Who killed Alonzo W. Slayback in the St. Louis Post-Dispatch offices on the 13th of October 1882?

John A. Cockerill, the paper's managing editor, killed Alonzo W. Slayback with a pistol shot on the 13th of October 1882. Cockerill claimed self-defense after Slayback barged into his office to demand an apology for articles questioning James Overton Broadhead's political integrity.

What document did Joseph Pulitzer write for the St. Louis Post-Dispatch on the 10th of April 1907?

Joseph Pulitzer wrote a document on the 10th of April 1907 that declared the St. Louis Post-Dispatch would never belong to any party and always fight demagogues of all parties. This platform established a radical stance that the publication would never tolerate injustice or corruption and always oppose privileged classes and public plunderers.

When did the St. Louis Post-Dispatch introduce the Weatherbird cartoon and who created it?

The St. Louis Post-Dispatch introduced the Weatherbird cartoon on the 11th of February 1901. Harry B. Martin created the whimsical bird to accompany the daily weather forecast, and Amadee Wohlschlaeger was the first artist to draw it in color.

What secret agreement did the St. Louis Post-Dispatch publish on the 22nd of May 1946?

The St. Louis Post-Dispatch published the secret protocols for the 1939 Molotov, Ribbentrop Pact on the 22nd of May 1946. This agreement between Nazi Germany and the Soviet Union divided Eastern Europe, and the paper became the first newspaper in the world to publish these secret protocols.

How did the St. Louis Post-Dispatch improve air quality in the late 1930s and early 1940s?

The St. Louis Post-Dispatch led a Pulitzer Prize-winning campaign to clean up the city's air during the late 1930s and early 1940s. The paper's investigative reporting exposed severe pollution problems and mobilized public opinion to demand action, resulting in significant improvements to the city's air quality.

When did the St. Louis Post-Dispatch announce the closure of its St. Louis press facility in 2024?

The St. Louis Post-Dispatch announced the closure of its St. Louis press facility in September 2024. The paper decided to outsource printing to a facility in Columbia, Missouri, which resulted in the loss of 72 jobs and a move to a six-day printing schedule.

St. Louis Post-Dispatch

On the 13th of October 1882, a pistol shot rang out in the offices of a fledgling newspaper, killing a man named Alonzo W. Slayback and forever altering the trajectory of the St. Louis Post-Dispatch. The shooter was John A. Cockerill, the paper's managing editor, who claimed self-defense after Slayback barged into his office demanding an apology for a series of articles questioning the political integrity of James Overton Broadhead. Slayback, Broadhead's law partner, had called the newspaper a blackmailing sheet, and the confrontation escalated until Cockerill fired a fatal shot. Although a grand jury refused to indict Cockerill, the economic fallout was immediate and severe, forcing Joseph Pulitzer to send his managing editor to New York to run the New York World. This violent incident did not destroy the paper; instead, it cemented a reputation for aggressive, unyielding journalism that would define its identity for over a century. The paper survived the scandal by pivoting to a new philosophy of independence, one that would eventually lead to nineteen Pulitzer Prizes and a legacy of fighting corruption regardless of the political cost.

On the 10th of April 1907, Joseph Pulitzer wrote a document that would become the moral compass for the St. Louis Post-Dispatch, declaring that the paper would never belong to any party and always fight demagogues of all parties. This platform, known simply as the paper's platform, established a radical stance that the publication would never tolerate injustice or corruption, always oppose privileged classes and public plunderers, and never lack sympathy with the poor. Pulitzer insisted that the paper must be drastically independent, never satisfied with merely printing news, and always ready to attack wrong whether it came from predatory plutocracy or predatory poverty. This philosophy guided the newspaper through decades of political turmoil, from the early 20th century to the modern era, ensuring that the Post-Dispatch remained a voice for the public welfare rather than a mouthpiece for political machines. The platform's influence was so profound that it shaped the paper's editorial decisions for generations, including its fierce criticism of Harry S. Truman during his presidency and its support for progressive causes throughout the 20th century.

On the 11th of February 1901, the St. Louis Post-Dispatch introduced a front-page feature that would become the oldest continuously published cartoon in the United States, a whimsical bird known as the Weatherbird. Created by Harry B. Martin, the Weatherbird accompanied the daily weather forecast and has been drawn by a succession of artists including Oscar Chopin, S. Carlisle Martin, Amadee Wohlschlaeger, Albert Schweitzer, and Dan Martin, with Schweitzer being the first to draw it in color. The cartoon became an iconic symbol of the newspaper, representing its commitment to lighthearted features alongside serious journalism. The paper was also one of the first daily newspapers to print a comics section in color, styled the Everyday Magazine, which appeared on the back page of the features section. This innovation in visual storytelling helped the Post-Dispatch stand out in a crowded market, attracting readers who might have been turned off by the paper's sometimes harsh political editorials. The Weatherbird and the comics section became enduring symbols of the paper's ability to balance serious news with community engagement, a balance that has persisted through the decades.

On the 22nd of May 1946, the St. Louis Post-Dispatch made history by becoming the first newspaper in the world to publish the secret protocols for the 1939 Molotov, Ribbentrop Pact, a secret agreement between Nazi Germany and the Soviet Union that divided Eastern Europe. This bold move demonstrated the paper's willingness to take risks and expose hidden truths, even when it meant challenging powerful political figures. The paper's relationship with Harry S. Truman, who was from Missouri, was particularly contentious, as the Post-Dispatch was one of his most outspoken critics, associating him with the Pendergast machine in Kansas City and constantly attacking his integrity. The paper's Washington bureau was one of the largest in the Midwestern United States, and its reporters covered major events with a level of detail and independence that set it apart from other regional newspapers. The paper's coverage of the 1950 FIFA World Cup in Brazil, where reporter Dent McSkimming paid for his own travel expenses and was the only U.S. reporter covering the event, further highlighted its commitment to thorough and independent journalism. These moments of bold reporting helped establish the Post-Dispatch as a national force, even as it remained rooted in the St. Louis community.

In the late 1930s and early 1940s, the St. Louis Post-Dispatch led a Pulitzer Prize-winning campaign to clean up the city's air, which was then the filthiest in the United States. The paper's investigative reporting exposed the severe pollution problems and mobilized public opinion to demand action, resulting in significant improvements to the city's air quality. This campaign was just one of many that the paper undertook to improve the lives of its readers, from covering the cultural icons of St. Louis like Kate Chopin, Tennessee Williams, Chuck Berry, and Miles Davis, to supporting the city's sports teams, including nine St. Louis Cardinals championships, an NBA title by the St. Louis Hawks in 1958, and the 2000 Super Bowl victory of the St. Louis Rams. The paper's commitment to the community was evident in its coverage of local issues, from the 100 Neediest Cases charitable giving campaign to its support for the city's cultural institutions. The Post-Dispatch's role as a watchdog for the community helped it maintain a strong connection with its readers, even as the media landscape changed and the paper faced increasing competition from other outlets.

On the 31st of January 2005, Michael Pulitzer announced the sale of Pulitzer, Inc. and all its assets, including the St. Louis Post-Dispatch and a small share of the St. Louis Cardinals, to Lee Enterprises of Davenport, Iowa, for $1.46 billion. The sale marked the end of the Pulitzer family's direct involvement in the newspaper, with Michael Pulitzer stating that no family members would serve on the board of the merged company. The transition to Lee Enterprises brought significant changes to the paper, including layoffs and the elimination of certain departments, such as circulation, classified phone rooms, production, purchasing, telephone operations, and marketing. The paper's circulation dropped significantly in the years following the sale, from 213,472 to 191,631 and then 178,801 for the two years after 2010, and the Sunday paper also decreased from 401,427 to 332,825 and then to 299,227. Despite these challenges, the paper continued to produce award-winning journalism, including the 2015 Pulitzer Prize for breaking news photography for its coverage of protests in Ferguson, Missouri. The sale and subsequent changes reflected the broader trends in the newspaper industry, as traditional print media struggled to adapt to the digital age and declining readership.

In September 2024, the St. Louis Post-Dispatch announced that it would shutter its St. Louis press facility and outsource printing to a facility in Columbia, Missouri, resulting in the loss of 72 jobs. The following month, the paper moved to a six-day printing schedule, eliminating its printed Monday edition, a move that signaled the ongoing challenges facing traditional newspapers. The paper's circulation continued to decline, with the daily circulation dropping to 98,104 and the Sunday circulation to 157,543 as of the 30th of September 2016. Despite these challenges, the paper has maintained its commitment to quality journalism, with its website, stltoday.com, receiving roughly 67 million page views a month. The paper's ability to adapt to the digital age while maintaining its core values of independence and community engagement has allowed it to survive in an increasingly difficult media landscape. The future of the St. Louis Post-Dispatch remains uncertain, but its legacy as a powerful voice for the community and a champion of investigative journalism continues to inspire new generations of journalists and readers.

St. Louis Post-Dispatch

The Platform Of Radical Independence

The Weatherbird And The Comics Revolution

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Common questions

The Secret Pact And The Truman War

The Battle For The City's Soul

The Sale And The Squeeze

The End Of An Era And The Future