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DTSTART;TZID=America/Chicago:20221210T110000
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DTSTAMP:20260407T135925
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SUMMARY:Eastside Winter Market at Garver Feed Mill
DESCRIPTION:The first day of the two-day Eastside Winter Market will feature a dozen sets of music\, heavy on Madison- and Wisconsin-based acts\, as sonic complement to the local artists and makers selling their wares. (Full disclosure: Tone Madison‘s partner organization\, Communication Madison\, organizes this event.) Things kick off at 11:05 a.m. with the return of queercore project Woke Up Crying\, in the form of a solo set from singer-guitarist Doug Rowe. Flinty but wistful songs like “Sweater Weather\,” from the 2020 EP 3:27 a.m.\, should translate well in a stripped-down setting. The lineup that recorded the EP has since split\, but Rowe has been writing some new material and working on putting together another full-band incarnation of Woke Up Crying.  \nThe day’s music will conclude in different territory altogether\, with a 4:55 p.m. set from electronic artist Hendrix Gullixson\, who got his start in Madison under the name Syneva. Currently based in Minneapolis and performing under just his first name\, Gullixson has gradually evolved his icy ambient vision into something more textured and flexible\, embracing samples and abstraction on recent tracks like “Blue October.” Other highlights on the bill include jazz-inflected singer-songwriter Carisa (2 p.m.)\, a two-piece set from Benjamin Rose and Alex Nelson of mighty queer pop outfit Kat And The Hurricane (2:35 p.m.)\, and psychedelic voyager Def Sonic (3:45 p.m.). \n—Scott Gordon 3:27 a.m. by Woke up Crying \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/eastside-winter-market-at-garver-feed-mill/
LOCATION:Garver Feed Mill\, 3241 Garver Green\, Madison\, WI\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Chicago:20221210T174000
DTEND;TZID=America/Chicago:20221215T145000
DTSTAMP:20260407T135925
CREATED:20221210T204502Z
LAST-MODIFIED:20221214T054148Z
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SUMMARY:White Noise at Marcus Point Cinema
DESCRIPTION:Babette Gladney (Greta Gerwig)\, Jack Gladney (Adam Driver)\, and their three children scream while in their red station wagon. The youngest Wilder (Henry Moore) sits masked between Jack and Babette in the front seat looking amused. \nAs a follow-up to his septupuly Oscar-nominated Marriage Story (2019)\, Noah Baumbach has used approximately $80 million of the money Netflix seems to be hemorrhaging lately to do a “one for me” movie—a project that greatly expands his visual ambitions while addressing the only subject that’s a universal concern for our species burdened with sapience. We are going to die. Yes\, you\, the person reading this\, will die someday. That fact and the various complications we create to avoid confronting it is what White Noise (2022) is more or less about. With such a lofty subject to motivate him\, Baumbach has created something sprawling\, messy and totally fascinating\, his analogue to One From The Heart (1981) or Under The Silver Lake (2018). \nAdapted from Don DeLillo’s ’80s satirical novel of the same name\, White Noise follows Jack Gladney (Adam Driver)\, a college professor who has pioneered the field of “Hitler studies\,” and his wife Babette (Greta Gerwig\, in her first acting role since 2018). They’re accompanied by four children from various previous marriages (including Raffey Cassidy of Vox Lux who plays the eldest)\, as well as Jack’s friend and fellow professor Murray (Don Cheadle)\, who hopes to popularize an academic discipline centered on Elvis Presley similar to Jack’s “Hitler studies.” \nThe group navigates a constant Altmanesque cacophony of unending information\, and naturally gravitates toward the biggest spectacle. It can be reasonably assumed that whatever commands the most attention is most important (Jack makes his living from the well of a historical spectacle that will never run dry\, after all)\, while they’re all firmly entrenched in the certainty that whatever disasters are on TV are removed from anything that could happen to them. Of course they are proven wrong\, and history intrudes on day-to-day life in the form of “The Airborne Toxic Event.” The exact nature of the danger is unclear\, but the mere fact that danger is present is enough to disturb the routine. \nThe plot is somewhat of an exaggeration of themes Baumbach has explored for his whole career\, namely the anxiety of trying to place yourself within society. He expands his palette past the character studies he’s made his name on\, incorporating visual references to Brian De Palma’s films\, to Jean-Luc Godard’s Week-end (1967) and Tout Va Bien (1972). Baumbach even casts Fassbinder regular Barbara Sukowa in a cameo toward the end of the film. \nConsumerism at once creates distraction and meaning\, and Baumbach takes care to include a corporate logo in the frame for most of the film’s running time. This ubiquity of branding culminates in an end-credits sequence scored by a new LCD Soundsystem track written especially for the movie. After all\, once you accept you’re going to die\, you might as well get on with your life.  \n—Lewis Peterson
URL:https://tonemadison.com/event/white-noise-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20221210T183000
DTEND;TZID=America/Chicago:20221210T200500
DTSTAMP:20260407T135925
CREATED:20221202T210909Z
LAST-MODIFIED:20221210T043627Z
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SUMMARY:Tokyo Godfathers at Union South Marquee
DESCRIPTION:Gin\, Miyuki\, and Hana debate what to do next in their quest to return an abandoned child they found on the streets of Tokyo on Christmas Eve. \nSatoshi Kon may be best known for his animated\, surrealistic\, psychological thrillers\, so Tokyo Godfathers (2003) may stand out in writer-director-character designer’s oeuvre as a rollicking buddy adventure that just happens to be Christmas-themed. But it’s quite a natural follow-up to Kon’s postmodernist masterpiece Millennium Actress (2001)\, about a reclusive movie star modeled after the real-life Setsuko Hara (of Yasujirō Ozu’s Tokyo Story). \nTokyo Godfathers boasts a restless pacing and zany energy contained in the dynamic between its trio of drifters—the gruff drunkard Gin (voiced by Tōru Emori)\, boisterous trans woman Hana (Yoshiaki Umegaki)\, and penitent teen runaway Miyuki (Aya Okamoto)—who find an abandoned newborn baby on Christmas Eve and collectively set out to locate her parents based on a mere photograph left at the scene. Through their rag-tag detective work\, the trio uncover truths of their own characters and shortcomings in tragicomic fashion\, realizing they may not be radically different from the struggling parents who saw themselves as incapable of caring for a child. \nWhile something about the film’s developments may feel curbed in its concise 92-minute running time\, Kon’s compellingly larger-than-life staging and beautifully diverse visual flourishes elevate its dramatic rushes through the snowy streets and alleys of Tokyo. Miyuki’s fantastical dream and Hana’s reflective haiku\, in particular\, both offer ruminative respites that showcase the miraculous depths of Kon’s talent that’s deeply missed today. \nWUD Film will be screening the Japanese language version with English subtitles. \n—Grant Phipps
URL:https://tonemadison.com/event/tokyo-godfathers-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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