Otis Moss III

How do we take the limits off the imagination of black children in Chicago? Part of the answer is to create more Afrofuturism. Let our children dream, and dream big.

[Editor's note: This article is adapted with permission from Otis Moss III's book Blue Note Preaching in a Post-Soul World: Finding Hope in an Age of Despair, published by Westminster John Knox Press, 2015.]

IF WE ARE to reclaim the best of the preaching tradition, then we must learn what I call the blue note gospel. Before you get to your resurrection shout, you must pass by the challenge and pain called Calvary.

What is this thing called the blues? It is the roux of black speech, the backbeat of American music, and the foundation of black preaching. Blues is the curve of the Mississippi, the ghost of the South, the hypocrisy of the North. Blues is the beauty of bebop, the soul of gospel, and the pain of hip-hop.

Before we can speak of the jazz mosaic or the hip-hop vibe for postmodern preaching, we must wrestle with the blues. In his song “Call It Stormy Monday,” T-Bone Walker laments how bad and sad each day of the week is, but “Sunday I go to church, then I kneel down and pray.”

Walker’s song unintentionally lifted up the challenge that the blues placed before the church and that black religiosity still seeks to solve. “Stormy Monday” forces the listener to reject traditional notions of sacred and secular. The pain of the week is connected to the sacred service of Sunday. There is no strict line of demarcation between the existential weariness of a disenfranchised person of color and the sacred disciplines of prayer, worship, and service to humanity.

This blue note is a challenge to preaching and to the church. Can preaching recover a blues sensibility and dare speak with authority in the midst of tragedy? America is living stormy Monday, but the pulpit is preaching happy Sunday. The world is experiencing the blues, and pulpiteers are dispensing excessive doses of non-prescribed prosaic sermons with severe ecclesiastical and theological side effects.

The church is becoming a place where Christianity is nothing more than capitalism in drag. In his book Where Have All the Prophets Gone? Marvin McMickle, president of Colgate Rochester Crozer Divinity School, asks what happened to the prophetic wing of the church. Why have we emphasized a personal ethic congruent with current structures and not a public theology steeped in struggle and weeping informed by the blues? McMickle’s book is instructive for us. He demonstrates the focus on praise (or the neo-charismatic movements) coupled with false patriotism—enhanced by the reactionary development of the tea party, the election of President Barack Obama, and personal enrichment preaching (neo-religious capitalism informed by the market, masquerading as ministry).

The blues has faded from the Afro-Christian tradition, and the tradition is now lost in the clamor of material blessings, success without work, prayer without public concern, and preaching without burdens. The blues sensibility, not just in preaching but inherent in American culture, must be recovered. We must regain the literary sensibility of Flannery O’Connor, Zora Neale Hurston, Ernest Hemingway, and James Baldwin; the prophetic speech of Martin Luther King Jr., William Sloane Coffin, and Ella Baker; along with the powerful cultural critique of Jarena Lee and Dorothee Sölle.

The blues, one of America’s unique and enduring art forms, created by people kissed by nature’s sun and rooted in the religious and cultural motifs of West Africa, must be recovered. The roots are African, but the compositions were forged in the humid Southern landscape of cypress and magnolia trees mingling with Spanish moss. It is more than music. The blues is a cultural legacy that dares to see the American landscape from the viewpoint of the underside.

Years ago as a child growing up in Cleveland, Ohio, I was befriended by a wonderful family around the corner from my home. The patriarch of the family, Edward Blunt Sr., was a hard-working executive for a telecommunication company; the matriarch, Roma Blunt, lovingly called Aunt Roma, was a consultant for several local educational institutions; and their son, Ed Jr., became one of my best friends and adopted brother.

Ed and I played sports, shared the same birthday, and graduated from high school and college together. Ed's family provided a unique gift for the young men in our neighborhood. As a result of their southern roots and deep-rooted village values, they believed adults — especially adults of African descent — had a responsibility to aid and assist in the development of young men in the community.  

At least weekly, a gang of musty, sweaty, boisterous young men crowded into the Blunt household to take part in a ritual of culinary excellence provided by Aunt Roma. In this house we did not own, pay for, or live in, we witnessed the southern artistry and gastric creativity produced with a palette of collard greens, gumbo, cornbread, sweet potatoes, macaroni and cheese, fried okra, and fish on the canvas of our senses. The white house on Green Road became our hangout, respite, and my second home. Since I lived geographically closest to the Blunts’ home, I found myself at their address more frequently than other "brothers" in our network.

Upon one of my routine visits after finishing another amazing meal, Aunt Roma passed on a special gift. She handed me a key to the home. She stated with matter-of-fact ease, "Otis, you're over here enough, you might as well have a key."

After I said thank you, she began to reemphasize the rules of the house. 

"You are always welcome here … you are welcome to eat, rest, and relax ... I trust you, and as long as you abide by the rules of the house and your parents are aware of where you are, this door is always open to you."

I was given access to the Blunts’ home because of my relationship with their son. I was given access to a home I did not create, build, or purchase. Because of my relationship with their son, I was given access to an environment I did not create.

Biblical themes have been used throughout history to share the universal struggle of humanity; temptation, rebellion, coming of age, the degradation of the moral compass, courage in the face of humanity, and of course, faith.

William Shakespeare uses biblical elements in his plays. We witness in his writings themes highlighted in David's narrative, Adam and Eve's story, and Cain and Abel's tragedy. These stories are central to the Western canon. We cannot get away from these themes and stories, for they rest in the consciousness of our culture.

The film Noah, directed by Darren Aronofsky, is a daring, powerful, and imaginative retelling of the Noah story. Aronofsky takes the central elements of the biblical narrative and expands the story, as artists are called to do, to allow the audience to witness, not a historical world, but a metaphorical universe where the choices of humanity disrupt the sacred divine rhythm of creation.

Since the production of The Birth of a Nation, Hollywood has lived with the mythic world imagined by artists who view the lives of people of color as footnotes and props. From Gone With The Wind to Django Unchained, the most difficult type of film for Hollywood to get right is the antebellum story of people of color.

Django, for example used the archetypes designed by Hollywood — “Mammy, Coon, Tom, Buck, and Mulatto,” to quote film historian, Donald Bogle — and exploit them in order to create a hyper-exploitation Western fantasy, with slavery as the backdrop. The film is a remix and critique of exploitation clichés, not a historical drama seeking to illuminate our consciousness. Django is a form of visual entertainment where enlightenment might happen through a close reading of the film. All the archetypes remain in place. Nothing is exploded or re-imagined, only remixed to serve the present age.

Steve McQueen’s 12 Years A Slave, on the other hand, sits within and outside the Hollywood fantasy of antebellum life. I say it sits within, because the archetypes forged by the celluloid bigotry of D.W. Griffith are present. But, in the hands of the gifted auteur, Steve McQueen, they are obliterated and re-imagined as complex people caught in a system of evil constructed by the immorality of markets, betrothed to mythical, biological, white supremacy.