Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0022
S. Smith
This chapter depicts Steiner at the apex of his powers, just before the collapse of the Hollywood studio system. Between 1947 and 1948 Steiner composed several brilliant scores and at least three of his finest: for John Huston’s The Treasure of the Sierra Madre, Jean Negulesco’s Johnny Belinda (which earned Jane Wyman a Best Actress Oscar), and Adventures of Don Juan, starring Errol Flynn in his last big-budget swashbuckler. Don Juan demonstrates the transformative power of film music: during production, the alcoholic Flynn could barely stand. But Steiner’s exuberant, lyrical, and witty score convinced audiences that Flynn remained a larger-than-life hero. In 1947, Steiner married Lee Blair, who would remain a devoted companion to the end of Max’s life. Steiner also lavished son Ronald with expensive gifts—giving the boy everything except what he wanted most: time with his father.
{"title":"Indian Summer","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0022","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0022","url":null,"abstract":"This chapter depicts Steiner at the apex of his powers, just before the collapse of the Hollywood studio system. Between 1947 and 1948 Steiner composed several brilliant scores and at least three of his finest: for John Huston’s The Treasure of the Sierra Madre, Jean Negulesco’s Johnny Belinda (which earned Jane Wyman a Best Actress Oscar), and Adventures of Don Juan, starring Errol Flynn in his last big-budget swashbuckler. Don Juan demonstrates the transformative power of film music: during production, the alcoholic Flynn could barely stand. But Steiner’s exuberant, lyrical, and witty score convinced audiences that Flynn remained a larger-than-life hero. In 1947, Steiner married Lee Blair, who would remain a devoted companion to the end of Max’s life. Steiner also lavished son Ronald with expensive gifts—giving the boy everything except what he wanted most: time with his father.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115497129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0012
Steven C. Smith
The year 1936 would bring the most significant changes in Steiner’s life since his arrival in Hollywood. He was eager to accept an offer to be musical director at David O. Selznick’s new studio—but RKO refused to let him go. After months of intransigence on both sides, Max got his way. Steiner was thrilled to reteam with a producer who emphasized quality over quantity, with each title under Selznick’s personal supervision. For his part, Selznick knew that while his own movies were being shot, Steiner could be loaned—at considerable mark-up—to other studios. This mutually beneficial arrangement led to the happiest year of Max’s life: an Oscar-nominated score for Selznick’s The Garden of Allah; and, most fatefully from a professional perspective, a loan-out to Warner Bros., for its biggest release of 1936.
{"title":"Exodus","authors":"Steven C. Smith","doi":"10.1093/oso/9780190623272.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0012","url":null,"abstract":"The year 1936 would bring the most significant changes in Steiner’s life since his arrival in Hollywood. He was eager to accept an offer to be musical director at David O. Selznick’s new studio—but RKO refused to let him go. After months of intransigence on both sides, Max got his way. Steiner was thrilled to reteam with a producer who emphasized quality over quantity, with each title under Selznick’s personal supervision. For his part, Selznick knew that while his own movies were being shot, Steiner could be loaned—at considerable mark-up—to other studios. This mutually beneficial arrangement led to the happiest year of Max’s life: an Oscar-nominated score for Selznick’s The Garden of Allah; and, most fatefully from a professional perspective, a loan-out to Warner Bros., for its biggest release of 1936.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125663060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0018
S. Smith
This chapter juxtaposes Steiner’s intense correspondence with his estranged wife—then living in New York, and hoping to begin a singing career at age 35—with the emotional power of his scores of the time. They include They Died with Their Boots On, starring Errol Flynn (a rare western Steiner loved scoring, thanks to its rich characterizations), and Now, Voyager, the peak of his work with Bette Davis. The latter score earned Steiner a second Oscar, and partially fulfilled one of his unrealized ambitions: authorship of a popular song. After nearly a decade of battles with ASCAP—which still refused to collect royalties for film music—Now, Voyager’s hit song “It Can’t Be Wrong” yielded Steiner much-needed royalties from sheet music sales and recordings. But these earnings could not save him from mounting debt or convince Louise to return to him.
{"title":"Voyage into Fog","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0018","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0018","url":null,"abstract":"This chapter juxtaposes Steiner’s intense correspondence with his estranged wife—then living in New York, and hoping to begin a singing career at age 35—with the emotional power of his scores of the time. They include They Died with Their Boots On, starring Errol Flynn (a rare western Steiner loved scoring, thanks to its rich characterizations), and Now, Voyager, the peak of his work with Bette Davis. The latter score earned Steiner a second Oscar, and partially fulfilled one of his unrealized ambitions: authorship of a popular song. After nearly a decade of battles with ASCAP—which still refused to collect royalties for film music—Now, Voyager’s hit song “It Can’t Be Wrong” yielded Steiner much-needed royalties from sheet music sales and recordings. But these earnings could not save him from mounting debt or convince Louise to return to him.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132998664","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0013
S. Smith
This chapter begins with a concise history of Warner Bros.—its inception, its combative founders, and the key role that music played in the studio’s releases. Steiner’s first work at Warners, The Charge of the Light Brigade, would be another milestone—a grand action-adventure score foreshadowing contemporary film music. Despite a tight deadline, and high expectations from producer Hal Wallis, Steiner triumphed, which made his return to Selznick all the more crushing. David’s increasing micromanagement extended to music; and Max was devastated when the producer who had called himself Steiner’s “biggest fan” eviscerated his score for A Star Is Born, Selznick’s latest film. A proud (if often insecure) individual, Steiner resigned his post at Selznick but stressed to the producer his desire to remain friends. His motives were not solely personal. Max knew that Selznick was about to film the most successful novel of the decade: Gone with the Wind.
{"title":"Battles Won and Lost","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0013","url":null,"abstract":"This chapter begins with a concise history of Warner Bros.—its inception, its combative founders, and the key role that music played in the studio’s releases. Steiner’s first work at Warners, The Charge of the Light Brigade, would be another milestone—a grand action-adventure score foreshadowing contemporary film music. Despite a tight deadline, and high expectations from producer Hal Wallis, Steiner triumphed, which made his return to Selznick all the more crushing. David’s increasing micromanagement extended to music; and Max was devastated when the producer who had called himself Steiner’s “biggest fan” eviscerated his score for A Star Is Born, Selznick’s latest film. A proud (if often insecure) individual, Steiner resigned his post at Selznick but stressed to the producer his desire to remain friends. His motives were not solely personal. Max knew that Selznick was about to film the most successful novel of the decade: Gone with the Wind.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127428763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0015
S. Smith
By 1938, Steiner was showing the strain of nonstop work. At home, the presence of his demanding father put strains on Max’s marriage. And although he scored many of Warner Bros.’ most prestigious releases—Dark Victory and the epic western Dodge City are among the works analyzed here—Steiner balked whenever he felt “demoted” and forced to score “westerns and prison pictures.” In March 1939, David O. Selznick decided that he wanted Steiner to score Gone with the Wind. In a revealing letter included in this chapter, Steiner begged Jack Warner to permit this loan-out, “to regain the prestige” he felt he had lost. In Warner’s reply—also included—the mogul praised Steiner as “the best musical composer in the industry,” while reminding him that “the public” were their “most important judges.” Indeed, many of the films Steiner disparaged are now considered classics.
{"title":"Fighting for Steiner","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0015","url":null,"abstract":"By 1938, Steiner was showing the strain of nonstop work. At home, the presence of his demanding father put strains on Max’s marriage. And although he scored many of Warner Bros.’ most prestigious releases—Dark Victory and the epic western Dodge City are among the works analyzed here—Steiner balked whenever he felt “demoted” and forced to score “westerns and prison pictures.” In March 1939, David O. Selznick decided that he wanted Steiner to score Gone with the Wind. In a revealing letter included in this chapter, Steiner begged Jack Warner to permit this loan-out, “to regain the prestige” he felt he had lost. In Warner’s reply—also included—the mogul praised Steiner as “the best musical composer in the industry,” while reminding him that “the public” were their “most important judges.” Indeed, many of the films Steiner disparaged are now considered classics.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114372034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0024
S. Smith
In 1953, at age 65, Steiner learned that Warner Bros. would not be renewing his contract. After 16 years as a staff composer, he was forced to freelance—an especially daunting challenge given his age and failing eyesight. This chapter focuses on the plight of a proud but increasingly debilitated man forced to reinvent himself, in an industry obsessed with youth and novelty. Still massively in debt, Steiner sought a fresh start in multiple ventures: his own publishing company (a flop) and another attempt at a hit song for a major film (The Caine Mutiny; Oscar nomination for score, but no hit record, alienating its makers). Fortunately, Jack Warner was willing to bring Steiner back to his studio on a per-film basis. The resulting scores belied Steiner’s age, culminating in his final screen masterwork: John Ford’s The Searchers.
{"title":"A Jewish Aloha","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0024","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0024","url":null,"abstract":"In 1953, at age 65, Steiner learned that Warner Bros. would not be renewing his contract. After 16 years as a staff composer, he was forced to freelance—an especially daunting challenge given his age and failing eyesight. This chapter focuses on the plight of a proud but increasingly debilitated man forced to reinvent himself, in an industry obsessed with youth and novelty. Still massively in debt, Steiner sought a fresh start in multiple ventures: his own publishing company (a flop) and another attempt at a hit song for a major film (The Caine Mutiny; Oscar nomination for score, but no hit record, alienating its makers). Fortunately, Jack Warner was willing to bring Steiner back to his studio on a per-film basis. The resulting scores belied Steiner’s age, culminating in his final screen masterwork: John Ford’s The Searchers.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117221368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0009
S. Smith
After producing too many movie musicals at the dawn of sound, Hollywood had virtually abandoned the genre by 1932. Steiner was convinced that the public was eager to see a well-made musical—and after the success of Warner Bros.’ 42nd Street in March 1933, he had a chance to prove it. The visually extravagant Melody Cruise was only a modest hit, but it opened the door for a cinematic breakthrough at RKO: Flying Down to Rio, which paired Fred Astaire and Ginger Rogers for the first time. This chapter details the swift evolution of movie musical production and Steiner’s role in it, as he and his team experimented with pre-recording music to be used as “playback” during filming. During Rio’s making, the twice-divorced Steiner began a romance with studio harpist Louise Klos. It would become one of the most significant, and complicated, relationships in Max’s life.
{"title":"Orchids in the Moonlight","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0009","url":null,"abstract":"After producing too many movie musicals at the dawn of sound, Hollywood had virtually abandoned the genre by 1932. Steiner was convinced that the public was eager to see a well-made musical—and after the success of Warner Bros.’ 42nd Street in March 1933, he had a chance to prove it. The visually extravagant Melody Cruise was only a modest hit, but it opened the door for a cinematic breakthrough at RKO: Flying Down to Rio, which paired Fred Astaire and Ginger Rogers for the first time. This chapter details the swift evolution of movie musical production and Steiner’s role in it, as he and his team experimented with pre-recording music to be used as “playback” during filming. During Rio’s making, the twice-divorced Steiner began a romance with studio harpist Louise Klos. It would become one of the most significant, and complicated, relationships in Max’s life.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126741495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0017
S. Smith
GWTW restored Steiner to the top rank of film composers; and in 1940, Jack Warner assigned him to a series of A-pictures that remain jewels in that studio’s crown. In assessing scores for such movies as The Letter and Sergeant York, this chapter details the instrumental experimentation Steiner used to create fresh sounds (an aspect of his work often neglected). Max also was overjoyed to become a father: son Ronald, he hoped, would continue the Steiner musical dynasty. But years of nonstop work, worsening financial problems, and failing eyesight led the composer to suffer a breakdown in 1941. According to Louise, Steiner—usually a kind and generous man—exploded in a rage, striking his wife with a glass ashtray and hitting her in an apparent mental breakdown. Their subsequent separation initiated years of personal unhappiness, amid one of the most creative periods of Steiner’s life.
{"title":"Breaking Point","authors":"S. Smith","doi":"10.1093/oso/9780190623272.003.0017","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0017","url":null,"abstract":"\u0000 GWTW restored Steiner to the top rank of film composers; and in 1940, Jack Warner assigned him to a series of A-pictures that remain jewels in that studio’s crown. In assessing scores for such movies as The Letter and Sergeant York, this chapter details the instrumental experimentation Steiner used to create fresh sounds (an aspect of his work often neglected). Max also was overjoyed to become a father: son Ronald, he hoped, would continue the Steiner musical dynasty. But years of nonstop work, worsening financial problems, and failing eyesight led the composer to suffer a breakdown in 1941. According to Louise, Steiner—usually a kind and generous man—exploded in a rage, striking his wife with a glass ashtray and hitting her in an apparent mental breakdown. Their subsequent separation initiated years of personal unhappiness, amid one of the most creative periods of Steiner’s life.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116914584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0020
Steven C. Smith
Today, the performance of film music is a staple of symphony concert programming. In 1943, it was an anomaly. That year, Steiner was invited to conduct the New York Philharmonic for a potential audience of twenty thousand at Lewisohn Stadium. But for Max, the concert proved a humiliating disaster, due to the orchestra’s open hostility toward a “Hollywood” composer, and the addition to the program of 27-year-old Frank Sinatra. More teen idol than respected singer at the time, Sinatra inspired Beatles-like screaming from his fans throughout the concert, upstaging Steiner. A series of personal calamities followed: the death of Max’s beloved father, a health crisis of his own, and seemingly insurmountable debt. Again, music was Steiner’s salvation. The 1944 film Since You Went Away—his last collaboration with Selznick—earned Max a third Oscar. But shortly after its release, Steiner was devastated by news that Louise wanted a divorce.
{"title":"Sucker","authors":"Steven C. Smith","doi":"10.1093/oso/9780190623272.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0020","url":null,"abstract":"Today, the performance of film music is a staple of symphony concert programming. In 1943, it was an anomaly. That year, Steiner was invited to conduct the New York Philharmonic for a potential audience of twenty thousand at Lewisohn Stadium. But for Max, the concert proved a humiliating disaster, due to the orchestra’s open hostility toward a “Hollywood” composer, and the addition to the program of 27-year-old Frank Sinatra. More teen idol than respected singer at the time, Sinatra inspired Beatles-like screaming from his fans throughout the concert, upstaging Steiner. A series of personal calamities followed: the death of Max’s beloved father, a health crisis of his own, and seemingly insurmountable debt. Again, music was Steiner’s salvation. The 1944 film Since You Went Away—his last collaboration with Selznick—earned Max a third Oscar. But shortly after its release, Steiner was devastated by news that Louise wanted a divorce.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124960495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1093/oso/9780190623272.003.0021
Steven C. Smith
This chapter focuses on transitions both personal and creative for Steiner. After his divorce from Louise, Max found happiness with a new companion, former singer Lee Blair. The end of World War II marked a change in Hollywood filmmaking styles, and Steiner responded to the darker, more mature movies being produced at Warner Bros. with a leaner, less Wagnerian style. Film noir titles like Howard Hawks’s The Big Sleep and Michael Curtiz’s Mildred Pierce benefited greatly from Max’s scoring, which added propulsive energy and extra layers of character illumination. But Steiner’s obsession with work, and his late-night gambling with friends like composer Victor Young, distracted Max from a growing problem at home: the erratic behavior of his emotionally troubled son, Ronald.
{"title":"Au Revoir and Bonjour","authors":"Steven C. Smith","doi":"10.1093/oso/9780190623272.003.0021","DOIUrl":"https://doi.org/10.1093/oso/9780190623272.003.0021","url":null,"abstract":"This chapter focuses on transitions both personal and creative for Steiner. After his divorce from Louise, Max found happiness with a new companion, former singer Lee Blair. The end of World War II marked a change in Hollywood filmmaking styles, and Steiner responded to the darker, more mature movies being produced at Warner Bros. with a leaner, less Wagnerian style. Film noir titles like Howard Hawks’s The Big Sleep and Michael Curtiz’s Mildred Pierce benefited greatly from Max’s scoring, which added propulsive energy and extra layers of character illumination. But Steiner’s obsession with work, and his late-night gambling with friends like composer Victor Young, distracted Max from a growing problem at home: the erratic behavior of his emotionally troubled son, Ronald.","PeriodicalId":158266,"journal":{"name":"Music by Max Steiner","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131473426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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