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DTSTART;TZID=America/Chicago:20220922T190000
DTEND;TZID=America/Chicago:20220922T190000
DTSTAMP:20260403T144916
CREATED:20220916T212001Z
LAST-MODIFIED:20220916T212349Z
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SUMMARY:Brahmulus\, Little Earthquakes at High Noon Saloon
DESCRIPTION:Little Earthquakes perform at AtwoodFest in 2022. Photo by Steven Spoerl.  \nIn a recent Tone Madison profile of emergent act Little Earthquakes\, author Jason Fuhrman artfully described the band’s poignancy: “When Little Earthquakes played at this summer’s AtwoodFest\, the audience received a brief yet warm introduction to the lush musical palette of a budding indie project. Guided by lead singer Annie Kubena’s ethereal vocals\, the band moved fluidly between infectious\, groove-heavy dance numbers\, haunting melodies\, downtempo interludes\, and propulsive neo-psychedelic rock… The members of the band started getting together casually in 2019 just to see what kind of “beautiful noise” they could create. Marsh\, Farrey\, Siegenthaler\, and Galligan sent sketches of tracks to Kubena\, who then wrote melodies and lyrics to flesh out the material. “Digital Cowboy”—the band’s first single\, released in May—is hard evidence that the band has latched onto an unexpected genre-mesh that works.” Neo-soul/pop act Brahmulus rounds out the bill. \n—Jason Fuhrman  \nDigital Cowboy by Little Earthquakes
URL:https://tonemadison.com/event/brahmulus-and-little-earthquakes-at-high-noon-saloon/
LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220923T170000
DTEND;TZID=America/Chicago:20220923T203000
DTSTAMP:20260403T144916
CREATED:20220916T203717Z
LAST-MODIFIED:20220919T154243Z
UID:15811-1663952400-1663965000@tonemadison.com
SUMMARY:Enigma: The Prints Of David Lynch gallery reception & David Lynch: The Art Life screening at Tandem Press
DESCRIPTION:Excerpt from Jason Fuhrman’s article: In conjunction with a reception for Enigma on Friday\, September 23\, starting at 5 p.m.\, Tandem Press will also host an outdoor screening of the documentary David Lynch: The Art Life (2016)\, co-directed by Jon Nguyen\, Rick Barnes\, and Olivia Neergaard-Holm. The movie screening will begin at 7 p.m. on the lawn in front of the Apex building where Tandem is located on the North Side. Guests are encouraged to bring blankets or chairs. \nLynch worked closely with Tandem master printers Andy Rubin and Bruce Crownover and a group of graduate students to create several monotypes\, editioned prints\, and photogravures. Lynch returned to the studio in the summers of 1998\, 1999\, and 2001\, and worked with the press remotely from 2007 to 2008. By all accounts\, Lynch left the imprint of his eccentric personality on Tandem. \nThe predominantly monochromatic exhibition parallels Lynch’s cinema insofar as the meaning of the work remains obscure\, but the power of his images cannot be denied. Lynch’s films compel audiences to watch differently—they often feel like paintings that are meant to be experienced\, rather than explained. Similarly\, the recurring motifs\, rich symbolism\, and dreamlike textures of his prints imbue the work with a distinctively narrative quality. \nDavid Lynch: The Art Life screening alongside the reception for the Engima exhibition feels like the perfect pairing. The documentary plainly demonstrates how Lynch has always been a tactile artist while he manipulates various materials with his bare hands and leisurely performs manual labor. While few of Lynch’s films are actually mentioned in The Art Life\, it emphasizes the myriad intricate connections between his various pursuits\, and suggests that cinema represents just one facet of his vision.
URL:https://tonemadison.com/event/enigma-prints-of-david-lynch-gallery-reception-david-lynch-the-art-life-screening-at-tandem-press/
LOCATION:Tandem Press\, 1743 Commercial Ave\, Madison\, WI\, 53704\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220923T190000
DTEND;TZID=America/Chicago:20220923T235900
DTSTAMP:20260403T144916
CREATED:20220916T204052Z
LAST-MODIFIED:20220916T204052Z
UID:15810-1663959600-1663977540@tonemadison.com
SUMMARY:Hanah Jon Taylor Artet: Tribute to John Coltrane at Café Coda
DESCRIPTION:A sepia-toned photograph of Hanah Jon Taylor is shown side-by-side with a black-and-white photo of John Coltrane.  \nMark Doox’s religious-icon-style painting “St. John Coltrane The Divine Sound Baptist” looms large over the interior of Café Coda. It’s not the only portrait lining the Willy Street jazz club\, but Coltrane is certainly a sort of patron saint of the place. This is\, after all\, a venue owned by saxophonist Hanah Jon Taylor\, who cherishes the spirit of expansion and improvisation that drives Coltrane’s work. On the 76th anniversary of Coltrane’s birth\, Taylor will perform here with Pawan Benjamin on woodwinds\, Chris Rottmayer on piano\, Dushun Mosley on percussion\, and Jeremiah Hunt on bass. There’s no easy way to sum up Coltrane’s contributions to music in his 40 years\, and you can expect that the Taylor Artet’s performance won’t be easy to pin down either.  \n—Scott Gordon
URL:https://tonemadison.com/event/hanah-jon-taylor-artet-tribute-to-john-coltrane-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220924T170000
DTEND;TZID=America/Chicago:20220926T210000
DTSTAMP:20260403T144916
CREATED:20220923T222456Z
LAST-MODIFIED:20220924T032258Z
UID:15860-1664038800-1664226000@tonemadison.com
SUMMARY:Afterlight at Common Wealth Gallery
DESCRIPTION:The banner poster for Mitchell Tanis’ “Afterlight.” Image by Mitchell Tanis. \nWhile Mitchell Tanis’ mixed-media art exhibition Afterlight officially opens on September 24\, audiences who can’t make it out over the weekend will have one last chance on Monday to catch what looks to be an incredibly striking showing. Afterlight\, which is based entirely on the concept of the emotional responses elicited by day transforming into night\, features what Tanis describes as “a creative expression of photography\, art\, and design.” \n\nIn the preview images\, Tanis’ work artfully conveys his desired intent; all three of the selections Tanis sent to Tone Madison were evocative of the sense of encroaching wonderment and personal quiet that often accompany nightfall. Melancholic\, reflective\, and occasionally serene\, Tanis’ vision—even when presented in abbreviation—is undeniably powerful. Afterlight seems set to be an exhibition that leaves a lasting impression. Afterlight will open in a showing that runs from 5 p.m. to 9 p.m. on Saturday\, September 24\, and continue to run from 9 a.m. to 9 p.m. through Monday\, September 26.  \n—Steven Spoerl
URL:https://tonemadison.com/event/afterlight-at-common-wealth-gallery/
LOCATION:Common Wealth Gallery\, 100 S Baldwin St\, Madison\, WI\, 53703\, United States
CATEGORIES:Art
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221001T200000
DTEND;TZID=America/Chicago:20221001T235900
DTSTAMP:20260403T144916
CREATED:20220923T182526Z
LAST-MODIFIED:20220923T182526Z
UID:15851-1664654400-1664668740@tonemadison.com
SUMMARY:House Of Lud\, Under The Surface\, Daughters Of St. Crispin at BarleyPop Live
DESCRIPTION:House Of Lud has gone through a few iterations since it began as a solo doom-metal outing from Troy Peterson\, who’s also known for the varied electronic music and occasional off-the-wall antics of his project Kleptix. For a while\, House Of Lud took the form of a powerful live trio\, recording the 2018 album Olden Void. The project’s latest release\, The Crooked And Thorny Path Of Reckoning\, features a different three-piece lineup: moving from guitar to bass\, Peterson is joined by Joe Cummings on drums and Nick Venechuk on guitar.  \nThroughout all this\, House Of Lud has channeled its lumbering riffs through a lens that’s austere\, murky\, and (as the band’s name might suggest) in willful retreat from the modern world. Peterson tells Tone Madison that House Of Lud has “receded back into the shadows to write the best music we can\, and rehearse the best live set we can play\, and basically not talk about it whatsoever.” —Scott Gordon \nThe Crooked and Thorny Path of Reckoning by House of Lud Illustration by Shaysa Sidebottom.
URL:https://tonemadison.com/event/house-of-lud-under-the-surface-daughters-of-st-crispin-at-barleypop-live/
LOCATION:BarleyPop Live\, 121 West Main Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221001T210000
DTEND;TZID=America/Chicago:20221001T235900
DTSTAMP:20260403T144916
CREATED:20220923T225532Z
LAST-MODIFIED:20220923T225532Z
UID:15870-1664658000-1664668740@tonemadison.com
SUMMARY:Proud Parents\, Cult Of Lip\, Lunar Moth at Crystal Corner Bar
DESCRIPTION:Proud Parents are shown performing during the Dirtnap Super Show Extravaganza. Photo by Steven Spoerl.  \nAfter an excruciatingly long wait\, the Crystal Corner Bar is finally punching its way back into Madison’s live music fold. One of the first lineups the beloved independent bar/venue will be hosting is a classic encapsulation of what makes the Crystal so endearing to so many. Power-pop titans Proud Parents\, dreamy shoegaze stalwarts Cult Of Lip\, and punchy post-punk act Lunar Moth make up an appealing bill that caters to three of Madison’s most prominent punk subgenres. \n\nLunar Moth will be playing just a few weeks after the release of their latest single\, “Sunshine Veins.” Cult Of Lip’s appearance will continue to establish the band’s new lineup/era\, following the semi-recent addition of keyboardist Emili Earhart (an occasional Tone Madison contributor). Proud Parents will be making their first appearance on a traditional bill in a while. Previously\, Proud Parents’ last two appearances were both Madison festival slots (Orton Park and the Dirtnap Super Show Extravaganza) in which the band delivered characteristically energetic sets. All three acts will have good reason to play their hearts out\, which can only benefit the audience. —Steven Spoerl
URL:https://tonemadison.com/event/proud-parents-cult-of-lip-lunar-moth-at-crystal-corner-bar/
LOCATION:Crystal Corner Bar\, 1302 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221002T200000
DTEND;TZID=America/Chicago:20221002T215000
DTSTAMP:20260403T144916
CREATED:20220923T182400Z
LAST-MODIFIED:20220924T024519Z
UID:15852-1664740800-1664747400@tonemadison.com
SUMMARY:Nosferatu: Phantom Of The Night at Leopold's Books Bar Caffè patio
DESCRIPTION:Count Dracula (Klaus Kinski) looms over the bed of Lucy Harker (Isabelle Adjani)\, putting her under his spell. \nStart spooky season and horror month off right with an outdoor screening of Werner Herzog’s Nosferatu: Phantom Of The Night (1979)\, a stylistic reinterpretation of F. W. Murnau’s silent classic of German Expressionism. It’s also the final film of the season on Leopold’s patio. (For these chilly nights\, bring a blanket.) \nInspired by the Romantic paintings of Caspar David Friedrich\, Murnau’s 1922 film is often regarded as the archetype and the pillar for gothic horror cinema. Rather than attempting to ape that aesthetic\, Herzog leans into his own idiosyncratic proclivities at the height of his prolific era of New German Cinema with an ethereal atmosphere and glowing mysticism. \nBesides the comparative pleasures in the casting and visual composition (including some shot-for-shot translation)\, Phantom Of The Night boasts a raga rock-inflected neoclassical new age score by Popol Vuh. It distinctively envelops the film’s otherworldly Transylvanian universe\, which beckons Jonathan Harker (Bruno Ganz) to close a real estate deal with Count Dracula (a perennially lurking Klaus Kinski\, who adopts more humanistic features than Max Schreck’s original grisly Orlok). \nHerzog lends a progressively macabre sense of humor to the final act’s plague infestation. Consider the group who lavishly dines in the throes of death\, being overtaken by rats. But it’s Doctor Van Helsing (Walter Ladengast) who more soberly attempts to counter the pervasive doom and gloom with a speech on science ushering in a new world\, lifting it out of the literal shadows\, as his rationality clashes against Jonathan’s wife Lucy (Isabelle Adjani)’s superstitious faith. \nIf Murnau was constructing his own language of silent cinema by way of landscape paintings of the 19th century\, Herzog and cinematographer Jörg Schmidt-Reitwein may have borrowed their own from Giorgio de Chirico\, who was also a notable inspiration to Fumito Ueda and Team Ico when rendering one of this century’s most influential adventure games\, Ico (2001). —Grant Phipps
URL:https://tonemadison.com/event/nosferatu-phantom-of-the-night-at-leopolds-books-bar-caffe-patio/
LOCATION:Leopold’s Books Bar Caffè\, 1301 Regent Street\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221004T190000
DTEND;TZID=America/Chicago:20221004T220000
DTSTAMP:20260403T144916
CREATED:20220803T201520Z
LAST-MODIFIED:20220912T044724Z
UID:15162-1664910000-1664920800@tonemadison.com
SUMMARY:Tatsuya Nakatani\, Russell/Sexe at Arts + Literature Laboratory
DESCRIPTION:Tone Madison and Arts + Literature Laboratory are co-presenting this show from Tatsuya Nakatani\, a tirelessly touring veteran of avant-garde percussion. Nakatani will be performing solo here\, in improvised sets that usually find him coaxing an astonishing variety of sounds from drumkit\, gongs\, and singing bowls. What really makes Nakatani’s performances so entrancing is how he uses a range of techniques—bows\, fingertips\, breath—that bring out not just the explosive power of percussion but also its most delicate harmonics and textures. (He has further explored the sheer possibility of bowed gongs with his Nakatani Gong Orchestra project.) The multifaceted music and dance duo of Tim Russell and Liz Sexe will open. Tickets are discounted for Tone Madison Sustainers and Arts + Lit Lab members. —Scott Gordon
URL:https://tonemadison.com/event/tatsuya-nakatani-russell-sexe-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music,Tone Madison Events
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221006T190000
DTEND;TZID=America/Chicago:20221006T204500
DTSTAMP:20260403T144916
CREATED:20220930T201732Z
LAST-MODIFIED:20220930T204446Z
UID:15904-1665082800-1665089100@tonemadison.com
SUMMARY:Television Event at UW Cinematheque
DESCRIPTION:Nicholas Meyer discusses his TV disaster drama “The Day After” in Jeff Daniels’ documentary “Television Event.” \nExcerpt from Maxwell Courtright’s review: Television Event\, the 2020 documentary by Jeff Daniels (not that one) about the making of The Day After\, is a relatively straightforward telling of events\, as Daniels gathers a somewhat random collection of people who made the film happen. The Day After director Nicholas Meyer is the star here\, positioned as the enfant terrible (hot off his directing of 1982’s Star Trek II: The Wrath Of Khan)\, who insisted on defying censors and filming all four hours of the script despite only two making it to the final cut. His devil-may-care attitude drives the idea of the original film as an heroic act\, something necessary that provoked passion in its creators despite their hardship filming it. While censors and restrictive producers feature\, the assumed disapproval of the Reagan administration provides most of the conflict. \nTelevision Event shares the same task with many other historical documentaries: showing its audience that now-common tropes were radical in a different context. But the film arguably goes too far in this direction\, highlighting nothing but the Sisyphean struggle to get this vitally important story to the small screen. Powers that supposedly made it difficult for The Day After to exist in the first place are also among the ones singing its praises in Television Event.
URL:https://tonemadison.com/event/television-event-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T190000
DTEND;TZID=America/Chicago:20221007T213000
DTSTAMP:20260403T144916
CREATED:20220930T203158Z
LAST-MODIFIED:20220930T204423Z
UID:15907-1665169200-1665178200@tonemadison.com
SUMMARY:The Day After (with director Nicholas Meyer in person) at UW Cinematheque
DESCRIPTION:A promotional still of the Dahlberg family and their apocalypse stowaway (Steve Guttenberg\, staring at the camera) in “The Day After.” \nExcerpt from Maxwell Courtright’s review: Director Nicholas Meyer appears here in person to introduce his 1983 TV disaster drama\, which features a mix of notable actors of the time (Jason Robards\, JoBeth Williams\, and Steve Guttenberg) and local people cast for maximum Kansas-ness\, certainly has the quality of something conceived more as a “special event” than a true film. Individual plot threads are played for their hyperbolic human drama while still paling in comparison to the completely blown-out existential stakes of nuclear war. \nThe Day After’s exposition sets up tourism ad-like idyllic images of rural Kansas and its everyday inhabitants—from the Dahlberg family preparing for their daughter Denise (Lori Lethin)’s wedding\, to the students and professors at the University Of Kansas. When someone remarks that Kansas City is functionally “in the middle of nowhere” and not at risk of harm from the impending war between the U.S. and Soviets\, John Lithgow’s grad student character responds (with classic Lithgow relish) that “there’s no nowhere anymore.” It’s a line that instills maximum terror in the American viewer-base who’d develop newfound fears of their hometowns no longer being safe from violence. Surely enough\, war does break out\, and the Kansas residents are sheltering\, scavenging\, and developing radiation sickness in short order. While it’s full of drama of the highest order\, there’s a schematic quality about it in the logical playing-out of its horrors being the entire point.
URL:https://tonemadison.com/event/the-day-after-with-director-nicholas-meyer-in-person-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T200000
DTEND;TZID=America/Chicago:20221007T230000
DTSTAMP:20260403T144916
CREATED:20221001T030440Z
LAST-MODIFIED:20221001T030623Z
UID:15933-1665172800-1665183600@tonemadison.com
SUMMARY:Mad Lit: Ted Park\, Rob Dz\, Sincere Life\, Dash at 100 Block Of State Street
DESCRIPTION:An illustration by Shaysa Sidebottom shows multi-colored images of a keyboard\, a turntable\, a microphone\, speakers\, a “play” button\,” and sliders and indicators from a soundboard\, all arranged in a grid-like pattern. \nWith this show\, the Mad Lit concert series closes out a second year of making a proud\, joyous space for hip-hop in downtown Madison. Since its inception\, Mad Lit has emphasized local artists\, from the relatively established to the relatively unknown. It’s fitting that the bill includes the ever-gregarious and unflappable MC/spoken-word performer Rob Dz\, who has put in a ton of behind-the-scenes work to organize Mad Lit through his connections with the Urban Community Arts Network and Greater Madison Music City Project. Sincere Life\, aka Craig Smith\, has spent much of the past few years concentrating on his stand-up comedy career\, but also has a long track record of sharply written and executed hip-hop. Madison-born breakout Ted Park headlines. \n—Scott Gordon
URL:https://tonemadison.com/event/mad-lit-ted-park-rob-dz-sincere-life-dash-at-100-block-of-state-street/
LOCATION:100 Block of State Street\, 100 State Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221009T140000
DTEND;TZID=America/Chicago:20221009T153000
DTSTAMP:20260403T144916
CREATED:20220930T204357Z
LAST-MODIFIED:20221001T031226Z
UID:15913-1665324000-1665329400@tonemadison.com
SUMMARY:Stuck at Chazen Museum Of Art
DESCRIPTION:Bloodied and stuck halfway through a car windshield\, Thomas (Stephen Rea) glares at Brandi (Mena Suvari) in the driver’s seat. \nExcerpt from Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art: Driving home drunk and high\, nursing assistant Brandi Boski (Mena Suvari) hits a homeless man\, Thomas Bardo (Stephen Rea). Instead of reporting the accident\, Brandi goes home and parks the car in her garage\, with Thomas stuck halfway through her windshield. The rest of the film is a slow-motion battle of the wits\, as Thomas tries to escape while the increasingly desperate Brandi tries to cover up the crime. \nAlong with Stuart Gordon’s other late-period films King of the Ants (2003) and Edmond (2005)\, Stuck (2007) depicts ordinary people’s capacity for evil. While all these are not exactly horror films\, at times they manage to be more disturbing than Gordon’s genre work due to their real-life settings and grimy\, low-budget feel. Gordon once stated in an interview with Filmmaker Magazine that\, “as you get older you start realizing that real life is scarier than anything you can dream up\, that the things that people actually do to each other are far more bizarre and horrifying than anything that Lovecraft could dream of.” Though Stuck is openly indebted to Misery (1990)\, Gordon portrays Brandi not as a monster\, but as a sympathetic\, albeit self-centered character who is capable of doing monstrous things. Featuring impressive performances from both Suvari and Lea\, Stuck is a potent swan song from a master of suspense.
URL:https://tonemadison.com/event/stuck-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221013T190000
DTEND;TZID=America/Chicago:20221013T210000
DTSTAMP:20260403T144916
CREATED:20221008T010301Z
LAST-MODIFIED:20221008T160053Z
UID:16009-1665687600-1665694800@tonemadison.com
SUMMARY:Alvvays\, Slow Pulp at Memorial Union Terrace
DESCRIPTION:Photo: Alvvays are shown posing in front of a window. Trees and greenery are visible through the background pane. Photo by Eleanor Petry. \nNothing quite like a bit of tasteful indie pop to get everyone excited for… a collegiate homecoming? Nonetheless\, when the standard being set is this absurdly high\, no one should complain. Slow Pulp—a Chicago quartet who once called Madison home—will kick off a free bill at the Terrace\, setting the stage for Canadian critical darlings Alvvays‘ headlining set. Alvvays will be appearing fresh off the release of Blue Rev\, an unexpected career high from a band that’s maintained a high standard of excellence since breaking into international consciousness with their 2013 hit “Archie\, Marry Me.” \n\nSlow Pulp’s last release\, the standalone 2021 single “Shadow\,” saw the band continuing to experiment with their distinct take on indie punk\, leaning into a mid-fi\, early-2000s alternative rock aesthetic to arresting effect. Having seen them recently\, I can say with confidence that their live show has never been sharper or more energetic and should be a perfect complement to Alvvays’ pristine (but still highly engaging!) professionalism. Should the weather decide to not cooperate\, the show will be moved into the Wisconsin Union Theater. Rain or shine\, the caliber of this bill constitutes one of the best free live music opportunities Madison showgoers will get this year.\n\n—Steven Spoerl\n \nBlue Rev by Alvvays
URL:https://tonemadison.com/event/alvvays-slow-pulp-at-union-memorial-terrace/
LOCATION:Memorial Union Terrace\, 800 Langdon Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T175000
DTEND;TZID=America/Chicago:20221020T135000
DTSTAMP:20260403T144916
CREATED:20221014T214228Z
LAST-MODIFIED:20221018T154121Z
UID:16074-1665769800-1666273800@tonemadison.com
SUMMARY:Stars At Noon at Marcus Point Cinema
DESCRIPTION:Trish Johnson (Margaret Qualley) and Daniel DeHaven (Joe Alwyn) stare at each other longingly. \n“Stars At Noon” is also screening at Marcus Palace Cinema. \nA nascent folie à deux is crushed by the world being significantly more mad than two people can manage in French auteur Claire Denis’ new erotic political thriller Stars At Noon (2022). Based on the 1986 novel by Denis Johnson\, the film transposes the original world-flattening event of the 1984 Nicaraguan revolution to a contemporary Nicaragua just as destabilized by COVID-19.  \nTrish Johnson (Margaret Qualley)\, an American would-be journalist can’t leave the country because a minor official is holding her passport\, forcing her to resort to sex work as a means of survival. She is swept up by Daniel DeHaven (Joe Alwyn)\, an English oil executive who naively assumes that he can go against the tides of global power structures. Each is dependent on the other for more than just sex—Johnson hopes to use DeHaven as a way out of the country and DeHaven gradually learns how little knowledge he has of political machinations. But Central American heat and desperation ensure that the erotic connection is the bedrock of their relationship\, which Denis shoots in her characteristic\, swaying close-ups. \nStars At Noon is Denis’ third feature mostly in English\, and her second to be distributed by A24. Qualley excels as Trish\, portraying a kind of vulnerability mixed with ironic remove (and alcoholism)\, as if the protagonist of a Noah Baumbach New York indie got into some real trouble. Alwyn also brings a scruffy upper-class charm to his role as a would-be white savior who overestimates his own mysteriousness. Though Robert Pattinson was originally cast to play Daniel\, before dropping out for The Batman (2022)\, Alywn more resembles a young Kenneth Branagh or Russell Crowe (Alwyn has also been dating Taylor Swift since 2016\, so Swifties\, you know what you have to do). \nThe delusion of white privilege drives the story forward\, much like Denis’ past White Material (2009)\, just under even more severe scrutiny. Johnson and DeHaven never totally abandon their unspoken belief that their countries of origin will shield them\, even as their situation becomes worse. Their attraction of convenience fuels their belief that going on the run will end well. The title song by frequent Denis collaborators Tindersticks is also worth noting—it’s an authentic-sounding piece of ‘60s Bossa Nova. Johnson and DeHaven share a slow dance in an empty dancehall that perfectly communicates how they view their relationship\, despite all evidence to the contrary: two stars burning so brightly together that they’re visible when they shouldn’t be\, if only anyone was around to look. \n—Lewis Peterson
URL:https://tonemadison.com/event/stars-at-noon-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T190000
DTEND;TZID=America/Chicago:20221014T230000
DTSTAMP:20260403T144916
CREATED:20221008T013130Z
LAST-MODIFIED:20221008T013130Z
UID:16015-1665774000-1665788400@tonemadison.com
SUMMARY:Billy Woods\, ShrapKnel at Memorial Union Rathskeller
DESCRIPTION:Photo: Billy Woods poses in a wooden structure\, with a mask obscuring his face.  \nFew rap artists of this era have carved out a niche as singular and arresting as Billy Woods. Run a Twitter search on “Billy Woods best writer” and the resulting cavalcade of glowing tweets are a strong indicator of how he’s perceived by his audience\, which continues to expand. As a solo artist and as a member of Armand Hammer\, Woods has netted notoriety as one of the genre’s preeminent “underground” rap artists. Woods’ downbeat\, haunting\, dreamlike soundscapes\, aggressive delivery\, and superlative writing are the rapper’s core calling cards\, conjuring up a mesmeric mystique. Every last inch of that formula is on display in Woods’ latest—the freshly released Church—just as it was on his breakout single\, Hiding Places‘ “Spongebob.”   \nShrapKnel\, a rap group who\, like Woods\, has made some cross-genre waves within the DIY punk scene\, will open the night. Metal Lung\, ShrapKnel’s new album\, features the emergent duo embracing a wild-eyed\, frenetic mode. Both Woods and ShrapKnel are inherently connected by a commendable artistic drive to keep pushing forward\, never wanting to risk losing a step. (ShrapKnel also gets bonus Wisconsin points for name-dropping then-Bucks assistant coach Darvin Ham on ShrapKnel‘s “Gun Metal Paint.”) NYC’s rap scene has always been overwhelmingly strong and influential\, but even in that storied history\, Billy Woods and ShrapKnel are talented enough to stand out. \n\n—Steven Spoerl \n  \nChurch by billy woods x Messiah Musik
URL:https://tonemadison.com/event/billy-woods-shrapknel-at-memorial-union-rathskeller/
LOCATION:Memorial Union Rathskeller\, 800 Langdon St\, Madison\, WI\, 53706\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T200000
DTEND;TZID=America/Chicago:20221014T235900
DTSTAMP:20260403T144916
CREATED:20221007T201642Z
LAST-MODIFIED:20221007T224237Z
UID:15988-1665777600-1665791940@tonemadison.com
SUMMARY:Dream House\, a La Monte Young birthday celebration at Common Sage
DESCRIPTION:A “Dream House” handbill features a sprig of sage illuminated in red. \nHouse venue Common Sage celebrates La Monte Young’s 87th birthday\, his 1974 drone record (with Marian Zazeela and Theatre of Eternal Music) Dream House\, and Young and Zazeela’s art space of this same name\, with this special meditative social—in a manner of speaking. \nOrganizers Tim Russell and Liz Sexe will open their doors to visitors between 8 p.m. and midnight; and they have extended a collaborative invitation to videographer and video artist Aaron Granat\, who will help recreate the light installations and soothing environmental aura of the original space (a third-floor apartment located off Church St in TriBeCa). All the while\, the sine wave-altered voice of Young and more sonorous vocalizing of Zazeela (and likely other Young records that feature synths\, percussion\, and even tambura) will reverberate through the modestly sized rooms. \nWhile only 10 masked people are permitted inside at a time\, Russell has mentioned utilizing additional space in their backyard with a small fire pit\, weather and temperature permitting. If you’re planning on anything more than walking through the house or lounging for a few minutes\, Russell and Sexe encourage bringing a cushion or blanket. \nConsider this calming\, almost therapeutic open house of sorts as a prelude to Common Sage’s potentially more active schedule in 2023\, one they attempted to kickstart at the start of 2020.  \n—Grant Phipps
URL:https://tonemadison.com/event/dream-house-a-la-monte-young-birthday-celebration-at-common-sage/
LOCATION:Common Sage\, 934 Drake St\, Madison\, WI\, 53715\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221015T120000
DTEND;TZID=America/Chicago:20221015T140000
DTSTAMP:20260403T144916
CREATED:20221010T220906Z
LAST-MODIFIED:20221010T220906Z
UID:16025-1665835200-1665842400@tonemadison.com
SUMMARY:Gate Check with Cole Bartels at Grace Episcopal Church
DESCRIPTION:At this performance\, Darren Sterud and his quartet Gate Check will collaborate with fellow trombonist Cole Bartels to pay tribute to The Great Kai & J. J.\, the 1960 album from trombonists Kai Winding and J. J. Johnson. It’s a good fit for Gate Check’s versatility and conversational interplay: The Great‘s album’s highlights range from a dynamic take on Thelonious Monk’s “Blue Monk” to the sly blues of Johnson’s original “Trixie.” \nSterud gave his original compositions an expansive showcase on Gate Check’s 2021 album Places. Drummer Matthew Endres\, bassist Ben Ferris\, pianist Chris Rottmayer\, and Sterud used the travel-themed project to take the listener through a variety of emotional settings and just as many points along the continuum of jazz. From the plaintive\, slow build of “Highlands\,” the playful spookiness of “Sighisoara\,” the rollicking second-line explosion of “Bywater\,” the quartet treats all these different crosscurrents as living and lively things.  \nThis October 15 show at Grace Episcopal Church will focus solely on material from The Great Kai & J. J. But there will be a chance soon to hear more of Sterud’s originals on October 21 at The Bur Oak\, when Gate Check opens an album-release show for Mr. Chair. \n—Scott Gordon \nPlaces by Gate CheckPhoto by Flaviano Estrella.
URL:https://tonemadison.com/event/gate-check-with-cole-bartels-at-grace-episcopal-church/
LOCATION:Grace Episcopal Church\, 116 West Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221015T190000
DTEND;TZID=America/Chicago:20221015T203000
DTSTAMP:20260403T144916
CREATED:20221007T224754Z
LAST-MODIFIED:20221011T091317Z
UID:16001-1665860400-1665865800@tonemadison.com
SUMMARY:Take Out at UW Cinematheque
DESCRIPTION:Ming Ding (Charles Jang) peddles across a New York City intersection with a Chinese food delivery bag around his left wrist. \nExcerpt from Grant Phipps’ review and interview with co-writer and co-director Sean Baker: \nFor all its constant pressures of time\, chronicling the vicissitudes in a day in the life of a Chinese takeout deliveryman\, Sean Baker and Shih-Ching Tsou’s microbudget masterpiece Take Out (2004) possesses a timeless empathy. \nWith a shoestring budget of $3\,000 that was paid out of pocket\, Baker and Tsou’s film situates itself in an actual working restaurant in NYC’s Manhattan Valley neighborhood\, and maneuvers through the streets and apartment buildings of the Upper West Side with a kinetic velocity comparable to the Danish Dogme 95 films of Lars Von Trier and Thomas Vinterberg\, as well as the Dardenne Brothers’ Rosetta (1999)\, “as if it were shot from the barrel of a gun\,” Kent Jones once wrote of the latter. \nBaker assumes cinematographic duties\, using a MiniDV camera that winds its way into packed kitchen spaces\, stairwell and elevator corners\, as well as the car-crowded\, rain-drenched streets of the city with a comparably gripping urgency and spontaneity. \nThis is something more than a simple narrative; it’s wholly unified documentary and fiction. It’s fragments of an immigrant’s reality as if it were captured by one of deliveryman Ming Ding (Charles Jang)’s coworkers\, like his close friend and confidant Young (Jeng-Hua Yu)\, who understands his present predicament—to repay\, in less than 24 hours\, a debt to a loan shark who aided in his smuggling from China or face the crushing\, recurrent reality of violent retaliation. Young has also struggled to make a life for himself in New York after the same circumstance\, physically distant but emotionally connected to his family on the other side of the world.
URL:https://tonemadison.com/event/take-out-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221016T140000
DTEND;TZID=America/Chicago:20221016T154500
DTSTAMP:20260403T144916
CREATED:20221007T233433Z
LAST-MODIFIED:20221007T233530Z
UID:16005-1665928800-1665935100@tonemadison.com
SUMMARY:The Pit And The Pendulum at Chazen Museum Of Art
DESCRIPTION:Maria (Rona De Ricci) pleads to the Grand Inquisitor Torquemada (Lance Henriksen). \nFrom Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art: \nThe loosely Edgar Allan Poe-adapted The Pit And The Pendulum (1991) graphically depicts the horrors of the Spanish Inquisition. \n\n\n\nAccused of practicing witchcraft by the Grand Inquisitor Torquemada (Lance Henriksen)\, innocent Maria (Rona De Ricci) and her husband Antonio (Jonathan Fuller) are imprisoned and tortured. Torquemada grows increasingly infatuated with his beautiful captive\, and Maria has to learn magic from kindly witch Esmerelda (Frances Bay\, a David Lynch/Adam Sandler regular) in order to survive. Written by Gordon’s lifelong friend and collaborator Dennis Paoli (who visited the Wisconsin Film Festival this year)\, The Pit And The Pendulum manages to be a well-researched depiction of the Inquisition while also brimming with Gordon’s signature gallows humor. Gordon uses the hypocrisy and fanaticism of the Inquisition as a commentary on the rise of the religious right during the Reagan and Bush years as well as his eternal struggles with the MPAA ratings board. \n\n\n\nThe Pit And The Pendulum was a return to horror for Gordon\, who had spent the previous couple years developing Honey\, I Shrunk The Kids (1989) for Disney before stress-induced health issues led him to drop out as director. The film also reunited Gordon with producer and horror mogul Charles Band\, whose Empire Pictures had produced Gordon’s first four films. While Band is best known for churning out cheap straight-to-VHS junk like Puppet Master (1989)\, he always gave Gordon artistic freedom. The Pit And The Pendulum’s period ambience benefits from being filmed in an actual 15th-century castle owned by Band\, an ingenious cost-cutting method that Gordon would use again for the truly terrifying Castle Freak (1995).
URL:https://tonemadison.com/event/the-pit-and-the-pendulum-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221021T190000
DTEND;TZID=America/Chicago:20221021T210000
DTSTAMP:20260403T144916
CREATED:20221014T221014Z
LAST-MODIFIED:20221018T152758Z
UID:16080-1666378800-1666386000@tonemadison.com
SUMMARY:Distant (2002) at UW Cinematheque
DESCRIPTION:Mahmut (Muzaffer Özdemir) sits alone on a bench by the water amidst the desolate\, wintry landscape of modern Istanbul\, while contemplating the Void of existence. \nExcerpt from Jason Fuhrman’s review: \nDistant (2002) unfolds in a seamless succession of long takes that throws into sharp relief the immense divide between the two individuals. However\, Turkish director Nuri Bilge Ceylan’s film also highlights the purposelessness and vacuity of Mahmut and Yusuf’s respective lives. Although they are polar opposites in many ways\, the two men share an inability to communicate their feelings\, the absence of any fulfillment in personal and professional pursuits\, and a deep-seated sense of existential futility.  \n With its elliptical narrative\, psychological acuity\, realistic performances\, and rigorous\, stunning compositions\, Distant masterfully evokes the difficulty of forming meaningful connections in an increasingly alienating modern world. In Cahiers Du Cinéma\, Ceylan states: “My first intention was to make a film on the emptiness of life\, the sensation of the void and uselessness.” While the prospect of watching such a movie might seem bleak and depressing\, the power of Distant derives from the auteur’s exceptional ability to absorb viewers in the fine details of everyday life. \nDistant should be seen in a movie theater to truly appreciate the subtle impact of its pure visual poetry and immersive sound design. Ceylan uses a deceptively simple premise to craft a vividly atmospheric\, richly textured\, and mesmerizing meditation on the human condition. His portrait reveals unexpected depth in existential emptiness\, fleeting beauty in the spiritual wasteland of advanced industrial society\, and elusive\, ineffable truths in the spaces between human beings.
URL:https://tonemadison.com/event/distant-2002-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221021T200000
DTEND;TZID=America/Chicago:20221021T223000
DTSTAMP:20260403T144916
CREATED:20221014T224057Z
LAST-MODIFIED:20240509T055815Z
UID:16090-1666382400-1666391400@tonemadison.com
SUMMARY:Mr. Chair\, Darren Sterud's Gate Check at Bur Oak
DESCRIPTION:Mr. Chair (Mike Koszewski\, Jason Kutz\, Ben Ferris\, José Guzmán\, and Mark Hetzler) pose at I/O Arcade Bar pinball machines. Photo by Sherri Zhang. \nWhile clocking in at less than half the length of their celebrated debut record Nebulebula\, Mr. Chair’s sophomore project Better Days still contains over an hour of the most engrossing and expansive compositions by any active Madison-based ensemble that’d we loosely categorize as “jazz.” \nOn Better Days\, every core member of the group seizes the opportunity to flex their compositional chops. Throughout\, they’re joined by a fifth member\, electric guitarist José Guzmán\, who brings the more rock- and jazz fusion-oriented elements in Mr. Chair’s sound to the forefront\, like a low-key John McLaughlin. But the band also hasn’t lost their flair for equally playful nods to modern classicism. Pianist/keyboardist Jason Kutz’s “Britten’s Written Rhythm” is an upbeat nod to the 20th century UK composer Benjamin Britten\, as Ben Ferris’ anchoring double bass groove guides its serenely intermingling piano\, trombone\, and guitar melodies. \nPerhaps most ear-grabbing\, though\, is the opener “March\,” which is basically Mr. Chair’s spirited take on a classical march that absorbs more progressive ideas as it bounds ahead like the magically adhesive “katamari” from the kooky puzzle game Katamari Damacy. And that’s not such a left-field comparison either\, as the latter half’s instrumental palette almost sounds like the band performing a full-bodied arrangement of a classic NES game theme—Kutz’s spacey\, midi-sounding synth washes colliding into Ferris’ equally supple and funky electric bass notes\, with Mark Hetzler’s smooth trombone sliding through the boisterously scaling harmonies. \nGuest alto saxophonist Eddie Barbash joins on the Ferris-composed “Elegy\,” which begins as plaintively as it reads on the surface. But the elegance of Barbash’s embellishments elevate the mood to find something cathartic and ultimately positive\, steadied by Mike Koszewski’s hypnotic drumming. The two variations of “Fuchsia\,” Better Days‘ most definitive statement\, truly assimilate all of the above genres and descriptors—first with Buzz Kemper’s slightly absurdist beat poetry appreciation of the titular color. Caught somewhere on the spectrum between pink and purple\, it’s a synesthete’s analogy for Mr. Chair’s bold instrumental ambitions\, fully articulated on the lengthier latter arrangement with Barbash\, which bends further into the eclectic sonic realms of Snarky Puppy\, Comet Is Coming\, and GoGo Penguin. \nFresh off a collaborative concert with trombonist Cole Bartels\, Darren Sterud’s Gate Check will open this Better Days CD release show. \n—Grant Phipps
URL:https://tonemadison.com/event/mr-chair-darren-steruds-gate-check-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/2022/10/02125330/mrchair-2022.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221022T210000
DTEND;TZID=America/Chicago:20221022T233000
DTSTAMP:20260403T144916
CREATED:20221014T193924Z
LAST-MODIFIED:20221014T193924Z
UID:16066-1666472400-1666481400@tonemadison.com
SUMMARY:Cribshitter\, Heavy Looks at Crystal Corner Bar
DESCRIPTION:Quite a long time ago\, Madison band Cribshitter made it clear that it has more to offer than sick jokes. It did start as a prank in 2004\, and has never outgrown its love of juvenile gross-out humor. (Tracks on Cribshitter’s 2008 debut album\, Cry A Little Rainbow\, include “Hooked On Colonics” and “War Torn Vaginer.”) If anything\, their humor has just gotten more weird and deadpan over the years\, while the band got more serious about songwriting craft. By the time 2015’s album Acapulco rolled around\, the band’s embrace of gauzy soft rock and throwback country (and a dash of most other flavors of popular music) had stopped feeling ironic\, and more like a sincere vehicle for very unhinged ideas. As it gets more elaborate it gets funnier\, as it gets funnier it gets more genuinely enjoyable as a whole.  \nThis virtuous cycle continues on Goin’ Soft\, the new album Cribshitter’s celebrating at this show. As the title suggests\, the album further wades into the yacht-rock elements the band explored on Acapulco. It also opens up with a surprisingly weighty sense of sadness on “She Barely Loves Me\,” which is saying a lot for a song with the line “I cry my way through boner pill commercials.” This lightens up just a bit\, into a delicious lonesomeness on the next track\, “Sausalito Sunset.” Don’t worry about things getting all pouty and over-serious—as longtime fans look over the tracklisting\, they’ll see reassuring titles like “Assplay” and “Taipei Personality\,” and 2020’s brilliantly dumb bro-country single “COVID Cove” returns here as an album track (“Remote work is hard\, so I’m hardly workin’ / A real man needs a woman with a freshwater merkin”). The emotional heft that sneaks up on Goin’ Soft is\, instead\, another welcome twist in the career of an improbably rewarding band.  \nGoin’ Soft by Cribshitter \nAnother standout Madison band\, Heavy Looks\, opens the night here to celebrate its own new album\, Apathy. The long-in-the works follow-up to 2015’s Waste It Right\, Apathy gives the band’s power-pop a big\, rugged edge. Guitarists/vocalists Rosalind Greiert and Dirk Gunderson write sweetly dejected\, exuberantly pissed-off songs. Occasionally the band takes a more aggressive lunge—”don’t be so mean when I want you to be nice\,” Greiert warns on “Shake Me Up\,” in the velvety baritone voice of someone you would not want to piss off. This song also appeared on the band’s 2014 debut\, Senses Growing Dull\, which really lets you hear the band’s growth over the years—the material was solid from the start\, but they’re now sounding better than ever. Bassist Jarad Olson and drummer Shawn Pierce also give these songs some extra muscle on the album. Since the recording\, Heavy Looks has switched to a new rhythm section with Tricia DiPiazza on bass and Jess Nowaczyk (who mastered the album) on drums. Apathy bodes well for a set that’s as powerful as it is catchy.  \n—Scott Gordon\nApathy by Heavy Looks\nPhoto by Dustin Sisson.
URL:https://tonemadison.com/event/cribshitter-heavy-looks-at-crystal-corner-bar/
LOCATION:Crystal Corner Bar\, 1302 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221022T220000
DTEND;TZID=America/Chicago:20221023T020000
DTSTAMP:20260403T144916
CREATED:20221014T194355Z
LAST-MODIFIED:20221014T194355Z
UID:16069-1666476000-1666490400@tonemadison.com
SUMMARY:No Question\, Disease\, L.I.B.\, Infernal Trench at Mickey's Tavern
DESCRIPTION:No Question has gouged a lasting mark into Madison’s music community over the past eight years\, channeling the corroded fury of ’80s hardcore into sets that reliably turn venues into churning\, sweaty messes. But this\, sadly\, will be the band’s last show. It helps that No Question is the kind of band that actually works best in the packed confines of Mickey’s\, and this band deserves a chaotic\, cathartic send-off. It also leaves behind two very good releases: 2017’s self-titled debut EP and 2020’s Internal Bleeding. The second one captures the solidified lineup who will play this show: Vocalist Lauden Nute\, drummer Anders Totten (the two start-to-finish members)\, bassist Maggie Denman\, and guitarist Mike Berte. (Nute and Denman have both made editorial illustrations for Tone Madison.) \nThrough a few lineup changes\, No Question has kept it to-the-point\, thrashing through most of its songs in a minute or so. Plus\, they’ve always been able to pack a good few rhythmic shifts into those short\, relentless bursts. While the songs are never flashy or technical\, they’re flexible enough to turn your usual hardcore pummeling into a lurching\, unpredictable groove. That flexibility\, paired with Nute’s acerbic screams and growls\, help songs like Internal Bleeding‘s “Inside Voice” draw people deeper into spirals of rage and anxiety.  \n—Scott Gordon\nInternal Bleeding by No Question
URL:https://tonemadison.com/event/no-question-disease-l-i-b-infernal-trench-at-mickeys-tavern/
LOCATION:Mickey’s Tavern\, 1524 Williamson St.\, Madison\, Wisconsin\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221023T140000
DTEND;TZID=America/Chicago:20221023T154500
DTSTAMP:20260403T144916
CREATED:20221014T222129Z
LAST-MODIFIED:20221014T222246Z
UID:16085-1666533600-1666539900@tonemadison.com
SUMMARY:Dagon at Chazen Museum Of Art
DESCRIPTION:Uxía (Macarena Gómez)\, dressed in a gold ceremonial outfit\, brandishes a gold dagger shaped like a spine. \nFrom Ian Adcock’s feature on UW Cinematheque’s October Sunday series at the Chazen Museum Of Art:  \nCombining two short stories by H.P. Lovecraft\, Dagon (2001) is an atmospheric\, fast-paced piece of gothic horror. After a boating accident off the coast of Spain\, wealthy tech geek Paul Marsh (Ezra Godden) and his girlfriend Bárbara (Raquel Meroño) find themselves stranded in a gloomy\, remote fishing village. They quickly discover the town is populated by half-human fish-people who worship the ancient pagan god Dagon and make masks out of outsiders’ skin. Racing through the rain-soaked streets\, Paul tries to rescue Barbara from being sacrificed to Dagon while fending off murderous villagers and the advances of tentacled temptress Uxía (Macarena Gómez). \nThough slightly marred by the lead actors’ woodenness and some very dated CGI effects\, Dagon is one of Gordon’s most unsettling works. The Spanish coast is a surprisingly good substitute for Lovecraft’s gloomy New England setting\, making Dagon feel more faithful to the writer’s vision than Gordon’s other adaptations. By using all handheld cameras and purposely not subtitling the Spanish cast’s dialogue\, Gordon immerses the viewer into Paul’s panicked point of view\, making the plot’s many twists and turns all the more surprising. As Gordon’s final horror film\, Dagon is an underappreciated entry in his filmography.
URL:https://tonemadison.com/event/dagon-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T190000
DTEND;TZID=America/Chicago:20221024T213000
DTSTAMP:20260403T144916
CREATED:20221018T201610Z
LAST-MODIFIED:20221018T204505Z
UID:16129-1666638000-1666647000@tonemadison.com
SUMMARY:No Time To Fail (with post-screening panel) at Arts + Literature Laboratory
DESCRIPTION:After the polls close on November 3\, 2020\, Rhode Island poll workers and Registrar Nick Lima (right) review the voting results printed from DS200 ballot scanners. \nThis is a free event\, but ALL is requesting advance registration. \nTwo weeks ahead of the midterms\, No Time To Fail (2022)\, Sara Archambault and Margo Guernsey’s nail-biting 90-minute chronicle of Rhode Island elections officials’ sticktoitiveness\, finds a vital local premiere at Arts + Literature Laboratory. \nWith lucidity and precision\, Archambault and Guernsey’s lens follows officials among three major Rhode Island cities (Cranston\, Providence\, and Central Falls) in addition to the Department Of State and Board Of Elections\, coordinating and navigating the amassing complications brought on by the pandemic between September and November 2020. Not only have they been tasked with precarious election logistics\, but they are forced to contend with the brunt of public animus and distrust stirred by corporate media and a sitting President who’s borrowing from the neo-fascist playbook to claim unsubstantiated fraud ahead of any officially tallied ballots. \nThe co-directors’ efforts truly shine when they pull back the curtain to reveal the immense devotion and adaptability involved with the people in these positions\, especially Providence Administer of Elections Kathy Placencia and Clerk Of The Board Renay Brooks Omisore\, who put aside their personal lives to ensure that anyone who wants to vote can do so on or before election day. It’s as good a demonstration as any that democracy (with a lowercase “d”) requires active participation and comprehension of the process by tough-minded individuals working at multiple levels. \nFurther\, as Director Of Elections at Secretary Of State’s office Rob Rock puts into perspective\, if this much organization is involved throughout a state like Rhode Island\, imagine it in Wisconsin. We have five times its population and over 14 times as many counties. Not everything will run like clockwork\, and there won’t always be simple answers staring us in the face. It’s a grey reality that a segment of the media and a major political party no longer adheres to—only a delusional narrative devoid of complex solutions and empathy. \nMadisonians may not be the audience who most needs to witness the mechanics of this film\, but the sense of urgency is utterly compelling. Perhaps it’s enough to encourage a conversation with those who’ve been led astray to acknowledge community labor and planning behind the scenes of our government. \nIn a post-screening discussion with co-director Archambault and Dane County Clerk’s Office Elections Management Specialist Rachel Rodriguez\, be sure to ask more about the film’s final statement\, the short- and long-term ramifications of a “mass exodus of election officials from the field.” \n—Grant Phipps
URL:https://tonemadison.com/event/no-time-to-fail-with-post-screening-panel-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T193000
DTEND;TZID=America/Chicago:20221024T230000
DTSTAMP:20260403T144916
CREATED:20221020T141015Z
LAST-MODIFIED:20221026T192414Z
UID:16155-1666639800-1666652400@tonemadison.com
SUMMARY:Twilight at Majestic
DESCRIPTION:It’s vampire/werewolf season again and the Madison-based Say It Out Loud podcast is warmly inviting devotees (and challenging non-believers) to come out on to enjoy the sillier side of the cult 2008 film Twilight. If you’ve had a pulse on the internet over the past few months\, you may have already seen that we are neck deep in a Twilight Renaissance\, including memes\, Zoom parties and Midnight Sun\, a 2020 companion to the 2005 Twilight novel\, told from Edward Cullen’s perspective.  \nWhether you’re curious about what all the Twilight hype is about (“Bella\, where the hell have you been\, loca?”)\, or looking to revisit the same thrill that you had going to the midnight premiere of Twilight as a youth\, Say It Out Loud hosts Jennalee Emmert and Alyssa Allemand are ready to assist you with their fang-sharp humor and a Twilight-themed drinking game (which will be available to take home after the event to play with friends over and over again). Although actual vampires are not explicitly invited to the screening (Rosalie and Carlisle Cullen can come)\, attendees are encouraged to dress up for the event. \nFeeling inspired to revisit young adult yearnings with a critical mind and a fully formed frontal lobe? Want to satisfy “nostalgia cravings” before this event? Listen back to episodes of the Say It Out Podcast (like episode three\, a two-parter featuring a licensed marriage and family therapist who talks about Edward and Bella’s horrifyingly toxic relationship) on iHeart Radio\, Spotify\, Apple or wherever you listen to podcasts. You can follow along with the pod on Twitter.  \n—Hanna Kohn
URL:https://tonemadison.com/event/twilight-at-majestic/
LOCATION:Majestic Theatre\, 115 King Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221027T200000
DTEND;TZID=America/Chicago:20221027T233000
DTSTAMP:20260403T144916
CREATED:20221021T202226Z
LAST-MODIFIED:20221026T192443Z
UID:16169-1666900800-1666913400@tonemadison.com
SUMMARY:Lunar Moth\, Totally Cashed\, Shoobie\, Smoke Free Home\, Flying Fuzz at High Noon Saloon
DESCRIPTION:Lunar Moth plays here to celebrate the release of its In The Mourning EP\, which brings a few sides of the Madison trio into sharper focus. The first of its four tracks\, “Flower Blood Moon\,” continues to build on the band’s well-established love of doom metal\, drawing its power from lumbering rhythms. But Amber (guitar\, vocals)\, Mac (bass)\, and Gage Moth (drums) always leave themselves room to go in more bright and hooky directions. The EP’s first single\, “Sunshine Veins\,” starts with the kind of guitar chords that hint at both tension and wistfulness\, and when the song gets a little heavier\, Amber Moth’s vocals draw out a restive yearning from the fuzz.  \nIt’s the title track\, though\, that does the most with all the promise Lunar Moth has shown so far. It starts off as a gentle acoustic number\, with lyrics that ask the listener to take death and loss in stride (“When my time is done\, just another month of cold in the ground\, don’t cry for me”). The song gradually builds up in volume\, rocking out just enough to put a finer point on the sweetly sad atmosphere.  \n—Scott Gordon \n \nPhoto by Lane David Photography.
URL:https://tonemadison.com/event/lunar-moth-totally-cashed-shoobie-smoke-free-home-flying-fuzz-at-high-noon-saloon/
LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Chicago:20221028T190000
DTEND;TZID=America/Chicago:20221028T210000
DTSTAMP:20260403T144916
CREATED:20221018T194813Z
LAST-MODIFIED:20221024T221644Z
UID:16125-1666983600-1666990800@tonemadison.com
SUMMARY:Seven Beauties at UW Cinematheque
DESCRIPTION:Dressed in a white suit with slicked back hair\, Pasquilino (Giancarlo Giannini) looks disapprovingly at one of his sisters. She sits on a bed with her other sisters and their mother against an off-white curtain backdrop. \nFew are brave enough to attempt a comedy that’s set in a concentration camp. Famously\, Jerry Lewis failed spectacularly at doing so with The Day The Clown Cried (1972)\, and the result was embarrassing enough that he ordered it sealed away until June of 2024. But where Lewis flopped\, purportedly for trying to portray a character leading children to their deaths as likable\, Italian director Lina Wertmüller succeeds in Seven Beauties (1977) by bringing a European sensibility to a European event\, slowly stripping away any notion of being more than a body trying to survive with the inherently macabre humor of that notion. (Wertmüller was the first woman ever nominated for a Best Director Oscar for this film.) \nThe film follows Pasqualino (Giancarlo Giannini\, in the midst of an extended collaboration with Wertmüller throughout the 1970s)\, who’s nicknamed “Seven Beauties\,” because he’s the only man in a household of sisters and a mother who all fall far short of traditional Western beauty standards. We first see him wandering through the German countryside after deserting the army\, and he soon finds a companion (Piero Di Iorio) to tell the sorry tale of how he ended up there. It involves a botched honor killing\, a stint in an insane asylum\, and eventually escaping confinement to join the Fascist army. \nFlashbacks skip over his stint in the army\, picking up when the deserters have landed in the concentration camp. Inside they meet Pedro (Fernando Rey)\, a political prisoner who holds firm to his convictions\, in contrast to Pasqualino’s guiding philosophy of “I’m ready to do anything to live.” The camp commandant (Shirley Stoler) gives him opportunities to debase himself to prove that statement\, while gradually wearing the expression of a wounded dog. \nThe film’s humor and pathos are akin to the mix of shame and pride of a rock-bottom drinking tale\, tolerable only because the storyteller lived to relay it. This is perhaps Wertmüller’s brilliance—detailing the creep of Fascism into the heart of one not particularly admirable man. It seems absurd when it hasn’t affected them directly\, until it’s too late. With Italy’s extreme right wing nuzzling up to Fascism\, now is a good time to let yourself be confronted by such a story. \n—Lewis Peterson
URL:https://tonemadison.com/event/seven-beauties-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20221029T200000
DTEND;TZID=America/Chicago:20221029T230000
DTSTAMP:20260403T144916
CREATED:20221021T165001Z
LAST-MODIFIED:20221021T165001Z
UID:16163-1667073600-1667084400@tonemadison.com
SUMMARY:Claudio Simonetti's Goblin performing Suspiria at Orpheum
DESCRIPTION:From the classic music-box-like opening theme of Dario Argento’s 1977 supernatural horror film Suspiria to its straight-ahead progressive rock tracks to its haunting\, atmospheric scores\, Goblin’s music has become the sound perhaps most associated with Italian horror. The band’s cosmic synthesizer arrangements\, commanding kettle drums and percussion\, and frightening vocals—which almost play a role of their own in Suspiria‘s plot—are unmistakable 45 years later.  \nThe first of The Three Mothers trilogy\, Suspiria follows American dance student Suzy Bannion’s (Jessica Harper) tormented experience as a new student at a prestigious dance academy in Freiburg\, Germany. Upon her arrival\, Suzy sees another student run out of the building\, only to be the victim of a gruesome\, exhibitionistic murder—one of several that occur on school grounds during Suzy’s brief tenure. Goblin’s soundtrack clues in viewers to the fact that darkness lies within the school. The score is a plot point itself\, featuring whispers and chants of “Witch! Witch!”\, foreshadowing Suzy’s own discovery and eventual fate. In addition to the score\, the deep\, vivid red hues present throughout the film play the role of evil living within the school.  \nGoblin has performed under several iterations\, with the latest led by original composer Claudio Simonetti. This 45-year anniversary of Suspiria tour features Simonetti with a live band including guitars\, bass\, and percussion\, performing the soundtrack over a screening of the film. Simonetti’s Goblin will also perform supplementary soundtrack material after the viewing of Suspiria.  \nThere’s also a whole other screening of Suspiria in town this same night. UW Cinematheque will be showing a new digital restoration of the film at 7 p.m. in its Vilas Hall screening room. \n—Emili Earhart
URL:https://tonemadison.com/event/claudio-simonettis-goblin-performing-suspiria-at-orpheum/
LOCATION:Orpheum\, 216 State Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film,Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221030T140000
DTEND;TZID=America/Chicago:20221030T160000
DTSTAMP:20260403T144916
CREATED:20221021T201139Z
LAST-MODIFIED:20221021T201139Z
UID:16166-1667138400-1667145600@tonemadison.com
SUMMARY:From Beyond at Chazen Museum of Art
DESCRIPTION:From Ian Adcock’s feature on UW Cinematheque’s Stuart Gordon series at the Chazen Museum Of Art (which concludes with this screening): \nStuart Gordon’s kinky\, outrageous experiment in body horror\, From Beyond (1986)\, is a fan favorite due to its over-the-top aesthetic. Dr. Edward Pretorius (Ted Sorel) and his assistant Crawford Tillinghast (Jeffrey Combs) have finally perfected the Resonator\, a device that gives humans access to the fifth dimension by stimulating the pineal gland. Unfortunately\, the fifth dimension is full of nightmarish creatures\, and the experiment ends with Pretorius getting his head bitten off and Tillinghast going mad. \nTillinghast is rescued from a mental institution by psychologist Dr. Katherine McMichaels (Barbara Crampton)\, who wants him to recreate the experiments to find out what happened. Along with police escort Bubba Brownlee (Ken Foree of Dawn Of The Dead)\, he returns to the laboratory. When they switch the Resonator back on\, Dr. Pretorius’ head returns from the fifth dimension with a new terrifying body. Transformed into a classically Lovecraftian monster\, Pretorius’ sadistic urges have become a desire for power and human flesh. \nThe excessive pineal stimulation begins to affect our “heroes” as well; Dr. McMichaels becomes drawn to both the Resonator and Pretorius’ bondage gear\, while Crawford sprouts a pineal antenna in his forehead and develops an insatiable hunger for brains. After a bloody escape from the mental institution\, Tillinghast and McMichaels try to overcome their urges to destroy the Resonator before Pretorius becomes all-powerful. \nFilmed quickly reusing the set of Dolls (1986)\, From Beyond is clearly an attempt to one-up Gordon’s breakout debut Re-Animator (1985)\, using another Lovecraft short story as its basis\, and bringing back both Crampton and Combs as the stars. Gordon also had the most difficulty getting the film passed by the MPAA ratings board. Presumably\, it was payback for everything Gordon got away with in his unrated debut. Packed full of gruesome special effects and copious amounts of slime\, it’s one of Gordon’s most popular and enduring films.
URL:https://tonemadison.com/event/from-beyond-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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