This Fishko Files was produced in 2000 for the 100th anniversary of the birth of composer Kurt Weill. Over the years Weill's music, as Sara Fishko tells us, has lent itself to a variety of interpretations, despite the imprint of one spectacular performer.

Being a musician, even a good amateur musician, requires hours of practice alone with one's instrument. But many players prefer company, and still rely on a system that's now half-a-century old.

Jazz has become so treasured as a part of film-scoring that it's the subject of a new Museum of Modern Art exhibit, opening next week. As WNYC's Sara Fishko tells us in this edition of the Fishko Files, the connection between jazz and American film was especially vibrant during one mid-century moment.

Miklos Rozsa was one of Hollywood's most celebrated composers. His work on film noir classics in the 40's and epic films in the 50's was, and still is, well known. But it turns out Rozsa had another composing life.

In the late 1930's, a short, simple song both horrified and fascinated those who heard it. David Margolick's book shows there is still a controversy and painful history surrounding 'Strange Fruit' and it's story.

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