BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Tone Madison - ECPv6.15.12.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Tone Madison
X-ORIGINAL-URL:https://tonemadison.com
X-WR-CALDESC:Events for Tone Madison
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20220313T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20221106T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20230312T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20231105T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20240310T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20241103T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230216T200000
DTEND;TZID=America/Chicago:20230216T230000
DTSTAMP:20260403T120943
CREATED:20230203T162112Z
LAST-MODIFIED:20230203T165427Z
UID:16728-1676577600-1676588400@tonemadison.com
SUMMARY:Disaster Passport ("Koyaanisqatsi" screening with live score)\, Faux Fawn at Bur Oak
DESCRIPTION:Madison band Disaster Passport has built up a dedicated local following by doing something that looks downright absurd in theory: writing its own score to a film (Koyaanisqatsi) that already has a score (by Philip Glass)—one so iconic that it’s hard to separate the music from the core experience. Back in 2018\, the four-piece began playing live shows accompanying Godfrey Reggio’s experimental 1982 docu-portrait of a world barreling toward environmental collapse. \nRather than re-interpreting the towering choral themes and kinetic orchestration of Glass’ original score\, or even particularly taking cues from it\, Disaster Passport started from scratch. Banjos (Andy Moore and Colin Crowley)\, baritone guitar (Karl Christenson of Cribshitter)\, drums\, and loops (both from Luke Bassuener of Asumaya) offer viewers a more rambling\, ruminative path into the film. (Full disclosure: Moore is a Tone Madison contributor.) \nReggio’s editing style moves Koyaanisqatsi along at a nimble and at times fevered pace. Sure\, it was initially intended to go along with Glass’ music—but when a film is so packed with rhythmic cues and powerful\, wordless messages\, why shouldn’t other musicians offer a different kind of interplay entirely? Disaster Passport composed the score over the course of eight months\, but audiences can hear improvisational elements evolve and shift from one performance to the next\, as the musicians respond to  the film’s rich layers. \nAt this show\, Stoughton-based singer-songwriter Paul Otteson and his band Faux Fawn will open things up. Expect a set of tender\, poignant folk songs with their own kind of cinematic scope. \n—Scott Gordon \nScore by Disaster Passport \nPhoto by Audre Rae Photography.
URL:https://tonemadison.com/event/disaster-passport-koyaanisqatsi-screening-with-live-score-faux-fawn-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125031/disasterpassport_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T200000
DTEND;TZID=America/Chicago:20230217T220000
DTSTAMP:20260403T120943
CREATED:20230207T203628Z
LAST-MODIFIED:20230214T174731Z
UID:16751-1676664000-1676671200@tonemadison.com
SUMMARY:Nick Brown and Andrew Harrison at Bierock
DESCRIPTION:Fifteen years ago\, Andrew Harrison and his bandmates in Madison country outfit Earl Foss And The Brown Derby were straight-up stoked when Nick Brown answered a Craigslist ad to join the band on bass. Brown Derby ruled the city in those days\, at least for people who dug “moody bastard” country music\, as Brown calls it. The group was in the midst of a long string of weekly shows at the Crystal Corner Bar. “We were excited because this Nick guy who replied to our ad just moved here from Texas\,” remembers Harrison. “We were hoping he could lend some credibility to our honky-tonk sound.” \nBy the time the members of Brown Derby learned Brown was actually from Michigan\, well\, it didn’t matter. They were off to the races. The band had its core configuration and put in hard stage time\, earning an appreciative following with irony-free country covers and loud\, haystack-in-hell originals like “God’s Green Acre.”  \nSo began the Brown and Harrison collaboration that will be on rare\, scaled-down display as a duo at this Bierock show. While they’ve played together ever since\, both have stayed busy with other projects as well. Harrison toured with Madison folk rockers Count This Penny (who have often covered Brown’s song “Living That Way”) and played with other bands in town including The New Hiram Kings as well as Whitney Mann. These days Harrison can also be seen playing with the brand new\, old-country outfit Nate Gibson And The Stardazers.  \nBrown’s first solo album\, 2012’s Slow Boat\, featured plenty of Harrison’s restrained but evocative playing on guitar and pedal steel—and will be a likely source for some of the music they’ll play as a duo. Brown has maintained a full band for live shows and the 2017 EP Contender. (More recently\, Brown has put out two singles\, “Somewhere” and “Ghosts.”) But\, unlike Harrison\, who by comparison is straight-laced and all business\, Brown gets nutty with his side projects. Like the variety show series he did with a rotating cast that included the late Jim Schwall and Dan Walkner (Wrenclaw) at the Harmony Bar. \nIn Brown and Harrison’s close collaborations on original work\, they’re great foils\, both in sound and personality: Harrison’s playing heightens the rugged earnestness of Brown’s more somber moments (again\, “Living That Way\,” Slow Boat‘s show-stopping opener)\, and hint at the deeper yearnings behind the smart-asses and fuckups who populate songs like “Contender” and “Light Beer And Heavy Hearts.” \nBrown’s songwriting leans more Kristofferson than Jerry Reed (one of Harrison’s heroes). A professional copywriter by trade\, he earned his Masters in Journalism and American Literature at Texas State. Book learning is put to good use in his songwriting. “His literary background comes across in his lyrics\,” says Harrison. \n—Andy Moore \n \nNick Brown · Somewhere
URL:https://tonemadison.com/event/nick-brown-and-andrew-harrison-at-bierock/
LOCATION:Bierock\, 2911 North Sherman Avenue\, Madison\, WI\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125023/nickbrown_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230219T140000
DTEND;TZID=America/Chicago:20230219T153000
DTSTAMP:20260403T120943
CREATED:20230215T191059Z
LAST-MODIFIED:20230622T232100Z
UID:16809-1676815200-1676820600@tonemadison.com
SUMMARY:Remembering Paolo Gioli at Chazen Museum Of Art
DESCRIPTION:A photo of Caroline Kennedy as a child is layered with an image of a child wounded during the Vietnam War in Paolo Gioli’s “Children” (2008). \nFilmmaker Paolo Gioli (1942-2022) may not be a common reference for the movement of structural cinema. But his diverse and consistent body of work\, stretching from the late 1960s to the 2010s\, is a rich and varied exploration of celluloid that often asks the viewer to reconsider the mechanics of their own seeing. In observance of Gioli’s death in 2022\, the UW Cinematheque is hosting a career-spanning short film program of his work at the Chazen Museum Of Art\, which will be introduced by UW-Madison professor Patrick Rumble\, arguably the leading scholar on Gioli.  \nThe eight-film program begins with Traces Of Traces (1969)\, an animated film made with varied materials including the oil impressions from his own skin. As Gioli’s first film\, it is more deliberately abstract than many of his others\, exploring an on-cell animation style most commonly seen in Stan Brakhage’s films. Line patterns move between dense cross-hatches and looser\, globular forms. \nThe remainder of the program includes Gioli’s many experiments with found footage\, including Children (2008) which juxtaposes images of the privileged Kennedy family with photos of war-torn Vietnam\, as well as Faces Of An Unknown Photographer (2009)\, which mines the collection of an anonymous early 20th-century photographer to re-photograph the materials and create dense superimpositions at different shutter speeds. \nThis ability to study and recreate old work with new methods runs through Gioli’s filmography; he uses the medium to rediscover and reanimate lost materials\, and does this most extensively in Little Decomposed Film (1986) with a series of motion studies that echo Eadweard Muybridge’s pioneering work. Borrowing only printed images from textbooks\, Gioli stitches together a series of short animations\, each simulating motion from as few as two or three still images with stroboscopic imaging and flicker effects. The dazzling effect calls the viewer’s attention to how\, and at what exact point\, we feel like we’ve seen a “moving” image. \nIf Gioli’s work possesses a psychotropic effect\, it’s a self-aware interrogation of the act of seeing itself. Face Caught In The Dark (1995) most evocatively achieves this as a piece similarly made from the leftover materials of a long-gone photographer. Here\, Gioli photographs the portrait photographer’s leftover glass plates (a pre-film era way to capture an image impression) and sequences them in a ghostly montage. Each thin impression is barely legible as a face on its own. Shots accumulate as a sort of all-face\, like watching a granular prototype of the now-ubiquitous face-generating AI. It’s an eerie effect\, and one that brings our awareness not only to the act of seeing but to film’s ability to trans-historically reanimate. \nIf all of this sounds heady and Frankensteinian\, the program also includes the palette-cleanser Natura Obscura (2013)\, one of Gioli’s most purely beautiful films. Using a “pinhole” style (shooting through a tube pin-pricked with small holes)\, Gioli reduces the frame and surrounds it with tiny streams of light. The experimentation feels most jubilant. Each image is covered in a staticky halo with the clear footage at the center of the frame like the tip of a sparkler. \nIn a varied career that restores meaning to the filmic term of “experimental\,” Gioli’s restless innovation made him a consistently interesting\, if not widely known\, filmmaker. His work reminds us that even the most conceptual work can have a potent psychological effect. \n—Maxwell Courtright
URL:https://tonemadison.com/event/remembering-paolo-gioli-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125007/children-gioli.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230224T190000
DTEND;TZID=America/Chicago:20230224T230000
DTSTAMP:20260403T120943
CREATED:20230207T213432Z
LAST-MODIFIED:20230207T214242Z
UID:16753-1677265200-1677279600@tonemadison.com
SUMMARY:Bing Bong\, Vacant Church\, Louie & The Flashbombs at Bur Oak
DESCRIPTION: Bing Bong\, Vacant Church\, and Louie & The Flashbombs make up a genuinely fascinating mix of artists\, helping this Bur Oak show stand out. Bing Bong—a band that’s been running for over a decade—constitutes the lineup’s familiar local pillar act. Louie & The Flashbombs\, a band whose members have an impressive collective pedigree of their own\, are the newcomers; the Milwaukee act released their debut single “Hard Luck Story\,” in January 2023. Members of Louie & The Flashbombs have played in a variety of recognizable acts\, from the BoDeans to The Willy Porter Band to Pat McCurdy to The Mike Benign Compulsion\, and a whole host of acts in between. Madison-based Vacant Church are relative newcomers and provide the biggest stylistic break between the three acts. \n\nStabilizer\, Vacant Church’s debut album\, was released in October 2022. While Bing Bong has excelled at churning out reliably fun indie-pop with surf influences and Louie & The Flashbombs are flashing the makings of a band who thrive through their understanding of power-pop’s composition\, Vacant Church have a uniquely compelling spin on modern indie rock. On Stabilizer‘s best tracks\, the band frequently sounds like Wolf Parade wholeheartedly embracing a Wilco kick (“Stabilizer\,” “Sorry Bones\,” “Moonsong”). A little psychedelia\, a little punk\, and a good deal of understatement ground the songs on Stabilizer\, which slots neatly into a niche that Madison musicians haven’t often populated in recent years. \n\nVacant Church’s personnel includes Histo’s Donald Curtis on guitar\, who talked to us last year about Vacant Church’s live shows being artistically rejuvenating for him as a musician. Tim Gruber\, who has worked on and off as a music teacher in Madison and played in Mali Blues\, is Vacant Church’s drummer. All three of these bands are largely made up of veteran musicians\, who have each impacted their respective communities in memorable ways. Each act brings something different to the table\, creating a nice balance and a perfect show-going opportunity for anyone who’s into easygoing-but-energetic rock music that comes with a fun twist. \n—Steven Spoerl \nStabilizer by Vacant Church \n 
URL:https://tonemadison.com/event/bing-bong-vacant-church-louie-the-flashbombs-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125022/vacant-church.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230224T213000
DTEND;TZID=America/Chicago:20230224T234500
DTSTAMP:20260403T120943
CREATED:20230217T054124Z
LAST-MODIFIED:20230622T231951Z
UID:16812-1677274200-1677282300@tonemadison.com
SUMMARY:Thirst (2009) at Union South Marquee
DESCRIPTION:In a white room\, Tae-Ju (Kim Ok-bin) feeds on an unsuspecting victim while her paralyzed mother-in-law (Kim Hae-sook) watches. \nBlending eroticism\, horror\, and black comedy\, Thirst (2009) is a twist-filled take on the vampire genre from South Korean director Park Chan-wook. Much like his recent Decision To Leave (2022)\, Park packs his thematic obsessions and ambitious visual style into a hallucinatory tale of doomed love. \nSuffering from a crisis of faith\, Catholic priest Sang-Hyun (Song Kang-ho) volunteers for a medical experiment in an effort to find a cure for a deadly virus. Miraculously surviving thanks to a blood transfusion\, Sang-Hyun becomes a faith-healer figure\, but he begins to experience mysterious symptoms—heightened senses\, carnal urges\, and an allergy to sunlight—that can only be eased by drinking human blood. \nLeaving the church\, Sang-Hyun begins a smoldering affair with Tae-Ju (Kim Ok-bin)\, the wife of a childhood friend. When Tae-Ju convinces him to murder her husband and turn her into a vampire\, the lovers find themselves in a hell of their own making\, tormented by guilt\, deception\, and the ghost of her husband. \nAvoiding the gothic genre trappings\, Park instead draws from his Catholic upbringing and Émile Zola’s novel Thérèse Raquin as source material. A halfway point between Park’s breakout Vengeance Trilogy (2002-2005) and his later\, more psychological works like The Handmaiden (2016)\, Thirst at times feels overstuffed with ideas. But it remains brimming with Park’s signature\, dazzling visuals\, tonal shifts\, and shocking violence. The film verges dramatically between blood-soaked supernatural horror\, torrid romance\, and moments of unexpected slapstick. Audacious and excessive\, it’s a bold genre experiment from one of modern cinema’s most idiosyncratic minds. \n—Ian Adcock
URL:https://tonemadison.com/event/thirst-2009-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125003/thirst2009-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230226T180000
DTEND;TZID=America/Chicago:20230226T235900
DTSTAMP:20260403T120943
CREATED:20230214T173441Z
LAST-MODIFIED:20230225T104341Z
UID:16798-1677434400-1677455940@tonemadison.com
SUMMARY:The Wind In The Trees\, Thin\, Wanderer\, The Central at BarleyPop Live
DESCRIPTION:The Central performing live. Photo by Jacob Artillery. \nFour-band bills aren’t as common as they used to be\, for various reasons. When one does manage to crop up\, it usually warrants an eyebrow arch and some exploratory questioning. Namely: will this be worth the time commitment? And in the case of the quartet of acts slated to play BarleyPop Live on February 26\, the answer is a thunderous\, resounding yes. It helps\, of course\, that all four bands are vicious heavyweights who excel when subverting the barriers of grindcore to embrace a wider array of influences. And whose songs mostly clock in under the two-minute mark.\n\nNotably\, only one of these bands—Madison’s The Central—is actually from Wisconsin\, opening up an opportunity for a local audience to glimpse an inroad to the metal music communities in Minneapolis (Wanderer)\, New York City (Thin)\, and Baltimore (The Wind In The Trees). Each act is united in a willingness to defy convention\, resulting in tracks that are frequently exhilarating thanks to their moment-to-moment unpredictability. One of the most exemplary instances of this across the bands’ collective discographies is Thin’s “Promenade\,” an out-of-nowhere old-timey saloon folk instrumental that’s sandwiched between a host of grimy\, brutal tracks of searing grindcore. \n\nWanderer have a few of their own tricks up their sleeve\, incorporating math-y elements into their barrage of heaviness to balance their sound out with the slightest touch of musical levity. “Pure Human Despair\,” the band’s latest single\, is a crunchy blast of controlled aggression\, full of spit\, rancor\, pinched harmonics\, and strategic\, high-impact palm-muting. Similarly\, The Wind In The Trees pack a brimstone punch that’s delivered through a lightly blown-out production aesthetic that’s at least somewhat reminiscent of Loma Prieta. Architects Of Light\, The Wind In The Trees’ latest album\, is an end-to-end gauntlet run of unapologetic pulverization replete with guitar shredding\, blast beats\, and a surprising amount of bounce. Engaging throughout\, Architects Of Light is an enormous record that hits with enough blunt force to leave most listeners reeling. \n\nThe Central should be the most familiar act to Madisonians\, as the band’s been operating here from the jump\, The band’s debut album\, 2012’s The Ancients Bestow Fire\, was a memorably chaotic introduction\, and everything the band—a duo made up of Frankie Furillo and Alex Roberts (with Jacob Bedroske on bass for their live shows)—has done or released since then has only upped the proverbial ante. 2020’s Dentist\, a blistering full-length of frenetic impulse and highly experimental grindcore\, evidenced the band tightening an understanding of what makes their irreverence so vital. “The Most Dangerous Road\,” the duo’s most recent single\, took that understanding to an even higher level\, resulting in their most jaw-droppingly wild work to date. One of the most potent bands in Madison’s punk\, hardcore\, and metal worlds\, The Central will undoubtedly continue to turn heads when they take the stage at BarleyPop Live. \n\nAll four of these acts sharing a bill represents a welcome\, invigorating jolt for the heavier\, more punishing side of Madison’s slate of live music offerings. We rarely see bills that are this stacked for a subgenre this specific. Even if coarse\, guttural yelling and piercingly loud grindcore isn’t typically your thing\, the bands here are talented enough to warrant making an exception.\n\n—Steven Spoerl \ndawn by Thin
URL:https://tonemadison.com/event/the-wind-in-the-trees-thin-wanderer-the-central-at-barleypop-live/
LOCATION:BarleyPop Live\, 121 West Main Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125009/c3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230303T213000
DTEND;TZID=America/Chicago:20230308T195000
DTSTAMP:20260403T120943
CREATED:20230301T030050Z
LAST-MODIFIED:20230301T030050Z
UID:16878-1677879000-1678305000@tonemadison.com
SUMMARY:RRR at Marcus Point Cinema
DESCRIPTION:Rama Raju (Ram Charan) and Komaram Bheem (NTR Jr.) smile while in the midst of a choreographed dance move. \nNo prior knowledge of Indian historical figures Alluri Sitarama Raju and Komaram Bheem is necessary to appreciate as S.S. Rajamouli’s bombastic action film RRR (2022). This three-hour epic reimagines the two real life anti-Raj activists Bheem (N.T. Rama Rao Jr.\, often referred to as NTR Jr.) and Rama Raju (Ram Charan) as near-superhuman strongmen\, an analogue to Goku and Vegeta for 1920s India. It’s returning to theaters for just shy of a week\, on the strength of an Oscar nomination for best song and Rajamouli’s hobnobbing with the likes of James Cameron and Steven Spielberg since the film’s initial release last year. \nRajamouli’s infectious enthusiasm for over-the-top action set pieces have led to RRR becoming a crossover hit with audiences who aren’t usually tuned in to Indian cinema\, both in America and worldwide. (Of course\, having the highest production budget of any Indian film to date surely has something to do with it.) \nThe plot in brief: Bheem hopes to rescue a kidnapped child from cartoonishly evil British Colonialists. Rama Raju works for the British police. Both go undercover\, and the men become best friends without ever realizing each other’s true identity. Tension dramatically comes to head after the requisite dance number. \nRajamouli is clearly having a blast staging CGI-heavy action. Among 2022 action movies\, only Top Gun: Maverick‘s plane scenes come anywhere close to RRR’s level of excitement\, and the Indian production didn’t have to utilize taxpayer-funded fighter jets to do it. (That is not to say RRR doesn’t have its own problematic implications.) But at the end of the day\, it’s a giant spectacle that highlights the strengths of the theatrical experience. So please take the chance to see this film big and loud. \n—Lewis Peterson \n \nThis preview was slightly modified and republished from last September for this special re-release event.
URL:https://tonemadison.com/event/rrr-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02124946/rrr-event.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230304T180000
DTEND;TZID=America/Chicago:20230304T220000
DTSTAMP:20260403T120943
CREATED:20230209T162510Z
LAST-MODIFIED:20230209T162554Z
UID:16773-1677952800-1677967200@tonemadison.com
SUMMARY:Monsters Of Poetry: Erika Meitner\, Paul Tran\, Nate Marshall\, and Matthew Guenette at Genna's Lounge
DESCRIPTION:At what cost are we alive? Erika Meitner\, Paul Tran\, Nate Marshall\, and Matthew Guenette grapple with this question in their poetry. As they take the Monsters of Poetry stage\, expect to hear their testaments of survival\, grit\, and endurance through the lyric.  \nThree of the four are faculty of the English Department at UW-Madison. Meitner joined last fall as a professor and the director of the MFA program. In her latest book Useful Junk\, published by BOA Editions in April 2022\, she writes about desire and the body—the liminal and the physical—through documentary poetry. She writes a liturgy for the masses: “we who collect regular explanations of benefits / we who worry about food security.” \nTran is an Assistant Professor of English and Asian American Studies. Their debut poetry collection All The Flowers Kneeling\, published by Penguin Random House in February 2022\, explores American imperialism and intergenerational trauma. In “Orchard Of Knowing\,” Tran writes\, “All of them point at me / as the kill to complete your mission.” Through history and the lyric\, they unflinchingly challenge how we see liberation and control. \nIn his 2020 book Finna\, Nate Marshall\, also an English professor at UW\, writes about survival: “imagine this\, a man / made donut\, chest open\, / hollow\, everything poured / out\, available\, nowhere.” Amidst his painful reckoning with his lineage and the ruptures violence has caused\, Marshall imagines a future of hope. \nMatthew Guenette teaches English at Madison College. In his book Doom Scroll\, which will be released this year from the University of Akron Press\, he talks about the anxiety of living today. He describes the lockdown\, the political state of our world\, and “a field of dandelions to break me in half” all within the same stanza. This existential plea encapsulates the experience of living through the pandemic and its aftermath. \nAll of these poets do not leave us with clean-cut answers as we go through the questions of life. But as we read their work and listen to their poems\, we know that we are not alone in the fight to remain here. The lyric testifies to this. \n—Hannah Keziah Agustin
URL:https://tonemadison.com/event/monsters-of-poetry-erika-meitner-paul-tran-nate-marshall-and-matthew-guenette-at-gennas-lounge/
LOCATION:Genna’s Lounge\, 105 West Main Street\, Madison\, WI\, United States
CATEGORIES:Poetry
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125017/mop_march2023_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230304T200000
DTEND;TZID=America/Chicago:20230304T223000
DTSTAMP:20260403T120943
CREATED:20230226T003800Z
LAST-MODIFIED:20230622T231938Z
UID:16865-1677960000-1677969000@tonemadison.com
SUMMARY:Matt Ulery Nonet at Café Coda
DESCRIPTION:Matt Ulery’s Mannerist 11 performs at Constellation Chicago in September 2021 as part of the Ear Taxi Festival. \nLast I caught up with Chicago bassist and composer Matt Ulery in the late 2010s\, his Woolgathering Records label had begun to take off as a platform to spotlight not only his own prolificacy and ever-evolving projects but also the endeavors of his colleagues Russ Johnson\, Tim Haldeman\, and Leslie Beukelman. \nAfter a memorable set at Arts + Literature Laboratory with trio Triptych back in spring of 2018\, Ulery has been both figuratively and literally expanding his repertoire in a myriad of configurations that include a string sextet (Become Giant) and special orchestra with more than 20 members (Sifting Stars). \nFor this BlueStem Jazz-presented show\, a regional collaboration between Ulery’s core rhythm section (pianist Paul Bedal and drummer Jon Deitemyer)\, plus six other Midwestern-based woodwind and brass players (Dave Cooper\, Allen Cordingley\, Hunter Diamond\, Tom Gullion\, Chad McCullough\, and Ryan Shultz)\, the collective nonet will be performing pieces at Café Coda from the upcoming Mannerist record. Like all the sweeping\, swooning chamber jazz Ulery has been making for more than a decade\, the music here\, as conceived for this larger ensemble\, captures Ulery’s predilection for duality—resonantly vast in sonic palette\, but delicately intimate in scope. The slower tempi of his precise songcraft tend to build with silken elegance\, stirring romantic pangs for slow-waltzing in an ethereal ballroom. \n“The Brink Of What\,” one of Mannerist‘s absolute standouts\, at first feels like a quietly pensive nocturne\, but then quickly hits with the force of overwhelming emotion and instrumental interplay—the richness of its polarity forged from the same aura as the tortuously gorgeous\, subtly dissonant horn and woodwind arrangements on These New Puritans’ best record\, Field Of Reeds (if artsy post-rock is your kinda thing). As with several other compositions on Mannerist\, like “Another Book Of Ornaments\,” Ulery harnesses his best impulses in steadily reaching for a transcendent\, ineffable intensity through sound dynamics\, while at once trying to pierce the veil of universal human yearning. \n—Grant Phipps \n \nThis event preview was updated on March 1 to reflect a change in the nonet’s lineup.
URL:https://tonemadison.com/event/matt-ulery-nonet-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02124950/mattulery-mannerist.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230304T210000
DTEND;TZID=America/Chicago:20230304T235900
DTSTAMP:20260403T120943
CREATED:20230227T212824Z
LAST-MODIFIED:20230227T212824Z
UID:16870-1677963600-1677974340@tonemadison.com
SUMMARY:Proud Parents\, Scrunchies\, Graham Hunt\, Jane Hobson at Crystal Corner Bar
DESCRIPTION:A few dozen bands played the Dirtnap Records Super Show Extravaganza at the High Noon in June 2022\, Madison’s biggest punk show of recent memory. One of the newer acts that played the two-day event was Minneapolis’ Scrunchies (pictured above)\, an indie-punk trio who will be making their return to Madison on March 4 at the Crystal Corner Bar. Proud Parents\, Graham Hunt\, and Jane Hobson will play as the night’s local support. Each of those three local acts has left an impression on Tone Madison‘s coverage over the past few years\, with each claiming well-deserved spots in our year-end coverage of Madison music. \n\nHobson’s solo project has steadily evolved since debuting but hit a new high with 2022’s crushingly beautiful\, bittersweet single “If You Ask.” Historically\, Hobson’s recorded output has flittered between quiet\, introspective folk and something more aggressive and sinister. Recent footage of Hobson playing live demonstrates that her band’s live show gains some punch when the gloves come off. (This video of Hobson covering The Cranberries’ “Zombie” at Mickey’s neatly encapsulates that willingness to lean into brute force.) Softness isn’t entirely absent in Hobson’s live show\, though\, and does still elevate the material. At Crystal Corner\, it’ll also provide some balance amid an inordinately high-energy slate of indie-punk bands. \n\nArtistic restlessness has driven Graham Hunt’s work for over a decade. From Midnight Reruns to Sundial Mottos\, Midwives\, The Reptile Fund\, and everything in between\, Hunt’s been a consistent force in Wisconsin’s punk community—which remained true even after a brief relocation to Chicago. Three records into a solo career (2019’s Leaving Silver City\, 2021’s Painting Over Mold\, 2022’s If You Knew Would You Believe It) that’s shown virtually no signs of slowing\, Hunt’s consistently proven to be a versatile artist who excels in attention to detail. Each of Hunt’s records is stylistically distinct\, yet couldn’t have come from anyone else. Live\, Hunt’s band—a rotating cast of musicians that includes members of Disq\, Cult Of Lip\, Sat. Nite Duets\, and more—is a powder keg of volatility and exacting precision. Whenever Hunt’s name is on a bill\, it’s a non-negotiable\, can’t-miss occasion. \n\nSimilarly unmissable are Proud Parents\, who have been consistently invigorating Madison audiences with their distinct brand of sugar-rush indie-punk/power-pop catharsis since the mid-2010s. Everyone interested in attending this one should know what to expect from the jittery quartet by now\, and subsequently know how infectious their unfettered joyfulness has always proven. Scrunchies are likely to be the biggest question mark to most of the audience\, but as they ably demonstrated last year\, they are a wrecking ball of a live act. Heavy\, melodic\, discordant\, and unapologetically punchy\, they are perfectly suited to the Crystal Corner Bar’s punk-leaning aesthetics. \n\nAll four of the bands on this bill are worth seeing on their own\, but packaged together make up an incredibly enticing prospect. If you haven’t been to the Crystal since they started hosting live music again—or haven’t been at all—there may not be a better occasion to finally take foot inside.  \n—Steven Spoerl
URL:https://tonemadison.com/event/proud-parents-scrunchies-graham-hunt-jane-hobson-at-crystal-corner-bar/
LOCATION:Crystal Corner Bar\, 1302 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/09/02125437/IMG_0408.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230310T193000
DTEND;TZID=America/Chicago:20230310T220000
DTSTAMP:20260403T120943
CREATED:20230302T203212Z
LAST-MODIFIED:20230622T231926Z
UID:16888-1678476600-1678485600@tonemadison.com
SUMMARY:Laminal Animil\, Pawan Benjamin at Communication
DESCRIPTION:In a mood-lit gallery space\, Laminal Animil (L to R: Tim Russell\, Ari Smith\, and Luke Leavitt) improvise. Photo by Grant Phipps. \nSince their live debut last summer as part of the Madison Jazz Festival\, Laminal Animil have become veritable sonic explorers of our fair city. While each member of the trio—Luke Leavitt (on Fender Rhodes electric piano and Roland Juno-106 synth)\, Tim Russell (on drumset\, percussion\, and Novation Launchpad)\, and Ari Smith (double bass and percussion)—has a background in jazz study\, their performances are less tethered to those identifiable modes than free improvisation with all the explosive discordance\, softened textural interplay\, and sudden\, harmonious synchronizing that follows. \nA commitment to extended technique has allowed the group to sort of fit the bill for any experimental occasion\, whether it’s part of a jazz or electroacoustic lineup\, or even something altogether more eclectic (as so often happens at DIY spaces around town). Laminal Animil share a versatility with another experimental trio\, Brennan Connors And Stray Passage (Geoff Brady\, Brian Grimm)\, who\, as of 2023\, should be regarded as a Madison mainstay. \nListen to Leavitt\, Russell\, and Smith chat about their backgrounds\, methods\, motivations\, and academic preoccupations (especially during this silly\, witty Laminal Animil interview from a few months ago)\, and you’ll ascertain just how their personalities interact in a musical setting with such playful intention. \nAt this Communication show\, saxophonist\, shehnai player\, and Bansuri flutist Pawan Benjamin will open with a solo set that’s equally inspired by Western jazz disciplines\, Hindustani\, and ceremonial Nepalese music. As a former member of the Brooklyn Raga Massive\, New York-based composer Benjamin has a knack for seamlessly blending a diversity of influences\, as heard on his last record Tinte Baja. \nWhile the latter is composed and adeptly arranged with an ear for a “jazzier” sound\, it often feels fundamentally rhythmic\, with all three players (drummer Sean Mullins and double bassist Martin Nevin) credited with malleted\, auxiliary percussion on some of the pieces like “Prayer.” But if you’re also attending for the Indian raga side of Benjamin’s repertoire\, he’s sure to indulge. \n—Grant Phipps
URL:https://tonemadison.com/event/laminal-animil-pawan-benjamin-at-communication/
LOCATION:Communication\, 2645 Milwaukee Street\, Madison\, WI\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124942/laminalanimil-comm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230311T140000
DTEND;TZID=America/Chicago:20230311T233000
DTSTAMP:20260403T120943
CREATED:20230224T212838Z
LAST-MODIFIED:20230224T212838Z
UID:16863-1678543200-1678577400@tonemadison.com
SUMMARY:Let There Be Light Art Market at Bur Oak
DESCRIPTION:Ethan Jackson is perhaps best known around Madison for his dazzling electro R&B project Mr. Jackson. Enmeshing visuals from close collaborators like artist Terrence Adeyanju and videographer Michael Doyle Olson\,  Jackson has always treated his music as part of a bigger vision. Recently\, he’s been introducing the world to more of his mixed-media art and fashion projects\, including a clothing line called Dripsphere. At this afternoon art market\, he’ll be showcasing Dripsphere’s exuberantly adorned shirts and hats\, but more importantly\, keeping all his work tethered by bringing in more than a dozen fellow artists\, retailers\, and musicians. \nVendors slated for the Let There Be Light Art Market include Milwaukee-based jewelry maker Wrapped Up\, CBD shop Herbal Aspect\, Madison vintage outlet Good Style Shop\, the recently opened Boneset Records\, and the electronic-focused JiggyJamz Records. Artists\, both selling and showing\, range from tattoo artist Derek Anderson\, to off-the-wall clothing brand MartianMucus\, to From Scratch Comics. At 8 p.m.\, the event turns into a ticketed dance party\, with DJ sets from techno-centric Madison staple Kitty Spit and Milwaukee’s Jules\, and video projections by VJ and digital artist arktik.foxtrix. Plus\, Ahan is right there inside the venue\, and they’ll be serving chef Jamie Hoang’s recently James Beard Award-nominated Lao-Thai cuisine.  \n—Scott Gordon \n \nPulse · Kitty Spit – Live @ Pulse Sep ’22\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/let-there-be-light-art-market-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Art,Music
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/08/02125524/music-block-tone-2000x1500-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230311T190000
DTEND;TZID=America/Chicago:20230311T233000
DTSTAMP:20260403T120943
CREATED:20230224T152827Z
LAST-MODIFIED:20230224T153041Z
UID:16861-1678561200-1678577400@tonemadison.com
SUMMARY:Four Star Video Subscriber Drive Celebration Party at Four Star Video
DESCRIPTION:Throughout February\, Madison movie-rental institution Four Star Video Rental has been calling on customers to sign up for subscription plans\, which enable customers to check out three or more titles at a time for a flat monthly rate. It’s a continuation of the good work co-owner Lewis Peterson has done to keep Four Star alive through multiple twists and turns\, including a move that happened just before the pandemic hit home. (Full disclosure\, Peterson writes for Tone Madison\, as do two of the DJs playing this event.) \nAnd Four Star—always Four Star Video Heaven in my heart\, though the “Heaven” dropped out of the official name when the store briefly became a cooperative—is not an endling in the streaming-fueled extinction of video stores. It survives because it’s dedicated to maintaining a deep selection of DVDs\, Blu-rays\, and even some VHS tapes\, embodying an infectious love for everything from prestige cinema to the most unhinged genre gems. \nIf the movie you were planning to watch suddenly vanished from one of your streaming services\, or was never available on streaming or VOD in the first place\, you can probably find it at Four Star. In the meantime\, you should probably go sign up and subscribe. \nOn Saturday\, March 11\, hang around after Four Star’s usual business hours as they wrap up the subscription drive with food\, music\, and movie conversation. A true home for local weirdos\, Four Star has brought in Madison DJs Destructo\, Emili Earhart\, Evan Woodward\, and Mu to spin throughout the evening. Their selections run from post-punk to techno to far-flung ambient. Whatever they play\, it’ll be a fitting sonic companion to an eclectic Four Star browsing experience. \n—Scott Gordon  \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/four-star-video-subscriber-drive-celebration-party-at-four-star-video/
LOCATION:Four Star Video Rental\, 459 West Gilman Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film,Music
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/08/02125534/film-tone-2000x1500-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230315T190000
DTEND;TZID=America/Chicago:20230315T203000
DTSTAMP:20260403T120943
CREATED:20230310T175039Z
LAST-MODIFIED:20230622T231855Z
UID:16925-1678906800-1678912200@tonemadison.com
SUMMARY:Project Projection: Spring 2023 at Arts + Literature Laboratory
DESCRIPTION:Alex T. Jacobs colorfully modifies the halo of a streetlamp (with outward-moving reds\, greens\, yellows\, and blues) on a snowy night in the short “snow light” (2023). \nThe Mills Folly Microcinema series returns this week at Arts + Literature Laboratory for 2023’s first installment of Project Projection\, its wide-ranging\, seasonal showcase of film and video shorts by Madison-based filmmakers. This program’s 14 films fall roughly into two categories; the first of these is music videos\, and any fan of Madison music will find something to love in the selections’ diversity of musical genres and visual styles. ViBRATiONLAND’s video for “Stabacab” (dir. Eric J. Nelson) may take the cake for most ingenious of the bunch\, using everyday objects like a CPAP tube and silly putty to make an alternately adorable and horrifying piece of stop-motion creature horror. \nMoving further into pure abstraction\, B. Hayes’ video for “Ovation” (dir. Max Wasinger and Peregrine Balas) is similarly visually voracious\, with its collaged and datamoshed black-and-white footage smearing into gorgeous swirls. The only non-contemporary piece on the program\, Gretta Wing Miller’s Man In Space (1981) splits the difference between the musical pieces and the rest of the video work\, editing spacewalk footage to Beatles songs and reveling in nostalgia for the late ’60s. \nFor the other half of the works\, experimental video like David Boffa’s A Due Remembrance Of Wolves (2021) takes the mantle. This minimalist nature doc trains its eye on two wolves at their leisure for most of its runtime; a narrator reads 19th century texts on the danger of the animal\, usually offering bounties for hunters to exterminate the “vermin.” This penchant for appropriated text is shared by another standout of the program\, Chloë Simmons’ Passing Through (2020)\, with its short GIF-like loops that are littered with digital detritus as scrolling words recite the textbook definitions of broad concepts like cause and effect\, truth\, and signs. Simmons’ piece is  dense and heady\, but also one that skillfully explores its title’s double entendres with a thoughtful reflection on queer identity. \nSome other videos are more abstract\, content to explore an aesthetic for its own sake like in Alex T. Jacobs’ serene snow light (2023). As ambient-treated piano rolls underneath the eight-minute shot of a streetlight under snowfall\, Jacobs manipulates the footage so that the light’s halo expands into a dazzling pixelated rainbows. It’s one of the simplest works on the program\, but one that ties it all together in highlighting both the natural beauty and artistic skill that can be found in Madison. \n—Maxwell Courtright
URL:https://tonemadison.com/event/project-projection-spring-2023-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124936/snowlight-eventhed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230317T190000
DTEND;TZID=America/Chicago:20230317T202500
DTSTAMP:20260403T120943
CREATED:20230309T063401Z
LAST-MODIFIED:20230622T231839Z
UID:16920-1679079600-1679084700@tonemadison.com
SUMMARY:Invaders From Mars (1953) at UW Cinematheque
DESCRIPTION:The amphibious-looking Martians cradle an incapacitated David (back left) and Dr. Patricia Blake (center). \nInvaders From Mars (1953) follows one of the biggest trends of 1950s horror films\, reflecting the fears of Communist invasions and rampant McCarthyism of the era. Directed by William Cameron Menzies and distributed by Twentieth Century Fox\, it clocks in at just under 80 minutes\, which is a beautifully approachable length for a B-movie. \nPredating even The Twilight Zone series\, the film opens with narration over footage of the cosmos\, which declares that\, thanks to science\, we know more about the other planets in our solar system. Science is still breeding curiosity about the likelihood of other forms of life. \nFollowing this\, the camera follows young David (Jimmy Hunt) after he sees a flying saucer crash in a sandpit. The nameless town’s residents\, including his parents and classmates\, start acting strangely when they investigate the crash site. They all soon begin disappearing into a mysterious butthole in the sand. The multicolored backdrops here in the shots of the elusive sandpit evoke similar images of scenes of the Yellow Brick Road in The Wizard Of Oz\, while other sets use exaggerated proportions\, stark symmetry\, and geometric framing ripped from German Expressionism. Filmed with Eastmancolor stock\, initial prints of the film used SuperCinecolor\, which is showcased towards the end when the townies eventually explore underneath the sandpit. \nAfter David’s parents fall under the influence of the invaders\, David gets taken in by two scientists as his surrogate parents (Dr. Stuart Kelson and Dr. Patricia Blake\, played by Arthur Franz and Helena Carter)\, the only two adults who believe something funny is happening in their town. One of the scientists gets the U.S. Army on the horn and convinces them to send in the troops. \nDuring the climax of the film\, David and Dr. Blake plummet through one of the sand’s many buttholes and into the arms of the Martians\, whose costumes look more like frogs than creatures from another world\, only adding to the tonal whimsy. Luce Potter\, the actor playing the Martian inside the glass (as seen gracing the front cover of the latest paper edition of the spring Cinematheque calendar)\, had previously played a Munchkin in The Wizard Of Oz\, which perhaps implies the similarities to the classic film were intentional. \nSeeing the new restored 4K version of this film with all its vivacious colors and practical effects on the big screen is guaranteed to be a delight! \n—C Nelson-Lifson
URL:https://tonemadison.com/event/invaders-from-mars-1953-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124937/invadersfrommars-hed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230318T143000
DTEND;TZID=America/Chicago:20230318T170000
DTSTAMP:20260403T120943
CREATED:20230313T174206Z
LAST-MODIFIED:20230313T175606Z
UID:16950-1679149800-1679158800@tonemadison.com
SUMMARY:Day Of Resistance To Trans Genocide March and Resistance Rally at Capitol Square
DESCRIPTION:This preview is adapted from “Now\, Not Later\, Is The Time to Speak Up For Trans People\,” initially published in Emily Mills’ newsletter\, Grist From The Mills. \nIf you’re in the Madison area on Saturday\, March 18\, a grassroots group of people is organizing a Day Of Resistance To Trans Genocide that aims to raise awareness and drive action to oppose the onslaught of anti-LGBTQ\, particularly anti-trans\, legislation and rhetoric that’s begun to swamp our state and country. \nThe event will begin at or near the Wisconsin State Capitol with a march at 2:30 p.m.\, followed by a rally with trans and non-binary speakers. It’ll be a great way to show solidarity\, get connected with other people engaged in the work\, and find resources and support. Here’s the Facebook listing for the event—which is worth checking up on because the final route of the march and exact location of the rally is still to be determined. And here are some notes about safety: \n\n Wear a mask if at all possible. There’s still a pandemic on\, and we want to help protect our immune compromised and disabled community. Masks can also help prevent having your picture taken by possible anti-trans counter-protesters who could use your image for making threats/harassment/doxxing.\nHaving a protest buddy is always a good plan. Someone you can check in with before\, during\, and after the event to make sure everyone is accounted for and for moral support.\nSome masks\, water\, snacks\, etc. will be provided for by organizers but also please bring your own and/or some to share if you can. Wear comfortable shoes or boots for walking\, and/or plan for transportation through a short (~1 mile) march.\nIn the unlikely event of disruption or police involvement\, have your phone’s biometrics switched off (police can make you use the thumbprint unlock option to get into your phone but they can’t force you to use your PIN)\, and keep the number of a legal help group written down in your pocket/on your person.\nDo not engage with counter-protesters\, when possible\, or if you do–keep it positive: the focus should be on the message of LGBTQ resistance\, rights\, and joy. \n\nWhether or not you can make this particular event\, I strongly implore you to seek out any and all ways of getting involved: speak out\, contact your legislators\, support LGBTQ-led organizations doing the work (with your time\, your money\, your skills\, or whatever you can offer). This is a nationwide and also deeply local issue. And it is URGENT. \nOne specific (and fun!) way to help? Tune in for and donate to my friend Mercury Stardust’s upcoming Tik-Tok-a-Thon to raise money for trans healthcare. The event runs March 30 through 31\, but you can donate in advance here (and learn more about what the money will do). Then be sure to tune in via the Tik Tok and/or Instagram accounts of Mercury or her co-host\, Jory\, for the livestream! \n—Emily Mills
URL:https://tonemadison.com/event/day-of-resistance-to-trans-genocide-march-and-resistance-rally-at-capitol-square/
LOCATION:WI
CATEGORIES:Politics
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124927/stoptransgenocide_header-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230323T190000
DTEND;TZID=America/Chicago:20230325T221500
DTSTAMP:20260403T120943
CREATED:20230317T181455Z
LAST-MODIFIED:20230622T231826Z
UID:16971-1679598000-1679782500@tonemadison.com
SUMMARY:"Animation Is Film!" Festival at Union South Marquee
DESCRIPTION:In the black-and-white “Persepolis” (2007)\, a young Marjane Satrapi is reprimanded by two lanky Islamic fundamentalists for wearing a jacket emblazoned with the words “Punk is not ded.” \nAs a festival title\, “Animation Is Film!” reads like a resounding call to action. There’s an urgency embedded into its exclamatory nature\, as if the organizers are fighting an uphill battle for the medium to gain respect and recognition. They shouldn’t have to\, but the hierarchical structure of the film world continuously suggests—especially at the most visible levels—that animation isn’t worthy of the respect afforded to “traditional” film. Fortunately\, for the sake of discerning viewers everywhere\, events like Animation Is Film actively combat depressingly regressive viewpoints. \nFrom March 23 to March 25\, WUD Film will host five free screenings at Union South\, featuring modern or established animated classics. Leading things off on March 23 at 7 p.m. will be Don Hertzfeldt’s recent World Of Tomorrow trilogy\, which stands apart as both an existential masterpiece and one of the greatest short film runs in cinematic history. On March 24\, Brad Bird’s debut feature The Iron Giant will screen at 6:30 p.m. The Iron Giant‘s legacy\, impact\, and influence still resonates across today’s animation\, nearly 25 years after its release. Directly following The Iron Giant will be Fantastic Planet\, René Laloux’s experimental—and occasionally brutal—sci-fi parable for respectful coexistence. The film is also celebrating its 50th anniversary in 2023\, and its central plea for societal peace still carries weight. \nAnimation Is Film will close on the 25th with another double-feature\, starting at 6:30 p.m.: Marjane Satrapi’s Persepolis and Satoshi Kon’s Perfect Blue. Both features are united by way of adaptation: Perfect Blue‘s source material is the novel Perfect Blue: Complete Metamorphosis while Persepolis has Satrapi adapting her original graphic memoir of the same name (alongside co-director Vincent Parronaud). Both films share other commonalities but are visually and thematically distinct. Persepolis‘ wars are both literal and figurative\, while Perfect Blue‘s are cultural and internal. Each remains essential viewing more than a decade after their respective releases (Perfect Blue in ’97\, Persepolis in ’07). \nAll five films feature protagonists who undergo a coming-of-age—or\, in the case of World Of Tomorrow\, coming-to-age—and learn extraordinarily harsh lessons about the nature of their surrounding world. Through their trials\, an element of profound humanity emerges even in the most fantastical circumstances. Above all\, these are films about hope\, about perseverance\, and\, importantly\, about animation’s transcendental power. All of the screenings will impart instrumental lessons about what can be accomplished within the medium. It’s up to us to continue to champion and celebrate those accomplishments\, and Animation Is Film is a perfect means to do just that. \n—Steven Spoerl
URL:https://tonemadison.com/event/animation-is-film-festival-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124916/animationisfilmpersepolis-hed.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230325T190000
DTEND;TZID=America/Chicago:20230325T220000
DTSTAMP:20260403T120943
CREATED:20230315T201517Z
LAST-MODIFIED:20230622T231740Z
UID:16959-1679770800-1679781600@tonemadison.com
SUMMARY:The Godfather at UW Cinematheque
DESCRIPTION:The Corleones pose for a photographer at the wedding of Constanzia “Connie” Corleone (Talia Shire) and Carlo Rizzi (Gianni Russo). Don Vito (Marlon Brando) stands in the middle. \nReviving cinematic magic is one of the many things UW Cinematheque does best. Not only do they bring rare screenings to our increasingly small film market\, but they present unique opportunities to see classics on the big screen—like Francis Ford Coppola’s seminal epic\, The Godfather (1972)\, screening here in a new 4K digital restoration. \nA cherubic Al Pacino stars as Michael Corleone\, the youngest son of the Corleone mafia in New York City in the mid-1940s. Having just returned home from WWII as a decorated vet\, Michael has rebuffed a great deal of his father Don Vito’s (the brilliant Marlon Brando) guidance through the years and never really considered himself the type to take over the family business. His oldest brother Sonny (James Caan) is next in line\, or so he believes\, to take over. But after an attempt on the Don’s life\, Michael is forced to show his gall and mettle\, and has a chance to run things his way for the extended crime family. \nCoppola adapts the essence of the Mario Puzo novel\, with its prevalent themes of loyalty\, love\, sibling rivalry\, and unfiltered violence. Watching Pacino struggle internally between his personal and family values demonstrates what Coppola saw in him after his daring performance in The Panic In Needle Park (1971). \nThe Godfather ended up garnering numerous nominations for its cast and crew\, and won Oscars for Best Actor\, Best Screenplay\, and Best Picture. Consistently in top-10 lists for the greatest films of all-time\, The Godfather is a masterstroke in the categories of writing\, editing\, acting\, and production. The film remains one of the most influential of the “gangster” genre\, spanning over 50 years. Once Upon A Time In America (1984)\, Goodfellas (1990)\, and The Sopranos (1999-2007) all imitated its exploration of how the business of la cosa nostra and big business in America are often two sides of the same coin. \n—Edwanike Harbour
URL:https://tonemadison.com/event/the-godfather-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124922/godfather72-hed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230330T173000
DTEND;TZID=America/Chicago:20230401T213000
DTSTAMP:20260403T120943
CREATED:20230324T233809Z
LAST-MODIFIED:20230324T233809Z
UID:17089-1680197400-1680384600@tonemadison.com
SUMMARY:Line Breaks Festival at Memorial Union and A Room of One's Own
DESCRIPTION:The annual Line Breaks Festival offers an ever-shifting testament to the bold visions of the students in UW-Madison’s First Wave program. Rooted in hip-hop and spoken-word\, First Wave attracts artists who tend to mix together all sorts of disciplines\, from theater to dance to fashion to visual art. As a result\, the alumni who’ve come through the program since it launched in 2007 cover extensive ground: Poet Danez Smith\, Black Arts Matter Festival founder Shasparay Irvin\, writer/musician Hiwot Adilow\, dancer/rapper/filmmaker James Gavins\, blisteringly focused MCs like Defcee and CRASHprez\, and that’s barely scratching the surface. \nThe Line Breaks schedule is a bit different each time out\, but you can always count on showcases of multiple works from current First Wave students\, alums\, and some exciting guests. Visiting this year from Chicago is poet and scholar Eve L. Ewing\, whose published works include the poetry/visual art collection Electric Arches and the nonfiction book Ghosts In The Schoolyard\, which examines the decimation of Chicago’s south-side public schools under the mayoral administration of Rahm Emanuel. Another can’t-miss guest this year is Chicago singer-songwriter\, poet\, and playwright Jamila Woods—if you haven’t heard her expansive take on R&B on 2019’s LEGACY! LEGACY!\, do yourself a kindness and catch up. \nRegistration is already full for a March 30 talk with Ewing and poet/UW-Madison professor Paul Tran at A Room of One’s Own—but you can still register for the waitlist. Either way\, don’t fret: The real heart of Line Breaks is the performance showcases\, taking place this year on March 31 and April 1\, both nights at 6 p.m. in the Union Theater. Across these two nights\, performers will include Diya Abbas\, Azura Tyabji\, Jackson Neal\, Shasparay Irvin\, Nate Marshall\, Woods\, and Ewing\, among others. Trying to succinctly sum up just what you’ll be seeing here is beside the point. Instead\, just set aside any expectations and get ready to embrace a remarkably fertile overlap of words\, movement\, music\, narrative\, and the myriad ways they can be combined. \n—Scott Gordon \nIllustration by Shaysa Sidebottom.
URL:https://tonemadison.com/event/line-breaks-festival-at-memorial-union-and-a-room-of-ones-own/
LOCATION:Wisconsin Union Theater\, 800 Langdon Street\, Madison\, WI\, 53706\, United States
CATEGORIES:Books,Culture,Music,Poetry
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/08/02125524/music-block-tone-2000x1500-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230330T183000
DTEND;TZID=America/Chicago:20230330T200000
DTSTAMP:20260403T120943
CREATED:20230313T163853Z
LAST-MODIFIED:20230313T163853Z
UID:16944-1680201000-1680206400@tonemadison.com
SUMMARY:Wonder\, Weirdness And Writing About Animals at Goodman Community Center
DESCRIPTION:The first thing I did when I finished Sabrina Imbler’s new book was run to Room of One’s Own and buy a second copy to share with friends. The book\, How Far The Light Reaches\, explores what it means to be a human—specifically\, what it means to be a queer\, Asian-American human—through Imbler’s memories and the lives of 10 sea creatures. \nImbler—who currently works the “creature beat” for Defector\, combining deep scientific context with that publication’s spirit of zany obsession\, and has also published work in The New York Times\, Atlas Obscura\, and The Atlantic—is coming to UW-Madison in late March as the Sharon Dunwoody Science Journalist in Residence. On March 30 at 6:30 p.m.\, they will participate in a panel discussion at the Goodman Community Center titled “Wonder\, Weirdness And Writing About Animals.” Panelists will also include Stacy Forster\, from the UW-Madison School of Journalism and Mass Communication\, and Mary Magnuson\, a graduate student who studies urban canids like coyotes and foxes. \nImbler’s work brings us into the deep at the time we need it most. So many beautiful possibilities for our collective future depend upon humans’ ability to recognize that every part of our world is alive and worthy of protection and celebration. In their writing\, Imbler brings us face to face with mothering octopus arms reaching out to hold us\, gooey salps that dance in community\, feral goldfish that gobble up space when set free\, and shows us how magnificent we really are. \nIf the panel at the Goodman Center is half as good as How Far The Light Reaches\, everyone in attendance will leave transformed and ready to build expansive\, loving communities in Madison and beyond. \n—Sam Harrington
URL:https://tonemadison.com/event/wonder-weirdness-and-writing-about-animals-at-goodman-community-center/
LOCATION:Goodman Community Center\, 214 Waubesa Street\, Madison\, WI\, United States
CATEGORIES:Culture
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124928/imbler_header.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230405T210000
DTEND;TZID=America/Chicago:20230405T233000
DTSTAMP:20260403T120943
CREATED:20230329T141225Z
LAST-MODIFIED:20230329T144021Z
UID:17104-1680728400-1680737400@tonemadison.com
SUMMARY:Lawste\, Kenneth Tarek Sabbar\, Matt Blair at Common Sage
DESCRIPTION:Common Sage\, a house venue just off of South Park Street in the Greenbush neighborhood\, tends to showcase avant-garde music by way of cozy immersion. During a December winter solstice celebration and an October multi-media tribute to La Monte Young\, Common Sage’s hosts invited attendees to share potluck meals and gather around a fire pit in the backyard. This show is a bit more straightforward in name\, but all three sets offer a chance to see musicians exploring new territory\, or at least things the audience doesn’t often get to see them do. (Oh\, and no potluck this time around\, but there will be a post-show fire pit if weather allows. The show is happening a little later than usual for the venue\, so as not to conflict with digital artist Eric Theise and bassist Ari Smith’s performance at Arts + Literature Laboratory the same night.) \nLawste combines Milwaukee bassist Barry Paul Clark—whose contributions run from his eerie electronic solo project adoptahighway to performing in the big-hearted folk-rock outfit Field Report to adventurous groups like Argopelter and Tontine Ensemble—with New York-based harpist/vocalist Rebecca El-Saleh\, who has performed in a variety of experimental settings in addition to creating song-based material in their solo projects. Lawste is a new product of a years-long collaboration\, so it’s anyone’s guess what it will sound like as Clark and El-Saleh use bass\, lever harp\, and electronics to draw on musical backgrounds that truly run the gamut. \nKenneth Tarek Sabbar goes by his full name for experimental live performance\, Tarek Sabbar for techno and ambient music\, and Luxate for his solo noise project. The Madison-based synthesist/producer/guitarist recently put out a new Tarek Sabbar EP\, No One Will Care As Much As You\, and has a Luxate EP planned for later this spring. Neither release has much to do with the electroacoustic set he plans to perform here through a quadraphonic sound setup. Sabbar says he will be “using manipulated gathered acoustic sounds alongside synthesis sounds.”  \nMadison pianist Matt Blair also pulls together a wide spectrum of interests\, from chamber music to the more dissonant\, electronics-enhanced fringes of jazz\, and will be opening the show with a new work. “I’m going to be performing an audiovisual piece based on found sound\, found footage\, and some composed music that was inspired by a regular walking route I like to take along the Yahara River as it flows into Lake Monona\,” Blair tells Tone Madison. \n—Scott Gordon \nImage: Detail from poster art by Kenneth Tarek Sabbar.
URL:https://tonemadison.com/event/lawste-kenneth-tarek-sabbar-matt-blair-at-common-sage/
LOCATION:Common Sage\, 934 Drake St\, Madison\, WI\, 53715\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124846/lawste_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230406T200000
DTEND;TZID=America/Chicago:20230406T230000
DTSTAMP:20260403T120943
CREATED:20230330T210145Z
LAST-MODIFIED:20230405T123454Z
UID:17131-1680811200-1680822000@tonemadison.com
SUMMARY:Little Earthquakes\, Pink Halo at Bur Oak
DESCRIPTION:After three years of writing\, recording\, experimenting\, and polishing its sound\, local emergent ensemble Little Earthquakes finally released its genre-bending debut album\, Promises\, on March 31\, on streaming platforms and vinyl. In celebration of this milestone\, the neo-psychedelic indie dream rock band is headlining a concert at The Bur Oak on Thursday\, April 6. Little Earthquakes has played only a handful of live shows\, but the band is steadily finding a niche in the Madison music community with its vibrant performances\, seamless blend of diverse styles\, inventive approach to music-making\, and expanding fan base. The combined talents of singer Annie Kubena\, drummer Mark Marsh\, guitarist Shanan Galligan\, bassist Brett Farrey\, and keyboardist Mark Siegenthaler make for a gently dynamic artistic force. \nSince releasing an initial single\, “Digital Cowboy\,” last May\, Little Earthquakes has shared two additional selections from Promises—”Eggshells” and “Silent Treatment.” The nine-track record brilliantly showcases the band’s versatility\, eclectic taste\, and exceptional musicianship. Promises opens with the certified banger “Monster Feet\,” injecting an instant shot of energy into the ears before segueing into the plaintive melodies and funky basslines of “Silent Treatment.” From there\, Little Earthquakes takes the listener on a delightful auditory journey that traces an orbit from cosmic disco\, new wave\, and post-punk to electropop\, neo-soul\, and alternative R&B. Kubena’s enchanting vocal style and evocative lyrics are the glue that holds it all together.  \n“I feel like we’re living in an alternate reality\,” Kubena intones on “Cheap Dystopian Dream\,” a digital bonus track. Little Earthquakes was formed just prior to the COVID-19 lockdowns and the band has come a long way. The group’s music provides a palliative for the blues of navigating a strange new world plagued by disease\, war\, social unrest\, and economic instability. Promises offers hard evidence that creativity and expression can thrive despite\, and indeed because of\, adverse circumstances. Anyone looking for spiritual nourishment or a perceptual realignment should support this project and come out for what promises to be a lively\, effervescent occasion. Local self-described “synth-driven indie dream pop” duo Pink Halo rounds out the bill for a perfect complement.  \n—Jason Fuhrman \n \nPhoto by Chris Hynes Photography. 
URL:https://tonemadison.com/event/little-earthquakes-pink-halo-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124839/littleearthquakes_event_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230407T190000
DTEND;TZID=America/Chicago:20230407T205500
DTSTAMP:20260403T120943
CREATED:20230331T161740Z
LAST-MODIFIED:20230622T231656Z
UID:17135-1680894000-1680900900@tonemadison.com
SUMMARY:Throne Of Blood at UW Cinematheque
DESCRIPTION:Samurai warrior Taketoki Washizu (Toshiro Mifune) brutally murders an innocent castle guard (Takeshi Kato) with his sword after assassinating his lord in his sleep. \nAmong the countless cinematic adaptations of Shakespeare’s Macbeth over the years\, Akira Kurosawa’s Throne Of Blood (1957) stands out as the most unorthodox\, transplanting the bard’s classic fable of ruthless political ambition from medieval Scotland to feudal Japan. In conjunction with University Theatre’s upcoming production of Macbeth (April 20 through 30)\, UW Cinematheque is theatrically presenting this atmospheric\, dreamlike\, and visually striking period drama on 35mm. \nThe legendary Toshiro Mifune portrays a seasoned samurai warrior\, Taketoki Washizu\, who finds himself entangled in a self-fulfilling prophecy after securing an important victory on the battlefield. Upon returning to their lord’s castle through Spider’s Web Forest\, Washizu and his friend\, Yoshiaki Miki (Minoru Chiaki)\, encounter a spectral soothsayer who portends their futures. As in the Scottish play\, Kurosawa’s retelling follows a decorated soldier who reluctantly murders his sovereign and ascends to power at the behest of his shrewd\, manipulative spouse (Isuzu Yamada). \nKurosawa was especially attracted to Macbeth\, once calling it his “favorite Shakespeare.” He preserves the essence of the bard’s play\, while elevating it to new aesthetic and cultural heights. Shot on Mount Fuji\, Throne Of Blood conjures a timeless\, otherworldly landscape enshrouded in mist and dense fog as the tragedy of its antihero unfolds. Intricately weaving the literary source material with stylized elements of Noh theater\, exquisite attention to historical detail\, and modern filmmaking techniques\, Kurosawa creates a poetic\, universal meditation on the human condition. With regard to his cinema\, the director has stated\, “When I look at Japanese history—or the history of the world for that matter—what I see is how man repeats himself over and over again.” \n—Jason Fuhrman
URL:https://tonemadison.com/event/throne-of-blood-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124835/throneofblood-calendar.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230407T190000
DTEND;TZID=America/Chicago:20230407T210000
DTSTAMP:20260403T120943
CREATED:20230322T151610Z
LAST-MODIFIED:20230322T151610Z
UID:17045-1680894000-1680901200@tonemadison.com
SUMMARY:Michelle Zauner at Barrymore
DESCRIPTION:It’s easy to forget that a book can be as lyrical as a song when one doesn’t have an audible melody accompanying the reading experience. Michelle Zauner’s 2021 memoir Crying In H Mart\, however\, proves the indelible\, inherent musicality of literature.  \nIn her debut book\, Zauner—known as Japanese Breakfast to legions of indie-pop fans—tells stories of growing up and subsequently growing distant from her Koreanness. When Zauner’s mother\, her central connection to Korea\, is diagnosed with terminal cancer\, she is forced to reckon with and reclaim her identity at age 25. \nCrying In H Mart will feel familiar to fans of Japanese Breakfast\, accustomed as they are to Zauner’s penchant for transforming the gravest feelings of love\, loss\, and regret into verse of complex sensitivity. Whether she is exploring what it means to be Korean in America\, the power of food to connect people\, mother-daughter relationships\, or the trials of adolescence\, attendees at this Wisconsin Book Festival talk (moderated by Emily Mills) are sure to recognize a form of literary talent that facilitates kinship across boundaries and social categories. \n“I remember these things clearly because that was how my mother loved you\, not through white lies and constant verbal affirmation\, but in subtle observations of what brought you joy\, pocketed away to make you feel comforted and cared for without even realizing it\,” she writes of her mother’s ability to remember just how much salt someone wanted in their broth\, or if they hated tomatoes.  \nThis Wisconsin Book Festival-presented talk will likely not be the last time people hear and indulge in the narratives of Crying In H Mart: Will Sharpe\, of recent White Lotus notoriety\, is slated to direct its film adaptation. As a Japanese-English filmmaker himself\, Sharpe told People that he found the memoir “universal in its specificity.”  \n—Alisyn Amant \n \nPhoto by Barbora Mrazkova.
URL:https://tonemadison.com/event/michelle-zauner-at-barrymore/
LOCATION:Barrymore\, 2090 Atwood Avenue\, Madison\, WI\, 53704\, United States
CATEGORIES:Books,Culture
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124904/zauner_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230412T190000
DTEND;TZID=America/Chicago:20230412T201500
DTSTAMP:20260403T120943
CREATED:20230407T022440Z
LAST-MODIFIED:20230622T231622Z
UID:17194-1681326000-1681330500@tonemadison.com
SUMMARY:Terra Femme (with live narration by Courtney Stephens) at Arts + Literature Laboratory
DESCRIPTION:A blemished celluloid shot of one of many international waterways that Courtney Stephens has collected in “Terra Femme.” \nCourtney Stephens’ new documentary-performance Terra Femme (2021) seeks out the female gaze in films and literature about travel. Following a troubling diagnosis several years ago\, Stephens left an industry job to focus on her own projects\, which led to several years’ worth of archival exploration of early travel films by or featuring women. Stephens outlines these adventures in voiceover (live at this Mills Folly Microcinema event)\, with the archive-digging itself as a kind of travel as she globe-hops to flesh out the lives of the sometimes-anonymous camera operators. \nThe footage runs the gamut of the banal to the beautiful. Landscapes from vastly different parts of the world alternate with more casual verité shots of people coming and going\, walking and talking. Stephens’ reflections are wide-ranging\, as she considers the micro-narratives as well as what they may tell us about women’s filmmaking as a whole. She notes the demystifying experience of looking at all of this material back to back\, seeing so many valuable pieces of personal history from a vantage point that most often reveals their redundancies. \nStephens calls the film a work of “feminist retrieval\,” with the hope that by digging into each story\, “a nobody becomes a somebody.” Traveling with the film herself seems like a necessary way to complete the project—to have some element that can react and change as she moves the piece from city to city. It’s a rare opportunity for a screening\, not just to see a unique version of the film with live voiceover but to maybe—by virtue of being part of the filmmaker’s journey—be part of the project’s development itself. \n—Maxwell Courtright
URL:https://tonemadison.com/event/terra-femme-with-live-narration-by-courtney-stephens-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/04/02124817/terrafemme-calendar.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230413T190000
DTEND;TZID=America/Chicago:20230420T223000
DTSTAMP:20260403T120943
CREATED:20230413T052857Z
LAST-MODIFIED:20230417T212124Z
UID:17242-1681412400-1682029800@tonemadison.com
SUMMARY:2023 Wisconsin Film Festival at multiple venues
DESCRIPTION:The film festival guide’s cover art by Christina King shows a wildly decadent (and filmic easter egg-stuffed) birthday cake to commemorate the festival’s 25th year. \nThis year is a milestone for the Wisconsin Film Festival in a few ways. First\, 2023 marks the 25th anniversary of a festival that reliably comes through with considerable heft. Second\, this will be the festival’s last time holding a large portion of its screenings at Hilldale\, so next year’s event will likely be a very different experience from those of the past decade. Amid all this\, the festival is also taking new risks\, this time in the form of a sold-out “secret screening” on April 14 at the Marquee in Union South. Programmers have kept the details of this firmly under wraps\, even publishing a playfully redacted entry for the screening in this year’s festival guide. \nMost years\, the festival boasts more than 150 titles spanning international cinema\, narrative features\, documentaries\, “Wisconsin’s Own” films\, restored classics\, experimental short films\, and even some kid-friendly selections—all programmed with an eager embrace of both prestige and sleaze. Tone Madison‘s film team has been digging into the highlights over the past month\, so please make sure to catch up! If you appreciate their work\, help us do more of it by donating to Tone Madison. Your contributions literally help us pay these excellent writers. \n\nTreat yourself to the 2023 Wisconsin Film Festival\nWe like movie posters: A 2023 Wisconsin Film Festival gallery\nThe dead ends of language in the open-ended short film\, Noise\nTrying to reconcile the irreconcilable in Beyond Human Nature\nYoung French Cinema illuminates modern familial complexities\nForm follows function in Geographies Of Solitude and The Tuba Thieves and their sensory studies of the natural world\nThe flourishingly bittersweet I Like It Here captures the golden essence of humanity\nSearing themes and fleeting presences in five 2023 Wisconsin Film Festival selections\nNick Prueher of Found Footage Festival stomps baskets and lawsuits in Chop & Steele\nChandler Levack’s I Like Movies reaches through personal history to find reconciliation\n\n—Scott Gordon
URL:https://tonemadison.com/event/2023-wisconsin-film-festival-at-multiple-venues/
LOCATION:WI
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/png:https://tonemadison.com/wp-content/uploads/2023/04/wff2023calendar.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230413T200000
DTEND;TZID=America/Chicago:20230413T230000
DTSTAMP:20260403T120943
CREATED:20230328T213127Z
LAST-MODIFIED:20230331T162105Z
UID:17100-1681416000-1681426800@tonemadison.com
SUMMARY:Maggie Cousin Shapes Quintet\, Maestranza at Bur Oak
DESCRIPTION:As a saxophonist\, Maggie Cousin draws on many threads of jazz improvisation and composition. As a producer\, Cousin brings an equally versatile approach to hip-hop. They’ve spent the past few years contributing both sax and beats to live hip-hop outfit D’Funk And The Grease Monkeys\, creating music for sprawling multimedia projects with a multidisciplinary arts residency and Tandem Press\, performing in various ensembles both on and off campus\, and occasionally DJing at the Hot Summer Gays series. And capping off their undergrad music studies at UW-Madison with a recital in 2022. \nWhat Cousin hasn’t gotten to do just yet is to pick off where their “Millennial Jazz” residency at Café Coda left off. Launched in fall 2019\, the recurring gig gave Cousin and other forward-looking musicians a great platform to showcase their own original music\, and to explore compositions from a whole range of forebears—Ornette Coleman\, Joe Henderson\, and Jaimie Branch\, to name a few. A balance of deep perspective and youthful defiance made the residency one of the most rewarding things in Madison’s music landscape (for my money\, at least)\, but the pandemic cut things off all too soon. At this Bur Oak show\, Cousin will be playing some new originals they conceive of as “a collage of shapes\,” with trumpeter Charlie Palm\, pianist Luke Leavitt\, drummer Jordan Kowalski\, and bassist Aden Stier. \n“This project is kind of a return [to] focusing on playing original instrumental music after just kinda doing Grease Monkeys and playing other people’s gigs for a while\,” Cousin says. “It’s gonna be groove-based stuff with hip-hop and dance music influence. The shapes concept is something I’ve been thinking about as a way of encouraging listeners to engage with the music based on what they hear and not about how complex or technical it is. I want the main idea to be something that anybody can feel like they can grasp and think about.”  That accessible spirit\, paired with an adventurous vocabulary\, runs through all the memorable work Cousin has done so far. \n—Scott Gordon \nGhosts by Maggie Cousin  Photo by Dimitrius Olver.
URL:https://tonemadison.com/event/maggie-cousin-shapes-quintet-maestranza-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124849/maggiecousin_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230422T110000
DTEND;TZID=America/Chicago:20230422T160000
DTSTAMP:20260403T120943
CREATED:20230404T171040Z
LAST-MODIFIED:20230419T164307Z
UID:17172-1682161200-1682179200@tonemadison.com
SUMMARY:Madison Print & Resist Zinefest 2023 at Central Library
DESCRIPTION:Resisting with printmaking\, Madison Print & Resist Zinefest is back for its 20th year. Regional artists\, writers\, and printmakers will gather to celebrate the importance of creative and political expression in an array of print media. The event is hosted these days by Communication\, the Madison Public Library’s Bubbler program\, the creative agency UnderBelly\, and ArtWorking\, a local non-profit that works with artists with disabilities. It’s the latest iteration of a pointedly radical print expo that’s evolved through various names\, venues\, and organizing teams over the years. \nAmong the more than 60 exhibiting presses and artists this year are body books\, which creates gender-inclusive and trauma-informed zines in Madison; Late Night Copies\, a Minneapolis-based micro-press that centers queer voices; and Rooster Cow Media\, a micro-label and small press based in Chicago. \nThe individual artists present include Rachel DL\, who writes about disability and chronic illness;\, Dullahan Daydream\, who draws funky little creatures; and Ty Springer\, who creates queer comics. \nThere will be a Zinefest Afterparty at the Bur Oak on April 22  at 7 p.m. with music from Nate Meng & The Stolen Sea and alt-queercore musician Doug Rowe of Woke Up Crying. Admission to the show is on a $5 to $15 sliding scale. \nMadison Print & Resist is also still asking community members to look out for each other’s safety: “Even if not mandated at the time\, there will be strong encouragement for social distancing and masking\,” the event’s website notes. \n—Hannah Keziah Agustin \nPrint & Resist poster art by Jaundy Brunswick.
URL:https://tonemadison.com/event/madison-print-resist-zinefest-2023-at-central-library/
LOCATION:Central Library\, 201 West Mifflin Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Art,Books,Culture
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/04/02124827/printresist2023_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230428T190000
DTEND;TZID=America/Chicago:20230428T204000
DTSTAMP:20260403T120943
CREATED:20230420T182801Z
LAST-MODIFIED:20230622T231556Z
UID:17311-1682708400-1682714400@tonemadison.com
SUMMARY:Police Story III: Supercop at UW Cinematheque
DESCRIPTION:Inspectors Jessica Yang (Michelle Yeoh) and Chan Ka Kui (Jackie Chan) stand side by side with fists and a gun at the ready. \nAlthough both are wonderful in their own rights\, there’s really no need to watch Police Story (1985) or Police Story II (1988) in order to enjoy the standalone speedway of antics and action in Stanley Tong’s Police Story III: Supercop (1992). \nAs the second to last screening in the 2x series at UW Cinematheque this spring\, Police Story III will have you double-pumping your fists in excitement at Michelle Yeoh\, who plays Inspector Jessica Yang\, and Jackie Chan\, who plays Inspector Chan Ka Kui\, narrowly escaping a room full of ready-to-explode ammunition. A familiar cast also returns to support Chan—the titular “supercop”—including his sometimes-supportive supervisor\, “Uncle” Bill (Bill Tung)\, and his sweet and somewhat impulsive wife\, May (Maggie Cheung). \nThe film’s plot is wrapped up with Inspectors Yang and Ka Kui’s undercover infiltration of a drug ring\, which takes them around mainland China and eventually into Malaysia. Through their earnest displays of fighting prowess\, grit\, and some clever disguises\, Yang and Ka Kui work their way up and eventually earn the respect of the ruthless and Tetris-obsessed crime boss\, Chaibat (Kenneth Tsang). More trouble ensues\, and the charismatic duo fights their way through with acrobatic flips\, high kicks\, and sometimes-borrowed guns. The story is fast-paced and frantic\, but the precise details of it melt away when the action and explosions start up; all that matters are Yeoh and Chan’s increasingly death-defying stunts. \nPolice Story III feels like a feature-length version of catching motorcyclists pop wheelies while riding down East Wash on a warm summer evening. Whether you’re like me\, and relatively new to the joys of the action genre\, or you are a seasoned Jackie Chan fan\, this film (screening here in its original international version) is a surefire good time. \n—Hanna Kohn
URL:https://tonemadison.com/event/police-story-iii-supercop-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://tonemadison.com/wp-content/uploads/2023/04/policestorysupercop-tone.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230430T170000
DTEND;TZID=America/Chicago:20230430T193000
DTSTAMP:20260403T120943
CREATED:20230425T181052Z
LAST-MODIFIED:20230622T231534Z
UID:17348-1682874000-1682883000@tonemadison.com
SUMMARY:SPRING (led by Henry Ptacek) at Café Coda
DESCRIPTION:A cropped handbill displays the event information in the lower left corner. Individual photos of SPRING’s members form an image collage. Clockwise from top left: Chris Rottmayer\, Charlie Palm\, Pawan Benjamin\, Ari Smith\, and Henry Ptacek (at the center). \nAfter some reconfiguration\, drummer Henry Ptacek has brought together a sterling cast of local talent for another iteration of his SPRING ensemble. Featuring Ptacek in a quintet with Pawan Benjamin (saxophone)\, Charlie Palm (trumpet)\, Chris Rottmayer (piano)\, and Ari Smith (bass)\, this senior recital will exhibit the range and depth of his influences\, mixing free improvisation with an array of familiar tunes by celebrated jazz giants. \nAcross two succinct sets\, expect to hear interpretations of snappy\, old- and new-school post-bop (Thelonious Monk’s “Monk’s Dream” and Kenny Garrett’s “Ja-Hed”) play off more ’70s fusion-leaning deep cuts by Freddie Hubbard and Miles Davis\, as well as expansively hypnotic Hindustani-tinged spiritual jazz\, including one of Alice Coltrane’s most famous pieces from Journey In Satchidananda (1971). \nAside from those\, Ptacek points out the group’s open rendition of a folk blues tune\, “I’m So Blue\,” which is a bit of a sonic curve ball in the grander program. And yet\, it will likely function as a comforting point of departure—a refreshing act break to stir listeners’ imaginations much like the members’ improvising\, before propelling us back into their focused and inspired jazz covers. \nWhen Ptacek isn’t dabbling in this idiom\, he considerably kicks up the tempo in a new Pixies- and Replacements-like post-punk quintet\, Mission Trip (with Zachary Vincent Dunn\, Sam Eklund\, Reegan Franzmeier\, and Jasper Nelson)\, who just dropped a new EP earlier this month. \n—Grant Phipps \n \nWORT 89.9FM Madison · SPRING Live on WORT-FM
URL:https://tonemadison.com/event/spring-led-by-henry-ptacek-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://tonemadison.com/wp-content/uploads/2023/04/henryptacekspring-sharp.jpg
END:VEVENT
END:VCALENDAR