjden.”
Here the transmission seems to be interrupted. …
