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DTSTART;TZID=America/Chicago:20221112T170000
DTEND;TZID=America/Chicago:20221112T233000
DTSTAMP:20260404T065721
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:20260404T065721
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221114T180000
DTEND;TZID=America/Chicago:20221114T210000
DTSTAMP:20260404T065721
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221116T190000
DTEND;TZID=America/Chicago:20221120T220000
DTSTAMP:20260404T065721
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T204500
DTSTAMP:20260404T065721
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125228/lightsleeper_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221117T190000
DTEND;TZID=America/Chicago:20221117T220000
DTSTAMP:20260404T065721
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221118T190000
DTEND;TZID=America/Chicago:20221118T204500
DTSTAMP:20260404T065721
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221120T183000
DTEND;TZID=America/Chicago:20221120T203000
DTSTAMP:20260404T065721
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:20260404T065721
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125204/becoming-arielteal.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221202T190000
DTEND;TZID=America/Chicago:20221202T205000
DTSTAMP:20260404T065721
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125209/whenyoureadthisletter-hed.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221202T200000
DTEND;TZID=America/Chicago:20221202T223000
DTSTAMP:20260404T065721
CREATED:20221126T210028Z
LAST-MODIFIED:20221126T210028Z
UID:16381-1670011200-1670020200@tonemadison.com
SUMMARY:Evening With Nick Moran and Friends at Arts + Literature Laboratory
DESCRIPTION:Madison’s music community has the privilege of experiencing so very much of Nick Moran. The bassist’s work in the local jazz scene alone would be pretty tough to sum up—though the highlights include his role as the gregarious host of the New Breed Jazz Jam\, co-founding the brilliant Afro-Latin jazz outfit Golpe Tierra\, and his musical bridge-building trips to Cuba. But it’s not often that we get a night solely focused on his accomplished\, versatile playing. At this ALL show\, Moran will explore a whole spectrum of his musical interests and collaborations in a series of solo pieces\, duos\, and small groups. “The night will feature música criolla del Peru\, bossa nova\, straight ahead jazz and jazz standards\, reggae\, and hip hop\,” Moran tells Tone Madison. Featured players will include drummer Wayne Saltzman II\, vocalist Michelle Duval\, saxophonist/pianist Pawan Benjamin\, and his bandmates in the long-running hip-hop outfit dumate. Moran has worked tirelessly on stage and behind the scenes to bring us a lot of excellent music and make it more accessible to local audiences\, so it’s good to see him get a chance to be the center of attention.  \n—Scott Gordon
URL:https://tonemadison.com/event/evening-with-nick-moran-and-friends-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/2022/04/02130258/moran.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221202T200000
DTEND;TZID=America/Chicago:20221202T233000
DTSTAMP:20260404T065721
CREATED:20221126T205549Z
LAST-MODIFIED:20221126T205549Z
UID:16379-1670011200-1670023800@tonemadison.com
SUMMARY:Kainalu\, Javier Reyes\, The Earthlings at Majestic
DESCRIPTION:Ever since emerging in 2017 with the Bloom Lagoon EP\, multi-instrumentalist/producer/songwriter Trent Prall has channeled slick psychedelia through his project Kainalu. With a meticulous ear\, Prall blends Hawaiian influences\, decidedly funky touches\, and a yearning to grapple with complex themes\, working with a rich palette and giving himself plenty of room to evolve. This hometown show will celebrate the November release of Kainalu’s second full-length album\, Ginseng Hourglass.  \nThe nine-song project sharpens Prall’s ability to hone in on specific sounds\, making every synth patch\, drum hit\, and breathy vocal phrase feel intentional while giving it all room to flow. The guitar sounds on the title track build from taut\, trebly chords to a fuzzy haze\, creating a hopeful arc around lyrics that contemplate surrender and control (“Open and listen / The more you resist them / Sands of your ginseng winding down”). The little details and the big questions are always in a conversation here. Loss and doubt leave an especially heavy mark on “Queen Of Wands” and “Zizia\,” which also showcase Prall’s gift for capturing truly exquisite bass sounds—bright and plucky but digging in deep\, just like the songs themselves. \n—Scott Gordon \n \nPhoto by Julianna Photography.
URL:https://tonemadison.com/event/kainalu-javier-reyes-the-earthlings-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/2022/11/02125205/kainalu_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221202T210000
DTEND;TZID=America/Chicago:20221202T233000
DTSTAMP:20260404T065721
CREATED:20221126T204914Z
LAST-MODIFIED:20221128T031647Z
UID:16377-1670014800-1670023800@tonemadison.com
SUMMARY:Haunted Ones at Crucible
DESCRIPTION:Vincent Presley and Lacey Smith’s reissue-focused label Secret Records and their Haunted Ones DJ nights both focus on ferreting out treasures from the weirder corners of post-punk\, industrial\, and left-field electronic music. This edition of Haunted Ones at Crucible will focus on selections from across the careers of drummer/producer Martin Atkins (who has played with bands including Ministry\, Public Image Ltd.\, and Killing Joke) and vocalist/multi-instrumentalist Kevin Ogilvie (best-known as the co-founder of Skinny Puppy). The occasion: Secret Records’ November 25 vinyl reissue of Bedside Toxicology\, Atkins’ and Ogilvie’s 1998 collaboration under the name Rx. This setup seems like the perfect excuse to play a bunch of great industrial music involving two people who’ve played foundational roles in the genre\, and at a venue that couldn’t be a better fit for those sounds. \n—Scott Gordon \nRx (Ohgr & Atkins) – Bedside Toxicology (SR37) no download sales please. by RxImage: Detail from Haunted Ones poster designed by Ryan Dunn.
URL:https://tonemadison.com/event/haunted-ones-at-crucible/
LOCATION:Crucible\, 3116 Commercial Avenue\, Madison\, WI\, 53714\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/11/02125208/hauntedones_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221203T183000
DTEND;TZID=America/Chicago:20221203T201000
DTSTAMP:20260404T065721
CREATED:20221126T213544Z
LAST-MODIFIED:20221202T033907Z
UID:16383-1670092200-1670098200@tonemadison.com
SUMMARY:After Yang at Union South Marquee
DESCRIPTION:Techno-sapien Yang (right) sets a camera timer to take a photo of his foster family\, then moves into frame with the rest of them (father Jake\, mother Kyra\, and daughter Mika)\, all smiling. \nKogonada retools futuristic technological conventions into a poignant tale of connection in After Yang (2021)\, a filmic tone poem\, a metaphysical chamber play on the virtues of our differences\, between the multicultural and the human and nonhuman. \nBased on a short story by Alexander Weinstein\, the film moves through an unspecified future time when couple Jake and Kyra (Colin Farrell and Jodie Turner-Smith) are raising an adopted Chinese daughter\, Mika “Mei Mei” (Malea Emma Tjandrawidjaja) with the aid of android or “techno-sapien” Yang (Justin H. Min). Yang’s presence as a surrogate sibling to Mika not only offers peace of mind but fosters both a subliminal and plainspoken bond to her heritage. However\, this is momentarily severed when Yang inexplicably shuts down one night\, forcing Jake to repair him and familial unity by extension. \nFrom his background in video essays\, Kogonada lends the film a soft\, appealing precision\, the same that infused the architectural contours and paths of 2017’s low-key masterpiece Columbus. Where that film was mindfully fixated on symmetry\, After Yang is aglow with geomancy or feng shui principles that are conceptualized in the family’s Joseph Eichler house as a grand tea room and literally harmonized in fragmented song (Mitski’s faithful cover of Lily Chou-Chou’s “Glide”) throughout. The off-screen ring of wind chimes and Aska Matsumiya and Ryuichi Sakamoto’s score\, suspended in pianissimo\, further lend the film the feeling of a visual meditation tape. \nAfter Yang meshes memorial themes explored in other sci-fi dramas like Marjorie Prime (2017) and A.I. Artificial Intelligence (2001)\, as it’s perennially attuned to loss and the struggle between despair and hope. Ultimately\, the richly edited tapestry of quotidian\, Malickian moments\, sporadically captured and later witnessed through clips in first-person perspective from Yang’s memory bank\, reveal to the characters their collective strengths and soul—a sort of extension of the Buddhist philosophy on layers of consciousness. \nKudos to WUD Film for providing a space for a belated first-time local theatrical screening. \n—Grant Phipps
URL:https://tonemadison.com/event/after-yang-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/2022/11/02125204/afteryang-hed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221208T163000
DTEND;TZID=America/Chicago:20221208T183000
DTSTAMP:20260404T065721
CREATED:20221202T204527Z
LAST-MODIFIED:20221202T205409Z
UID:16433-1670517000-1670524200@tonemadison.com
SUMMARY:Greater Madison Music City Music Recovery Framework Release Party at Café Coda
DESCRIPTION:The Greater Madison Music City (GMMC) project grew out of years-long efforts to address racial disparities in the local music community\, especially the lack of resources and opportunities for hip-hop artists and musicians of color. Under the GMMC banner\, Madison’s Urban Community Arts Network (UCAN) and the consulting firm Sound Diplomacy have collaborated over the past couple of years on a first-of-its-kind study of music in Madison and Dane County\, with funding from the City of Madison and Dane Arts. More specifically\, GMMC is focusing on the economics and policy landscape at play in local music.  \nGMMC’s first report\, released in summer 2021\, provided an overview of the economic impact of music in the area\, and painted a stark picture of who benefits and who misses out. On December 8\, GMMC will release its latest report\, which makes a number of recommendations for improving the economic lot of musicians\, building up music-driven tourism (arts funding and tourism are very intertwined in city government\, for good or ill)\, and leveling the playing field for marginalized audiences and artists. \nAt this Café Coda event\, GMMC will be presenting the report\, and hopefully initiating a lot more conversation—and of course there will be music\, from DJ M. White. The details of the report don’t become public until the start of the event\, but its findings and recommendations will be worth grappling with. Look for more detailed coverage from Tone Madison once that’s out. \n—Scott Gordon \nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/greater-madison-music-city-music-recovery-framework-release-party-at-cafe-coda/
LOCATION:Café Coda\, 1224 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music,Politics
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221209T200000
DTEND;TZID=America/Chicago:20221209T230000
DTSTAMP:20260404T065721
CREATED:20221202T205203Z
LAST-MODIFIED:20221202T205203Z
UID:16434-1670616000-1670626800@tonemadison.com
SUMMARY:Tony Barba Blood Moon Quartet at North Street Cabaret
DESCRIPTION:Saxophonist Tony Barba’s 2020 album Blood Moon introduced a distinct new dimension in an already unpredictable career spanning many corners of jazz and electronic music. On the record\, Chicago guitarist Matt Gold\, Madison bassist John Christensen\, and Milwaukee drummer Devin Drobka joined Barba to flesh out his original compositions\, which leave plenty of room for non-jazz influences and plenty of room for color and mood. From the brisk title track to the bittersweet drift of “The Long Haul\,” these pieces are remarkable showcases of each musician’s rich sonic palette. The Blood Moon quartet will continue to explore their expansive chemistry at this show\, with at least a couple of new compositions in their repertoire. \n—Scott GordonBlood Moon by Tony Barba
URL:https://tonemadison.com/event/tony-barba-blood-moon-quartet-at-north-street-cabaret/
LOCATION:North Street Cabaret\, 610 North Street\, Madison\, WI\, 53704\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2022/04/02132649/Tony-Barba-Photo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T110000
DTEND;TZID=America/Chicago:20221210T180000
DTSTAMP:20260404T065721
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
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221210T174000
DTEND;TZID=America/Chicago:20221215T145000
DTSTAMP:20260404T065721
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:20221210T183000
DTEND;TZID=America/Chicago:20221210T200500
DTSTAMP:20260404T065721
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221216T193000
DTEND;TZID=America/Chicago:20221216T210000
DTSTAMP:20260404T065721
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:20221218T170000
DTEND;TZID=America/Chicago:20221218T190000
DTSTAMP:20260404T065721
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221221T190000
DTEND;TZID=America/Chicago:20221221T230000
DTSTAMP:20260404T065721
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20221231T220000
DTEND;TZID=America/Chicago:20221231T235900
DTSTAMP:20260404T065721
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:20230105T200000
DTEND;TZID=America/Chicago:20230105T233000
DTSTAMP:20260404T065721
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:20230106T200000
DTEND;TZID=America/Chicago:20230106T210000
DTSTAMP:20260404T065721
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:20230107T200000
DTEND;TZID=America/Chicago:20230107T210000
DTSTAMP:20260404T065721
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:20230118T190000
DTEND;TZID=America/Chicago:20230124T211500
DTSTAMP:20260404T065721
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:20230125T190000
DTEND;TZID=America/Chicago:20230125T220000
DTSTAMP:20260404T065721
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:20230126T190000
DTEND;TZID=America/Chicago:20230126T203000
DTSTAMP:20260404T065721
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:20230127T190000
DTEND;TZID=America/Chicago:20230127T210000
DTSTAMP:20260404T065721
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
END:VCALENDAR