Leo Frank and PARADE: A Jewish Fairy Tale Gone Bad

 

When Alfred Uhry’s play Parade opened in Chicago this week (May 24 – July 2), its audience was told they would be watching a historical drama. The Chicago Tribune claimed that Parade is telling “a true story of a man falsely accused of murder.” That man is Leo Frank. He was a Jewish pencil factory manager and B’nai B’rith leader in Atlanta who was convicted of the 1913 murder of one of his employees, a 13-year-old gentile girl named Mary Phagan. Frank was ultimately imprisoned and then lynched in 1915, the only Jew ever lynched in America, it is claimed. As the Tribune suggests, many Jews for a century have believed Frank to be the innocent victim of “anti-Semitism,” and the play Parade dramatizes that belief.

“Parade” is a strange title for a play about two horrific murders. In choosing that title, playwright Alfred Uhry was referring to the big event that was underway on April 26, 1913—the last day of Mary Phagan’s young life. It was Confederate Memorial Day and a parade of old rebel soldiers was moving through Atlanta’s main thoroughfares. But in the context of today’s cultural politics, Parade is really about Jewish mythmakers forcing Americans onto the proverbial bandwagon and into believing a deeply troubling fairy tale concocted to give cover to one of the most racist episodes in Black history.

At best, it is a troubling oversight that Uhry and the play’s producers seem to be unaware of the seamier details of this highly racialized case. At worst, they have chosen to ignore how a viciously racist Leo Frank used both immoral and illegal tactics in his effort to avoid prosecution for a heinous crime of which he is most certainly guilty. The details of this “new” assessment are contained in the new Nation of Islam book The Secret Relationship Between Blacks and Jews, Volume 3: The Leo Frank Case, which represents the first time Black scholars have examined the case.

The findings in the book are devastating to the long-accepted narrative of Frank’s victimhood and put Uhry’s Parade squarely in the realm of anti-Black racial propaganda—classed with the notorious 1915 Ku Klux Klan recruitment film Birth of a Nation. It now appears that Leo Frank’s misfortune was quickly seen by Jewish leaders as an invaluable propaganda tool by which an invented history of Jewish oppression in America could be forged. Further, the book consults long-lost interviews and rare documents that reveal that some of Frank’s most ardent Jewish supporters not only were repelled by Frank’s abrasive personality but also believed he was in fact the murderer of Mary Phagan. They felt that if the murder conviction of such a high-ranking Jewish leader were allowed to stand, the image of the Jewish community would be dealt a severe blow. The combination of this fear and opportunism motivated the Jewish leadership to take on Frank’s case as a major cause célèbre. So Uhry’s Parade has little to do with the facts of the case: the play is instead crafted to maintain a 100-year fantasy and to satisfy a powerful Jewish community that insists on a sanitized view of their history for public consumption.

Of course, Jews can believe in anything they wish to believe in. Blacks, however, must be extremely cautious about being unwitting servants to this massive Leo Frank illusion. They must never forget that this myth does not exist in a racial vacuum. As the popular story goes, Leo Frank was “wrongfully convicted” for the murder of a defenseless child—but those who have worked unceasingly to exonerate the Jewish man have worked equally hard to pin this heinous crime on a Black man! And that brings this case into the realm of Black history, demanding serious Black analysis. For 100 years the name of James “Jim” Conley has been scapegoated in nearly all the Jewish-produced literature on the case. He was a janitor in the factory on the day of the murder, and he admits to being called by his boss Leo Frank to help move the girl’s body, and he admits to being sworn to secrecy. But later Frank and his supporters moved to pin the entire crime on Conley. Uhry’s Parade casts the Black man as a devious criminal who gets away with murder. Why Black scholars have not been motivated to interrogate this incredible injustice is a 100-year mystery.

 

Made household names of Lucky Strikes, Chanel, Pepsodent, Kotex, Quaker Oats,  Kleenex, Palmolive, Sunkist, Goodyear, and Budweiser.

Albert Lasker’s Nefarious Role

We might start with Leo Frank’s most significant supporter and sponsor—a man who is mysteriously absent from Uhry’s Parade script. Chicago icon Albert Lasker is considered the “father of modern advertising,” whose wide-ranging legacy credits him with being the inventor of the soap opera and with changing the name of America’s eugenicists—the cult that inspired the racial purification philosophy of Hitler—to the much more user-friendly “Planned Parenthood.” He was an early owner of the Chicago Cubs, and as a philanthropist gave all his life to Jewish causes. When Lasker heard of the Leo Frank case, the B’nai B’rith leader had already been convicted of the murder. It was Lasker who financed all of Frank’s post-conviction appeals and orchestrated his international public-relations campaign. Lasker contacted a prominent publisher and a private detective and all went to Atlanta to meet the man they would spend the next two years trying to liberate. Lasker recalled the meeting in Frank’s jail cell:

“It was very hard for us to be fair to him, he [Leo Frank] impressed us as a sexual pervert. Now, he may not have been—or rather a homeosexual [sic] or something like that…”

According to Lasker’s biographer, the men with him during that encounter took “a violent dislike to him [Frank].” Lasker “hated him,” and said, “I hope he [Frank] gets out…and when he gets out I hope he slips on a banana peel and breaks his neck.

This harsh and condemnatory assessment of the man who would become a Jewish civil rights icon is shocking. Leo Frank impressed his most ardent Jewish supporters and the leading champions of his cause as “a sexual pervert,” who they hoped would die!

Now, how should Blacks view the man who they are told suffered for the crime of a Black man? Frank’s own thinking is reflected in an Atlanta Constitution front-page headline on May 31, 1913: “Mary Phagan’s Murder Was Work of a Negro Declares Leo M. Frank.” The newspaper quoted the B’nai B’rith leader as he sat in jail awaiting his murder trial:

“Here is a negro, not alone with the shiftless and lying habits of an element of his race, that is common to the South….No white man killed Mary Phagan. It’s a negro’s crime, through and through. No man with common sense would even suspect I did it.”

The Jewish leader—today heralded as a civil rights icon—publicly argued that murder, being a “negro crime,” could not have been committed by him, a white man. That was Leo Frank’s defense! Further, he argued, the Blacks who testified against him could not be believed because they were negroes. At trial Frank’s attorney upbraided the all-white jury, who found the testimony of the Black witnesses far more logical and believable than his Jewish client’s story:

“They would rather believe the negro’s word….Oh, how times have changed. I hope to God I die before they change any worse than this…”

Private eye William J. Burns planted “evidence” and bribed witnesses for Leo Frank. His own detectives publicly stated Frank was the murderer.

Leo Frank hoped that his appeal to pure white racism would get him acquitted, but Albert Lasker knew that the evidence that convicted him was damning. He hired a private eye named William J. Burns to plant “evidence” and to bribe witnesses. That tactic backfired so badly that it actually fueled the outrage in Georgia that led to Frank’s lynching. Years later Lasker confessed that Burns “put in” so “much perjured stuff…until it embarrassed our case at times.”

You won’t find any of this in Alfred Uhry’s Parade, but it can all be found, well referenced, in The Secret Relationship Between Blacks and Jews, Volume 3: The Leo Frank Case. Blacks have passively accepted a patently false version of history and have allowed themselves to be puppets for Uhry’s production, agents of an odious Jewish propaganda. Parade is the very worst in a long line of racist assaults on truth itself. Just as Lasker and Burns had to fabricate an alibi for Frank, Uhry has put his own mendacious words in the mouths of Parade’s Black characters, slandering James Conley in the most wicked way. But in 1913, James Conley represented his own humanity with an inner strength and dignity that Leo Frank could only achieve via Uhry’s racist imagination:

“I know I will be either hanged or get a life sentence, but I am prepared to take my medicine. I wrote the notes and I helped carry the body to the basement, and I know they can punish me for that. When the judge calls me up before him I am going to ask him not to ask me any questions, but to simply sentence me. If it’s to hang, I’ll stick to my story; and if it’s life imprisonment, there’ll be no change. It makes no difference what the sentence is, I’ll have nothing to add and nothing to take away from the statement I made to the detectives…”
It is THAT James Conley that must speak today. Parade’s Black actors must INSIST that the real words of Leo Frank, Albert Lasker, and James Conley be reflected, lest they be viewed as complicit agents of racist propaganda. The choice is theirs.

 

Two articles on Leo Frank and PARADE:
LEO FRANK: HAVE YOU EVER SMELLED A NEGRO?
JEWISH PLAY PARADE HAS BLACK ACTORS TELLING WHITE LIES

Leo Frank: HAVE YOU EVER SMELLED A NEGRO?

A Jewish Civil Rights Icon Frames a Black Man for Murder

The racial history of Georgia is fraught with blood-curdling violence and the utter extremes of white supremacy. Native genocide, African slavery, sharecropping, Jim Crow, lynching, KKK terrorism, and state-sponsored oppression were not only practiced there—they are at the existential root of Georgia itself. Black people can safely say the state motto—“Wisdom, Justice, Moderation”—is hypocrisy.

Source: Jews Selling Blacks: Slave-Sale Advertising by American Jews

Jewish people claim that they shared victimhood with Blacks throughout Georgia history. But in order to make that claim they ignore the extensive Jewish slave trading, such as that of Leah Minis, who was publicly advertising “Sundry Negro Slaves in families” in 1795, or that of Israel Keiffer, who in 1781 was selling “some Negroes, Cattle, and Household furniture,” “property” of the late co-religionist Solomon Zantz. They must ignore the mass Jewish exodus from Georgia in 1740, which occurred not to escape some anti-Semitic violence but, according to Rabbi Dr. Jacob Rader Marcus, to protest that “Negro slavery was prohibited, the liquor traffic was forbidden.” You read right. When Georgia decided to ban slavery, the Jews booked it to find a slave state. They only returned when African slavery was reinstated nine years later.

Source: Jews Selling Blacks: Slave-Sale Advertising by American Jews

To make the case that they have kinship with Blacks in suffering the worst of white American racism, Jews point to a single event—the 1915 lynching of the convicted murderer of a young gentile girl, Jewish leader Leo Frank, who was killed after being snatched from a Georgia prison cell. Based on this one event Jews have claimed a historical oppression equal to that of Blacks, and Leo Frank has been given a sacred martyrdom status in the history of Jews in the Black civil rights movement.

 

A new book by the Nation of Islam delves deeply into the Leo Frank case to meticulously examine this little-known history. Of the dozen or more books and thousands of articles written about this most significant case, it turns out that, strangely, none of those studies are by Black scholars. And the Jewish writers have routinely evaded the extraordinary involvement of Blacks in the case and how they were used and abused in the legal process that led to Leo Frank’s murder conviction. The 536-page book on the Leo Frank case by the Nation of Islam is titled The Secret Relationship Between Blacks and Jews, Vol. 3, The Leo Frank Case, and it reveals in graphic detail that the B’nai B’rith leader Leo Frank and his Jewish supporters were no civil rights crusaders: they were staunch proponents of white supremacy and true believers in the racist status quo.

 


Leo Frank Frames a Black Man for Murder

The trial of Leo Frank for the murder of 13-year-old Mary Phagan was a veritable cesspool of racism—not by the Georgia prosecutors of Leo Frank, but by Leo Frank and his hired defense team! One of the ugliest examples of Jewish racism commenced just hours after the murder. The man who discovered the body in the basement of Leo Frank’s pencil factory was Leo Frank’s employee, the Black night watchman named Newt Lee. Though it was Lee who alerted police to the grisly scene in the early morning hours of April 27th 1913, the police immediately arrested and jailed him, for no other reason than the arrest of the nearest Black person was a long-established American tradition.

But Frank also found himself under suspicion after police noticed that he was unusually nervous and trembling and that the statements he gave to investigators were, to them, less than candid.  One of scores of child employees at the factory, Mary Phagan had come to meet Frank to get her pay, and he admitted to being the last person to see her alive. Leo Frank sensed that police had their suspicions of him, but as the leader of Atlanta’s B’nai B’rith organization he had the wealth and connections to obtain the most expensive lawyers and private investigators. And once his legal team was assembled, they seem to have been working zealously and illegally to deflect suspicion away from their client Leo Frank.

Civil Rights Icon Leo Frank and murder victim Mary Phagan

While Newt Lee sat chained in jail, and with the newspapers stoking a lynch-mob fervor against him, someone broke into Lee’s home, found a shirt of his, smeared it with blood, and placed it in his clothes hamper. At the very same time, Frank’s lawyer and fellow B’nai B’rith member Herbert Haas was “informing” police where they might be able to find that damning “evidence” against Lee. But Haas handled his part of the “frame-up” so poorly that police immediately suspected the bloody shirt to be “planted” evidence. The shirt appeared newly washed and not to have been worn at all, and it had been smeared with blood as if someone had used it to wipe a table. Worse, police confirmed that Lee, who was then sitting handcuffed in jail, was still wearing the shirt he had on on the day of the murder.

Further tying this botched scheme to Leo Frank was the simultaneous discovery that Frank had altered his night watchman’s factory timecard to indicate that Lee could have committed the crime. The front page of the April 30th edition (“Extra No. 8”) of the Georgian is titled “SUSPICION LIFTS FROM FRANK; MAY BE FREED,” and quotes detectives: “We now have enough evidence to convict Newt Lee.” Most troubling is the following passage:

Additional clews furnished by the head of the pencil factory were responsible for the closing net around the negro watchman…what suspicion had rested on Frank was being rapidly swept away by the damaging evidence against the black man. It was announced that he [Frank] probably would be liberated tonight or in the morning.”

Atlanta Chief of Detectives Newport Lanford declared to reporters that somebody was blocking the Phagan investigation, silencing witnesses, and ‘planting’ evidence. Chief Lanford understood—as did everyone else following the sensational case—that only one person, Leo Frank, could benefit from these actions against the poor Black night watchman. And it was only Frank who had the resources to mount such an operation.

Frank’s botched attempt to frame his Black employee was actually the final straw for police, who then concluded that Leo Frank was the likely murderer. They arrested him, and a grand jury with five Jewish members indicted Frank for the murder of Mary Phagan. The “bloody shirt” incident came up at the trial and was one of the strongest pieces of evidence presented by the prosecution.

 


Leo Frank’s Racism on Trial

Tampering with, falsifying, and altering evidence are bad enough—indeed, they are all felonies—but when confronted with their crimes at his trial, Frank’s team doubled down and dove even deeper into the mud. His main trial attorney was the South’s premier advocate, the famed Luther Rosser, and in open court he had this incredible exchange with an expert witness who testified that the bloody shirt had indeed been planted at Newt Lee’s home:

Rosser: The shirt had the odor of blood on it when you first got it, didn’t it?

A. Yes.

Rosser: Then, wouldn’t the odor of blood have killed the odor of “nigger”?


A. No.

Rosser: Then, if a nigger had just put on his shirt and had taken it off in an instant, your nose would “get him”?

A. Have you ever smelled a negro, Mr. Rosser?

Rosser: More than you ever smelled. I was smelling them before you were born.

Jewish civil rights icon Leo Frank sat nodding approvingly at his attorney’s cross-examination prowess. For, though Rosser was no closer to rebutting the damning evidence against his client for the serious crimes of rape and murder, he had indeed established himself as the resident authority on the smell of niggers. And so a budding Black-Jewish relationship, which could have held out the promise of equal opportunity, racial brotherhood, and civil rights, collapsed like a 9-11 controlled demolition.

 

Notwithstanding this bizarre and grotesque trial tactic, Newt Lee testified in such a strong, truthful, and dignified manner that even the all-white jury could not be convinced that Lee had committed any crime at all. But that did not deter the Frank team, which argued in court that Lee, and the many Black witnesses that testified, should not be believed—simply because they were Black. “Negro testimony,” they insisted, was by definition inferior and unreliable. Further, Frank advanced the notion to the court that murder, rape, and robbery were “negro crimes” and thus by definition a white man (like him) could not have committed the murder of Mary Phagan.

Of course, had the Georgia prosecutors pursued an “odor of Jew/Jew testimony/Jewish crime” attack against Frank, such an outrage would ring from every American history book as the very best proof of American “anti-Semitism” in its rudest form. Instead, Leo Frank—a Jewish racist—is “credited” with being the founding father of  the Anti-Defamation League and the Black-Jewish relationship

Today, of the many studies of the case, all have concealed the anti-Black racism of Leo Frank and his supporters. Journalist Steve Oney is the ADL expert on the case. He penned a book of 742 pages yet avoids this “smell-of-nigger” exchange altogether. A stage play by Alfred Uhry titled Parade, which is now touring America, ignores and whitewashes these seedy features of Leo Frank’s alleged civil rights résumé.

All of this hidden history is revealed in unprecedented detail in the pages of The Secret Relationship Between Blacks and Jews, Volume 3. What’s more, the attempted framing of a Black man—a framing that Leo Frank had hoped would result in the innocent man’s lynching—is just one of many incidents of racism committed by Leo Frank and his representatives as he tried desperately to free himself from the charge of rape and murder, at the expense of an innocent Black life.

The Jewish role in the early civil rights movement has always been taken for granted as having a strong foundation in truth. Now that Black scholars have conducted a rigorous investigation of the Leo Frank case, the Jewish role in the Black struggle must be seriously revisited, uncovered, and exposed.


See the banned video at https://www.bitchute.com/video/lcUuo9tS2swE/

Jewish Forward Takes on Leo Frank Mythology

Notice recruiting Black actors to perform roles in Parade.

HOW JEWISH PROPAGANDA BECOMES HISTORICAL “FACT”

Ms. Aimee Levitt’s recent article in the Forward asks the provocative question, “Was Leo Frank A Case Of Jews Playing The Jew Card?

The Forward is responding to a series of three articles by the Nation of Islam Research Group questioning the authenticity of the Alfred Uhry musical Parade, which has been performed in theaters across America. Blacks would know Uhry as the writer of the insulting uncle tom drama Driving Miss Daisy. Parade is based on the alleged anti-Semitic prosecution of Atlanta B’nai B’rith president Leo Frank for the murder of Mary Phagan, a 13-year-old gentile girl who worked at the factory that Frank managed. Frank was lynched in 1915, and his case is considered the worst incident of anti-Semitism in American history. Mr. Uhry’s play Parade promotes the idea that Frank was innocent of the murder and that a Black man named James Conley was the real assailant, who then schemed with Georgia authorities to persecute “the Jew.”

A new book by the Nation of Islam titled The Secret Relationship Between Blacks and Jews, Vol. 3—the first book about the case written by Black scholarscompellingly argues that a true analysis of the evidence shows that Frank was in fact guilty and that Jewish leaders know this but are exploiting the case to claim a victimhood in America for their own political advantage. Thus, Uhry’s musical Parade is a flagrant example of Jews playing the “Jew Card.”

To Ms. Levitt’s credit she has consulted two Jewish scholars who have written books on the case: Dr. Jeffrey Melnick and journalist Steven Oney, the latter being the Anti-Defamation League’s resident expert on the case. Inexplicably, Levitt chose to avoid any of the points presented in the three articles that prove that Parade is far more propaganda than fact. The articles can be found at the following links:

Playwright and race propagandist Alfred Uhry.

LEO FRANK: HAVE YOU EVER SMELLED A NEGRO?

https://noirg.org/articles/leo-frank-have-you-ever-smelled-a-negro/

JEWISH PLAY PARADE HAS BLACK ACTORS TELLING WHITE LIES

https://noirg.org/articles/the-musical-parade-corrupts-black-jewish-history/

LEO FRANK AND PARADE: A JEWISH FAIRY TALE GONE BAD

https://noirg.org/articles/leo-frank-and-parade-a-jewish-fairy-tale-gone-bad/

In the Forward article, Dr. Melnick begins his comments with a surprising admission: “I’m clearly in a strange position of agreeing with a lot of what the Nation of Islam has to say…” In fact, Melnick was asked directly in 2010 whether he felt Frank was really guilty. He answered, “I studied all I could and I can’t figure it out still.” Steve Oney’s 2003 book on the Frank case has the distinction of being probably the only book written in the 21st century that still uses the words “Negro” and Negress throughout its pages to refer to Black people. In 2013 Oney wrote: “I think there was a reasonable case against Leo Frank.” Those statements by Ms. Levitt’s scholars effectively throw into question the claim that Frank’s ordeal was based on “anti-Semitism” and not the damning evidence found at the scene of that horrific crime.

Steve Oney, author of And the Dead Shall Rise.

Levitt’s article is titled “Musical Sparks Fresh Tensions With Blacks Over Infamous Leo Frank Case.” But the “tensions” Ms. Levitt refers to are not even between Blacks and Jews—they are between the Jewish ADL and their own expert on the case, Steve Oney. Levitt can today find on the ADL’s own website the claim that a violent anti-Semitic mob gathered outside the Atlanta courtroom chanting, Hang the Jew, Hang the Jew. Scores of Jewish authorities, including Alan Dershowitz and ADL leaders Abraham Foxman and Jonathan Greenblatt, have promoted this claim as proof of anti-Jewish bigotry. But Oney told the Jewish Journal:

“It didn’t happen….Jews were accepted in the city, and the record does not substantiate subsequent reports that the crowd outside the courtroom shouted at the jurors: ‘Hang the Jew or we’ll hang you.’”

Of the men who lynched Frank, Oney writes that they “were motivated by neither bloodlust nor anti-Semitism.” Ms. Levitt might care to referee that serious internecine conflict amongst Jews.

Dr. Jeffrey Melnick, author of Black–Jewish Relations on Trial: Leo Frank and Jim Conley in the New South

Levitt accurately points out that her paper’s own founder, Abraham Cahan, went to Atlanta in 1913 to interview Frank in jail. She should have revealed that Cahan quoted Frank himself:

“Anti-Semitism is absolutely not the reason for this libel [murder conviction] that has been framed against me. It isn’t the source nor the result of this sad story.”

Frank’s wife Lucille, according to Cahan, “supported her husband’s claim.”

So where does this leave those involved in the production of Alfred Uhry’s Parade?

Jews, of course, are welcome to promote any mythology about themselves that they care to. That’s why they set up Hollywood. But Black actors should seriously consider whether they still want to be Driving Miss Daisy for Alfred Uhry, promoting anti-Black bigotry in the form of entertainment. Whilst Steve Oney has dismantled the core of the “anti-Semitism” charge, it CAN NOT be refuted that Leo Frank and his Jewish defenders launched one of the most racist trial defenses in American history—and that is the central argument in The Secret Relationship Between Blacks and Jews, Vol. 3.

Should Blacks ignore the fact that agents working for Leo Frank planted a bloody shirt at the home of a Black man named Newt Lee, in an attempt to frame him for the murder of Mary Phagan? Should we ignore that the main argument of Franks trial defense was that he could not have done it because murder is a “negro crime”? In open court his attorneys made such statements as “Don’t you know a nigger never had sausage on the table without eating it?” The Jewish defendant himself, now promoted as a civil rights icon, referred to Blacks as “niggers” without reservation. Dozens of young women testified that Frank harassed them on the job seeking sexual favors. He used the labor of gentile children and worked them long hours, whilst Atlantas Jewish children were attending the best schools in the city; and his factory jobs were segregated by race, with a “negro toilet” in the basement.

Should not Parade actors know that both of Frank’s hired private detectives concluded that Frank was guilty? Should the Parade audience be informed that according to the ADL, there were five Jewish members of the grand jury who voted to indict Frank for murder? Should they know that Frank’s main supporter Albert Lasker said that Frank “impressed us as a sexual pervert…”? And though he spent nearly $3 million in todays dollars on Frank’s behalf, should not Jews be apprised that Lasker privately expressed serious doubts about Frank’s innocence? Should Jewish people who suffered under Hitler know that Franks main appeals attorney, Louis Marshall, was also the “main legal advisor” for the eugenics movements American Breeders Association?

All this and much more is revealed in the 536-page Nation of Islam book, and backed by 1,227 footnotes.

Blacks must be made aware that the Leo Frank case has been used as a ploy to hide a much uglier BlackJewish truth. Brandeis professor of Jewish studies Jonathan Sarna recently confirmed that before the Leo Frank case, Jews had no history of being oppressed in America. Dr. Sarna wrote that if the United States “has not been utter heaven for Jews, it has been as far from hell as Jews in the Diaspora have ever known.” The fact is that Jews in America have a long history of making America a hell for Blacks. Dr. Abraham Peck, at the American Jewish Archives, was unmistakably clear:

“The first two centuries of the Black–Jewish encounter in America were highlighted by a fairly extensive record of Jewish slave-holding. Indeed, during the colonial period, in the small Jewish community of the time, almost every Jewish household of any form, North or South, possessed at least one slave.”

The Jewish Encyclopedia reveals the surprising fact that

[T]he cotton-plantations in many parts of the South were wholly in the hands of the Jews, and as a consequence slavery found its advocates among them.

By the 20th century, Jews badly needed major racial damage control—and so the Leo Frank Myth was born. For a full century Jews have used their immense media power to make Leo Frank the victim of the Mary Phagan Murder Case. And the strategic promotion of this boldfaced “anti-Semitism” lie is the only reason the public believes the Jewish people have been an oppressed minority in America, “just like the Blacks.” But, unacceptably, their 100-year Jewish spin on this tragic murder case is at the expense of Black people.

Alfred Uhry’s Parade is the main vehicle for this pernicious Jewish propaganda. Relatively few people will actually have attended its recent performance in Chicago, but the dozen articles it spawned in the major and minor Chicago press and beyond will serve to spread the myth of Jewish victimhood much, much further. And, along with that, they will spread the falsehood that Leo Frank was lynched for a murder committed by a Black man. Thus Uhry promotes the myth of a “Black anti-Semite” as the source of all American Jewish woes.

The Birth of a Nation, the first Hollywood blockbuster, was also a Ku Klux Klan recruitment film. So rotten were its Black caricatures that white actors in burnt cork blackface had to play some “negro” parts. Black actors must now see Parade in the very same way. Let Jews promote a racist myth as actual history—that is their prerogative. Black participation in our own degradation for a Jewish P.R. campaign is simply a disgrace.

Alfred Uhry probably didn’t mean to be so apt when he was asked by an interviewer, “What do you hope people will bring away from this musical?”

If people are touched, I’ve done my job. This is risky. Sometimes I think, “OK, this time they’re going to catch me, I have no talent, they’re going to nail me for the fraud I am.”

Exactly.

 

 

Jewish Play PARADE Has Black Actors Telling White Lies

Jewish Racism Ignored in Leo Frank Musical ‘Parade’

Rep. John Lewis with the Anti-Defamation League’s Jonathan Greenblatt 

On August 17th of 2015, civil rights pioneer John Lewis addressed the 100th anniversary commemoration of the 1915 lynching of Jewish leader Leo Frank. Lewis and all the leaders at the event emphasized Frank’s significance to the American civil rights struggle. A theatrical production currently touring America titled Parade reinforces that notion, but John Lewis—as well as the Parade actors and theatergoers—may be unaware of the profoundly racist ways in which Leo Frank and his Jewish supporters attempted to destroy Black civil rights in America.

The legacy of the 1913 Leo Frank case is still potent in the minds of American Jews. At least a dozen books and hundreds of articles have been written on the horrific Atlanta murder of a 13-year-old Gentile girl named Mary Phagan and the lynching of her convicted murderer, Leo Frank. And though the case is largely unknown outside of Jewish circles, it is widely considered to be the greatest example of anti-Semitism in American history. From this one Atlanta tragedy have come, according to Jewish scholars, many significant events in Black history. It is claimed that the terrorist Ku Klux Klan was reignited as a result of the Leo Frank Affair and that the case influenced Jews to partner with Blacks in the early civil rights movement. Frank’s position in Atlanta as the president of B’nai B’rith has bestowed upon him the title “Father of the  Anti-Defamation League,” a B’nai B’rith offshoot that began in earnest in 1913 as a result of the case. Indeed, Leo Frank has become Jewish America’s most important civil rights icon.

In 1913, Leo Frank was arguably the most important Jew in the American South. He was a businessman and managed the pencil factory where the young murder victim was employed. Atlanta police investigated the crime and within days Frank was charged with her murder. The trial in the summer of 1913 gripped the state of Georgia, and its extensive coverage by the three Atlanta daily newspapers even pushed World War One off the front pages. At the end of the longest and most expensive trial in Georgia’s history, Frank was convicted and sentenced to hang. It was a trial, Jews say, that was marred by anti-Semitic mob violence and terror.

Two years of unsuccessful legal appeals followed, when the Georgia governor stepped in to commute Frank’s sentence to life imprisonment. Within weeks, however, an unknown group of armed vigilantes kidnapped Frank from his prison cell, drove him to the girl’s hometown and lynched him from an oak tree. For Jews, that act—the only lynching of a Jew in American history—resonates deeply even today.

James “Jim” Conley, Mary Phagan, Leo M. Frank

A Tony Award-winning musical titled Parade is now touring the country, serving to preserve the case in the hearts and minds of American Jews. Alfred Uhry is the show’s writer, but he is better known as the writer of the controversial racial drama Driving Miss Daisy. He says that his mission with Parade is not to entertain but to infuriate: 

“If those people get riled up, it’s their problem, not mine. History says we’re 99.999 percent sure that Frank didn’t do it, and I’m not going to convince the rest.”

But there is a real problem lurking within Alfred Uhry’s script that Parade’s Black actors must confront, a problem that moves to center stage the racism inherent in the play itself and those who have perpetuated its racially charged message. According to those who so passionately champion Leo Frank’s cause, the “real murderer” was a Black man named James “Jim” Conley, a janitor at Frank’s factory. They say that, by either wily deception or coalition with “anti-Semitic” authorities, Conley’s gruesome crime was pinned on an innocent Jew.

But are Parade’s Black actors as “99.999 percent sure” of Conley’s guilt as Alfred Uhry claims to be? And are those Black actors, who have earned rave reviews for playing Conley as “slippery,” “devious,” and “menacing,” willing to examine the actual evidence in the case, even if it shows Uhry’s narrative to be dead wrong? Let us look at some of the particulars of the case and see if Uhry’s artistic vision has created more racial friction than harmony.

 

What REALLY Happened on April 26, 1913?

On April 26, 1913, the National Pencil Company factory was closed for business, but 13-year-old machine operator Mary Phagan came to collect her pay from Frank, who later admitted he was the last person to see her alive. Investigators believed that Frank set up this encounter in the deserted building hoping to proposition the girl for sexual favors, but when she refused his advances he became violent and in the ensuing struggle his attempted rape escalated into murder. Mary’s body was found the next day and after police eliminated several other suspects (three of them Black), Frank was charged with the crime. 

Several weeks after Frank’s arrest the janitor James Conley stood up to confess that he was also in the factory on the day of the murder, but he was there only at the request of Leo Frank, who had asked him to be a lookout at the front door as Frank rendezvoused with the unsuspecting employee Mary Phagan on the floor above. Conley said that he had performed this sentry role several times before, and so he did as he was told. He watched as Mary came in and went up the stairs to Frank’s office, but soon a panicked Leo Frank called him upstairs and admitted that he had accidentally killed the girl and needed Conley’s help moving the body to the basement. Conley’s very detailed confession—corroborated by the physical evidence—was so convincing that it became central to the prosecution’s case. For his part, Frank claimed not to have any knowledge of Conley or the murder, and his defenders then began their 100-year campaign to make Conley the lone murderer of Mary Phagan.

 

Black & White Actors Must Flip the Uhry Script

Unfortunately for Alfred Uhry and those who promote Frank’s innocence, the case is far, far from a simple “he said, she said.” It is multi-layered, with deep racial implications then and today. Before the next Black (or white) actors pick up Uhry’s deeply flawed Parade script, they must pick up and read The Secret Relationship Between Blacks and Jews, Volume Three: The Leo Frank Case, The Lynching of a Guilty Man. Its 536 pages contain over a thousand footnotes, with multiple illustrations, maps, diagrams, photos, and graphics that touch on every aspect of this controversial case. Here are a few of The Secret Relationship’s documented findings (and the page numbers where full references can be found) that not only challenge many of the longstanding but false claims about the Leo Frank trial and lynching but also conflict irreconcilably with Alfred Uhry’s Parade:

• A 23-member grand jury that included five prominent members of the Jewish community voted for the indictment of Leo Frank. (See pages 52, notes 102-106; 88 n. 181; 146-147; 160; 212; 338.)

 Harvard law professor Alan Dershowitz, presumably a careful legal analyst, claimed that the trial crowds “shouted anti-Jewish epithets and demanded Frank’s death.” Abraham Foxman and Jonathan Greenblatt of the Anti-Defamation League maintain that a mob chanted, Hang the Jew, Hang the Jew. But the ADL’s own expert, Steve Oney, told the Jewish Journal: “[I]t didn’t happen.” (See pages 163-164, 165, 173-187.)

• Frank himself told a Jewish newspaper publisher, “Anti-Semitism is absolutely not the reason for this libel [murder conviction] that has been framed against me. It isn’t the source nor the result of this sad story.” (Page 142.)

• Anti-Semitism was virtually absent from the case, but anti-Black racism was brutally present: Leo Frank, as leader of B’nai B’rith, publicly and openly referred to Blacks as “niggers.” His defense attorneys used the word “nigger” and other racist slurs dozens of times in court. His main attorney told the jury: “If you put a nigger in a hopper, he’ll drip lies.” (Pages 121-123, 128-129, 131-133, 363.)

• Frank argued in court that the many Black witnesses that testified should not be believed—simply because they were Blackand that “negro testimony” was by definition inferior and unreliable. Further, Frank argued to the all-white jury of his peers that murder, rape, and robbery were “negro crimes” and thus, he, a white man, could not have committed the murder of Mary Phagan. (Pages 124-136.)

• Frank himself hired two of the most prominent (and expensive) private detective agencies in America and both concluded that Leo Frank was the murderer of Mary Phagan.  (Pages 47-48; 65-66; 91 note 187; 147; 247.)

• Before Frank accused James Conley of the crime, Frank accused the Black night watchman who found the body. Frank’s hired private eyes actively targeted Newt Lee and actually planted a blood-soaked shirt in the innocent Black man’s home, and then told the police where they could find that damning “evidence.” At the same time, Frank altered Lee’s workplace time card in order to make Lee the prime suspect. (Pages 35-44.) 

By now Parade’s Black actors should be able to see why Mr. Uhry left ALL those facts on the cutting room floor. But there’s more:

• Leo Frank’s own Black maid, Minola McKnight, swore that she overheard Frank’s wife and mother discussing how Frank had confessed that he had killed a girl.(Pages 378-79, 423-428.)

• Powerful Jewish leaders rallied to Frank’s defense, but privately they admitted that they could not stand Frank’s personality and that he probably was guilty. Albert Lasker financed Frank’s legal defense. His private view of the B’nai B’rith president was harsh and disturbing: “he impressed us as a sexual pervert. Now, he may not have been, or rather a homeosexual [sic] or something like that.” Lasker said, “I hope he [Leo Frank] gets out…and when he gets out I hope he slips on a banana peel and breaks his neck.” (Pages 216-217, 254-255, 322.)

• One reviewer of Parade writes of the “young, lying female employees claiming that Frank has sexually abused them,” but Frank’s main attorney admitted in open court that Frank’s lewd behavior was “a sign that we are getting more broad-minded…[D]eliver me from one of these prudish fellows that never looks at a girl and never puts his hands on her…” Twenty adolescent girls and young women gave such powerful testimony about Leo Frank’s sexual harassment at the factory that none of his bevy of highly paid attorneys dared to cross-examine them—not one. (Pages 107-123.)

• Frank supporters tried to hire a Black woman named Annie Maude Carter to slip Conley some poison while he was in jail waiting to testify at Frank’s new-trial hearing. She identified the plotters in open court as prominent members of the Jewish community. (Pages 262-263.)

• Leo Frank refused to take an oath on the Bible, and then refused to be cross-examined by prosecutors. But James Conley withstood 16 hours of cross-examination—under oath. (Pages 92ff, 122, 136-140, 362-382.)

• Uhry’s Parade slanders Prosecutor Hugh Dorsey, but it was Dorsey who allowed Blacks to testify in an American courtroom, a truly unprecedented advancement in civil rights. Leo Frank’s attorneys fought this tooth and nail and did everything they could to keep Blacks from participating in any part of the trial. Uhry’s script does not complain about the all-white jury because it was Frank’s attorneys—not Georgia prosecutors—who used their power to eliminate Blacks from the jury pool. Dorsey later became governor of Georgia, whereupon he forcefully condemned the racial violence in his state and in America. The NAACP declared that Governor Dorsey’s stand “greatly enhanced the significance of the anti-lynching crusade.” Frank’s B’nai B’rith and all Jewish organizations were totally absent from the anti-lynching movement. In fact, Leo Frank’s main appeals attorney, Louis Marshall, the founder and president of the American Jewish Committee, fought to undermine anti-lynching legislation, calling it “unconstitutional” and a violation of “state’s rights.” (Pages 88, 478-479.)

• Several of Frank’s strongest advocates—including his main lawyer and the man who financed his legal appeals—were both Jewish and open and active members of the American eugenics movement. A generation later Hitler would draw inspiration for his anti-Jewish policies from American eugenicists. (Pages 217, 221-222.)

• Mysteriously, in 1982 a “witness” named Alonzo Mann materialized, claiming that he was at the factory in 1913 on the day of the murder and saw Conley carrying the body of Mary Phagan, but Mann had given many conflicting stories—then and now—that are irreconcilable with the known facts. (Pages 435-464.)

• Many Jewish scholars have insisted that the terrorist Ku Klux Klan was rebirthed by the “anti-Semitism” stirred up from the Leo Frank case. But the fact is, the two events—Leo Frank’s lynching and the rebirth of the KKK—had NOTHING to do with each other. The epic movie The Birth of a Nation, released in February 1915, was the impetus for the Klan revival—not the Leo Frank case. In fact, even though it was the most racist movie ever made and the KKK used it as a recruitment film, Jews financed its production, played it at the theaters they owned, promoted it, and reviewed it positively in the newspapers they published. The Jewish movie mogul Louis B. Mayer made so much money distributing the movie that he used the profits to start Metro-Goldwyn-Mayer (MGM), one of the greatest purveyors of racist Hollywood propaganda of all time. (Pages 309-320.)

Leo Frank may be the “Father of the ADL,” but the B’nai B’rith president was a leader in the effort to keep Blacks in an inferior, marginalized position at the bottom of American society. Evidence shows him to be guilty of murdering Mary Phagan and guilty of attempting to pin his crime on two innocent Black men. James Conley and the many other Blacks who factored in the Leo Frank case have been horribly slandered, and the killer of Mary Phagan—Leo Max Frank—has been allowed to escape responsibility.

Parade’s Black actors are no longer forced into these racist roles, as were our actors of yesteryear. They may believe they are helping Jews to tell a historical reality, but in fact they are helping Jews to spread white supremacist propaganda. Today, Black actors are responsible not just for delivering their lines, but for delivering the truth.

What will Parade‘s Black actors do now?