"...But nowadays, art will pop up on our streets or in our parks without notice, enliven our urban space for a period of weeks or days, then vanish as suddenly as the blooms of bluebonnets. Such temporary public art has been around for years, with Fusebox Festival and Art Alliance Austin among the local leaders in commissioning it..."
"...There’s been a lot of rubber burned between this franchise’s original vision of street-racing larcenists and Fate of the Furious’ merry band of kinda-sorta-yeah-sure-why-not heroes before us today, now tasked with no less than saving the world. (That’s right, kiddos, turns out there is upward career mobility in car thieving!) With every picture – all but the first two scripted by Chris Morgan – the series has grown ever more preposterous, its sense of humor improving in tempo with its silliness..."
"...And it’s yet another marker in English director and co-writer (with Amy Jump) Wheatley’s exemplary catalog of films that are unlike any you’ve ever seen. Wheatley’s newest is unapologetically psychedelic in both tone and tempo..."
"...A 2011 Fantastic Fest alum, Sleepless Night is lean to the edge of emaciated with logic wobbles best not lingered on, but Jardin's control of tempo and tone is crackerjack. And in an era of supermuscled leads and gravity-defying action choreography, there's something pleasurably old-fashioned to the film's authentically knuckle-down fight staging..."
"...Starring: Michelle Trachtenberg, Rosie O'Donnell, Vanessa Lee Chester, Gregory Smith and Eartha Kitt. Harriet the Spy is a clever movie that mixes a Sixties pop spy tempo and decidedly retro film speed manipulation with updated cultural and ideological icons and an aggressively Nineties soundtrack by Jamshied Sharif..."
"...The Hope Outdoor Gallery was supposed to be a temporary project, according to Andi Scull Cheatham. She founded the graffiti park in 2011 with the help of Vic Ayad, whose company, Castle Hill Partners, owned the unfinished condominium foundation that became the park..."
"...Nothing wrong with great physical energy and a quick tempo, per se. Ibsen wrote the play in verse, and if Robert Bly's translation is any indication, in verse which mostly falls somewhere around the rhymed couplet, which Shakespeare used to such great effect in many of his comedies..."
"...Conductors must know the score in the most literal sense of that phrase: every note played on every instrument in every section and how they all fit together. And beyond packing all that in their heads, maestros must make a decision about what it all means – that is, interpret the material, using tempo and dynamics and color to form a point of view..."
"...Piece after poetic piece flew by, powerful versifying reduced to flying saliva. I'm all for a quick tempo but not at the expense of meaning..."
"...Robert Salas is credited with conceiving and directing the production and also plays the king as a raving lunatic, which is most likely appropriate given what happens at the end. But while he has an expansive physical presence and a fine speaking voice, Salas' tempo is out of control..."
"...Marcos VallePrevisão Do Tempo (Light in the Attic) Marcos ValleGarra (Light in the Attic)..."
"...The sound mix, Richards' chanka-chanka in the left channel and Wood's pink tones in the right, begs for ever-higher volumes. Richards then picking out the film's title song at twice its original tempo rouses the same as a shot of the band's original epicenter, Ian Stewart, rolling and tumbling on the keys as his silver/pepper hair shifts like snow..."
"...You can call me quirky on this, too, but I also enjoy productions in which I can understand pretty much every word that's said, in which the scenes embody tension simply in the way the actors are physically placed in three-dimensional space, and in which the actors know the material well and, thus, are able not only to push the tempo but also to allow me to hear everything that's important...."
"...Tempo for Two (Texas Jamboree)..."
"...So much so that appreciative titters and giggles followed the near-dainty melodic shifts, unexpected and delightful contrasts to the recurring pulsing seriousness of the four chords. The work offered a brief study in tempo that continued throughout the evening: Rhythmic play and tempo variations were woven into most every selection...."
"...Most of that composure resonates in Crowley's husky voice, a malleable but sturdy tool that was perhaps prematurely aged by busking over passing Sixth Street traffic. Here, on both the smart mid-tempo material ("Anything," "Vertigo") and melodic rockers ("Singers Are Ugly," "Hand To Mouthville"), Crowley is far more Stevie Nicks than Sheryl Crow..."
"...The slight running time drags, a sensation not helped by Terence Blanchard's underwhelming score. That's a tragedy, considering how much he helped build the tempo of Lee's last narrative feature, 2015's equally scattershot but much more successful Chi-Raq...."
"...Not the early Elvis of Sun Records and not the late Elvis of the Vegas Strip, but the Elvis no one likes to talk about: the middle Elvis of Hollywood, the star of all those cheesy Sixties rom-coms in which he played a devil-may-care deckhand/rodeo rider/racecar driver who also happened to be a terrific singer and whose prickly romance with some fetching, feisty lass (Ann-Margret/Shelley Fabares/Nancy Sinatra) would be interrupted by a carefully calibrated series of songs (defined by lyricist Jerry Leiber as "three ballads, one medium-tempo [number], one up-tempo, and one break blues boogie"). Hit the Hillside for the 60th annual Zilker Summer Musical and you, too, can see this least-respected of the King's incarnations, and that's not a bad thing, not by a long shot...."
"...Evidenced by long hair, mustaches, and frontwoman Jillian Taylor’s red lace Freddie Mercury-style jumpsuit, the band rooted itself in the early Seventies. Drawing from last year’s Planetary Space Child and 2015’s Valley of the Snake, the Hatchet erected a dense edifice of mid-tempo doom and chugging proto-metal, anchored by axe grinder Johnny Scarps and organist Sean Mur..."
"...“First and foremost, he was a great timekeeper, which seems simple on the surface, but it’s not. When Frosty started the song it would end at the same tempo, even if the song was 10 minutes and had a long drum solo..."
"...The shock-and-awe humor of insult comedy can be harsh, though De Niro gallantly tries to pull it off without embarrassing himself. A tragically short scene in which Jackie participates in roasting a 95-year-old screen legend (Leachman) achieves a comic tempo that the film’s other jesting lacks..."
"...Trio Honey & Salt began with a set of off-kilter indie clangor summoning early math rockers. Wade Allen's skilled, jazzy axe work complemented the rhythm section's nimble tempo changes, but his boyish vocals got lost in the jam...."
"...Local alt.country songstress Mandy Rowden ignites a pounding, mid-tempo groover called "Let Me In" at 1000 Miles' start. Its bed of guitars set a tone ranging from "raunchy-yet-well-mannered" to "maximum twang," manned in part by Austin's great Alan Durham, who provides a perfect cushion for Rowden's dusky alto and scalpel-sharp pen – aimed here at delivering a post-mortem for a damaged relationship..."
"...Museum Exhibition “Come As You Are: Art of the 1990s,” Blanton Museum of Art “Donald Moffett,” Blanton Museum of Art “Shakespeare in Print and Performance,” Harry Ransom Center “Strange Pilgrims,” The Contemporary Austin..."
"...showcase demonstrates revolving door range. Central focus throughout the 15-act run is hip-hop and down-tempo electro, particularly the brands embodied by both the Ski Beatz and Ninja Tune rosters of the last decade..."
"...1. AIPP • EAST Public Art Crawl: [image-1] Gather your friends and join the City of Austin’s “public art crawl.” Explore the TEMPO 2016 art installations, plus many others..."
"...The aggro rapper, real name Stefan Burnett, brought his blunt prosody to an early high with the echoed, down-tempo “Intimate Sensation” off March comeback LP The Powers That B. The pit was 200 degrees Fahrenheit by the time Ride ushered a sing-along to the skipping hook of Money Store favorite “Get Got,” doing a heroin jig to the fluttering beat, then becoming physically possessed by the warping tempo changes...."
"...For its comeback, the Oxford, UK, outfit serves both masters. I Wasn't Born to Lose You, the group's first album in 17 years, starts atop the mid-tempo jangle of "Autodidact," holding true to the form on "English Subtitles" and "Setting Sun." Two-thirds through the LP, muscles flex as "Red Queen Arms Race" and "Deep Wound" rumble into amp abuse while keeping the melodies genteel..."
"...Screaming guitars rampage through notably upgraded production, set against the frontman's lonesome polecat holler, warning he's got "No Time Left for the Blues." The best Detroit anthem he's written in a career defined by them, it sets the scene for the band's most exciting full-length. After crashing through a morning-after chronicle laced with a raspy Walter Daniels harp cameo ("The Rockin' Spins") and a you-lookin'-for-trouble? strutter ("Uncle Powderbag"), Third Time to Harm downshifts dramatically in tempo for "Queen Glom." That's when the entire album changes character..."
"...Emily Wolfe's first installment of a two-EP debut introduces the 23-year-old Austin singer/guitarist/fireball with musical muscle and uninhibited joie de vivre. Despite the upbeat tempo of the opening title track, it layers on the melody in trained prudence..."
"...Yet it is. Likewise, all the funny bits in Wrong are machine-centric sight gags, like the automatic seatbelt in Dolph’s Ford Tempo and the slowly ejecting photos of the detective’s Polaroid camera..."
"...Here, however, playing with a static "performer" presents a range of new challenges for the accompanying orchestra. For example, how should the orchestra know exactly how much to slow down in a certain section or how much time to wait after a long piano passage before rejoining the "soloist"? Zenph has also engineered a solution for these problems with HCX, a commercial software that shows the conductor the nuances of the tempo in the form of scrolling electronic sheet music..."
"...What's a record to do in a scene with so many better-established darlings? Under these lights, even in the most overlooked of rock clubs, the enchantment came quick and easy. Sure, they're just casual mid-tempo pop songs, but plenty of bands have gotten famous off of casual mid-tempo pop songs..."
"...Early in Saturday's game, those differences stood in stark contrast. Led at QB by confident redshirt freshman Johnny Manziel, the Aggie offense set an up-tempo rhythm that punched the Gator defense right in the chomps..."
"...It is, in many ways, exactly what you would expect from a City Theatre show, but it seemed to run long. While you could find expendable material in the script, you wouldn't find a lot, and cutting material wouldn't have addressed the fairly slow tempo that Urso and Berkovsky seem to have asked the actors to maintain throughout much of the play..."
"...Olyphant, as Number Four's alien-samurai minder, is reliably smirky (he’s made a career out of being the only bright spot in subpar entertainment), but his screen time is limited. Number Four’s dramatic scenes are paced to the tempo of dough rising, and its action sequences are taged incomprehensibly, endlessly; about the only thing that seems on point here is the slo-mo shot of the leggy blond strutting away from an explosion, all insouciance..."
"...Four of the five cast members – Kenneth Wayne Bradley, Katie deBuys, Melissa Recalde, and Joey Hood – also appeared in Joe, and Mark Pickell, Capital T's artistic director, directed both shows. But where Joe had a relentless, and quite effective, tempo, Bug is slow, especially in the first act..."
"...Guitars increase a thousandfold, Sonny Reinhardt teaming with Matt Pike Jr., aka lead shred and holler Austin Barber. Lightning tempo morphs (opener "Acid Hand") and straight 1980s riff fusillades ("We Roam") alight High on Fire only faster, "F.G.T." unleashing a pure blitzkrieg of tempo and guitar volley..."
"...Toback, a longtime friend of the fighter, gets Tyson to open up all the way (beginning in what appears to be a pristine white hotel suite), and the end result is not one of revulsion but of pity. Sure, Tyson brought it all on himself – the frightening resolve he displayed in the ring was nowhere to be found once he stepped out of it – but sitting for Toback, recalling his life from cradle to near-grave while decked out in some unthreateningly down-tempo bling, the fighter comes across more tin man than iron man..."
"...While he mugs like mad during one scene in the first act, Mark Scheibmeir in the role of Sir Robert eventually settles down and completely convinces as a man attempting to face an extreme moral dilemma with dignity. Most delightful was Marlane Barnes as Chiltern's precocious sister, Mabel, the only performer who brought consistent energy, focus, and tempo to every scene in which she appeared..."
"...The Austin Playhouse production runs like a well-oiled machine, and while much of the credit for that must go to Stahl and Stuart, who almost never let the tempo lag while allowing most of the more dramatic moments to play themselves out, some credit must go to director Don Toner, who, besides wisely choosing to trust his two much-more-than-competent actors, stages this 2001 Laurence Olivier Award winner for Best Comedy much like the original production was staged: with a backdrop of blue sky and green field, a few stools, a bench, a large wicker basket, and the aforementioned 15 pairs of shoes lining the back wall of the stage. With the Gunn Brothers providing some fine Irish music to augment the settings, the evening is pretty much a delight from beginning to end, and while I would have preferred a slightly slower tempo to start the show, and perhaps some well-placed light cues to help me and everyone else watching adjust to the fact that two actors were playing everyone and his brother, Stahl and Stuart command the stage, as well as our undivided attention, from beginning to end...."
"...The girls put out a self-titled EP on Dim Mak in January. As their bio proclaims, "You don't need a penis to play rock & roll." Darcie StevensTHE ROCKET SUMMER8:50pm, Redrum Dallas' one-man wunderkind Bryce Avary embodies the earnest, uptempo exuberance of the Militia Group's mission..."
"...Englishman Tallis also provided the extended meditation "Lamentations of Jeremiah," which, Johnson noted, while rather straightforward musically on the page, would grow in complexity "from within." What the audience received were the colors and layered effects of a contemplative, emotional song. For "Super flumina Babylonis," by Italian composer Luca Marenzio, Johnson ever the warm host and helpful guide explained that when such pieces were performed in the churches of Italy, choral voices would be joined by brass on either side of the audience, so in this spirited, uplifting tune, the vocalists were "singers and brass." Like a good modern pop tune, the catchy, up-tempo music offset an introspective, somber lyric..."
"...I see play after play with similarly thin stories in which the actors seem to think that every word they speak is equally important. Of course, this simply is not the case, and director Norman Blumensaadt obviously has communicated to his actors exactly what is and is not important here, for every one of them pushes the tempo right through the witty, sophisticated dialogue, taking time only with moments that have real import..."
"...Three basic musical elements key to the live performance: tempo, rhythmic structure, and mood. The tempo is broken up into your three basic categories -- slow, medium, and fast -- but each has its own subcategories..."
"...The characters are an interesting mix: Marie has been sleeping with Petrell, who now wants Irene; the suicidal Desirée wants Marie; and Freder, an intellectual, wants practically any woman he sees, and is willing to pimp for them, if required. Most of the time, director Rebecca Nell Robertson employs a quick tempo and constant physical movement, and while the actors work it for all they're worth, the exposition, of which I'm certain there was some, got lost in the tempo, and I got lost as well..."
"...An interesting notion, but it's not entirely accurate here. Instead, Dickey has cranked out catchy, up-tempo slabs of weepy angst, more than a little reminiscent of chief influences Bright Eyes and Silver Scooter, along with Cap'n Jazz and just about any angst-ridden, intentionally sloppy emo band..."
"...At other times the actors shouted their lines, and the unfriendly acoustics swallowed up the sense. At still other times, the tempo was so slow and deliberate it seemed as though the actors were trying to play up the dramatic aspects rather than simply allow the play to speak for itself..."
"...Once onstage, it didn't take long for MacKaye to catch fire, his face contorted in an ultra-sincere gaze when he wasn't supporting Guy Picciotto's mic time with leaps across the stage. Picciotto, as always, was an unpredictable spasm, hair flopping up and down on faves like "Give Me the Cure" and Red Medicine's "Target." An inspired "Do You Like Me?" prompted a raucous sing-along and clever responses of "Yes!" One thing Fugazi learned from hardcore is the fruitlessness of a redundant tempo..."
"...I don't feel limited to a particular time frame of music. I love Copland, I love Bach, Beethoven, and some contemporary music I'm very fond of..."