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.