From Smithsonian online
by Cornel West
Fifty years after his death, Malcolm X remains a towering figure whose passionate writings have enduring resonance.
Malcolm X was music in motion. He was jazz in motion, and, of course, jazz is improvisation, swing and the blues. Malcolm had all three of those things. He could be lyrical and funny and, in the next moment, he’d shift and be serious and push you against the wall. The way he spoke had a swing to it, had a rhythm to it. It was a call and response with the audience that you get with jazz musicians. And he was the blues. Blues is associated with catastrophe. From the very beginning, from slavery to Jim Crow, that sense of catastrophe, of urgency, of needing to get it out, to cry out, to shout, somehow allowed that fire inside of his bones to be pressed with power and with vision. He never lost that.
The button bearing an image of Malcolm X—created after his death as an act of commemoration—is in the Smithsonian National Museum of American History, a talisman of his loss.
Let me talk about that loss. Just before he was shot in New York on February 21, 1965, Malcolm was setting up his own mosque. He was a Sunni Muslim leader. When we think what it means to be a revolutionary Muslim in this day, when people are looking for ways Islam can be compatible with democracy, his assassination robbed us of that. He could have been a model of what it means to be a revolutionary Muslim, in the way in which Martin Luther King Jr. became a revolutionary Christian.
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Black Prophetic Fire
h/t Reg Clark