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White US Gunman Caught in Killing of 9 in Black Church

Published

11 years ago

June 18, 2015

Oakland Post

Dylann Storm Roof (Courtesy Photo)

JEFFREY COLLINS, Associated Press
RUSS BYNUM, Associated Press

CHARLESTON, South Carolina (AP) — A white man who joined a prayer meeting inside a historic black church and then fatally shot nine people was captured without resistance Thursday after an all-night manhunt, Charleston’s police chief said.

Dylann Storm Roof, 21, spent nearly an hour inside the church Wednesday night before killing six women and three men, including the pastor. A citizen spotted his car in North Carolina and tipped police, Chief Greg Mullen said.

The chief wouldn’t discuss a motive. Charleston Mayor Joseph P. Riley Jr. called it “pure, pure concentrated evil.” Stunned community leaders and politicians condemned the attack on The Emanuel African Methodist Episcopal Church, and Attorney General Loretta Lynch said the Justice Department has begun a hate crime investigation.

President Barack Obama, who personally knew the slain pastor, state Sen. Clementa Pinckney, said these shootings have to stop.

“At some point, we as a country will have to reckon with the fact that this type of mass violence does not happen in other advanced countries,” Obama said.

Pinckney, 41, was a married father of two who became the youngest member of the South Carolina state House when he was elected as a Democrat at 23.

“He never had anything bad to say about anybody, even when I thought he should,” State House Minority leader Todd Rutherford told The Associated Press. “He was always out doing work either for his parishioners or his constituents. He touched everybody.”

Roof’s childhood friend, Joey Meek, alerted the FBI after recognizing him in a surveillance camera image, said Meek’s mother, Kimberly Konzny. Roof had worn the same sweatshirt while playing Xbox videogames in their home recently.

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

Roof had been to jail: State court records show a pending felony drug case against him, and a past misdemeanor trespassing charge.

He also displayed the flags of defeated white-ruled regimes: a Confederate flag was on his license plate, Konzny said, and a photo on his Facebook page shows him wearing a jacket with stitched-on flag patches from Rhodesia and apartheid-era South Africa.

The shooting evoked painful memories of other attacks. Black churches were bombed in the 1960s when they served as organizing hubs for the Civil Rights movement, and burned by arsons across the South in the 1990s. Others survived shooting sprees.

This particular congregation, which formed in 1816, has its own grim history: A founder, Denmark Vesey, was hanged after trying to organize a slave revolt in 1822, and white landowners burned the church in revenge, leaving parishioners to worship underground until after the Civil War.

This shooting “should be a warning to us all that we do have a problem in our society,” said state Rep. Wendell Gilliard, a Democrat whose district includes the church. “There’s a race problem in our country. There’s a gun problem in our country. We need to act on them quickly.”

“Of all cities, in Charleston, to have a horrible hateful person go into the church and kill people there to pray and worship with each other is something that is beyond any comprehension and is not explained,” Riley said. “We are going to put our arms around that church and that church family.”

NAACP President and CEO Cornell William Brooks said “there is no greater coward than a criminal who enters a house of God and slaughters innocent people.”

A few bouquets of flowers tied to a police barricade outside the church formed a small but growing memorial.

The attack came two months after the fatal shooting of an unarmed black man, Walter Scott, by a white police officer in neighboring North Charleston that sparked major protests and highlighted racial tensions in the area. The officer awaits trial for murder, and the shooting prompted South Carolina lawmakers to push through a bill helping all police agencies in the state get body cameras. Pinckney was a sponsor of that bill.

“I am very tired of people telling me that I don’t have the right to be angry,” Community organizer Christopher Cason said. “I am very angry right now.”

___

Contributors include Alex Sanz, Meg Kinnard and David Goldman in Charleston, South Carolina; Eric Tucker in Washington and Jacob Jordan in Atlanta.

—

This story has been corrected to show Roof’s friend’s mother’s surname is Konzny, not Kozny.

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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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March 24, 2026

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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.

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.