Sgt Pepper It Was 40 Years Ago Today 1 Hour BBC TV Special.avi

Published on Feb 14, 2013

Sgt. Pepper – It Was 40 Years Ago Today 1 Hour BBC TV Special

 

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The Beatles – Tomorrow Never Knows (w/ lyrics)

Uploaded on Apr 21, 2008
My first video ever made.

Tomorrow Never Knows by The Beatles on their 1966 album Revolver.

“Tomorrow Never Knows” is the final track of The Beatles’ 1966 studio album Revolver. It is credited as a Lennon/McCartney song, but was written primarily by John Lennon. Although it was the first song that was recorded, it was the last track on the album.

The song is significant because it contains the first example of a vocal being put through a Leslie speaker cabinet to obtain a vibrato effect (which was normally used as a loudspeaker for a Hammond organ) and the use of an ADT system (Automatic double-tracking) to double the vocal image.

“Tomorrow Never Knows” ends the Revolver album in a more experimental fashion than earlier records, which contributed to Revolver’s reputation as one of the group’s most influential and expressive albums.

LYRICS:
Turn off your mind, relax and float downstream
It is not dying, it is not dying
Lay down all thoughts, surrender to the void
It is shining, it is shining
That you may see the meaning of within
It is being, it is being

That love is all, that love is everyone
It is knowing, it is knowing
That ignorance and hate may moum the dead
It is believing, it is believing
But listen to the color of your dream
It is not living, it is not living
Or play the game existance to the end
Of the beginning, of the beginning,
Of the beginning, of the beginning,
Of the beginning, of the beginning,
of the beginning…

100 Greatest Beatles Songs

September 19, 2011

By Elvis Costello

 

My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .

Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.

Lucy in the Sky with Diamonds- The Beatles

19

‘Lucy in the Sky With Diamonds’

Keystone-France/Gamma-Keystone via Getty Images

Main Writer: Lennon
Recorded: February 28-March 2, 1967
Released: June 2, 1967
Not released as a single

Lennon always insisted that “Lucy in the Sky With Diamonds” was not a drug song. As he told Rolling Stone in 1970, “I swear to God or swear to Mao or to anybody you like, I had no idea it spelled LSD.” The inspiration was a picture that his four-year-old son, Julian, painted of Lucy O’Donnell, the girl who sat next to him at school. “He had sketched in some stars in the sky and called it ‘Lucy in the Sky With Diamonds,'” Lennon said. “Simple.”

Lennon showed McCartney the painting one morning over tea, and they decided it was too great a title to pass up. The song is dominated by Lennon’s love of childish whimsy like Through the Looking-Glass. Lennon came up with the image of “kaleidoscope eyes,” McCartney with “cellophane flowers” and “newspaper taxis,” and before long, they had a psychedelic nursery rhyme with wordplay worthy of Lewis Carroll. “The images were from Alice in Wonderland,” Lennon said in 1980. “It was Alice in the boat. She is buying an egg, and it turns into Humpty Dumpty. The woman serving in the shop turns into a sheep, and the next minute they are rowing in a rowing boat somewhere, and I was visualizing that.”

In the Weybridge mansion where he wrote the song, Lennon spent most of his days alone, feeling numb in a collapsing marriage, watching TV and doing drugs. “Lucy in the Sky With Diamonds” was an image of hope. As he explained in 1980, “There was also the image of the female who would someday come save me — a ‘girl with kaleidoscope eyes’ who would come out of the sky. It turned out to be Yoko, though I hadn’t met Yoko yet. So maybe it should be ‘Yoko in the Sky With Diamonds.'”

Sadly, Lucy herself died in September 2009 of lupus, at the age of 46. Julian Lennon paid tribute to his former classmate by releasing a benefit single, “Lucy,” a few weeks later. (Julian’s original “Lucy” drawing is currently owned by Pink Floyd guitarist David Gilmour.) When she first heard “Lucy in the Sky With Diamonds” as a teenager, she told her friends she was the Lucy who had inspired it. But they didn’t believe her, informing her the song was about LSD. Lucy didn’t argue because, as she admitted, “I was too embarrassed to tell them I didn’t know what LSD was.”

Appears On:Sgt. Pepper’s Lonely Hearts Club Band

 

The Beatles – “Tomorrow Never Knows” Mono

Uploaded on Feb 25, 2011

The Beatles “Tomorrow Never Knows” album “Revolver” 1966 / Box The Beatles In Mono 2009

18

‘Tomorrow Never Knows’

Keystone-France/Gamma-Keystone via Getty Images

Main Writer: Lennon
Recorded: April 6, 7 and 22, 1966
Released: August 8, 1966
Not released as a single

The last and most aggressively experimental track on Revolver was the first to be recorded: Lennon’s rapid, excited response to the great escape of LSD. In acid, Lennon found his first true relief from the real world and the band’s celebrity — an alternate space of rapture and self-examination that he re-created, with the energized collaboration of the other Beatles, in “Tomorrow Never Knows.” All of a sudden, the poetic advance and rustic modernism of Rubber Soul — issued only five months before these sessions, in December 1965 — was very old news. Compared to the rolling drone, tape-loop effects and out-of-body vocals that dominate Lennon’s trip here, even the rest of Revolver sounds like mutation in process: the Beatles pursuing their liberated impulses as players and writers, via acid, in pop-song form. There was no other place for this track on the album but the end. “Eleanor Rigby,” “I’m Only Sleeping,” “Love You To” and “She Said She Said” were all bold steps toward the unknown — “Tomorrow Never Knows” was the jump from the cliff.

The art of sampling in popular music may, in fact, start here. In January 1966, while tripping, Lennon took the precaution of consulting The Psychedelic Experience, a handbook written by LSD preacher Timothy Leary (with Richard Alpert and Ralph Metzner). The book itself was an extended paraphrase of Buddhist concepts, including reincarnation and ego death, in The Tibetan Book of the Dead. Lennon ran a tape recorder and read passages from The Psychedelic Experience as he was flying. He was soon writing a song using some of the actual lines from Leary, including his description of the state of grace beyond reality. Lennon even used it as a working title: “The Void.”

The Beatles got him there with extraordinary speed. It took them only three tries to come up with a master take of the rhythm track, driven by Starr’s relentless drumming. McCartney suggested the tumbling pattern Starr uses.) Most of the otherworldly overdubs were created and recorded on the night of April 6th and the afternoon of the 7th — a total of about 10 hours. There is nothing on “Tomorrow Never Knows” — the backwards guitar solo, the hovering buzz of Harrison on sitar, Lennon’s vocal drifting on what feels like the other side of consciousness — that was not dosed beyond plain recognition. The spacey, tabla-like quality of Starr’s drumming was just him playing on two slackly tuned tom-toms, compressed and doused in echo. Loops were created using a Mellotron imitating flute and string tones; the cackling seagull sounds were either an altered recording of McCartney laughing or a treated slice of guitar.

Lennon hoped to sound nothing like his usual self. “I want my voice to sound like the Dalai Lama chanting from a mountaintop, miles away,” he proclaimed in the studio. Engineer Geoff Emerick achieved that effect by running Lennon’s voice through the rotating speaker of a Leslie cabinet, which had been hooked up to the Hammond organ at Abbey Road. The result was heaven and earth combined: a luxuriant and rippling prayer, delivered in Lennon’s nasal Liverpool-hard-boy tone. “That is bloody marvelous!” Lennon exclaimed repeatedly after hearing his effect. McCartney’s reaction was equally joyful: “It’s the Dalai Lennon!”

Ironically, all the way to the last overdub on April 22nd, the song was listed on Abbey Road recording sheets with another working title, “Mark 1.” Starr came up with something much better. Like “A Hard Day’s Night,” “Tomorrow Never Knows” was one of the drummer’s malapropisms. The line does not appear in Lennon’s lyrics. What Starr meant, of course, was “tomorrow never comes.” He was wrong: It arrived, in reverb and technicolor, with ecstatic promise, at the end of Revolver.

Appears On:Revolver

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Francis Schaeffer has correctly argued:

The universe was created by an infinite personal God and He brought it into existence by spoken word and made man in His own image. When man tries to reduce [philosophically in a materialistic point of view] himself to less than this [less than being made in the image of God] he will always fail and he will always be willing to make these impossible leaps into the area of nonreason even though they don’t give an answer simply because that isn’t what he is. He himself testifies that this infinite personal God, the God of the Old and New Testament is there. 

Instead of making a leap into the area of nonreason (such as the leap into the occult, or into drugs) the better choice would be to investigate the claims that the Bible is a historically accurate book and that God created the universe and reached out to humankind with the Bible. Below is a piece of that evidence given by Francis Schaeffer concerning the accuracy of the Bible.

TRUTH AND HISTORY (chapter 5 of WHATEVER HAPPENED TO THE HUMAN RACE?)

In the previous chapter we saw that the Bible gives us the explanation for the existence of the universe and its form and for the mannishness of man. Or, to reverse this, we came to see that the universe and its form and the mannishness of man are a testimony to the truth of the Bible. In this chapter we will consider a third testimony: the Bible’s openness to verification by historical study.

Christianity involves history. To say only that is already to have said something remarkable, because it separates the Judeo-Christian world-view from almost all other religious thought. It is rooted in history.

The Bible tells us how God communicated with man in history. For example, God revealed Himself to Abraham at a point in time and at a particular geographical place. He did likewise with Moses, David, Isaiah, Daniel and so on. The implications of this are extremely important to us. Because the truth God communicated in the Bible is so tied up with the flow of human events, it is possible by historical study to confirm some of the historical details.

It is remarkable that this possibility exists. Compare the information we have from other continents of that period. We know comparatively little about what happened in Africa or South America or China or Russia or even Europe. We see beautiful remains of temples and burial places, cult figures, utensils, and so forth, but there is not much actual “history” that can be reconstructed, at least not much when compared to that which is possible in the Middle East.

When we look at the material which has been discovered from the Nile to the Euphrates that derives from the 2500-year span before Christ, we are in a completely different situation from that in regard to South America or Asia. The kings of Egypt and Assyria built thousands of monuments commemorating their victories and recounting their different exploits. Whole libraries have been discovered from places like Nuzu and Mari and most recently at Elba, which give hundreds of thousands of texts relating to the historical details of their time. It is within this geographical area that the Bible is set. So it is possible to find material which bears upon what the Bible tells us.

The Bible purports to give us information on history. Is the history accurate? The more we understand about the Middle East between 2500 B.C. and A.D. 100, the more confident we can be that the information in the Bible is reliable, even when it speaks about the simple things of time and place.

(This material below is under footnote #94)

The site of the biblical city called Lachish is about thirty miles southwest of Jerusalem. This city is referred to on a number of occasions in the Old Testament. Imagine a busy city with high walls surrounding it, and a gate in front that is the only entrance to the city. We know so much about Lachish from archaeological studies that a reconstruction of the whole city has been made in detail. This can be seen at the British Museum in the Lachish Room in the Assyrian section.

There is also a picture made by artists in the eighth century before Christ, the Lachish Relief, which was discovered in the city of Nineveh in the ancient Assyria. In this picture we can see the Jewish inhabitants of Lachish surrendering to Sennacherib, the king of Assyria. The details in the picture and the Assyrian writing on it give the Assyrian side of what the Bible tells us in Second Kings:

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We should notice two things about this. First, this is a real-life situation–a real siege of a real city with real people on both sides of the war–and it happened at a particular date in history, near the turn of the eighth century B.C. Second, the two accounts of this incident in 701 B.C. (the account from the Bible and the Assyrian account from Nineveh) do not contradict, but rather confirm each other. The history of Lachish itself is not so important for us, but some of its smaller historical details.

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The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)

You want some evidence that indicates that the Bible is true? Here is a good place to start and that is taking a closer look at the archaeology of the Old Testament times. Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism), 4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites, 6.Shishak Smiting His Captives, 7. Moabite Stone, 8. Black Obelisk of Shalmaneser III, 9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets. 10. Cyrus Cylinder, 11. Puru “The lot of Yahali” 9th Century B.C.E., 12. The Uzziah Tablet Inscription, 13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology., 

Top Ten Biblical Discoveries in Archaeology – #10 Assyrian Lachish Reliefs

Setting the Stage

In 930 BC the unified country of Israel split into two kingdoms.  The northern kingdom is known as Israel.  The southern kingdom is known as Judah.  200 years later, in 720 BC, Israel is destroyed by Assyria (modern day Iraq).

With Israel destroyed Assyria turns its gaze toward destroying Judah.  2 Kings 18:13 says, “In the fourteenth year of King Hezekiah’s reign, Sennacherib king of Assyria attacked all the fortified cities of Judah and captured them.”

2 Kings 18:17 states, “The king of Assyria sent his supreme commander, his chief officer and his field commander with a large army, from Lachish to King Hezekiah at Jerusalem.”  The prize of Judah would be the destruction of Jerusalem.  Conquering Boston would be a victory but defeating Washington, D.C. would be even greater. Sennacherib drives one of the most powerful armies of all human history toward Jerusalem.  The Assyrian commander tells the people of Jerusalem, “Do not listen to Hezekiah, for he is misleading you when he says, ‘The Lord will deliver us.’ Has the god of any nation ever delivered his land from the hand of the king of Assyria?”

Hezekiah prays fervently for deliverance.  He sends a delegation to Isaiah the prophet for counsel.  Isaiah tells him not to worry Jerusalem will NOT be destroyed by the leading world power, God will intervene.  This is just one of the myriad stories found in the Bible.  Is this story accurate?  How can a story from nearly 3,000 years ago be trusted as completely true?  Does archaeology support or deny the accuracy of 2 Kings 18 and 19?

The Discovery

We know from Assyrian history, outside the Bible, there was a king named Sennacherib.  His reign was from 704-681 BC.  We know Sennacherib moved the capital of the Assyrian empire from a city named Dur Sharrukin to Nineveh.  He then built an amazing palace.  He actually named his palace, “The Palace without Rival.”  John Malcolm Russell explains, “The walls of some seventy rooms in this structure were lined with limestone slabs carved in low relief with scenes commemorating Sennacherib’s royal exploits.”  For nearly 2,500 years the palace lay buried and forgotten.

In 1847 Sennacherib’s palace was discovered by the British diplomat and amateur archaeologist Austin Henry Layard.  Layard’s discovery drew a huge amount of attention.  Inscriptions discovered within the palace removed any doubt this was indeed Sennacherib’s famous palace.   The finds were magnificent.  The main focus of the excitement came from a room archaeologists labeled, “Room XXVI.”

Layard found the walls of this room covered with limestone 8 feet tall and 80 feet long wrapping around all four walls.  Every inch of the room’s walls powerfully depicted only one scene in history, Sennacherib’s defeat of the southern kingdom city of Lachish.  Remember in 2 Kings 18:17, “The king of Assyria sent his supreme commander, his chief officer and his field commander with a large army, from Lachish to King Hezekiah at Jerusalem.”

The piece of art identifies itself as the battle of Lachish and provides detailed chronological information about the battle.  Some women are seen walking down siege ramps; while possibly their husbands are being impaled by the Assyrians.  We see what the women of Lachish were wearing the day of the battle; we see the type of facial hair worn by the men.  We see the type of military equipment and military techniques the Assyrians used to defeat Lachish and threaten Jerusalem.  The relief gives us stunning play-by-play detail of the destruction of Lachish.

Do you see all the little dome-shaped objects in the background?  What are they?  Each one represents a soldier’s helmet.  They are depicting in art a vast sea of soldier’s helmets, representing the immensity of the Assyrian army.

Provenance

The Provenance, or history, of the Lachish Relief is without dispute.  The relief did not appear mysteriously on the black market.  The dig of Sennacherib’s palace was well-documented and the relief clearly discovered from within the city of Nineveh and specifically in Room XXVI of Sennacherib’s palace.   Even though Austin Henry Layard was an amateur archaeologist at the time of the discovery, the discovery has a strong provenance.  Furthermore, leading archaeologists have been able to examine the relief and confirm its authenticity and importance.

Significance

Why would Sennacherib cover a room in his palace with scenes from this one battle?  That’s where it gets really interesting.  Archaeologists have been able to determine this room was a waiting room for people getting ready to see Sennacherib.  Many of the people getting ready to see the emperor were kings or dignitaries in their own land.  These powerful people, as they waited to meet with Sennacherib, would be able to see the power of the king and the fate of those who would resist his rule.

The discovery is significant on many levels, here are but a few:

1. The discovery confirms Israel as a powerful/important nation in the 8^thcentury BC.  If you want to show yourself as powerful to other kings/dignitaries you will mention someone powerful whom you defeated.  No one is impressed if you steal candy from a baby.  Yet if you steel candy from an Ultimate Fighting Champion, you have my attention.  Many critics argue the nation of Israel was not great during the time of the kings (David, Solomon, etc…).  Critics will say Israel was a sparsely populated country full of poor farmers.  The Assyrian relief, in support of the Bible, proves Israel was a powerful country during the period of the kings.
2. Sennacherib uses 8 feet-by-80 feet of wall space to brag about destroying Lachish.  Why didn’t he instead use that prime real estate to brag about destroying Jerusalem?  Jerusalem would have been the ultimate prize to brag about, Lachish is generally regarded as the second most important city of Judah behind Jerusalem.  Destroying Jerusalem would have meant destroying the temple of the God of Israel.  A message would be sent throughout the world telling people the god of Assyria is greater than the God of Israel.  Since the relief depicts Lachish instead of Jerusalem it is obvious Sennacherib did not destroy Jerusalem.  The biblical account is accurate; Lachish was destroyed not Jerusalem.  In additional support to my first point, Sennacherib is boasting to other kings about destroying the second most influential city in Judah.
3. The destruction of Lachish is the most widely documented event from the Old Testament.  The story is explained in four independent sources from the same era: 1) In the Bible; 2) In Assyrian cuneiform prisms (another discovery shown in picture at left) accounting the same events, 3) In archaeological excavations at the site of Lachish; and 4) In the monumental reliefs discovered in Nineveh.
4. The discovery supports the construction of another archaeological marvel: Hezekiah’s Tunnel.  Sennacherib’s army thought they had cut off all sources of water to Jerusalem.  It would be a matter of a couple weeks until the people fled Jerusalem in need of water.  The joke was on them.  Hezekiah, without modern tools, had constructed a tunnel inside Jerusalem through 1750 feet of solid rock in order to reach an underground water supply.  The tunnel wasn’t discovered in modern times until 1837.  I have had the amazing privilege, with water up to my knees, of walking through all 1750 feet of the tunnel constructed to survive Sennacherib’s siege.

The Assyrian Lachish Relief is the 8^th century BC’s equivalent of finding an HD video taken during a war that occurred during the Old Testament.  The HD video completely supports the biblical account making this one of the ten most significant biblical discoveries in archaeology of all time.

As we continue down our Top Ten list the significance of our discoveries only grow.  What do you think of the Assyrian Lachish reliefs?  Feel free to join the conversation by commenting on this discovery.

Aubrey Beardsley was on the cover of Sgt. Pepper’s Lonely Hearts Club Band so the featured artist today is Aubrey Beardsley:

 

Aubrey Beardsley Part 1

Edgar Allan Poe 

Aubrey Beardsley

From Wikipedia, the free encyclopedia

Aubrey Beardsley
Portrait of Beardsley by Frederick Hollyer, 1893
Born	Aubrey Vincent Beardsley 21 August 1872 Brighton, England
Died	16 March 1898 (aged 25) Menton, France
Nationality	English
Education	Westminster School of Art
Known for	Illustration
Movement	Art Nouveau, Aestheticism

Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley’s contribution to the development of the Art Nouveau andposter styles was significant, despite the brevity of his career before his early death from tuberculosis.

Early life, education and early career[edit]

Aubrey Beardsley, c. 1895

Beardsley was born in Brighton, England, on 21 August 1872, and christened on 24 October 1872.^[1] His father, Vincent Paul Beardsley (1839–1909), was the son of a tradesman; Vincent had no trade himself, however, and instead relied on a private income from an inheritance that he received from his maternal grandfather when he was twenty-one years of age.^[2] Vincent’s wife, Ellen Agnus Pitt (1846–1932), was the daughter of Surgeon-Major William Pitt of the Indian Army. The Pitts were a well-established and respected family in Brighton, and Beardsley’s mother married a man of lesser social status than might have been expected. Soon after their wedding, Vincent was obliged to sell some of his property in order to settle a claim for his “breach of promise” from another woman who claimed that he had promised to marry her.^[3] At the time of his birth, Beardsley’s family, which included his sister Mabel who was one year older, were living in Ellen’s familial home at 12 Buckingham Road. The number of the house in Buckingham Road was 12, but the numbers were changed years ago, and it is now 31.^[4]

Aubrey Beardsley by Jacques-Émile Blanche.

In 1883 his family settled in London, and in the following year he appeared in public as an “infant musical phenomenon”, playing at several concerts with his sister.^[5] In January 1885 he began to attend Brighton, Hove and Sussex Grammar School, where he would spend the next four years. His first poems, drawings and cartoons appeared in print in “Past and Present”, the school’s magazine. In 1888 he obtained a post in an architect‘s office, and afterwards one in the Guardian Life and Fire Insurance Company. In 1891, under the advice ofSir Edward Burne-Jones and Pierre Puvis de Chavannes, he took up art as a profession. In 1892 he attended the classes at the Westminster School of Art, then under Professor Fred Brown.^[6][5]

Work[edit]

The Peacock Skirt, 1893

In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley’s first commission was Le Morte d’Arthur by Thomas Malory (1893), which he illustrated for the publishing house J. M. Dent and Company.^[7]

His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d’Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.^[8] He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all.

Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes‘ Lysistrata, and his drawings for Oscar Wilde‘s play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).^[7]

He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory‘s Le Morte d’Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. As a cofounder of The Savoy, Beardsley was able to pursue his writing as well as illustration, and a number of his writings, including Under the Hill (a story based on the Tannhäuser legend) and “The Ballad of a Barber” appeared in the magazine.^[9]

The Dancers Reward, Salomé: a tragedy in one act

Beardsley was a caricaturist and did some political cartoons, mirroring Wilde’s irreverent wit in art. Beardsley’s work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists such as Pape and Clarke.

Beardsley was a public as well as private eccentric. He said, “I have one aim—the grotesque. If I am not grotesque I am nothing.” Wilde said he had “a face like a silver hatchet, and grass green hair.” Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher’s in a morning coat and patent leatherpumps.

Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual. Speculation about his sexuality include rumours of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.^[10][11] During his entire career, Beardsley had recurrent attacks of the disease that would end it. He suffered frequent lung hemorrhages and was often unable to work or leave his home.

Beardsley converted to Roman Catholicism in March 1897, and subsequently begged his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings… by all that is holy all obscene drawings.” Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley’s work.^[8]

“Isolde”, illustration in Panmagazine

Death[edit]

In 1897 deteriorating health prompted his move to the French Riviera, where he died a year later on 16 March 1898 at the Cosmopolitan Hotel in Menton, France, attended by his mother and sister. He was 25 years of age and the cause of death was tuberculosis. Following a Requiem Mass in Menton Cathedral the following day, his remains were interred in the adjacent cemetery.^[12][13]

Media portrayals[edit]

In the BBC 1982 Playhouse drama Aubrey, written by John Selwyn Gilbert, Beardsley was portrayed by actor John Dicks. The drama concerned Beardsley’s life from the time of Oscar Wilde’s arrest in April 1895, which resulted in Beardsley losing his position at The Yellow Book, to his death from tuberculosis in 1898.^[14]

Categories:

• 1872 births
• 1898 deaths
• People educated at Bristol Grammar School
• Deaths from tuberculosis
• English illustrators
• English expatriates in France
• Art Nouveau illustrators
• People from Brighton
• Converts to Roman Catholicism from Anglicanism
• English Roman Catholics
• British erotic artists
• Infectious disease deaths in France
• People educated at Brighton, Hove and Sussex Grammar School

 

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E P I S O D E 1 0   Dr. Francis Schaeffer – Episode X – Final Choices 27 min FINAL CHOICES I. Authoritarianism the Only Humanistic Social Option One man or an elite giving authoritative arbitrary absolutes. A. Society is sole absolute in absence of other absolutes. B. But society has to be […]

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E P I S O D E 8 Dr. Francis Schaeffer – Episode VIII – The Age of Fragmentation 27 min I saw this film series in 1979 and it had a major impact on me. T h e Age of FRAGMENTATION I. Art As a Vehicle Of Modern Thought A. Impressionism (Monet, Renoir, Pissarro, Sisley, […]

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E P I S O D E 6 How Should We Then Live 6#1 Uploaded by NoMirrorHDDHrorriMoN on Oct 3, 2011 How Should We Then Live? Episode 6 of 12 ________ I am sharing with you a film series that I saw in 1979. In this film Francis Schaeffer asserted that was a shift in […]

E P I S O D E 5 How Should We Then Live? Episode 5: The Revolutionary Age I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Francis Schaeffer noted, “Reformation Did Not Bring Perfection. But gradually on basis of biblical teaching there […]

Dr. Francis Schaeffer – Episode IV – The Reformation 27 min I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer makes three key points concerning the Reformation: “1. Erasmian Christian humanism rejected by Farel. 2. Bible gives needed answers not only as to […]

Francis Schaeffer’s “How should we then live?” Video and outline of episode 3 “The Renaissance” Francis Schaeffer: “How Should We Then Live?” (Episode 3) THE RENAISSANCE I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer really shows why we have so […]

  Francis Schaeffer: “How Should We Then Live?” (Episode 2) THE MIDDLE AGES I was impacted by this film series by Francis Schaeffer back in the 1970′s and I wanted to share it with you. Schaeffer points out that during this time period unfortunately we have the “Church’s deviation from early church’s teaching in regard […]