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SWC 100
Best of Simple Essay: Draft 1
Monday, July 27, 2009
The Influence of Jazz Music in Langston Hughes’ The Best of Simple
In 1926, Langston Hughes, known as the most adaptable writers of the Harlem
Renaissance stated, "we younger Negro artists now intend to express our individual dark skinned
selves without fear or shame. If white people are pleased, we are glad. If they aren't, it doesn't
matter. We know we are beautiful. And ugly too. If colored people are pleased, we are glad. If
they are not, their displeasure doesn't matter either. We build our temples for tomorrow..." Having
been an influential member of this artistic movement, Hughes composed the written word in the
form of poetry, as to address the racial injustices that existed in Harlem at the time. He felt
obligated to share with his reader the most accurate interpretation of a Negro’s life in Harlem;
one that is clearly defined by oppressive laws, racial segregation, and extreme injustices. Well
defined by more then just his poetry, Hughes was one of the first writers to explore the arising art
form known as jazz poetry. He once that he “…tried to write poems like the songs they sang on
Seventh Street... (these songs) had the pulse beat of the people who keep on going." This was the
goal of his art. To create something that effectively had the power to convey internal emotional
pain and provide a perspective of reality. By incorporating stylistic elements of the musical genre,
jazz, Hughes’ poetry took on the form of written lyric. Furthermore, the meanings behind his
words of racial segregation and discrimination consisted of a certain level of equality because
jazz music served as a common ground between African Americans and Whites. In
accompaniment with his many poems, Hughes wrote a collection of stories based around the
character of Jessie B. Simple. As weekly additions to the newspaper the Chicago Defender,
Hughes’ accounts of Simple were a reflection of his opinion and insights on Black suffrage and
inequalities. Years later a collection of stories chosen by Hughes from previous volumes, entitled
The Best of Simple was published. As Hughes said, "...these tales are about a great many
peoplealthough they are stories about no specific persons as such. But it is impossible to live in
Harlem and not know at least a hundred Simples, fifty Joyces, twentyfive Zaritas, and several
Cousin Minniesor reasonable facsimiles thereof." What is distinctive about the stories that
compose The Best of Simple is that the collection incorporates the theme of music and jazz as
seen in his poetry; and through the implementation of this equal ground Hughes stories prove
that despite all the differences that exist between Negros and Whites equality can possibly be
attainable.
In the story entitled “Bop,” Hughes exposes the cultural difference that is existent through
having Simple give definition to “his” type of music. In the 1950s the predominantly white group
that made up the Beat generation, began to incorporate characteristics of African American
culture into their music. The elements of jazz poetry moved away from expressing racial pride
and instead started to convey the idea of freedom. Because freedom became the main theme
within both jazz poetry and jazz music, both were seen as forms that revolted against the norm.
Within this short story Hughes demonstrates that there is a dynamic tension between blacks and
whites that exists over the topic of music. Music, and more specifically BeBop, is a large aspect
of both blacks and whites lives and therefore should create a certain level of equality, but Hughes
shows that even then it is hard for the two groups to see themselves as equals.
What is different about the story “Bop” compared to others, is that Hughes makes Simple,
the socalled uneducated colored man the dominate character, over the narrator who is the white
educated more experienced character. Simple, being “the man of the streets,” teaches the narrator
the difference between ReBop and BeBop. To the narrator the two styles are the same, but
Simple explains that they are distinctly different, “ReBop was an imitation like most of the white
boys play. BeBop is the real thing like the colored buys play” (Hughes 117). Simple explains
after the narrator says, “you bring race into everything…even music,” that “it is in everything”
(Hughes 117). Here, the connection between Simple’s kind of people and those like the narrator
is that blacks, like Simple, see ReBop as the white mans version of BeBop, which was first
created by the black man.
What further lies within this story is the idea of who is really the dominant character,
Simple or the narrator? One might argue that Simple, regardless of his racial status, obtains more
power in this particular story based upon the fact that he is the “teacher,” and that it is from his
type of music BeBop, that ReBop was created. In opposition, some might still interpret the
narrator as the more dominate character over Simple because of his racial status, and that ReBop
music at this time is now more popular than BeBop. The multidynamics that build the
dimensions of this story ultimately show that the reason why ReBop developed was because, in
the words of Simple, “bop comes out of them dark days… folks who ain’t suffered much cannot
play Bop, neither appreciate it” (Hughes 118). BeBop was the music of the “colored folks’,” its
melodies, riffs, and lyrics were representational and expressed the pain and emotions of the
blacks suppressed under the Jim Crow laws. It’s development is the result of whites being
influenced by it’s cultural impact, but not being able to directly connect with its meaning because
they lack the pain and suffering Negros have experienced. This example shows that though music
may seem like this universal language and way of communication that could create a level of
equality between racially segregated or different groups, it in fact may not have that desirable
power and ability.
The theme of jazz music runs through many of the stories within Hughes selected
collection. Its critical importance lies in Hughes ability to allow it to have an affect in a multitude
of different ways. Depending on the placement of the story, what has been read and what is yet to
come, Hughes allows for this interconnecting theme to take on several meanings and provide new
deeper insights. In comparison to the musical reference that filled and gave meaning to “Bop,”
the last story in Hughes’ collection, “Jazz, Jive, and Jam,” incorporates the jazz music theme, but
the result of its existence in the story is different then in any other. Unlike in “Bop” where the
musical reference created a cultural separation between the blacks and whites, Hughes chose in
this story to use jazz music as a form in which integration could be achieved.
Hughes makes Simple address the reality that integration does not yet exist despite the
efforts of many. Simple’s wife Joyce believes that lectures by Negro historians will create
understanding among all and will therefore ultimately lead to integration. After attending one of
Joyce’s lectures, Simple expresses that for him the lecture meant nothing, and that to be able to
“improve race relations…jazz, jive, and jam would be better for race relations then all this high
flown gab, gaff, and gas the orators put out” (Hughes 242243). He feels that “’with a jazz band,
they could work out integration in ten minutes. Everybody would have been dancing together…
colored and white…and we would have been integrated’” (Hughes 242).
This use of the jazz music theme in this story is completely different then in “Bop.” Here,
it acts as a power that has the capability to physically achieve integration just by the result music
has on individuals. What this story expresses is that though integration could easily be achieved
like Simple suggests, the reality is that it is much more then just being physically mixed together.
Knowledge, understanding, and acceptance have to be common qualities that both groups share
and respect.
It is not only within Hughes’ collection The Best of Simple that his adaptation of the
musical genre of jazz is apparent. His goal was to create a style and incorporate themes that
blacks could distinguish as purely their own while among a world that was dominated by white
writers. Readers of Hughes’ poetry or any of his written work can see the jazz and musical
influence that lives within the words he composes. Hughes made it his never ending goal to use
the beauty of language to create a world where blacks felt they were understood, when in reality
they were greatly suppressed.
Works Cited
Hughes, Langston. “Bop.” The Best of Simple. 1961. New York: Hill and Wang, 1992. 117119.
. “Jazz, Jive, and Jam.” The Best of Simple. 1961. New York: Hill and Wang, 1992. 239245.