Regarding Jutta Hipp’s profile

Retrieved from the ‘k0nsl-archives’, dated 3/19/08. Edited by k0nsl.

Andrea Di Gennaro writes to me:


please, delete most of what Gerry Frederics wrote about Jutta Hipp in “musicians of the years 1925 to 1945 part 2”. it’s really a bad service to Jutta as well as to holocaust historical research. Awful, really awfull and completely partial. Please delete it, it’s a bad service.

I replied back:

Good day!

Could you please explain more in detail why it is bad service. The web
page is defunct and the jazz articles will be deleted and replaced
with a updated one by Gerard, soon.

God speed.

Faithfully,
-Franz H.

To which Andrea Di Gennaro expands with the following reply:

Good morning.

Well, I really appreciate your answer and maybe have to apologyse for the impetus of my post. Anyway, it’s a pleasure to me exchanging a point of view about your web-paper. First, it’s a great idea and I really hope the page will be renewed and updated as you wrote.

Going to Jutta Hipp’s profile, this is my idea.

The general tone of the article is too apologetical, too many informations are very delicate and should really be verified on absolutely certain sources. Your page is not the obituary of the New York Times or similar. They could even make mistakes about Jutta’s personality or what else. They are a daily paper, and the day after the article is something old. In your case, it’s different. You write a profile in a deep essay, so many things should be certained: by having known Jutta personally (and properly) or, at least, having spoken to many people who knew her. Otherwise, it’s bad service.
Could you be sure about her low self-esteeem and the reasons of it? I don’t think so, it’s a delicate information. Isn’t it?

For example: this is a sensible paragraph, but very interesting. It’s opinionated, not merely information, not pretty sure but an interesting analysis:

Alas, it was a very bad decision for Jutta Hipp. She was a young woman, reared in a very cultured home, used to being treated with respect by any and all and not in the least prepared for the rough-and-tumble world of the racist New York Jazz scene. In addition she was unarmed to defend herself against black predators, since she was infected by the ‘equality’ virus like practically all European musicians. Drug usage, alcoholism, anti-social behavior of every sort was common in the New York Jazz scene, even back then.

While the following statement could even be right only if very well explained. And here it’s not.

They had no idea about the horrendous cutthroat nature and the anti-white racism prevalent in the American Jazz scene.

The same about this:

Her style had undergone a metamorphosis. She had fallen under the musical influence of a player who was totally removed from what had been her conception of Jazz music, Horace Silver. This influence appears to have destroyed her musically.

Then, there’s this long paragraph which, according to me is the worst service you could do to any reader. You put it in red and I don’t really know what you want to mean by colouring it this way? That it is very important, or something like “be careful”. Anyway, bad. Really bad.

From a free spirit, a cool Tristanoesque player, she changed to “just another jazz player”, one is tempted to say ‘wigger’. Slowly she began to lose her self confidence. During a recording session with black drummer Art Blakeley, she was verbally assaulted by this brutal Congolese tribesman for alledgedly stealing American jobs, for ‘not being able to play’, a common allegation by ebonics-howling Bantus. During the session, Blakeley continued to verbally assault her, and we all know the profanity-laden language such niggers use. He sped up on purpose, then blaming her for not keeping proper time. It must have been a nightmare. This appears to have been her last session. She disappeared totally from the scene in the early 1960’s, never to be heard from again. In early 2003 it became known that she had died alone, broke and forgotten in a Queens tenement in New York. She died so poor, that rather than being buried in a paupers grave, she had previously willed her body to the medical department of Columbia University. Why this highly talented woman didn’t return to Germany in the late 1950’s when the failure of her American experiment was apparent, no one will ever know. What on earth made her stay in a hostile, ugly environment should be investigated by an anthropological psychiatrist.

“brutal Congolese tribesman”: come on, this sounds really racist. full of rage and unuseful to understand. 

“and we all know the profanity-laden language such niggers use”.
and what about this? “such niggers use”??? You surely know what such a swearing means. I’m sure you know it. Don’t use it to other people, race, community or what else, please.

Why this highly talented woman didn’t return to Germany in the late 1950’s when the failure of her American experiment was apparent, no one will ever know.

This is a good question and good observation: but why “by an anthropological psychiatrist”? Someone tried to answer, saying that she loved the multicultural atmosphere of NYC which was very close to her well-cultivated background. It’s not certain and definitive but it’s an intelligent way to put it. Isn’t it?

So, I’ve been very pleased to talk to you about this topic. I always thing this is the best way to self-improvement and social cultivation. I really hope you enjoy this discussion the same way and fell free to reply any way you fell. I’ll be happy to read you back.

And, please, go further. Your service and the idea of it is fine and important. Useful too. I got into it researching for Jutta’s…I want to write a story about her. I’m a journalist, mostly taking care about jazz…and Jutta could be quite interesting even for a general reader. According to me.

Pleased to having known you.
Sincerely.

Andrea Di Gennaro
(Milan-Italy)

I won’t print out all of our conversation — this should be sufficient. Needless to say, I did make a few changes in the article. It still needs more editing.

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