During 1890s, John Lane published his quarterly periodical, The Yellow Book, which featured avant-garde material such as texts, stories, poems, art, and advertisements from an assorted mix of obscure and well-known authors and artists. One of its notable qualities was its aesthetic maintained with its font choices, bindings, layouts, and illustrations (Claes and Demoor 134). These design choices were inspired by French fads (136) and chosen to prevent the magazine from being ephemeral. Periodicals were thought to be discarded on a whim but the intent of The Yellow Book was to be preserved for a long period of time. Despite dabbling in avant-garde subject matter, The Yellow Book was aimed at a large audience (136). The main goal was not to be popular, but rather be popular in a new and better way. It was not going to adhere to what people wanted to see; it's goal was to make the general public's taste more refined by bringing avant-garde content to the masses (Denisoff 136).

          Lane used controversy to garner attention from potential readers (143) which resulted in questionable content because it featured subject matters that appealed to lower classes such as music halls and operas for upper classes. An example of the former is Walter Sickert's painting “The Lion Comique”, a portrayal of a music hall scene from Vol. 3 of The Yellow Book, and one for the latter is Charles Willbey's text “The Composer of 'Carmen'”, a biography for the late French composer Georges Bizet from Vol. 2 of The Yellow Book. The question though becomes why Lane has permitted two stark contrasts in subject matters into The Yellow Book. A common tie between the image and text besides their music-related subject are that they are both controversial within the Victorian audience. Music halls were considered lower class entertainment so it is unpopular and loathed by the upper and middle class (ie. The Yellow Book audience). The opera Carmen was initially poorly received because of its complexity that made it difficult to understand. Possible reasons why Lane has situated this image and text is because of the blurring of social classes during the 1890s; the idea that music halls are made up of complex relationships which have artistic and literary value; and Lane's desire to stir controversy to gain attention.

          An important idea to understand is who the audience of The Yellow Book. Periodicals could have been purchased at almost any store (148), but it does not reveal the reading demographic. Lane may have intended for broad appeal, but it does not account for who the reading audience is and who could afford it. The lower classes rejected reading because it required mental stimulation and they preferred sheer and easily digested entertainment (148). On the other hand, the middle and upper class purchased periodicals, newspapers, and other reading formats because they can afford it and were sophisticated enough to be stimulated by it. They were The Yellow Book's main audience so logically, Lane would pander to their tastes.

          The text “The Composer of 'Carmen'” was praised by reviewer Pierre La Rose stating that it was almost good enough for the reader to agree with him. He notes the clever use of “Poor Bizet” because of its positive connotation which would otherwise be negative if applied to any other composer. He may have said Daubet did it better in six words, but he still considers it a noteworthy contribution to The Yellow Book (La Rose 161-165.). Lane's decision to include “The Composer of 'Carmen'” is sensible because it caters to the upper class taste and the Victorian aesthetic because it is about a foreign and well-known composer. This contrasts with the review of Sickert's painting “The Lion Comique”, a painting of a lion comique (parodies of upper class men whom sang songs of womanizing and drinking) in a music hall (Kift 49), which was accused of appealing to people who “earn a few shillings” (ie lower class) and looking like an incomplete sketch. The anonymous reviewer was upset because they did not feel it was appropriate for The Yellow Book to contain “low class” subject matter (Anonymous 23). This reveals that the middle and upper class are Lane's main audience because music halls were looked down upon by the upper and middle class. They are also the reading demographic and could afford The Yellow Book.

          The Victorian Era, beginning from 1837 to 1901, celebrated music as an art form and as entertainment. However, Britain never produced a composer noteworthy enough to reach Mozart or Beethoven talent or fame (Solie 101). Though Britain leaned towards the art side (paintings, drawings, etc.), they were concerned of their lack of musical talent being produced, according to Frederick Crowest (101-102), . This is more of a shock because London was a center that attracted international musicians and composers and made frequent returns. Additionally, the Victorian aesthetic welcomed new musicians because of Britain's fondness for foreign composers and they encouraged the youth to participate and learn how to play and compose music (102). Music was being spent as both leisure and public space (109). Despite music not being Britain's strongest points, music was an essential aspect to the Victorian aesthetic. It was frequently one of Britain's main interests as entertainment through its integration in education, music festivals, and demand for more music sheets, teachers, and pianos (105-106). They may have not been able to produce an 'English Beethoven' but it does not prevent Victorians from appreciating it for all its qualities.

          There was a clear divide between what was considered appropriate in between higher, middle, and lower classes. There were distinct institutions that separated the audience by their economic status: music halls and operas. Music halls were places for variety entertainment ranging from singing popular tunes and theatrical performances (Duvall 181). It was also a place for drinking low-priced alcohol with other citizens within the community (Kennedy). It has garnered the reputation of appealing to only the lower classes and as a place for moral degradation and detrimental to the working class (Duvall 181). On the other hand, operas were for middle class to upper class entertainment (Solie 110). Operas appealed to middle and upper class citizens because of their sophisticated and complex connotations.

          Charles Willeby was an author who wrote about the careers and works of composers of their work by the public. His contribution to The Yellow Book was “The Composer of 'Carmen'”, a biography of Georges Bizet. This text is a posthumous appreciation because he was unfortunately overlooked during his career. It discusses childhood, background in music, their career path, and the reception of his compositions. His most notable contribution was “Carmen” which was too complex and demanding for the audience which resulted in an outrage despite running through forty-eight performances. “Carmen” was praised for its strong characterization, tense drama, rich literature, and opening a new genre of realistic opera. The text's placement in The Yellow Book can be understood as shedding light on an overlooked composer because of the avant-garde qualities of his work. Since “Carmen” was revolutionary for its time, a text about the composer would interest the upper and middle class because they were the ones watching operas and suit The Yellow Book because it was avant-garde. It can also be assumed Lane used the text for controversy because of its initial reception. The title does not say 'Georges Bizet' but instead uses “The Composer of 'Carmen'” to draw in the readers through “Carmen” because of its popularity and infamy. Knowing that Lane wanted to change what was popular, it can be concluded that the inclusion of this text was to convince the audience to reevaluate their opinions of “Carmen”. The text was used to incite controversy to make light of a neglected and artistic composer in a positive manner for the avant-garde value.

          One of Sickert's interests in painting were the strange angles of music halls (Hopkins). His painting “The Lion Comique” features a lion comique paused in action whilst two violinists appear in the foreground. According to William Rough's analysis of Sickert's “Little Dot Hetherington”, Sickert was interested in the duality and artificiality of music halls. In this painting, he explores the relationship between the singer and the audience and notes the implied mirrors for duality. Since “The Lion Comique” was situated in a music hall, it can be assumed that Sickert intended to analyze the duality of the lion comique and the musicians. The irony of the painting is that upper class men were expected to be sophisticated which contrasts with the seriousness of the musicians because they are not a parody of anything. He might be criticizing the artificiality of upper class men through the lion comique because they are portrayed as womanizing and drinking-obsessed figures as opposed to their assumed cultured attitude. Sickert may be noting the performance versus reality concept through these contrasts of seriousness and parodies to blur the line between the two. The most important aspect is that Sickert introduces an artistic and avant-garde angle to music halls. They were also popular literary analysis by authors such as T. S. Eliot and G. H. Mair (Duvall 181); one being the social awkwardness of musicians whom were praised, but were unsure of what economic class they belonged in. The Yellow Book was intended to bring avant-garde to the masses and music halls were not seen as such, proving their artistic and literary value.

          The line between upper class and lower class began to blur during the 1890s. Music halls rose in professionalism, acquiring more competent critics, actors, singers, and adopting better production techniques (Duvall 181). The content of music halls vastly improved too; operas scenes and songs were taken word-for-word and/or parodied because the lower classes were unable to afford seats at an opera. Parody or not, the music hall audience enjoyed these interpretations of opera scenes. These parodies also generated buzz for the operas (Solie 110). Even though the main audience of music halls were lower class, upper and middle classes were also entertained (110). The blurring of social classes within music hall entertainment and operas caused legislation to regulate the parodies so there would a clear division between the two institutions by stating operas were for cultured, dramatic feeling whilst music halls were solely for drinking. However, this did not affect the atmosphere of the music halls or the songs; lower classes still indulged in opera whether it be in the form of parodies, or as isolated scenes and songs (110).

          While Sickert and Willeby's contribution to The Yellow Book contradicted, it is representative of the class division in music during the 1890s and Lane's desire to change it. “The Lion Comique” and “The Composer of 'Carmen'” may differ in their subject matter and setting, but they were both controversial because the audience did not understand their artistic value. The former introduced the avant-garde angle of music halls by exploring the duality of the lion comique and the musicians. The latter encouraged the reader to reevaluate their opinion on the opera “Carmen” because it was poorly received initially despite its inventive qualities through the music and narrative. Lane blurs the class division between music halls and operas with the placement of the image and text by putting them as having equal artistic value. The Yellow Book may have caused controversy to gain attention, but it is possible that there is an underlying motive of changing the mentality of popular culture. The controversy was not there for the sake of it, but rather exists so the audience can reevaluate their thoughts on music halls and “Carmen” and to change popular culture as Lane originally intended.