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The December edition of FSM ONLINE is live! This month’s cover story wraps up the end of 2019 in style: HOWARD SHORE discusses cantorial tradition and his music for THE SONG OF NAMES; NATHAN JOHNSON gets in on cousin Rian Johnson's KNIVES OUT; CARTER BURWELL scores Bill Condon's THE GOOD LIAR, then takes a crash course in television for THE MORNING SHOW; and MARCELO ZARVOS swims through DARK WATERS with Mark Ruffalo. Also in this issue, DANIEL LOPATIN polishes the new Adam Sandler drama UNCUT GEMS; the last half of Erik Heine’s EMERGING COMPOSERS OF THE 2010s, including MAX RICHTER and LUDWIG GÖRANSSON; a new COUNTERPOINT debate pits complete score albums against curated cues; WONG'S TURN delivers an ode to the maestro, JOHN WILLIAMS; Downbeat gets to know JOHN KOUTSELINIS; a new EAR OF THE MONTH CONTEST; lots of album reviews, including THE MANDALORIAN: CHAPTER 1 and CHAPTER 2, KNIVES OUT, THE AERONAUTS and MARRIAGE STORY; more embedded audio clips, and more. Enjoy!

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Today in Film Score History:
March 30
Alan Menken wins his third and fourth Oscars, for Beauty and the Beast's score and title song (1992)
David Bell records his score for the Star Trek: Deep Space Nine episode “In the Pale Moonlight” (1998)
Dennis McCarthy and Kevin Kiner record their score for the two-part Star Trek: Enterprise episode “In a Mirror, Darkly” (2005)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Battle Lines” (1993)
Dimitri Tiomkin wins his third Oscar, for The High and the Mighty score (1955)
Ennio Morricone, inexplicably, doesn't win the Best Score Oscar for The Mission, which was pretty much the only score album anyone in Hollywood listened to during the late '80s; Herbie Hancock wins Oscar for Round Midnight score instead (1987)
Eric Clapton born (1945)
Georges Delerue begins recording his score for Rapture (1965)
John Williams begins recording his score for Jurassic Park (1993)
Kan Ishii born (1921)
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