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DTSTART;TZID=America/Chicago:20221016T140000
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DTSTAMP:20260404T071240
CREATED:20221007T233433Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221021T190000
DTEND;TZID=America/Chicago:20221021T210000
DTSTAMP:20260404T071240
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:20260404T071240
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221022T210000
DTEND;TZID=America/Chicago:20221022T233000
DTSTAMP:20260404T071240
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221022T220000
DTEND;TZID=America/Chicago:20221023T020000
DTSTAMP:20260404T071240
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221023T140000
DTEND;TZID=America/Chicago:20221023T154500
DTSTAMP:20260404T071240
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:20260404T071240
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:20260404T071240
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:20260404T071240
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:20260404T071240
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:20260404T071240
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:20260404T071240
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221104T210000
DTEND;TZID=America/Chicago:20221104T231500
DTSTAMP:20260404T071240
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125259/greenknight-wudhed-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T153000
DTEND;TZID=America/Chicago:20221111T124500
DTSTAMP:20260404T071240
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125244/armageddontime-eventhed-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T190000
DTEND;TZID=America/Chicago:20221105T230000
DTSTAMP:20260404T071241
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221105T220000
DTEND;TZID=America/Chicago:20221106T020000
DTSTAMP:20260404T071241
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221106T200000
DTEND;TZID=America/Chicago:20221106T230000
DTSTAMP:20260404T071241
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/10/02125300/magbaymajestic-hed.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221110T190000
DTEND;TZID=America/Chicago:20221110T210000
DTSTAMP:20260404T071241
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125245/rimini-eventhed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221111T210000
DTEND;TZID=America/Chicago:20221111T235900
DTSTAMP:20260404T071241
CREATED:20221105T162832Z
LAST-MODIFIED:20221105T191522Z
UID:16262-1668200400-1668211140@tonemadison.com
SUMMARY:Aaron Brenton's Shutter Step\, Yin Waster\, Hannah Edlén at Dark Horse ArtBar
DESCRIPTION:Hannah Edlén’s forays into the avant-garde will prove especially illuminating at Dark Horse come Friday\, as the experimental musician will be accompanied by visual artist—and frequent Edlén collaborator—Ryan Lansing (of a few Madison music projects\, including ambient duo Good Corners). Edlén\, whose track “Butterfly Funeral” was listed as one of Tone Madison’s favorite songs of 2021\, will play second. Warped folk duo Yin Waster will open the night\, bringing the aggressively ambient bent that dominates their just-released The 1446 EP to the show. Aaron Brenton’s Shutter Step will be on hand to close things out with their distinctly modern take on jazz fusion. Combined\, this is one of the more eclectic and varied three-band bills that will be on offer throughout the week\, swinging an impressive gamut of styles. All of the performers here have clear artistic conviction\, creating an intangible common thread that’s tied this lineup together in a nice bow.  \n—Steven Spoerl \nThe 1446 EP by Yin WasterPhoto: Hannah Edlén\, via the artist’s Bandcamp.
URL:https://tonemadison.com/event/aaron-brentons-shutter-step-yin-waster-hannah-edlen-at-dark-horse-artbar/
LOCATION:Dark Horse ArtBar\, 756 E Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221112T130000
DTEND;TZID=America/Chicago:20221112T230000
DTSTAMP:20260404T071241
CREATED:20221105T162102Z
LAST-MODIFIED:20221105T162153Z
UID:16261-1668258000-1668294000@tonemadison.com
SUMMARY:Homie Fest II at The Rigby
DESCRIPTION:Fourteen exciting emo or emo-adjacent bands in one day at $20 is a bargain that’s reflective of the genre’s storied DIY upbringing. Cartwright\, Man Alive\, Endswell\, Honey Creek\, Equipment\, Excuse Me\, Who Are You?\, Tiny Voices\, Good News Dudes!\, Riot Nine\, The Sinner And The Saint\, Dear Mr. Watterson\, Nosebleeds\, Barely Civil\, and Kulek make up an enticing\, one-day lineup. Nearly all of the bands hail from various corners and pockets of Wisconsin\, including several from Madison. Ohio-based Equipment register as one of the clear standouts here\, joining Tone Madison favorites Dear Mr. Watterson in that regard. Here’s what we had to say about Dear Mr. Watterson’s 2021 EP Confusion Perfected: \n“Confusion Perfected‘s outsize energy\, riff-happy approach\, teeth-gnashing ferocity\, and unabashed scruffiness place it in territory that has rarely been inhabited this strikingly since Titus Andronicus’ 2008 debut The Airing Of Grievances. In lesser hands\, the end result of that combination usually winds up being an abject mess that amounts to ambitious ideas and poor execution. Dear Mr. Watterson adeptly avoids that trap\, channeling a playful precociousness that evens out the material’s jittery nature.” \n—Steven Spoerl\n \nConfusion Perfected by Dear Mr. Watterson \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/homie-fest-ii-at-the-rigby/
LOCATION:The Rigby\, 119 East Main Street\, Madison\, WI\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221112T170000
DTEND;TZID=America/Chicago:20221112T233000
DTSTAMP:20260404T071241
CREATED:20221105T155700Z
LAST-MODIFIED:20221105T155700Z
UID:16257-1668272400-1668295800@tonemadison.com
SUMMARY:Bereft\, Aseethe\, Corridoré\, The American Dead\, PV\, Whisky Pig at BarleyPop Live
DESCRIPTION:Bereft turned elements of black metal\, doom\, and post-rock into extended\, searing tracks that often felt like they were trying to surmount an overwhelming emotional tide. The Madison band’s atmospheric-black-metal tendencies emerged in full force on 2014’s debut album Lost Ages\, and the doom elements became more ruggedly pronounced on their 2017 follow-up\, Lands. Standout tracks like Lost Ages‘ “Unwelcome” and Lands closer “Waning Light” balanced heaviness with a vulnerability that always felt convincing and true. The band was at work on new material when guitarist/vocalist Alex Linden died in December 2021\, at the age of 36. \nThe remaining members of Bereft—guitarist vocalist Zach Johnson\, bassist Cade Gentry\, and drummer Jerry McDougal—plan to keep making music together\, but not under that name. At this last Bereft show\, the trio will play a set of music from across the band’s career. You won’t hear any attempts here to fill in Linden’s versatile guitar work or the deep\, growling chasm of his vocals. As Johnson told us in a recent story\, “in this way\, [Linden’s] absence isn’t just seen and felt\, it’s heard.”  \nAll proceeds from the show will go toward a music-lessons scholarship fund in Linden’s name at Madison Music Foundry\, honoring Linden’s deep commitment to music as an artist\, fan\, and community member. All the other acts playing at this show\, including Iowa City-based Aseethe and Madison epic-metallers Corridoré\, shared stages and friendship with Bereft throughout its memorable and tragically truncated existence. \n—Scott Gordon \nLands by Bereft
URL:https://tonemadison.com/event/bereft-aseethe-corridore-the-american-dead-pv-whisky-pig-at-barleypop-live/
LOCATION:BarleyPop Live\, 121 West Main Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221112T190000
DTEND;TZID=America/Chicago:20221112T230000
DTSTAMP:20260404T071241
CREATED:20221105T160502Z
LAST-MODIFIED:20221110T064518Z
UID:16258-1668279600-1668294000@tonemadison.com
SUMMARY:Case Kämäräinen at Café Coda
DESCRIPTION:Split between the US\, Finland\, and Poland\, Case Kämäräinen‘s international dynamic pays off in the quartet’s versatility. The project is currently made up of drummer Tomi Kämäräinen\, pianist Tuomo Uusitalo\, saxophonist Marek Konarski\, and bassist Myles Sloniker. Sloniker is the group’s lone American member and Konarski the only Polish member. Uusitalo and Kämäräinen both presently call Finland home. Each of Case Kämäräinen’s four members brings a distinct\, aggressive dynamic to the band’s performances\, muscling their way into strikingly complementary cacophonies of dueling harmonies and tasteful dissonance. \nMystique From The North\, Case Kämäräinen’s latest album\, taps into a more melancholic approach but it suits the material (Konarski and Kämäräinen are the only two from this live iteration to have played on the album). Even with that melancholic bent\, the record makes allowances for fiery playing\, as is the case on “Cabin Feaver\,” showcasing both the band’s inventiveness and range. \n—Steven Spoerl \n \nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/case-kamarainen-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221114T180000
DTEND;TZID=America/Chicago:20221114T210000
DTSTAMP:20260404T071241
CREATED:20221111T204823Z
LAST-MODIFIED:20221111T204823Z
UID:16318-1668448800-1668459600@tonemadison.com
SUMMARY:A Community Conversation And Performance: What Is A Woman? Reconstructing And Redefining at Memorial Union Rathskeller
DESCRIPTION:UW-Madison’s Social Justice Hub and the Trans Advocacy Madison group aim to unpack “how socially constructed definitions [of gender] are counterproductive” at this event\, which will combine a facilitated community discussion and an open mic. (Those interested in participating can reach out to the event’s organizers at sjhevents@studentaffairs.wisc.edu; the event is open to “performances of any type”). While the organizers didn’t want to simply put on a reactive event\, this one is especially welcome in light of the rash of transphobia Madison and the campus have experienced over the past year. From a full-on TERF conference to bigoted chalk messages to fascist goon Matt Walsh’s October visit to UW-Madison\, the need for community and solidarity is as urgent as it’s ever been. The poke at Walsh’s grossly manipulative propaganda film is hard to miss in the event’s title\, but the spirit of the event is more proactive than just a response. \n—Scott Gordon
URL:https://tonemadison.com/event/a-community-conversation-and-performance-what-is-a-woman-reconstructing-and-redefining-at-memorial-union-rathskeller/
LOCATION:Memorial Union Rathskeller\, 800 Langdon St\, Madison\, WI\, 53706\, United States
CATEGORIES:Culture,Politics
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DTSTART;TZID=America/Chicago:20221116T190000
DTEND;TZID=America/Chicago:20221120T220000
DTSTAMP:20260404T071241
CREATED:20221111T205142Z
LAST-MODIFIED:20221111T213809Z
UID:16320-1668625200-1668981600@tonemadison.com
SUMMARY:CodaFest at Café Coda
DESCRIPTION:The first-ever CodaFest is a five-night festival that impressively encompasses the sheer variety of jazz and improvised music Café Coda has showcased in Madison since opening in 2017. The top-line acts are two veteran\, boundary-pushing musicians who retain their fiery vitality today: saxophonist Roscoe Mitchell\, playing Wednesday night in a trio with bassist Jakob Heinemann and drummer Tim Russell\, and Marshall Allen\, leading the ongoing interstellar voyage of the Sun Ra Arkestra on Saturday night. Those highlights alone are a testament to the Willy Street venue’s ability to bring in great music\, and its deep commitment to the history and practice of jazz. \nCodaFest’s lineup also incorporates two jazz documentaries: Jazz In Exile (screening Thursday at 2 p.m. followed by a discussion with director Chuck France) details the careers of Black jazz musicians who left the United States to live and work in Europe\, and an episode from Ken Burns’ Jazz documentary\, titled A Masterpiece By Midnight (screening Friday at 2 p.m.)\, which surveys the splintering and development of jazz music from 1960 onward.  \nOther highlights throughout the fest include Chicago-based pianist/vocalist Alexis Lombre (Sunday at 3 p.m.); Coda owner Hanah Jon Taylor with bassist Reggie Workman\, drummer Dushun Mosley\, and pianist Luke Leavitt (Saturday\, 5 p.m.); and a duo set from guitarist Louka Patenaude and pianist Paul Hastil (Thursday\, noon). The festival has some free afternoon events and a range of prices for ticketed events (there’s also an all-access pass option for $275)\, so I’d recommend taking a thorough look at Coda’s events and tickets pages to plan ahead. \n—Scott Gordon \nthe Ritual and the Dance by Roscoe Mitchell & Mike Reed
URL:https://tonemadison.com/event/codafest-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T204500
DTSTAMP:20260404T071241
CREATED:20221111T200653Z
LAST-MODIFIED:20221111T213703Z
UID:16316-1668711600-1668717900@tonemadison.com
SUMMARY:Light Sleeper at Union South Marquee
DESCRIPTION:John LeTour (Willem Dafoe) is shown writing at a desk in his largely empty apartment at night\, shirtless. There is a tall\, stylized lamp behind him and a wine bottle sitting on the table next to a glass. \n“They figure you can tell a D.D. anything. Things they would never tell anyone else\,” drug dealer John LeTour (Willem Dafoe) narrates in writer-director Paul Schrader’s 1992 film Light Sleeper. The line frames  a scene that features David Spade as one of LeTour’s customers\, sitting in his underwear and going off on an unhinged philosophical rant while snorting cocaine. \nIt’s quite comic but helps draw us into LeTour’s illicit but comfortable world\, illustrating the control he tries to exert over his life as he navigates a range of shady\, unpredictable characters and absorbs the news that his boss (Susan Sarandon) wants to get out of the business. Cinematographer Ed Lachman’s shots of rainy Manhattan streets and half-lit car interiors\, alongside the baritone vocals of Michael Been’s song “World On Fire\,” combine in the film’s powerful opening.  \nThis being a Schrader film\, all his  trademark elements are at work: the lonely male protagonist\, his desperate fixation on a woman (Dana Delany\, as LeTour’s ex Marianne)\, and the mounting sense that the narrative is  bound for a final spasm of violence. Then again\, Roger Ebert wrote at the time of Light Sleeper‘s release: “This movie isn’t about plot\, it’s about a style of life\, and the difficulty of preserving self-respect and playing fair when your income depends on selling people stuff that will make them hate you.”  \nLeTour at once understands the bleak confines of his life but holds out hope for something greater. Even in Dafoe’s remarkable career\, this performance is a standout: tightly wound\, both aloof and deeply needy\, all those edges sharpened to a handsome prime. He makes it pretty alluring to get wrapped up in an existence most of us would not actually want to share. \n—Scott Gordon
URL:https://tonemadison.com/event/light-sleeper-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T220000
DTSTAMP:20260404T071241
CREATED:20221111T211004Z
LAST-MODIFIED:20221114T060402Z
UID:16323-1668711600-1668722400@tonemadison.com
SUMMARY:The Plains at UW Cinematheque
DESCRIPTION:A shot from the backseat of Andrew Rakowski’s Hyundai Elantra shows him (right) and director David Easteal in the passenger’s seat (left) shortly after leaving their office park for the day. \nExcerpt from Grant Phipps’ review and interview with director David Easteal: \nDavid Easteal finds a new meditative grammar for the road movie in The Plains (2022)\, a rigorously composed docufiction epic about our habitual commute\, the intimacy of impermanence\, and the subtly direct intermediary of technology. \nIn the casting of himself as a secondary character to the film’s principal traveler (and occasional chauffeur) Andrew Rakowski\, Easteal’s film feels endlessly amidst a journey—treading on business routes and Monash Freeway beyond the suburbs of Melbourne\, Australia\, meandering through the life and times of its quinquagenarian driver over a 12-month period. A fixed static shot in the backseat of Rakowski’s compact Hyundai Elantra frames his world view\, quite literally\, as he peers out at the skyline and his fellow 5 p.m. commuters rolling along between traffic lights and km/h speed limit signs. But it’s the audible space within the car’s interior and Rakowski’s routine that command attention over a nearly three-hour duration\, whether it’s listening to the hum of talk radio (on 93.1 and 105.9 presets) for a minute after turning the ignition\, phoning his longtime wife Cheri or 95-year-old mother Inga at a nursing home (through his earbuds)\, chatting with fellow barrister and firm colleague Easteal\, or simply sitting speechless as the gusting ambiance of the roadway fills the vehicle’s cozy\, confined environs. \nIn its series of plainspoken\, philosophical car conversations\, The Plains shares some commonality with the tradition of Iranian art cinema from the minds of Abbas Kiarostami (Taste Of Cherry\, Ten) or Jafar Panahi (Taxi Tehran). But the film’s earnest virtues align it more closely with the nearly dialogue-free documentary Cousin Jules (1972)\, Dominique Benicheti’s enthralling\, almost devout five-year chronicle of an elderly French couple’s daily agrarian rituals. Easteal reapplies a similar aesthetic to Benicheti’s to construct a film deeply rooted in the customs of contemporary Australia and shifting landscapes like so many other places in the post-industrialized Western world (including Madison).
URL:https://tonemadison.com/event/the-plains-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:20221118T190000
DTEND;TZID=America/Chicago:20221118T204500
DTSTAMP:20260404T071241
CREATED:20221111T212237Z
LAST-MODIFIED:20221115T180109Z
UID:16324-1668798000-1668804300@tonemadison.com
SUMMARY:All Is Forgiven at UW Cinematheque
DESCRIPTION:Annette (Marie-Christine Friedrich) and her young daughter Pamela (Victoire Rousseau) listen to the piano at a family gathering. \nExcerpt from Alisyn Amant’s review: \nAs Mia Hansen-Løve’s directorial debut\, All Is Forgiven (2007) is the logical birthplace of the cinematic tone that becomes distinct in her later films\, like Bergman Island (2021). She immerses viewers in moments of intense realism with characters Victor\, Annette\, and Pamela in the majority of the 105-minute running time. Take\, for example\, the portrayal of Victor’s addiction: one may expect the archetypal\, gritty\, and raucous scene of a person shooting heroin into their veins or snorting cocaine amidst dancing bodies and loud music. In All Is Forgiven\, the picture of addiction instead becomes a man wandering from park to park to find a dealer\, slipping away from outings with his daughter to run “errands” and waking up to the anticlimactic overdose of a lover. The expository tension between a dependence on drugs and the decay of a family still makes room for the subtle details of life: the sound of shoes on pavement or gravel\, the ripples of water on the surface of a pond\, the rustling of leaves and flowers. \nWhile that pervading sense of reality successfully creates an intelligent\, picturesque aura\, it simultaneously becomes a detriment to the viewer’s ability to connect with its characters as fixtures in a story. Moments that are supposed to be seen as monumental and emotional\, according to the typicality of narrative structure\, fall flat in service to realism. But regardless of one’s preference for the levels of tilt toward realism or romanticism\, All Is Forgiven is nonetheless an admirable debut that showcases the cinematic notions of a then-budding\, now-established director.
URL:https://tonemadison.com/event/all-is-forgiven-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:20221120T183000
DTEND;TZID=America/Chicago:20221120T203000
DTSTAMP:20260404T071241
CREATED:20221111T213437Z
LAST-MODIFIED:20221111T213437Z
UID:16326-1668969000-1668976200@tonemadison.com
SUMMARY:Sonata (2021) at Union South Marquee
DESCRIPTION:Grzegorz Płonka (Michal Sikorski) plays the piano in his father’s study. \nComing-of-age biopic Sonata (2021) closes out the Polish Film Festival at the Union South Marquee\, which begins on Sunday\, November 13\, with Illusion (2022)\, and then continues the following Sunday\, November 20\, with a triple feature of Fucking Bornholm (2022)\, Black Sheep (2022) and Sonata. \nBartosz Blaschke’s film is based on the true story of Grzegorz Płonka (Michal Sikorski)\, who is misdiagnosed with autism as a child in the mid-1990s\, only to discover at age 14 that he actually suffers from hearing loss that prevented him from processing the upper registers necessary to understand speech. When Grzegorz finally gets fitted with a hearing aid thanks to the insistence of a home caregiver\, he’s set upon a difficult road toward a meaningful life: learning to speak and read in his teens\, and obsessively devoting himself to becoming a concert pianist\, with his ultimate goal to perform Beethoven’s “Moonlight Sonata” (which lends the film its name).  \nThe film uses similar audio effects to Sound Of Metal (2020) in the scene where Grzegorz finally hears clearly for the first time\, allowing the audience to perceive as he does. Previously\, his relationship with music consisted of pounding on a piano to feel the vibrations. Sonata also shares Sound Of Metal‘s more nuanced take on a disability narrative rather than standing as a simple triumph-over-adversity tale: much emphasis is put on Grzegorz’s early life being left to languish due to sheer institutional indifference despite the efforts of his exasperated parents (Małgorzata Foremniak and Lukasz Simlat) to get someone to respond on a human level instead of just enforcing the rules and their own expectations. \nWhen Grzegorz finally speaks\, he often has a frustratingly black-and-white interpretation of social interactions\, and a megalomaniac focus on his life goal of becoming a pianist. At every turn\, he’s met by people who qualify his talent as “playing well for a deaf person.” Grzegorz doesn’t so much want to prove them all wrong as he gets stuck on not fully grasping why someone would want to keep him from fully expressing himself. Understandably\, he lashes out when clashing once again with the harshness of those more concerned with checking boxes than letting him release his pent-up emotions.  \n—Lewis Peterson
URL:https://tonemadison.com/event/sonata-2021-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:20221130T190000
DTEND;TZID=America/Chicago:20221130T201500
DTSTAMP:20260404T071241
CREATED:20221126T225031Z
LAST-MODIFIED:20221126T225209Z
UID:16385-1669834800-1669839300@tonemadison.com
SUMMARY:Mills Folly Microcinema: Seeing Pink\, videos by Ariel Teal at Arts + Literature Laboratory
DESCRIPTION:A still from “Becoming” (2018)\, borrowed from “Buffy The Vampire Slayer\,” of Teal’s favorite character Faith (Eliza Dushku) dancing at a club. \nFilm MFA and former instructor at UW-Milwaukee Ariel Teal\, who now studies social work in Madison\, will appear in person at this Mills Folly Microcinema event. While Teal is bringing three films that have made the rounds at experimental festivals in recent years\, they will also be premiering two new works\, Seeing and Pink Movie. \nTeal’s dual professional backgrounds have had an impact on their work in the exploration of personal trauma channeled through techniques from found footage and essay film. Difficult and direct as their practice may be\, it also has a sort of interior tenderness related to Teal dealing with their own trauma on their own terms. These films aren’t tailor-made for audiences so much as they embody a unique form of therapy to serve as a reminder for others of how their own lives may be fragmented in memory. \nAs on-screen texts in films like Becoming (2018)\, Monday Night (2018)\, and Romantic Getaway (2020) alternate between blunt descriptive statements and cut-up abstractions\, Teal shows a poetic control of their words at the sentence-level. Monday Night particularly highlights this\, with the language revealing entendres as it circles back on itself in fragments. “I hate that I didn’t see it coming” is shortened to “I hate that I\,” which is further simplified to an evocative “I hate.” \nThis trauma-informed cinema breaks with the clichés one might associate with the idea. Teal reads between the lines of the narratives we create for ourselves. Intertextual readings stand out here\, and the filmmaker intuitively understands the way our self-narratives are shaped by our aspirations toward beloved characters and forms (Buffy The Vampire Slayer and sitcom “special episodes” are central to Becoming and Romantic Getaway\, respectively). \nIf the existing work is any indication\, viewers can expect further developments in this direction from Teal’s new shorts that explore intersections of culture and the self with bracing clarity.  \n(Viewer’s note: the program features flashing lights and printed descriptions of sexual assault.) \n—Maxwell Courtright
URL:https://tonemadison.com/event/mills-folly-microcinema-seeing-pink-videos-by-ariel-teal-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:20221202T190000
DTEND;TZID=America/Chicago:20221202T205000
DTSTAMP:20260404T071241
CREATED:20221126T214255Z
LAST-MODIFIED:20221128T062423Z
UID:16384-1670007600-1670014200@tonemadison.com
SUMMARY:When You Read This Letter at UW Cinematheque
DESCRIPTION:Nightclub dancer Lola (Claude Borelli) stands ready to remove her clothes in front of the rakish Max (Philippe Lemaire)\, who regards her with smug indifference. \nExcerpt from Jason Fuhrman’s review: \nDirector Jean-Pierre Melville’s overlooked existential noir melodrama presents a counterpoint to his more popular crime films and period pieces—such as the underworld comedy of manners\, Bob Le Flambeur (1956)\, the elegant character study of an impossibly cool contract killer\, Le Samouraï (1967)\, and the gripping thriller about the French Resistance\, Army Of Shadows (1969). \nTaken at face value\, the film may appear to lack the cool precision\, calculated restraint\, and mood of contemplative ennui that define Melville’s subsequent output. However\, its atmospheric cinematography\, stylistic complexity\, and haunting ambiguities bring When You Read This Letter (1953) into alignment with the director’s most sophisticated creations. \nFilmed largely on location in Cannes\, France\, with ravishing black-and-white photography by Henri Alekan\, it holds up as a vivid panorama of a bygone time and place. The implausible\, somewhat bizarre plot of the film—which involves con artists\, blackmail\, a sadomasochistic novitiate\, sexual violence\, tragic car accidents\, an unsuccessful suicide attempt\, grand larceny\, and a tangled love triangle—feels surprisingly lurid for what was supposed to be a very “conventional” and “sensible” picture. With its many twists\, turns\, and abrupt tonal shifts\, the narrative sometimes veers toward the surreal.
URL:https://tonemadison.com/event/when-you-read-this-letter-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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