New York based rock / alternative metal band ANOTHER DAY’S ARMOR has released the official music video for their single, “Death Investing.” Originally premiered on BVTV Music, “Death Investing” was filmed by Alex Kouvatsos at Blackwolf Imaging.
Another Day’s Armor is a Rock / Alternative Metal band from New York. Combining the huge, mainstream sound of arena rock with borderline metal instrumental work, the band started to create a buzz for themselves with debut singles “Reflections” and “Simple As Sin.” Coming off the momentum of the previous two singles, the band has been working on their debut EP which is set to release mid summer 2018.
“Another Day’s Armor is ready to prove that rock n’ roll belongs at the top of the billboard charts.” – Another Day’s Armor
Coming up in a time where very few bands put any emphasis into their image and persona, ADA pride themselves on standing out from the crowd both visually, and musically. With an image reminiscent of a time where rock was on top of the music world, Another Day’s Armor refuses to be just another “faceless” band, wanting their fans to feel connected to every member: Logan Manganelli – Vocals, Nick Palma – Lead Guitar, Ryan Bicknell – Rhythm Guitar, Joe Grunski – Bass, and Alec Keshishian – Drums.
Another Day’s Armor aren’t just a band, they are a movement for the future of rock.
PHOENIX – Dorothy took the stage at the Crescent Ballroom last Sunday night, infusing the summer air with earthy incense and the vibes of psychedelic hard rock. The band, originally from Los Angeles, is currently on their “Freedom Tour 2018,” promoting their second album, 28 Days in the Valley. Dorothy is named after front woman and vocal powerhouse Dorothy Martin. Her vocal style can be compared closest to Grace Slick, but her energetic stage presence can be compared to Janis Joplin.
When Dorothy took the stage, all that could be seen was their faintly lit silhouettes. In the dark, with her back to the audience, Martin lit a huge incense stick to fill the ballroom with its sweet aroma. She held on to it, waiving the incense over the stage as the flame grew and the band started the intro to the song “White Butterfly.” The band was then illuminated by the stage lights.
Martin was decked out in black lace bell bottoms and a burgundy, burnout velvet, kimono jacket; she had a mat placed at the base of her microphone to protect her feet as she performed barefoot. Fans that pointed at the stage kept the band cool, and blew Martin’s hair away from her face, adding to her carefree appearance.
As the band smoothly transitioned into their second song, “Naked Eye,” Martin picked up her tambourine. She played while the incense and fog machines worked overtime, pouring a thick haze around the band, and transporting the audience to what felt like Dorothy’s basement jam session in the 1970s.
During “Ain’t Our Time to Die,” the quiet cymbals mixed with Martin’s vibrato really mirrored Janis Joplin’s vocal style as she exclaimed, “You’ve got to believe baby, it ain’t our time to die!”
Dorothy performed many tracks off their first album, ROCKISDEAD; such as “Raise Hell,” “Down To The Bottom,” and rock anthem “Wicked Ones.” In the middle of performing “Wicked Ones,” Martin left the stage, and guitarists Nick Perri and Leroy Wulfmeier rocked out, taking the audience on an auditory journey down the rabbit hole as the stage lights flashed pink, purple, and blue.
When they played their tenth song of the night, “Who Do You Love?”, Martin dropped to her knees and reached her arms to the ceiling while bellowing the song’s lyrics, “Hey I’m your reason for lying! Hey, I’m your reason for dying! Hey, I’m your reason to live! Who do you love when your love’s a-run dry?”
Dorothy filled their 90-minute set with soulful vocals, gritty guitar playing, and all original songs off both of their full albums. Martin’s easy-going and genuine personality was apparent as she spoke to the crowd like friends. She jokingly said that if she wasn’t out performing, she’d just be at home with her cat watching X-files. At the end of the show she hugged her mic stand while smiling into the crowd, almost as if she were trying to metaphorically hug the audience for showing her band love.
For Dorothy’s final song, everyone left the stage, aside from Martin and Wulfmeier. Wulfmeier, in his Homburg hat and perfect mustache, sidled up to Martin and they performed an acoustic rendition of the love song, “Shelter.” Martin finalized the night by yelling to the crowd, “Go make love to your wife!”
Opening Act: Charming Liars
Charming Liars, a London-based band that relocated to Los Angeles in 2013, opened the set for Dorothy. This is their fifth time performing in Arizona, according to guitarist Karnig Manoukian.
Charming Liars’ set was filled with punchy, punctuated drums and dreamy guitar chords, which was pronounced in “Insomnia,” “Outta My Head,” and “Closer.” Their style leans toward very danceable, club-like rock songs. Vocalist Kiliyan Maguire has strong vocals and the ability to produce an amazing falsetto. His passion and energy got the crowd excited, especially when they played new material such as the song “Time to Start,” which was only the fourth time it has been performed by them, according to Maguire. The Charming Liars website states that the band had been endorsed by Sir Elton John when he featured their songs on his Apple Music “Rocket Hour” radio show.
The phenomenal performances of both bands at Crescent Ballroom that night showcased their original music, thought provoking lyrics, and solidified their potential to rise up to the top. And, if there was one message conveyed through the music that evening, a message we can apply to everyday living, it must be; love fiercely, but take no shit.
Catch both bands on the “Freedom Tour 2018” until August 26.
PHOENIX — Burning Hot Events brought back our horribly delightful photo booth to the 2nd annual SINister: A Sexy Fetish Party (21 +) at Joe’s Grotto, featuring two stages of entertainment including live bands, sideshow, burlesque & more. As always, the rambunctious crowd from the goth & fetish community were eager to pose for the camera!
To purchase your photos, contact us and we will get back to you promptly. Photos are available as full resolution downloads and prints!
PHOENIX – Popular local PHX band Jane N’ The Jungle is expanding their repertoire to film soundtracks, covering Aloe Blacc’s “The Man” as the title track for the contentious local indie flick, SHE, that has been stirring debate here in the Valley. The song was selected by the film’s director and frequent JNTJ collaborator, Will Goldstein.
“The original song is sung by a man, with male-dominated lyrics. When we perform it, the song takes on an opposing point of view,” says Jordan White, the band’s front-woman.
At a time when sexism has been a featured topic during the #metoo movement, the irony of a woman performing such a male-centric song is intended to spark discussion about a male-dominated culture that undermines female power. The raw, stripped down performance by Jane N’ The Jungle, has a haunting grit that embodies the controversial film.
Jane N’ the Jungle is Supporting Lighthouse for their EP Release Show on Wednesday, August 1, 2018
Lighthouse, another alt rock band from Arizona with a frontwoman, is celebrating their “Things I Didn’t Say” EP release with a show opened by Jane N’ The Jungle, WHSTLE, and Headstrum.
Los Angeles, CA – Hollywood Undead’s new single, “Gotta Let Go,” now has an impressive video to accompany it. The offering showcases a raw, authentic performance from the quintet and follows the main character during the final moments of his life, including a surreal encounter in outer space where he learns to finally let go of the past. Watch it HERE.
“We wanted the ‘Gotta Let Go’ video to be a visceral experience about letting go of something we all have to part with in the end,” says Johnny 3 Tears (vocals, bass guitar). “Our mortality is what gives life its defining purpose. It’s our greatest gift and our greatest cross to bear. We wanted to capture that delicate legacy in our own way, and this video was our interpretation of life…and its inevitable ending.”
“Gotta Let Go” marks a shift in Hollywood Undead’s sound, highlighting a more melodic and upbeat side of the band. The track is available to stream and purchase HERE. More new music is also on the way – “Gotta Let Go” is the first of a batch of new songs to be released over the coming months.
2018 has been a massive year for Hollywood Undead. The band recently clocked 1.1 billion total U.S. streams across their catalog, as well as garnering 1.7 million total Shazams, 57 million total global streams of their latest album, FIVE, and 30 million views on all six music videos from the record. Their music has also landed on a number of impressive playlists: Spotify’s ‘New Music Friday and ‘New Noise,’ and Apple Music’s ‘The A List Rock.’ The five-piece have also accumulated 5.5 million total Pandora artist station adds and 2.7 million total Pandora radio spins on their latest album.
After wrapping their headline tour across Europe, Hollywood Undead will head back to North America for a short run of dates across the northeastern U.S. and Canada. The band will play headliners in Hampton Beach, NH and Poughkeepsie, NY, followed by slots at Bangor, ME’s Impact Music Festival and Montréal, QC’s Heavy Festival. The guys will also perform at the legendary Reading & Leeds Festivals in August.
All upcoming shows are listed below, and tickets can be purchased HERE.
Hollywood Undead Tour Dates:
6/27 – Bucharest, Romania @ Arenele Romane #
6/29 – Sopron, Hungary @ Volt Festival
6/30 – Panensky Tynec, Czech Republic @ Aerodrome Festival
Dropkick Murphys and Flogging Molly–two giants of American punk rock that share a working class ethos, an Irish heritage and Celtic folk influence–just wrapped the initial leg of their first-ever co-headlining tour, celebrating over 20 years of mayhem, and are preparing to return to the road in September for more shows together. The second leg of dates kicks off September 17 in Edmonton, Alberta, Canada and winds across the West, wrapping on September 29 in Mesa, Arizona.
The initial run of North American shows for Dropkick Murphys and Flogging Molly culminated with the groups’ June 23 concert combined with a Murphys Boxing event in Gilford, New Hampshire, with the main event featuring Murphys’ fighter Mark “Bazooka” DeLuca (21-0) and Walter “Two Guns” Wright (16-4).
Ken Casey, Dropkick Murphys’ vocalist / bassist / founder explains, “It’s been one hell of a party. Great to hang with our old friends Flogging Molly on and off the stage and it’s been great to see so many smiling faces in the audience each night. It’s something the two bands and the fans have wanted for a long time. We are so excited for the next leg of the tour out West!!!!!”
Dropkick Murphys Photography: Gregory Nolan
Flogging Molly’s Dave King vocalist / founder says, “What a tour this has been…It took many years, but worth the wait, not just for the bands, but the fans as well. If there’s an Irish punk rock heaven, then this is it! Touring with the Dropkick Murphys has been a highlight of our touring lives, what a great band, and a great bunch of lads, can’t wait to bring this celebration to the West Coast! So, get ready and grab your partner because we’re all just dancers on the ‘Devils Dance Floor’!”
Flogging Molly Photography: Richie Smyth
Flogging Molly and Dropkick Murphys received widespread praise from fans and the media during this historic run of shows.
Brooklyn Vegan called the tour, “…one hell of a double bill of Celtic punk… [June 17, 2018].”
Elsewhere, Omaha World-Herald called the two bands “…collectively the pinnacle of a genre that mixes up punk rock and Irish folk, raging guitars and tin whistle, head-banging beats and bagpipes [June 11, 2018].”
Los Angeles, CA – Today, The Faim have partnered with Billboard to premiere the official video for “Summer Is A Curse,” the third single from their forthcoming debut album. Watch it exclusively HERE.
The highly-anticipated new video follows frontman Josh Raven and his love interest on the run from the law, eventually escaping before it all goes up in flames. It also showcases the band delivering a stellar live performance with the Welsh countryside as a fitting backdrop.
The song was co-written with Ashton Irwin of 5 Seconds of Summer, and according to Josh, “ ‘Summer is a Curse’ is a reflection of our journey as a band. Being placed out of Australia and in LA for the first time as a band, we got thrown into this whole new world of exciting experiences and pressures. As frightening as it was, and no matter our feelings at home, it became this tunnel vision of realizing that we had this chance to make our dreams a reality. Our music video reflecting that exact same feeling of freedom was so important for us.”
Fans can stream and purchase “Summer Is A Curse” HERE.
Confirmed to Support Sum 41 and Waterparks on Tour This Summer
Although the Aussie four-piece only started touring a few months ago, they recently played their 50th show at the legendary Download Festival in the U.K. Following tours with Lower Than Atlantis, Sleeping With Sirens, PVMNTS, The Dangerous Summer, and PVRIS, The Faim will support Sum 41 and Waterparks in August for a run of dates across Germany, the Netherlands, and Switzerland. The four-piece will also return to the U.K. in August to play the esteemed Reading & Leeds festivals. Tickets to all shows are available HERE.
The Faim Tour Dates:
June 23rd – Perth, AUS @ Amplifier Bar %
June 24th – East Victoria Park, AUS @ Vision Studios %
August 21st – Wurzburg, Germany @ Posthalle # ^
August 22nd – Leipzig, Germany @ Parkbuhne # ^
August 24th – Reading, UK @ Reading Festival (Lock Up Stage)
August 25th – Leeds, UK @ Leeds Festival (Lock Up Stage)
August 27th – Amsterdam, NL @ Melkweg OZ ^
August 28th – Oberhausen, Germany @ Turbinenhalle # ^
August 29th – Zurich, Switzerland @ Dynamo Werk 21 ^
Scottsdale, Ariz. – The all-female band Vixen brought 80s glam-rock back to BLK Live in Scottsdale, AZ on June 16, 2018. The band, according to the Vixen website, is the only all-female 80s band to reach platinum status and have six #1 videos on MTV. Vixen, which disbanded in the early 90s, reunited in 2014 with three of the original members, and has been performing since.
Vixen performed a selection of hits from their first self-titled album Vixen, released in 1988; their Rev It Up album, released in 1990; and a few covers from other rock legends such as The Beatles, Deep Purple and Humble Pie. Vixen’s lead vocalist, Janet Gardner, gave a strong, high energy performance, opening the show with “Rev It Up” from the band’s 1990 album Rev It Up. During the second song, “How Much Love,” newcomer and lead guitarist, Britt Lightning, shredded an incredible guitar solo. Lightning joined Vixen in 2017, replacing Gina Stile.
Throughout the show, Gardner had amazing stage presence and worked the crowd. She shouted from the stage, “Scottsdale, let’s get a lil’ rowdy!” before she performed “One Night Alone.” Then, as she performed the song “Cryin’”, she came down from the stage and walked through the crowd, high-fiving and greeting fans.
When back on stage, she proposed a contest for a free Vixen t-shirt for the first person to jump into BLK Live’s swimming pool. There were a few people sitting on the edge with their feet in the water, but they weren’t fast enough. A single guy at the front of the stage jumped right in fully clothed, holding his beer above his head. Gardner was a bit disappointed her contest didn’t start a pool party frenzy, but she wasn’t going to let that hold her back. As she started into their fifth song “Cruisin’,” Gardner executed a perfect high-kick into the air.
Drummer Roxy Petrucci kept a beat going as they transitioned from one song to the next, keeping the crowd pumped. Her facial expressions complimented the lyrics for each song, as she twirled her drumsticks on the off-beat. She was at the back of the stage, but she did not fade into the background. During the song, “Love Is A Killer,” Petrucci stood up and performed a perfectly executed chime segment on the symbols for the melancholy rock ballad.
There was one song the crowd waited with anticipation to hear, and it was well worth the wait. After they performed a 90-minute set, the ladies left the stage before returning for their encore number, “Edge of a Broken Heart.” This song was written by Richard Marx and Fee Waybill, and was one of two songs to make it into the Top 40 for Vixen in 1988. To make this hit, and the other songs played, sound true to their original tracks, Vixen had Tyson Leslie, the only male on stage, performing on the keyboard.
When Vixen finished their last number, the crowd was wild with excitement. From the set performed by Vixen, to the opening act, the crowd got what they came for; a night filled with 80s rock and strong female vocals.
Dierdre
Arizona local band Dierdre, fronted by female rocker Dierdre Evans, opened the show with a stellar night of rock n’ roll; performing original songs off their album I’ve Come to Lifeand two cover songs – “Black Dog” by Led Zepplin, and “Down to the Bottom” by Dorothy.
Evans opened the set for Dierdre with the femme fatale track, “Black Widow.” The song featured Evans’ rock-opera vocals, punchy drums played by Dwain Miller, and fast metal riffs played by Michael Arms and Jimmy Caterine on guitars.
Their third song, “Between the Lines,” featured rhythmic guitar and a steady drum beat, which allowed Evans’ voice to carry the songs melody before it entered the gritty chorus. The lyrics entice the listener and ask them, “You know you want it; don’t you?”
Evans’ vocal range stands out and brings distinction to each song. The song “I’ve Come To Life” starts out with her vocals breathless and low, and she sensually raises her vocals until her voice literally ‘comes to life’ when performing the chorus and refrain.
Evans writes all of her own music, and even though she sings the song “Suffer” like a rock and roll angel, it is a badass reminder to whomever inspired this song; she is not taking you back, and will gladly watch you suffer.
Evans mentioned after the show that the band Dierdre has been together for approximately 3 years, and have really enjoyed opening for other bands in the rock genre. Prior to opening for Vixen, Evans said that in just the last six months, Dierdre opened for big-name bands such as Warrant, Quiet Riot, and Candlebox.
Vixen is currently touring, and soon heading overseas to Europe this summer, according to their website. If you need your new Vixen fix, Gardner mentioned the band has a live album being released on July 6th via Rat Pack Records.
Los Angeles, CA —Today, FRND (a.k.a. Los Angeles-based musician Andrew Goldstein) is excited to share his new single, “Erase.” The upbeat, melodic track is his first new offering in nearly a year and is the first song from his upcoming EP, Before U I Didn’t Exist, out September 28th (via Crooked Paintings/BMG). Fans can stream and purchase “Erase” HERE.
According to Goldstein, “ ‘Erase’ is about someone coming into your life and wiping out lingering sadness from the past. When you realize the effect they have on you, you can’t help but fall for them.”
To fully experience the intriguingly glitchy pop of FRND, you need to understand his obsession with koala bears. As surrogates in his videos re-living his experiences, they are depicted sweetly, soulfully, even hallucinogenically. “The koala is almost like an alter ego who represents a version of myself,” explains Goldstein. “They might be chill on the outside, but there’s a lot of emotion. It embodies this journey I’m going through.”
FRND | Photography: Sara Kiesling
Animated avatars notwithstanding, the musings on romantic woe woven through FRND’s intimate 2017 EP, In Your Dreams, proved all-too-human. Its first single, the levitating “Friend” (“My friend….We’ve come to an end”), first captured ears after appearing on Spotify’s New Music Friday playlist, subsequently hitting No. 1 on Hype Machine. Meanwhile, the ebbing-and-flowing sting of “Substitute” clocked a staggering 16-plus million streams. (Not surprisingly, Goldstein’s knack for capturing the human spirit by way of sticky hooks previously led him to pen songs for Demi Lovato, Britney Spears, and blackbear.)
“The mastermind behind some of today’s most exciting tracks” – NYLON
This has culminated in FRND’s much-anticipated follow up EP, Before U I Didn’t Exist. A collection of melodic, nuanced tracks, they sort through the disenchantment that permeated In Your Dreams. “You erase/ Erase all the hurt that I felt before,” he sings hopefully on Before U’s first single “Erase,” all percolating beats and sweet nothings. “You replace/ Replace it with something I can’t ignore.”
“I called my last project In Your Dreams, because I dreamt about some of these songs over and over again,” he says. “It was an awakening that I didn’t feel until I had those experiences.” Before U I Didn’t Exist attempts to exorcise those ghosts. The intoxicating title track (“Stay with me/ Hold on tight/ Fill my heart with pretty lies…”), for instance, is a relatable portrait of escapism. What it doesn’t deliver in closure, it does provide in a contact high through singsongy vocals and bright synthscapes.
“Always infectious” – Entertainment Weekly
FRND’s pop may not always be pretty, but his journey is an exhilaratingly authentic one—lust, laments, and all. “FRND is really this place you don’t think you’re capable of going until you actually get there,” he says. “You realize how much of life is driven by emotion versus thinking logistically.” In the end, there’s still hope for a happy ending. “Once you navigate through these emotions, you get to the next level. That’s what happened for me,” he adds.
PHOENIX —SHE is a dark horror comedy film that was produced in the Valley by Gravel Road Production and lead actress Hannah McKay; it will premiere on July 5, 2018 at a private screening at Filmbar. The 90-minute film has already stirred some controversy, having been described as a jarring film about female empowerment. The plotline involves an Airbnb owner, who uses her sexuality to manipulate her male guest into doing her evil bidding.
(Viewer discretion is advised – some scenes may not be suitable for all audiences.)
Q & A with Film Writer/Director Will Goldstein
SHE’s Writer and Director, Will Goldstein, spoke with Burning Hot Events about the film and it’s impact:
What is your background in filmmaking?
I’ve been making films since I was a teenager. I studied film production as an undergrad at U of A, then got a Masters at USC. Since then I’ve directed or produced a handful of indies that you can find on Amazon.
Your IMDB profile shows credits dating back to 2010 – How long have you been doing it?
The first short films I made that actually got shown publicly were screened as early as 2010, so that IMDB timeline makes sense.
What inspired the plotline for this film?
My original goal was to write a horror movie that took place in one location, and had a dynamic female lead. When I set out to write, the sexual assault scandals had been all over the news and I think that subconsciously influenced the tone and narrative arc of the film, and it became less of a horror movie and more of an outrageously over-the-top dark, dark comedy.
In your opinion, what are some films that would be favorites of someone who would enjoy SHE?
Ah, cool question. The film that inspired me the most is a bizarre Greek movie called Dogtooth, though fans of that film are few and far between. It’s a lot to stomach. A more mainstream comp might be Kill Bill, if it was directed by the Coen bros. And that’s on SHE’s ‘best’ day.
What do you think makes this film different from others in the same genre?
I’ve been personally struggling with the film’s genre. I think that’s what makes it so unique, though. It’s an amalgam of a few genres.
How long did it take to write the script?
About 3 weeks.
What style of cinematography was utilized for this film?
It’s a very raw, verite style. A good comparison visually might be the films of Kathryn Bigelow.
Some would describe the Phoenix filmmaking scene as a desert. Why do you think that filmmaking has been underrepresented in our arts & culture scenes?
There’s a ridiculous amount of filmmaking talent in Phoenix. The issue is, in my opinion, that these artists don’t have a significant mouthpiece in the local media. For instance, azcentral only employs film reviewers that review theatrical fare. There’s no appointed person in a position to cover local productions.
How has the film provided opportunities for local talent, and in what ways do you think the film will help the production communities in Phoenix in the future?
This film was made entirely by local talent, excluding the sound editor. The producers, actresses, actors, and crew are all Phoenicians. I’m hoping that, with this film, which will definitely play as controversial to a variety of audiences, we’re able to galvanize the media to take a more active look at local film productions.
Why did you choose Filmbar for the premiere?
Filmbar is the best. It’s the indie film hub of the community. They have a ravenous spirit for the weird and avant garde. And our film is definitely that.
What importance do you think a venue like Filmbar plays in our society?
Indie theaters like Filmbar are so few and far between outside of major cities like LA and NY, and that’s unfortunate because they’re so necessary as a distributing outlet for artists that are taking chances and making challenging films that aren’t afraid of alienation at the cost of vanity.
Will the audience have the opportunity to meet you and/or the cast at the premiere?
Of course!
Jordan White (Vocalist) – Jane N’ The Jungle Photography: Brian Dellis
Local band Jane N’ The Jungle provided the title track for the film. Will they be doing anything for the premiere?
They’ll be in attendance.
In the past, you worked with the band when you created their music videos for “Wild Side” and “Killed Someone”. What made you feel that JNTJ would be a good fit for the film’s soundtrack?
JNTJ are genius at disguising contentious subject matter as fist pumping, radio friendly anthems. I think that’s really brilliant in a subversive way, and that’s primarily why I think they’re a great fit. Subversion.
In the current climate of the entertainment industry with the #metoo movement, and recent killings that have been tied to self-proclaimed “incels” (involuntary celibates), some individuals and groups believe that women use their sexuality as a weapon. In the renaissance era, paintings were made of women having relations with demons and animals because female sexuality was so heavily feared. Can you explain how you think the film is progressive in terms of female empowerment? And how do you think viewing the film would impact someone who shares those viewpoints on female sexuality?
I think everyone is going to have differing opinions on this front, and part of the construction of this film is to incite a reaction, whether positive or negative. Without giving anything away, I will say that the film subverts the traditional sociological role of ‘agency,’ as it’s respective to gender.
To your second question, I honestly can’t say. I can’t purport to know how anyone will react specifically, but we’ll find out soon enough.
The lead character is shown to be calling the male guest (Troy) a “pussy” on multiple occasions. Does the film shed light on the topic of toxic masculinity?
I think it does. I was aiming for a meaner, satirical display of toxic masculinity.
Still frame taken from the film SHE
Can you tell us more about what other/related controversy has been triggered by the film?
I can tell you that it involves subject matter that will have some people heading for the doors.
Do you feel that controversy can bring about anything positive?
Absolutely. In the jaded world we live in, I think controversy has to be stoked to even start a debate.
Would SHE pass the Bechdel test?
Actually, it would. Barely. But it would.
It’s admirable that Hannah McKay both served as a producer, and lead actress of the film. How did McKay initially become involved in SHE, and what lead to her to wearing both hats in the production?
I would say it’s more than admirable. The role of producer is demanding enough itself. If you add to that a leading role, with a character that has pages of dialogue that not only has to be memorized, but delivered so precisely take after take for hours a day, I don’t think ‘admirable’ is the most apt term. Maybe ‘superhuman.’ I dare any actress or actor to try to pour themselves out emotionally for 6 hours straight while simultaneously worrying about the status of film permits, actor’s schedules, and whether or not lunch will be prepared in time.
I met Hannah on the set of JNTJ’s “Killed Someone” video shoot. She played the lead in that video. She’d had no prior acting experience. I thought she had a natural, honest demeanor on camera, and that’s such an unbelievably difficult trait to come across, so I asked her if she’d be potentially interested in acting in a film. Luckily, she was.
Did McKay have a lot of input on how her character, Jane, was portrayed?
When you’re working with actors, you’re collaborating. The script version of the character takes on a new form in a new body, and together you try to make this new entity as honest as it can be. So of course that requires an open mind, suggestions, and encouragement.
How did the actresses and actors influence the final product?
Funny you ask that. I think the actresses and actors are the reason this film evolved from a horror into a dark comedy. And it’s so much better because of that.
Are there any opportunities left for local artists to be involved with SHE?
Definitely. I would love to work with a variety of local musicians on the soundtrack. JNTJ did a cover song that works perfectly in the film, and I’d love to get other local acts on the team if there are any willing to collaborate.
What is the biggest piece of advice you would give to someone that dreams to be a writer and/or director?
Learn all the “rules,” and then do whatever you can to break them.
What is your favorite inspirational quote?
“I’ll rebel against powers and principalities, all the time. Always, I will.”
– Paul Thomas Anderson
Is there anything else you’d like to tell us about SHE?
Don’t watch it.
Phoenix band Jane N’ The Jungle does incendiary title track for brash indie film SHE
Jordan White (Vocalist) – Jane N’ The Jungle Photography: Brian Dellis
Popular local PHX band Jane N’ The Jungle is expanding their repertoire to film soundtracks, covering Aloe Blacc’s “The Man” as the title track for the contentious local indie flick, SHE, that has been stirring debate here in the Valley. The song was selected by the film’s director and frequent JNTJ collaborator, Will Goldstein.
“The original song is sung by a man, with male-dominated lyrics. When we perform it, the song takes on an opposing point of view,” says Jordan White, the band’s front-woman.
At a time when sexism has been a featured topic during the #metoo movement, the irony of a woman performing such a male-centric song is intended to spark discussion about a male-dominated culture that undermines female power. The raw, stripped down performance by Jane N’ The Jungle, has a haunting grit that embodies the controversial film.
;
, proved all-too-human. Its first single, the levitating “Friend” (“My friend….We’ve come to an end”), first captured ears after appearing on Spotify’s New Music Friday playlist, subsequently hitting No. 1 on Hype Machine. Meanwhile, the ebbing-and-flowing sting of “Substitute” clocked a staggering 16-plus million streams. (Not surprisingly, Goldstein’s knack for capturing the human spirit by way of sticky hooks previously led him to pen songs for Demi Lovato, Britney Spears, and blackbear.)
