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DTSTART;TZID=America/Chicago:20230125T190000
DTEND;TZID=America/Chicago:20230125T220000
DTSTAMP:20260403T151904
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:20260403T151904
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:20260403T151904
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:20230127T200000
DTEND;TZID=America/Chicago:20230127T213000
DTSTAMP:20260403T151904
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:20230128T140000
DTEND;TZID=America/Chicago:20230129T153000
DTSTAMP:20260403T151904
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:20230201T080000
DTEND;TZID=America/Chicago:20230223T160000
DTSTAMP:20260403T151904
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:20230202T190000
DTEND;TZID=America/Chicago:20230202T204000
DTSTAMP:20260403T151904
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:20230203T190000
DTEND;TZID=America/Chicago:20230203T210000
DTSTAMP:20260403T151904
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:20230203T200000
DTEND;TZID=America/Chicago:20230203T213000
DTSTAMP:20260403T151904
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:20230204T140000
DTEND;TZID=America/Chicago:20230204T153000
DTSTAMP:20260403T151904
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:20230204T180000
DTEND;TZID=America/Chicago:20230204T205000
DTSTAMP:20260403T151904
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
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230208T200000
DTEND;TZID=America/Chicago:20230208T220000
DTSTAMP:20260403T151904
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125031/hildnerarmacanqui_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230212T200000
DTEND;TZID=America/Chicago:20230212T223000
DTSTAMP:20260403T151904
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:20230213T193000
DTEND;TZID=America/Chicago:20230213T223000
DTSTAMP:20260403T151904
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:20230216T200000
DTEND;TZID=America/Chicago:20230216T230000
DTSTAMP:20260403T151904
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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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T200000
DTEND;TZID=America/Chicago:20230217T220000
DTSTAMP:20260403T151904
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125023/nickbrown_header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230219T140000
DTEND;TZID=America/Chicago:20230219T153000
DTSTAMP:20260403T151904
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
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/02/02125007/children-gioli.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230224T190000
DTEND;TZID=America/Chicago:20230224T230000
DTSTAMP:20260403T151904
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:20230224T213000
DTEND;TZID=America/Chicago:20230224T234500
DTSTAMP:20260403T151904
CREATED:20230217T054124Z
LAST-MODIFIED:20230622T231951Z
UID:16812-1677274200-1677282300@tonemadison.com
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:20230226T180000
DTEND;TZID=America/Chicago:20230226T235900
DTSTAMP:20260403T151904
CREATED:20230214T173441Z
LAST-MODIFIED:20230225T104341Z
UID:16798-1677434400-1677455940@tonemadison.com
SUMMARY:The Wind In The Trees\, Thin\, Wanderer\, The Central at BarleyPop Live
DESCRIPTION:The Central performing live. Photo by Jacob Artillery. \nFour-band bills aren’t as common as they used to be\, for various reasons. When one does manage to crop up\, it usually warrants an eyebrow arch and some exploratory questioning. Namely: will this be worth the time commitment? And in the case of the quartet of acts slated to play BarleyPop Live on February 26\, the answer is a thunderous\, resounding yes. It helps\, of course\, that all four bands are vicious heavyweights who excel when subverting the barriers of grindcore to embrace a wider array of influences. And whose songs mostly clock in under the two-minute mark.\n\nNotably\, only one of these bands—Madison’s The Central—is actually from Wisconsin\, opening up an opportunity for a local audience to glimpse an inroad to the metal music communities in Minneapolis (Wanderer)\, New York City (Thin)\, and Baltimore (The Wind In The Trees). Each act is united in a willingness to defy convention\, resulting in tracks that are frequently exhilarating thanks to their moment-to-moment unpredictability. One of the most exemplary instances of this across the bands’ collective discographies is Thin’s “Promenade\,” an out-of-nowhere old-timey saloon folk instrumental that’s sandwiched between a host of grimy\, brutal tracks of searing grindcore. \n\nWanderer have a few of their own tricks up their sleeve\, incorporating math-y elements into their barrage of heaviness to balance their sound out with the slightest touch of musical levity. “Pure Human Despair\,” the band’s latest single\, is a crunchy blast of controlled aggression\, full of spit\, rancor\, pinched harmonics\, and strategic\, high-impact palm-muting. Similarly\, The Wind In The Trees pack a brimstone punch that’s delivered through a lightly blown-out production aesthetic that’s at least somewhat reminiscent of Loma Prieta. Architects Of Light\, The Wind In The Trees’ latest album\, is an end-to-end gauntlet run of unapologetic pulverization replete with guitar shredding\, blast beats\, and a surprising amount of bounce. Engaging throughout\, Architects Of Light is an enormous record that hits with enough blunt force to leave most listeners reeling. \n\nThe Central should be the most familiar act to Madisonians\, as the band’s been operating here from the jump\, The band’s debut album\, 2012’s The Ancients Bestow Fire\, was a memorably chaotic introduction\, and everything the band—a duo made up of Frankie Furillo and Alex Roberts (with Jacob Bedroske on bass for their live shows)—has done or released since then has only upped the proverbial ante. 2020’s Dentist\, a blistering full-length of frenetic impulse and highly experimental grindcore\, evidenced the band tightening an understanding of what makes their irreverence so vital. “The Most Dangerous Road\,” the duo’s most recent single\, took that understanding to an even higher level\, resulting in their most jaw-droppingly wild work to date. One of the most potent bands in Madison’s punk\, hardcore\, and metal worlds\, The Central will undoubtedly continue to turn heads when they take the stage at BarleyPop Live. \n\nAll four of these acts sharing a bill represents a welcome\, invigorating jolt for the heavier\, more punishing side of Madison’s slate of live music offerings. We rarely see bills that are this stacked for a subgenre this specific. Even if coarse\, guttural yelling and piercingly loud grindcore isn’t typically your thing\, the bands here are talented enough to warrant making an exception.\n\n—Steven Spoerl \ndawn by Thin
URL:https://tonemadison.com/event/the-wind-in-the-trees-thin-wanderer-the-central-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:20230303T213000
DTEND;TZID=America/Chicago:20230308T195000
DTSTAMP:20260403T151904
CREATED:20230301T030050Z
LAST-MODIFIED:20230301T030050Z
UID:16878-1677879000-1678305000@tonemadison.com
SUMMARY:RRR at Marcus Point Cinema
DESCRIPTION:Rama Raju (Ram Charan) and Komaram Bheem (NTR Jr.) smile while in the midst of a choreographed dance move. \nNo prior knowledge of Indian historical figures Alluri Sitarama Raju and Komaram Bheem is necessary to appreciate as S.S. Rajamouli’s bombastic action film RRR (2022). This three-hour epic reimagines the two real life anti-Raj activists Bheem (N.T. Rama Rao Jr.\, often referred to as NTR Jr.) and Rama Raju (Ram Charan) as near-superhuman strongmen\, an analogue to Goku and Vegeta for 1920s India. It’s returning to theaters for just shy of a week\, on the strength of an Oscar nomination for best song and Rajamouli’s hobnobbing with the likes of James Cameron and Steven Spielberg since the film’s initial release last year. \nRajamouli’s infectious enthusiasm for over-the-top action set pieces have led to RRR becoming a crossover hit with audiences who aren’t usually tuned in to Indian cinema\, both in America and worldwide. (Of course\, having the highest production budget of any Indian film to date surely has something to do with it.) \nThe plot in brief: Bheem hopes to rescue a kidnapped child from cartoonishly evil British Colonialists. Rama Raju works for the British police. Both go undercover\, and the men become best friends without ever realizing each other’s true identity. Tension dramatically comes to head after the requisite dance number. \nRajamouli is clearly having a blast staging CGI-heavy action. Among 2022 action movies\, only Top Gun: Maverick‘s plane scenes come anywhere close to RRR’s level of excitement\, and the Indian production didn’t have to utilize taxpayer-funded fighter jets to do it. (That is not to say RRR doesn’t have its own problematic implications.) But at the end of the day\, it’s a giant spectacle that highlights the strengths of the theatrical experience. So please take the chance to see this film big and loud. \n—Lewis Peterson \n \nThis preview was slightly modified and republished from last September for this special re-release event.
URL:https://tonemadison.com/event/rrr-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/2023/02/02124946/rrr-event.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230304T180000
DTEND;TZID=America/Chicago:20230304T220000
DTSTAMP:20260403T151904
CREATED:20230209T162510Z
LAST-MODIFIED:20230209T162554Z
UID:16773-1677952800-1677967200@tonemadison.com
SUMMARY:Monsters Of Poetry: Erika Meitner\, Paul Tran\, Nate Marshall\, and Matthew Guenette at Genna's Lounge
DESCRIPTION:At what cost are we alive? Erika Meitner\, Paul Tran\, Nate Marshall\, and Matthew Guenette grapple with this question in their poetry. As they take the Monsters of Poetry stage\, expect to hear their testaments of survival\, grit\, and endurance through the lyric.  \nThree of the four are faculty of the English Department at UW-Madison. Meitner joined last fall as a professor and the director of the MFA program. In her latest book Useful Junk\, published by BOA Editions in April 2022\, she writes about desire and the body—the liminal and the physical—through documentary poetry. She writes a liturgy for the masses: “we who collect regular explanations of benefits / we who worry about food security.” \nTran is an Assistant Professor of English and Asian American Studies. Their debut poetry collection All The Flowers Kneeling\, published by Penguin Random House in February 2022\, explores American imperialism and intergenerational trauma. In “Orchard Of Knowing\,” Tran writes\, “All of them point at me / as the kill to complete your mission.” Through history and the lyric\, they unflinchingly challenge how we see liberation and control. \nIn his 2020 book Finna\, Nate Marshall\, also an English professor at UW\, writes about survival: “imagine this\, a man / made donut\, chest open\, / hollow\, everything poured / out\, available\, nowhere.” Amidst his painful reckoning with his lineage and the ruptures violence has caused\, Marshall imagines a future of hope. \nMatthew Guenette teaches English at Madison College. In his book Doom Scroll\, which will be released this year from the University of Akron Press\, he talks about the anxiety of living today. He describes the lockdown\, the political state of our world\, and “a field of dandelions to break me in half” all within the same stanza. This existential plea encapsulates the experience of living through the pandemic and its aftermath. \nAll of these poets do not leave us with clean-cut answers as we go through the questions of life. But as we read their work and listen to their poems\, we know that we are not alone in the fight to remain here. The lyric testifies to this. \n—Hannah Keziah Agustin
URL:https://tonemadison.com/event/monsters-of-poetry-erika-meitner-paul-tran-nate-marshall-and-matthew-guenette-at-gennas-lounge/
LOCATION:Genna’s Lounge\, 105 West Main Street\, Madison\, WI\, United States
CATEGORIES:Poetry
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230304T200000
DTEND;TZID=America/Chicago:20230304T223000
DTSTAMP:20260403T151904
CREATED:20230226T003800Z
LAST-MODIFIED:20230622T231938Z
UID:16865-1677960000-1677969000@tonemadison.com
SUMMARY:Matt Ulery Nonet at Café Coda
DESCRIPTION:Matt Ulery’s Mannerist 11 performs at Constellation Chicago in September 2021 as part of the Ear Taxi Festival. \nLast I caught up with Chicago bassist and composer Matt Ulery in the late 2010s\, his Woolgathering Records label had begun to take off as a platform to spotlight not only his own prolificacy and ever-evolving projects but also the endeavors of his colleagues Russ Johnson\, Tim Haldeman\, and Leslie Beukelman. \nAfter a memorable set at Arts + Literature Laboratory with trio Triptych back in spring of 2018\, Ulery has been both figuratively and literally expanding his repertoire in a myriad of configurations that include a string sextet (Become Giant) and special orchestra with more than 20 members (Sifting Stars). \nFor this BlueStem Jazz-presented show\, a regional collaboration between Ulery’s core rhythm section (pianist Paul Bedal and drummer Jon Deitemyer)\, plus six other Midwestern-based woodwind and brass players (Dave Cooper\, Allen Cordingley\, Hunter Diamond\, Tom Gullion\, Chad McCullough\, and Ryan Shultz)\, the collective nonet will be performing pieces at Café Coda from the upcoming Mannerist record. Like all the sweeping\, swooning chamber jazz Ulery has been making for more than a decade\, the music here\, as conceived for this larger ensemble\, captures Ulery’s predilection for duality—resonantly vast in sonic palette\, but delicately intimate in scope. The slower tempi of his precise songcraft tend to build with silken elegance\, stirring romantic pangs for slow-waltzing in an ethereal ballroom. \n“The Brink Of What\,” one of Mannerist‘s absolute standouts\, at first feels like a quietly pensive nocturne\, but then quickly hits with the force of overwhelming emotion and instrumental interplay—the richness of its polarity forged from the same aura as the tortuously gorgeous\, subtly dissonant horn and woodwind arrangements on These New Puritans’ best record\, Field Of Reeds (if artsy post-rock is your kinda thing). As with several other compositions on Mannerist\, like “Another Book Of Ornaments\,” Ulery harnesses his best impulses in steadily reaching for a transcendent\, ineffable intensity through sound dynamics\, while at once trying to pierce the veil of universal human yearning. \n—Grant Phipps \n \nThis event preview was updated on March 1 to reflect a change in the nonet’s lineup.
URL:https://tonemadison.com/event/matt-ulery-nonet-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:20230304T210000
DTEND;TZID=America/Chicago:20230304T235900
DTSTAMP:20260403T151904
CREATED:20230227T212824Z
LAST-MODIFIED:20230227T212824Z
UID:16870-1677963600-1677974340@tonemadison.com
SUMMARY:Proud Parents\, Scrunchies\, Graham Hunt\, Jane Hobson at Crystal Corner Bar
DESCRIPTION:A few dozen bands played the Dirtnap Records Super Show Extravaganza at the High Noon in June 2022\, Madison’s biggest punk show of recent memory. One of the newer acts that played the two-day event was Minneapolis’ Scrunchies (pictured above)\, an indie-punk trio who will be making their return to Madison on March 4 at the Crystal Corner Bar. Proud Parents\, Graham Hunt\, and Jane Hobson will play as the night’s local support. Each of those three local acts has left an impression on Tone Madison‘s coverage over the past few years\, with each claiming well-deserved spots in our year-end coverage of Madison music. \n\nHobson’s solo project has steadily evolved since debuting but hit a new high with 2022’s crushingly beautiful\, bittersweet single “If You Ask.” Historically\, Hobson’s recorded output has flittered between quiet\, introspective folk and something more aggressive and sinister. Recent footage of Hobson playing live demonstrates that her band’s live show gains some punch when the gloves come off. (This video of Hobson covering The Cranberries’ “Zombie” at Mickey’s neatly encapsulates that willingness to lean into brute force.) Softness isn’t entirely absent in Hobson’s live show\, though\, and does still elevate the material. At Crystal Corner\, it’ll also provide some balance amid an inordinately high-energy slate of indie-punk bands. \n\nArtistic restlessness has driven Graham Hunt’s work for over a decade. From Midnight Reruns to Sundial Mottos\, Midwives\, The Reptile Fund\, and everything in between\, Hunt’s been a consistent force in Wisconsin’s punk community—which remained true even after a brief relocation to Chicago. Three records into a solo career (2019’s Leaving Silver City\, 2021’s Painting Over Mold\, 2022’s If You Knew Would You Believe It) that’s shown virtually no signs of slowing\, Hunt’s consistently proven to be a versatile artist who excels in attention to detail. Each of Hunt’s records is stylistically distinct\, yet couldn’t have come from anyone else. Live\, Hunt’s band—a rotating cast of musicians that includes members of Disq\, Cult Of Lip\, Sat. Nite Duets\, and more—is a powder keg of volatility and exacting precision. Whenever Hunt’s name is on a bill\, it’s a non-negotiable\, can’t-miss occasion. \n\nSimilarly unmissable are Proud Parents\, who have been consistently invigorating Madison audiences with their distinct brand of sugar-rush indie-punk/power-pop catharsis since the mid-2010s. Everyone interested in attending this one should know what to expect from the jittery quartet by now\, and subsequently know how infectious their unfettered joyfulness has always proven. Scrunchies are likely to be the biggest question mark to most of the audience\, but as they ably demonstrated last year\, they are a wrecking ball of a live act. Heavy\, melodic\, discordant\, and unapologetically punchy\, they are perfectly suited to the Crystal Corner Bar’s punk-leaning aesthetics. \n\nAll four of the bands on this bill are worth seeing on their own\, but packaged together make up an incredibly enticing prospect. If you haven’t been to the Crystal since they started hosting live music again—or haven’t been at all—there may not be a better occasion to finally take foot inside.  \n—Steven Spoerl
URL:https://tonemadison.com/event/proud-parents-scrunchies-graham-hunt-jane-hobson-at-crystal-corner-bar/
LOCATION:Crystal Corner Bar\, 1302 Williamson St\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230310T193000
DTEND;TZID=America/Chicago:20230310T220000
DTSTAMP:20260403T151904
CREATED:20230302T203212Z
LAST-MODIFIED:20230622T231926Z
UID:16888-1678476600-1678485600@tonemadison.com
SUMMARY:Laminal Animil\, Pawan Benjamin at Communication
DESCRIPTION:In a mood-lit gallery space\, Laminal Animil (L to R: Tim Russell\, Ari Smith\, and Luke Leavitt) improvise. Photo by Grant Phipps. \nSince their live debut last summer as part of the Madison Jazz Festival\, Laminal Animil have become veritable sonic explorers of our fair city. While each member of the trio—Luke Leavitt (on Fender Rhodes electric piano and Roland Juno-106 synth)\, Tim Russell (on drumset\, percussion\, and Novation Launchpad)\, and Ari Smith (double bass and percussion)—has a background in jazz study\, their performances are less tethered to those identifiable modes than free improvisation with all the explosive discordance\, softened textural interplay\, and sudden\, harmonious synchronizing that follows. \nA commitment to extended technique has allowed the group to sort of fit the bill for any experimental occasion\, whether it’s part of a jazz or electroacoustic lineup\, or even something altogether more eclectic (as so often happens at DIY spaces around town). Laminal Animil share a versatility with another experimental trio\, Brennan Connors And Stray Passage (Geoff Brady\, Brian Grimm)\, who\, as of 2023\, should be regarded as a Madison mainstay. \nListen to Leavitt\, Russell\, and Smith chat about their backgrounds\, methods\, motivations\, and academic preoccupations (especially during this silly\, witty Laminal Animil interview from a few months ago)\, and you’ll ascertain just how their personalities interact in a musical setting with such playful intention. \nAt this Communication show\, saxophonist\, shehnai player\, and Bansuri flutist Pawan Benjamin will open with a solo set that’s equally inspired by Western jazz disciplines\, Hindustani\, and ceremonial Nepalese music. As a former member of the Brooklyn Raga Massive\, New York-based composer Benjamin has a knack for seamlessly blending a diversity of influences\, as heard on his last record Tinte Baja. \nWhile the latter is composed and adeptly arranged with an ear for a “jazzier” sound\, it often feels fundamentally rhythmic\, with all three players (drummer Sean Mullins and double bassist Martin Nevin) credited with malleted\, auxiliary percussion on some of the pieces like “Prayer.” But if you’re also attending for the Indian raga side of Benjamin’s repertoire\, he’s sure to indulge. \n—Grant Phipps
URL:https://tonemadison.com/event/laminal-animil-pawan-benjamin-at-communication/
LOCATION:Communication\, 2645 Milwaukee Street\, Madison\, WI\, United States
CATEGORIES:Music
ATTACH;FMTTYPE=image/jpeg:https://d3hccd6dowbbba.cloudfront.net/wp-content/uploads/2023/03/02124942/laminalanimil-comm.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230311T140000
DTEND;TZID=America/Chicago:20230311T233000
DTSTAMP:20260403T151905
CREATED:20230224T212838Z
LAST-MODIFIED:20230224T212838Z
UID:16863-1678543200-1678577400@tonemadison.com
SUMMARY:Let There Be Light Art Market at Bur Oak
DESCRIPTION:Ethan Jackson is perhaps best known around Madison for his dazzling electro R&B project Mr. Jackson. Enmeshing visuals from close collaborators like artist Terrence Adeyanju and videographer Michael Doyle Olson\,  Jackson has always treated his music as part of a bigger vision. Recently\, he’s been introducing the world to more of his mixed-media art and fashion projects\, including a clothing line called Dripsphere. At this afternoon art market\, he’ll be showcasing Dripsphere’s exuberantly adorned shirts and hats\, but more importantly\, keeping all his work tethered by bringing in more than a dozen fellow artists\, retailers\, and musicians. \nVendors slated for the Let There Be Light Art Market include Milwaukee-based jewelry maker Wrapped Up\, CBD shop Herbal Aspect\, Madison vintage outlet Good Style Shop\, the recently opened Boneset Records\, and the electronic-focused JiggyJamz Records. Artists\, both selling and showing\, range from tattoo artist Derek Anderson\, to off-the-wall clothing brand MartianMucus\, to From Scratch Comics. At 8 p.m.\, the event turns into a ticketed dance party\, with DJ sets from techno-centric Madison staple Kitty Spit and Milwaukee’s Jules\, and video projections by VJ and digital artist arktik.foxtrix. Plus\, Ahan is right there inside the venue\, and they’ll be serving chef Jamie Hoang’s recently James Beard Award-nominated Lao-Thai cuisine.  \n—Scott Gordon \n \nPulse · Kitty Spit – Live @ Pulse Sep ’22\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/let-there-be-light-art-market-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Art,Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230311T190000
DTEND;TZID=America/Chicago:20230311T233000
DTSTAMP:20260403T151905
CREATED:20230224T152827Z
LAST-MODIFIED:20230224T153041Z
UID:16861-1678561200-1678577400@tonemadison.com
SUMMARY:Four Star Video Subscriber Drive Celebration Party at Four Star Video
DESCRIPTION:Throughout February\, Madison movie-rental institution Four Star Video Rental has been calling on customers to sign up for subscription plans\, which enable customers to check out three or more titles at a time for a flat monthly rate. It’s a continuation of the good work co-owner Lewis Peterson has done to keep Four Star alive through multiple twists and turns\, including a move that happened just before the pandemic hit home. (Full disclosure\, Peterson writes for Tone Madison\, as do two of the DJs playing this event.) \nAnd Four Star—always Four Star Video Heaven in my heart\, though the “Heaven” dropped out of the official name when the store briefly became a cooperative—is not an endling in the streaming-fueled extinction of video stores. It survives because it’s dedicated to maintaining a deep selection of DVDs\, Blu-rays\, and even some VHS tapes\, embodying an infectious love for everything from prestige cinema to the most unhinged genre gems. \nIf the movie you were planning to watch suddenly vanished from one of your streaming services\, or was never available on streaming or VOD in the first place\, you can probably find it at Four Star. In the meantime\, you should probably go sign up and subscribe. \nOn Saturday\, March 11\, hang around after Four Star’s usual business hours as they wrap up the subscription drive with food\, music\, and movie conversation. A true home for local weirdos\, Four Star has brought in Madison DJs Destructo\, Emili Earhart\, Evan Woodward\, and Mu to spin throughout the evening. Their selections run from post-punk to techno to far-flung ambient. Whatever they play\, it’ll be a fitting sonic companion to an eclectic Four Star browsing experience. \n—Scott Gordon  \n\nIllustration by Shasya Sidebottom.
URL:https://tonemadison.com/event/four-star-video-subscriber-drive-celebration-party-at-four-star-video/
LOCATION:Four Star Video Rental\, 459 West Gilman Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Film,Music
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230315T190000
DTEND;TZID=America/Chicago:20230315T203000
DTSTAMP:20260403T151905
CREATED:20230310T175039Z
LAST-MODIFIED:20230622T231855Z
UID:16925-1678906800-1678912200@tonemadison.com
SUMMARY:Project Projection: Spring 2023 at Arts + Literature Laboratory
DESCRIPTION:Alex T. Jacobs colorfully modifies the halo of a streetlamp (with outward-moving reds\, greens\, yellows\, and blues) on a snowy night in the short “snow light” (2023). \nThe Mills Folly Microcinema series returns this week at Arts + Literature Laboratory for 2023’s first installment of Project Projection\, its wide-ranging\, seasonal showcase of film and video shorts by Madison-based filmmakers. This program’s 14 films fall roughly into two categories; the first of these is music videos\, and any fan of Madison music will find something to love in the selections’ diversity of musical genres and visual styles. ViBRATiONLAND’s video for “Stabacab” (dir. Eric J. Nelson) may take the cake for most ingenious of the bunch\, using everyday objects like a CPAP tube and silly putty to make an alternately adorable and horrifying piece of stop-motion creature horror. \nMoving further into pure abstraction\, B. Hayes’ video for “Ovation” (dir. Max Wasinger and Peregrine Balas) is similarly visually voracious\, with its collaged and datamoshed black-and-white footage smearing into gorgeous swirls. The only non-contemporary piece on the program\, Gretta Wing Miller’s Man In Space (1981) splits the difference between the musical pieces and the rest of the video work\, editing spacewalk footage to Beatles songs and reveling in nostalgia for the late ’60s. \nFor the other half of the works\, experimental video like David Boffa’s A Due Remembrance Of Wolves (2021) takes the mantle. This minimalist nature doc trains its eye on two wolves at their leisure for most of its runtime; a narrator reads 19th century texts on the danger of the animal\, usually offering bounties for hunters to exterminate the “vermin.” This penchant for appropriated text is shared by another standout of the program\, Chloë Simmons’ Passing Through (2020)\, with its short GIF-like loops that are littered with digital detritus as scrolling words recite the textbook definitions of broad concepts like cause and effect\, truth\, and signs. Simmons’ piece is  dense and heady\, but also one that skillfully explores its title’s double entendres with a thoughtful reflection on queer identity. \nSome other videos are more abstract\, content to explore an aesthetic for its own sake like in Alex T. Jacobs’ serene snow light (2023). As ambient-treated piano rolls underneath the eight-minute shot of a streetlight under snowfall\, Jacobs manipulates the footage so that the light’s halo expands into a dazzling pixelated rainbows. It’s one of the simplest works on the program\, but one that ties it all together in highlighting both the natural beauty and artistic skill that can be found in Madison. \n—Maxwell Courtright
URL:https://tonemadison.com/event/project-projection-spring-2023-at-arts-literature-laboratory/
LOCATION:Arts + Literature Laboratory\, 111 South Livingston Street\, Madison\, WI\, 53703\, United States
CATEGORIES:Culture,Film
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230317T190000
DTEND;TZID=America/Chicago:20230317T202500
DTSTAMP:20260403T151905
CREATED:20230309T063401Z
LAST-MODIFIED:20230622T231839Z
UID:16920-1679079600-1679084700@tonemadison.com
SUMMARY:Invaders From Mars (1953) at UW Cinematheque
DESCRIPTION:The amphibious-looking Martians cradle an incapacitated David (back left) and Dr. Patricia Blake (center). \nInvaders From Mars (1953) follows one of the biggest trends of 1950s horror films\, reflecting the fears of Communist invasions and rampant McCarthyism of the era. Directed by William Cameron Menzies and distributed by Twentieth Century Fox\, it clocks in at just under 80 minutes\, which is a beautifully approachable length for a B-movie. \nPredating even The Twilight Zone series\, the film opens with narration over footage of the cosmos\, which declares that\, thanks to science\, we know more about the other planets in our solar system. Science is still breeding curiosity about the likelihood of other forms of life. \nFollowing this\, the camera follows young David (Jimmy Hunt) after he sees a flying saucer crash in a sandpit. The nameless town’s residents\, including his parents and classmates\, start acting strangely when they investigate the crash site. They all soon begin disappearing into a mysterious butthole in the sand. The multicolored backdrops here in the shots of the elusive sandpit evoke similar images of scenes of the Yellow Brick Road in The Wizard Of Oz\, while other sets use exaggerated proportions\, stark symmetry\, and geometric framing ripped from German Expressionism. Filmed with Eastmancolor stock\, initial prints of the film used SuperCinecolor\, which is showcased towards the end when the townies eventually explore underneath the sandpit. \nAfter David’s parents fall under the influence of the invaders\, David gets taken in by two scientists as his surrogate parents (Dr. Stuart Kelson and Dr. Patricia Blake\, played by Arthur Franz and Helena Carter)\, the only two adults who believe something funny is happening in their town. One of the scientists gets the U.S. Army on the horn and convinces them to send in the troops. \nDuring the climax of the film\, David and Dr. Blake plummet through one of the sand’s many buttholes and into the arms of the Martians\, whose costumes look more like frogs than creatures from another world\, only adding to the tonal whimsy. Luce Potter\, the actor playing the Martian inside the glass (as seen gracing the front cover of the latest paper edition of the spring Cinematheque calendar)\, had previously played a Munchkin in The Wizard Of Oz\, which perhaps implies the similarities to the classic film were intentional. \nSeeing the new restored 4K version of this film with all its vivacious colors and practical effects on the big screen is guaranteed to be a delight! \n—C Nelson-Lifson
URL:https://tonemadison.com/event/invaders-from-mars-1953-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:20230318T143000
DTEND;TZID=America/Chicago:20230318T170000
DTSTAMP:20260403T151905
CREATED:20230313T174206Z
LAST-MODIFIED:20230313T175606Z
UID:16950-1679149800-1679158800@tonemadison.com
SUMMARY:Day Of Resistance To Trans Genocide March and Resistance Rally at Capitol Square
DESCRIPTION:This preview is adapted from “Now\, Not Later\, Is The Time to Speak Up For Trans People\,” initially published in Emily Mills’ newsletter\, Grist From The Mills. \nIf you’re in the Madison area on Saturday\, March 18\, a grassroots group of people is organizing a Day Of Resistance To Trans Genocide that aims to raise awareness and drive action to oppose the onslaught of anti-LGBTQ\, particularly anti-trans\, legislation and rhetoric that’s begun to swamp our state and country. \nThe event will begin at or near the Wisconsin State Capitol with a march at 2:30 p.m.\, followed by a rally with trans and non-binary speakers. It’ll be a great way to show solidarity\, get connected with other people engaged in the work\, and find resources and support. Here’s the Facebook listing for the event—which is worth checking up on because the final route of the march and exact location of the rally is still to be determined. And here are some notes about safety: \n\n Wear a mask if at all possible. There’s still a pandemic on\, and we want to help protect our immune compromised and disabled community. Masks can also help prevent having your picture taken by possible anti-trans counter-protesters who could use your image for making threats/harassment/doxxing.\nHaving a protest buddy is always a good plan. Someone you can check in with before\, during\, and after the event to make sure everyone is accounted for and for moral support.\nSome masks\, water\, snacks\, etc. will be provided for by organizers but also please bring your own and/or some to share if you can. Wear comfortable shoes or boots for walking\, and/or plan for transportation through a short (~1 mile) march.\nIn the unlikely event of disruption or police involvement\, have your phone’s biometrics switched off (police can make you use the thumbprint unlock option to get into your phone but they can’t force you to use your PIN)\, and keep the number of a legal help group written down in your pocket/on your person.\nDo not engage with counter-protesters\, when possible\, or if you do–keep it positive: the focus should be on the message of LGBTQ resistance\, rights\, and joy. \n\nWhether or not you can make this particular event\, I strongly implore you to seek out any and all ways of getting involved: speak out\, contact your legislators\, support LGBTQ-led organizations doing the work (with your time\, your money\, your skills\, or whatever you can offer). This is a nationwide and also deeply local issue. And it is URGENT. \nOne specific (and fun!) way to help? Tune in for and donate to my friend Mercury Stardust’s upcoming Tik-Tok-a-Thon to raise money for trans healthcare. The event runs March 30 through 31\, but you can donate in advance here (and learn more about what the money will do). Then be sure to tune in via the Tik Tok and/or Instagram accounts of Mercury or her co-host\, Jory\, for the livestream! \n—Emily Mills
URL:https://tonemadison.com/event/day-of-resistance-to-trans-genocide-march-and-resistance-rally-at-capitol-square/
LOCATION:WI
CATEGORIES:Politics
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END:VCALENDAR