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Tuesday, Apr 21, 2015
With the birth of home video, filmmakers have been able to tinker with their vision. Here are ten examples, however, of where their original endings were changed before said movies were released.

It is the rare film that comes out fully formed. One vision, manipulated by one person, is so unusual that many of the most famous movies are considered collaborations before anything else. Actors want to add and/or modify their roles. Suits who provided the necessary greenlight (and funds) want their notes and suggestions. Members of the various crafts—art design, costumers, F/X artists—all hope for a chance to offer up their creative choices, and then the entire package is collected, collated, edited, and focus grouped, allowing even those without a single clue about the art form to determine what stays and what goes. Someone like David Lynch may have “final cut” over his efforts, but more times than not, a movie is not a finished product until it opens at your local Cineplex.


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Tuesday, Apr 21, 2015
Knoxville, Tennessee country legend Con Hunley, collaborated with roots rock regional favorites, Mic Harrison and the High Score, on a special 7" for charity with Waynestock.

Mic Harrison and the High Score started as the merging of a backing band for Harrison’s solo work, but has become a band in itself over the years. After John Paul Keith moved on from the regionally beloved band the V-Roys to pursue his solo career, Harrison stepped in and joined the band for their run of albums on Steve Earle’s former label and cemented themselves in Southeastern roots rock clubs. (Former V-Roys member Scott Miller is also an alumnus of Country Fried Rock.)


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Monday, Apr 20, 2015
The billowy vocal harmonies and psychedelic visuals of Django Django's "Beginning to Fade" is an ideal aural and visual complement to 4/20, this highest of holidays.

With it being 4/20, many people truly are “Beginning to Fade”—if they aren’t already there yet. For those who haven’t done so yet, the music and visuals of this latest number by the South London rock outfit Django Django will prove a psychedelic and lovely detour on what for many people will be just an ordinary Monday interrupted by stoned people marauding through the streets.


“Beginning to Fade” is a track from Django Django’s forthcoming LP, Born Under the Sun.


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Monday, Apr 20, 2015
by Steve Leftridge and Steve Pick
Double Take looks at the men, the machine, the Moloch, the maiden, the master, and Metropolis as we attempt to find the intermediary heart between the Expressionism and politics.

With all its cinematic action, expressionistic designs, and thematic muddle, Metropolis is one of the easiest silent films to sell to contemporary audiences.


Steve Leftridge: Into the depths we go, brother. Oh, that Freder, with his lush hair and winged pantaloons and excruciatingly slow reaction times. Metropolis is rife with a few laughs it never intended to get, but when you compare it to the films of the same period—Chaplin’s The Kid, for instance, which we recently looked at for Double Take—it’s clear that Fritz Lang was working on a whole ‘nother level. Metropolis is remarkably ambitious in scope and design, and it covers timeless and sometimes scarily prescient themes and social concerns.


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Monday, Apr 20, 2015
Adam Schatz (of Landlady and Father Figures fame) takes on a tune by experimental saxophonist Jonah Parzen-Johnson in this mind-warping remix.

In the press materials for Jonah Parzen-Johnson’s forthcoming full-length, Remember When Things Were Better Tomorrow, the baritone saxophonist’s music is described as “lo-fi experimental folk music for solo baritone saxophone and analog synthesizer.” If that description makes anything clear, it’s that Parzen-Johnson doesn’t care much for musical labels, preferring instead to carve out unique sonic spaces that can only be described in oddball terms like the aforementioned genre word salad. Case in point: a new remix of his tune “If You Can’t Sleep, Just Shut Your Eyes”, made by Landlady and Father Figures band member Adam Schatz. Like Parzen-Johnson, Schatz has an acute ear for how to warp sounds; on this remix, he completely defamiliarizes the sound of the instruments, to the point that it’s difficult to say which sounds are coming from where when it’s all said and done. Such sonic experimentation is what makes composers like these two gentlemen exciting as musicians. There’s good reason to keep your ears ready for the June release of Remember When Things Were Better Tomorrow.


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