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DTSTART;TZID=America/Chicago:20221002T200000
DTEND;TZID=America/Chicago:20221002T215000
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CREATED:20220923T182400Z
LAST-MODIFIED:20220924T024519Z
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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:20260404T123619
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:20260404T123619
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T190000
DTEND;TZID=America/Chicago:20221007T213000
DTSTAMP:20260404T123619
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221007T200000
DTEND;TZID=America/Chicago:20221007T230000
DTSTAMP:20260404T123619
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:20260404T123619
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221013T190000
DTEND;TZID=America/Chicago:20221013T210000
DTSTAMP:20260404T123619
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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DTSTART;TZID=America/Chicago:20221014T175000
DTEND;TZID=America/Chicago:20221020T135000
DTSTAMP:20260404T123619
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221014T190000
DTEND;TZID=America/Chicago:20221014T230000
DTSTAMP:20260404T123619
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:20260404T123619
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221015T120000
DTEND;TZID=America/Chicago:20221015T140000
DTSTAMP:20260404T123619
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:20260404T123619
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:20260404T123619
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125349/pitpendulum-gordon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221021T190000
DTEND;TZID=America/Chicago:20221021T210000
DTSTAMP:20260404T123619
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:20260404T123619
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:20260404T123619
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:20260404T123619
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125336/noquestion.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221023T140000
DTEND;TZID=America/Chicago:20221023T154500
DTSTAMP:20260404T123619
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:20260404T123619
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221024T193000
DTEND;TZID=America/Chicago:20221024T230000
DTSTAMP:20260404T123619
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221027T200000
DTEND;TZID=America/Chicago:20221027T233000
DTSTAMP:20260404T123619
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221028T190000
DTEND;TZID=America/Chicago:20221028T210000
DTSTAMP:20260404T123619
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221029T200000
DTEND;TZID=America/Chicago:20221029T230000
DTSTAMP:20260404T123619
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125314/goblinheader.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221030T140000
DTEND;TZID=America/Chicago:20221030T160000
DTSTAMP:20260404T123619
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125313/frombeyond_header.jpg
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DTSTART;TZID=America/Chicago:20221104T210000
DTEND;TZID=America/Chicago:20221104T231500
DTSTAMP:20260404T123619
CREATED:20221028T204245Z
LAST-MODIFIED:20221028T205256Z
UID:16215-1667595600-1667603700@tonemadison.com
SUMMARY:The Green Knight at Union South Marquee
DESCRIPTION:Sir Gawain (Dev Patel) bows before the titular knight (Ralph Ineson) in the overgrowth of a small chapel\, as golden light spills in. \n“The Green Knight” is also screening at Union South Marquee on November 5 at 6 p.m. \nDavid Lowery’s medieval art house fantasy The Green Knight (2021) asks its viewers to listen deeply to the breaths in between its siren calls as much as it commands observation of its treacherous cinematographic splendor—far beyond the conscious limitations of its sourced Arthurian adaptation. \nIn fact\, Lowery’s contained epic unspools like the From Software version of that centuries-old Celtic tale and visual manifestation of Camelot. With the multi-platform release of runaway hit Elden Ring this past winter\, those links hold even firmer in comparing their open worlds\, the game’s Roundtable Hold\, and the film’s wooded green chapel\, which recalls the many churches strewn about The Lands Between. Like the best moments in the worlds of Hidetaka Miyazaki\, The Green Knight is built on the pretensions of mysticism\, dreaded dreams\, and dark witticisms rather than pointedly dense orations or adherence to conventionally bloated motivations of high fantasy. \nDaniel Hart’s score further evokes memories of the aforementioned game (with compositions by Tsukasa Saito) in the hushed\, dissonant chants reverberating through foggy horizons and off-kilter semitone string phrasings that clash with the percussive snaps and rhythms of internal conflict. The music’s beckoning undulations always drums up those inner demons. So much of the film resides in subconscious life and death\, soaked in the sex and violence of nature—rock\, ash\, water\, vines\, wood\, blood\, cum\, amniotic fluid. The plot dissolves into a headless id\, a flailing man (Dev Patel) in a kingdom of myth. \nOne of the most indelible films of last year. \n—Grant Phipps
URL:https://tonemadison.com/event/the-green-knight-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T153000
DTEND;TZID=America/Chicago:20221111T124500
DTSTAMP:20260404T123619
CREATED:20221105T200110Z
LAST-MODIFIED:20221108T200216Z
UID:16266-1667662200-1668170700@tonemadison.com
SUMMARY:Armageddon Time at Marcus Point Cinema
DESCRIPTION:Johnny Davis (Jaylin Webb) and Paul Graff (Banks Repeta) both smile while running through a tunnel under a bridge in a park. \n“Armageddon Time” is also screening at Marcus Palace Cinema and AMC Fitchburg 18. \nIn James Gray’s Armageddon Time (2022)\, assimilation comes with the crushing weight of responsibility that can never really be lived up to. Based on Gray’s own adolescence in 1980 New York City\, his semi-fictionalized analogue Paul Graff (Banks Repeta) is a daydreaming\, quietly defiant Jewish sixth grader\, who strikes up a friendship with Johnny Davis (Jaylin Webb)\, a black student repeating the grade. When both are singled out as troublemakers by their teacher Mr. Turkeltaub (Andrew Polk)\, their relationship awakens Paul to his fishbowl of privilege\, as Johnny continually bears a greater brunt of the consequences for their shared schemes. \nPaul is more than a little naive of the true circumstances of Johnny’s problems at home (left to fend for himself most of the time\, living with his grandmother who has dementia). For better or worse\, the film stands as Gray’s admission of guilt for the implications of actions he once didn’t understand. The film’s steady perspective and its lessons are centered more on Paul than Johnny\, who isn’t quite as fleshed out. Gray sticks to what he knows\, even as he acknowledges the pain it caused back then. \nArmageddon Time really excels in showcasing the gap between Paul and Johnny’s family support networks\, however flawed they may be. Paul’s mother Esther (Anne Hathaway)\, father Irving (Jeremy Strong) and especially his grandfather Aaron Rabinowitz (Anthony Hopkins) are exasperated by his artistic dreams\, his inattention in school\, and friendship with Johnny\, often giving him conflicting advice. But they clearly care\, even in their lack of understanding him. \nPaul truly connects with his grandfather who tells him to “be a mensch” and stick up for the less privileged\, while also paying to take him out of the public school to place him in the private school that his older brother Ted (Ryan Sell) attends. There Paul encounters Fred Trump (John Diehl) and Maryanne Trump (Jessica Chastain)\, the latter who gives a speech extolling the virtues of the Reaganite bootstrapping. While Paul’s family hates Reagan\, they sincerely believe his mixing with this crowd of elitists will ensure their survival. To twist the old Carlin adage\, it’s a big club\, and you better try your damndest to get in it. \n—Lewis Peterson
URL:https://tonemadison.com/event/armageddon-time-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T190000
DTEND;TZID=America/Chicago:20221105T230000
DTSTAMP:20260404T123619
CREATED:20221017T162505Z
LAST-MODIFIED:20221017T162505Z
UID:16108-1667674800-1667689200@tonemadison.com
SUMMARY:Tone Madison NewsMatch 2022 Kickoff Party at Imaginary Factory
DESCRIPTION:Tone Madison invites you to celebrate the launch of our year-end fundraising campaign—and help us unlock $15\,000 in matching funds from the national NewsMatch program! We simply cannot do this without the direct financial support of our readers\, so we also want to express our thanks by showing you a good time. We’ll be holding our NewsMatch kick-off party on Saturday\, November 5 at Imaginary Factory at 7 p.m. \nTone Madison staff and contributors will be on hand to answer your questions\, spin some records\, and we’ll be filling up I.F.’s walls with projections of the original editorial illustrations and photos we’ve published this year. Anyone who donates $50 or more during the evening may challenge Tone Madison publisher Scott Gordon to a ping pong match. You can donate directly at tonemadison.com/donate\, and you can support us by ordering drinks! \nImaginary Factory will be serving its playful\, innovative cocktails and mocktails until 11 p.m.\, donating 20% of night’s the proceeds to support Tone Madison’s independent journalism. Soups I Did It Again will be serving food throughout the evening. \nWe’ll have some other details to share soon about our year-end campaign\, including a few other fun events during November and December. Sign up for our newsletter to keep up.
URL:https://tonemadison.com/event/tone-madison-newsmatch-2022-kickoff-party-at-imaginary-factory/
LOCATION:Imaginary Factory\, 1401 Northern Court\, Madison\, WI\, 53703\, United States
CATEGORIES:Tone Madison Events
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DTSTART;TZID=America/Chicago:20221105T220000
DTEND;TZID=America/Chicago:20221106T020000
DTSTAMP:20260404T123619
CREATED:20221028T190806Z
LAST-MODIFIED:20221028T190806Z
UID:16211-1667685600-1667700000@tonemadison.com
SUMMARY:Bev Rage & The Drinks\, Heavy Looks\, Heather The Jerk at Mickey's Tavern
DESCRIPTION:Glitz\, grime\, and glamor abound in Chicago band Bev Rage & The Drinks’ live show. Bev Rage infuse their scrappy queer-punk with sardonic venom and pointed bursts of genuine affection. Since releasing the Don’t Know Shit demo in 2016\, the band’s shifted a few members and refined their sound. Exes & Hexes\, the band’s recent full-length\, is the most polished entry of Bev Rage’s discography and a direct result of year’s worth of artistic evolution. Charming\, disarming\, raucous\, and rousing\, Bev Rage will find themselves nicely complemented by Madison acts Heather The Jerk and Heavy Looks\, who each flirt with similarly engaging dynamics. Heather The Jerk will be playing a rare live show following 2021’s fiery Cable Access TV—one of Tone Madison‘s top albums of that year—while Heavy Looks will be continuing a whirlwind run of local dates to support the recently-released Apathy.  \n—Steven SpoerlExes & Hexes by Bev Rage & the Drinks
URL:https://tonemadison.com/event/bev-rage-the-drinks-heavy-looks-heather-the-jerk-at-mickeys-tavern/
LOCATION:Mickey’s Tavern\, 1524 Williamson St.\, Madison\, Wisconsin\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Chicago:20221106T200000
DTEND;TZID=America/Chicago:20221106T230000
DTSTAMP:20260404T123619
CREATED:20221028T202015Z
LAST-MODIFIED:20221028T203718Z
UID:16213-1667764800-1667775600@tonemadison.com
SUMMARY:Magdalena Bay\, Bayli at Majestic
DESCRIPTION:Magdalena Bay (Mica Tenenbaum and Matthew Lewin) pose in colorful outfits against a sky blue background in this digitally enhanced promotional photo by Lissyelle Laricchia. \nFor over six years\, the duo Magdalena Bay (Mica Tenenbaum and Matthew Lewin) have been cultivating their vivacious sound\, style\, and presence after dropping a spaced-out cover of Tears For Fears’ revered “Head Over Heels.” From regularly interactive Monday live streams on Twitch to comedic TikTok promos to a plethora of full-length music videos that meld digital and analogue aesthetics of the past three decades\, Mica and Matt are now their own DIY brand of instantly charming pop personality. \nTheir tuneful penchant for all these appealing amalgamations was perfectly distilled on last year’s conceptual dance-pop record Mercurial World\, which playfully envelopes a range of sonic influences from progressive electronic\, crushed bitpop\, synthwave\, and R&B. The first single\, “Chaeri\,” is a magnified reflection on pandemic-fueled isolation and seasonal affective disorder\, pulsating with Lewin’s darkly flirtatious house beat that just melts into Tenenbaum’s introverted\, smoldering vocal performance throughout. \nOn the Luminelle label’s recently re-released deluxe edition of the record—which features a few remixes\, several bonus tracks\, and over a dozen anonymous confessions by Mag Bay’s most avid fans—the duo continues to extend their embrace of genres. Those include psychedelic pop (“All You Do“) and synth funk on the sugary rainbow that is “Unconditional\,” a Pee-wee’s Playhouse-meets-’90s Nickelodeon celebration of ecstatic\, uncontainable affection with an unrelentingly groovy electric bass line. \nWhile citing the individual appeal of the group’s singles is significant\, Mag Bay has also bucked the trend of writing in vacuum\, crafting a seamless album experience through mastering the typically arduous art of the segue. Mercurial World is not only remarkably produced in their widening musical lane (with contemporary influences of Charli XCX and Caroline Polachek)\, but it’s a sparkling showcase of a steady artistic vision. Boasting such definable hooks with an almost elusively crystalline slickness\, their upbeat earworms complement the theatricality and glam bent to their live shows\, complete with costume sets and a live drummer\, Nick Villamizar (who has roots in Mica and Matt’s former progressive rock band from the early-mid 2010s\, Tabula Rasa). \nVersatile NYC-based alternative R&B artist Bayli opens. \n—Grant Phipps
URL:https://tonemadison.com/event/magdalena-bay-bayli-at-majestic/
LOCATION:Majestic Theatre\, 115 King Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221110T190000
DTEND;TZID=America/Chicago:20221110T210000
DTSTAMP:20260404T123619
CREATED:20221104T203338Z
LAST-MODIFIED:20221107T172605Z
UID:16255-1668106800-1668114000@tonemadison.com
SUMMARY:Rimini at UW Cinematheque
DESCRIPTION:At a long shot from a glitzy stage\, singer Richie Bravo (Michael Thomas) leads his dozens of fans in a singalong. \nExcerpt from Maxwell Courtright’s review: \nThe milieu of writer-director Ulrich Seidl’s films provides a unique sandbox for looking at our difficulties in living with modern history. This sort of blank stare towards contemporary pain is nothing new for Seidl\, who continues in this very Austrian vein found in films by Michael Haneke and writers like Thomas Bernhard. Bernhard\, in particular\, seems like a touchstone\, as he shares with Seidl a deep sense of frustration with the Austrian national identity. (Bernhard famously forbade the performance of his plays in Austria following his death in 1989.) Both authors struggle with the post-Holocaust identity of their country\, where they clearly feel they hold a sort of hereditary responsibility for the atrocities of yore. There is no clear path forward.  \nSeidel repeatedly underlines protagonist and lounge singer Richie Bravo (Michael Thomas)’s Trump-like qualities in the film\, from his melting spray tan to the cheap decal self-portraits that decorate his home with thumbs-ups and toothy grins. But Seidl retains some sympathy for this oaf\, as his failures are soft. Bravo is a true buffoon who has inherited a debt he’s not prepared to atone for. He’s on the other side of luck without a family\, relying on outdated music with an ever-declining fan base for his income. For Bravo\, his overheated pop hits of yesterday are the cultural equivalent of a Band-Aid for a deep wound\, and his struggles to create a life for himself in the remote locale of Rimini are reminiscent of a country unsure how to move beyond its past.
URL:https://tonemadison.com/event/rimini-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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