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DTSTART;TZID=America/Chicago:20230201T080000
DTEND;TZID=America/Chicago:20230223T160000
DTSTAMP:20260408T081605
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230202T190000
DTEND;TZID=America/Chicago:20230202T204000
DTSTAMP:20260408T081605
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:20260408T081605
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:20260408T081605
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:20260408T081605
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:20260408T081605
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230208T200000
DTEND;TZID=America/Chicago:20230208T220000
DTSTAMP:20260408T081605
CREATED:20230203T160700Z
LAST-MODIFIED:20230203T160700Z
UID:16726-1675886400-1675893600@tonemadison.com
SUMMARY:Richard Hildner Armacanqui Quartet at Lucille
DESCRIPTION:Any accounting of Madison’s noteworthy guitarists would be incomplete without mentioning Richard Hildner Armacanqui. In projects that include Golpe Tierra\, Acoplados\, and Barbacoa\, Hildner Armacanqui draws on the complex musical heritage of his Peruvian-American family\, putting a whole spectrum of Afro-Peruvian musical traditions in conversation with other strains of jazz\, rock\, and funk. Beyond his clear technical gifts\, Hildner Armacanqui has a lot to say about how all these different elements relate to each other through the language of the guitar. The statements range from aching lyricism (see Golpe Tierra’s “La Despedida“) to almost fusion-ish fleetness (his electric playing in Barbacoa).  \nAt this Lucille show\, Hildner Armacanqui will be playing in a quartet setting with bassist Nick Moran and percussionists Paddy Cassidy and Greg Riss. He says to expect a mix of original work and “classic songs from all over Latin America: son\, bachata\, festejo\, vals\, etc.” He adds\,  “The quartet is a very nice format\, because it’s flexible enough to be able to explore a song more and end up in unexpected places.” \nTheir performance is part of a Wednesday-night jazz series that veteran DJ Phil Money is booking. So far the series has focused heavily on the wealth of solid jazz artists based here in Madison\, and it benefits both from Lucille’s boisterous atmosphere (it’s impressive how well the music carries in a place as full-on LOUD as this) and Phil Money’s tasteful ear. Coming up\, Hildner Armacanqui is also playing with his band La Combi every first and third Thursday at Robinia Courtyard. Another project\, Richi Y Su Runakuna\, has a February 17 show at Café Coda. \n—Scott Gordon \n \nPhoto by Luis Armacanqui.
URL:https://tonemadison.com/event/richard-hildner-armacanqui-quartet-at-lucille/
LOCATION:Lucille\, 101 King St.\, Madison\, WI\, 53703\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230212T200000
DTEND;TZID=America/Chicago:20230212T223000
DTSTAMP:20260408T081605
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:20260408T081605
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:20260408T081605
CREATED:20230203T162112Z
LAST-MODIFIED:20230203T165427Z
UID:16728-1676577600-1676588400@tonemadison.com
SUMMARY:Disaster Passport ("Koyaanisqatsi" screening with live score)\, Faux Fawn at Bur Oak
DESCRIPTION:Madison band Disaster Passport has built up a dedicated local following by doing something that looks downright absurd in theory: writing its own score to a film (Koyaanisqatsi) that already has a score (by Philip Glass)—one so iconic that it’s hard to separate the music from the core experience. Back in 2018\, the four-piece began playing live shows accompanying Godfrey Reggio’s experimental 1982 docu-portrait of a world barreling toward environmental collapse. \nRather than re-interpreting the towering choral themes and kinetic orchestration of Glass’ original score\, or even particularly taking cues from it\, Disaster Passport started from scratch. Banjos (Andy Moore and Colin Crowley)\, baritone guitar (Karl Christenson of Cribshitter)\, drums\, and loops (both from Luke Bassuener of Asumaya) offer viewers a more rambling\, ruminative path into the film. (Full disclosure: Moore is a Tone Madison contributor.) \nReggio’s editing style moves Koyaanisqatsi along at a nimble and at times fevered pace. Sure\, it was initially intended to go along with Glass’ music—but when a film is so packed with rhythmic cues and powerful\, wordless messages\, why shouldn’t other musicians offer a different kind of interplay entirely? Disaster Passport composed the score over the course of eight months\, but audiences can hear improvisational elements evolve and shift from one performance to the next\, as the musicians respond to  the film’s rich layers. \nAt this show\, Stoughton-based singer-songwriter Paul Otteson and his band Faux Fawn will open things up. Expect a set of tender\, poignant folk songs with their own kind of cinematic scope. \n—Scott Gordon \nScore by Disaster Passport \nPhoto by Audre Rae Photography.
URL:https://tonemadison.com/event/disaster-passport-koyaanisqatsi-screening-with-live-score-faux-fawn-at-bur-oak/
LOCATION:Bur Oak\, 2262 Winnebago St\, Madison\, WI\, 53704\, United States
CATEGORIES:Film,Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230217T200000
DTEND;TZID=America/Chicago:20230217T220000
DTSTAMP:20260408T081605
CREATED:20230207T203628Z
LAST-MODIFIED:20230214T174731Z
UID:16751-1676664000-1676671200@tonemadison.com
SUMMARY:Nick Brown and Andrew Harrison at Bierock
DESCRIPTION:Fifteen years ago\, Andrew Harrison and his bandmates in Madison country outfit Earl Foss And The Brown Derby were straight-up stoked when Nick Brown answered a Craigslist ad to join the band on bass. Brown Derby ruled the city in those days\, at least for people who dug “moody bastard” country music\, as Brown calls it. The group was in the midst of a long string of weekly shows at the Crystal Corner Bar. “We were excited because this Nick guy who replied to our ad just moved here from Texas\,” remembers Harrison. “We were hoping he could lend some credibility to our honky-tonk sound.” \nBy the time the members of Brown Derby learned Brown was actually from Michigan\, well\, it didn’t matter. They were off to the races. The band had its core configuration and put in hard stage time\, earning an appreciative following with irony-free country covers and loud\, haystack-in-hell originals like “God’s Green Acre.”  \nSo began the Brown and Harrison collaboration that will be on rare\, scaled-down display as a duo at this Bierock show. While they’ve played together ever since\, both have stayed busy with other projects as well. Harrison toured with Madison folk rockers Count This Penny (who have often covered Brown’s song “Living That Way”) and played with other bands in town including The New Hiram Kings as well as Whitney Mann. These days Harrison can also be seen playing with the brand new\, old-country outfit Nate Gibson And The Stardazers.  \nBrown’s first solo album\, 2012’s Slow Boat\, featured plenty of Harrison’s restrained but evocative playing on guitar and pedal steel—and will be a likely source for some of the music they’ll play as a duo. Brown has maintained a full band for live shows and the 2017 EP Contender. (More recently\, Brown has put out two singles\, “Somewhere” and “Ghosts.”) But\, unlike Harrison\, who by comparison is straight-laced and all business\, Brown gets nutty with his side projects. Like the variety show series he did with a rotating cast that included the late Jim Schwall and Dan Walkner (Wrenclaw) at the Harmony Bar. \nIn Brown and Harrison’s close collaborations on original work\, they’re great foils\, both in sound and personality: Harrison’s playing heightens the rugged earnestness of Brown’s more somber moments (again\, “Living That Way\,” Slow Boat‘s show-stopping opener)\, and hint at the deeper yearnings behind the smart-asses and fuckups who populate songs like “Contender” and “Light Beer And Heavy Hearts.” \nBrown’s songwriting leans more Kristofferson than Jerry Reed (one of Harrison’s heroes). A professional copywriter by trade\, he earned his Masters in Journalism and American Literature at Texas State. Book learning is put to good use in his songwriting. “His literary background comes across in his lyrics\,” says Harrison. \n—Andy Moore \n \nNick Brown · Somewhere
URL:https://tonemadison.com/event/nick-brown-and-andrew-harrison-at-bierock/
LOCATION:Bierock\, 2911 North Sherman Avenue\, Madison\, WI\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Chicago:20230219T140000
DTEND;TZID=America/Chicago:20230219T153000
DTSTAMP:20260408T081605
CREATED:20230215T191059Z
LAST-MODIFIED:20230622T232100Z
UID:16809-1676815200-1676820600@tonemadison.com
SUMMARY:Remembering Paolo Gioli at Chazen Museum Of Art
DESCRIPTION:A photo of Caroline Kennedy as a child is layered with an image of a child wounded during the Vietnam War in Paolo Gioli’s “Children” (2008). \nFilmmaker Paolo Gioli (1942-2022) may not be a common reference for the movement of structural cinema. But his diverse and consistent body of work\, stretching from the late 1960s to the 2010s\, is a rich and varied exploration of celluloid that often asks the viewer to reconsider the mechanics of their own seeing. In observance of Gioli’s death in 2022\, the UW Cinematheque is hosting a career-spanning short film program of his work at the Chazen Museum Of Art\, which will be introduced by UW-Madison professor Patrick Rumble\, arguably the leading scholar on Gioli.  \nThe eight-film program begins with Traces Of Traces (1969)\, an animated film made with varied materials including the oil impressions from his own skin. As Gioli’s first film\, it is more deliberately abstract than many of his others\, exploring an on-cell animation style most commonly seen in Stan Brakhage’s films. Line patterns move between dense cross-hatches and looser\, globular forms. \nThe remainder of the program includes Gioli’s many experiments with found footage\, including Children (2008) which juxtaposes images of the privileged Kennedy family with photos of war-torn Vietnam\, as well as Faces Of An Unknown Photographer (2009)\, which mines the collection of an anonymous early 20th-century photographer to re-photograph the materials and create dense superimpositions at different shutter speeds. \nThis ability to study and recreate old work with new methods runs through Gioli’s filmography; he uses the medium to rediscover and reanimate lost materials\, and does this most extensively in Little Decomposed Film (1986) with a series of motion studies that echo Eadweard Muybridge’s pioneering work. Borrowing only printed images from textbooks\, Gioli stitches together a series of short animations\, each simulating motion from as few as two or three still images with stroboscopic imaging and flicker effects. The dazzling effect calls the viewer’s attention to how\, and at what exact point\, we feel like we’ve seen a “moving” image. \nIf Gioli’s work possesses a psychotropic effect\, it’s a self-aware interrogation of the act of seeing itself. Face Caught In The Dark (1995) most evocatively achieves this as a piece similarly made from the leftover materials of a long-gone photographer. Here\, Gioli photographs the portrait photographer’s leftover glass plates (a pre-film era way to capture an image impression) and sequences them in a ghostly montage. Each thin impression is barely legible as a face on its own. Shots accumulate as a sort of all-face\, like watching a granular prototype of the now-ubiquitous face-generating AI. It’s an eerie effect\, and one that brings our awareness not only to the act of seeing but to film’s ability to trans-historically reanimate. \nIf all of this sounds heady and Frankensteinian\, the program also includes the palette-cleanser Natura Obscura (2013)\, one of Gioli’s most purely beautiful films. Using a “pinhole” style (shooting through a tube pin-pricked with small holes)\, Gioli reduces the frame and surrounds it with tiny streams of light. The experimentation feels most jubilant. Each image is covered in a staticky halo with the clear footage at the center of the frame like the tip of a sparkler. \nIn a varied career that restores meaning to the filmic term of “experimental\,” Gioli’s restless innovation made him a consistently interesting\, if not widely known\, filmmaker. His work reminds us that even the most conceptual work can have a potent psychological effect. \n—Maxwell Courtright
URL:https://tonemadison.com/event/remembering-paolo-gioli-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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DTSTART;TZID=America/Chicago:20230224T190000
DTEND;TZID=America/Chicago:20230224T230000
DTSTAMP:20260408T081605
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
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DTSTART;TZID=America/Chicago:20230224T213000
DTEND;TZID=America/Chicago:20230224T234500
DTSTAMP:20260408T081605
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
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DTSTART;TZID=America/Chicago:20230226T180000
DTEND;TZID=America/Chicago:20230226T235900
DTSTAMP:20260408T081605
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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