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Nicole Stevens

 “Dream Boogie” by Langston Hughes

For one to have a thorough understanding of “Dream Boogie,” by Langston Hughes, I believe readers must first be able to identify with two main concepts: the movement during this time period, as well as the musical term Bebop. Bebop was a new style of African American music that became popular during a movement from the 1940’s. Music critic Russel said that, “Bebop music was a music of revolt.”  (Poetic Interpretations of Urban Black Folk Culture, 57). A later critic concluded that this was a means for them to rebel and for musicians to express their refusal to conform to the conditions that had been tolerated for years. This form of jazz music served as a way to dispute the oppression of African Americans. Author, Rout reflects in her essay that beboppers were merely attempting to advance compositions so that only black musicians could achieve the level of difficulty each piece called for. Simply put, “Black musicians hoped to invent a jazz that white musicians could not play.” (Poetic Interpretations of Urban Black Folk Culture, 57-58).

Bebop emerged in a period when the African American working class people were extremely oppressed. Bebop expressed the anguish, frustration, and ultimately a tactic for their voices to be heard. Russel notes, “Bebop rhythm differs formally from swing rhythms, because it is more complex and places greater emphasis upon polyrhythmics. It differs emotionally from swing rhythm, creating greater tension, thereby reflecting more accurately the spirit and temper of contemporary emotions.” (Poetic Interpretations of Urban Black Folk Culture, 59). Hughes writes, “be-bop, is marked by conflicting changes, sudden nuances, sharp and impudent interjections, broken rhythms, and passages sometimes in the manner of the jam session, sometimes the popular song punctuated by the riffs, runs, breaks, and distortions of the music of a community in transition.” (Poetic Interpretations of Urban Black Folk Culture, 60).

With a thorough understanding of bebop, the poem “Dream Boogie,” will to a large extent gain meaning. Hughes begins by asking “daddy,” if he has heard the boogie-woogie rumble of a dream deferred? Boogie-woogie refers to a style of blues and rumble can be identified as a grumble or roar. Music is a large part of the African American society, and I believe the echo of the boogie woogie music can signify the turmoil their community felt. This musical description creates this fierce cry of the rumbling cadences of bebop and boogie woogie music. The rumbling music, in turn, is contrasted with the dream deferred. Deferred in this context can mean overdue, or perhaps not accomplished. Their dreams cannot be achieved because of the affliction they endured. Hughes speaks about their feet beating out and beating out, questioning if it is a happy beat. I believe this is almost like a satirical, mocking question he presents. He goes on to say, “What did I say? Sure, I’m happy. Take it away!” One can assume, “I’m happy,” is very much so sarcastic due to their circumstances. When he says “Take it away,” I believe, that through music he finds one way in which he is allowed to express himself. “Hey pop!, Re-bop!, mop!,” is an example of musical imagery, and is perhaps the only way to convey their feelings. The theme of this poem is one that encompasses racial discrimination, inequality, and finally dreams that are impossible because of one’s race. Their beat is not happy, but rather something that is hidden amongst their dreams.