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DTSTART;TZID=America/Chicago:20230224T213000
DTEND;TZID=America/Chicago:20230224T234500
DTSTAMP:20260404T123752
CREATED:20230217T054124Z
LAST-MODIFIED:20230622T231951Z
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SUMMARY:Thirst (2009) at Union South Marquee
DESCRIPTION:In a white room\, Tae-Ju (Kim Ok-bin) feeds on an unsuspecting victim while her paralyzed mother-in-law (Kim Hae-sook) watches. \nBlending eroticism\, horror\, and black comedy\, Thirst (2009) is a twist-filled take on the vampire genre from South Korean director Park Chan-wook. Much like his recent Decision To Leave (2022)\, Park packs his thematic obsessions and ambitious visual style into a hallucinatory tale of doomed love. \nSuffering from a crisis of faith\, Catholic priest Sang-Hyun (Song Kang-ho) volunteers for a medical experiment in an effort to find a cure for a deadly virus. Miraculously surviving thanks to a blood transfusion\, Sang-Hyun becomes a faith-healer figure\, but he begins to experience mysterious symptoms—heightened senses\, carnal urges\, and an allergy to sunlight—that can only be eased by drinking human blood. \nLeaving the church\, Sang-Hyun begins a smoldering affair with Tae-Ju (Kim Ok-bin)\, the wife of a childhood friend. When Tae-Ju convinces him to murder her husband and turn her into a vampire\, the lovers find themselves in a hell of their own making\, tormented by guilt\, deception\, and the ghost of her husband. \nAvoiding the gothic genre trappings\, Park instead draws from his Catholic upbringing and Émile Zola’s novel Thérèse Raquin as source material. A halfway point between Park’s breakout Vengeance Trilogy (2002-2005) and his later\, more psychological works like The Handmaiden (2016)\, Thirst at times feels overstuffed with ideas. But it remains brimming with Park’s signature\, dazzling visuals\, tonal shifts\, and shocking violence. The film verges dramatically between blood-soaked supernatural horror\, torrid romance\, and moments of unexpected slapstick. Audacious and excessive\, it’s a bold genre experiment from one of modern cinema’s most idiosyncratic minds. \n—Ian Adcock
URL:https://tonemadison.com/event/thirst-2009-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125003/thirst2009-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230224T190000
DTEND;TZID=America/Chicago:20230224T230000
DTSTAMP:20260404T123752
CREATED:20230207T213432Z
LAST-MODIFIED:20230207T214242Z
UID:16753-1677265200-1677279600@tonemadison.com
SUMMARY:Bing Bong\, Vacant Church\, Louie & The Flashbombs at Bur Oak
DESCRIPTION: Bing Bong\, Vacant Church\, and Louie & The Flashbombs make up a genuinely fascinating mix of artists\, helping this Bur Oak show stand out. Bing Bong—a band that’s been running for over a decade—constitutes the lineup’s familiar local pillar act. Louie & The Flashbombs\, a band whose members have an impressive collective pedigree of their own\, are the newcomers; the Milwaukee act released their debut single “Hard Luck Story\,” in January 2023. Members of Louie & The Flashbombs have played in a variety of recognizable acts\, from the BoDeans to The Willy Porter Band to Pat McCurdy to The Mike Benign Compulsion\, and a whole host of acts in between. Madison-based Vacant Church are relative newcomers and provide the biggest stylistic break between the three acts. \n\nStabilizer\, Vacant Church’s debut album\, was released in October 2022. While Bing Bong has excelled at churning out reliably fun indie-pop with surf influences and Louie & The Flashbombs are flashing the makings of a band who thrive through their understanding of power-pop’s composition\, Vacant Church have a uniquely compelling spin on modern indie rock. On Stabilizer‘s best tracks\, the band frequently sounds like Wolf Parade wholeheartedly embracing a Wilco kick (“Stabilizer\,” “Sorry Bones\,” “Moonsong”). A little psychedelia\, a little punk\, and a good deal of understatement ground the songs on Stabilizer\, which slots neatly into a niche that Madison musicians haven’t often populated in recent years. \n\nVacant Church’s personnel includes Histo’s Donald Curtis on guitar\, who talked to us last year about Vacant Church’s live shows being artistically rejuvenating for him as a musician. Tim Gruber\, who has worked on and off as a music teacher in Madison and played in Mali Blues\, is Vacant Church’s drummer. All three of these bands are largely made up of veteran musicians\, who have each impacted their respective communities in memorable ways. Each act brings something different to the table\, creating a nice balance and a perfect show-going opportunity for anyone who’s into easygoing-but-energetic rock music that comes with a fun twist. \n—Steven Spoerl \nStabilizer by Vacant Church \n 
URL:https://tonemadison.com/event/bing-bong-vacant-church-louie-the-flashbombs-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125022/vacant-church.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230219T140000
DTEND;TZID=America/Chicago:20230219T153000
DTSTAMP:20260404T123752
CREATED:20230215T191059Z
LAST-MODIFIED:20230622T232100Z
UID:16809-1676815200-1676820600@tonemadison.com
SUMMARY:Remembering Paolo Gioli at Chazen Museum Of Art
DESCRIPTION:A photo of Caroline Kennedy as a child is layered with an image of a child wounded during the Vietnam War in Paolo Gioli’s “Children” (2008). \nFilmmaker Paolo Gioli (1942-2022) may not be a common reference for the movement of structural cinema. But his diverse and consistent body of work\, stretching from the late 1960s to the 2010s\, is a rich and varied exploration of celluloid that often asks the viewer to reconsider the mechanics of their own seeing. In observance of Gioli’s death in 2022\, the UW Cinematheque is hosting a career-spanning short film program of his work at the Chazen Museum Of Art\, which will be introduced by UW-Madison professor Patrick Rumble\, arguably the leading scholar on Gioli.  \nThe eight-film program begins with Traces Of Traces (1969)\, an animated film made with varied materials including the oil impressions from his own skin. As Gioli’s first film\, it is more deliberately abstract than many of his others\, exploring an on-cell animation style most commonly seen in Stan Brakhage’s films. Line patterns move between dense cross-hatches and looser\, globular forms. \nThe remainder of the program includes Gioli’s many experiments with found footage\, including Children (2008) which juxtaposes images of the privileged Kennedy family with photos of war-torn Vietnam\, as well as Faces Of An Unknown Photographer (2009)\, which mines the collection of an anonymous early 20th-century photographer to re-photograph the materials and create dense superimpositions at different shutter speeds. \nThis ability to study and recreate old work with new methods runs through Gioli’s filmography; he uses the medium to rediscover and reanimate lost materials\, and does this most extensively in Little Decomposed Film (1986) with a series of motion studies that echo Eadweard Muybridge’s pioneering work. Borrowing only printed images from textbooks\, Gioli stitches together a series of short animations\, each simulating motion from as few as two or three still images with stroboscopic imaging and flicker effects. The dazzling effect calls the viewer’s attention to how\, and at what exact point\, we feel like we’ve seen a “moving” image. \nIf Gioli’s work possesses a psychotropic effect\, it’s a self-aware interrogation of the act of seeing itself. Face Caught In The Dark (1995) most evocatively achieves this as a piece similarly made from the leftover materials of a long-gone photographer. Here\, Gioli photographs the portrait photographer’s leftover glass plates (a pre-film era way to capture an image impression) and sequences them in a ghostly montage. Each thin impression is barely legible as a face on its own. Shots accumulate as a sort of all-face\, like watching a granular prototype of the now-ubiquitous face-generating AI. It’s an eerie effect\, and one that brings our awareness not only to the act of seeing but to film’s ability to trans-historically reanimate. \nIf all of this sounds heady and Frankensteinian\, the program also includes the palette-cleanser Natura Obscura (2013)\, one of Gioli’s most purely beautiful films. Using a “pinhole” style (shooting through a tube pin-pricked with small holes)\, Gioli reduces the frame and surrounds it with tiny streams of light. The experimentation feels most jubilant. Each image is covered in a staticky halo with the clear footage at the center of the frame like the tip of a sparkler. \nIn a varied career that restores meaning to the filmic term of “experimental\,” Gioli’s restless innovation made him a consistently interesting\, if not widely known\, filmmaker. His work reminds us that even the most conceptual work can have a potent psychological effect. \n—Maxwell Courtright
URL:https://tonemadison.com/event/remembering-paolo-gioli-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T200000
DTEND;TZID=America/Chicago:20230217T220000
DTSTAMP:20260404T123752
CREATED:20230207T203628Z
LAST-MODIFIED:20230214T174731Z
UID:16751-1676664000-1676671200@tonemadison.com
SUMMARY:Nick Brown and Andrew Harrison at Bierock
DESCRIPTION:Fifteen years ago\, Andrew Harrison and his bandmates in Madison country outfit Earl Foss And The Brown Derby were straight-up stoked when Nick Brown answered a Craigslist ad to join the band on bass. Brown Derby ruled the city in those days\, at least for people who dug “moody bastard” country music\, as Brown calls it. The group was in the midst of a long string of weekly shows at the Crystal Corner Bar. “We were excited because this Nick guy who replied to our ad just moved here from Texas\,” remembers Harrison. “We were hoping he could lend some credibility to our honky-tonk sound.” \nBy the time the members of Brown Derby learned Brown was actually from Michigan\, well\, it didn’t matter. They were off to the races. The band had its core configuration and put in hard stage time\, earning an appreciative following with irony-free country covers and loud\, haystack-in-hell originals like “God’s Green Acre.”  \nSo began the Brown and Harrison collaboration that will be on rare\, scaled-down display as a duo at this Bierock show. While they’ve played together ever since\, both have stayed busy with other projects as well. Harrison toured with Madison folk rockers Count This Penny (who have often covered Brown’s song “Living That Way”) and played with other bands in town including The New Hiram Kings as well as Whitney Mann. These days Harrison can also be seen playing with the brand new\, old-country outfit Nate Gibson And The Stardazers.  \nBrown’s first solo album\, 2012’s Slow Boat\, featured plenty of Harrison’s restrained but evocative playing on guitar and pedal steel—and will be a likely source for some of the music they’ll play as a duo. Brown has maintained a full band for live shows and the 2017 EP Contender. (More recently\, Brown has put out two singles\, “Somewhere” and “Ghosts.”) But\, unlike Harrison\, who by comparison is straight-laced and all business\, Brown gets nutty with his side projects. Like the variety show series he did with a rotating cast that included the late Jim Schwall and Dan Walkner (Wrenclaw) at the Harmony Bar. \nIn Brown and Harrison’s close collaborations on original work\, they’re great foils\, both in sound and personality: Harrison’s playing heightens the rugged earnestness of Brown’s more somber moments (again\, “Living That Way\,” Slow Boat‘s show-stopping opener)\, and hint at the deeper yearnings behind the smart-asses and fuckups who populate songs like “Contender” and “Light Beer And Heavy Hearts.” \nBrown’s songwriting leans more Kristofferson than Jerry Reed (one of Harrison’s heroes). A professional copywriter by trade\, he earned his Masters in Journalism and American Literature at Texas State. Book learning is put to good use in his songwriting. “His literary background comes across in his lyrics\,” says Harrison. \n—Andy Moore \n \nNick Brown · Somewhere
URL:https://tonemadison.com/event/nick-brown-and-andrew-harrison-at-bierock/
LOCATION:Bierock\, 2911 North Sherman Avenue\, Madison\, WI\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230216T200000
DTEND;TZID=America/Chicago:20230216T230000
DTSTAMP:20260404T123752
CREATED:20230203T162112Z
LAST-MODIFIED:20230203T165427Z
UID:16728-1676577600-1676588400@tonemadison.com
SUMMARY:Disaster Passport ("Koyaanisqatsi" screening with live score)\, Faux Fawn at Bur Oak
DESCRIPTION:Madison band Disaster Passport has built up a dedicated local following by doing something that looks downright absurd in theory: writing its own score to a film (Koyaanisqatsi) that already has a score (by Philip Glass)—one so iconic that it’s hard to separate the music from the core experience. Back in 2018\, the four-piece began playing live shows accompanying Godfrey Reggio’s experimental 1982 docu-portrait of a world barreling toward environmental collapse. \nRather than re-interpreting the towering choral themes and kinetic orchestration of Glass’ original score\, or even particularly taking cues from it\, Disaster Passport started from scratch. Banjos (Andy Moore and Colin Crowley)\, baritone guitar (Karl Christenson of Cribshitter)\, drums\, and loops (both from Luke Bassuener of Asumaya) offer viewers a more rambling\, ruminative path into the film. (Full disclosure: Moore is a Tone Madison contributor.) \nReggio’s editing style moves Koyaanisqatsi along at a nimble and at times fevered pace. Sure\, it was initially intended to go along with Glass’ music—but when a film is so packed with rhythmic cues and powerful\, wordless messages\, why shouldn’t other musicians offer a different kind of interplay entirely? Disaster Passport composed the score over the course of eight months\, but audiences can hear improvisational elements evolve and shift from one performance to the next\, as the musicians respond to  the film’s rich layers. \nAt this show\, Stoughton-based singer-songwriter Paul Otteson and his band Faux Fawn will open things up. Expect a set of tender\, poignant folk songs with their own kind of cinematic scope. \n—Scott Gordon \nScore by Disaster Passport \nPhoto by Audre Rae Photography.
URL:https://tonemadison.com/event/disaster-passport-koyaanisqatsi-screening-with-live-score-faux-fawn-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Film,Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230213T193000
DTEND;TZID=America/Chicago:20230213T223000
DTSTAMP:20260404T123752
CREATED:20230208T000550Z
LAST-MODIFIED:20230208T002104Z
UID:16761-1676316600-1676327400@tonemadison.com
SUMMARY:Decision To Leave at Union South Marquee
DESCRIPTION:After a long night spent in the interrogation room\, Detective Hae-jun (Park Hae-il) offers Seo-rae (Tang Wei) a toothbrush to clean out some of the sushi they shared together. \nExcerpt from Alisyn Amant’s October 2022 review: \nGiven director Park Chan-wook’s propensity to subvert conventions of the mystery genre throughout his career\, however\, it makes sense that Decision To Leave follows its predecessors’ sensibilities. That is\, murder becomes the least mysterious part about the narrative he spins. Rather\, viewers will instead need to shift their focus on figuring out the tortuous tension between detective Hae-jun (Park Hae-il) and enigmatic widow Seo-rae (Tang Wei). \nThrough twitches of an eye or subtle movements of an arm\, Park Hae-il and Tang’s performances both succeed in saying what their director’s dialogue refuses to say outright\, for the sake of making viewers work for the answers. Tang’s performance as the seductive suspect\, who happens to be a Chinese immigrant facing intense discrimination and abuse within imbalanced marriages\, could have easily become another face to add to the annals of the “conniving but helpless woman” trope. Instead\, she molds an intensely emotional character that purposely rubs up against patriarchal power—what law enforcement agencies tend to represent in film and other art forms. When Seo-rae is questioned further about her role in her husband’s death\, she essentially and antagonistically asks\, “Shouldn’t you be pitying me because I’m a woman?” It shapes the idea that Decision To Leave is not just another cat-and-mouse thriller\, but a chilling romance of true equals. \nA 25-minute video conversation between Park Chan-wook and fellow South Korean director Bong Joon-ho will also follow this Marquee screening.
URL:https://tonemadison.com/event/decision-to-leave-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/2022/10/02125317/decisiontoleave-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230212T200000
DTEND;TZID=America/Chicago:20230212T223000
DTSTAMP:20260404T123752
CREATED:20230206T155059Z
LAST-MODIFIED:20230622T232114Z
UID:16734-1676232000-1676241000@tonemadison.com
SUMMARY:Inside A Dream: The Music Of David Lynch at High Noon Saloon
DESCRIPTION:Laura Palmer (Sheryl Lee) of “Twin Peaks” screams nightmarishly at the center of a surreal black-and-white collage. \n“It was a dream! We live inside a dream!” exclaims Phillip Jeffries\, the disturbed\, long-lost FBI Special Agent portrayed by David Bowie in David Lynch’s 1992 film Twin Peaks: Fire Walk With Me. Jeffries inexplicably materializes in the Philadelphia FBI office and delivers a rambling\, incoherent speech\, only to mysteriously vanish once again as he did years ago on assignment in Argentina. \nInside A Dream: The Music of David Lynch\, a live tribute to the iconic surrealist filmmaker\, comes to the High Noon Saloon this Sunday. The show borrows its title from this bizarre scene\, while aiming to reproduce the otherworldly atmosphere of Lynch’s oeuvre. Featuring an eight-piece band that consists of talented musicians from Milwaukee and guest vocalist Kenzi Rayelle\, the project derives inspiration from all of Lynch’s work to present a unique multimedia experience. Aidan White\, Nicolas Buendia\, David Brady\, Paul Westfahl\, Allen Russell\, Ousia Moon\, Troy Leisemann\, and Luis Solis-Trinidad will all be performing live versions of songs and scores featured in Eraserhead\, Blue Velvet\, Mulholland Dr.\, Inland Empire\, and more\, along with “deconstructed” Twin Peaks Red Room stage design and projected visual accompaniment. \nInside A Dream was created by White\, a self-described “crazed Lynch fan.” In a 2022 interview for Milwaukee Record\, he says\, “Lynch is an incredibly visual director and is a craftsman at creating abstract stories\, but in my opinion the music he constructs for his work is just as iconic as the stories themselves.” (It should be noted that composer Angelo Badalamenti collaborated extensively with Lynch on the music for his films\, and so this is as much a celebration of him as Lynch.) \nWhile this marks the show’s third installment\, it is the debut performance in Madison. As for what to expect\, in the words of FBI Special Agent Dale Cooper (Kyle MacLachlan)\, the eccentric protagonist of Twin Peaks: “I have no idea where this will lead us\, but I have a definite feeling it will be a place both wonderful and strange.” \n—Jason Fuhrman
URL:https://tonemadison.com/event/inside-a-dream-the-music-of-david-lynch-at-high-noon-saloon/
LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125028/insideadream-lynchshow.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230208T200000
DTEND;TZID=America/Chicago:20230208T220000
DTSTAMP:20260404T123752
CREATED:20230203T160700Z
LAST-MODIFIED:20230203T160700Z
UID:16726-1675886400-1675893600@tonemadison.com
SUMMARY:Richard Hildner Armacanqui Quartet at Lucille
DESCRIPTION:Any accounting of Madison’s noteworthy guitarists would be incomplete without mentioning Richard Hildner Armacanqui. In projects that include Golpe Tierra\, Acoplados\, and Barbacoa\, Hildner Armacanqui draws on the complex musical heritage of his Peruvian-American family\, putting a whole spectrum of Afro-Peruvian musical traditions in conversation with other strains of jazz\, rock\, and funk. Beyond his clear technical gifts\, Hildner Armacanqui has a lot to say about how all these different elements relate to each other through the language of the guitar. The statements range from aching lyricism (see Golpe Tierra’s “La Despedida“) to almost fusion-ish fleetness (his electric playing in Barbacoa).  \nAt this Lucille show\, Hildner Armacanqui will be playing in a quartet setting with bassist Nick Moran and percussionists Paddy Cassidy and Greg Riss. He says to expect a mix of original work and “classic songs from all over Latin America: son\, bachata\, festejo\, vals\, etc.” He adds\,  “The quartet is a very nice format\, because it’s flexible enough to be able to explore a song more and end up in unexpected places.” \nTheir performance is part of a Wednesday-night jazz series that veteran DJ Phil Money is booking. So far the series has focused heavily on the wealth of solid jazz artists based here in Madison\, and it benefits both from Lucille’s boisterous atmosphere (it’s impressive how well the music carries in a place as full-on LOUD as this) and Phil Money’s tasteful ear. Coming up\, Hildner Armacanqui is also playing with his band La Combi every first and third Thursday at Robinia Courtyard. Another project\, Richi Y Su Runakuna\, has a February 17 show at Café Coda. \n—Scott Gordon \n \nPhoto by Luis Armacanqui.
URL:https://tonemadison.com/event/richard-hildner-armacanqui-quartet-at-lucille/
LOCATION:Lucille\, 101 King St.\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230204T180000
DTEND;TZID=America/Chicago:20230204T205000
DTSTAMP:20260404T123752
CREATED:20230128T050622Z
LAST-MODIFIED:20230622T232142Z
UID:16695-1675533600-1675543800@tonemadison.com
SUMMARY:Big Brown Eyes & Hot Saturday at UW Cinematheque
DESCRIPTION:In “Big Brown Eyes\,” Eve Fallon (Joan Bennett) hands detective Danny Barr (Cary Grant) his gun back. \nSophisticated and handsome but not afraid to get silly\, Cary Grant was one of Hollywood’s most beloved leading men. Before he became synonymous with Hitchcock thrillers and madcap romantic comedies\, he came up through Hollywood in the 1930s; and you can catch a 35mm double feature of Grant’s early starring roles at UW Cinematheque this Saturday starting at 6 p.m. \nPlayfully blending film noir and dialogue-driven comedy\, Big Brown Eyes (1936) features Grant and Joan Bennett as a police detective and his manicurist-turned-reporter girlfriend who’s trying to catch a gang of murderous jewel thieves. With its pulpy plot punctuated by Grant and Bennett trading rapid-fire wisecracks\, Big Brown Eyes is a charming warm-up for the screwball comedies Grant would make over the next few years. Director Raoul Walsh worked in seemingly every genre during his long career\, and he deftly balances the hard-boiled crime elements with colorful characters and snappy banter. \nA racy pre-Code romance with surprising sexual politics\, Hot Saturday (1932) stars Nancy Carroll as Ruth Brock\, a small-town bank teller who lives for weekend parties with her friends. Despite the drunken escapades\, Ruth has maintained her reputation\, but a rebuffed date decides to teach her a lesson by spreading a rumor about Ruth and big-city playboy Romer Sheffield (Grant). Ruth is branded a promiscuous hussy and loses her job overnight due to “loose morals.” Desperate to preserve her honor\, Ruth convinces her recently returned childhood flame Bill Fadden (Western regular Randolph Scott) to propose to her\, but finds the malicious gossip hard to escape. \nWhen William A. Seiter directed Hot Saturday\, Hollywood was increasingly under attack by conservative rural America\, who were outraged by the titillating films supposedly corrupting their youth. It’s easy to view the film as a rebuke of small-town America’s supposed moral high ground—Hot Saturday’s town of Marysville is populated by scowling\, puritanical gossips and their depraved\, horny sons. Compared to the yokels Ruth hangs out with\, Romer is a catch. Dressed in a white suit\, Grant portrays him as an urbane\, charming rogue\, a preface to the many redeemable cads he’d play later in life. \n—Ian Adcock
URL:https://tonemadison.com/event/big-brown-eyes-hot-saturday-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125041/bigbrowneyesfilm-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230204T140000
DTEND;TZID=America/Chicago:20230204T153000
DTSTAMP:20260404T123752
CREATED:20230130T083839Z
LAST-MODIFIED:20230622T232152Z
UID:16698-1675519200-1675524600@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premiered at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27. It continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre-4/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230203T200000
DTEND;TZID=America/Chicago:20230203T213000
DTSTAMP:20260404T123752
CREATED:20230130T083406Z
LAST-MODIFIED:20230622T232157Z
UID:16697-1675454400-1675459800@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premiered at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27. It continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre-3/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230203T190000
DTEND;TZID=America/Chicago:20230203T210000
DTSTAMP:20260404T123752
CREATED:20230124T153632Z
LAST-MODIFIED:20230124T214937Z
UID:16677-1675450800-1675458000@tonemadison.com
SUMMARY:New Music Series: Outside The Sphere at Arts + Literature Laboratory
DESCRIPTION:Outside The Sphere\, the duo of percussionist Michael Brenneis and saxophonist Tony Barba\, grew from a series of improvised duets Brenneis launched in 2018. The two share a vast\, electroacoustic vocabulary—Brenneis has spent more than 20 years making all manner of adventurous music\, and Barba’s work ranges from taut jazz combos to glacial ambient music. The duo’s first recording\, released in 2019\, senses all those potentially overwhelming options but always manages to feel focused and invested in the moment\, whether amid the breathy expanse of “Davenport A Couch” or the restless itch of “Calling Around.”  \nThings kept getting more unpredictable during the early months of the pandemic\, when the two performed a series of remote improvisations on YouTube. “These were as musical as they were therapeutic\, I think\, and we captured some really good stuff\,” Brenneis says. A lot of the video performances and livestreams during that time felt like make-the-best-of-it attempts to fill the void of live shows\, but Outside The Sphere’s sessions were among the rare ones that channeled 2020’s maddening isolation and anxiety into something that truly made sense in that context. On the series’ third episode\, the pent-up\, questing energy of two busily gigging musicians reaches a searing point\, and that climbing-the-walls feeling alchemizes into something greater. \nAs part of Arts + Literature Laboratory’s New Music Series\, this show will let audiences catch up on all the growth since Outside The Sphere’s inception. Both musicians will incorporate their main instruments and seek a deeper integration with electronic elements. “As you can hear on the first recording\, the electronics work kind of as spare voices accompanying our acoustic playing\,” Brenneis says. “More recently we’ve gotten to where we can add layer upon layer when the mood strikes\, and it becomes more orchestral\, more involved\, and a voice that speaks as an equal to our acoustic playing.” It may emerge as two sets\, or flow as “one gargantuan set of several improvisations\,” Brenneis adds.  \n—Scott Gordon \nOutside the Sphere by Tony Barba & Michael Brenneis \nPhoto by Sebastian Brenneis.
URL:https://tonemadison.com/event/new-music-series-outside-the-sphere-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125049/outsidesphere_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230202T190000
DTEND;TZID=America/Chicago:20230202T204000
DTSTAMP:20260404T123752
CREATED:20230126T195639Z
LAST-MODIFIED:20230622T232228Z
UID:16687-1675364400-1675370400@tonemadison.com
SUMMARY:Aftersun at UW Cinematheque
DESCRIPTION:Sophie (Frankie Corio) hugs her father (Paul Mescal) as they dance together on the last night of their vacation in Turkey. \nKids never really know their parents as people. Of course\, as one gets older\, it’s a nearly universal experience to collect bits and pieces of adulthood’s realities\, family secrets\, and an awareness of mortality that ultimately bring one closer to understanding a caretaker as human. But before that transformative coming-of-age symptom makes itself felt\, mothers and fathers tend to be figures filtered through the pristine eyes of childhood. \nCharlotte Wells’ astonishing directorial debut\, Aftersun (2022)\, explores how to reconcile those hazy\, naïve memories and beliefs of adolescence with the hardened knowledge of maturity brought on by loss and aging. The film follows both the 11- and 31-year old versions of Sophie Paterson (Frankie Corio and Celia Rowlson-Hall\, respectively) as she recalls a vacation to Turkey with her father\, Calum (Paul Mescal)\, in the early 2000s. The trip marked Calum’s 31st birthday and\, fatefully\, the last time Sophie ever saw him.  \nWells gives her audience the same tools to grasp Calum’s humanity as the two iterations of Sophie: footage from an old camcorder\, recollections of instances where Calum’s carefree façade crumbles\, and a rave-like liminal space that serves as a touchpoint for Sophie to attempt to reconnect with her younger self and a father she hasn’t seen in 20 years. With this framework—and a breathtaking performance by Mescal that just earned him an Academy Award nomination for best actor—Aftersun easily earns its place among the best films of last year\, most appropriately featured here in UW Cinematheque’s “Best Of 2022″ series. \n—Alisyn Amant
URL:https://tonemadison.com/event/aftersun-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125045/aftersunfilm-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230201T080000
DTEND;TZID=America/Chicago:20230223T160000
DTSTAMP:20260404T123752
CREATED:20230209T160235Z
LAST-MODIFIED:20230209T194930Z
UID:16769-1675238400-1677168000@tonemadison.com
SUMMARY:Kel Mur: Converge at Pyle Center
DESCRIPTION:Soft bodies clasp together like puzzle pieces in Converge: Studies Of Cohabitation\,  a show in which multimedia conceptual artist Kel Mur explores what it means to share a home with her romantic partner. By displaying plaster molds of their bodies wrapped around each other\, with strips of bedsheets soaked in wax enveloping them\, Mur demonstrates the tension between the resilience and tenderness of a relationship. Wax as a material is soft and pliable when it is warm. But when it is cold\, it is hard and easily breakable. Love can be understood the same way. And these sculptures painstakingly capture the fineness of this level of intimacy. \nMur likens the different studies to a cocoon—something that encloses another thing to protect it. The lovers\, in all their tenderness\, try to defend one another. Their limbs are wrapped around each other’s backs as armor. The ethos of the artwork is unflinching and unafraid. It shows how living together involves building a safe space that cultivates change and growth for people\, much like a chrysalis. It is permeable and vulnerable but still has the capacity to hold those inside it. As the people inside grow together in and around each other\, the cocoon grows around them as well. The home adapts and this is seen in the ways the figures shift and change around the space. \nWhat strikes me most about Converge is how it points us to our capacity for grace and mercy. We come together in our frailness\, humanity\, and vulnerability and hold tightly to the ones we love until we feel their hearts beating close to ours. It is a great risk\, but I forget it as soon as I see the two become one. When I see the figures\, I can imagine them breathing one another’s air\, living in one another’s skin\, and I remember the joy of knowing and being known by someone so deeply that we live and move and have our being in them and with them. Oh\, what beauty. \n—Hannah Keziah Agustin \nNote: Gallery hours for this show are 7 a.m. to 4 p.m. during the week and during special events on weekends and evenings.
URL:https://tonemadison.com/event/kel-mur-converge-at-pyle-center/
LOCATION:Pyle Center\, 702 Langdon Street\, Madison\, 53706\, United States
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125017/kelmur_header-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230128T140000
DTEND;TZID=America/Chicago:20230129T153000
DTSTAMP:20260404T123752
CREATED:20230120T210051Z
LAST-MODIFIED:20230622T232242Z
UID:16663-1674914400-1675006200@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premiered at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27. It continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre-2/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230127T200000
DTEND;TZID=America/Chicago:20230127T213000
DTSTAMP:20260404T123752
CREATED:20230120T205610Z
LAST-MODIFIED:20230622T232302Z
UID:16662-1674849600-1674855000@tonemadison.com
SUMMARY:Encore In Black And White at Mary Dupont Wahlers Theatre
DESCRIPTION:A still from “Elephant In The Room” features three actors. Rikki Christman (right) points a toy gun at Joe Wahlers (left\, seated). James Burreson stands cloaked in the shadows near the center of the frame in front of a vintage coffee shop backdrop. \nEncore Studio For The Performing Arts celebrates their 23rd year as Wisconsin’s premier theater company for people with disabilities with a four-film\, 75-minute suite that pays homage to silent and early sound era cinema. “Encore In Black And White” premieres at the Mary DuPont Wahlers Theatre (just off of Fish Hatchery Road) on Friday night\, January 27\, and continues across four additional days (January 28 and 29 at 2 p.m.\, February 3 at 8 p.m.\, and February 4 at 2 p.m.). Tickets are available directly through Encore as suggested donations of $15 per general patron\, and $5 for people with disabilities\, students\, and seniors. \nWorking with four different writers riffing on four archetypal genres from the dawn of modern cinema\, universal director Heather Renken has an exemplary opportunity under this program’s umbrella to exhibit her experience and insight with local actors\, not only in longstanding connections to Encore Studio (serving as artistic associate for over a decade)\, but with Broom Street Theater and Children’s Theater Of Madison as well. \nRenken contributed on the writing side to the third short\, a colorful spin on noir tropes titled Elephant In The Room. In her recent interview with Channel 3000‘s Doug Moe\, Renken graciously cites Encore actor James Burreson’s passion for detective stories as the catalyst to its realization. \nOther screenwriters who helped bring “Encore In Black In White” to fruition include Clarice Lafayette\, who wrote the zippy piece of horror that opens the night\, Redemption. Sarah Jo Schoenhaar’s take on century-old slapstick emerges in Bona Fide\, and KelsyAnne Schoenhaar’s witty musical comedy of To Heiress Human closes the screening event on a spirited note (literally). Stick around afterward for a Q&A with the cast and crew. \n—Grant Phipps
URL:https://tonemadison.com/event/encore-in-black-and-white-at-mary-dupont-wahlers-theatre/
LOCATION:Mary Dupont Wahlers Theatre\, 1480 Martin St\, Madison\, WI\, 53713\, United States
CATEGORIES:Culture,Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125054/encore-elephantintheroom.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230127T190000
DTEND;TZID=America/Chicago:20230127T210000
DTSTAMP:20260404T123752
CREATED:20230114T080911Z
LAST-MODIFIED:20230622T232320Z
UID:16640-1674846000-1674853200@tonemadison.com
SUMMARY:The Good Boss at UW Cinematheque
DESCRIPTION:Blanco (Javier Bardem) smiles as he sits at a table in his office that overlooks the factory floor of Blanco Scales. \nIn Fernando León de Aranoa’s The Good Boss\, Blanco Scales is up for a regional business award. The owner (Javier Bardem) and the business that bears his name are one\, and he will stop at nothing to project the image of a benevolent\, civically minded pillar of the community. Manipulation\, intimidation\, bribery\, adultery\, and giving in to blackmail are all deemed necessary. \nBardem sports a shock of white hair reminiscent of his Skyfall (2012) antagonist Raoul Silva\, though Blanco is more practiced at hiding any potential villainous tendencies behind a smile\, a firm handshake\, and plenty of rhetoric about fairness and how his company is “like a family.” Of course\, he conveniently ignores both the rigid hierarchy implied by such a statement\, as well as the unique capacity family has to hurt and exploit its most vulnerable members\, as any manager who’s used that phrase does. \nCase in point: Miralles (Manolo Solo)\, Blanco’s shipping manager and childhood friend\, is continually ordering the wrong parts\, thus making it impossible for the factory to fulfill orders on time. Miralles confides in Blanco that he hasn’t been sleeping\, because he suspects his wife Aurora (Mara Guil) of cheating. Blanco takes it upon himself to ask her to stop the affair until at least the end of the week\, after the award inspection committee has stopped by. \nLeading up to the official inspection\, this is just one of many fires that Blanco tries to stomp out\, as he maintains his balance in a madcap comedy reminiscent of Billy Wilder’s One\, Two\, Three (1961). The Good Boss delivers laughs\, showing how far Blanco is willing to go to maintain the appearance of being upright while ultimately raising fair points about how modern capitalism has become more inclusive by giving the most craven of individuals the opportunity to rise by stepping on the necks of their fellow workers. \n—Lewis Peterson
URL:https://tonemadison.com/event/the-good-boss-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125059/thegoodboss-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230126T190000
DTEND;TZID=America/Chicago:20230126T203000
DTSTAMP:20260404T123752
CREATED:20230117T210156Z
LAST-MODIFIED:20230117T210156Z
UID:16647-1674759600-1674765000@tonemadison.com
SUMMARY:EO at UW Cinematheque
DESCRIPTION:In the grass beyond a ribbon-cutting ceremony\, Eo stands calmly with a garland of carrots around his mane\, a subtle nod to the canonized wreath of flowers from “Au Hasard Balthazar.” \nSeveral films in recent years have centered the emotional experiences and points of view of our fellow mammals—Viktor Kossakovsky’s Gunda (2020) and Andrea Arnold’s Cow (2021)\, to name a couple—but Jerzy Skolimowski’s EO (2022) is perhaps the first to render the life of one\, a donkey\, with the sort of psychological flair typically reserved for a human or at least a fully anthropomorphized computer rendering. \nBorrowing liberally from one of the all-time cinematic touchstones\, Robert Bresson’s Au Hasard Balthazar (1966)\, EO perseveres as a metaphysical and earthly narrative. Those disparate elements interact singularly throughout a tragic cross-country journey that begins at a Polish traveling circus where the titular donkey is adored by his ring-performance partner Kasandra (Sandra Drzymalska\, analogous to Anne Wiazemsky’s Marie in Balthazar). In a way\, EO unfolds as a love story with Shakespearean shades\, as the two are inevitably separated\, and Eo’s journey becomes one of silent reconciliation. Skolimowski and cinematographer Michał Dymek visually manifest Eo’s desire for Kasandra’s warmth that’s missing through all his wandering far and near\, her hands caressing his muzzle and mane. \nSkolimowski amplifies Bresson’s spiritual and religious Dostoyevsky parable with an urgent sociological angle. This is partly due to the setting in modern times\, but also how the film represents the contrived separations of our kind from innocent observer Eo through its use of hyperlinked vignettes. It trades tones and genres as Eo escapes or moves between places in scenes that persistently showcase the contrast between fluorescence and natural light\, recalling Terence Malick’s predilections. \nBut it would all be somehow incomplete without the dramatic heft of Paweł Mykietyn’s score\, which is almost instantaneously overwhelming—its weeping strings conjuring a certain narrative artifice of old Hollywood\, and at once establishing Eo’s migration as one that sways between melodrama and magical realism. Like Arnold’s Cow\, EO would seem to be outlying in Skolimowski’s filmography\, and yet it carries a distinctive line of romantic drama that he cultivated more than a half-century ago. EO is perhaps the sum of the director’s innermost conflicts that emerges as hope for a world where love is essential and cruelty is incidental. \n—Grant Phipps
URL:https://tonemadison.com/event/eo-at-uw-cinematheque/
LOCATION:UW Cinematheque\, 821 University Ave / 4070 Vilas Hall\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125056/eofilm-hed.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230125T190000
DTEND;TZID=America/Chicago:20230125T220000
DTSTAMP:20260404T123752
CREATED:20230119T163105Z
LAST-MODIFIED:20230119T163105Z
UID:16655-1674673200-1674684000@tonemadison.com
SUMMARY:The Low Czars\, The Also-Rans at Red Rooster
DESCRIPTION:The Also-Rans\, a new Madison band\, combines four musicians with a long track record in the area. Aaron Scholz added a third album to his solo discography in 2021\, the understated but powerful Third Place\, after putting his original work on ice for quite a few years. Matt Joyce is best known for his work in The Midwest Beat\, a Madison/Milwaukee band that had a long and fruitful run of jangly\, psych-blasted rock\, much of it on the strength of Joyce’s songwriting\, before they hung it up in 2019. Dan Kennedy’s career has reached confidently across charming\, jazzy soul (including his 2013 solo album Seems Like Forever) and a range of Americana elements (which can be heard in his guitar-playing with Madison band The Getaway Drivers).  \nAlong with drummer Eric Salisbury\, of country outfit The Ramble\, they’ll be showcasing work from across Scholz and Kennedy’s songbooks at first\, and eventually working on songwriting contributions from all four members. Audiences will have their first chance to hear full-band versions of songs from Third Place\, too. The Also-Rans open up here before a set from cover band par excellence The Low Czars\, which also features Scholz on guitar\, vocals\, and keys. \n—Scott Gordon \nThird Place by Aaron Scholz \nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/the-low-czars-the-also-rans-at-red-rooster/
LOCATION:Red Rooster\, 2513 Seiferth Road\, Madison\, WI\, 53716\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/08/02125519/guitars-tone-2000x1500-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230118T190000
DTEND;TZID=America/Chicago:20230124T211500
DTSTAMP:20260404T123752
CREATED:20230114T212706Z
LAST-MODIFIED:20230118T213132Z
UID:16643-1674068400-1674594900@tonemadison.com
SUMMARY:Skinamarink at Marcus Point Cinema
DESCRIPTION:Kevin (Lucas Paul) sits on a carpeted floor facing a door in a darkened hallway. A plug-in nightlight glows to his right. \nStarting Thursday\, January 19\, “Skinamarink” also has show times at AMC Fitchburg. \nKyle Edward Ball’s Skinamarink (2022) has to be in contention for the most experimental 21st century feature to be given a wide release (and kudos to Shudder for giving a big push to such a not-for-everyone film). As with many of the most enduring horror movies\, Skinamarink is more about cultivating a vibe\, dispensing with all but the barest trappings of a plot\, which could theoretically be described as what’s happening on the other side of the TV in Poltergeist (1982). Or it can be seen as a deconstruction of cheaply made found-footage horror films like The Blair Witch Project (1999) and Paranormal Activity (2007) that have been lucrative since the advent of digital cameras\, scooping out facets of conventional narrative (analogous to what this bit does to stand-up comedy). \nSet in 1995\, Skinamarink essentially concerns young brother and sister\, Kevin (Lucas Paul) and Kaylee (Dali Rose Tetreault)\, who are lured through a door (that only sometimes exists) to a version of their house that doesn’t have their parents (Jamie Hill and Ross Paul) in it. The voice toys with them\, tries to placate them with public domain cartoons (proving that even mysterious supernatural beings fear copyright infringement suits)\, and eventually gives them violent instructions for some nefarious but undefined purpose. \nBut again\, just to emphasize the experimental nature of Ball’s approach: human faces only appear on screen a total of three times in the 100-minute runtime\, and for no more than a few seconds each time. Most of the dialogue is both hushed and distorted enough that subtitles are intermittently provided\, and the camera’s point of view is firmly the two siblings. The lens mostly points up and the large house around them\, filtered through a VHS grain that gives the swathes of black a distorted\, abstract quality that invites the viewer to mentally fill in something lurking in the darkness like a sinister version of Ken Jacobs’ The Movie That Invites Pausing (2020). If you’re prepared to bring your imagination to those dark corners\, you’ll certainly freak yourself out. \n—Lewis Peterson
URL:https://tonemadison.com/event/skinamarink-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125059/skinamarink-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230107T200000
DTEND;TZID=America/Chicago:20230107T210000
DTSTAMP:20260404T123752
CREATED:20230102T201532Z
LAST-MODIFIED:20230103T011925Z
UID:16610-1673121600-1673125200@tonemadison.com
SUMMARY:Ghost Wars at MMSD Planetarium
DESCRIPTION:A mockup by Thomas Ferrella from “Ghost Wars\,” featuring a US dollar scorched in bright red and etched with atom bomb symbols over its Federal Reserve seals. \nEach winter seems to facilitate a new live multimedia collaboration between video artist and cinematographer Aaron Granat and multi-hyphenate BlueStem Jazz curator and co-founder Thomas Ferrella. From Mindstorm at the Madison Metropolitan School District (MMSD) Planetarium in March 2020 to Shadowlands at Garver Feed Mill in February 2021\, the two have been concocting psychedelic whirlwinds of ecstatic digital visuals and and jazz-inspired electroacoustic soundscapes (led by Ferrella’s “sonic frontiers collective” You Of All People). \nTheir newest project\, Ghost Wars\, premiered at Gallery Marzen in May 2022\, but now returns to the MMSD Planetarium here\, on the nights of January 6 and 7 (both starting at 8 p.m.)\, with a decidedly incendiary political angle. If Shadowlands (part of the Winter Is Alive cooler world carnival of 2021) delved into changing wetland ecosystems in both the abstract and on vividly literal terms\, Ghost Wars pushes boundaries further in its rippling raze of the personal and public desolations of late capitalism and endless war. Its imagery\, crafted or shot by Ferrella and manipulated by Granat in real time\, draws upon familiar totems and symbols (Ferrella’s art prints\, for one) to metamorphose a tapestry of American avarice and strife. As evidenced in a short preview below\, some of the stark visual components permeating the frame involve the atom bomb-etched American dollar bills sewn into the national flag. \nAlong with You Of All People’s extended technique and effects-laden spoken word providing the melodies and textures to this live brew under the Planetarium dome\, Granat and Ferrella have enlisted other local allies to enhance the breadth of the live spectacle—including Kit Caldwell (costume design)\, Ian Van D. (sculptural performance)\, and Lauren Lynch (choreography). \nAll proceeds from both unique hour-long performances will benefit the Madison chapter of Friends Of Ukraine. \n—Grant Phipps
URL:https://tonemadison.com/event/ghost-wars-at-mmsd-planetarium-2/
LOCATION:MMSD Planetarium\, 201 South Gammon Road\, Madison\, WI\, 53717\, United States
CATEGORIES:Culture,Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125116/ghostwars-tonehed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230106T200000
DTEND;TZID=America/Chicago:20230106T210000
DTSTAMP:20260404T123752
CREATED:20230101T220353Z
LAST-MODIFIED:20230103T011845Z
UID:16608-1673035200-1673038800@tonemadison.com
SUMMARY:Ghost Wars at MMSD Planetarium
DESCRIPTION:A mockup by Thomas Ferrella from “Ghost Wars\,” featuring a US dollar scorched in bright red and etched with atom bomb symbols over its Federal Reserve seals. \nEach winter seems to facilitate a new live multimedia collaboration between video artist and cinematographer Aaron Granat and multi-hyphenate BlueStem Jazz curator and co-founder Thomas Ferrella. From Mindstorm at the Madison Metropolitan School District (MMSD) Planetarium in March 2020 to Shadowlands at Garver Feed Mill in February 2021\, the two have been concocting psychedelic whirlwinds of ecstatic digital visuals and and jazz-inspired electroacoustic soundscapes (led by Ferrella’s “sonic frontiers collective” You Of All People). \nTheir newest project\, Ghost Wars\, premiered at Gallery Marzen in May 2022\, but now returns to the MMSD Planetarium here\, on the nights of January 6 and 7 (both starting at 8 p.m.)\, with a decidedly incendiary political angle. If Shadowlands (part of the Winter Is Alive cooler world carnival of 2021) delved into changing wetland ecosystems in both the abstract and on vividly literal terms\, Ghost Wars pushes boundaries further in its rippling raze of the personal and public desolations of late capitalism and endless war. Its imagery\, crafted or shot by Ferrella and manipulated by Granat in real time\, draws upon familiar totems and symbols (Ferrella’s art prints\, for one) to metamorphose a tapestry of American avarice and strife. As evidenced in a short preview below\, some of the stark visual components permeating the frame involve the atom bomb-etched American dollar bills sewn into the national flag. \nAlong with You Of All People’s extended technique and effects-laden spoken word providing the melodies and textures to this live brew under the Planetarium dome\, Granat and Ferrella have enlisted other local allies to enhance the breadth of the live spectacle—including Kit Caldwell (costume design)\, Ian Van D. (sculptural performance)\, and Lauren Lynch (choreography). \nAll proceeds from both unique hour-long performances will benefit the Madison chapter of Friends Of Ukraine. \n—Grant Phipps
URL:https://tonemadison.com/event/ghost-wars-at-mmsd-planetarium/
LOCATION:MMSD Planetarium\, 201 South Gammon Road\, Madison\, WI\, 53717\, United States
CATEGORIES:Culture,Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125116/ghostwars-tonehed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230105T200000
DTEND;TZID=America/Chicago:20230105T233000
DTSTAMP:20260404T123752
CREATED:20230101T214225Z
LAST-MODIFIED:20230101T214647Z
UID:16607-1672948800-1672961400@tonemadison.com
SUMMARY:Sex Ed Disco Dance Party at Crucible
DESCRIPTION:A cropped version of Sruti Mohan and Elliot Jewell’s very late ’70s-designed event flyer with a prominent disco ball and rainbow. \nThe first couple weeks of the new year after the holidays can often feel muted\, introspective\, and distinctively less cheery by comparison. But consider the colorful cure for those midwinter blues at the Crucible’s Sex Ed Disco Dance Party this Thursday night\, which unites a number of Madison creatives in a fundraiser for a new\, vital documentary by videographer and filmmaker Gracie K Wallner. \nSince last year\, Wallner (Winter Is Alive\, Blood Runs Out) has been assembling a work that champions queer and inclusive sex education in our community. Not only have they gathered friends to help spread the word\, including Docx\, French Jessica\, as well as DJs Sarah Akawa\, Avalon\, and Coop there it is\, but also arranged for this event to offer safe sex supplies (courtesy of OutReach LGBTQ+ Community Center)\, paper resources\, themed cookies (confections by Blue Bedroom Records founder Cam Davis)\, and even a runway costume contest. \nWhile the doc is still in production\, it features LGBTQ+ AODA Advocate Linda Lenzke and many other active members specific to the Madison community\, including educators\, therapists\, and historians\, who shed a light on the hidden history\, changing landscape\, and universal need for queer sex education. \nAcknowledging the superlative character of Wallner’s past work\, which has oscillated between narrative and documentary modes\, their current project will undoubtedly carry a similarly sophisticated visual style and conscientious eye. Funds raised at this groovy 18+ danceathon will support all of Wallner’s efforts with interviews\, clearing image copyrights\, and commissioning original artwork. \n—Grant Phipps
URL:https://tonemadison.com/event/sex-ed-disco-dance-party-at-crucible/
LOCATION:Crucible\, 3116 Commercial Avenue\, Madison\, WI\, 53714\, United States
CATEGORIES:Culture,Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/01/02125116/sexeddisco-tonehed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221231T220000
DTEND;TZID=America/Chicago:20221231T235900
DTSTAMP:20260404T123752
CREATED:20221216T202110Z
LAST-MODIFIED:20221217T032315Z
UID:16548-1672524000-1672531140@tonemadison.com
SUMMARY:KennyHoopla\, Groupthink\, Jackie Hayes at High Noon Saloon
DESCRIPTION:We were lucky enough to have KennyHoopla living in our midst when he released the 2016 EP Beneath The Willow Tree. Its immersive\, winsome blur of emo\, bedroom pop\, and hip-hop pointed to his emotional depth and a knack for cutting across genre boundaries. Since then\, all that promise has exploded in unpredictable ways\, and why should it be any different? \nKennyHoopla has gone on to collaborate with Blink-182’s Travis Barker on tracks like “Estella\,” on which he plunges unabashedly into pop-punk but still sounds every bit his yearning\, uncontainable self. His love of big melodies and big emotions goes in a slightly gentler direction on this year’s single “Dirty White Vans\,” which features a guest verse from Wiz Khalifa and perhaps the most KennyHoopla line imaginable: “I’m about to throw a party\, only for the sad ones.” That sounds like a good plan for ringing in 2023. This show also features Groupthink—another musically versatile former Madisonian—and Chicago’s Jackie Hayes. \n—Scott Gordon \n \nPhoto by RAHEEMISBLIND.
URL:https://tonemadison.com/event/kennyhoopla-groupthink-jackie-hayes-at-high-noon-saloon/
LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/12/02125125/kennyhoopla_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221221T190000
DTEND;TZID=America/Chicago:20221221T230000
DTSTAMP:20260404T123752
CREATED:20221216T184246Z
LAST-MODIFIED:20221219T133111Z
UID:16547-1671649200-1671663600@tonemadison.com
SUMMARY:"Or… (night)" Solstice Celebration at Common Sage
DESCRIPTION:A handbill features a negative image of a sprig of sage with all the relevant event information. \nThere’s uncommon hospitality at Common Sage\, Tim Russell and Liz Sexe’s avant-garde-focused but distinctly cozy house venue. The music-dance power duo welcomed friends into their recreation of La Monte Young’s “Dream House” to mark the composer’s October birthday. As Russell and Sexe continue to get back into the swing of more regular hosting\, they’re planning a send-off to 2022 in the form of a winter solstice celebration\, “Or… (night)\,” as a tribute to another boundary-pushing composer\, James Tenney (and to the longest night). \nRussell and Sexe have gathered an inspiring crew of local talent\, including noisemakers Emili Earhart\, David Henry\, and Ari Smith\, to interpret Tenney’s 1970-1971 piece of indeterminacy\, “For Percussion Perhaps\, Or…” While there are a number of recorded performances that elicit the piece’s nuanced drone via prepared hurdy-gurdy\, trombone\, and electronics\, and even solo keyboard (you like Julia Holter\, right?)\, the instrumental configurations for this house show will remain a surprise. \nBeyond that\, most beckoning about this special event is the union of artistic mediums\, with short film projection by Barry Paul Clark and dancers Sexe and Mauriah Donegan Kraker\, who will all add further visual flair through their kinetic chemistry. \nFor those relatively unfamiliar with Tenney’s history\, take it from writer Bradford Bailey\, who asserts that Tenney’s work encompassed “nearly all of the central conceits used by avant-garde composers during the second half of the twentieth century.” Perhaps there’s no better way to find your way in than through the doors of Common Sage. \nPotluck begins at 7 p.m.\, with performances to follow at 8 p.m. And\, if it’s temperate enough outdoors\, Common Sage will start a fire pit in their backyard. \n—Grant Phipps
URL:https://tonemadison.com/event/or-night-solstice-celebration-at-common-sage/
LOCATION:Common Sage\, 934 Drake St\, Madison\, WI\, 53715\, United States
CATEGORIES:Film,Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/12/02125126/ornight-commonsage-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221218T170000
DTEND;TZID=America/Chicago:20221218T190000
DTSTAMP:20260404T123752
CREATED:20221210T164914Z
LAST-MODIFIED:20221210T164914Z
UID:16503-1671382800-1671390000@tonemadison.com
SUMMARY:New Music Series: Johannes Wallmann Trio at Arts + Literature Laboratory
DESCRIPTION:Pianist and composer Johannes Wallmann\, chair of UW-Madison’s jazz program\, continued to build on his already-strong discography earlier this year with the release of Precarious Towers on the Shifting Paradigm label. Wallmann has been restlessly exploring different configurations over the years\, and this time he pulls together a quintet that helps him tie the roots of jazz to a range of playful and dissonant tendencies. At this show\, part of a free Sunday series organized by saxophonist Anders Svanoe\, Wallmann will be joined by percussionist Mitch Shiner and trumpeter Russ Johnson. Shiner (who himself chairs a jazz program\, at the Wisconsin Conservatory of Music in Milwaukee) plays vibraphone on Precarious Towers\, and makes a particularly memorable contribution lending color and conflicted texture to the slinky\, blues-y “Never Pet A Burning Dog.” Johnson has also recorded with Wallmann before\, including on the 2015 album The Town Musicians\, and he’s an adventurous composer/bandleader in his own right\, as you can hear on standout albums like 2014’s Meeting Point and 2018’s Headlands. \n—Scott Gordon \nPrecarious Towers by Johannes Wallman
URL:https://tonemadison.com/event/new-music-series-johannes-wallmann-trio-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/04/02133523/wallmann_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221216T193000
DTEND;TZID=America/Chicago:20221216T210000
DTSTAMP:20260404T123752
CREATED:20221210T004734Z
LAST-MODIFIED:20221210T010440Z
UID:16500-1671219000-1671224400@tonemadison.com
SUMMARY:To Space And Back: An Evening Of Piano Trios at Arts + Literature Laboratory
DESCRIPTION:A trio of headshots of the performing musicians—Shuguang Gong (piano)\, Sahada Buckley (violin)\, and Trace Johnson (cello). \nThis program of chamber works by composers Bedrich Smetana\, Fazil Say\, and Dmitri Shostakovich spans over 150 years—from the lavish romanticism of Smetana’s nearly 30-minute “Piano Trio In G Minor\, Op. 15\,” composed in 1855\, to the creeping dramatism of Say’s more contained “Space Jump\, Op. 46\,” which was first performed less than a decade ago. The evening concludes with Dmitri Shostakovich’s mid-twentieth-century work\, “Piano Trio No. 2 In E Minor.” \nSay’s modern piece\, which performing violinist Sahada Buckley rightfully calls “a total bop\,” swoons with a tense interplay of pizzicato and legato technique between her violin and Trace Johnson’s cello\, before Shuguang Gong’s stark and sticky piano melody sweeps up the strings in a dizzying rush from lower to higher register. If it sounds like the soundtrack to a high-stakes stunt on silent film\, it sort of is\, tributing Felix Baumgartner’s legendary jump from a helium balloon in Earth’s stratosphere as he picks up speed. \nThe three movements of Smetana’s “Piano Trio” actually well-complement Say’s acrobatic work; while they may momentarily offer a brighter sonic palette that evokes the lithe dance of nostalgia\, the piece as a whole is predominantly consumed by a melancholic motif reflective of Smetana’s loss of his eldest daughter. In its finale\, the range of the piano particularly shines as the strings drift atop its piquant pianissimo and full-on forte. \nAfter an intermission\, the trio will conclude with the 25-minute suite of Shostakovich’s “Piano Trio\,” which expresses the same amalgamation of elation and grief in Smetana’s composition. Shostakovich channels these emotions most vividly into the dramatic arc of the final movement\, rife with alluring polarity and a seismic dynamic range. \nReference the event page for a substantial idea about the performers\, but it doesn’t quite compare to hearing the virtuosic potential of Buckley and Johnson\, whose electroacoustic duo Vōchē recently improvised one of the most compelling sets I’ve seen this year\, at Communication. With the dexterous Gong joining Buckley and Johnson for this performance\, “To Space And Back” promises to articulate the reciprocal and interconnected musical journey. \nBuckley\, Johnson\, and Gong are also performing this same piano trio program in Hamel Music Center (Collins Hall) on UW-Madison campus on Monday December 12\, at 7:30 p.m. \n—Grant Phipps
URL:https://tonemadison.com/event/to-space-and-back-an-evening-of-piano-trios-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/12/02125140/gong-buckley-johnson-trio.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T183000
DTEND;TZID=America/Chicago:20221210T200500
DTSTAMP:20260404T123752
CREATED:20221202T210909Z
LAST-MODIFIED:20221210T043627Z
UID:16432-1670697000-1670702700@tonemadison.com
SUMMARY:Tokyo Godfathers at Union South Marquee
DESCRIPTION:Gin\, Miyuki\, and Hana debate what to do next in their quest to return an abandoned child they found on the streets of Tokyo on Christmas Eve. \nSatoshi Kon may be best known for his animated\, surrealistic\, psychological thrillers\, so Tokyo Godfathers (2003) may stand out in writer-director-character designer’s oeuvre as a rollicking buddy adventure that just happens to be Christmas-themed. But it’s quite a natural follow-up to Kon’s postmodernist masterpiece Millennium Actress (2001)\, about a reclusive movie star modeled after the real-life Setsuko Hara (of Yasujirō Ozu’s Tokyo Story). \nTokyo Godfathers boasts a restless pacing and zany energy contained in the dynamic between its trio of drifters—the gruff drunkard Gin (voiced by Tōru Emori)\, boisterous trans woman Hana (Yoshiaki Umegaki)\, and penitent teen runaway Miyuki (Aya Okamoto)—who find an abandoned newborn baby on Christmas Eve and collectively set out to locate her parents based on a mere photograph left at the scene. Through their rag-tag detective work\, the trio uncover truths of their own characters and shortcomings in tragicomic fashion\, realizing they may not be radically different from the struggling parents who saw themselves as incapable of caring for a child. \nWhile something about the film’s developments may feel curbed in its concise 92-minute running time\, Kon’s compellingly larger-than-life staging and beautifully diverse visual flourishes elevate its dramatic rushes through the snowy streets and alleys of Tokyo. Miyuki’s fantastical dream and Hana’s reflective haiku\, in particular\, both offer ruminative respites that showcase the miraculous depths of Kon’s talent that’s deeply missed today. \nWUD Film will be screening the Japanese language version with English subtitles. \n—Grant Phipps
URL:https://tonemadison.com/event/tokyo-godfathers-at-union-south-marquee/
LOCATION:The Marquee Cinema\, 1308 W Dayton St #245\, Madison\, WI\, 53715\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/12/02125150/tokyogodfathers-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T174000
DTEND;TZID=America/Chicago:20221215T145000
DTSTAMP:20260404T123752
CREATED:20221210T204502Z
LAST-MODIFIED:20221214T054148Z
UID:16506-1670694000-1671115800@tonemadison.com
SUMMARY:White Noise at Marcus Point Cinema
DESCRIPTION:Babette Gladney (Greta Gerwig)\, Jack Gladney (Adam Driver)\, and their three children scream while in their red station wagon. The youngest Wilder (Henry Moore) sits masked between Jack and Babette in the front seat looking amused. \nAs a follow-up to his septupuly Oscar-nominated Marriage Story (2019)\, Noah Baumbach has used approximately $80 million of the money Netflix seems to be hemorrhaging lately to do a “one for me” movie—a project that greatly expands his visual ambitions while addressing the only subject that’s a universal concern for our species burdened with sapience. We are going to die. Yes\, you\, the person reading this\, will die someday. That fact and the various complications we create to avoid confronting it is what White Noise (2022) is more or less about. With such a lofty subject to motivate him\, Baumbach has created something sprawling\, messy and totally fascinating\, his analogue to One From The Heart (1981) or Under The Silver Lake (2018). \nAdapted from Don DeLillo’s ’80s satirical novel of the same name\, White Noise follows Jack Gladney (Adam Driver)\, a college professor who has pioneered the field of “Hitler studies\,” and his wife Babette (Greta Gerwig\, in her first acting role since 2018). They’re accompanied by four children from various previous marriages (including Raffey Cassidy of Vox Lux who plays the eldest)\, as well as Jack’s friend and fellow professor Murray (Don Cheadle)\, who hopes to popularize an academic discipline centered on Elvis Presley similar to Jack’s “Hitler studies.” \nThe group navigates a constant Altmanesque cacophony of unending information\, and naturally gravitates toward the biggest spectacle. It can be reasonably assumed that whatever commands the most attention is most important (Jack makes his living from the well of a historical spectacle that will never run dry\, after all)\, while they’re all firmly entrenched in the certainty that whatever disasters are on TV are removed from anything that could happen to them. Of course they are proven wrong\, and history intrudes on day-to-day life in the form of “The Airborne Toxic Event.” The exact nature of the danger is unclear\, but the mere fact that danger is present is enough to disturb the routine. \nThe plot is somewhat of an exaggeration of themes Baumbach has explored for his whole career\, namely the anxiety of trying to place yourself within society. He expands his palette past the character studies he’s made his name on\, incorporating visual references to Brian De Palma’s films\, to Jean-Luc Godard’s Week-end (1967) and Tout Va Bien (1972). Baumbach even casts Fassbinder regular Barbara Sukowa in a cameo toward the end of the film. \nConsumerism at once creates distraction and meaning\, and Baumbach takes care to include a corporate logo in the frame for most of the film’s running time. This ubiquity of branding culminates in an end-credits sequence scored by a new LCD Soundsystem track written especially for the movie. After all\, once you accept you’re going to die\, you might as well get on with your life.  \n—Lewis Peterson
URL:https://tonemadison.com/event/white-noise-at-marcus-point-cinema/
LOCATION:Marcus Point Cinema\, 7825 Big Sky Drive\, Madison\, WI\, 53719\, United States
CATEGORIES:Film
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/12/02125139/whitenoise22-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T110000
DTEND;TZID=America/Chicago:20221210T180000
DTSTAMP:20260404T123752
CREATED:20221202T210537Z
LAST-MODIFIED:20221202T210537Z
UID:16436-1670670000-1670695200@tonemadison.com
SUMMARY:Eastside Winter Market at Garver Feed Mill
DESCRIPTION:The first day of the two-day Eastside Winter Market will feature a dozen sets of music\, heavy on Madison- and Wisconsin-based acts\, as sonic complement to the local artists and makers selling their wares. (Full disclosure: Tone Madison‘s partner organization\, Communication Madison\, organizes this event.) Things kick off at 11:05 a.m. with the return of queercore project Woke Up Crying\, in the form of a solo set from singer-guitarist Doug Rowe. Flinty but wistful songs like “Sweater Weather\,” from the 2020 EP 3:27 a.m.\, should translate well in a stripped-down setting. The lineup that recorded the EP has since split\, but Rowe has been writing some new material and working on putting together another full-band incarnation of Woke Up Crying.  \nThe day’s music will conclude in different territory altogether\, with a 4:55 p.m. set from electronic artist Hendrix Gullixson\, who got his start in Madison under the name Syneva. Currently based in Minneapolis and performing under just his first name\, Gullixson has gradually evolved his icy ambient vision into something more textured and flexible\, embracing samples and abstraction on recent tracks like “Blue October.” Other highlights on the bill include jazz-inflected singer-songwriter Carisa (2 p.m.)\, a two-piece set from Benjamin Rose and Alex Nelson of mighty queer pop outfit Kat And The Hurricane (2:35 p.m.)\, and psychedelic voyager Def Sonic (3:45 p.m.). \n—Scott Gordon 3:27 a.m. by Woke up Crying \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/eastside-winter-market-at-garver-feed-mill/
LOCATION:Garver Feed Mill\, 3241 Garver Green\, Madison\, WI\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/png:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/08/02125519/guitars-tone-2000x1500-1.png
END:VEVENT
END:VCALENDAR