I Met the Walrus: How One Day with John Lennon Changed My by Jerry Levitan

By Jerry Levitan

Think you're the world's greatest Beatles fan and you've simply snuck into John Lennon's lodge room. yet rather than being thrown out, inexplicably you're invited to spend the day along with your idol. That's precisely what occurred to fourteen-year-old Jerry Levitan in 1969. After listening to John used to be in Toronto for a "bed in," Jerry tracked him down on the King Edward inn and confident the world's largest rock famous person to take a seat for an specific forty-minute interview. John talked candidly approximately battle, politics, the scandalous Two Virgins album, and the intended subliminal messages in his tune.
Now, 40 years later, it's all right here: Jerry's once-in-a-lifetime event, illustrated by way of acclaimed artist James Braithwaite and that includes by no means prior to noticeable pictures of John and Yoko. additionally incorporated within the publication is Jerry's memorabilia from that day--notes from John and Yoko, the key code to touch him, drawings, John's doodles, and masses extra. entire with an audio and video DVD of the interview that encouraged the Academy Award-nominated movie of an identical identify, I Met the Walrus is an immortalized one-on-one second with John--a must-have for Lennon fanatics all over the world, in addition to someone who has ever dreamed of assembly a hero.

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I Met the Walrus: How One Day with John Lennon Changed My Life Forever

Think you're the world's greatest Beatles fan and you've simply snuck into John Lennon's resort room. yet rather than being thrown out, inexplicably you're invited to spend the day along with your idol. That's precisely what occurred to fourteen-year-old Jerry Levitan in 1969. After listening to John used to be in Toronto for a "bed in," Jerry tracked him down on the King Edward inn and confident the world's largest rock megastar to sit for an unique forty-minute interview.

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So too are films like Silverado (1985), Chinatown (1974), Scarface (1983) and Back to the Future III (1990), films which pastiche, rework or in other ways foreground particular generic traditions, norms and conventions. Altman, following Schatz (1981:16–18), goes on to propose two different terms, ‘film genre’ and ‘genre film,’ in order to mark this particular distinction: By definition, all films belong to some genre(s)…but only certain films are self-consciously produced and consumed according to (or against) a specific generic model.

Warshow [1948] 1975a:129–30) Within the realms of cinema, numerous movements or trends in art cinema and in avant-garde film-making are or become as predictable (and as typically pleasurable) as any Hollywood western. However, and conversely, there is a difference between academic or programmatic aesthetic formulae and formulae which arise as a result of commercial conditions. And there is a difference between films which are designed to conform, however broadly, to pre-existing categories, expectations and models, and those, like Un Chien Andalou, which are not.

One is that adults who find themselves viewing examples of these genres have often to disown their enjoyment by maintaining that such genres—and such pleasures—are not really for them, but for children, teenagers, others less ‘responsible’ (less ‘adult’) than they are themselves (Bergala 1978). Another is that films which are modelled on these genres often take account of disavowals of this kind by overtly addressing 32 GENRE: DEFINITIONS AND CONCEPTS the topics of adulthood and responsibility, childhood and the infantile, and credulity, fantasy and belief.

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