Can This Be the End for Cyclops and Professor X?
November 10, 1992
“I’m not a race man. I’m an X-man,” says Bullrose to Dravidiana, the she-ra with the Hi-8 video camera.
“As in Malcolm, of course?” she crack, whopping them blond dreads out of her face with ye olde roundhouse swing of the dome.
“No, as in Ice Man, Angel, Cyclops, and The Beast. My slave name used to be Scott Summers, dig?” A list that does not leave Dravidiana perplexed, just provoked into Bullrose’s bushwah.
“Whoa, Troop! What happened to X-Girl? You just erasin’ her from the pages of Marvel history?”
The gender interrogation feel like déjà vu to Bullrose. It take him back. Back before Dravidiana turned that lesbonic corner, back when she was his woman and he were her man, back when she routinely took him to task for the masculinist infractions.
“I remember back in the day when being up on Marvel Comics’ lore was strictly a brother-thang. Can’t nothing be strictly a brother-thang anymore? I know how them all-white country clubs feel. Can’t get away from these niggas nowhere.”
“And woman is the nigga of the world,” proclaimed the she-ra. “But let’s stick to the point. The original question was…”
“… how many peckers did Peter Piper prick?”
“The original question was, why are so many young brothers sweatin’ Malcolm X’s dick so hard these days? Is it ’cause Spike Lee, Chuck D, BDP? Why you got the sleaze-ass likes of Big Daddy Kane saying he aspires to be a combination of Malcolm X and Marvin Gaye, a great Black leader and a sexy entertainer? And a virtual humanist like Vernon Reid coming out the box like he wants to be X and Hendrix rolled into one? How cum? Huh? Huh?”
“Well, all the brothers you mentioned led the way far as the resurrection goes, but X wouldn’t be making this kind of comeback if he wasn’t a bona fide superstar. I mean, the brother had style. He never took a bad photograph in his life. His records still sound dope. And no matter what kinda nigga y0u are, if you read his book you can see yourself in him. Like Chaka Khan said she was everywoman, X was every Black man. I mean, the brother had a multiple-identity crisis going on. Count ’em off: preacher, poet, pimp, prostitute, prophet, player, political activist, warrior-king, husband, father, martyr.
“X occupies so many housin’ units in the Black male psyche, a brother can’t erase X without erasing himself. I don’t think he shot hoop, and he wasn’t a jazz musician, but he was a great jazz dancer, which is close enough to confer jazzman/jock cache on his godhead too.”
“But what do these brothers really know about brother Malcolm? All they know is what other niggas say about what a nigga he was. Jockin’ on the T-shirts, buttons, and shit. What do they know about his politics, which were like totally fucked up?”
“What does a young brother got to know? X was a smooth operator from the streets with a dope rap who stood up for Black folks and got shot down for doing it. That’s the stuff Black heroes are made of. Staying Black and dying for it. It’s a myth0-pop-poeic world out there. Brother been brought up on it same as everybody else. Malcolm was like JFK or Elvis. He was made for the TV age. Brother man was videogenic and gave great soundbites. The hip-hop nation got to dig him because he could rap, he had street knowledge, mother wit, and supreme verbal flow. You know how we value verbal prowess in the Black community. The brother or sister who can make stone rhetoric swing like a pickax to the brain. All of that is why the young brothers are on Malcolm’s jock so hard.”
“Do you think they’d be following him if he was alive today?”
“If he was alive today they wouldn’t need to be following him. I mean, do you realize how different America would be today if King and X had been around to provide moral leadership and militant thrust to the Panthers and the Yippies and all them muhfuckuhs instead of them being left out there to freelance and fuck it up for themselves? But, you know, it’s cool, because Malcolm left the brothers their first revolutionary pop ikon. Nat Turner don’t count. Who even knows what he looked like? Coulda been a nerd. And when you dealing with American superstars, baby, all you need to know is he lived fast and died young, a martyr who went out in a blaze of glory. Dying under suspicious and mysterious circumstances helps too. That way you can really hype the conspiratorial element. Live heroes are a problem. They be getting all soft and wet and problematic on you. If you’re lucky enough to die young you can be remembered for being a hard muhfuckuh forever. We celebrate the death of Malcolm X for what it is — the birth of a new Black god. X is dead, long live X. He’s like the Elvis of Black pop politics — a real piece of Afro-Americana. That’s why Spike’s logo is branded with an American flag. Malcolm couldn’t have happened anywhere else.”
“Do you think Malcolm’s spirituality makes a difference to the youth at all?”
“Sure it does because that’s all part of the package, the construct we know as X the martyr. But spirituality is like anything else in America, you got to package it right. Malcolm had the right package. If being Muslim is how you get to be a righteous Black man like Malcolm, then you become Muslim. When you’re young, dumb, and full of cum and, lord knows, you gonna get you some, you like to think you got juice to pass judgment on the world, that youth makes right. Self-righteousness comes with the territory: You think however you living is justifiable because you a sexy young thing, maybe good with your hands or in some sport. But maybe not because it really ain’t as important as being proficient in Black Male Posturing. BMP is a bitch. Carry you farther than you will ever imagine in this world because the whole world gives it so much power. Except for the butch breed like yourself who on the whole are probably less impressed than anybody. And cocky because of it. Yeah, I be checking how arrogantly y’all will ignore a fine brother just because you know it fucks up his whole program. Y’all eat that shit up.”
“You mean like you, boy-Romeo.”
“Being a loveman is a tough job but somebody has to do it, right? Anything else you want to ask me?”
“When did you first hear about Malcolm?”
“In my house growing up. I’m an old muhfuhkuh so we talking ’65, ’66 when I was around eight or nine. He was a regular on the turntable. ’longside Otis, Coltrane, and Nina Simone. We lived in a big three-story house. The stereo was a big old piece of furniture. So when my people played Malcolm on a Sunday it would fill up the house, every nook and cranny, you could almost smell Malcolm’s voice smoking up the joint. Seems like on Sunday my people kept Malcolm going like we keep candles and incense going today. Except for Nina Simone and Otis Redding and John Coltrane, the only records I can remember my people playing was X. Now all my mother listens to besides jazz-lite radio and weight-loss tapes is Public Enemy. There’s some kinda continuity there, I guess. I don’t know what happened to all those X records she had. Probably got stolen, or borrowed and never returned. They’re collector’s items really. Probably fetch a fine price on the open market.”
“What do you remember from the X oeuvre?”
“Certain phrases will stick with me forever. ‘I’m the man you think you are.’ ‘I’d do the same as you, only more of it.’ ‘You can’t get a chicken from a duck egg.’ I always liked that image. It always made me see a baby chick flopping around in an eggshell three sizes too big. ‘You can’t have a revolution without bloodshed.’ ‘Doesn’t matter if you’re a Baptist or a Methodist, you’ll still catch hell.’ That conjured an image in my mind too: churches burning down. That one where he talks about how if you were a citizen you wouldn’t need no Civil Rights bill. What’s funny is that even as a child — and I’m talking seven, eight years old — X made perfect sense to me. Maybe because he was talking about right and wrong in such binary terms, like in fairy tales. You know he painted the world as Black equals good and white equals evil. Black could be stupid, punk ass, and illogical but not evil. And white couldn’t be nothing but evil. Do I still believe that? Not expressly. On the other hand I’m not impressed by much of anything white people do except for some painters and photographers, a couple stand-up comics and the theoretical physicist types.”
“Not to digress but you can be hard on your Black visual artists. Why is that?”
“The evidence speaks for itself. It’s not even about where’s the Coltrane, the Baraka, the Lady Day, the Fannie Lou Hamer of painting, sculpture, and photography. It’s about where is the Jr. Walker, the Iceberg Slim, the Gloria Lynne, the Shirley Chisholm. There’s very little Black visual work that personifies blackness. You got people that do good work but rarely does it not lack for the wit, pathos, and absurdity of Black existential reality. We got people that have rolled up close up on it. But it can get even blacker than that. I think so, anyway.”
“How can you quantify the blackness of visual practice and phenomena?”
“Only by the way it does things white boys can’t even contemplate. Like being a Malcolm X, Bob Marley, Miles Davis. If you a white boy you know there’s no way in hell you could be one of them because you could never step inside of history in their skin. Race doesn’t prescribe experience or predict emotional depth, but there are historical experiences that only being Black in space, time, and mind will make possible. You get my drift?”
“Sounds kinda essentialist to me. What’s really the difference between what you’re saying and calling white folks grafted devils?”
“Are we gonna have that old debate again? Look, there is a special kind of alienation you possess as Black person in this society that is all mashed up with your feeling of love and loathing and loyalty to Black folks as a whole. Unless you were raised among Black people you never develop certain sensitivities or neuroses about race and culture and identity that I believe are a fundamental inspiration for Black creative genius. Du Bois talked about Black folks and double consciousness. I think if you’re a Black intellectual you got quadruple, sextuple, octagonal consciousness beaming around your brain. You’re always trying to square things that have no lines and hard edges. Like where Africa ends and Europe begins. How to develop yourself without alienating those who are interested in development on whose behalf you are developing yourself. You know if Malcolm hadn’t had the Nation of Islam’s save-a-sinner program behind him to smooth all that kinda shit out he woulda been another alienated Black intellectual in deep crisis. Trying to figure out how to relate to the masses and redeem ’em without romanticizing and patronizing or, worst of all, pandering to them. It’s easy to challenge Black folks on self-destructive behavior. Harder to challenge us on reactionary practices like misogyny, homophobia, and thinking that intellectual development is a white thang. But what is Malcolm to you, Dravi? What are you looking for from these interviews and whatnot?”
“Well, like, I was never raised to have heroes. I was raised to listen to what people said and look for how it contradicted what they did. I learned that the person who did a constructive thing for the community today could be about tearing it down tomorrow. I was taught how fragile and selfish most human beings are — except for Black mothers — and that holding power over people makes them even more fragile, vain and lonely and dangerous. Dangerous to others because their charisma makes folks want to let them do their thinking for them. Dangerous to themselves because they have to give up their humanity on the way to the hall of glory.
“I think history shows us that the revolutionaries and prophets that the state killed got a better deal than the ones who became living symbols. Because there’s nothing at the end of that road but bitterness, regret, and tyranny. How can you respect the common humanity of people who hold your ideas, your utterances as more valid than their own lives? That’s why I got no use for heroes. I can respect heroic acts I can’t respect anybody who’d want idolatry for breakfast, lunch, and dinner.”
“You don’t think that’s what Malcolm wanted, do you?”
“I don’t know that any real revolutionary starts out wanting that. It’s what people want for you. And the only way you can defeat that kind of imposed demogogic status is by rejecting the people and the power they invest in you. Malcolm was one of the lucky ones. History swallowed him before he swallowed it.”
“Ahh, the humanist response. Deep. Far as it goes. But if you want to know the real deal, I think X was swallowed by the world of the assassins.”
“The world of the assassins. The world he renounced after his trip to Mecca and after he renounced the Nation of Islam. Anywhere you have a politicized secret society you’re going to draw the secret order of the assassins. They’re a guild that’s been around since about the 11th century. For more on this than I got time for here I suggest you check out Ishmael Reed, Thomas Pynchon, and Robert Anton Wilson. I think X became a target when he threatened to come out of the cultish darkness of Islamic separatism and into the light of pantheistic humanism. The assassins thrive wherever humans dispute over difference, borders, territories, or identity — anywhere difference becomes politicized, the assassins have got a stake and probably a hand in it. They killed JFK and RFK when they threatened to bridge differences between nations. And they did it to Martin when he threatened the Vietnam project as well as their program of American economic apartheid. They could have killed Castro but they realized his presence provided the ‘logic’ that kept state terror and the assassins’ order alive and well in Latin America.
“The assassins uphold no ideology, no. The assassins live only for chaos, disunion, and the perfectability of the art of the political murder. To perpetuate themselves they have to practice their craft. Anyone with political power who renounces them in pursuit of dissolving human difference is dangerous. The assassins want to keep us in the Tower of Babel state. That’s why they had to take out Coltrane, Redding, Hendrix, Marley, and X, and neutralize Clinton and Sly. That’s why you see cats like Chuck D and KRS-One only flirt with humanism but not really embrace it. They know that the assassins are on the nether side of bringing folk together, with a vengeance. When you can convince folks they don’t need ignorance, hatred, and fear or the ism-schisms to survive, you’ve effectively cut the heads off the assassins and tossed their mangy torsos into the streets to be mulled over and masticated by the dogs in the clear light of day. Malcolm was on the way to taking them out of the darkness and into the light like every other progressive prophet who ever came down the pike, and that’s why ‘history’ swallowed him. Dig?”
“Dig? Niggapleeze. If you don’t get out my face with that warmed-over Illuminati Tragedy-Mumbo-Jumbo Rainbow Coalition bushwah — I still say we don’t need another hero.”
“And I say you still don’t get it. It’s not about us. It’s about an ancient conflict over how the soul of the world should turn.”
“No, it’s about the souls of the men and how easily they turn to violence when they can’t control the earth, nature, or women. If any of these prophets you speak of were truly progressive, they’d realize the only way your assassins could be assassinated will be when the planet is ruled by the cult of woman, which is the cult of the earth. But men are too into keeping up the body count because all they can bring into existence on the planet without bowing down to the feminine principle is murder.”
“I ain’t even steppin’ up into that nonsense. Baby, I’m 5000.”
“5000? Not even that high. More like 33 and a third.”
This article from the Village Voice Archive was posted on May 28, 2020