isb49-3_cv_isb49-3_cv 6/15/2016 11:11 AM Page 2
International Society of Barristers
Volume 49 Number 3
WRONGFUL CONVICTIONS IN THE UNITED STATES Nina Morrison
REPRESENTING HIGHPROFILE DEFENDANTS IN THE AGE OF TWITTER Blair Bernholz Berk
INSIDE THE ART WORLD Dan Cameron and Jonathan Ferrara
A TRIP THROUGH JAZZ Michael White, PhD
YAWKEY WAY Christopher A. Duggan
Quarterly isb49-3_cv_isb49-3_cv 6/15/2016 11:11 AM Page 3
Annual Meetings
2017: March 19–25, Ritz Carlton Cancun, Mexico
2018: April 15–19, Dorchester Hotel London, England International Society of Barristers Quarterly Volume 49 2016 Number 3 CONTENTS ǣ ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤͳ Nina Morrison ǦǤǤǤǤǤǤͳͻ Blair Bernholz Berk ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ͵ͷ Dan Cameron and Jonathan Ferrara ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤͳ Michael White, PhD
ǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤǤ Christopher A. Duggan
International Society of Barristers Quarterly
Editor Ǥ Associate Editor
Editorial Advisory Board
Ǥ ǡ Ǥǡ Editorial Office
ͻͲ͵Ͳ ǡʹͲͺǦͲ͵Ͳ ȋͻͳͻȌͳ͵ǦͲͺͷ ȋͻͳͻȌͳ͵Ǧʹ͵ͳ Ǧǣ̷ǤǤ Ͷͻ ͵ ʹͲͳ ȋ ͲͲͶǦͻͲȌȋ ͲͲʹͲǦ ͺͷʹȌ ǡ ǡ ͻͲ͵Ͳǡ ǡ ǡ ʹͲͺǦͲ͵ͲǤ Ǥ ǣ̈́ͳͲǤ ͶͶǤ ƬǤǡ Ǥǡͳʹͺͷ ǡ ǡǡ ͳͶʹͲͻǦ ͳͻͳͳǢ ǡ ǤǡͳͷͶͲ ǡ ǡǡͺͷʹͳǤǣ Ǥ ǡ ǡͻͲ͵ͲǡǡǡʹͲͺǦͲ͵ͲǤ ̹ʹͲͳ
International Society of Barristers Board of Governors 2016–2017 ǤǡCaliforniaǡ ǤǡLouisianaǡ Ǥ Ǥǡ Washingtonǡ ǤǡMichiganǡ Ȃ ǤǡFloridaǡ ǤǡNorth Carolinaǡ Ƭ ǤǡMichiganǡ Ƭ
2014–2017* Montana Texas Michigan Ǥ British Columbia Maine 2015–2018* Ǥ Ǥ Ǥ Ohio Michigan Nebraska ǤǤȋȌ Georgia California 2016–2019* Ǥ Ǥ Ǥ Kansas Colorado Louisiana Ǥ Ǥ Minnesota Colorado
*Ǥ
International Society of Barristers Past Presidents ǡǡȋͳͻͳͶȂͳͻͻͺȌ ͳͻ Ǥǡǡ ȋͳͻʹʹȂʹͲͳͳȌ ͳͻ ǤǡǡȋͳͻͳȂͳͻͶȌ ͳͻͺ Ǥ ǡ ǡȋͳͻͲͻȂͳͻͺͲȌ ͳͻͻ Ǥ ǡǡȋͳͻʹͲȂʹͲͲ͵Ȍ ͳͻͲ Ǥ ǡǡȋͳͻʹͶȂʹͲͲͻȌ ͳͻͳ Ǥ ǡǡȋͳͻʹʹȂʹͲͳʹȌ ͳͻͳ ǤǡǡȋͳͻͳͺȂʹͲͲͳȌ ͳͻʹ Ǥ ǡǡ ȋͳͻͳȂͳͻͺͶȌ ͳͻ͵ Ǥǡ ǡ ȋͳͻʹʹȂʹͲͲȌ ͳͻͶ Ǥ ǡǡȋͳͻͳͺȂʹͲͳ͵Ȍ ͳͻͷ ǤǡǡȋͳͻʹͲȂͳͻͺͲȌ ͳͻ Ǥ ǡ ǡ ȋͳͻʹʹȂʹͲͲȌ ͳͻ ǤǡǡȋͳͻʹͺȂͳͻͻȌ ͳͻͺ Ǥǡǡȋͳͻ͵ͳȂʹͲͳȌ ͳͻͻ ǡǡȋͳͻʹͺȂͳͻͻȌ ͳͻͺͲ Ǥ ǡǡȋͳͻʹͶȂʹͲͲͲȌ ͳͻͺͳ ǤǡǡȋͳͻʹͺȂʹͲͳͶȌ ͳͻͺʹ Ǥ ǡ ǡ ȋͳͻʹͲȂʹͲͲͶȌ ͳͻͺ͵ Ǥ Ǥ ǡ ǡ ͳͻͺͶ Ǥǡǡ ȋͳͻʹʹȂʹͲͲͶȌ ͳͻͺͷ Ǥǡ ǡ ȋͳͻ͵ȂͳͻͻͻȌ ͳͻͺ ǤǡǡȋͳͻʹͷȂʹͲͳʹȌ ͳͻͺ Ǥ ǡ ǡ ͳͻͺͺ ǤǡǡȋͳͻʹͶȂʹͲͲͳȌ ͳͻͺͻ Ǥ ǡǡȋͳͻʹȂʹͲͳͲȌ ͳͻͻͲ Ǥ ǡǡȋͳͻʹȂʹͲͲ͵Ȍ ͳͻͻͳ ǤǡǤǡ ͳͻͻʹ ǡ ǡȋͳͻ͵ͲȂʹͲͲͺȌ ͳͻͻ͵ Ǥ ǡǡ ͳͻͻͶ Ǥǡ ǡ ͳͻͻͷ
Past Presidents Ǥǡ ǡ ȋͳͻ͵ʹȂʹͲͳͶȌ ͳͻͻ Ǥǡǡȋͳͻ͵͵ȂʹͲͳͶȌ ͳͻͻ Ǥ ǡǡ ͳͻͻͺ Ǥǡǡ ͳͻͻͻ Ǥǡǡ ȋͳͻʹͷȂʹͲͳȌ ʹͲͲͲ ǡ ǡ ʹͲͲͳ ǡǡ ȋͳͻ͵ȂʹͲͲȌ ʹͲͲʹ Ǥǡ ǡ ʹͲͲ͵ Ǥǡǡȋͳͻ͵ͺȂʹͲͳ͵Ȍ ʹͲͲͶ Ǥ ǡ ǡ ʹͲͲͷ Ǥǡǡ ʹͲͲ Ǥǡ ǡ ʹͲͲ Ǥ ǡǡ ʹͲͲͺ Ǥ Ǥǡ ʹͲͲͻ Ǥǡ ʹͲͳͲ Ǥ ǡ ǡʹͲͳͳ Ǥǡ ǡ ʹͲͳʹ Ǥǡǡ ʹͲͳ͵ Ǥǡǡ ʹͲͳͶ Ǥǡ ǡ ʹͲͳͷ
International Society of Barristers U.S. Membership Chair Ǥ State & International Membership Chairs ǯ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ
State & International Membership Chairs Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ× Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥǯ Ǥ Ǥ Ǥ
ȗȗȗ
Dedicated to the Hon. Jim R. Carrigan 1929–2014 Ƭǡ International Society of Barristers Quarterly Denver Post ǡǤǤ ǡ ǡ Ǧ ǯ Ǥȗ ǡ Ȅ ǤǤ Ȅ Ȅ Ȅ Ǥ ǯ ǡ ǯ ǡ Ǥ ǡ Ǥ
ȗ ǡ ǡFormer U.S. District Judge and UC Regent, Dies, ȋǤʹͳǡʹͲͳͶȌǤ
ȗȗȗ
WRONGFUL CONVICTIONS IN THE UNITED STATES: TALES FROM THE FRONT LINES OF THE DNA REVOLUTION* Nina Morrison**
I INTRODUCTION ǯǤ ǯ ǡ Ǥ ǡ Ǣ ǯ Ǥ Ǥ ǢǯǤ ǯ Ǥ ǯǡǯ Ǧ Ǥǡǡ Ȅ ǯ Ǥ Ǥ Ǥ ǡ Ǥ ǯ ǯͺͲǯͻͲȄ ǡ ǡ ǡ Ȅ Ǥȏǯ ǯͺͲǯͻͲ
ȗ ǡ ǡ ǡͳͲ ʹͲͳͷǤ ȗȗǡ ǡǡǤ
ͳ ʹ
Ȑ ȏ ǤȐ ǤǤ ǡ Ǧ ǡ ǯ Ǥ Ǥ ǡ Ǥ ǡ ǯ Ǥ ǡǡǡ ǡ ǤȏȐ ǡǡ Ǥǡ Ǥ ǡǡ ǡ Ǥ Ǥ Ǥ ǯ ǯǡ Ǥ Ǥ
II MICHAEL MORTON
ǦǤǤ ǯ ǡ ǣ Ǥ ͵
ǡ ǯ ǯǤ Ǥǡ ǡǣǤ ǯǡ ǯ Ǥ Ȅ ǡ Ǥǡǡ Ǥ ǡ ǡǡǡ Ǥǯ ǡ Ǥ ǡ ǯ Ȅ ǯ Ȅ Ǥ ǯ ǡ ǡ ǢǯǤǤ ǡ Dz Ǧ ǡǯ Ǥdz ǣ Ǥ ǯ ǯ Ǥ ǡ ȏ Ȑǡ ǯǤ
Ǥ ǡ Ǥ ǡǡ ͳͻͲ Ǥ Ͷ
Ǥ Ǥ Ǥǡ Ǥ Ǥ Ǥ ǡ ǡȄ ǯǤ ǡ ǡǡ ǡ ǡ ǡ ǯǣ Ǥ Ǥ Ǣ Ǥ Ǥ Ǥ Ǥ Ǥ ǡ ǡ ǡ Ǥ ǡ ǡ ǡ Ǥ Ǥ Ǥ Ǥ ǣ Ǥ ǡ ǡ Ǥ
Ǥͳͻͺ ǡǡ ǡ ǤǤ ǡ Ǥ ͳʹǡ ͳͻͺǡ ǯ Ǥ Ǥ ǡǤ ͷ
Ǥ Ǥ Ǧ ǯǯ ǡ Ǥ ǯ Ǣǡ Ǥ ǡ ǡǡ ǡDz ǡǯǤdzȏ Ȑǡ Ǥ ǡ ȏȐǤ ǡ ǯ Ǥ ǡǢ Ǥ Ǥ ǡ Ǥ ͵ ǯ ǡ ǡ ǡ Dzǡ ǡ ǯ Ǥdz Ǥ Ǥ Ǥ ǡ ǡ Dzǡ Ǥdz ǡ Ǧ ǡǤ ǡDz ǫdz ǯ Ǥ ǯ Ǥ Ǥ Ǥ Ǥǡǡ
ǡ Ǥ Ǥ Ǥ Ǥ ǡǡ ǡ ǡ ǡ ǡǤ ǡ ǡ Ǥ Ǥ ǡ ǤǡDz ǡǤǯ ǯǤǯ dzȄ Ǥ ǡ ǯ ǡ ǯ Ǥ ǯ Ǣ Ǥ ǯ ǡ Ǥ ǡ ǡ Ǥ
Ǥ ǯ Ǥ Dzdz ̵ Ǥ ǡ Dz ǡ Ǥ ǯ ǡǤ Ǥǯ Ǥdz ǡ Ǥ
Ǥ ǡ Ǧ ǣ ǯǫǯǡDz ǯ ǯ ǯǤdz Ǥ Ǥ ǡ Ǣ ǡ ǫ Ǥ Ǥ Ǣ Ǥ Ǥ ǡ Ǥ ǡ ǡ Ǥ ǡǤ ǯ ǯǯ ǯ ȏ ȐǤ Ǣ Ǥ Ǥ ǡ ǦǢ Ǥ ǯ Ǥ ǯ ǡ ǡǡ ǡ ͺ
ǤǤǡ ǯ ǡ Ǥ ǡ ǫ ǡǡ Ǣ Ǥ ǯ ǣ Ǥ Ǧ ͵ʹͷ ǡǡ Ǥ Ǥ Ǧ Ǧ Ǥ ǯ ǡ ǡ ǯ ǡ ͳǣͳͷǡ Ǥǯ Ȅ ǡ ǡǯǡ Ǥ ȏȐ Ǥ Ǥǡ ǡ ͳͲǣͲͲǤǤ ǣͲͲǤǤ Ǥ ǡ ǡ ǡ ǡ Dz ǡ ǯ ǡǯͳǣͳͷǤdz ǯ Ǣ ǯǤȄ Ȅ ǡ Ǥ ǡ ǫ ǫ ǡ ǤǤ ǡ ǡ Ȅ Ǥ ͻ
Ǥ ǡ ǡ Ǥ Ǥ ǡǡ ǡȄ ǡ Ǥ ǡ ǯ Ǥ ǡ ǡ Brady ǡͳ ǯ ǡ ǯǤ
Ǥ Ǥ ǡ ǡǡ Ǥ Ǥ ǡ Ǥ Ǥ ǯǡǡǡ Ǥ ǡ ǯ ǡ ǡǡ ǯ Ǥ ǡ Ǥ ǡ ǡǯ ǡ ǡǡǯ ǯ Ǣ ǯǤ Ǥ Ǥ Ǥ
ͳǤǦ ǯ Ǥ Brady v. Marylandǡ ͵͵ ǤǤ ͺ͵ ȋͳͻ͵ȌǤ ͳͲ
ǡ Ǥ ǯ ǡ ȏȐ ȏ ǯȐ Ǥ ȏ ǡ ǡ ǡ Ȑ Ǥ
Ǥ ǯ ǡǯǤ ǯǡǤ Ǥ ǯ ʹͲͲ͵ǡ ǡ ǦǦǡ Ǥ ǡ ͳͲͲǡ ǡ Ǥ Ǥ Ǥȏ Ȑǡ ǡǡ Ǥ ȏʹͲͲ͵ǡǡȐǡǯ ǡ ǯǫ ǫ Ǣ ǯ Ǥ ǡ ǡ ǡ ǡ ǯ ǤǢ ǫǡ ǡ Ǥ Ǥ permission Ǥ Ǧ ǡ Ǥ ͳͳ
ǡ Ǥ ǡ Ǥ Ǥ ǡ Ǥ ǡ ǡ Ǧ Ȅ Ǥ Ǧ ǡǡǡ ǯ Ǥ ǡ Ǥ Ǥ ǡ ǡ ǡ ǡ ǡǡ ǡ Ǥǯ ǦǤ ǯ ȏǯ Ȑǣ ǡ Dzǯ ǤdzȄ ǡ Ǥ ǡ ǯ ǡ Ǥ ǡ Dzǯ Ǥdzǡ Ǥǯ Ǥ Ǥ Ǥ ǯ ǡ Ǥǡ ǡ Ǥ ǡ ǡDz ǫǫdzǡ ͳʹ
DzǤ Ǥdzǡǡ ǡǤǡDz ǯ Ǥ ǤdzǤǡDzǡǤdz ǡǡDzǡ Ǥ Ǥdz ǫ Ǥ ǡǡǯ ǤǤ Ȅ Ȅ ǡ Ǥ Ǥ Ǥ Ǥ Ȅ ǡ Ǧǡ Ǥ Ǧ ǡ Ǥ ǡ ǡ Ǧ ǡ ǡ ǡDzǡ ǯ Ǥ Ǥ Ǥ Ǥdzǡ ǯǤ ǯ Ǧ ǡDzProsecutor’s Excuses for DNA That Doesn’t Match the Clientǡdzǯ ǡDz dzȄǡǯ ͳ͵
Ǥ ǡ ȏ ȐǤ ǡ ǯ ǡ Ǥ Ǧ ǣ ǡ ǡ ǡ Ǥǡǯǡ Ǥǡ ǡ Dz Ȅ Ǥ ǯ ǡ ǯǤdz ǡ ǡǯ Ǥǡǯ ǡ ǣ ǯ Ǥ ǡ ǡ ǡ ǡ ǡ ǡ Dz ǯ ǤdzǡDzǯǤdzǡǡ ǡ Ǥ ǡ ǯ Ǥ ǯ ǡ Ǥ ǡ ǡ ǡ ʹͲͳͳǤǡ ǯDz Ǥdz ǡ ǯ ǣ ǯ ǡ ͳͶ
Ǥǡǡ Ǥ III REFLECTIONS AND REFORMS ǡ ǡ ǡǤ ǡ ǡ ǯ ǯǤ ǣǡ Ǣ Ǣ Ǥ Ǥ ǡ ǡ Ǥ Ǣ ǯ Ǥ ǡ ǯ ǡ ǦǦ Ǥ Ȅ ǡǡ ǡǡ Ȅ Ǥ ǡ ǡ ǯ ǡ ǡ Ǥ Ǥ ǯ ǡǯ Ǥ ǯ ǣ ǡ ǯ Ǥ Ȅǡ ǡ ǯ Ȅ ǡ ǯ Ǥ ǯ Ǥ ǯ Bradyǡ ǯ ǡ ǡ ͳͷ
ǡ Ǥ Ǥ Ǥ ǯ ǡȄ ǯ Ȅ Ǥ Ǥ ǡ ǡ Ǥ Ǧ Ȅ ǯ Ȅ ǡ Ǥ ǯ ǣǯ Ǥ ǡ Ǥ Ǥ ǡ Ȅ ǤǤ ǡȄ Ǥ Ǥ Ǥ ǡ Ȅ ǡ ǯ Ȅ ǯ ǡ ǡ Ǥǡ ǡǯ ǡ Brady v. Maryland Ǥǡ ǯBradyǡ ǯ ȏ ȐǤ ͳ
ǡ ǡ ǡǡǤ ǤǤ Ǥ ǯ ǡ ǯ Ǣ ǯ ǯ Ǥ Ǥ ǡ ǡǦ Ǥ Brady ǡ ǯ Ǥ ǡDz ǫdzǡDzǯ ǯ dzȋͳͲͲȔDz ǯ ǯ ǡ ǡ ǡ ǯ ǦǦ Ǥdz Ǥ ǡ ǯ ǯ Ǥ Brady Ǥ ǡ ǯǯǯǤ ǡǤǤǡ ǡDzǡ ǯ ǫdz ǡǡDzǡǤdz Ǥ ǡ ǡ ǡ in cameraǤ ǡ ǡǡDzǯǤdz Ǧ ǡ ǡ ǡ ͳ
Ȅ Ǥ ǡǯ Ǥ Ǥ ǯ ǡǡȄ ǯǡ ǯǡ ǡǤ ȋ ǯ ȌǤ ǡ Ǥ Ǥ ǡ Brady ǡ Ǥ ǡ ǡ ʹͲͳʹ Ǥ ǡǤ ǡDzǡdzʹǯ Ǥ ǡ Brady ǯ ǦǦ ǡ ǡ ǡ Ǥ ʹͲͳʹǡ Ǥ ǡ Ǥ Ǥǯǯ Dzdz ǡ ǡ ǡ ǯ ǯǤǯ
ʹǤǤȀǤ ȀȀǦǦǦǤ ͳͺ
ǡ ʹͲͳʹǤ ǡ ǡ ǡ Ǥ Ǥ ̈́ʹ ǡ ǯǯ ǡ Ǥ Ǥ Ǥ ǯ ǯ ǡ Getting Lifeǡ Ǥ͵ ǡ Ǥ ǡ ǡDz ǫdzDz ǡǫdz ǡDzǡ ±ǡ Ǥdz ǡDz ǦǤ Ǥ ǡ ǡ Ǥ Ǥdz ǡ Ǥ ǡ ǡ ǡ ǯǤ
͵Ǥǯ ǡAn Unreal Dream.See ǣȀȀǤ Ǥ ȀǦ ȀǤ REPRESENTING HIGH-PROFILE DEFENDANTS IN THE AGE OF TWITTER*
Blair Bernholz Berk** ǡ ǡ ǯ ǦǦǦǦ Ǥ ǯ ǯ ǯ ǡ ǡ Ǥ ǡ ǡ ǡǤ ǯ ǯ Ǥ ǯǡ ǯ ǡ ǯ Ǥ Ǥ Ǥ Ǥ Ǥ ǡ Ǥ ǯ Ǥ ǡǡǡ ǯǣǡ
ȗ ǡ ǡ ǡͳʹ ʹͲͳͷǤ ȗȗǡƬǡǡǡǤ
ͳͻ ʹͲ
ǦǦǯ Ǥ Ǥ Ǥ ǡǤ Ǥ Ǣ ǡ ǯ Ǥ Ǥ ǡ ǯ Ǥ Ǥ Ǥ Ǧǡ Dzdz Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ Ǥ ǡ Ǥ Ǥ Ǥ ǡǡ ǡǤ Ǥ ǡ Ǥ Ǧ ǡ ǡǡ Ǥ Ǥ Ǥ ǯ Ǥ Ǧ ʹͳ
Ǥ ǡ ǡ ȏ ǯȐǡ Ǥ ǡDz ǡ ǯ Ǥ Ǥdz Ǥ ǯ ǡ ǯ ǯ Ǥ Ǥ ǯǯ Ǥ youǤ ǯ ǣ ǯ Ǥ ǯ Ȅ Ȅ ǡ Ǥ ʹͲͳͷȄ ǡ Ǥ ǡ Ǧ ǡ Ǥ ǡ Ǧ ǡ ǡǤ ͳ Ǥ ǯ ǡDzǡ ǫ ǯ Ǥdz ǯ Ǥ Ǧ Ǥ ǡ Dzǡ Ǧ ǡ Ǥdz ǯ ǣ
ͳǤDz ǡdzǤǤ Ǥ ʹʹ
Ȅ ǡ Ȅ ǤȄǡ Ȅǯ Ǥ ǡ ǡ ǯ Ǥ ǡ ǡ Ǥ ǡ ǡ ǯ Ǥ ǡ Ǥ Ǥ ǡ Ǥ ʹ Ǥ ȏȐ Ǥ Ǥ Ǣ ǤǤ ǯ ǡǤǤǯ ǯ ǤǤ ǯ Ǥ ȏ ȐǤ ǯ ǡ ǡ ǡǡDzǡ ǯ Ǧ ǤdzȋDz dz my ǤȌ Dz ǯ Ǥ ǯ ǯǤdz Dz Ǥ Ǥdz ǡ Dzǡ ǯ Ǥ ǯ
ʹǤǯ ǯǤ Ǧ ʹ͵
Ǥdz ǡDzǡ ǡ ǫdz ǡDzǡǤdz ǡDzǤdzǡDzǡ ǡ ǯ ǡ ǡ Ǥdz ǡ ǡǤǤǡ ǯ ǯ Ǥ ǡDznotǦǡ Ǥdz Ǧ ǡ Ȅ Ȅ ǤǤ ǯǤ Ǥ ǡ ǯ ǡǯǡ ǯ Ǥ ǡ ǡǡ ǯǤȋ likeǦ New York Times Times Ǧ ǤȌ ǡǡ ǡ Ǥ ǡǯ Ǥ ǣ ʹͶ
ǡ Ǥ ǡǯ Ǥ ǡ Ǥ Ǥ ǡ horror vacuiǡ ǡ ǡ ǡ Ǥ ǡǤ ǡ ǯ ǯ Ǥ ǡ ǯ ǡ Ǥ ǯ ǡ ǡǡ Ǥ ǡ ǣ Ǥ Ǧ ǡ ǡ Ǥ ǡǤ Ǥ ȋ ǡ Ȍ Ǥ ǡ Ǥ ǯ Ǥ ǯ ǡǯǯǡ ǯ ǤǡǤ ǡǡǡ Ǥ Ǥ Ǥ Ǧ Ǥ ǯǤ Ǧ ʹͷ
ǡ Ǥ Ǥ Ǥ ǫ ǡdon’t ǦǦ Ǥ ǯ ǡǯ Ǥ ǡ Ȅ L.A. Times ǤǤȄ Ǥ Ǥ ǡ Ǥ ǡ ǯ ǡǯ Ǥ ǡ Ȅ Ȅǯ Ǥ ǡ ǡ Ǥ Ȅ Ȅ Ǥ ǯ Gentile͵
͵Ǥ Ǥ ǡ ͷͲͳ ǤǤ ͳͲ͵Ͳ ȋͳͻͻͳȌǤ ǯ ǡ Dz dz ǤIdǤ ͳͲ͵ͶǤ ȋ ͵ǤȌ Ǥ ǯ ǯ ʹ
ǯ Ǥ Ǥ ǡ ǯ Ǥ ǡǡ ǦǦ Ǥ ǡ ǡ Ǥ ǦǦ ǡ ǯ Ǣ ǡǡ Ǥ ǣǡ ǯǯ Ǥȋǯ ǣ ǯ Ǥ ǯ ǡ Ǥ ǤȌ ǡ ǡ Ǥ Ȅ ǯ Ȅ ǯǤ ǡǯǤ ǡ ǡ Ǥǯ ǡ ǯ Ǥ
ǯ Ǥ ǡ ǡ ǯ ǡ Ǧǡ ǤSeeidǤͳͲͷͷȂͷǤ Ǧ ʹ
Ǥ ǡ ǡ ǯǯ ǡǯǤǯ Ǧ ǯ Ǥ Ǥ Ȅ Ǧ Ǥ ǯ ǡ ǡ ǡǯ ǡ Ǥ Ǧǡ Ǥ Ǥ ǯ Ǥ ǡǯǡ ǯ Ǥ Ǥ ǡ ǯ ǡ ǡǦǦ Ǥ ǡDz ǯǤ Ǥdz ǡǯȏȐ ʹͺ
ǡ ǯ Ǥ ǯ ǡ Dz ǫ Ǥ ǡ ǡǯǤdz Dzǫdz DzǤ Ǥdz Dzǡ ǯwe Ǥdz Dz ǯ ǫ ǯ Ǥdz DzǯǤdz ǡ ǯǡ ǯ Ǥ ǯǡ ǡ ǡǤ ǡ ǯǡ ǡ ǯ Ǥ Ǧ Ǧ ǡ Ǥ ǣ ǯ Ǥ ǯ Ǥ ǯ Ǥ ǯ Ǥ Ǥ Ǥ ǡ Ǥ Ǥ Ǥ ǡ Ǧ ʹͻ
Ǥ Ǥǯǡ ǯǤǯǤǯ Ǥǯ Ǥ Ǥǡ Ǥ Ǥǡ Ǥ ǡ ǡ Ǥ Ǥǡ Ǥ ǡ ǡ Ǥ Ǥ Ǥǡ ǤǤ Ǥ Ǥ ǡ ǡ not ǡ Ǥ ǤǤ Ȅ ǡ Ǧ Ǥ Ǥ ǡ ǡǡ ǡǡ ǯǤǤ Ǥ ǡDz ǡ ǡ Ǥ Ǥ Ǥ ͵Ͳ
ǡ ǡ Ǥ ǯ ǯ ǯ ǯǫdzǡ Dzǡ ǡdzǤDz ǡ ǯǡǡ ǦǦ ǯ ǡdzǡDz Ǥdz ǡDz ǡ ǦǦ ǯ ǡ ǡ ǡdz ǯ Ǥ ǯ Ǥ ǡ ǡ ǡ ǯ ǦǦ ǡ Ǥ Ǥ ǯ ǡ Ǧǯ Ǧ Ǥ Ǥ ǯ ǣ ǯ Ǥ ǯ ǡ ǯ Ǥ ǯǦ ǯ Ǧ Ǥ ȋ ǡ ǯ ȌǤ ǯǤ ǡ ǯ ǯ Ǥ ǯ Ǥ ǡ Ǥ Ǥ ǯ ǯ Ȅ Ȅ Ǥ Ǧ ͵ͳ
Ǥ ǯ Ȅ ǯ Ǥ Ǧ ǡ ǡ ǡ Ǥǯ Ǥ ǯǯ ǡ ǡ ǡ ǡ ǡǡdoǤǡǡ Ǥǯ ǯ Ǥ ǡǯ ǯ ǯ Ǥ ǡ Ȃ ǡ Ǧ ǡ ǯ Ǥ ǯ Ǥ ǡ ǯ ǯ Ǥ ǡ ǤǤ ǡ Ǥ ǯ Ǥ Ǥ ǡ ǡ ǯǣ ͵ʹ
Dz ǯ Ǥ ǯ Ǥdz ǡ ǫǯ Ǥ ǯȂǤ Ȅ Ǥ QUESTIONS &ANSWERS Q:Ǥǡ ǡ ǡ ǫ A: Ǥ ǯ Ǥ ǯ ǡ ǡ ǯ ǯ Ǥ ǡ ǡ ǯ ǡDzǫdzDz ǫdz Dz ǫdz Dz ǫdz Dz ǫdz Dz ǫdzDzǫdzdoes Ǥ ǯ Ǥ Ǥ ǡ do ǡ ǯ Ǥ Ǧ ǡ ǡ Ǥ ǯ Ǥ ǡ Dzǡ ǯ ǡ Ǧ ͵͵
Ǥdz ǯ ǡ Dz ǫdz ǯǤ ǯ ǡ Ǥ ǡ ǡ Ǥǯ Ǥǫ ǯ Ǥ ǡ ǯ Ǥ ǯ ǤǤ Q: ǡ ǫǫ A: Ǥ ǣ Ǥ ǯ ǡ ǡ ǡ ǯ Ǥ ǡ ǡ Ǥ ǡ ǡ Ǣǡǡ ǡǤ ǡ ǯǤǯǤ Ǥ ǣDzǡǯ ǡ Ǥdz ǯ Ǥ ͵Ͷ
Q: ǡ ǫ A: ǡǡǡ Ǥ ǦǦǦǦǡ ʹͶǦ ǡ ǡ Ǥ ǡǯǡǤǤ Ǥ Ǥ ǡ Ǥ ǯ Ǥǯ Ǥ ǯ Ǥ ǯ Ǥ ǯ Ǥ ǡǡǤ ǡ ǡ ǡǯǤ ǯǯ Ǥ INSIDE THE ART WORLD* Dan Cameron** and Jonathan Ferrara †
I DAN CAMERON:THE MARKET FOR ART Ǥ ʹͲͳʹǡForbes Magazine Dz ǯ Ǥdz ʹͲͲǡ ǡǡ̈́ǡ ǡ ̈́ Ǥ ʹͲͲͻȂʹͲͳͲ ǡ Ǧ ǡ Ǥǡǯ Ǥ ʹͲͳͳǡ ǡ ǡ ǡ ͳͲͲ Ǧ ǡ ̈́ͳͲͲ Ǥǡ ǡǯ ǡ ̀͵ͺǤͺ ʹͲͳͶǤ Ǥ ʹͲͳͶǡǦ Ǥ
ȗ ǡ ǡ ǡͳʹ ʹͲͳͷǤ ȗȗǡǡ ǡǤ ȘǡǦǡ ǡǡ ǡǤ
͵ͷ ͵
ʹͲͳ͵ ʹͲͳͶǡ Ǥ ȋ ǯ Ȍ Ǧ Ǥ ǡ ǡ ͳͲͲǡͲͲͲ Ǥ ǡ Ǥ Ǥ ǡ ǡ ǫ ǯ ǤǤ Ǥ Ǥ ǯ ǯ Ǥ ǡǡ Ǥ II JONATHAN FERRARA:MARKETING THE ARTIST Ǥ ǯ Ǥ ǯ Ǥ Ǥ Ǥͳǡͳͻͻ͵ǡ ǡ ǡ Ǥ Ǥ Ǥ ǡ ǡ Ǧǡǡ ǡ Ǥ ͵
ǯǡǦͶǤ Ǥ Ǥ Ǥ Ǥ ǯ Ǥ ǡ ȄȄǡ Ǥ ǡ Ǧ Ǥ Ȅ ǡ Ǥǡ Ǥ ǯǣ ǡ ǡ ǡ ǡ Ȅ ǡǡ ǡ Ǥ ǡ Ȅ ǢǦǡ ǯ Ǥ Ȅ Ȅ ǡ ǡǤǯ ǯǤ Guns in the Hands of Artists Ǥ ǯ ǡ ǡ ǯ ǯǤǡ Ǥ Ȅ ǡ Ǥ ǯ ǯǡ ͵ͺ
Ǥ Guns in the Hands of Artists Ǥ Ǥ ǯ Ǧ ǡ ǤǤǤ ǡ ǡǯ ǡ Ǥ ͳͺ ǡ ͳͲ ǡ ʹ Ǧ ǡ Ǧ Ǥ ǡ ǡ Ǥ ǤǤ ǣ ǯ ǡ ǡ Ǥ ǡǡǡ Ǥ ǡ Ǥ ǣ ǡǡ ǡǤ ǯ Ǥ ǡǤ Smelting a LegacyǤͳ ͳͻͻ ǡǡǡ Ǥ ǡ ȏ Ȑ Ǥ
ͳǤ ǣȀȀǤǤ ȀȀǦǦǦǦǦ Ȁ ǦǫαǦǡ Ǥ ͵ͻ
ǡ Ǥ
ǡǡ Take a Bullet for the CityǤ ǡ ǡ ǡ ǡ ǡǤ ǡ Ǥ ǯ ǯ ǣ ǡ Ǥ Ǥ ǡ Ǥ ǯ ǡ ǯ ǣ Ǥ Target Audience ʹͲͲͲ Ǧ Ǥ ǡ ǡ ǡ Ǥ Ǥ ǯ ǯ ǤGuns in the Hands of ArtistsǤ ǯ ͶͲ
Ǥ Ǥ ǡ Disappearedǡ Ǥ Ǥ ǡ ǡ Ǥ ǯ Ǥǡ ǡ ǯ ǡǡ ǡ Ǥ Ǥ Ǥ ǡ ǡ ǡ Ǥ ǯ Ǥ ǡ ǡǤ Ͷͳ
ǡ Ǥ ǡ Ǥ ǡǡDzǡdz ǡ DzǤdz The Osama WarsǤ ǡ ǯǤ Ǥ ǡ Ǥ Ǧ ǡ Ǥ Ǥ ǡǡDz dz ǣ Ǥ ǡ Dz Ǥdzǯ Ǥ ǡ We Need a Revolution Ǥ Ǥ ǯ Ǥ The New York Times, The Wall Street Journalǡ Ǥ ǯ Ȅ ǡ Ȅ Ǥ ǯǫ Ǥ Ͷʹ
Ȅ Ȅ ǯ Ǥ ǯ Ǧ ǣ Ǥ ǯ Ǥ ǯ ǡ Ǥʹ ǯ Cotton Pricesǣ ǯ Ǥ ǡ ǡ ȄȄ ǡ ǡ ǡǤ ǡ Ȅ ǡ ǯ Ǥ ǡ ǣ Dz ǡ Ǥdz ǡ ǡ Ǥ
ʹǤ ǣǣȀȀǤǤ ȀȀǦ Ǥ Ͷ͵
III DAN CAMERON PROSPECT.1
ǡ ǯǡ ͳͻͺͻǤ ǡ ǢǤ ͳͲͲ Ǥ ǯ ǡ Ǥ Ǥ ǯ Ǧ Ǥ ǯ ǡ Ǧ Ǧ ǡ ǡ Ǥ ǡ ǡǦǦǦ ǡ ǡ Ȅ Ǥ ǯ Ǥ Ȅ ǯ Ȅ ǡ ǡ ǡ Ǥ ǯ ͺͲǤ ͳͻͺǤ ǡ ǯ ʹͺ Ǥ ǯ ǯ ǡǦǤ ǡǡ ǡ Ǥ Ǥ ͶͶ
ǡǡ ǡ ǡ Ȅǡ ǡ Ǥ Ȅ ǡ Ǥ ǫ ǡ ǡ Ǥ ʹͲͲǡ ǡ ǡ ȋ Ȍ Ȅ Ǥ Ǥ ǡ Ǥ Ȅ Ǥ Ǥ ̈́ͷǤ ǡ ǯ ǯ ǡ Ǥ ǡ ǡ ǡ ǡ Ǥ Ǥǡ Ǥ ǯ ȏ Ȑ ǡ Ǥͳ ǡ Ǧ Ǥ ʹͲͲͺǤ ǯ Ǥ Ǧ Ͷͷ
ǡǤ ǡ ǡ Ǥ ǡǢ ǡ Ǥ Ǥ ǡ ǦǦǡ ǡDzǡǡǯ ǫdz ǡ ͳͻ͵Ǥ Ǥ Ǥ Ǧ Ǥǡ Ǣ Ǥ ǡ Ǥ ǡ Ǥ Ȅ ͷͲͲͲ Ȅ ͳͻͲ Ǥ͵
͵ǤUpStairs LoungeǤ Ͷ
ǡǡ ǡ Ǥ Ǥ Ǥ Ǥ Playgirl, CosmopolitanȄǦ Ǥ ǡ Remember the Upstairs Loungeǡ ǯ ͳͻͲǤ ǡǡ ǣ ǯ ǡǤ ͳͺͺͶ ǯ ǡ ͳͺͺͶǤ Ǥ ʹͳ ǤͶ Ǧ ǡ ǡ ǡ Ǥ Ǥ
ͶǤ ǡǣȀȀǤǤ Ȁ ͳǦ ǦǦǦǦǤ Ͷ
Ǥͳ Ǥ ͷǡͲͲͲǤǯǦ ǡ ǡ ̈́ʹͷǦ ǡ Ǥ Ǥͳ ǡ ǡ ǡ Ǥ ǣ ǡǡǡ Ǥ Ǥ ǯǤ ǯ Ǥ ǯǤ ǯ Ǥ ǡ ǡ Ǥ ǡ ǡDz ǯǤ ǯ Ǥdz ǡ DzǤdz Ǥ ǡ ǡ Ǥ Ǥ Ͷͺ
ǡǤ ǡǯ ǡǯ ǡ Ǥ ǡǯ ǯǡ ǡ Ǥ Ƭ Ǥ Ǥ Ǧ ͳͲǤͷ Ǥͳǡ ǡ ǡ Ȅ Ȅ Ǥ ǯ Ǣ Ǥ Ǥ Ǧ ǡ ͳͻͺͶ ǡ ǡ ǡ ǡ Ǥ ǡ Ǥ
ͷǤǯǤ Ǥ Ǥ Ͷͻ
Ǥ ǯ ǡ ǯǤ ǡǡǤ Ǥ ǡ ǯ ǡǡǡ Ǥ ǦǦ ǡǤǤǡ ǡ ǡǡǤǤ Ȅ Ȅ Ǥ ǦǤ Ǥ Ǥͳǡ ǡ ǯȄ ̈́ͳͷͲǡͲͲͲǡ Ȅ Ǥ ǡ ǡ Ǥ ǡ Ǥ Ǥ Ǥ ǡ Ǥ Ǥ Ȅ Ȅ Ǥ ǯ Ǥ ͷͲ
Ǧ Ǥ ǡ Ǥͳ ǡ Ǥ ǡ ǡ Ǥǡ ǡǡ Ǥ ǡ ǡ Ǥ ǡ Ǥ Ǥ Ǥ ǯ Ǥ ǤǤ Ǣ ǯ Ǥ can ǡ ǡ ǡǯ Ǥ ǡ ǡ Ǥ ǡ ǡǡ ȋ ȌǤǯ ǯǤ IV OF ART FAIRS,GALLERIES, AND MUSEUMS Jonathan Ferrara: ǡǤ Ǥ ǯ Ǥ ǯ Ǥ ǡ ǯ Ǥ ǡ ǯ ǦǦ ǡ ǡ ǯ ͷͳ
Ǥǯ ǡǡ ǡǡ ǤȄ Ȅ ǣǢ ǢǢ Ǣ ǡ Ǣ Ǣ Ǥ ǡ ǯ Ǥǯ ǣǯ ǡ ǤȄ ǡ ǡȄǯ Ǥ ǡǯǡ ǡǦ ǡǡ Ǥ ǡ Ǥ Ǥ ǯ ǡ ǡ ǡ ǦǡǯǦ ǡǡǯȄ Ǥ Ǥ Ǥ ǡ ǡ Ǥ ǯ ǯ ǡ ǡ ǯ Ǥ ǯ Ǥ ǯ ǯ Ȅǯ ǡǤ Ǥ Dan Cameron: ǯǤ ǡ ǯͳͲǯ ͵ǯ Ǥ ǯ ͷʹ
ǯ Ǥǯ Ǥ ǡ Ǥ Ǥ Ǥ ǡǡ Ǥ ǣ Ǣ ǯ Ǥ Ǥ Ǥ ǯ ǯ Ǥ ǡ ǯ Ǥ Ǥ ǯ Ǥ ǯ ǡ Ǥ Ǥ Ǥ ǡ ǡ ǡ Ǧ Ǥ ͳͻʹ Ǧ ǡǯ Ǥ ǡ Ǥ ǡ ǡ Ǥ ǯ Ǥ Ǥ ǡ ǡ Ǧ Ǥ ǡ Ȅ ǡǯǤ Ǧ Ǥ ǯ ǡ ͷ͵
Ǥ Ǥ
Michael Lin, Sharawadgi, 2013, installation at the Orange County Museum of Art, courtesy of the artist. Photo by Chris Bliss Photography. ͷͶ
ǡǡ ǡ Ǥ
Ǧ Bad DogǤBad Dogǡ ǡ ǡǯǤ ǯǤ ǯǡ ǡǤ ǤBad Dog ǡ ǡ Ǥ Jonathan Ferrara: Ǥ Ǥ
Ǥ ǣǣȀȀǤ ǤȀȀ Ǧ Ǧ ΨʹΨͺͲΨͻͻǦǦǤ Ǥ ͷͷ
ǡ Guns in the Hands of ArtistsǤ ǡ Ǥ Ǥ ǯǯ ǤǡGuns in the Hands of Artists Ǥ Ǥ Ǥ Guns in the Hands of Artists Ǥǡ Ǥ Ǥ ǡ Ǥ Ǥǡ Ǥ ǡ Ǥ ǡ ǡ ǯ ǡ ǡǡ Ǥǯ ǡ ǯ Ǥ Ǥ ǡ Rising Tideǡ Ǥ ǡ ǡǯ Ǥ ǯ Ǥ Ǧǡ ǯ ǣ ǯ ǡ ǯ Ǥ Dan Cameron: ǤǤǯ Ǥ ǡ ͷ
ǡ ǯ ǯ ǡ ǡ ǯǡǡ ǡȄall artȄ Ǥ ǡ ǡ Ǥ Ǥǡ Ǥ ǯǦ Ǥȋ ǤȌ Ǥ QUESTIONS &ANSWERS
Q: Ǥͳ Ȃ Ǥ Ǥ ȋ Ȍ Ǥ ǡ Ǥ ǯʹͲǤ ǯ Ǥ ǡ Ǥ ǡ ǡ Ǥ A: ȋ Ȍ Ȅ Ǥ ǯ ǦȄǯ Ǥ Ǥ ǡ ǯǡ ǡǡ ǦǤ ǡ ǦǡǦ ͷ
Ǥ Ǧ ǡ Ǥ is ǡǤǡ ǯ ǡ ǡǯǤ A:ȋ Ȍ The Wall Street Journal Ǥ Ǥ Ǥ ǯ Ǥ ǯ ǣ ǯ Ǣ ǯ Ǥ ǡǡ Ǧ ǡ Ǥ ǯ Ǣ Ǥ Ǥ Ǥ ǡ Ǧ ǡ Ǥǡǯ ǡ Ǥ Q: ǡ ǯ ǡ Dz Ǥdz ǯ Ǥǡǯ Ǥ ǯǡ ǡ ͷͺ
Dz dz Dz dz Ǥ ǯ ǯ Ǥ ǡǣ Ǥ ǡ ǯ Ȅ Ǧ ǡ Ȅ ǡ Ǥ ȋ Ȍ Ǥ
A: ȋ Ȍ ǯ ǡ ǡ Ǥǡ Ǥ ǯ ǡ Ǥ ǯ ǯǡǤ ǯͲǡǡ ǡǯ Dzdzǡ Ǥ ǦǦ ǡ Ǥǡ ǤǤ ǡ Ǥ Ǥ Ǥ ǡǡǡ ȋ ǯ ȌȄ ǡ Ǥ ǡ ǡ ǯ Ǥ ǯ Ǥ ǯ ǡDzǡdzǢ ǡ ͷͻ
ǡ Ǥǡ ǯ ǡ ʹͲ Ǥ ǫ ǯ Ǥ Ǥ ǯ Ǥ Ǥǯ ǡǤ Ͳ
ȗȗȗ A TRIP THROUGH JAZZ* Michael White, PhD**
I INTRODUCTION ǯ ǡ Ǥ ǡ ǡ Ǥ ǡ ǯ Ǥ ǯ Ǥ Ǥǡ ǯ Ǥǡ ǡ ǡ ǡǡǡǤ ǡ Ǥ Ǧ Ǧ Ǥ ǡ ǡ ǡ
* ǡ ǡ ǡͳ͵ ʹͲͳͷǤ **ǡǢ ǢǢǦ ǢǡǤ
ͳ ʹ
Ǥ ǡ ǡ Ǥ ̈́ʹ͵ǡͲͲͲ̈́͵ǡͲͲͲȄ Ǥ Ǥ ǯ ǡǯ Ǥ Ǥ ǡ ǡ ǡ Ǥ ǡ ǡ Ǥ II NEW ORLEANS JAZZ
ͳͳͺ ǡ Ǥ ǡ ǡ ǡ ǡ Ǥ ǡ ǡ Ǥ ǡ ǡ ǡ ǡ ǡǡǡǡ Ǧǡǡǡǡ Ǥ ǯ ǡ ǯ Ǥ ǡ Ǥ ͵
ǡ Ǥ Ǥ ǡǡ Ǥ ǡ ǡ ǡ ǡ Ǥ ǡ ǡ Ǥ Ǥ ͳͲͲ ǡ ǡǡ Ǥ ǡ Ȅ ǡ ǡ ǡ Ȅ Ǥ Ǧ ǡ ǡ Ǥ Ǧ ͳͺͲͲ Ǥ ǡ ǡ Ǥ ǡǡ ǡ ǡ ǡ ǡ Plessy v. Fergusonǡͳ ͳͺͻǤ
ͳǤͳ͵ǤǤͷ͵Ǥ ǤDzdz ǡidǤͷͷ͵ȋ ǡ ǤǡȌǡ Ͷ
ͳͺͻͲ ǡ Ǥ ǡǯ Ǥ ǡ ǯ Ǧ ǤǤ ǡǯ ǡ ǯ Ǥ ǡǡ ǡ ǡ Ǥ ǡ ǡ Ǥ
From African Traditions to Improvisation to Jazz ǡ ǡ ǡǡ ǡǡ ǡ Ǧ ǡ ǡ ǡ ǡǤ Ǥ ǡ ǡ ǡ Ǥ ǡ Ȃ Ǧ Ǧ ǡ Ǧ
ͳͻͷͶBrown v. Board of Educationǡ͵ͶǤǤͶͺ͵Ǥ ͷ
Ǥǡ ǡ ǡ Ǣ ǡ ǡ ǡ Ǣǡ ǡ Ǥ Ǧ ǡ Ǣ ǡǢǤǡ ǡǤ ǡ Ǥ ǡ ǡǡ ǡǡ Ǥ
The Social Significance of Jazz ǡ ǡǤ ǯ ǡ Ǥ Ǥ ǡ Ǧ Ǥ ǡ Ǧ Ǥ ǡ ǡ ǡ ǯ ǡ ǡ Ǥ ǡ ǡǯ ǡ
ǡ ǡ Ǥ ǡ Ǥ Ǥ ǡ Dzǡdz Ǥ ǡ ǣ ǡǡ ǯ ǢǯǢǯ Ǥ Ǥ ǯ Ǣ ǯ Ǥ ǯ ǡ Ǣ ǯ ǡ Ǥ
Black Social-Club Parades ǡ ǡ ǡ Ǥ ǡ Ǧ Ǥ ǡ Ǧ ǡ ǡ ͳͲͲ Ǥ Ǧ Ǥ Ǧ ǡ ǡ ǡǤ Ǧǡ ǡ Ǧ ǡ Ǧ ǡ
ǡ ȏǡ ǡ ǡ ǡ ǤȐǤ Ǥ Ǧ Ǥ ǡ Ǥ ǡ Ǥ ǡ ǡǤ ǡǦ Ǧ ǡ Ǥ ǡǡ Ǥ ǡǡ Ǧ Ǧ Ǥ ǯǡ ǡǡDzǯǨdz ǡǤǡ ǡ Ǥȏ Ȑ Ǥ ǯǯǡ Ǥ Ǥ ǯǡ ǯǤ ǯ Ǥ Ǧ Ȃǡ Ǧ Ǥ Ǣǯ Ǥ ͺ
Ƭ Ǥ Ǥ ȋ Ȍǡ Ǧ Ǧ Ǥ ǡ ǡ Ǥ ǡ ǡ ǡ ǡ ǡ ǡ ǡ ǡ Ǥ ǡ ǡ Ǥ ǡ ǡǡǡ ǡ ǡ ǡ ǡ ǡ ǡǡ ǡȄǡǡ Ǥ Ǥ Ǥ ǯ Ǣ ǡ Dz ǫdz ǡǡDz Ǩdz ȄǤ ǡǡ ǡ ǯǡǤ ǫ ǫ ǯǡ ǡ Ǥ ǡ Ǥ ǡ Ǧ ǡ ǡ ǡ ͻ
Ǥ Ǥ
The March Song ǡ ǦǦ ǡ Ǥ ǦǤ ǡ ǡ ǡ ǡ ǡ Ǥ ǡ ǡ ǡ ǡ ǡǤ ǯ Ǣǡ ǡ ǡ Ǥǡǡǡ ǡ ͳͲͲǤ
The Jazz Funeral Ǥ Ǥ ǯ ʹͲͲǤ ǣ Ǥ ǡ Ǥǡ ǡ Ǥ ǡ Ͳ
Ǣ ǯ Ǥ Ǥ ǡ Ǥ ǡ ǡ ǡ Dz ǡdz Ǥ Ǥǡ ǡ Ǧ ǡ Ǧ ǡ ǡ Ǥ ǡǡ Ȅ ǡ Ǥ ǯ Ǥ
Jazz Moves Out of the South ͳͻͲͺǤ ͳͻͳǡ ͳͻʹͲ ǯ Ǥ ǡ ǡ Ǥ ǯʹͲ ǡǡ Ǥ Ǥ ǡǯ Ǥ ͳͻʹ͵ǡ ǡ ǡǯ Ǥ Ǣ Ǥ ͳ
ǡ Ǥ Ǥ Ǥ Ǥ ͳͻʹͲǯ͵ͲǤ Ȅ ǡ ǡ Ǥ Ǧ Ǥ Ȅǡ Ǧ Ȅ Ǥ Ǥ ǯǤ ǡǡ Ǥ Ǧ Ǥ Ǥ Ǥ ͳͻ͵ͻ ǡ Summertime. ǡ Petite Fleurǡ Ǥ ǡǡ ͳͻͷͻǤ ǤͳͻʹͲ ǡ ʹ
Ǥ ǯǡǤ Ȅ ǡǡǤ ǡ ǡ ǡ ǡ ǡ Ǥ Ǥ ǡ ǡ Ǥ Ǥ Ǧ ǡ ͳͻ͵Ͳ Ȅ ǡǡ ǡǡ Ǥ Ǧ ͳͻͶͲ ǯͷͲǤ ǯͷͲ Ǥ ǯͷͲ ǡ ǡ Ǥ ǯ Ǥȋ ǤȌ ǡ ǯǤ ǡ ǯ Ǥ ǡ Ǥ Ȅ Ȅ ͵
ǡǯ Ǥ ǡ ǯ Ǥ Ǥ Ǧ ǡǡ Ȅ ǡ ǡǡ Ǥ ǡ Ǥ Ǥ Ǥ Ǥ Ǥ
QUESTIONS &ANSWERS Q: ǯ ǡ Ǧ ǡ Ǥ ǡ ǫ A:ǯ ǡǤ Ǥ ǡǯ ǡǡ Ǥ Ǥ ǡ Ǥ ǡǯǤ ǯǤ ǡ Ͷ
Ǥ ǯ ǣDz ǯǡ Ǥdz ǡ Ǣ ǤȄ Ȅ Ǥ ǡǯ Ǣǯ Ǥ ǡ Ǥ ǡ ǯ Ǥ ǡ ǯ Ǣ ǡǦ Ǥ ǡǤ ǯ ǡ Ǧ Ǥ ǡ ǡ Ǧ ǡ Ǥǡǡ ǡ Ǥ
Q: ǡ ǡ ǫ A:ǡ Ǥ ǡ Ǣ ǯ ǡ ǯ ͳͻʹͲ Ǥ ǡǤ Ǥ Ǥ Ǥ Ǥ ͷ
ȄǤ Ȅ ǡ ǡ Ǥ Ǥ ǡ ǡ ǯ Ǥ Ǥ ǯ ǡ ǯ ǯ Ǥ ǡǡ Ǥ Ǥ ǯ ǡ ǡ ǯ ǡ ǡ Ǥ Ǥ ǡ ǡ ǡ ǤǤ
ȗȗȗ
YAWKEY WAY
Christopher A. Duggan*
“The evil that men do lives on after them The good is oft interred with their bones.” Ǧ Julius Caesar ǡ
I INTRODUCTION Boston Globeǡ ǯ Ǥ Ǥ
ȗ ǡ ǡǡǤ Boston Globe ǡIt’s Time to Banish the Racist Legacy of Tom Yawkeyȋ Ǥǡ ʹͲͳͷȌǤ
ͺ
ͳͻ͵͵ǡ Ǥ ͳͻǤ ǦǦ Ǥ ǡ ǡ Ǥ ͳͻͺͲǤ ǯ Dz dzͳͻǡǯǡ ǦǤ ǡ ǡ ǡ Ǥ ǡ Dz dz Ǥ ǯ ǦǦ ǡ ǡǯͳͻ ǡ ǡ Ǥ ǯ Ǥ ǯ ǡ Ǥ ǡ ǡ ǯǡ ǡ Dz Ǥdz ͻ
II THE YAWKEY LEGACYͳ ǯ ǡ Ǥ ǡ Ǥ ǡ ǡ ǡ Ǥ ǡ ǡ ǤǡǡǯǤ Ǥ ǡ ǡǡǤ ǡ Ǥ ǡ ǡ Ǥ ǯ ǡǡǡ ȋ ȌȄ Ǥ ǡ
ͳǤ ǣǤǤǤ ͺͲ
ǡ ǡ Ȅ Ǥ ǡ Ǥ ǡ ǡ ǡ ǡ Ǥ ͳͻǡ ǡ ǡ ̈́͵Ͳ Ǥ ǯ Ǥ ǡǡ ǡ ǯǡ Ǥ ǡ ǡǡ ǯǤ III THE FENWAY TRYOUT ǯ Ǥ ǡ ǯ ͳͻͶͷ Ǥǡ ǡ Dz dz ǡ ǡ ͳ ǡ ǤǤ Ǥ Ȅ ǦǤ ͺͳ
ͳͻͶͷǡ ǤǤ ǯ ǡǡ Ǥ ǡ ǡ Ǥ Ǥ Ǧ ǡ ǡ Ǥǡ ǯǤǡ ǡ ǡ ǡ ǡ ǯ Ǥ ǡ ǡ Ǧ Pittsburgh Courier. Courier ͳͻ͵Ǥ ǡ Ǥ Ǥ Ǥ ǡ Sam Jethroe ͺʹ
ǡʹǤ ǡ Ǥ ǡǡǦǡ Ǥǡ Ƭǡ Ǥ ǡ ǤͲͻ ͳͻͶͳ ǡǡǦ Ǥ ͳͻͶʹ ͳͻͶͶǡ Ǧ ǡ Ǥ ͳͻͶͷǡ ǡ ǡ Ǥ ǡ Ǥ ǡ Ǥ ǡ ±± Ǧ Ǥ ͳǡͳͻͶͷǡ ǡ ǡ ǡ Ǥ ǡ Ǧ Ǥ ǯ ǡ ǯ
ʹǤ ǣǤǤǤ
ͺ͵
ǦǡǡǯǤȋ ǤȌ Dzdz Dz ǡdz ǡǡ Ǥ ǡǤ ͳͻͶʹǡǡ ǯ ǡ ǡ ǤǤ Ǥ IV HEARSAY BECOMES LEGEND, AND LEGEND BECOMES FACT ǡ Dz ǡdz ǡ ǡ Ǥ Globe ǡ Globeǡǡ ǯǤ͵ Ǥ Ǥ ǡ Ǥ Ȅ ǡ ǡ Ǥ ǡ ǡ ǡǯ
͵ǤǡIt’s Time to Banish the Racist Legacy of Tom Yawkeyǡ ȋ ǤǡʹͲͳͷȌȋ ǡ ǣ ȋʹͲͲʹȌǡ available at ǣȀȀǤǤ ȀȀʹͲͳͷȀͳʹȀͲȀǦǦǦ Ǧ ǦǦǦǦǦǦȀ ͷ ͵ ͻȀǤǤ ͺͶ
ǡ Ǥ ǡ Ȅ Globeǡ Heraldǡ Postǡ Travelerǡ Boston American—ȋ Ȍǡ Ǥ Boston Globe ǡ Pittsburgh Courier ǡ Ǥ ǡ The Courier Ǧ Ȅ ʹͲͲǡͲͲͲ Ȅ Ǥ Courier Ǥ ͳͻͶǡǯǡ ǯ Ǥ ǯ ǯ ʹͳǡͳͻͶͷǡTheCourierǤ ǡ Ǥ ǯ ǡ Ǥ ǡ Dzǡ ȏȐǮǯǯ ǡ ǤdzͶ ǡDzǡ ȏ Ȑ Ǥdzͷǡǡ
ͶǤǡPlayers Get Try-Outs: Red Sox Consider Negroesǡ ȋʹͳǡͳͻͶͷȌǤ ͷǤIdǤ ͺͷ
Ǥ ǫ ǡ Boston Globe ǡ ͳͻͻȄǦ Ǥ ǯ ͳͻͶͷǤ ͳͻͻ Globe Ǥ ǡ Globe ǡ Ǥ Ǥ ǡ Ǥ ǯͳͻͻ Ǥ ǡ ͳͻͷͻ ǡ Ǥ ǡ ǤͶͲͲ Ǥ ǡ ǡ ͳͻͷͺ Ǥ ǯ Ǥ ǡ Globeʹͻǡͳͻͷͻǡ ͳͻͶͷ ǡ ǯ ǡ ǡ Ǥ ǡ Ǥǡǯͳͻͻ
Ǥ See ǡTryout and Fallout: Race, Jackie Robinson, and the Red SoxǡǤ ǤǤͳͳǡʹͻȋʹͲͲͻȌȋ Ǧ ǯ ǡ Boston Globeǡ ʹʹǡͳͻͻȌǤ ͺ
ͳͻͶͷǡ ǡǤ ǯ Ǥ ǡǡ Ǥ ͳͻͶͷ ǡ Boston Herald-American Dz ǡdz Ǥ ǡ Ǥ Ǧ ǯ Ǥ ͳͻǡ Ǥ ǤǯǡGet That Nigger Off The Fieldǡͺ ͳͺͺͺǤ ǯǯ Ǥ ǯ ͳͻͶͷ ǡ ͳͻͻ Ǥ ǡ ǡ Ǥ Ǥ Ǥ ǡǦ ǡ ǡ
. IdǤ ͺǤ ǤǡDz ǨdzȄ ǡ ȋͳͻͶȌǤ ͺ
ǡ Ǥ ǯGlobe Ǥ ǡ Ǥ Ǥ Ǥ ǡǡǡ ǡ ǡ ǡ Ǥ ǡ Ǥ ǡ ǯ ǡͳͻͶͷǡ Ǥ ǡ ǯ Ǥ V MISSED OPPORTUNITIES Ǥ Ǥ ǡ Ǥ ǡͳͻͷͻǡ ǡ Ǥ Ǥ ͺͺ
ǡ Ǥ ǡ Ǥ Courier ǯǣ ǤǤǤǤ Ǥ Ǥ ǦǤȏ ǤȐͻ
Pittsburgh CourierǤ ͳͻͶͺǡ Ǧ ͳͻͻͶǤ ͳͻͶͷ ǣ ǡǡ ǡ Ǥ ǡ Ǥ Dzdz ͳͻͷͻǡ ǡ ǡǡ ͳͻͶǤ ǡ Ǥ
ͻǤǡsupra ͶǤ ͺͻ
DzdzǡǦǡ ͳͻͷͲǤ ǯ ǡǤ ǡ ǡ Ǥǡǡ ǡǤ͵ʹʹ͵Ͷ ͳͶͶ ǡ ǡ ǡ Ǥ Ǥ ǯ ǡ ǡ ͳͻͷͲǤ ǡ Ǧ Ǥ ǡDzdz ǡͳͻͷͷ ͳͻͷͻͳͻͲͳͻʹǡ Ǥ ͳͻͶͲͳͻͷͲǤ ǡ ǡǡ ǡ ǯ ǡ ǡ ͳͻͶͻǤ ǡ Ǥ ǡ Ǥ ǡ ǡ ǡ ǡ Ǥ ͻͲ
VI PRESCIENCE AND BIGOTRY:BRANCH RICKEY AND PINKY HIGGINS ͳͻͷͲǡ ǯ ǣ Ǥ ǡalma mater ǡ ͳͺͺʹ ͳͺͺ͵Ǥ ǡ ͳͺͺͲǤ Dz ǯ dz ǯ Ǥ ǡ ǡ ͳͻͶͷǡ Ǥ ǯ Ǥ ǡ Ǥ ǡ Ǥ Ǥ ǯǡ ǡ ǯ Ǥ ǡ ǡ ǡ Ǥ ǣ Ǧ Ǥ Ǥ ͳͻͶͷǡ Ǥ ͻͳ
ǡ ǯ Pittsburgh Courier Ǥǡ ǡ Ǥ ǡ ǡ Ǥ ͳͻͶǡ ǡ ǡǦ Ǥ Ǥ ͳͻͷͲ ͳͻͲ Ǥ ǫ Ǥ ǡ ǡ ʹͺǡͳͻͷǡSports Illustratedǡ Ǥǡ ǡ ǡ Ǥ Ǥ ǤͳͲ
ͳͲǤ ǣǤǤǤ ͻʹ
ͳͻͷͷ ͳͻͷͻǡ ͳͻͲ ͳͻʹǤ ͳͻͳͳͻͷǤ ǡ Ǥ ǯ ͳͻͷͻǡ Ǥ ͳͻͷͻ Ǥ ͳͻͷͻǡͳͻͲǡ Ǧ ǡ Ǥ ǡ Ǥ ǡ Ǥ ǡ ͳͻͲǡ ǡ Ǥ ǡǡ Ǥ
VII THE ADVENT OF ELIJAH GREEN ǡ ǡ ͳͻͷͻ Ǥ ǯ ʹͳǡͳͻͷͻǡ Ǥ Ͷǡ Ǥǡ Ǥ ʹͲͲͻǡͷͲ ǯ Ǥ ǡ ǡǡǡ ͻ͵
Dz ǯ Ǥ ǯ ǯǤǤǤǤ ǡǯ Ǥ ǡ Ǥdzͳͳ ǯ ǡ Ǥ ͳͻͶͷǤ Ǥ ǡ ͳͻͶͷǤ ǯ ǡ Ǥ ǡ ͳͻͷ͵Ǥ Ǧ ǡ ʹȂͲ ͳͻʹǤ Ǥ ͳͻͷͻǡ Ǥ VIII DICK O’CONNELL AND A CHANGING ORDER Ǥ ǡͳʹ ͳͻͶͷ ǡ ͳͻͶͷǡ ǡ Joe Cronin
ͳͳǤǡPumpsie Green Changed the Face of the Red Sox for the Betterǡǡavailable atǣȀȀǤ ȀʹͲͲͻȀͲͺȀǦǦ ǦǦǦͷͲǦǦȀǤ ͳʹǤ ǣǤǤǤ ͻͶ
Ǥ ǡ ͳͻͷͻǡ Jet Magazine Ǥ ͳͻͶ Ǧ Ǥ ǡ ǡǤ Ǧ Ǥ ǡ ǡ ǯǡ ͳͻͳǡ ǯ ͳͻͷǤǯ Ǥǯǡ Ǥ ǯǯ Ǥ ǯǯ ǯǡ Ǧǡ ǦǤ ǯ ǯ ͻǡͳͻǤǡ Ǥ ǯ ǡǯ Ǥ ͻͷ
IX GROWTH AND REDEMPTION The Impossible Dream Team, 1967 ǯ ǡ ǡ Ǥǯ Ǥ ǡ ͳͻǡ ǡ ǡǡ Ǥ ǡ ͳͻͷͷǡ Ǥ ǯǯ ǡ Ǥ ͳͻͶͷǡ Ǥ Globe ǡ Ǥǡ ǡ ȋ Virginia and Kentucky ResolvesȌǡ ͻ
Ǥͳ͵Ǥ Ǥ ͳͺͷͲǯǤ ǡǯ ǡ Ǥ ǡǡ ǡ ǡ ǡ Ǥ
X HISTORY AND MORAL JUDGMENTS ǡͳ ǡ Ǥ ǡ ǡ ǯ Ǥ ǣǡ ǡ Ǥ Ǥ ǡ Ǥ Ǥ Ǥ Ǥ ǡ ǯ Ǥ ͳͺǡ ǡǡ ǡ ͳͺǤ Ǥ ͳͻǡ ǡ
ͳ͵Ǥǡsupra͵Ǥ ͻ
ͳͺ ǡ Ȅ Ǥ Ǥǡ Ȅ ǡ Ǥ ǡ ǯ Ǥ ǡ ǡ ǫ ǡǡǤ ǡ Dz ȏ Ȑ Ǥ Ǥ Ǥ ǡ ǤdzͳͶ Dzdz ǡ Ǥ Ǥ ǡ Ǥ ǡǡ Ǥ ͳͺͷͺǡ Ǥ ǡ Ǥ ǡͳͺʹǡ Ǥ ǡ ǡ ǡ ǣ Dz ǡdz
ͳͶǤ ǡǤʹȋǤǤͳȌǤ ͻͺ
ǡDzisǡnot Ǥ ǡ ǤǤǤǤdzͳͷǡ ǡ ǡ ǡ Ǥ ǯ Ǧǡ ǫǡ ǡ ǡ ǡ ǫ Ǥ ǡ ǡ Ǥǡǡ Ǧ ǤDz dz ǡ ǡ ǡ ͳǡ ͳͺʹǤ ǡ Ǥ ͳǡͳͺ͵Ȅǡ ǡǡ Ǥǡ Dz Ǥdz ͳͳǡͳͺͷǡ Dz ǡ dz ǡ Dzdz Ǥ ʹͳ ǡͳͺͷ
ͳͷǤ ȋʹʹǡͳͺʹȌǡ available atǣȀȀǤ ǤȀ Ȁ ȀǤ ͻͻ
Ȅ Ǥ ǡ ǯ ͳͳ ǡ Dz Ǥdzǡ ǡ ǯ Ǥ ǯ ǡ ͳͺǡ Dz ǤǤǤ Ǥdz ǣ ǯ ǯ Ǥǡ ǡ Ǥ ǡ Ǥǡ Ǥ
XI WILLIAMS,GARRISON,MORRIS, OR YAWKEY WAY? Dz dz Dz dz ǯ ͳͻǤ ǡ ǡ ǡ Ǥ Ǥ ǡ ǡ Ǥ ǡ ǡ ǡǡͳͻͶͳͻͶǡ ͳͲͲ
Ǥ ǡ Ǥ ǣ Ǥ Ǥ ͳͻǡ ǡ ͳͻͶǤ Ǥ ǯ ǡDzdz Ǥ Ǥ Dz ǡdz ǡ Dz Ǥ Ǥdz ȋ Ȍǡ Ǥ ǡ Dz dz ǡ ǡǡǡǡ Ǥ XIII WILLIAMS ON YAWKEY ǡ ǯ ǯ Ǥ ǡ ǡǣ Dzǡ Ǥǥ ǡǤ ǣ Ǥ ͳͲͳ
ǯǤdz Ǥ ǯ Ǥ ǡ Ǥͳ
Ted Williams and Tom Yawkey
ͳǤ ǣ ǤǤ ͳͲʹ
ȗȗȗ