National

Ferguson Mulls Removing Brown Shrine from Middle of Street

Published

11 years ago

May 6, 2015

A car passes two makeshift memorials to Michael Brown Tuesday, May 5, 2015, near where the unarmed, black 18-year-old was shot and killed last August by white Ferguson, Missouri, Police Officer Darren Wilson. (AP Photo/Jim Salter)

JIM SUHR, Associated Press
ALAN SCHER ZAGIER, Associated Press

FERGUSON, Mo. (AP) — To some, a makeshift shrine in the middle of the Ferguson street where Michael Brown was killed last summer is a hallowed symbol of a new civil rights movement over race and policing. To others, it has served its purpose and is now more of an eyesore and a road hazard.

Within hours of Brown’s Aug. 9 shooting death by a white police officer, people began placing stuffed animals, candles and other tributes in the middle of Canfield Drive, where the unarmed black 18-year-old’s body lay for about four hours before it was removed.

The shrine stretches several yards down the center of the two-lane road that bisects a housing complex, and city leaders are grappling with the thorny question of whether to remove or replace it and risk further inflaming racial tensions in the 21,000-resident St. Louis suburb, which is two-thirds black. Another section of the shrine sits along the curb a few yards away.

“It’s a very sensitive topic,” says Janie Jones, a black, Washington-based mediator who says she has been working behind the scenes with Ferguson municipal leaders and the Brown family on how to clear out the memorial without agitating the black community.

“It represents a community’s cry for justice — not just for Michael Brown, but for people all over the world,” Jones told The Associated Press on Monday. “The city has some serious decisions to make going forward.”

Brown’s killing by Officer Darren Wilson, who left Ferguson’s police force after a grand jury decided not to charge him, touched off weeks of sometimes-violent demonstrations and a national “Black Lives Matter” movement that only gained momentum with the subsequent police killings of unarmed black men in other U.S. cities.

Although Wilson wasn’t charged, the U.S. Justice Department released a scathing report citing racial bias and racial profiling in the Ferguson Police Department and in a profit-driven municipal court system that frequently targeted blacks.

Ferguson Mayor James Knowles III, while appreciative of the memorial’s status as a nexus of protests and prayers, said it is now a public safety issue that comes with “any time you leave items in the middle of the roadway.” Knowles, who is white, pointed to last Christmas Day, when an unidentified motorist — whether intentionally or accidentally — plowed through the shrine. Neighbors and Brown supporters swiftly cleaned up the damage and rebuilt the site.

Now, Knowles said, “the city would like it moved,” adding that “we’re working on getting a buy-in with the family and community” to make it happen. He said no decisions have been made and there isn’t a deadline to decide the matter.

During a Ferguson City Council meeting last month — the first since city elections tripled black representation on the governing board that had been largely white — Jones proposed replacing the shrine with a permanent dove-shaped marker embedded in the street.

That would “take a very tragic situation and use it as a teachable moment to encourage community healing and symbolize the unity that is very much needed,” said Jones, president and CEO of the Joint Council on Policy and Social Impact. “The way we deal with this memorial is how we move forward in Ferguson, because that memorial represents the best and the worst of Ferguson.”

Jones said Brown’s mother wants a portion of the road where the memorial rests carved out and repaved because “she feels like her son’s blood is still in the streets.”

Jeff Small, a Ferguson city spokesman, said discussions about the memorial’s fate likely would go the city’s traffic commission comprised of various Ferguson residents and newly elected Councilwoman Ella Jones, who did not return telephone messages seeking comment for this story.

The Brown family’s attorney, Benjamin Crump, also did not reply to messages seeking comment.

Debate about the memorial’s fate comes as Brown’s parents are pressing a wrongful-death lawsuit against the city of Ferguson, Wilson and the former police chief. Dorian Johnson, who was with Brown at the time of the shooting, also sued those same parties last week, accusing Wilson of being the aggressor who used excessive force and “acted with deliberate indifference or with reckless disregard” for Johnson’s rights.

___

Follow Alan Scher Zagier on Twitter at https://twitter.com/azagier.

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Oakland Post: Week of May 6 – 12, 2026

The printed Weekly Edition of the Oakland Post: Week of may 6 – 12, 2026

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4 days ago

May 10, 2026

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Published

2 weeks ago

May 3, 2026

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

Published

2 weeks ago

May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.