TOW #13 - Langston Hughe's "Bop"

            Music has the ability to draw people together, or break them apart; most of which depending on the history and genre. Langston Hughes, an American poet most famous for his then-new literary art form of jazz poetry, published the short essay, Bop in 1949. The essay revolves around a young boy, the narrator of the story, and his music teacher, Simple. The two converse about their thoughts on an Afro-style genre of music, “Be-Bop.”  In reference to racial issues during a time of deep segregation, Hughes employs juxtaposition and onomatopoeia in order to highlight the struggle of being a black male in a “white man’s world.” When asked the difference between re-bop and be-bop, Simple juxtaposes the two, saying, “Re-bop was an imitation like most of the white boys play. Be-bop is the real thing like the colored boys play” (Hughes 10). Juxtaposition helps to point out that be-bop was the original, but it was altered to match a white man’s taste, which angers Hughes. The narrator only knows of the altered version because in society, everything that is different from the (racial) norm, is wrong. In addition, while using onomatopoeia to demonstrate where be-bop style originated from, Simple claims that the scatting sound of the music references the brutality that the police put blacks through. Here, Simple says, “’That Negro hollers, ‘Ooool-ya-koo! Ou-o-o!’ ‘Old cop just keeps on ‘Mop! Mop! … Be-Bop! … Mop!’” (Hughes 23). The onomatopoeia represents sounds made by beaten victims, and the hitting by the police. Hughes attempts to inform his audience that sweet music can have an ugly background, especially in a world filled with racial hate. Simple’s music and life advice share a similar lesson of race. Therefore, Simple, similar to the role of Hughes to his audience, converses with the narrator so he can understand the reality of being a black male.

Visual: http://eil.com/shop/moreinfo.asp?catalogid=528062



Caption: "A Record of Race"