OTHER LABEL TRANSCRIPTIONS 18:49 　역사타령　役夫歌 　한국평양　韓國平壌 　가괴다ᄉᆞᆺ　歌客五名 19:50 　륙각거샹　六樂擧觴 　한국셔울　韓國京城 　　악공등　樂工䓁 20:28 　　개싸홈　犬之闘 　한국대구　韓國大邱 　고쟈대감　宦者大監 21:27 황실대취ᄐᆡ　皇室大吹打 　한국셔울　韓國京城 취고슈구인　吹鼓手九人

Unfortunately the white presenter here is par for the course....like many, he fails to understand that those newspaper headlines and news articles from the 1940's and 1950's that he uses verbatim as the basis for his "research"/story-line, and from which he frequently quotes, are rife with the Jim Crow attitudes and condescending language that was typical of the white press towards black jazz musicians during those legal days of Segregation. Many "DownBeat," "Metronome" and other articles from that period deliberately targeted black jazz musicians and specialized in stirring up controversy, trivializing them (..."the Vibrato's Vibrators" etc), pitting black performers against each other (Gillespie vs Parker, and such), or just flat out lying about them. Even the 1950 Life Magazine article - discussed here and usually everywhere else as being written as a "tribute" to the success of Eckstine, is nothing more than a thinly veiled expose that harps on Eckstine's broad cross-racial appeal, his record-breaking box office draw, and how much money he is making. You'd have to be a fool to believe that this 1950 discussion of a black man's Sinatra-like success being distributed nationally into white homes coupled with photos of white women adoring him, as the country basked in Jim Crow racial segregation and McCarthy era witch-hunt politics, would not be seen as a threat and lead to the torpedoing of Eckstine's career by America's power brokers. Life magazine had less "attitude" in its article than Downbeat and Metronome routinely did, but the result was the same: controversy and backlash were created. There's a reason Stanley Crouch and Albert Murray caught hell from the white jazz press when Crouch and Murray were selected for writing duties when Jazz at Lincoln Center was established. Same thing happened to Ken Burns when he selected Wynton Marsalis as chief consultant on his PBS "Jazz" documentary and not one of the legacy white jazz writer. The legacy white press feels jazz is IT"S turf...after all, they are the ones Miles Davis had to kick off his albums writing liner notes. The gathering shown here in this Eckstine video is largely folks of and from this ilk - presenter and audience....that's how you get the trite and uninformed commentary/analysis, the Spike Jones nonsense included, and a discussion of Eckstine and the IRS. At some point, writers who look like Eckstine are going to have to write his biography so that you have a better chance of getting research from people, documents, and reference points beyond the 1940s-50's segregated/Jim Crow white press.