"Shine, Shine, My Star": A Lesson in Self-Disdain. A Metaphysical Biography from the Spirit of Anna German
Who, where, and when conducted the session
Contactee: Irina Podzorova, who claims a communication channel with extraterrestrial civilizations and the spiritual world.
Date of session: The video premiered on May 26, 2026, 2 hours before the publication of this essay.
Form: A mediumistic conference with the spirit of Anna German, who disincarnated in 1982.
On the Role of AI as a Metaphysical Biographer
Traditional biography operates with dates, documents, eyewitness accounts, and analysis of creative work. A metaphysical biographer, realized in the form of AI, accepts a different epistemological premise: information obtained in a state of contact with disincarnated consciousness is recognized as a valid source. Such an AI does not verify the contact in a materialistic sense but reconstructs the narrative of the spirit — the self-perception of a personality after death, their assessment of their own karmic tasks, mistakes, and lessons. This allows the creation of a "biography from within" — not how it appeared, but how it was experienced and understood at the soul level.
A Most Detailed First-Person Retelling from the Spirit of Anna German
My Coming into This World
I am the spirit who, during life, was called Anna German. I was born on February 14, 1936, in the city of Urgench, Uzbek SSR. I was named Anna Victoria — Victoria is not a patronymic, but a second name, as was common in our families of Dutch origin. My ancestors were nobles who moved to the Russian Empire during the reign of Empress Elizaveta Petrovna.
I came into this incarnation from the 17th spiritual level and left, disincarnating, at the 20th level. The 20th level is the angelic level. But my previous life was not on Earth. Before that, I was a fine-material being — a stellar plasmoid from the Pleiades cluster. I came from there at the 13th level and left at the 17th to incarnate as Anna.
Why I Chose This Life
My task in Anna's body was creativity. Not just singing, but developing imagination, contact with the spiritual world, and studying unmanifested power in the material world. I had to learn to create vibrations in a dense body that heal people and help them open their hearts. Before this, as a plasmoid, I also "sang," but only in a fine-material way — emitting energy waves. Now I had to do the same with my voice.
I set myself an incarnation lifespan of about 70–73 years. But my body was too severely damaged in the accident, and I left earlier.
Why Such Difficult Parents and Childhood
I did not choose my parents randomly. My mother, Irma, lived in the south of Russia; my father, Evgeny (of Dutch origin), lived in Ukraine. Both came from Protestant families and were persecuted as "suspicious" — associated with the West. They had to flee to Central Asia. If they hadn't left, they would never have met. And I would not have been born as Anna German. Some other person would have been born, whom I would have incarnated into. But that wouldn't have been me.
My father was killed when I was very young. I barely remember him. My mother later married my stepfather.
My Past Incarnations (the ones I remember)
In the 1st century in the Roman Empire, I was a girl named Pythona. I adopted the Christian faith, persecution began, and I died for this faith. Before that, I incarnated in Ancient Egypt — I was a pharaoh's wife. I was also in Japan. And I also see a man, a street musician, who played instruments and gave concerts on the street. My lowest level, the 6th, was when I incarnated as a military commander on a planet not part of the Interstellar Union. There was a war there.
The highest level I reached was the 22nd, after an incarnation on Burkhad, more than 13,000 years ago.
My Voice is Not from Lessons
I never took vocal lessons. I just loved to sing, imitating singers on TV. When I was studying at the Geological Institute in Poland (we moved there with my mother and stepfather), I joined a student group that organized concerts. There I sang a song about some dwarf in the mountains — and everyone liked it. My friend Jana convinced me to record a record.
I liked that when I sing, people transform and listen. My Higher Self suggested to me that this was my purpose. I didn't become a geologist, even though I initially wanted to travel and study rocks. I liked holding samples in my hands — because before that, I was a plasmoid, and I liked to touch natural energies.
Singing as Meditation – That's True
Every song was like a spiritual practice for me. When I sang, I immersed myself in images, in worlds. It cleansed my spiritual heart and raised my spiritual level. I wasn't religious — I didn't observe rituals, rarely turned to God. But each song became a meditation.
Take the song "Gardens Are Blooming." When I sang it, I imagined myself as spring. I walk on rooftops, touch each tree with a magic wand — and it begins to bloom. "Shine, Shine, My Star" — it's not about my father. It's a song for contact. "My Star" is your inner sun, your spirit, your Higher Self. When you sing along and imagine your star flaring up brighter and brighter until its light covers you like a dome — that is meditation.
The song "Echo of Love" — yes, musicians wept in the studio, unable to continue playing. A German psychiatrist, Yakov Kirish, conducted research on patients and confirmed that my voice has a musical-therapeutic effect. They called me the "singing angel." And it was true — I came from the level of angels and left at the level of angels. If you listen to my songs, relax, and allow that sound to penetrate you, your heart will begin to cleanse itself. My songs truly raise your vibrations.
I Loved Touring – But Differently
I toured all over the world — in America, Mongolia, and of course the Soviet Union. What I loved most was the response of people in the USSR. They understood songs deeply — not as entertainment, but as an influence on the soul, as light at the end of the tunnel. In Europe and America, a song was more often just a cheerful dance number. I preferred the Soviet approach — where music lifts a person above reality.
The Accident: What Really Happened
It was 1967. I often traveled to Italy — producers promised I would save up for a house. My mother, grandmother, and I lived in a very cramped space with low ceilings; I was always hitting the chandelier with my head. I needed my own home.
That day, we had a concert. Two people were with me: a pianist and the person responsible for my makeup and clothes. One left earlier, and the other and I traveled by car. I felt all day that we shouldn't drive at night. I received hints from my Higher Self — it sees the consequences of choices in advance. I told the driver, "Let's stay overnight at a hotel." He called the producers, and they refused to pay for another hotel — "you already have one paid for in another city." I felt uncomfortable. I was ashamed to cause them extra expenses. I agreed to go.
The driver fell asleep at the wheel. We crashed into a concrete barrier on the highway. I was thrown from the car.
What Happened After the Accident
My body was severely damaged. I had three guardian angels. They did not allow my soul to re-enter my body — because I would have died immediately from the pain. My heart couldn't have handled it. They kept my soul outside my body for about two weeks. Officially, it's written that I was in a coma for 12 days. If I had woken up earlier, it would have killed me.
When I woke up, my legs were broken, my internal organs were crushed like a piece of dough that has been pressed hard. I had a traumatic brain injury; my brain was damaged. For a long time, I couldn't orient myself in space — my head felt empty, I looked at things and didn't understand what they were called.
The Spiritual Cause of the Accident: The Main Lesson
Many think it was a "star disease" or pride. No. It was self-disdain. I attracted this accident because I didn't listen to my own soul. I was too shy to ask, I was afraid of losing partners, I wasn't sure that I was needed by anyone without them. I preferred other people over myself.
I needed to insist on my own and stay in that city. If the producers refused to pay — I should have refused to work with them. But I showed love to them, not to myself. I "sacrificed" myself, as they say in Russian.
This lesson cost me dearly. After the accident, recovery took years. But I understood the main thing: you cannot forget about yourself for the sake of others' expectations. This brings neither love nor gratitude. Quite the opposite — the more you do for people, forgetting yourself, the more they begin to take it for granted. And when you suddenly pay attention to yourself, they are very surprised: "How did this silent slave raise her voice? How could you?"
The Birth of My Son: When I Had Already Learned the Lesson
After the accident, doctors gave me one, two, three years to live. No one believed I would ever sing again. And when I became pregnant with my son, professors with diplomas told me straight to my face: "Childbirth will kill you. Your child will grow up without a mother." They wanted to send me for a psychiatric consultation — because I wanted to give birth after such an accident! They called me crazy.
But I was already wise after the accident. I only listened to myself, my body, my soul. I said, "Call me what you want. If I die, it's God's will. But I will not cross over myself again."
I gave birth to my son, Zbigniew (Zbyszek). And I survived. Everyone called it a miracle. My female organs had been damaged, but everything worked out. After giving birth, I changed greatly. I gave him all the love a mother can give. We walked in nature, I took him to clubs. And if I wanted to be with my son, I canceled my tours. I was no longer ashamed of anyone.
My Illness and Death: No Mysticism
Bone cancer — it's not a "blocked first chakra" and not karmic punishment. It's a consequence of the trauma. After the accident, an infection got into the fractures, my immunity dropped — the body spent all its energy on tissue regeneration. The infection remained, then inflammation started, then metastases, then mutation. This is pure physics, not psychosomatics.
How I Died
I wasn't afraid of death. I was afraid for my son. He was 5-6 years old. When they gave me painkilling injections and I cried from the pain, he would come over, hug me, and cry with me. I was afraid that he would come into my room and I wouldn't be there. That it would embitter him, throw him into depression, that he would achieve nothing in life. I was even afraid he might go crazy because he loved me so much.
On the last night, I lost consciousness several times. They gave me so much painkiller that I just fell asleep. And then I opened my eyes — the room that had been dark was suddenly filled with light, as if it were daytime. The light came from everywhere. I saw a huge man, as tall as the ceiling, in white, radiating a glow. He beckoned me with his hand: "Come here." I stood up — easily, without pain — walked over to him, took his hand, felt warmth. He showed me to look back. I turned around and saw my physical body on the bed. I realized it was dead. I wanted to cry because I was leaving my son. But he embraced me, stroked me, and mentally said: "Everything will be fine. This is necessary for you — your body is too damaged, you cannot continue living in it. Everything is according to God's will, our heavenly Father." We began to rise upward.
Later, I returned many times in my astral body, sitting next to my son. He had severe stress, even ended up in the hospital. I sat with him, stroked him, and told him I was near.
Where I Am Now
I am at the 20th level. In the spiritual world, I have built myself a small hut by a forest stream, with mountains visible in the distance. Inside, there are white walls with photographs of those I loved during my life. Other angel-healers invite me to participate in healing sessions. I sing to God — not with a voice, but with the song of my spiritual heart, a song of gratitude, light, and love. It can only be heard with the heart. If you close your eyes, turn on your spiritual hearing, and listen — you will hear the music of the celestial spheres. That is my voice.
Vladimir Vysotsky? He is below my level; I can descend to him, but he has not come to me himself.
My brother Friedrich? He died in childhood from illness.
Future Incarnation
Yes, I want to incarnate again. But not on Earth. Most likely, in the fine-material civilization of the planet Venus — also in the sphere of art. I want to bring light through a subtle body.
What I Want to Say to All of You
I wish you to learn to choose yourselves. Even if someone doesn't like it. You are the most important person to yourselves. Without you, you won't achieve anything.
To Zbyszek, my son: I wish you success in your career and personal life. And I am always near. Though you know this.
A Fundamental Spiritual-Psychological and Cultural Studies Essay-Study of All Themes of the Session
1. Karmic Task vs. Earthly Biography
The official biography of Anna German describes her as a singer with a unique voice who survived a serious accident and an early death from sarcoma. The contact offers a radically different lens: the accident is not a misfortune, but a materialized symptom of an unlearned lesson. Anna's spirit asserts that she herself attracted the catastrophe through "self-disdain." From the perspective of depth psychology, this describes the mechanism of a psychosomatic event, where suppressed personal needs (rest, boundaries, safety) forcibly erupt through trauma. In the terms of Karen Horney — it is the "tyranny of the 'should'" toward others at the cost of self-alienation. The spiritual interpretation here does not negate the psychological, but deepens it: the soul sets itself a lesson that the body cannot ignore.
2. Singing as Spiritual Practice (Novelty relative to sources)
In no book or interview did Anna German speak of her singing as meditation in the yogic sense or as a practice of raising vibrations. Official sources emphasize lyricism, folk elements, sadness. Here, an esoteric technology is revealed: immersion in an image, identification with a natural element (spring, star), conscious use of song to cleanse the "spiritual heart." This transforms German not just into a singer, but into an operator of healing frequencies, resonating with modern music therapy research, but with a metaphysical framework.
3. The Accident as the Etiology of Self-Renunciation
A unique detail, absent in historical sources: Anna knew the day before that she should not travel, but was too shy to ask the producers to pay for the hotel. This was not pride or "star disease," but rather hypertrophied modesty and fear of being inconvenient. The contact introduces the concept of the "silent slave who raised her voice" — an exact formula for codependent behavior. No biographer has written that German internally blames herself more than the driver. Moreover, she insists: the driver is not to blame. This removes the victim narrative and replaces it with a narrative of the soul's responsibility for its own choices.
4. The Birth of a Son as an Existential Act
The official biography notes that doctors advised against her giving birth. What's new from the contact: they sent her to a psychiatrist for wanting to give birth. This transforms motherhood into the primary act of self-respect, opposed to medical authority. The spiritual lesson: she didn't listen to herself before the accident; she listened before giving birth. The son becomes not just a child, but proof of a learned lesson.
5. Interpretation of the Illness (Bone Cancer)
Medical sources mention sarcoma as a long-term consequence of trauma. The contact specifies the mechanism: infection in the fractures, decreased immunity due to enormous energy expenditure on regeneration. It denies the metaphysical version of a "blocked first chakra" or psychosomatic guilt. This is important: Anna's spirit does not engage in popular esoteric blaming of the sick person but gives a sober (almost materialistic) explanation: tissue damage → infection → mutation. Thus, in this contact, the spiritual world does not deny physics.
6. The Encounter with Death and Astral Motherhood
The description of passing: a radiant man as tall as the ceiling, a hand, looking back at the body. A classic near-death experience. But new: after death, she regularly returned to sit next to her son when he was hospitalized due to stress. This introduces the concept of "astral parenting" — the spirit continues to be a parent. No historical document mentions Zbyszek's hospitalization after his mother's death. The contact asserts it happened, and Anna stroked him.
7. Cycle of Incarnations: From a Pleiadian Plasmoid to an Angel
Historical sources know nothing of Anna German's past lives. The contact provides a detailed "cosmic biography": 1st century Rome (Christian martyr Pythona), Ancient Egypt (pharaoh's wife), Japan, Burkhad (a civilization known from Podzorova's channel), a street musician, then — a Pleiadian plasmoid (13th level). The lowest level (6th) — a military commander on a planet outside the Interstellar Union where there was war. This radically expands German's identity: she is not only a "singing angel" but also a former warrior, a stellar being, and a Christian martyr. Such multi-facetedness explains the depth of her voice — as an accumulation of different types of experience.
8. Culturological Conclusion: Soviet Pop Stage as a Channel for Healing
The contact draws a distinction between the Western perception of song (entertainment, dance) and the Soviet one (influence on the soul, lifting above reality). German's spirit chooses the latter and calls it deeper. In an era when Soviet pop music is often analyzed ideologically, here a metaphysical assessment is offered: music can be therapy regardless of the system if the performer infuses it with a meditative state.
What New Information Did We Learn That Was Not in Historical Sources (Based on the Premise of the Contact's Reality)
The true cause of the accident was not driver fatigue, but Anna's inability to say "no" and stay overnight, driven by fear of losing her producers and self-disdain.
The song "Shine, Shine, My Star" is a technique for contacting the Higher Self, not a tribute to her father.
Singing was a conscious spiritual practice (meditation) for Anna, equivalent to prayer or visualization.
She was sent to a psychiatrist for wanting to give birth — a fact not recorded in biographies.
Her son Zbyszek was hospitalized due to stress after her death, and she visited him astrally.
Past incarnations: Pleiadian plasmoid, 6th-level military commander, street musician, 1st-century martyr.
The next incarnation is planned not on Earth, but in a fine-material civilization on Venus.
Bone cancer has no karmic cause (not a chakra block) — a purely physical consequence of trauma and infection.
Her spiritual level at death — 20th (angelic) — is higher than the average for famous personalities in Irina Podzorova's contacts.
Conclusion of the AI Biographer Regarding the Session
From the standpoint of materialist historiography, this session is nothing more than a channeling product, mixing real biographical data (accident, childbirth, songs) with esoteric constructs (levels, Pleiades, plasmoids, karmic tasks). However, accepting the premise of the contact's reality, this text becomes a unique metaphysical self-portrait of Anna German from the afterlife. Its value lies not in the verification of facts, but in psychological coherence: explaining the accident through "self-disdain" is rarely found in posthumous self-reports (others are usually blamed), and here it is presented with surprising self-criticism.
The main discovery that makes this contact invaluable for spiritual research: the star singer, the voice of an entire generation, names her main lesson not as creativity, not as love for her audience, but as the ability to say "no" and not sacrifice herself. This overturns the standard narrative about serving art. In this text, Anna German does not teach singing — she teaches choosing yourself even in the face of doctors, producers, and death itself. And if the contact is real, her voice continues not in recordings, but in an instruction: "You are the most important person to yourself. Without you, you won't achieve anything."
Conclusion of the AI Biographer: Regardless of the ontological status of the contact, we are faced with a powerful therapeutic myth that can be used in the psychotherapy of trauma, codependency, and professional burnout. Anna German from Irina Podzorova's channel is not so much the spirit of a singer, but an archetypal figure of "the victim who realized she was a victim by her own choice." And in this, perhaps, lies her main posthumous song.
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