With the world in crisis, in a scattered, work-from-home mode, we’re also watching from home. Years ago, in challenging times, late night TV became our "cultural glue," as WNYC's Sara Fishko tells us in this archival Fishko Files. (Produced in 2001) <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister Editor: Karen Frillmann

With the world in crisis, in a scattered, work-from-home mode, we’re also watching from home. Years ago, in challenging times, late night TV became our "cultural glue," as WNYC's Sara Fishko tells us in this archival Fishko Files. (Produced in 2001) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

Fishko Files from WNYC

Cultural Glue

Many decades ago, in the midst of another period of turmoil and uncertainty, concerned citizens and artists took their cameras into the streets to document real life. (Produced in 2011)  <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister Editor: Karen Frillmann

Many decades ago, in the midst of another period of turmoil and uncertainty, concerned citizens and artists took their cameras into the streets to document real life. (Produced in 2011)  Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

Photo League

Sviatoslav Richter was born in March 1915 - and he was an astonishing, original, non-conforming, charismatic, mesmerizing pianist, says WNYC's Sara Fishko, in this archival Fishko Files. (Produced in 2005 and updated in 2015) <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister Editor: Karen Frillmann

Sviatoslav Richter was born in March 1915 - and he was an astonishing, original, non-conforming, charismatic, mesmerizing pianist, says WNYC's Sara Fishko, in this archival Fishko Files. (Produced in 2005 and updated in 2015) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

Sviatoslav Richter

As you may have noticed, says WNYC’s Sara Fishko, the new production of West Side Story has sharply divided the critics, who’ve been using a range of adjectives to describe it - from “gutsy and exhilarating” to “infuriating!” When the show was brand new, in 1957, the creators then, too, awaited the reviews. The late Arthur Laurents, who wrote the original, is the guest for this edition of Fishko Files. Hear more about the tension and politics of the 1950s production in this archival episode: <div class="inline_audioplayer_wrapper"><h3>Fishko Files - West Side Story (2001)</h3><div id="audioplayer_idm139648348381936664a1129-bfb1-4f3d-aca1-13f0be62e3d0" class="player_element" data-url="https://audio.wnyc.org/fishko/fishko062013pod.mp3" data-width="400" data-title="" data-brand="" data-thumbnail="" data-download="false" data-may-embed="true"></div></div>   <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Bill Moss Editor: Karen Frillmann

As you may have noticed, says WNYC’s Sara Fishko, the new production of West Side Story has sharply divided the critics, who’ve been using a range of adjectives to describe it - from “gutsy and exhilarating” to “infuriating!” When the show was brand new, in 1957, the creators then, too, awaited the reviews. The late Arthur Laurents, who wrote the original, is the guest for this edition of Fishko Files. Hear more about the tension and politics of the 1950s production in this archival episode: Fishko Files - West Side Story (2001)   Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill MossEditor: Karen Frillmann

Arthur Laurents

The Whitney's new show <a href="https://whitney.org/exhibitions/vida-americana" target="_blank" title="Vida Americana">Vida Americana</a> reveals the impact of Mexico’s revolutionary art of the '20s on American realism - and it has WNYC's Sara Fishko thinking about one of Mexico’s most radical composers of that period. More in this archival Fishko Files. (Produced in 2002)  Vida Americana: Mexican Muralists Remake American Art, 1925-1945 continues through May 17. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Bill Moss and Wayne Shulmister Editor: Karen Frillmann

The Whitney's new show Vida Americana reveals the impact of Mexico’s revolutionary art of the '20s on American realism - and it has WNYC's Sara Fishko thinking about one of Mexico’s most radical composers of that period. More in this archival Fishko Files. (Produced in 2002)  Vida Americana: Mexican Muralists Remake American Art, 1925-1945 continues through May 17. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill Moss and Wayne ShulmisterEditor: Karen Frillmann

Revueltas

David Lang’s one-act opera The Loser tells the story of two fictional piano students - both Glenn Gould wannabes - whose lives are turned upside down by their idolatry and frustration. Just before the work’s premiere in 2016, WNYC’s Sara Fishko spoke to Lang for this Fishko Files. David Lang's <a href="https://cantaloupemusic.com/albums/loser" target="_blank" title="The Loser">The Loser</a> has just been released digitally and on CD. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Bill Moss and Wayne Shulmister Editor: Karen Frillmann

David Lang’s one-act opera The Loser tells the story of two fictional piano students - both Glenn Gould wannabes - whose lives are turned upside down by their idolatry and frustration. Just before the work’s premiere in 2016, WNYC’s Sara Fishko spoke to Lang for this Fishko Files. David Lang's The Loser has just been released digitally and on CD. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill Moss and Wayne ShulmisterEditor: Karen Frillmann

The Loser

This Sunday will mark 70 years since a speech by Senator Joseph McCarthy cranked up America's post-World War II, anti-Communist crusade - and set in motion something known as McCarthyism. WNYC's Sara Fishko has more in this episode of Fishko Files. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Bill Moss and Wayne Shulmister Editor: Karen Frillmann

This Sunday will mark 70 years since a speech by Senator Joseph McCarthy cranked up America's post-World War II, anti-Communist crusade - and set in motion something known as McCarthyism. WNYC's Sara Fishko has more in this episode of Fishko Files. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill Moss and Wayne ShulmisterEditor: Karen Frillmann

McCarthy and the "ism"

One of the most eccentric and interesting artistic partnerships of the 20th century, as WNYC's Sara Fishko tells us, was the collaboration between the composer Virgil Thomson and the writer and poet Gertrude Stein. Together, the two were instrumental in inventing American opera. More, in this episode of Fishko Files. <a href="https://www.metmuseum.org/events/programs/met-live-arts/fy20-the-mother-of-us-all" target="_blank" title="The Mother of Us All"></a><a href="https://www.metmuseum.org/events/programs/met-live-arts/fy20-the-mother-of-us-all" target="_blank" title="The Mother of Us All">The Metropolitan Museum of Art</a>'s production of The Mother of Us All, 100 years after the 19th amendment, begins Saturday, February 8, with four performances through February 14. Thanks to Karen Ludwig for her reading of Gertrude Stein's poem "<a href="https://www.poetryfoundation.org/poems/51214/a-substance-in-a-cushion" target="_blank" title="A Substance in a Cushion">A Substance in a Cushion</a>." For more on Thomson's years at the Chelsea Hotel, listen to this archival edition of Fishko Files. <div class="inline_audioplayer_wrapper"><h3>Chelsea Hotel / Fishko Files (2001)</h3><div id="audioplayer_idm13964833441049660095431-2879-4222-a623-c6e318629419" class="player_element" data-url="https://audio.wnyc.org/fishko/fishko081701pod.mp3" data-width="400" data-title="" data-brand="" data-thumbnail="" data-download="false" data-may-embed="true"></div></div> The opera's premiere in 1947 was broadcast on WNYC from Columbia University's Brander Matthews Hall. Hear the entire performance, courtesy of Andy Lanset and the WNYC Archives. <div class="inline_audioplayer_wrapper"><h3>The Mother of Us All / 1947 Premiere</h3><div id="audioplayer_idm139648350303024e9342e3f-bacc-42ba-bd05-3d1eee9285d9" class="player_element" data-url="https://audio.wnyc.org/fishko/fishko020520_cms991756_pod.mp3" data-width="400" data-title="" data-brand="" data-thumbnail="" data-download="true" data-may-embed="true"></div></div> <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Bill Moss Editor: Karen Frillmann

One of the most eccentric and interesting artistic partnerships of the 20th century, as WNYC's Sara Fishko tells us, was the collaboration between the composer Virgil Thomson and the writer and poet Gertrude Stein. Together, the two were instrumental in inventing American opera. More, in this episode of Fishko Files. The Metropolitan Museum of Art's production of The Mother of Us All, 100 years after the 19th amendment, begins Saturday, February 8, with four performances through February 14. Thanks to Karen Ludwig for her reading of Gertrude Stein's poem "A Substance in a Cushion." For more on Thomson's years at the Chelsea Hotel, listen to this archival edition of Fishko Files. Chelsea Hotel / Fishko Files (2001) The opera's premiere in 1947 was broadcast on WNYC from Columbia University's Brander Matthews Hall. Hear the entire performance, courtesy of Andy Lanset and the WNYC Archives. The Mother of Us All / 1947 Premiere Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill MossEditor: Karen Frillmann

Thomson and Stein

As the Met Opera's production of Porgy and Bess enters its final weeks, WNYC's Sara Fishko sorts through the long, checkered history of the piece in this archival Fishko Files - produced during the polarizing 2012 Broadway revival. <a href="https://www.metopera.org/season/2019-20-season/porgy-and-bess/" target="_blank" title="Porgy and Bess">Porgy and Bess</a> continues at the Met Opera through February 15. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister and Paul Schneider Editor: Karen Frillmann

As the Met Opera's production of Porgy and Bess enters its final weeks, WNYC's Sara Fishko sorts through the long, checkered history of the piece in this archival Fishko Files - produced during the polarizing 2012 Broadway revival. Porgy and Bess continues at the Met Opera through February 15. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne Shulmister and Paul SchneiderEditor: Karen Frillmann

Porgy and Bess

Coming up in two weeks: New York Fashion Week! From WNYC’s Sara Fishko is this archival Fishko Files, with a little history. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister and Paul Schneider Editor: Karen Frillmann

Coming up in two weeks: New York Fashion Week! From WNYC’s Sara Fishko is this archival Fishko Files, with a little history. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne Shulmister and Paul SchneiderEditor: Karen Frillmann

The First New York Fashion Week

Some of the major struggles and victories of the Civil Rights movement in the 1960s coincided with a most active period for jazz music. For Martin Luther King Jr. Day, WNYC's Sara Fishko looks at a few cases where the movement and the music came together, in this edition of Fishko Files. <a href="https://www.amazon.com/Insist-Max-Roachs-Freedom-Suite/dp/B00008EX7B" target="_blank">Max Roach's We Insist! Freedom Now</a> <a href="https://www.amazon.com/My-People-Duke-Ellington/dp/B00LLMAESO/" target="_blank">Duke Ellington's My People</a> <a href="https://www.amazon.com/Brubeck-Justice-Milken-Archive-American/dp/B00016XNMU" target="_blank">Dave Brubeck's The Gates of Justice</a> <a href="https://www.amazon.com/Real-Ambassadors-LOUIS-BRUBECK-ARMSTRONG/dp/B006O9MER8" target="_blank">Louis Armstrong, Dave Lambert, Jon Henricks, and others' The Real Ambassadors</a> <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister and Paul Schneider Editor: Karen Frillmann

Some of the major struggles and victories of the Civil Rights movement in the 1960s coincided with a most active period for jazz music. For Martin Luther King Jr. Day, WNYC's Sara Fishko looks at a few cases where the movement and the music came together, in this edition of Fishko Files. Max Roach's We Insist! Freedom Now Duke Ellington's My People Dave Brubeck's The Gates of Justice Louis Armstrong, Dave Lambert, Jon Henricks, and others' The Real Ambassadors Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne Shulmister and Paul SchneiderEditor: Karen Frillmann

Three Jazz Works

It's forty years since Stanley Kubrick's The Shining showed us just what the remarkable Steadicam could do to our perception and sense of movement. This archival Fishko Files tells the story of its invention, the product of an unlikely obsession by a frustrated cameraman on a mission to perfect! (Produced in 2016) The Art of Steadicam, a supercut of Steadicam shots compiled by Refocused Media <div class="user-embedded-video"><div id="videoplayer_idm139648351792544086576ca-c733-4d57-904f-0a630ee021c1"><iframe src="https://player.vimeo.com/video/60974401?wmode=transparent&amp;autohide=1&amp;rel=0&amp;showinfo=0&amp;app_id=122963&amp;enablejsapi=1" width="620" height="349" frameborder="0" allow="autoplay; fullscreen" allowfullscreen="allowfullscreen" title="The Art of Steadicam" id="a-8064613150153510053" class="youtube_video" mozallowfullscreen="mozallowfullscreen" webkitallowfullscreen="webkitallowfullscreen" data-original-url="https://vimeo.com/60974401"></iframe></div></div>   <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister Editor: Karen Frillmann

It's forty years since Stanley Kubrick's The Shining showed us just what the remarkable Steadicam could do to our perception and sense of movement. This archival Fishko Files tells the story of its invention, the product of an unlikely obsession by a frustrated cameraman on a mission to perfect! (Produced in 2016) The Art of Steadicam, a supercut of Steadicam shots compiled by Refocused Media    Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

The Steadicam Story

It's been 95 years since the death of Ferruccio Busoni - a complicated, underappreciated musical genius whose pianism, compositions, and ideas, says Sara Fishko, deserve better! (Produced in 2012) <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister Editor: Karen Frillmann

It's been 95 years since the death of Ferruccio Busoni - a complicated, underappreciated musical genius whose pianism, compositions, and ideas, says Sara Fishko, deserve better! (Produced in 2012) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

Busoni

The holiday season brings out the best in Baroque music. One of the best of the best is Bach's remarkable Chaconne, whose story is told by WNYC's Sara Fishko in this Fishko Files classic from 2003. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Paul Schneider Editor: Karen Frillmann

The holiday season brings out the best in Baroque music. One of the best of the best is Bach's remarkable Chaconne, whose story is told by WNYC's Sara Fishko in this Fishko Files classic from 2003. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Paul SchneiderEditor: Karen Frillmann

Bach Chaconne

Since early fall, a corner of the Whitney Museum has been devoted to the sounds, thoughts, and visions of the jazz pianist and composer Jason Moran. As the year turns, the show goes into its final days. More from WNYC's Sara Fishko, in this edition of Fishko Files. Jason Moran's <a href="https://whitney.org/exhibitions/jason-moran" target="_blank" title="show">show</a> at the Whitney closes on January 5, with final jazz <a href="https://whitney.org/exhibitions/jason-moran/performances" target="_blank" title="performances">performances</a> by Tiger Trio on January 3 &amp; 4. <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Fishko Files with Sara Fishko <p style="margin: 5px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 12.222222328186035px; vertical-align: baseline; background-color: transparent; line-height: 18.99305534362793px; color: #333333; font-family: Arial, Helvetica, 'Liberation Sans', FreeSans, sans-serif;">Assistant Producer: Olivia Briley Mix Engineer: Wayne Shulmister Editor: Karen Frillmann

Since early fall, a corner of the Whitney Museum has been devoted to the sounds, thoughts, and visions of the jazz pianist and composer Jason Moran. As the year turns, the show goes into its final days. More from WNYC's Sara Fishko, in this edition of Fishko Files. Jason Moran's show at the Whitney closes on January 5, with final jazz performances by Tiger Trio on January 3 &amp; 4. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

Moran on a High Floor at the Whitney

WNYC's Sara Fishko with sound-rich essays on art, culture, music and media - past and present.

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Fishko Files from WNYC

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