THE HIP-HOP KLANSMAN...

THE HIDDEN OBSESSION WITH BLACK CULTURE!

It’s one of the biggest ironies in American history—the same people who claim to hate us can’t seem to get enough of our culture.

That’s exactly what my latest illustration, The Hip Hop Klansman, captures in raw, unapologetic detail.

In this piece, we see a bizarre yet all-too-real contradiction: a Klansman, fully dressed in his white robes, caught in the act of enjoying Black culture. He’s dancing to hip-hop music, completely lost in the rhythm—until he gets caught.

Standing beside him is another Klansman, unmasked, angry, and disgusted. He clutches his white hood in one hand and a noose in the other, staring in outrage at his fellow Klansman, who has seemingly “lost his way.” The room is filled with symbols of hate—a White Power banner, nooses, Klan memorabilia, a shovel ready for some dirty work. And yet, amid all this, the boom box in the corner pumps out the very music these men claim to despise.

The unmasked Klansman snaps at the one dancing, yelling:

"Have you lost your mind, Billy Bob? We got us some cross burning and lynching to do tonight. And here you are dancing to that Jungle Bunny hip hop noise. I'm going to knock the skull out your mouth if you don't start acting like your damn race!"

And at the bottom of the image, the ultimate truth is spelled out:

"Isn't it funny how they secretly love our culture even when they claim to hate us?"

The Hypocrisy of Hate: Loving What They Claim to Despise

White supremacy isn’t just built on racism—it’s built on contradictions.

For centuries, racist ideologies have been used to dehumanize Black people, to strip us of our humanity, intelligence, and worth. Yet, time and time again, the same people who claim we are inferior can’t help but admire, imitate, and outright steal from us.

They mock our dialect—but their kids speak like us.

They call our music “noise”—but they blast it in their cars.

They claim we’re “animals”—but they lust after our bodies.

It’s no different from the slave owners who raped Black women by night while preaching white supremacy by day. The hypocrisy is as old as America itself.

I Knew a Klansman Who Loved Black Women

This illustration isn’t just symbolic—it’s based on real experiences.

I once worked with a Klansman who, despite being openly racist, admitted to having a deep attraction to Black women. But here’s the kicker—he wouldn’t marry one. He was married to a white woman, but he saw Black women as nothing more than a fetish, something to conquer, something to use.

He didn’t love them. He wanted to possess them.

And this isn’t an isolated case. Throughout history, white men have treated Black women as desirable yet disposable—an extension of their twisted belief that we are objects rather than people.

It’s the same mindset that fuels the paradox of white supremacists who secretly admire, imitate, and indulge in Black culture while publicly condemning it.

Cultural Theft: From Jazz to Hip-Hop to Streetwear

Every major cultural movement that Black people have pioneered has been ridiculed, stolen, and repackaged for white consumption.

Jazz and Blues – Once called “devil’s music,” now celebrated as American classics.

Rock & Roll – Stolen from Black musicians and rebranded as a white genre.

Hip-Hop – Condemned as violent and degrading—until white rappers could profit from it.

Streetwear and Fashion – Once mocked as “thuggish,” now the biggest trend in white suburbia.

Even the Black aesthetic—our skin, hair, and bodies—has become a commodity. White women pay for fuller lips, darker skin, curvier bodies—but don’t want the burden of Blackness.

They want the rhythm but not the blues. They want the style but not the struggle. They want to be Black—without actually being Black.

Why the Klansman Dances

The dancing Klansman in my illustration represents the deep-seated desire of white supremacists to partake in Black culture despite their professed hatred for Black people.

He’s dancing because hip-hop is infectious—it’s powerful, it’s dominant, it’s the global standard of cool.

He’s dancing because despite the racism he’s been taught, he can’t deny the magic of what we create.

But when he gets caught, he’s ashamed. Because he knows—in his world, admiring Blackness is a betrayal of whiteness.

And that’s the twisted reality of white supremacy. It’s not just about hate—it’s about fear.

Fear that if they truly embrace the culture, they’ll have to admit that the people they despise are actually superior in many ways.

Fear that their “supremacy” is a fragile illusion.

Fear that deep down, they envy us.

Final Thoughts: They Want to Be Us, But They Don’t Want to Free Us

At the end of the day, The Hip Hop Klansman isn’t just about one dancing racist—it’s about the entire system of cultural theft and hypocrisy that defines white supremacy.

They love our music.

They love our style.

They love our women.

They love our slang.

They love our rhythm.

But they don’t love us.

Until that changes, the dance will continue. The Klansmen will keep hating in public and imitating in private. And the world will keep proving what we’ve always known—

Black culture is too powerful to be ignored, even by those who claim to hate it.