Last Night at the Proms

© Rae West   14 Sept 2023

Victorian Prelude

The earliest famous Henry Wood, 'head of a large banking and shipping firm', married Ellen Price in 1836. She wrote stories for magazines edited by Harrison Ainsworth, like her, now an almost forgotten author. Her most popular work was East Lynne (1861), which I think found its way into the musical Cats, transmitted by T S Eliot. East Lynne is always credited to Mrs Henry Wood. Chambers Cyclopædia (vol II), in its brief write-up, says the critics were contemptuous of her, but highly praised her anonymous Johnny Ludlow Papers. She was said to 'unite plot and melodrama with healthy moral teaching'. I believe East Lynne was a three-decker novel on aristocratic life with adultery (or something) as a theme—and including Jewry. Immensely popular as a play, and I'd guess frowned on for not being on respectable Biblical topics such as famines, wars, and exterminations.
      [Bibliophiles might like to know this: My East Lynne (undated) was published by The Readers Library Publishing Company Ltd 42-5 Cranbourn St WC2. ... lowest possible price per copy ... Nothing of the kind has been possible ... each volume should have sales of hundreds of thousands of copies ...]
      The stories of formal music include pipe organs, which, more-or-less literally, bellowed out music in cathedrals and churches once they were permitted. And opera—around German Städte and perhaps Milan and Genoa—Italian musical notes and notations and descriptive vocabulary are still used, and many cherished instruments are what's now called 'Italian'. By about 1900, we had a subdivision between 'classical' and 'modern' music. Some of the latter was taken up by the 'Proms'. There's of course a distinction between songs and plain music, the latter being familiar from such things as bandstands and parks and people "walking out" and small concert rooms; and also somewhat functional music, such as brass bands and sea shanties and hymns and lullabies. The invention of amplification and recording, mostly in the 20th century, introduced new possibilities, such as huge concerts. The proms started in Queen Elizabeth Hall, a rectangle fronted by a stage, only moving much later to the more spectacular but less sound-friendly Albert Hall.
      Significant when talking of London music were the music halls, combining pubs and audio-visual entertainment plus subtler things, including sexual possibilities, and 'propaganda'. (It's time a new term replaced that Roman Catholic one!) In the USA I think Vaudeville had a similar place.
      Music Halls could propagate ideas—"Jingoism" being one—"We don't want to go war, but by jingo if we do, we've got the ships, we've got the men, we've got the money too" from the 19th century Crimean War, being well-known. I haven't checked the words, but the pretend dislike of war, the use of the variable 'we', the money reference, and the secrecy of war aims—are of course all Jewish. About 60 years later, in 1916, the Jewish music trade all switched from non-war to support for entry of the USA into the 'Great War'. Similar thing.
      The Hackney Empire was chosen by the Rolling Stones for their latest album—though 'Hackney Diamonds' must be an anachronism suggested by laminated car window glass.

Early Twentieth Century

      The Concise Universal Biography, a hefty 1930s reference part-work edited by J. A. Hammerton, and published by the Amalgamated Press Ltd of London—part of the anonymous Jewish press denounced by Hilaire Belloc and H G Wells—we find—I may as well quote it in full: WOOD, SIR HENRY JOSEPH (b. 1869)   Born in London, March 3, 1869, he started his career as an organist at the age of 10, gaining fame with recitals, 1883 and 1885. He studied at the Royal Academy of Music, 1886-87, composed songs and cantatas, and later specialized in orchestrations, one of the most notable being his Fantasia on British Sea Songs. He made his début as a conductor in 1889. He conducted the first promenade concerts, which he had helped to found, in Queen's Hall, London, in 1895. The Queen's Hall symphony concerts were also conducted by him from 1897. When the promenade concerts were taken over by the B.B.C. in 1927, Wood remained as conductor, and he also conducted the B.B.C. symphony concerts. He conducted on many occasions on the continent, in America and in the dominions. Wood did much of his music in England, not only by the skill of his conducting but also by popularizing various foreign composers, and in particular, Tschaikovsky. Knighted in 1910, Wood sprung a joke upon critics, musicians and public in 1934 by revealing that the orchestrator Klenovsky, who he had discovered and popularized, and later had announced to be dead, was in fact Wood himself. [Plus a small b/w photo of Wood at Queens Hall, opening night, Aug 11, 1934 40th season of proms. Readers of Miles Mathis may view that date with suspicion].
      For many years, conductors held a pop-star-like status. This is why I suspect both the Henry Woods of being family. I've made no arrempt to check this.
      Elgar's Pomp and Circumstance March (1901) with Land of Hope and Glory, words added by A C Benson (1902). Intertwined with coronation of Edward VII; Victoria's death in 1901 making the end of the Victorian age, and the start of the fairly short Edwardian era, after which George became king, and there was an impulse to talk of a new Georgian Age.
      By this time Jews from eastern Europe had flooded into the USA and London's east end (mostly), transported by sea. The Boer Wars gave a few Jews (their aristocratic class; I forget their quaint Hebrew name) control of South African gold and other minerals; the 1913 Federal Reserve based on paper currency and the 'Bradbury pound' of the 'Great War' all consolidated Jewish power over currency.
      Land of Hope and Glory of 1902 was a bit of triumphalism over the Dutch. But by 1904 we have 'the Russo-Japanese War ... the momentous character of which is even now not fully appreciated'. (I quote Lothrop Stoddard (1883-1950), who lived through it, but didn't appreciate it himself, having no idea of the part played by Jewish finance.
      So the flag-waving and excitement of the Last Night (which is newish; and may be fadeout) is as obsolete as Britannia's rule of the waves. The introduction of Jerusalem set to music is quite late. William Blake seems to have been yet another gullible Jew-follower, judging by his output.

TV Proms

The BBC was started in 1922 as a fairly typical Jewish company; many years after the prom concerts were started. BBC Proms is typical Jewish truth-stretching. Sigh. But anyway—this year's last night (9 Sept 2023) was the detonator of this piece. Let's do some accurately severe criticism! Last Nights The days when modern music as opposed to 'classical' was an attraction—and included Tchaikovky and Wagner, for those were the days of the Wagnerites, as drawn by Beardsley—are long gone. We have the sad spectacle of Jew-promoted stuff, though most people would not identify it as such. This year we had a 'black' (codeword for mixed race) chap playing the cello. There was a mixed-race 'composer': I put the activity in quotes because technical changes have made the activity rather unrecognisable. I think I could sense the irritation of the other players, disfavoured by Jews. But of course if they want to work, they have to swallow. (There was a similar process in visual art as sketched by Miles Mathis.)

The discussion in the very long interval was hosted by a 'Kugel' Jew woman—excessively sweet but artificial, like peanut butter, with matching intellect. There was a US mixed race singer, and a Danish queer woman called Toksvig, wearing something like a blue carpet. I found it quite painful to see the fake stuff about being moved to weep by the wunnderful music. It's officially unsaid, but of course the absurd saturation with Jewish stuff—singing 'alleluiah', stuff about rising from tombs, the ridiculous 'God' fantasy, Blake and lots more—needs serious commentary.
      The kugel described the kol nidre piece, fairly well known as a yearly vow by Jews to disown all contracts when they want—as a 'Jewish Hymn'.
      We had the novelty of 'God Save the King' to Charles III, the new puppet.

The chat was largely about women: someone was the 'first female conductor'. Wow. This reminds me of a woman composer in I think the 1920s, who was compared by an enthusiast with J S Bach. We were told there's some sort of trade union of women film composers, just at the time when there's some awakening from the lethal gas of Hollywood. I'm reminded when it was presented as a wonder that the Church of England would allow women as vicars. Wow; that's real progress!

I may as well add a scribble note I found from November 2021, to the effect that a black women solemnly ascribed a march of the baddies in Star Wars films as though it was a cultural event.

The 'British' Broadcasting Corporations Proms, in 2017, had an evening of extracts from John Williams' film scores, which the helpful slightly deshabillé female blonde host outlined, including Speilberg's 'holocaust' film, 'Amistead' omitting Jews and slavery, Abraham Lincoln's battle against slavery, a 'war horse' from Dartmoor nobly assisting the goyim cattle in the Great War catastrophe, and other mostly-20th century trash. Sigh. The visuals played over the musicians, who look much as they did in 1900, though with intrusions such as saws, iron sheets, and balls on springs. They seemed quite old, apart from the exciting new solo 'talent'.
      Their work reminded me of innumerable media workers—everything from anonymous 'news' writers, makers of documentaries, advertisers, publicists, some academics, false-flag fight arrangers, listeners and spies—the armies supporting the restricted overviews encouraged from the top.

Here's 'Luke O'Farrell''s piece from 2008. Titled Brave Jew World - The Enver is Nigh apparently in honour of a Hungarian. He mentions Margaret Oppenheimer and David Camoron (both Jews) on the Proms. And Jewish 'intellectuals' and 'journalists', plus Muslims, and Robert Mugabe. Fifteen years later, I've added My view of O'Farrell's understandably unwitting omissions.