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Art in Public Places' TEMPO Program
The city of Austin gets into temporary sculpture in a big way, debuting 10 new works around town this fall
Arts Story  October 1, 2015, by Robert Faires
"...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..."

The Fate of the Furious
The car thieves are back to save the world
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Film Review  April 14, 2017, by Kimberley Jones
"...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..."

A Field in England
The most enticingly original film to come out of the UK this year is told in crisp, trippy, black and white.
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Film Review  February 7, 2014, by Marc Savlov
"...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..."

Sleepless Night
Purloined cocaine, his kidnapped son, and a den of thieves who wish him ill cause one man to have a very desperate night in this taut French thriller.
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Film Review  May 11, 2012, by Kimberley Jones
"...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..."

Harriet the Spy
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...
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Film Review  July 12, 1996, by Hollis Chacona
"...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..."

Peer Gynt
An unrelentingly fast tempo flattens out the St. Ed's staging of Ibsen's epic
Arts Review  February 19, 2010, by Barry Pineo
"...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..."

A Maestro Prepares
Before the baton goes up, conductors have to know the score – every note of it
Arts Story  April 1, 2011, by Robert Faires
"...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..."

Radio Silence: a word opera
Zell Miller III's hip-hop opera is fascinating when it isn't flying by so quickly
Arts Review  August 29, 2008, by Barry Pineo
"...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..."

Escurial
This one-act about a mad king and his jester is played at such a fast tempo that the audience is overwhelmed with information
Arts Review  July 25, 2008, by Barry Pineo
"...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 Valle
Manic Nirvana
Music Review  August 16, 2013, by Thomas Fawcett
"...Marcos VallePrevisão Do Tempo (Light in the Attic) Marcos ValleGarra (Light in the Attic)..."

All Down the Line
Forget the Exile on Main St. reissue. Here's the 1972 Stones in all their cinematic glory, plus a 1981 bonus to make it a double feature.
Music Story  October 29, 2010, by Raoul Hernandez
"...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..."

Marisol
Vestige Group has the pieces of an interesting puzzle, but most don't fit together
Arts Review  September 26, 2008, by Barry Pineo
"...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...."

The Horton Brothers
Record review
Music Review  November 11, 2005, by Jim Caligiuri
"...Tempo for Two (Texas Jamboree)..."

Austin Symphony with the Eroica Trio
A concert showcasing a variety of tempos, intensities, and moods -- from cheeky Beethoven to hypnotic Kilar -- made this particular outing of the Austin Symphony with the Eroica Trio a memorable success.
Arts Review  October 17, 2003, by Robi Polgar
"...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...."

Texas Platters
Music Review  October 10, 1997
"...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..."

R.I.P. Barry “Frosty” Smith
Austin’s pre-eminent beatkeeper passes
DAILY Music  April 13, 2017, by Kevin Curtin
"...“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 Comedian
De Niro plays an aging insult comic
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Film Review  February 3, 2017, by Steve Davis
"...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..."

Free Week Live Shots
Sidewinder, Jan. 4
Music Story  January 12, 2017, by Michael Toland
"...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...."

Mandy Rowden
Music Review  October 20, 2016, by Tim Stegall
"...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..."

Star Turns
The nominees for the 2015-16 Austin Critics Table Awards
DAILY Arts  May 9, 2016, by Robert Faires
"...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..."

Tuesday SXSW Showcases
First night hangs – showcases!
Music Story  March 10, 2016, by Chase Hoffberger
"...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..."

Big Medium: East Austin Studio Tour
Our list of Due East's most intriguing artistic talent
DAILY Chrontourage  November 4, 2015, by Allen Martinez & Patricia May
"...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..."

Death Grips Bash & Dash Mohawk
Experimental hip-hop trio make grand exit
DAILY Music  July 20, 2015, by Kevin Curtin
"...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...."

Swervedriver
Music Review  March 19, 2015, by Michael Toland
"...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..."

OBN IIIs
Music Review  June 5, 2014, by Tim Stegall
"...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
Music Review  November 29, 2013, by Abby Johnston
"...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..."

Wrong
Quentin Dupieux, the director of Rubber, is back with another film brimming with encounters with the bizarre and surreal.
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Film Review  March 29, 2013, by Leah Churner
"...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..."

UT Wind Ensemble
The ghost of Gershwin plays live in Austin
Arts Story  March 22, 2013, by Natalie Zeldin
"...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..."

The ALLAH-Las
SXSW Showcase reviews
Music Story  March 15, 2013, by Luke Winkie
"...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..."

One of These Things Is Not Like the Other
The DNA of the Aggies' opener
DAILY Sports  September 12, 2012, by Emily Bevan
"...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..."

Of Mice and Men
A relaxed tempo can't obscure the lyricism and dark beauty of Steinbeck's tale
Arts Review  May 27, 2011, by Barry Pineo
"...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..."

I Am Number Four
This filmed adaptation of the first book in the proposed Lorien Legacies series follows the tribulations of an alien refugee on Earth.
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Film Review  February 18, 2011, by Kimberley Jones
"...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..."

Bug
Capital T's return to Tracy Letts territory hasn't the buzz of 2009's Killer Joe
Arts Review  June 11, 2010, by Barry Pineo
"...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..."

Metallurgy
Metallurgy
Music Review  December 25, 2009, by Raoul Hernandez
"...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..."

Tyson
Mike Tyson tells his life story in his own words in this documentary by longtime friend James Toback.
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Film Review  May 29, 2009, by Marc Savlov
"...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..."

An Ideal Husband
Austin Shakespeare delivers a gorgeous production that savors Wilde's wit
Arts Review  February 27, 2009, by Barry Pineo
"...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..."

Stones in His Pockets
With David Stahl and Michael Stuart playing everyone in County Kerry, this Irish comedy is a delight from beginning to end
Arts Review  March 7, 2008, by Barry Pineo
"...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...."

Saturday Sleepers
SXSW picks & sleepers
Music Story  March 18, 2005
"...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..."

Midsummer Night's Renaissance
Conspirare's midsummer concert of choral works from the Renaissance provided yet another example of enchanting song by this local treasure
Arts Review  July 2, 2004, by Robi Polgar
"...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..."

An Ideal Husband
Different Stages' production of Oscar Wilde's An Ideal Husband is not just community theatre at its finest; it's just plain good theatre: entertaining, impressive, astounding, and delightful.
Arts Review  November 28, 2003, by Barry Pineo
"...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..."

Chiseled in Stone
An appreciation of honky-tonk veteran Billy Dee
Music Story  October 10, 2003, by Graham Reynolds
"...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..."

Pains of Youth
In the iron belly muses production of Pains of Youth, a group of young, wealthy medical students in 1920s Austria have, well, a lot of sex with each other, and while the actors work it for all they're worth, the quick tempo and constant physical movement lead to a lack of clarity in the story and a lack of, well, sexiness in the sex.
Arts Review  April 11, 2003, by Barry Pineo
"...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..."

Western Keys
Texas Platters
Music Review  November 1, 2002, by Michael Chamy
"...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..."

Tracers
Director and sound designer Stephen Balgooyen and his youthful cast bring us the horrors of war live and in living drab green in Tracers, but shouted lines and an overwhelming sound design render much of their work on this difficult material unintelligible.
Arts Review  July 12, 2002, by Barry Pineo
"...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..."

Fugazi @ Emo's
Live Shot
Music Review  April 5, 2002, by Michael Chamy
"...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..."

Putting It Together
The Austin Symphony's Peter Bay on Leading an Orchestra, Interpreting a Score, and Seeing Music
Arts Story  January 19, 2001, by Robi Polgar
"...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..."

Hill Country Breakdown
Music Story  June 3, 1999, by Christopher Hess
"...At the front of the stage stood a single microphone. When headliner and outlaw-country-rocker Steve Earle came out in a relatively neat and pressed suit flanked by four other young men similarly attired, all of them toting acoustic stringed instruments, and broke into a medium tempo bluegrass tune, the response was unsure..."

Record Reviews
Duke Ellington
Music Story  April 29, 1999
"...From 1934-40, Ellington left Victor and cut masterpiece after masterpiece for various labels. On the lyrical, introspective "Reminiscing in Tempo" (eulogizing his mother), he continued to experiment with extended-form pieces; it was over 13 minutes in length..."

SXSW Record Reviews
Music Review  March 13, 1998
"...Like a beautiful languorous day by the sea, The Ultimate Seaside Companion ebbs and flows. "Mississippi Palisades" and "Your East is My West" lay the uptempo groundwork like your first run into the chilly ocean..."

Only the Beginning
Wednesday Night SXSW "Sleepers"
Music Story  March 13, 1998
"...(Caucus Club, 12:30am) - Christopher Hess RISING LION: Sometimes the simplest way to clue into bands you know nothing about is by finding them in the headlining spot. In this case, the gamble might just pay off as Brooklyn's Rising Lion does roots rock about as good or better than many of their major-label contemporaries..."

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