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Friend Says Church Shooting Suspect Ranted About Race

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Dylann Roof, 21, pictured here, wearing a jacket with the flags of the former white-racist regimes of South Africa and Rhodesia. (Dylann Roof/Facebook)

Dylann Roof, 21, pictured here, wearing a jacket with the flags of the former white-racist regimes of South Africa and Rhodesia. (Dylann Roof/Facebook)

MITCH WEISS, Associated Press
MEG KINNARD, Associated Press
JACOB JORDAN, Associated Press

LEXINGTON, South Carolina (AP) — In recent weeks, Dylann Storm Roof reconnected with a childhood buddy he hadn’t seen in five years and started railing about the Trayvon Martin case, about black people “taking over the world” and about the need for someone to do something about it for the sake of “the white race,” the friend said.

On Thursday, Roof, 21, was arrested in the shooting deaths of nine people during a prayer meeting at a historic black church in Charleston — an attack decried by stunned community leaders and politicians as a hate crime.

In the hours after the Wednesday night bloodbath, a portrait began to take shape of Roof as someone with racist views and at least two recent run-ins with the law. On his Facebook page, the young white man wore a jacket with the flags of the former white-racist regimes of South Africa and Rhodesia.

In an interview with The Associated Press, Joseph Meek Jr. said he and Roof had been best friends in middle school but lost touch when Roof moved away about five years ago. The two reconnected a few weeks ago after Roof reached out to Meek on Facebook, Meek said.

Roof never talked about race years ago when they were friends, but recently made remarks out of the blue about the killing of unarmed black 17-year-old Trayvon Martin in Florida and the riots in Baltimore over the death of Freddie Gray in police custody, Meek said.

“He said blacks were taking over the world. Someone needed to do something about it for the white race,” Meek said, adding that the friends were getting drunk on vodka. “He said he wanted segregation between whites and blacks. I said, ‘That’s not the way it should be.’ But he kept talking about it.”

Meeks said Roof also told him that he had used birthday money from his parents to buy a gun and that he had “a plan.” He didn’t elaborate on what it was, but Meeks said he was worried — and said he knew Roof had the “Glock” — a .45 caliber pistol — in the trunk of his car.

Meek said he took the gun from the trunk of Roof’s car and hid it in his house, just in case.

“I didn’t think he would do anything,” he said.

But the next day, when Roof was sober, he gave it back.

Meek said that when he woke up Wednesday morning, Roof was at his house, sleeping in his car outside. Later that day, Roof dropped Meek off at a lake with his brother Jacob, but Roof hated the outdoors and decided he would rather go see a movie.

Jacob said that when he got in the car, Roof told him he should be careful moving his backpack in the car because of the “magazines.”

Jacob said he thought Roof was referring to periodicals, not the devices that store ammunition.

“Now it all makes sense,” he said.

Joseph Meek said he didn’t see his friend again until a surveillance-camera image of a young man with a soup-bowl haircut was broadcast on television Thursday morning in the wake of the shooting. Meek said he didn’t think twice about calling authorities.

“I didn’t THINK it was him. I KNEW it was him,” he said.

The Southern Poverty Law Center, a civil rights group that tracks hate organizations and extremists, said it was not aware of Roof before the rampage. And some other friends interviewed said they did not know him to be racist.

“I never thought he’d do something like this,” said high school friend Antonio Metze, 19, who is black. “He had black friends.”

Roof used to skateboard while growing up in the Lexington area and had long hair back then. He attended high school in Lexington and in nearby Columbia from 2008 to 2010, school officials said. It was not immediately clear whether he graduated.

“He was pretty smart,” Metze said.

Meek’s mother, Kimberly Konzny, said she and her son instantly recognized Roof in the surveillance camera image because Roof had the same stained sweatshirt he wore while playing Xbox video games in their home recently. It was stained because he had worked at a landscaping and pest control business, she said.

“I don’t know what was going through his head,” she said. “He was a really sweet kid. He was quiet. He only had a few friends.”

State court records for Roof as an adult show a misdemeanor drug case from March that was pending against him and a misdemeanor trespassing charge from April. Authorities had no immediate details. As for any earlier offenses, juvenile records are generally sealed in South Carolina.

Court records list no attorney for him.

Meek said Roof’s mother and her boyfriend live in Lexington, and his father lives in Columbia.

Roof displayed a Confederate flag on his license plate, according to Konzny, but that is not unusual in the South.

His Facebook profile picture showed him wearing a jacket with a green-and-white flag patch, the emblem of white-ruled Rhodesia, the African country that became Zimbabwe in 1980. Another patch showed the South African flag from the era of white minority rule that ended in the 1990s.

In Montgomery, Alabama, the president of the Southern Poverty Law Center, Richard Cohen, said it is unclear whether Roof had any connection to any of the 16 white supremacist organizations the SPLC has identified as operating in South Carolina.

But Cohen said that based on Roof’s Facebook page, he appeared to be a “disaffected white supremacist.”

In a statement, Cohen said the church attack is a reminder that while the post-Sept. 11 U.S. is focused on jihadi terrorism, the threat of homegrown extremism is “very real.” Since 2000, the SPLC has seen an increase in the number of hate groups in the U.S., Cohen said.

“The increase has been driven by a backlash to the country’s increasing racial diversity, an increase symbolized for many by the presence of an African American in the White House,” he said.

___

Associated Press writer Jay Reeves in Alabama contributed to this story.

Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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