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Nature of the Threat: The Rise of Black Resentment Politics

In 1996 the rapper Ras Kass foreshadowed the rise of the current strain of black resentment politics that have come to a head with the Black Lives Matter movement. Back then rap music was arriving at the peak of its commercial success and cultural influence. Most of the industry was quite happy with the cozy relationship that existed between its mostly white fan base, the black artists, and the white and Jewish record executives, as this relationship was working out well for all and none were eager to disturb it.

It took a dissident underground artist, whose stake—or at least interest—in that compact was limited, to strike a starkly discordant note.

The track Nature of the Threat, appearing on the album Soul on Ice, was the canary in the coalmine. Its popularity and influence were always minimal, but it was revelatory of an untapped river of black resentment and hysteria, roiling beneath the relatively calm surface of the artform. With the likes of NWA, Public Enemy, and KRS-One, this basic attitude and approach certainly had significant predecessors. Though this was generally more anti-establishment and anti-cop than explicitly anti-white (though that also existed), and that more militant style had been fading by this time in the mid to late nineties as rap had become more mainstream and commercial.

Ras Kass, meanwhile, took explicit anti-whiteness to another level.

During the almost eight minute long, instrumentally sparse track, Ras Kass unfolds a dense historical narrative about the origins and expansion of the white race, documenting its various atrocities and explaining how Christian European white supremacy came to be the defining feature of reality. Packed to the brim with historical falsehoods, distortions, and urban myths, on subjects as diverse as biology and religion, the track is a fascinating look into the mind of a manic black conspiracy theorist.

Baptized and raised Roman Catholic but apparently lapsed, Ras Kass sees Christianity and white supremacy joined at the hip, and sets his sights on the religion. But his attack wholly consists of false and pathetically juvenile fedora-tier memes. He repeats the pop-history myth that Christmas was just a Christianized version of a debaucherous pagan holiday, locates something nefarious in the Anglicization of the Hebraic 'Yeshua ben Yosef' into 'Jesus son of Joseph', and claims that Thanksgiving is a day that we eat Turkey on because the holiday was established as a celebration of Catholic Europe's victory over Turkish Moors at Granada. Yeah.

His musings on non-religious historical matters are hardly less embarrassing, as he culls anecdotes from conspiracy sources and cites theories completely debunked by reputable historians. And even when he gets some basic facts right, he persistently draws absurd conclusions from them. This doesn't stop him from declaring in an interview that “it’s not the most lyrical song; it’s a factual song. The time it took me to get that done was more [of that of a][sic] historian or philosopher than a rapper.”

This haphazard combination of delusional hubris, myths and falsehoods, making fantastic leaps in historical causality, opposing the nefarious faith and civilization of the White Man to the Black Man's true ancient-African and Islamic heritage, and envisioning Whiteness as the evil demiurge of the world, foreshadows the rise of the We Wuz Kangz phenomenon of contemporary black online culture. This phenomenon, which has more distant roots in 19th and 20th century American Afrocentrism, in Nature of the Threat finds a direct stylistic predecessor, as it synthesized these themes in a ready-made way.

The song's conclusion could be a manifesto for Black Lives Matter and much of our elite anti-white intelligentsia:

Understand all Whites must be perceived as potential predators / I paraphrase historian Ishakamusa Barashango / "Understand that regardless of the lofty ideas engraved on paper / In such documents as the Constitution or Declaration, the basic nature / of the European American white man remains virtually unchanged". So, check / This is the nature of the threat.

How did record executives even allow such a virulently anti-white conspiracy anthem to make it onto a record? Another rap record released the same year, 2pac's All Eyez on Me, provides a clue. Over the course of a vulgar, profanity-laced album, with many references to violence against blacks, the sole line that is censored by the record company comes in a guest verse by Method Man wherein he says " Hitler, stickin' up Jews with German lugers." Curious. Combine that with the fact that Soul On Ice was released on Priority Records, which was founded and helmed by Bryan Turner, who is Jewish, and the image of a familiar alliance, wary of Whiteness, emerges.

Ras Kass and Priority may have worried about turning off their white audience and may have in fact done so with some as the record was never high on the Billboard charts, but this ignores something. This may not have been any part of the label's conscious deliberation, but SWPL adoration of black culture is typically accompanied by masochistic white guilt. Not only do you not have to worry about offending this class of whites by hating them, they are eager to agree and amplify. This can be seen as SWPLs today are some of the most devoutly dedicated to the Black Lives Matter movement and message, and black (and other minority) identity politics is one of the central planks of the Democratic Party platform.

However, as much as the Left and the DNC are doing to appeal to blacks and weaponize black identity politics, this tactic may not be working. Black voter turnout was unsurprisingly down markedly for Hillary Clinton from its Obama levels, despite the media and the DNC doing their damnedest to paint her opponent as the next Hitler. The SWPL love mostly only runs one direction as some blacks are coming to see the Democratic overtures to black interests for what they are: hollow patronizing. They won't turn Republican, but they may lose interest in mainstream party politics altogether. Which is evidenced not only by depressed black turnout but can also be seen in something like the rapper Killer Mike—a prominent and strong supporter of Black Lives Matter—along with many of his fans, throwing vigorous support to Bernie Sanders. Who, while running in the Democratic primary, still represented a kind of revolt against mainstream Democratic party politics.

Meanwhile, this aggressive black and anti-white identity politics resulted in a now-famous backlash, as perhaps the decisive factor in Trump's election was a consolidation of the white vote in swing states through the Midwest.

While Ras Kass' vehement anti-whiteness may be embraced and trumpeted today by Black Lives Matter and its Jewish and SWPL allies in the media, academia, and the Democratic party, it seems that Liberal white guilt is being exhausted outside of these centrifuges. On the one hand, many of the most politically active blacks are becoming discontent with mere white Liberal self-flagellation, demanding instead that they either deliver explicitly pro-black policies—not just platitudinous rhetoric—or lose their support, splintering the coalition. And on the other, many moderately liberal whites are becoming convinced that what they had once understood as a just quest for racial egalitarianism is largely just deranged anti-white fury and resentment.

What was once confined to a lone track on the album of a somewhat unhinged, underground, conspiracy theorist rap artist has transmogrified into a significant feature of mainstream American Left politics. You don't have to look far to find a white or Jewish liberal journalist giving a scolding lecture to "my fellow white people", or a Democratic politician propping up the myth of a violent street war being waged against blacks by white cops. To say nothing of the bizarre prevalence of talk about the ethereal, omnipresent force of "white supremacy."

Ras Kass may not have found much success in terms of record sales and popularity, but his message has found many adherents at the highest levels of political and cultural influence today. Which may end up being a bittersweet achievement as the reaction against this poisonous ideology is poised to possibly prove even more influential.

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