On the ninth night of the protests in Ferguson, Missouri, Chris King, the managing editor of the St. Louis American, one of the country’s oldest blacknewspaper   s, got word from a protester that “outside agitators” were in possession of grenades. The St. Louis County Police Department had already fired tear gas and rubber bullets at demonstrators, and at the media, but the possible presence of grenades suggested escalating violence.

King was monitoring the protests from home, via a combination of onlinestreaming video   , Twitter, CNN, e-mail, and texts. He picked up his cell phone—a battered Sprint relic, the letters on the space bar worn down to “Spa”—and, just before 10 P.M., he texted a high-level member of the St. Louis Metropolitan Police Department: “Guy w brown visor & white bullhorn running around was the guy who brought the Molotovs and may have grenades.”

“White or black,” the police official texted back.

“White man,” King wrote, still watching footage of the protests. He added, “Get that guy. He is dangerous.” (A law-enforcement source told me that the reports of grenades were credible, but that none were confiscated at the scene.)

King’s actions, which may differ from those of more conventional journalists, come out of his history as an activist and an N.R.O.T.C. cadet. King, a bespectacled musician who grew up in Granite City, Illinois, a St. Louis suburb, has supported an array of causes over the years, including the Movement for the Survival of the Ogoni People (a protest against the Shell Oil Company in Nigeria) and the Zapatistas, in Mexico. After college, at Boston University, he wrote for newspapers, including the Times, but he felt conflicted as a journalist. He tweeted recently that while working for newspapers he “never felt needed 1 single day.”

But steady employment allowed him to continue as the lead singer for Eleanor Roosevelt, what he calls a “quirky folk rock” band, and it helped him to support his wife and child. Ten years ago, at the age of thirty-seven, King moved home to the St. Louis area and went to work for the American.

The Americans coverage tends to be either positive or pointed—the paper’s mission centers on advocacy. The print edition, which has a circulation of roughly seventy thousand, comes out on Thursdays, and the Web site publishes daily posts. There are two full-time reporters (one was on maternity leave at the time of Michael Brown’s death, and the other, employed through a grant, is dedicated to health reporting), one part-time reporter, two photographers   , and a full-time Web editor, who also reports. In addition to being the managing editor, King serves as the assignment editor, the copy editor   , and the chief emissary for Donald Suggs, the publisher.

Suggs was the chief of oral surgery    at Dover Air Force Base, in Delaware. (His staff calls him “Doc.”) He chaired the Poor People’s march on Washington, in 1968. A serious collector of African art, he helped to found what is now the Museum of African Art, in New York. In 1981, he bought the financially struggling American, with the goal of giving the city’s black residents a voice. Suggs is black and of a certain age (he prefers not to reveal the exact number); King is white and in his forties. In tweets, King has described himself as “a desk jockey with a text-message game to the halls of power” and his boss as “a fearsome power player.” He told me that “Missouri State University started its Public Affairs Hall of Fame this year, and the three people inducted were Harry Truman, Jack Danforth, and Donald M. Suggs.”

Suggs relies on King to carry out his vision for the paper and, by extension, for the African-American community. King describes Suggs as a modest person who prefers to work privately. “Our publisher has this newspaper so that he can make a difference for his people,” he told me. “Most of what he does, no one ever knows.” (Suggs spoke with me at length, but he was politely reluctant to talk about his back-channel influence. He did say, “The legitimacy of theAmerican, in my view, is that we measure up to our responsibilities as professional journalists. We clearly are advocacy media, but we’re responsible to facts.”)

According to King, as the fever worsened in Ferguson, Suggs “didn’t sit down and say, ‘Oh, why is the SWAT team bombing North County?’ Instead, he said, ‘Who can I talk to to make the SWAT team stop bombing North County?’ ” King said, “In addition to being a small newspaper staff covering a war in our own home town, we also had to fight back. My publisher taught me to go in after them. We went in after them.”

King began broadcasting the Americans involvement in the events unfolding in Ferguson; along with tweets about prayer vigils and crisis-support services, he announced that he planned to contact Senator Roy Blunt and “ask him to go to Ferguson and see for himself the mess.” He also tweeted, “I am hammering people to get to Claire”—Senator Claire McCaskill—“to get to WH”—White House—“to get to Nixon. Jay needs to be made to shit in his shoes.”

Channelling Suggs, King tweeted what could be called micro-editorials. (“It’s a matter of being forced to use political courage.”) When Jake Tapper, of CNN, expressed interest in interviewing a witness with whom King was publicly trying to bond, King tweeted, in response, “I am not encouraging him to do media and he told me he would not talk to me as a journalist. I am an advocate here.” At another point, he wrote, “Declaring yourself a reporter is an impediment, it seems. Social mediators are free to roam & report. I feel like this is changing journalism.”

* * *

When a police official privately asked King to get word to St. Louis county executive Charlie Dooley that Governor Jay Nixon needed to declare a state of emergency and remove the county police chief, Jon Belmar, from command, King called Suggs. Suggs phoned his old friend Mike Jones, a senior policy adviser to the county executive and a former St. Louis deputy mayor. Suggs told Jones that the situation in Ferguson was “now out of control.”

“He said the county police, as currently constituted, lacked the ability to get on top of the situation,” Jones told me. “He’s been a friend for over forty years, and we’ve known each other for thirty-five years of public life, and that’s the first time he’s ever called me and said, ‘Michael, I think you’ve got to do something, and here’s why.’ ” He added, “You cannot underplay the importance of the voice and the standing of the American inside the black community.” Of Suggs, Jones said, “He’s politically sophisticated, with a large world view and a first-class intellect. He’s got standing both in the black community and in leadership elements of the white community. He’s a disciplined, serious thinker, and he’s not going to casually come to a decision. What he thinks matters.”

The next afternoon, Nixon announced that the Missouri Highway Patrol would assume command of police operations in Ferguson. Suggs’s conversations the day before had given county leaders the confidence to support such a high-profile change at a volatile time, Jones told me. “I’ll put it like this,” he said. “The publisher of the Post”—the St. Louis Post-Dispatch—“couldn’t have called me and convinced me of that.”

* * *

Sam Dotson, the St. Louis police chief, has been publicly criticized by the local police union, as well as privately, within his own ranks, for declining to deploy tactical teams to Ferguson on the most violent nights of protest, and for expressing his disapproval of the county’s policing approach. King, though, thinks of Dotson as “a war hero” for refusing to participate in what he calls “theSWAT show.” He considers Dotson a good, “clean cop,” and he and Suggs supported Dotson’s addition to the unified command.

King and I were talking at the American’s offices, which are housed in a one-story brown-brick building in downtown St. Louis. Choking up, King removed his glasses and rubbed his eyes. “They were totally content to kill the people,” he said. “And there was one person who had the nerve to say, ‘I’m not gonna send my guys there.’ That’s insanely courageous.”

Dotson, after joining the command, suspected that outsiders were coming in from Chicago, California, Maryland, and Brooklyn because the police had not been working intelligence at night. King tweeted reports from sources at Canfield Green—the apartment complex where the Ferguson police officer Darren Wilson shot Brown—that fires were being set by white men “dressed hip-hop who came up the back trails” from the adjacent town of Jennings. Anarchists, he said, were teaching local kids how to make Molotov cocktails.

On the night that King directed the police to the protester with the bullhorn—“A clean cop is hunting him,” he tweeted, hoping to crowdsource followers into isolating the offenders until officers arrived—thirty-one people were arrested. Only one lived in Ferguson.

At 5:25 A.M. the next day, King went on CNN and told Chris Cuomo that the agitators wouldn’t “be here long.” Somewhat cryptically, he said, “We’re gonna run them out.”

Cuomo asked what he meant, adding, “Because the last thing we want is things done the wrong way.”

“No vigilante justice, no vigilante justice,” King said. “We’ll make sure they’re not here, though.”

King has always felt like an artist first and a journalist second, but he says that now he also feels like a secret operative suddenly made vulnerable. In certain phone calls and associations, he sensed menace, convinced that rogue cops and “mercenaries” were running a “contra” operation. At one point, he sought to verify my identity.

“A fake New Yorker writer would have been a brilliant play,” he said. “You have to consider you’re in a war zone for all intents and purposes, and we have battle trauma.”

Source: Paige Williams for The New Yorker





  • Do not forget Michael Brown
  • Do not forget how the media dehumanized him and tried to justify his murder
  • Do not forget how peaceful protests were painted as savage riots
  • Do not forget police armed with military grade weapons terrorized and arrested black civilians
  • Do not forget Darren Wilson being awarded over $500,000 in fundraiser donations for murdering an unarmed black child
  • Do not forget that this system was not built to defend us, but to control us
  • Do not forget Ferguson 

Do not forget.


We are born with stardust in our veins. Maybe life is just an exile and death is home.

Deep space.


Step Inside London’s Felt Cornershop

To view more photos and videos from Lucy’s Cornershop, explore the The Cornershop location page, browse the #thecornershop hashtag and follow @sewyoursoul on Instagram.

Look closely at a corner shop in East London and you’ll see everything is not as it seems. The Cornershop, opened in a derelict store in Bethnal Green by artist Lucy Sparrow (@sewyoursoul), is actually an art installation which consists of 4,000 items all handmade from felt! From Heinz Baked Beans to Digestive Biscuits, everything in the shop is hand-stitched and the whole shop took Lucy eight months to assemble.

“I wanted to create something that surrounded people completely,” says Lucy, whose first job was in her local corner shop. “I hope this project reminds people just how much the cornershop cements life in local communities.” The installation runs until August 31.

Tastefully done. And heartfelt!

Aura Color Meanings
RED AURA COLOR MEANING: Relates to the physical body, hart or circulation.The densest color, it creates the most friction. Friction attracts or repels; money worries or obsessions; anger or unforgiveness; anxiety or nervousness
Deep Red: Grounded, realistic, active, strong will-power, survival-oriented.
Muddied red: Anger (repelling)
Clear red: Powerful, energetic, competitive, sexual, passionate
Pink-bright and light: Loving, tender, sensitive, sensual, artistic, affection, purity, compassion;new or revieved romantic relationship. Can indicate clairaudience.
Dark and murky pink: Immature and/or dishonest nature
Orange Red: Confidence, creative power
In a good, bright and pure state, red energy can serve as a healthy ego.
ORANGE AURA COLOR: Relates to reproductive organs and emotions.The color of vitality, vigor, good health and excitement. Lots of energy and stamina, creative, productive, adventurous, courageous, outgoing social nature; currently experiencing stress related to apetites and addictions;
Orange-Yellow: Creative, intelligent, detail oriented, perfectionist, scientific.
YELLOW AURA COLOR MEANING: Relates to the spleen and life energy. It is the color of awakening, inspiration, intelligence and action shared, creative, playful, optimistic, easy-going.
Light or pale yellow: Emerging psychic and spiritual awareness; optimism and hopefulness; positive excitement about new ideas.
Bright lemon-yellow: Struggling to maintain power and control in a personal or business relationship; fear of losing control, prestige, respect, and/or power.
Clear gold metallic, shiny and bright: Spiritual energy and power activated and awakened; an inspired person.
Dark brownish yellow or gold: A student, or one who is straining at studying; overly analitical to the point of feeling fatigued or stressed; trying to make up for "lost time" by learning everything all at once.
GREEN AURA COLOR MEANING: Relates to heart and lungs.It is a very comfortable, healthy color of nature. When seen in the aura this usually represents growth and balance, and most of all, something that leads to change.Love of people, animals, nature; teacher; social
Bright emerald green: A healer, also a love-centered person
Yellow-Green: Creative with heart, communicative
Dark or muddy forest green: Jealousy, resentment, feeling like a victim of the world; blaming self or others; insecurity and low self-esteem; lack of understanding personal responsibility; sensitive to perceived criticism
Turquoise: Relates to the immune system.Sensitive, compassionate, healer, therapist.
BLU AURA COLOR MEANING: Relates to the throat, thyroid. Cool, calm, and collected. Caring, loving, love to help others, sensitive, intuitive.
Soft blue: Peacefulness, clarity and communication;truthful; intuitive
Bright royal blue: Clairvoyant; highly spiritual nature; generous; on the right path; new opportunities are coming
Dark or muddy blue: Fear of the future; fear of self-expression; fear of facing or speaking the truth
INDIGO AURA COLOR MEANING: Relates to the third eye, visual and pituitary gland.Intuitive, sensitive, deep feeling.
VIOLET AURA COLOR MEANING: Relates to crown, pineal gland and nervous system.The most sensitive and wisest of colors. This is the intuitive color in the aura, and reveals psychic power of attunement with self.Intuitive, visionary, futuristic, idealistic, artistic, magical.
LAVENDER AURA COLOR MEANING: Imagination, visionary, daydreamer, etheric.
SILVER AURA COLOR MEANING: This is the color of abundance, both spiritual and physical. Lots of bright silver can reflect to plenty of money, and/or awakening of the cosmic mind.
Bright metallic silver: Receptive to new ideas; intuitive; nurturing
Dark and muddy gray: Residue of fear is accumulating in the body, with a potential for health problems, especially if gray clusters seen in specific areas of the body
GOLD AURA COLOR MEANING: The color of enlightenment and divine protection. When seen within the aura, it says that the person is being guided by their highest good. It is divine guidance. Protection, wisdom, inner knowledge, spiritual mind, intuitive thinker.
BLACK AURA COLOR MEANING: Draws or pulls energy to it and in so doing, transforms it. It captures light and consumes it.Usually indicates long-term unforgiveness (toward others or another) collected in a specific area of the body, which can lead to health problems; also, entitities within a person's aura, chakras, or body; past life hurts; unreleased grief from abortions if it appears in the ovaries
WHITE AURA COLOR MEANING: Reflects other energy. A pure state of light. Often represents a new, not yet designated energy in the aura.Spiritual, etheric and non-physical qualities, transcendent, higher dimensions. Purity and truth; angelic qualities.
White sparkles or flashes of white light: angels are nearby;can indicate that the person is pregnant or will be soon
EARTH AURA COLORS: Soil, wood, mineral, plant. These colors display a love of the Earth, of being grounded and is seen in those who live and work on the outdoors....construction, farming, etc. These colors are important and are a good sign.
RAINBOWS: Rainbow-colored stripes, sticking out like sunbeams from the hand, head or body: A Reiki healer, or a starperson (someone who is in the first incarnation on Earth)
PASTELS: A sensitive blend of light and color, more so than basic colors. Shows sensitivity and a need for serenity.
DIRTY BROWN OVERLAY: Holding on to energies. Insecurity.
DIRTY GRAY OVERLY: Blocking energies. Guardedness.


An intimate relationship does not banish loneliness. Only when we are comfortable with who we are can we truly function in a healthy way.
Patricia Fry (via onlinecounsellingcollege)





ALL Ferguson Voters have the power to make this happen! Make it go viral and share!
Knowledge is power.




ALL Ferguson Voters have the power to make this happen! Make it go viral and share!

Knowledge is power.