Curriculum Vitae

Total Page:16

File Type:pdf, Size:1020Kb

Curriculum Vitae CHARLES FRANCIS LEINBERGER, PH.D. 500 WEST UNIVERSITY AVENUE, PMB 210 EL PASO, TEXAS 79968-9991 (USA) Curriculum Vitae Teaching Experience: Department of Music, The University of Texas at El Paso, El Paso TX Professor 2016 to present Associate Professor 2005-2016 Assistant Professor 1999-2005 Visiting Assistant Professor 1998-1999 Undergraduate courses currently taught: Music Theory I and II, Music and Film Undergraduate courses previously taught: Music Theory Seminar (topics included Mozart Symphonies & Concertos and Film Music Analysis), Independent Study (The History of Theory, Tuning, and Temperament), Music Fundamentals, Music Theory III and IV, Aural Skills I and II, Form and Analysis, Orchestration, Eighteenth- Century Counterpoint, Music Appreciation Graduate courses previously taught: Pedagogy of Music Theory, Survey of Music Theory, Selected Topic (Twentieth-Century Techniques) Rehabilitation Services Administration, Arizona Department of Economic Security, Scottsdale AZ Tutor for the Blind, 1997-1998 Tutored blind student enrolled in Freshman Music Theory for two semesters Mesa Community College, Mesa AZ Instructor 1995-1996 Course taught: Freshman Music Theory The University of Arizona, Tucson AZ Graduate Teaching Assistant, 1992-1995 Assisted professor in teaching Freshman Music Theory and Aural Skills (1992-93) and Sophomore Music Theory and Aural Skills (1993-95) The University of Miami, Coral Gables FL Lecturer, 1979-1980 Courses taught: Music Fundamentals and Sophomore Music Theory [email protected] UTMINERS.UTEP.EDU/CHARLESL HOME: (915) 351-8640 MOBILE: (915) 474-3375 OFFICE: (915) 747-7800 CHARLES FRANCIS LEINBERGER, PH.D. Education: Doctor of Philosophy Degree, The University of Arizona, Tucson AZ 1996 Major Field: Music Theory Minor Fields: Trumpet Performance and Media Arts Research Document: An Austrian in Hollywood: Leitmotifs, Thematic Transformation and Key Relationships in Max Steiner’s 1942 Film Score “Now, Voyager” Master of Music Degree, The University of Miami, Coral Gables FL 1979 Major Field: Music Theory Research Document: The Evolution of Augmented-Sixth Chords before 1800 Bachelor of Music Degree, Northern Arizona University, Flagstaff AZ 1977 Major Field: Trumpet Performance Publications Journal of Film Music: Max Steiner: Man and Myth Symposium (Conference Proceedings) “An Austrian in Hollywood: Leitmotifs, Key Relationships, and Self-Plagiarism in Max Steiner’s Music for Now, Voyager and Mildred Pierce” In Progress Music and Auteur Filmmaker in European Art House Cinema of the 1950s to the 1980s: Individuality and Identity In Progress Contributing Author: “Outlaws, Soldiers, and Lawmen in Music and Song: Scoring Sergio Leone’s Old American West” The International Trumpet Guild Journal October 2016 Conference Reports: “The 2016 ITG Conference: Anaheim, California” Compiled by Peter Wood (ISSN 0363-2845) The International Trumpet Guild Journal March 2015 Article (peer-reviewed): “Degüello, No Mercy for the Losers: The Enduring Role of the Solo Trumpet in the Soundtrack of the Old West.” (ISSN 0363-2845) Music in the Western: Notes from the Frontier October 2011 Contributing Author: “The ‘Dollars’ Trilogy: There are Two Kinds of Western Heroes, My Friend” Routledge (ISBN 978-0-415-88227-9) Music, Sound, and the Moving Image Spring 2011 Book Review: Neil Lerner (ed.). “Music in the Horror Film: Listening to Fear” (ISSN 1753-0768) Ennio Morricone’s The Good, the Bad and the Ugly: A Film Score Guide September 2004 Author. The Scarecrow Press (ISBN 0-8108-5132-6) Journal of Film Music Summer 2002 Article: “Thematic Variation & Key Relationships in Charlotte’s Theme, From Max Steiner’s Now, Voyager Score” (ISSN 1087-7142) Journal of Film Music Summer 2002 Book Review: “Kate Daubney. Max Steiner’s Now, Voyager: A Film Score Guide” (ISSN 1087-7142) 2 CHARLES FRANCIS LEINBERGER, PH.D. Research Paper Presentations: Ennio Morricone’s Micro-Cell Technique Revisited: The Superset and Subset Tetrachords in his Score for Disclosure In Progress An Austrian in Hollywood: Leitmotifs, Key Relationships, and Self-Plagiarism in Max Steiner’s Music for Now, Voyager and Mildred Pierce Max Steiner: Man and Myth Symposium, California State University, Long Beach CA 24 February 2018 Degüello, No Mercy for the Losers: The Enduring Role of the Solo Trumpet in the Soundtrack of the Old West Music and the Moving Image VIII, New York University (short version) 27 May 2017 The Hawaii University International Conferences on Arts and Humanities (short version) 4 January 2017 International Trumpet Guild Conference, Hyatt Regency, Anaheim, California (long version) 4 June 2016 College Music Society: 31st Rocky Mountain Regional Conference, The University of Northern Colorado (short version) 18 March 2016 UTEP Department of Music Lecture Series (series debut lecture) 12 September 2014 Musical Gesture, Modality, and Dissonance in “L’Estasi dell’Oro” from Il Buono, il Brutto, il Cattivo: Decoding Ennio Morricone’s Micro-Cell Technique Music and the Moving Image VIII, New York University (final short version)1 June 2013 Music Theory Midwest, The University of Oklahoma (very short version) 26 April 2013 Texas Society for Music Theory, The University of North Texas (extremely short version) 2 March 2013 The Hawaii University International Conferences on Arts and Humanities (very short version) 8 January 2012 Rocky Mountain Society for Music Theory, The University of Arizona (revised short version) 16 April 2010 Annual Film Music Conference, The University of Leeds (short version) 6 November 2009 Film Score Festival, Northwestern University (long version) 19 April 2009 Ennio Morricone: Il Maestro del Cinema Manhattan School of Music 2 February 2007 Jerry’s Theme from Max Steiner’s Now, Voyager Score: Using Music to Inform the Viewer 35th Annual Contemporary Music Festival, Indiana State University 2 November 2001 Charlotte’s Theme, Highlights from: An Austrian in Hollywood: Leitmotifs, Thematic Transformation and Key Relationships in Max Steiner’s 1942 Film Score Now, Voyager Rocky Mountain Society for Music Theory, The University of Arizona 19 April 1996 3 CHARLES FRANCIS LEINBERGER, PH.D. Service to the University Community (The University of Texas at El Paso): Current and Upcoming Service: Faculty Evaluation Committee, Department of Music 2009-2011, 2019 Music Curriculum Committee Chair 2017 to present Undergraduate Awards Coordinator, Department of Music 2015 to present Undergraduate Music Advisor and Music Class Scheduler 2015 to present Graduate Student Oversight Committee, Department of Music 2007 to present College of Liberal Arts Undergraduate Curriculum Committee 2007 to present Past Service: Executive Committee, Department of Music 2005 to 2018 Coordinator, Music Theory & Composition Area 1999 to 2018 National Endowment for the Humanities: Music Unwound El Paso Steering Committee 2016 to 2018 Search Committee: Assistant Director of Bands 2016-2017 Search Committee: Department of Music Chair 2015-2016 Search Committee Chair: Music Theory 2015 Search Committees: Violin/Viola 2014 Public Affairs Committee (Chair, 2005-2007), Department of Music 2005-2014 Web Site Administrator, Department of Music 2000-2014 Creative Activities Committee, Chair, Department of Music 2013 Dean’s Task Force to Boost Enrollment in Low-Producing Programs 2011-2013 Music Fundamentals Committee 2011-2012 Faculty Senate 2000-2002, 2009-2012 Aural Skills Advisory Committee 2011 Web Site Development Committee, Department of Music 2010-2011 Music Theory and Composition Curriculum Committee, Chair 2005-2006 Master’s Degree Curriculum Committee, Department of Music 2003-2005 Search Committee Chair: Music Theory 2004 Music Performance Curriculum Committee 2003-2004 Search Committees: Piano, String Bass/Electric Bass 2003 Music Education Curriculum Committee 2002-2003 Search Committee: Music Theory 2001 Professional Activities (Non-UTEP) Texas Higher Education Coordinating Board Music Field of Study Advisory Committee 2015-2016 Advance Placement® Music Theory Consultant 2016 to present Exam Reader 2012-2014, 2016-2017 Table Leader 2015 4 CHARLES FRANCIS LEINBERGER, PH.D. Community Outreach: UTEP Symphony Orchestra Announcer (5 concerts per academic year) 2012-present Eastlake High School, El Paso Texas Announcer: UTEP Symphony Orchestra Concert 1 November 2018 Plaza Theatre Classic Film Festival, El Paso, Texas Film Talk: Amadeus 7 August 2018 Film Introduction: Cowboy 7 August 2018 Film Introduction: Now, Voyager 9 August 2017 Film Talk: Psycho 8 August 2017 Film Introduction: The Treasure of the Sierra Madre 3 August 2017 Film Talk: Back to the Future 15 August 2015 Film Introduction: The Good, the Bad and the Ugly 16 August 2014 Film Talk: The Good, the Bad and the Ugly 16 August 2014 Pre-Concert Talk: “Music? What Music?” UTEP Symphony Orchestra “The Sounds of Cinema” 3 May2018 UTEP Symphony Orchestra “The Sounds of Cinema” 4 May 2017 UTEP Symphony Orchestra “Cinema Magic” 4 May 2016 UTEP Symphony Orchestra “The Sounds of Cinema” 7 May 2015 UTEP Symphony Orchestra “The Sounds of Cinema and Stage” 6 May 2014 UTEP Symphony Orchestra “The Sounds of Cinema” 7 May 2013 UTEP Symphony Orchestra “At the Movies” 1 May 2012 The Film Salon, Alamo Draft House, El Paso, Texas Film Introductoon and Discussion: A Fistful of Dollars 7 October 2017 “Music Fundamentals Classes: Who Needs ‘Em?” Job-Alike: El Paso & Ysleta Independent School Districts, El Paso, Texas19 August 2015 Ysleta Independent School District, El Paso, Texas 19 September 2014 Job-Alike: El
Recommended publications
  • Hunting Deer in California
    HUNTING DEER IN CALIFORNIA We hope this guide will help deer hunters by encouraging a greater understanding of the various subspecies of mule deer found in California and explaining effective hunting techniques for various situations and conditions encountered throughout the state during general and special deer seasons. Second Edition August 2002 STATE OF CALIFORNIA Arnold Schwarzenegger, Governor DEPARTMENT OF FISH AND GAME L. Ryan Broddrick, Director WILDLIFE PROGRAMS BRANCH David S. Zezulak, Ph.D., Chief Written by John Higley Technical Advisors: Don Koch; Eric Loft, Ph.D.; Terry M. Mansfield; Kenneth Mayer; Sonke Mastrup; Russell C. Mohr; David O. Smith; Thomas B. Stone Graphic Design and Layout: Lorna Bernard and Dana Lis Cover Photo: Steve Guill Funded by the Deer Herd Management Plan Implementation Program TABLE OF CON T EN T S INTRODUCT I ON ................................................................................................................................................5 CHAPTER 1: THE DEER OF CAL I FORN I A .........................................................................................................7 Columbian black-tailed deer ....................................................................................................................8 California mule deer ................................................................................................................................8 Rocky Mountain mule deer .....................................................................................................................9
    [Show full text]
  • Rocky Flats National Wildlife Refuge Trails
    U.S. Fish & Wildlife Service This blue goose, designed Rocky Flats by J.N. “Ding” Darling, is the symbol of the National Wildlife Refuge System. National Wildlife Refuge Trails Welcome Exploring the Refuge Accessibility Information Rocky Flats National Wildlife Refuge We invite you to enjoy the sights and Equal opportunity to participate in and offers expansive views of the Front Range sounds of the Refuge. To help protect benefit from programs and activities of the Rocky Mountains and rolling prairie wildlife and habitats, please keep the of the U.S. Fish and Wildlife Service is grasslands, woodlands, and wetlands. This following rules in mind: available to all individuals regardless of 5,237-acre Refuge has been managed by ■ Visitor access is limited to designated physical or mental ability. Dial 711 for a the U.S. Fish and Wildlife Service since trails and roads as shown on the map. All free connection to and from people with 2007 to restore and preserve the native other areas are closed to visitor access. hearing and speech disabilities. For more prairie ecosystems, provide habitat for information or to address accessibility ■ Observe all posted signs and regulations. migratory and resident wildlife, conserve needs, please contact Rocky Mountain and protect habitat for Preble’s meadow ■ Park only in the designated areas Arsenal National Wildlife Refuge staff at jumping mouse, and provide research and shown on the map. 303 / 289 0930 or the U.S. Department of education opportunities. ■ Assistance dogs are welcome and must the Interior, Office of Equal Opportunity, be under leash control at all times.
    [Show full text]
  • Pre-Assessment
    Name: _________________________________________________ Date: ____________________________ Film Music Unit Pretest 6th Grade Music Multiple Choice 1. What is a melody? a. The main line in music b. The background line in music c. A song that we sing d. The rhythmic drive in music. 2. The line of music associated with Luke Skywalker in the movie Star Wars is called a ___________________. a. Sequence b. Ostinato c. Leitmotif d. Melody 3. What was the first movie with an entire original score? a. Gone with the Wind b. King Kong c. Casablanca d. Star Wars 4. What year did synthesizers become introduced as a part of film music? a. 1958 b. 1968 c. 1978 d. 1980 True or False 5. Music was included as a part of film starting with the first motion picture. True False 6. Film composers are not always well-respected in their careers. True False 7. Film music is played by a symphony. True False 8. Ascending melodies are generally happy, while descending melodies are generally sad. True False Matching Match each film with the composer who wrote the film score. 9. ___________ Star Trek a) Hans Zimmer 10. ___________ Edward Scissorhands b) Jerry Goldsmith 11. ___________ Titanic c) Max Steiner 12. ___________ The Lion King d) Danny Elfman 13. ___________ The Pink Panther e) John Williams 14. ___________ King Kong f) James Horner 15. ___________ Star Wars g) Henry Mancini Name: _________________________________________________ Date: ____________________________ Fill in the Blank Insert the best word into each blank. Not all words will be used. character consonance dissonance geographic harmony historic piano tension timbre 16.
    [Show full text]
  • John Barry • Great Movie Sounds of John Barry
    John Barry - Great Movie Sounds of John Barry - The Audio Beat - www.TheAudioBeat.Com 29.10.18, 1431 Music Reviews John Barry • Great Movie Sounds of John Barry Columbia/Speakers Corner S BPG 62402 180-gram LP 1963 & 1966/2018 Music Sound by Guy Lemcoe | October 26, 2018 uring his fifty-year career, composer John Barry won five Oscars and four Grammys. Among the scores he produced is my favorite, and what I consider his magnum opus, Dances with Wolves. Barry's music is characterized by bombast tempered with richly harmonious, "loungey," often sensuous melodies. Added to those are dramatic accents of brass, catchy Latin rhythms and creative use of flute, harp, timpani and exotic percussion (such as the talking drums, which feature prominently in the score from Born Free). The Kentonesque brass writing (trumpets reaching for the sky and bass trombones plumbing the lower registers), which helps define the Bond sound, no doubt stems from Barry’s studies with Stan Kenton arranger Bill Russo. I also hear traces of Max Steiner and Bernard Hermann in Barry's scores. When he used vocals, the songs often became Billboard hits. Witness Shirley Bassey’s work on Goldfinger, Tom Jones’s Thunderball, Matt Monro’s From Russia With Love and Born Free, Nancy Sinatra’s You Only Live Twice and Louis Armstrong’s On Her Majesty's Secret Service. Side one of Great Movie Sounds of John Barry features a half-dozen Bond-film flag-wavers -- two each from Thunderball and From Russia With Love and one each from Goldfinger and Dr.
    [Show full text]
  • Track 1 Juke Box Jury
    CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper
    [Show full text]
  • The Implications of Space and Mobility in James Cameron╎s Titanic
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 The Implications of Space and Mobility in James Cameron's Titanic Cindy Stewart Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION THE IMPLICATIONS OF SPACE AND MOBILITY IN JAMES CAMERON’S TITANIC By CINDY STEWART A Thesis submitted to the School of Communication in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2013 Cindy Maria Stewart defended this thesis on October 14, 2013 The members of the supervisory committee were: Davis Houck Professor Directing Thesis Jennifer Proffitt Committee Member Michael Neal Committee Member Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii To my mom, Maria: thank you so much for all your sacrifice so that I could earn a good education, and for guiding me to make the best choices possible in my life. Also, thank you for discussing the themes of Titanic with me. To my dad, Jim, and brother, Jose: thank you for ultimately acknowledging the relevance of the issues addressed in a “chick flick” like Titanic. iii ACKNOWLEDGMENTS I would like to thank my thesis director, Professor Davis Houck, for his dedication to helping me think critically about my favorite movie, Titanic. I greatly appreciate the time he has taken to discuss my thesis topic with me, and continuously prompt me with questions and ideas that furthered the improvement of this project.
    [Show full text]
  • App. 1 UNITED STATES COURT of APPEALS for the SECOND
    App. 1 UNITED STATES COURT OF APPEALS FOR THE SECOND CIRCUIT SUMMARY ORDER RULINGS BY SUMMARY ORDER DO NOT HAVE PRECEDENTIAL EFFECT. CITATION TO A SUMMARY ORDER FILED ON OR AFTER JAN- UARY 1, 2007, IS PERMITTED AND IS GOV- ERNED BY FEDERAL RULE OF APPELLATE PROCEDURE 32.1 AND THIS COURT’S LOCAL RULE 32.1.1. WHEN CITING A SUMMARY OR- DER IN A DOCUMENT FILED WITH THIS COURT, A PARTY MUST CITE EITHER THE FEDERAL APPENDIX OR AN ELECTRONIC DA- TABASE (WITH THE NOTATION “SUMMARY ORDER”). A PARTY CITING TO A SUMMARY ORDER MUST SERVE A COPY OF IT ON ANY PARTY NOT REPRESENTED BY COUNSEL. At a stated term of the United States Court of Appeals for the Second Circuit, held at the Thurgood Marshall United States Courthouse, 40 Foley Square, in the City of New York, on the 14th day of November, two thousand eighteen. PRESENT: ROBERT A. KATZMANN, Chief Judge, AMALYA L. KEARSE, DENNY CHIN, Circuit Judges. App. 2 EDWARD KRAMER, Plaintiff-Appellant, v. ANTONIO VITTI, No. 17-2467-cv STEPHEN STAUROVSKY, Defendants-Appellees, PETER FEARON, Defendant. For Plaintiff-Appellant: WILLIAM S. PALMIERI, Law Offices of William S. Palmieri, LLC, New Haven, CT. For Defendants-Appellees: JAMES N. TALLBERG (Patrick D. Allen, on the brief ), Karsten & Tallberg, LLC, Rocky Hill, CT. Appeal from a judgment of the United States Dis- trict Court for the District of Connecticut (Underhill, J.). UPON DUE CONSIDERATION, IT IS HEREBY ORDERED, ADJUDGED, AND DE- CREED that the judgment of the district court is AF- FIRMED. Plaintiff-appellant Edward Kramer appeals from a judgment of the United States District Court for the District of Connecticut (Underhill, J.) entered in favor of defendants-appellees Antonio Vitti and Stephen App.
    [Show full text]
  • Films Winning 4 Or More Awards Without Winning Best Picture
    FILMS WINNING 4 OR MORE AWARDS WITHOUT WINNING BEST PICTURE Best Picture winner indicated by brackets Highlighted film titles were not nominated in the Best Picture category [Updated thru 88th Awards (2/16)] 8 AWARDS Cabaret, Allied Artists, 1972. [The Godfather] 7 AWARDS Gravity, Warner Bros., 2013. [12 Years a Slave] 6 AWARDS A Place in the Sun, Paramount, 1951. [An American in Paris] Star Wars, 20th Century-Fox, 1977 (plus 1 Special Achievement Award). [Annie Hall] Mad Max: Fury Road, Warner Bros., 2015 [Spotlight] 5 AWARDS Wilson, 20th Century-Fox, 1944. [Going My Way] The Bad and the Beautiful, Metro-Goldwyn-Mayer, 1952. [The Greatest Show on Earth] The King and I, 20th Century-Fox, 1956. [Around the World in 80 Days] Mary Poppins, Buena Vista Distribution Company, 1964. [My Fair Lady] Doctor Zhivago, Metro-Goldwyn-Mayer, 1965. [The Sound of Music] Who's Afraid of Virginia Woolf?, Warner Bros., 1966. [A Man for All Seasons] Saving Private Ryan, DreamWorks, 1998. [Shakespeare in Love] The Aviator, Miramax, Initial Entertainment Group and Warner Bros., 2004. [Million Dollar Baby] Hugo, Paramount, 2011. [The Artist] 4 AWARDS The Informer, RKO Radio, 1935. [Mutiny on the Bounty] Anthony Adverse, Warner Bros., 1936. [The Great Ziegfeld] The Song of Bernadette, 20th Century-Fox, 1943. [Casablanca] The Heiress, Paramount, 1949. [All the King’s Men] A Streetcar Named Desire, Warner Bros., 1951. [An American in Paris] High Noon, United Artists, 1952. [The Greatest Show on Earth] Sayonara, Warner Bros., 1957. [The Bridge on the River Kwai] Spartacus, Universal-International, 1960. [The Apartment] Cleopatra, 20th Century-Fox, 1963.
    [Show full text]
  • Rocky (1976) Movie Script by Sylvester Stallone
    Rocky (1976) movie script by Sylvester Stallone. Final draft, 1/7/76. More info about this movie on IMDb.com INT. BLUE DOOR FIGHT CLUB - NIGHT SUPERIMPOSE OVER ACTION... "NOVEMBER 12, 1975 - PHILADELPHIA" ... The club itself resembles a large unemptied trash-can. The boxing ring is extra small to insure constant battle. The lights overhead have barely enough wattage to see who is fighting. In the ring are two heavyweights, one white the other black. The white fighter is ROCKY BALBOA. He is thirty years old. His face is scarred and thick around the nose... His black hair shines and hangs in his eyes. Rocky fights in a plodding, machine-like style. The BLACK FIGHTER dances and bangs combinations into Rocky's face with great accuracy. But the punches do not even cause Rocky to blink... He grins at his opponent and keeps grinding ahead. The people at ringside sit on folding chairs and clamor for blood... They lean out of their seats and heckle the fighters. In the thick smoke they resemble spectres. Everyone is hustling bets... The action is even heavier in the balcony. A housewife yells for somebody to cover a two dollar bet. The BELL RINGS and the fighters return to their corner... Somebody heaves a beer can into the ring. The Black Fighter spits something red in a bucket and sneers across the ring at Rocky. BLACK FIGHTER (to cornerman) ... I'm gonna bust his head wide open! In Rocky's corner he is being assisted by a shriveled, balding CORNERMAN, who is an employee of the club..
    [Show full text]
  • Rocky Balboa - Wikipedia, the Free Encyclopedia Page 1 of 7
    Rocky Balboa - Wikipedia, the free encyclopedia Page 1 of 7 Rocky BalboaYour continued donations keep Wikipedia running! From Wikipedia, the free encyclopedia (Redirected from Rocky balboa) Robert "Rocky" Balboa, Sr. (b. July 6, 1945) is a fictional Rocky Balboa athlete, portrayed by Sylvester Stallone who has appeared in the Rocky series from 1976 to 2006. He is famous for being extremely tenacious and 'fighting with his heart', as his trainer Mickey Goldmill famously intones. His style, endurance, determination, and pleasant personality greatly resemble the real life heavyweight champion, Rocky Marciano, even though the creation of the character was directly inspired by Chuck Wepner. He embodies the rugged tenacity often associated with the people of his native Philadelphia. Contents 1 Biography Rocky in the theatrical poster for Rocky III . 1.1 Humble beginnings: background Statistics 1.2 The breakthrough Real name Robert Balboa, Sr. 1.3 The Stallion vs. The King: the rematch 1.4 The best of times and the worst of times Nickname The Italian Stallion, 1.5 Hard times (s) Philadelphia's Favorite 1.6 Looking forward to the future Son, 2 Personal life The Philadelphia Slugger, The Iron Horse from 2.1 Family Philadelphia 3 Fight record 4 Character origin Rated at 202 lbs (92 kg) 5 Boxing style Nationality American 6 References Birth date July 6, 1945 (age 62) 7 External links Birth place Columbus Grove, Ohio Stance Southpaw Biography Boxing record Total fights 81 Humble beginnings: background Wins 57 Wins by 54 Robert Balboa was born on July 6, 1945 as the only child to a KO Roman Catholic-Italian American family.
    [Show full text]
  • Archway News Issue No 25
    www.archwayschool.net Archway News Issue No 25 March 2017 March 2017 Dear Parents / Carers This term has seen students participating in a range of curricular and extra-curricular activities to support and enhance their learning. Students in Years 11, 12 and 13 are preparing in earnest for the forthcoming examination season. We are pleased to have been able make the following charity donations: Cats Protection £237.11, Mind £237.12, Bristol Children’s Hospital £342.79, and two donations to Cancer Research of £342.79 and £51.85, thanks to the work and generosity of students. As this term draws to a close we say goodbye and thank you to Miss Martin from the English department. We are grateful for the contribution she has made to the school over 12 years. We are grateful for your support in ensuring students arrive promptly and in correct uniform each day. If you are unsure about uniform, lists and images are in the students’ planners. Batemans, who supply many items of uniform, are supporting the school by ensuring that the skirts which are purchased are of an appropriate size and length. As a school we accept that parents/carers give their children mobile phones to protect them from everyday risks involving personal safety and security. We would be grateful if you would remind students of the acceptable use and potential misuse of such devices and support us in the stance we take as outlined briefly below: Mobile phones should be switched off and kept out of sight during lessons and while moving between lessons.
    [Show full text]
  • Contemporary Film Music
    Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
    [Show full text]