My own perception of Malcolm was one of something that bordered on fascination because I was looking at him and reacting to him as a subject.
He was always - I like to say of Malcolm - he was just simply electrical. Everything he did almost was dramatic, and it wasn't that he was trying to be: it was just the nature of him.
I've always found inspiration in icons that were really of purpose in their craft or calling. From Bob Marley to Maya Angelou to Malcolm X, inspiration came from seeing how committed they were to their vision and determining it themselves.
We talk about how hard it is now. But if we look back at the '60s, we actually had a president that was assassinated. We had riots, we had Vietnam, Martin Luther King, Malcolm X, the FBI, and the Black Panther war. There was so much happening at the time where it felt like America was coming apart at the seams.
When I began my political career, I identified with Malcolm X.
When I read Malcolm X, I didn't agree with it all, but I inhaled it; I connected to his rage.
My thesis was on kinetics studies with the enzyme aldehyde dehydrogenase. When that was finished, I was granted a British Council Fellowship to work under the supervision of Malcolm Dixon.
It was a big thing for me to read black writers. 'Fences,' by August Wilson. James Baldwin's 'Amen Corner.' 'The Fire Next Time.' 'The Autobiography of Malcolm X,' of course.
I come from an era of black pride, black power, my father riding around listening to James Brown singing, 'Say it loud: I'm black and I'm proud,' and people walking around with African medallions and Malcolm X hats.
It's much easier to talk about racism when you're able to use mutants as a metaphor. People would much rather talk about Charles Xavier and Magneto than they would about Martin Luther King or Malcolm X.
