Archive for the ‘Leo Frank’ Category

The week ahead in LA theater, Aug. 6-13: ‘Hamlet,’ ‘Marlene’ and more – Los Angeles Times

THEATER

Capsule reviews are by Charles McNulty (C.M.), Philip Brandes (P.B.) and Daryl H. Miller (D.H.M.). Compiled by Matt Cooper.

Journey of the Monkey King Taiwans Rom Shing Hakka Opera Troupe makes its U.S. debut with this ancient Chinese folktale; Taiwans Lei Dance Theatre the Irvine-based Sun Musical Concert Choir also perform. Pasadena Civic Auditorium, 300 E. Green St., Pasadena. Sun., 7 p.m. $39 and up. (800) 653-8000.

Kill Local World premiere of Mat Smarts dark comedy about about a woman and her two daughters who work as professional assassins. La Jolla Playhouse, 2910 La Jolla Village Drive, La Jolla. Sun., 7 p.m.; Tue.-Wed., 7:30 p.m.; Thu.-Fri., 8 p.m.; Sat., 2 and 8 p.m.; next Sun., 2 and 7 p.m.; ends Aug. 27. $35 and up. (858) 550-1010.

Marlene Cindy Marinangel portrays legendary actress Marlene Dietrich in this solo bio-drama written by Willard Manus. Write Act Repertory @ Brickhouse Theatre, 10950 Peach Grove St., North Hollywood. Sun., next Sun., 7 p.m.; ends Aug. 27. $20. (800) 838-3006.

OPC Summer New Works Festival The Ojai Playwrights Conferences 20th annual showcase includes workshop productions of new works-in-progress by Sandra Tsing Loh, Samuel D. Hunter, et al.; details at www.ojaiplays.org. Zalk Theater, 703 El Paseo Road, and Matilija Auditorium, 703 El Paseo Road, Ojai. Sun.-next Sun.; ends Aug. 13. $30. (805) 640-0400.

Golden Girlz Drag show celebrates the hit 1980s-90s sitcom. Cavern Club Theater, 1920 Hyperion Ave., L.A. Wed., 8 p.m.; Thu.-Sat., 8 and 10 p.m.; next Sun., 3, 7 and 9 p.m.; ends Aug. 13. $30. (800) 838-3006.

August Reading Series Staged readings of new plays by Brian Otano, Charlie Kelly, Sigrid Gilmer and Daria Polatin. IAMA Theatre Company @ Sacred Fools Theater, 1078 Lillian Way, L.A. Thu.-next Sun., 8 p.m.; $5 each; series pass, $17. (323) 380-8843.

Las Garca Writer-performer Gabriela Ortega explores her life and Dominican ancestry in this solo drama. Asylum @ Studio C Artists, 6448 Santa Monica Blvd., L.A. Thu., Sat., 8 p.m.; ends Aug. 21. $15. (323) 533-7371.

New Original Works Festival 2017 The 14th-annual performing-arts showcase concludes; program details at www.redcat.org. REDCAT, 631 W. 2nd St., L.A. Thu.-Sat., 8:30 p.m.; ends Aug. 12. $16, $20; festival pass, $40. (213) 237-2800.

Tilda Swinton Answers a Craigslist Ad The British actress, portrayed by Buffys Tom Lenk, moves in with a shy gay man (writer-performer Byron Lane) to study him for a film role in Lanes satirical comedy. Celebration Theatre @ the Lex, 6760 Lexington Ave., Hollywood. Thu., 8 p.m.; ends Aug. 31. $20. (323) 957-1884.

Honky Tonk Laundry Bets Malone and Misty Cotton star in the L.A. premiere of writer-director Roger Beans Nashville-set jukebox musical/comedy. Hudson Mainstage Theatre, 6539 Santa Monica Blvd., Hollywood. Fri.-Sat, 8 p.m.; next Sun., 2 and 7 p.m.; ends Sept. 17. $45, $55. (323) 960-7773.

Love Letters A.R. Gurneys two-character epistolary drama. Lewis Family Playhouse, 12505 Cultural Center Drive, Rancho Cucamonga. Fri.-Sat., 2 and 7:30 p.m.; next Sun., 1 p.m.; ends Aug. 11. $16. (909) 477-2752.

Rebel With a Cause: The Sal Mineo Story Writer-performer Dean Ghaffari portrays the actor and gay icon in this solo biographical drama. Promenade Playhouse, 1404 3rd St. Promenade, Santa Monica. Fri.-Sat., 8 p.m.; ends Aug. 26. $12-$27. (310) 656-8070.

Hamlet Shakespeares tragedy of the melancholy Dane. The Old Globe, San Diego, 1363 Old Globe Way, San Diego. Sat.-next Sun. 8 p.m.; ends Sept. 10. $30 and up. (619) 234-5623.

The Cake With understanding, respect and compassion for opposing points of view, This is Us writer/co-producer Bekah Brunstetters impeccably staged new dramedy explores the human repercussions when that quintessential symbol of union and hope the wedding cake becomes a flashpoint in the culture war over marriage equality. (P.B.) Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave., L.A. Sun., next Sun., 4 p.m.; Mon., Wed.-Fri., 8 p.m.; Sat., 2 and 8 p.m.; ends Aug. 13. $34. (310) 307-3753.

Fun Home Based on the graphic memoir by Alison Bechdel about growing up as a lesbian with a closeted gay father, this deeply moving musical drama combines textured character psychology and nuanced storytelling with the enchantment of a score that can go from melancholy to zany in a heartbeat. Fun but never frivolous, this Tony-winning show by composer Jeanine Tesori and playwright Lisa Kron shimmers with a Proustian glow. (C.M.) Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Dr., Costa Mesa. Ends Sun., 1 and 6:30 p.m. $29 and up. (714) 556-2787.

Parade A mans religion and origin mark him for scapegoating when the public needs an outlet for its collective frustration. Alfred Uhry and Jason Robert Brown base this stunner of a musical on the 1913 trial of Leo Frank, a Jewish Northerner indicted for the murder of a 13-year-old girl at the factory he supervised in Atlanta. Director Kari Hayter and a committed cast deliver a fluid, coiled production that shakes the audience to its core. (D.H.M.) Chance Theater, 5522 E. La Palma Ave., Anaheim. Fri.-Sat., 8 p.m.; next Sun., 3 p.m.; ends Aug. 13. $40, $45; discounts available. (888) 455-4212.

Rhinoceros With darkly hilarious urgency, this superbly staged and disconcertingly timely revival illuminates playwright Eugene Ionescos absurdist warning about the seductively corrosive lure of herd mentality and the fragility of civilized norms we take for granted. (P.B.) Pacific Resident Theatre, 703 Venice Blvd., Venice. Thu.-Sat., 8 p.m.; next Sun., 3 p.m.; ends Sept 10. $25-$34; discounts available. (310) 822-8392.

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The week ahead in LA theater, Aug. 6-13: ‘Hamlet,’ ‘Marlene’ and more – Los Angeles Times

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August 6, 2017   Posted in: Leo Frank  Comments Closed

‘Parade’ opens under the Corn Stock Tent on Aug. 4 – Morton Times-News

PEORIA Parade, a Tony Award-winning musical about religious intolerance, political injustice, and racial tension, opens Friday, Aug. 4, at Corn Stock Theatre.

Parade is one of the most important musical theater productions ever written, said director Deric Kimler. It is a true story that took place during the lead up of World War I and follows the ‘parade’ of events and individual agendas surrounding the case of Mary Phagan.

The drama centers on the 1913 conviction of Jewish factory manager Leo Frank after he is accused of raping and murdering 13-year-old Mary Phagan, a factory worker. Sensationalized by the media, the events arouse antisemitic sentiments in Georgia. When Franks death sentence is commuted, he is seized by a lynching party and hung from an oak tree in Marietta. The case fired up the Ku Klux Klan and led to the formation of the Anti-Defamation League, a Jewish Civil Rights organization.

Portraying the lead role of Leo Frank, Peoria native Dustin Presley has returned from New York City, where he has spent the past decade working as an actor, filmmaker and casting director.

“Every once in awhile, life gives you an opportunity to do something meaningful and important with your art. For me, portraying Leo Frank in the musical “Parade” is that opportunity, said Presley. Ive wanted to play this role since I first listened to the cast album many years ago. I immediately fell in love with the beautiful and intricate music of Jason Robert Brown.

A graduate of both Roosevelt Universitys Chicago College of the Performing Arts and the American Musical and Dramatic Academy for musical theater, Presley grew up doing shows in Peoria and is fond of performing in Corn Stocks uniquely intimate space.

For a few years now, Ive been looking for an excuse to come back to the community that nurtured my skills as a young actor, he said. Being able to do this particular show under the tent, surrounded by amazing local talent, is an absolute dream come true.

Shows are at 7:30 p.m. Aug. 4-12. Tickets are $22/adults, $17/students and are available by calling 676-2196 or online at cornstocktheatre.com. The Corn Stock Theatre tent is located in upper Bradley Park, 1700 N. Park Road.

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‘Parade’ opens under the Corn Stock Tent on Aug. 4 – Morton Times-News

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July 31, 2017   Posted in: Leo Frank  Comments Closed

‘Parade’ opens under the Corn Stock Tent on Aug. 4 – Peoria Journal Star

PEORIA Parade, a Tony Award-winning musical about religious intolerance, political injustice, and racial tension, opens Friday, Aug. 4, at Corn Stock Theatre.

Parade is one of the most important musical theater productions ever written, said director Deric Kimler. It is a true story that took place during the lead up of World War I and follows the ‘parade’ of events and individual agendas surrounding the case of Mary Phagan.

The drama centers on the 1913 conviction of Jewish factory manager Leo Frank after he is accused of raping and murdering 13-year-old Mary Phagan, a factory worker. Sensationalized by the media, the events arouse antisemitic sentiments in Georgia. When Franks death sentence is commuted, he is seized by a lynching party and hung from an oak tree in Marietta. The case fired up the Ku Klux Klan and led to the formation of the Anti-Defamation League, a Jewish Civil Rights organization.

Portraying the lead role of Leo Frank, Peoria native Dustin Presley has returned from New York City, where he has spent the past decade working as an actor, filmmaker and casting director.

“Every once in awhile, life gives you an opportunity to do something meaningful and important with your art. For me, portraying Leo Frank in the musical “Parade” is that opportunity, said Presley. Ive wanted to play this role since I first listened to the cast album many years ago. I immediately fell in love with the beautiful and intricate music of Jason Robert Brown.

A graduate of both Roosevelt Universitys Chicago College of the Performing Arts and the American Musical and Dramatic Academy for musical theater, Presley grew up doing shows in Peoria and is fond of performing in Corn Stocks uniquely intimate space.

For a few years now, Ive been looking for an excuse to come back to the community that nurtured my skills as a young actor, he said. Being able to do this particular show under the tent, surrounded by amazing local talent, is an absolute dream come true.

Shows are at 7:30 p.m. Aug. 4-12. Tickets are $22/adults, $17/students and are available by calling 676-2196 or online at cornstocktheatre.com. The Corn Stock Theatre tent is located in upper Bradley Park, 1700 N. Park Road.

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‘Parade’ opens under the Corn Stock Tent on Aug. 4 – Peoria Journal Star

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July 30, 2017   Posted in: Leo Frank  Comments Closed

Pittsfield: Lecture explores 1894 political scandal – Berkshire Eagle (subscription)

Temple Anshe Amunim will host an illustrated lecture on “The Dreyfus Affair” at 11:30 a.m. Wednesday, Aug. 2, as part of its “Lunch and Learn” series. TAA is located at 26 Broad St.

Jesse Waldinger, who lectured last year on the Leo Frank trial, will give a power point demonstration on the 1894 political scandal that involved a Jewish captain in the French Army who was falsely convicted of passing military secrets to the Germans.

Guests are invited to bring their own lunch; beverages and dessert will be provided. Admission is free for Temple members and $5 for non-members.

Information: 413-442-5910 or email templeoffice@ansheamunim.org.

If you’d like to leave a comment (or a tip or a question) about this story with the editors, please email us. We also welcome letters to the editor for publication; you can do that by filling out our letters form and submitting it to the newsroom.

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Pittsfield: Lecture explores 1894 political scandal – Berkshire Eagle (subscription)

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July 30, 2017   Posted in: Leo Frank  Comments Closed

PARADE Adds Three Performances at Chance Theater – Broadway World

Chance Theater, Anaheim’s official resident theater company, is pleased to add three additional shows to its production of PARADE. With a book by Alfred Uhry, music and lyrics by Jason Robert Brown, direction by Kari Hayter, and musical direction by Robyn Manion, the Chance’s production of PARADE was named a Los Angeles Times Critic’s Choice and is Ovation Recommended.

PARADE will be adding performances on August 11 at 8pm, August 12 at 8pm, and August 13 at 3pm. Performances will be at Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage. This Tony Award-winning musical is based on one of the most notorious, publicized, and hotly debated trials in US history. Leo Frank, a Brooklyn-raised Jewish factory manager in Georgia, is accused of an unthinkable crime. Exploring a case full of false testimonies and circumstantial evidence, Parade is an example of the power of musical theater to tell complex and important stories. Armed with a breathtaking score by Jason Robert Brown (The Last Five Years) and a powerful script by Alfred Uhry (Driving Miss Daisy), this transformational story is part murder mystery and part exploration of the endurance of love and hope against all odds.

ABOUT CHANCE THEATERProud to be one of the leading ensemble-driven theatre companies in Southern California, CHANCE THEATER recently received a National Theatre Company grant from American Theatre Wing. The Chance has won six Ovation Awards, including two for Best Production of a Musical – Intimate Theater for its West Coast premiere of Triassic Parq – The Musical and Southern California premiere of Jerry Springer – The Opera, as well as four LADCC Awards, including the Polly Warfield Award for Outstanding Season. The Anaheim City Council named Chance Theater “the official resident theater company of Anaheim”, and Arts Orange County has twice named the Chance as “Outstanding Arts Organization”. Known for using bold and personal storytelling to promote dialogue and connection within the Southern California theatrical landscape, the Chance is committed to contributing to a more compassionate, connected and creative community. As a constituent member of Theatre Communications Group, Network of Ensemble Theaters, and the LA Stage Alliance, Chance Theater continues to bring national attention to the Southern California and Orange County theater scenes.

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PARADE Adds Three Performances at Chance Theater – Broadway World

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July 28, 2017   Posted in: Leo Frank  Comments Closed

BWW Review: Chance Theater presents Emotional, Intimate Staging … – Broadway World

It is nearly impossible not to be emotionally affected by the events depicted in PARADE, the stirring, Tony Award-winning 1998 musical inspired by shocking actual events that took place in Atlanta, Georgia between 1913-1915. In it, the musical condenses the unfortunate legal battle of Leo Frank, a mild-mannered but anxious factory manager of Jewish decent, who is wrongfully accused and is later convicted for the brutal rape and murder of one of his 13-year-old employees, Mary Phagan. In the primarily divisive and highly-suspect-of-outsiders South, Frank’s shockingly unfair trial becomes the talk of the entire state, a scandal that would rock news outlets and neighborhood gossip circles, and also further stoked already fiery anti-semitic sentiments deeply ingrained in the citizenry.

It’s certainly a heavy, morose subject to wrap an entire musical around, which is probably why PARADE is so rarely produced despite its high-caliber book by Alfred Uhry and gorgeous music by Jason Robert Brown. But when the material is executed with emotional heft and interesting staging, the results can be powerful, gut-wrenching, and, most importantly, thought-provoking.

For the most part, Chance Theater’s new production of this musical—which continues through July 30 in Anaheim, CA—achieves all these feats quite handily.

I personally have only ever experienced this musical in larger theaters with large sets and a huge ensemble, so to see this little-known story play out in the more intimate footprint of Chance Theater’s Cripe Stage, is in itself an exciting opportunity to experience the show at its most vulnerable and at its most exposed state. As soon as characters enter into our view—whether they are main players or merely in the periphery of narrative importance—there’s very little to hide. Their facial tics and body language can sometimes speak volumes, even if they’re tucked away in the far corner.

This theatrical exposure is almost like an understood metaphor for the times in which this musical takes place. The South—with its long history of subjugating whole races into slavery and fighting a war to keep that way of life—is often a place where prejudices are unapologetically out in the open, and where someone like Leo Frank, a man so obviously uncomfortable with his surroundings, is himself unable to hide his disdain for the very people who look at him with immediate suspicion and detestation for being a Jewish Yankee (there are times that Leo himself even comes off as snobby, holier-than-thou, and more educated than his neighbors— though in his defense, he’s not that far off).

More likely to hear “howdy” than “shalom,” Leo is definitely out of his element.

Though the South certainly does not hold a monopoly on its disdain of “outsiders,” history suggests that their communities certainly seem to be quickest to jump to such sentiments. It is this kind open hostility towards people that are different that makes Leo’s existence in this place doomed from that start.

Using an imposing but mostly bare antiqued-wood platform by scenic designer Fred Kinney (which pretty much takes up most of this intimate theater’s space to stage the action), Chance’s production of PARADE—under the precise yet sensitive direction of Kari Hayter—lets the cast and their exposed performances tell and, well, sing the story, allowing the audience to focus on each character’s feelings about the events happening around them without the distractions of huge sets.

Very interestingly, though, the production also uses many chairs repositioned and repurposed here and there as props, set pieces, and, yes, furniture—reminiscent of how chairs are similarly utilized in productions of THE SCOTTSBORO BOYS and THE COLOR PURPLE, two recent productions whose themes also touch on prejudice in the South.

Here, unobstructed in this open setting, it’s hard not to notice a mother’s anger, a wife’s anguish, an alleged (other) suspect’s guilt, powerful men’s malicious intentions, nor a wife’s quest for justice. It’s also hard to look away watching a man who in his daily life is so much more controlled and stoic suffer through an accusation he knows is untrue and yet he knows he may not be able to overcome because of who is and where this crime took place.

However, as stirring as it is being able to see every characters’ emotional journeys in the raw, the “exposed” nature of this production also has a side-effect that may not be that flattering either. Perhaps my only gripe with this otherwise satisfying production is that there are fleeting moments when I am taken out of the story–and the gravity and seriousness of the events transpiring–because of my own inability to ignore the fact that much of the cast is played by actors far, far too young to play the reality-based characters they’re supposed to be embodying.

Maybe all that Georgia heat and humidity really causes people to look decades younger than they are, but because the proximity of the audience to the actors is sometimes mere inches/feet away, it’s hard to ignore the age disparity, making it very difficult to buy that certain characters are in their mature 50’s and 60’s (old age make-up/wigs may help, maybe?) despite their best efforts in mannerisms and acting abilities. It doesn’t help matters either when actual mature actors are standing side-by-side next to the younger actors—and they’re supposedly playing generational peers.

Alas, despite this recurring trait that sometimes becomes a distraction, this PARADE still evokes an air of artistic flair.

The musical starts off with a gripping bang, thanks to the terrific vocal performance provided by Dillon Klena, later joined by the full ensemble in a choral opener that sets up the powerful mood of the drama about to transpire. Klena plays a young soldier about to go off to fight in the Civil War, singing “The Old Red Hills of Home,” an ode of his love of his hometown and his sweetheart. Towards the end of the song, time passes and the young soldier morphs into an older soldier (Devin Collins), about to march in the annual Confederate Memorial Day parade. It’s clear that despite the decisive defeat against the North, the South is still very much stringent in hanging on to their past ideologies with passionate pride.

It is, of course, just this kind of mentality that further exacerbates such an unforgiving, prejudiced environment that Leo Frank (a superb Allen Everman) must try to endure. Leo, you see, reluctantly relocates from the comfort of his Brooklyn upbringing to Atlanta, Georgia, to live with his wife Lucille (Erica Schaeffer) and to work as The Manager of the local pencil factory owned by his wife’s family. Leo’s irritation of being in Atlanta becomes a mutual feeling with everyone he comes in contact with, and has, sadly, put a strain in his marriage as well. As Lucille tries to make the best of the situation—even wondering whether marrying him was a mistake—Leo shuns her special plans for a holiday meal, opting instead to go into work (to his defense, it’s not exactly his holiday).

Meanwhile across town, teenagers Frankie Epps (Klena, again) and Mary Phagan (Gabrielle Adner)—like most people their age—exchange flirtations in a trolley car, culminating in an invite to the “picture show.” Mary tells her would-be paramour that her mother may have some objections to their pairing. But today, she’s only got one thing in her mind: to get her paycheck at the pencil factory.

Much later in the evening, Leo and Lucille are awoken from their slumber by the arrival of Detective Starkes (Ryan Lloyd) accompanied by policemen. They insist Leo come down to the pencil factory immediately, though they deny him explanation. Upon arrival, Leo is shocked to be shown the lifeless body of his employee Mary Phagan, who, according to their initial assessment had been raped and murdered in the basement.

Though the police first suspect that the deed may have been done by Newt Lee (Robert Stroud), the night guard who first found Mary’s body, Newt’s initial questioning redirects the suspicion towards Leo instead—who, it turns out, has been Starke’s target all along (ah, don’t you just love people who jump to immediate conclusions based on nothing but being different?).

As expected, Leo is arrested soon after.

Mary’s murder becomes the talk of the community overnight, giving way to an angry citizenry demanding to know why such a horrific tragedy against a young, helpless little white girl was allowed to happen. Unfortunately for the innocent but “outsider” Leo, the court of public opinion seems to have already weighed in, with no help from those tasked with searching for the actual truth.

Aside from Leo and those directly connected to these tragic events, many in the community are finding themselves quite invested in the outcome of the trial. The murder and subsequent funeral strikes curiosity with nosey news reporter Britt Craig (Mitchell Turner), seeing the scandal as an opportunity to further his career. Mary’s crush Frankie, pained by the loss of a possible first love, leads the rallying cry to punish Mary’s murderer. Extremist right-wing writer Tom Watson (Lloyd, again) is also motivated to see the case to justice, perhaps to prove his political stance against people who don’t look and act like, well, his ilk. Georgia Governor John Slaton (Tucker Boyes) wants a quick resolution that won’t derail the community’s confidence in the justice system nor disrupt future elections. And ambitious local prosecutor Hugh Dorsey (Chris Kerrigan), eager to erase his terrible reputation as a frequent loser in court, desperately wants to solidify a conviction by any means.

Thus begins the smear campaign against Leo. First, Dorsey dismisses Newt as a possible suspect. Then he demands Starkes and his officers to round up any eyewitnesses, no matter the strength (or lack thereof) of their testimony. He even goes as far as bargaining with the pencil factory’s shady janitor Jim Conley (Robert Collins), an ex-convict looking to get immunity for a previous prison escape in exchange for damning testimony against Leo.

What’s even worse? There is some evidence that suggest Jim Conley himself may be responsible for Mary’s rape and murder.

As the much-gawked at trial gets underway, Lucille, after a heartbreaking plea from her husband to stay by his side, watches as her husband is vilified in court. Dorsey puts on a very eye-opening show, providing the court supposed “witnesses” with one false testimony after another, culminating in Jim Conley’s surprisingly detailed account of apparently witnessing the murder and then helping Leo cover up the crime.

In many ways, his trial felt like the Salem witch trials, where hysteria, hyperbole, and hearsay seems to carry more weight than actual investigative proof (which, if I’m correctly remembering, never actually even made it into the trial). Gosh, this sounds sooo familiar.

Despite an emotional, heartbreaking plea of innocence, Leo is, unsurprisingly, found guilty.

The second act focuses on Lucille’s quest to solve the details of the case herself, while at the same time, finding herself falling more and more in love with Leo in the process. As she does her best to steer her husband’s innocence to the forefront, their genuine affection, love, and—dare I say it—lust for each other continue to grow. She enlists the help of Governor Slaton personally, who after a change of mind and heart decides that there is much more to unearth in Leo’s conviction.

But, like all tragic stories, despite what looks like progress towards a happy and fair ending becomes all too heartbreaking instead. As history recalls, Leo does not get his deserved ending—and to an extent, neither does Leo’s wife nor, Mary, the victim.

If any part of this scandal is seeming a little familiar to one and all, it may be because this pattern of rush-to-judgment, tainted evidence, and, uh, unfair politically-motivated collusion in such high-profile cases has become so ensconced in our day-to-day briefing of life that very little of such things surprises us anymore.

This production of PARADE, of course, arrives at a time of exaggerated political uneasiness and further divisiveness, so it’s hard not to look at this material and see parallels still haunting our daily lives now more than ever—for some more than others, naturally. Though the central target of the musical’s tragic events is essentially a college-educaTEd White man, his “other”-ness is still a huge reason for his unfair conviction. Even African-American characters in PARADE don’t have things so easy either, allowing themselves a rare moment to breathe a sigh of (temporary) relief that the bigoted community leaders have their sights set on another “other” for the time being. The fact that at 2017, that “others” still have this fear so systematically imprinted is definitely a cause for alarm.

That is certainly one of the more obvious strengths of this production: the ability to shine a light on these recurring themes in an effort to learn from despicable past practices. It is often said that looking closely at our mistakes of the past for guidance should be automatic. But are we, though?

Emotionally resonant from start to finish, Chance Theater’s admirably ambitious production of PARADE creates grandness in a smaller scale, yet its impact is still palpable. As in past productions I have seen of the musical, the effectiveness of its narrative partly rests on the empathy elicited by its portrait of Leo Frank, a complicated character with several layers of emotional baggage. On one hand, Leo is a wealthy, highly-educated, slightly elitist person with a visible chip on his shoulder having to “tolerate” the people around him whom he most likely deems “less than.” Rather than engage with the, um, common folk he must supervise each day in his capacity as a manager, he instead makes the best of his situation by creating a bubble around himself, so as to have little or no interaction with the people around him. In turn, this outward behavior—Leo’s version of a security blanket—makes him all the more odd to the people around him, including his wife.

How ironic that he himself falls victim to a similar (albeit much more harmful) intolerance, not doing himself any favors by having a reputation for being cold, standoffish, and dismissive. Kudos to Everman for not overacting Leo’s harrowing journey, but rather show the subtle ebb and flow between the deeply complex layers of a man just trying to put a semblance of order into his chaotic life, only to be handed a debilitating and ultimately deadly blow. Though the actor, at times does show his age physically, his level of acting maturity served the character very well.

Everman’s performance elevates his co-stars’ own performances in many ways, creating a fairly cohesive ensemble, many of whom have spectacular singing voices. Musical Director Robyn Manion leads a live backstage-hidden band that well suits this production’s musical grandness. At the same time, Kinney’s set is complimented well by Masako Tobaru’s lighting design, Elizabeth Cox’s period costumes, and the soundscapes designed by Ryan Brodkin. Visually and by its enveloping sound, this PARADE is creatively satisfying.

Overall, yes, the heartbreaking, fact-based musical is deeply morose and sometimes incredibly frustrating to watch as we witness injustice unfold in such an “acceptable” almost expecTEd Manner. It is no coincidence that the affectations and attitudes on display in this musical tragically still resonates in our world today, particularly in such angrily-charged times that has once again blasted the doors wide open for out-in-the-open prejudices. This is exactly why PARADE and its little-known tragedy needs to be seen and heard over and over again.

Follow this reviewer on Twitter: @cre8iveMLQ. Review also published in On Stage.

Photos from Chance Theater’s production of PARADE by Doug Catiller/True Image Studio.

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Chance Theater’s Production of PARADE continues at the Cripe Stage through July 30, 2017. The Chance Theater is located in the Bette Aitken Theater Arts Center at 5522 E. La Palma Ave., Anaheim Hills, CA 92807. For more information or to purchase tickets, call (714) 777-3033 or visit www.ChanceTheater.com

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July 24, 2017   Posted in: Leo Frank  Comments Closed

Evangelical Trump supporters hark back to the good old days that … – Religion News Service

commentary By A. James Rudin | 8 hours ago

Supporters of Republican presidential nominee Donald Trump cheer at a campaign rally in Wilkes-Barre, Pa., on Oct. 10, 2016. Photo courtesy of Reuters/Mike Segar

(RNS) I am constantly asked why in last years presidential election 81 percent of white conservative Christians voted for Donald Trump, a thrice-married, self-proclaimed womanizer whose personal behavior, religious practices and lifestyle are far different than the majority of evangelical churchgoers. The answer is not hard to find.

Trumps winning mantra Make America Great Again was congruent with a wishful return to the Protestant hegemony that once existed in the United States back in the Eden-like good old days.

In the recollections of many evangelicals, America was then a tranquil, moral land deeply rooted in a specific set of traditional Christian values: the shining city on the hill, an idyllic small-town nation dominated by a white male leadership group.

It is a vision that offered Trump voters a fuzzy feel-good moment about a history that never happened. Those who believe such an America actually existed suffer from historical amnesia because the reality was far different.

Cruel child labor and exploited immigrant workers constituted much of the work force required to build and maintain an expanding economy. It was an America that actively engaged in a vicious system of human slavery the countrys original sin only to be followed after a bloody Civil War by legally sanctioned racial segregation, discrimination and persecution.

During those blissful years when America was great, women could not vote and factory and railroad workers, miners and other laborers had no recourse to collective bargaining or economic rights. There was widespread anti-Catholic, anti-Jewish and anti-Asian bigotry.

Supporters pray before Republican presidential nominee Donald Trump holds a rally at Atlantic Aviation in Moon, Pa., on Nov. 6, 2016. Photo courtesy of Reuters/Mark Makela

In the 19th century Catholic churches were burned, and in 1913 Leo Frank, a Jew, was lynched near Atlanta, brutally killed for a crime he did not commit. At the same time there was widespread fear of the Yellow Peril.

American Indians may have unwittingly provided America with a host of geographical place names the Dakotas, Massachusetts, Mississippi, and many other appellations but they were denied the right to vote in some states until the 1950s. Many tribes were victims of a U.S. policy that forcibly moved Indians into government-built reservations that were degrading and stifling. One result of the forced confinements of the tribes was a high incidence of unemployment, alcoholism and other maladies.

It was an America in which millions of its citizens, including many public officials, were members of the racist, anti-Semitic, anti-Catholic Ku Klux Klan. And there were a host of other social, economic, political and cultural problems.

But no matter.

In the 2016 election that mythical time of pristine American greatness was invoked for millions of voters, many of them evangelical Christians who believed America had been stolen from them. They voted to take back America, and the past ills, inequities and wretched economic conditions were conveniently erased from their collective memories. In place of historical reality was a hazy image of a lost innocent America, and a desperate craving to make our nation great again.

Many members of Trumps political base have not come to terms with the challenges of the modern world: rapid scientific advances especially in bioethics, growing religious indifference among millions of fellow Americans, the rapidly changing ethnic, racial and religious demographics in the U.S., and, of course, the reality of climate change.

Many evangelical voters suffer a sense of political bereavement, the death of a once great Christian America. When the mourning for a lost America is combined with religious rage and spiritual certitude, it is a potent combination that astute politicians like Donald Trump can harness to their electoral advantage.

That is why many white evangelicals resonate with coded language about the dreaded others in todays America: immigrants, Muslims, Hispanics, LGBTQ, secular humanists, elites out of the American mainstream, globalists, and the privileged media are regularly pilloried to garner evangelical votes.

A warning: Political and religious leaders who fail to recognize that perceived sense of traumatic loss are doomed to suffer electoral failures and the steady decline of mainline Protestant church membership.

The hope for a restoration, while not based on historical reality, cannot be minimized or disregarded because those feelings constitute the linchpin of Trumps conservative Christian base.

As evangelicals feel themselves beleaguered and belittled in what was once their America, shrewd politicians will fine-tune their messages and continue to gain election victories.

The 2016 campaign was not a quirk or a fluke. Fasten your seat belts; Americas bumpy electoral ride is certain to continue.

(Rabbi A. James Rudin is the American Jewish Committees senior interreligious adviser. His latest book is Pillar of Fire: The Biography of Rabbi Stephen S. Wise, published by Texas Tech University Press. He can be reached atjamesrudin.com)

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Evangelical Trump supporters hark back to the good old days that … – Religion News Service

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The week ahead in LA theater, July 23-30: ‘As You Like It,’ REDCAT’s NOW Festival and more – Los Angeles Times

Capsule reviews are by Philip Brandes (P.B.) and David C. Nichols (D.C.N.)

Becoming Human Celebrity therapist and playwright Dr. Nicki J. Monti explores her difficult relationship with her mother in this new dark comedy. McCadden Place Theatre, 1157 N. McCadden Place, L.A. Sun., next Sun., 5 p.m.; Fri.-Sat., 8 p.m.; ends Aug. 6. $30. (323) 960-4451.

Billy Elliot: The Musical Based on the hit 2000 film about a working-class British lad who loves ballet. Simi Valley Cultural Arts Center, 3050 Los Angeles Ave., Simi Valley. Sun., next Sun., 2 p.m.; Sat., 8 p.m.; ends Aug. 27. $18-$25. (805) 583-7900.

Fritz Colemans One Night Comedy Show The comic/weatherman performs in a benefit show. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. Sun., 7 p.m. $25-$50. (866) 811-4111.

The Scott Brothers House Party The stars of HGTVs Property Brothers share clips, stories, songs and more. Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. Sun., 7 p.m. $49 and up. (714) 556-2787.

Sondheim on Sondheim Guest vocalists including Vanessa Williams join Gustavo Dudamel, the LA Phil and Youth Orchestra Los Angeles for a cabaret-style presentation of this revue showcasing the Broadway composers classic songs. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. Sun., 7:30 p.m. $14-$189. (323) 850-2000.

As You Like It Antaeus Theatre Company presents a partner-cast staging of Shakespeares gender-bending pastoral comedy. Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale. Thu.-Sat., 8 p.m.; next Sun., 2 p.m.; ends Sept. 10. $30, $34. (818) 506-1983.

New Original Works Festival 2017 14th-annual three-weekend showcase for L.A.-based theater, dance and multimedia artists; program info at www.redcat.org. REDCAT, 631 W. 2nd St., L.A. Thu.-Sat., 8:30 p.m.; ends Aug. 12. $16, $20; festival pass, $40. (213) 237-2800.

Garbage Pail Groundlings All-new sketch show. Groundlings Theatre, 7307 Melrose Ave., West Hollywood. Fri., 8 p.m.; Sat., 8 and 10 p.m. $20; opening night only, $50. (323) 934-4747.

Love Connie Xtreme Makeover Greatest Hits Vol. 1 Drag artist John Cantrell revisits highlights from previous shows in this revue. Cavern Club Theater, 1920 Hyperion Ave., L.A. Fri.-Sat., 9 p.m.; next Sun., 7 p.m.; ends July 30. $30. (800) 838-3006.

Mamma Mia Disney Channel stars Dove Cameron and Corbin Bleu head the cast of a star-studded, fully staged production of this hit romantic musical built around the songs of Swedish pop group ABBA; Kathleen Marshall directs. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. Fri.-Sat., 8 p.m.; next Sun., 7:30 p.m.; ends July 30. $14-$196. (323) 850-2000.

Misty Lee: Bold Magic The illusionist performs; for ages 12 and up. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. Fri., 8 p.m.; Sat., 3 and 8 p.m.; next Sun., 3 p.m.; ends July 30. $35-$50. (866) 811-4111.

Riding the Midnight Express with Billy Hayes In this solo show, Hayes tells the true story behind his 1970 arrest and imprisonment in Turkey for drug smuggling, events which later inspired a hit 1978 film. Odyssey Theatre, 2055 S. Sepulveda Blvd., West L.A. Fri.-Sat., 8 p.m.; next Sun., 3 p.m.; ends July 30. $25, $35; discounts available. (310) 477-2055.

Ball Yards The wide world of sports is satirized in Chuck Faerbers fantastical new dark comedy. Zephyr Theatre, 7456 Melrose Ave., L.A. Sat., 8 p.m.; next Sun., 3 p.m.; ends Aug. 27. $25. (323) 960-7738.

Here & Now: The Legacy of Luther Vandross Terry Steele pays tribute to the late R&B singer. Nate Holden Performing Arts Center, 4718 W. Washington Blvd., L.A. Sat., 8 p.m. $25-$55. (323) 964-9766.

The Italian in Me Return engagement of Dina Morrones solo show about being a young actress in Rome. Theatre West, 3333 Cahuenga Blvd. West, L.A. Sat. 8 p.m.; next Sun., 2 p.m.; ends July 30. $20-$30. (323) 851-7977.

The Lost Child An estranged couple have a strange encounter at a deserted cabin in the woods in Jennifer W. Rolands thriller; in repertory with The Devils Wife (opened July 15). The Skylight Theatre, 1816 1/2 North Vermont. Ave., Los Feliz. Sat., 8:30 p.m.; next Sun., 3 p.m.; ends Sept. 3. $15-$39; both plays, $50. (213) 761-7061.

Three Can Keep a Secret Audience members help decide the plot of this darkly comic crime thriller. Studio/Stage, 520 N. Western Ave., L.A. Sat., 8 p.m. $20. (818) 849-4039.

Three Sisters Chekhovs classic comedy about a Russian family in decline. Archway Studio/Theatre, 10509 Burbank Blvd., North Hollywood. Sat., 8 p.m.; next Sun., 2 p.m.; ends Aug. 26. $28. (818) 980-7529.

Trouble in Mind An African American actress may have to make comprises to get ahead in Alice Childress satirical backstage drama. Will Geers Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. Sat., next Sun., 7:30 p.m.; ends Sept. 30. $15-$38.50. (310) 455-3723.

Los Angeles Womens Theatre Festival Excerpts from four solo works by female writer-performers. Veterans Memorial Building, 4117 Overland Ave., Culver City. Next Sun., 7 p.m. $18-$25. (818) 760-0408.

Marlene Cindy Marinangel portrays legendary actress Marlene Dietrich in this solo bio-drama written by Willard Manus. Write Act Repertory @ Brickhouse Theatre, 10950 Peach Grove St., North Hollywood. Next Sun., 7 p.m.; ends Aug. 27. $20. (800) 838-3006.

Robin Hood World premiere of Ken Ludwigs comedy about the legendary hero of Sherwood Forest and his band of merry men. The Old Globe, San Diego, 1363 Old Globe Way, San Diego. Next Sun., 7 p.m.; Sun., ends Sept. 3. $39 and up. (619) 234-5623.

Shout Sister Shout! New bio-musical about gospel and R&B singer Sister Rosetta Tharpe, known as the godmother of rock and roll. Pasadena Playhouse, 39 S. El Molino Ave., Pasadena. Next Sun., 5 p.m.; ends Aug. 20. $25-$115. (626) 356-7529.

To Dad With Love: A Tribute to Buddy Ebsen Kiki Ebsen honors her late father, the film and TV star, in this multimedia show. Simi Valley Cultural Arts Center, 3050 Los Angeles Ave., Simi Valley. Next Sun., 7:30 p.m. $25, $35. (805) 583-7900.

The Cake With understanding, respect and compassion for opposing points of view, This is Us writer/co-producer Bekah Brunstetters impeccably staged new dramedy explores the human repercussions when that quintessential symbol of union and hope the wedding cake becomes a flashpoint in the culture war over marriage equality. (P.B.) Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave., L.A. Sun., next Sun., 4 p.m.; Mon., Thu.-Sat, 8 p.m.; ends Aug. 13. $34. (310) 307-3753.

Parade A mans religion and origin mark him for scapegoating when the public needs an outlet for its collective frustration. Alfred Uhry and Jason Robert Brown base this stunner of a musical on the 1913 trial of Leo Frank, a Jewish Northerner indicted for the murder of a 13-year-old girl at the factory he supervised in Atlanta. Director Kari Hayter and a committed cast deliver a fluid, coiled production that shakes the audience to its core. (D.H.M.) Chance Theater, 5522 E. La Palma Ave., Anaheim. Sun., next Sun., 3 p.m.; Thu., 7:30 p.m.; Fri.-Sat., 8 p.m.; ends July 30. $40, $45; discounts available. (888) 455-4212.

Rhinoceros With darkly hilarious urgency, this superbly-staged and disconcertingly timely revival illuminates playwright Eugene Ionescos absurdist warning about the seductively corrosive lure of herd mentality, and the fragility of civilized norms we take for granted. (P.B.) Pacific Resident Theatre, 703 Venice Blvd., Venice. Sun., next Sun., 3 p.m.; Thu.-Sat., 8 p.m.; next Sun., 3 p.m.; ends Sept 10. $25-$34; discounts available. (310) 822-8392.

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The week ahead in LA theater, July 23-30: ‘As You Like It,’ REDCAT’s NOW Festival and more – Los Angeles Times

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Leo Frank Case: The People vs. Leo Frank … – Internet Archive

An Educational Lesson in the Relentless Racist Jewish Propaganda War Against Gentile Western Civilization in the Mainstream Media and Academia

Current College Students of History and Law:

With this PBS-showcased film, we offer you the opportunity to study the psychology, evolutionary strategy, and behavioral genetics of the well-organized Jewish community. Please follow the steps below in this academic research project about deconstructing motion-picture agitprop and its use in influencing the attitudes of the population about ethnic-cultural relations and social-political history. On completion of this thesis level endeavour, you will produce a scholarly research paper about the subject.

First: Students, please begin by downloading and then watching the entire film from beginning to end to familiarize yourself with this high production value Jewish docudrama about the case of Mary Phagan and Leo Frank.

Second: Please review the film again, but this time, use time-slider tool and pause button whenever necessary to transcribe the narrative and visually describe the details depicted on the screen, with relevant information about their occurrences in timeline sequence. This step will require a considerable amount of time and painstaking patience to complete appropriately.

Third: Once you have meticulously documented each section of the film and noted the approximate time it occurred, your final task will be to utilize the primary sources of the Leo Frank case listed in the references section to fact check every segment.

Fourth: Write a research paper discussing your research process throughout the course of this project and the results of your findings.

Introduction

Abridged Review of Ben Loeterman’s ‘The People v Leo Frank’

Stripping away all pretenses and political correctness in presenting a synopsis of this disingenuous historical documentary, it is essentially at its very core an unpardonably racist anti-Gentile docudrama and dishonest retelling of the Mary Phagan and Leo Frank case in the predictable formulation of a Jewish propaganda film that professes to be fair, neutral, and unbiased.

The creators of the film intended to convey different messages to two distinct groups of people. First, the message to Jews is that we are professional victims so watch out for the Goyim because at any moment they might railroad you for raping, strangling, and mutilating a young Christian white girl in her early teens. Second, the picture’s implicit moral lesson is meant to instill righteous indignation, guilt and shame in Gentiles since they falsely accused, and wrongfully convicted an “innocent” Jew for a heinous crime that the “black janitor probably committed alone”.

People v. Leo Frank is an agitprop film which like every other disingenuous Jewish (Frankite) film and book created in the last 100+ years on this particular subject is designed to establish an orthodox Jew-safe narrative in the academy and media popular culture. The machinations are usually based predominantly on cherry picking, spinning, fabricating, lying-by-omission, suppressing, censoring and manipulating facts in a web-of-lies on behalf of Leo Frank, exalting him in a lachrymose apotheosis, transfiguring him from a Jewish rapist-pedophile and child strangler — a convicted murderer whose conviction was affirmed by the entire U.S. legal system over a two year period by more than a dozen constitutionally sworn U.S. Judges — into a melodramatic hagiography about an innocent holy Jewish religious martyr of Antisemitism. Leo Frank is almost Greek-mythologized into a heroic Jewish stoic, tormented by fateful circumstances that are almost divinely deviant, and then scapegoated into a mini Jewish holocaust on American soil from 1913 to 1915 by irrational and conspiring Southerners. Such events fit so perfectly into the psychosocial narrative Jews wish to convey to their in-group and the Goyim outgroup that the Jewish experience in history is eternal repetition of nobility wrongfully persecuted.

Film Funding

U.S. tax payer dollars and leftist foundation philanthropy trust funds often use their financial resources for making these kinds of clever propaganda films to demoralize and derogate European-Americans. Independently Investigate the financing of this film using the Internet as a source for searching online newspaper archives. What kinds of financial resources were garnered to fund this movie? What does the film Intro say about who sponsored the film? What information does the film leave out about who profited from it? Do some investigative journalism about where the world premiere of this film was shown, and uncover resources indicating how some $250,000 was raised using this main event to financially benefit the Anti-Defamation League of B’nai B’rith (ADL). Examine closely the ADL’s narrative about the Leo Frank case in their teaching guide published on their website and examine closely their intentions of using it for poisoning the minds of children and educators to the Jewish persecution narrative. Next examine closely pro-Leo-Frank books (Dinnestein, Oney, Frey, Melnick, Alphin, Golden, Samuels) at how carefully the racist framing of Newt Lee and Jim Conley by Leo Frank — that embarrassingly failed — is suppressed in their contextualization. For this part of your research project you should also read and carefully study ‘The Secret Relationship Between Blacks and Jews, Part Three, Leo Frank’, produced by the Nation of Islam research team and available free online. Does the National of Islam that is smeared as Antisemitic by Jewish activists groups like ADL and SPLC reporting closer to the truth on failed framing attempts of Newt Lee and Jim Conley than the Jewish partisan books? Look at this matter and write about it in a dispassionate manner as part of your thesis project by comparing the pro-Jewish version books and the Nation of Islam’s book (Secret Relations… Part 3) concerning which more accurately contextualizes the Atlanta newspaper and trial records from 1913. Could the Nation of Islam’s colorful language about Jews be metaphors for more or less describing their true nature as the most ethnocentric-conscious and tribal extremist people in the world? As you read the pro Leo Frank version books of the case and fact check them against the primary sources in the references section investigate why people with academic credentials and prominently good reputations are willing to falsify history to protect a Jewish pedophile (See: Kevin MacDonald’s major treatments on Judaism).

The Takeaway

The worst thing about this history drama is not only the outright misrepresentation and rewriting of history on behalf of Leo Frank, but the atavistic undercurrent propounding exaggerated Jewish victimhood. However, this propaganda film is less overt in perpetuating the century-old bloodlibel smear against Southern European-Americans associated with the Leo Frank case than other Jewish documentaries on the case, like the 50-minute 1964 John Slaton Profiles in Courage film (available on Internet Archive, watch this made-for-TV production, transcribe it, describe each scene along its timeline, document and meticulously deconstruct it using primary sources as part of your project).

The intimations are clear, insinuating European-Americans are blindly prejudiced anti-Semites, who would orchestrate a vast anti-Jewish conspiracy to railroad and frame an “innocent” noble Jew, the 1913 Atlanta President of B’nai B’rith, for the most unjust reasons possible. Leo Frank, they suggest, was not prosecuted, but persecuted. The Jews have determined that none of their own aristocrats would ever be permitted to accept punishment for raping and strangling a Gentile child laborer and that reality should be inverted.

The Leo Frank affair was a hemorrhoidal flare up of the smoldering tribal war instigated by Jews against Gentiles, in their ongoing global genetic war that has been churning for thousands of years, with countless peaks and valleys in its history, including world wars, where large populations of Jews and Gentiles were exterminated (like under the Judeo-Communist Soviet Union).

In a centenary context, the Leo Frank case is a multigenerational Jewish-instigated cultural conflict, a microcosm of their undeclared Jewish culture war that is thousands of years old and continues today on myriad fronts.

Doorway into the Psychology of the Collective Jewish Mind and Genome

The Leo Frank case has become a profoundly insightful doorway into the collective Jewish mind, gene patterns, history, social culture, and behavior, revealing that Jews are a neurotic, narcissistic, egomaniac, xenophobic, tribal, and race obsessed people, accusing everyone else of being anti-Semites when they themselves are ethnocentric and xenophobic to the most human extreme. Are loaded words like Antisemite, racist, and other antiwhite racial epithets meant to put people on the defense and distract people from the fact Jews are the most racially tribal hyperethnocentric people in the history of the human race? Does this explain why Jews with high academic credentials are willing to perjure themselves in their retellings of legal history?

Jews use the terms anti-Semite and anti-Semitism to conceal their own hyper-ethnocentrism and hatred of the other.

A behavior pattern is exposed about the Jewish genome: They are hardwired for deflecting comprehension of their own innate bigotry for ‘the other’ (in-group verses out-group), always accusing other people of what they do in the extreme. This behavioral pattern echoes through Jewish history, which indicates a genetic and cultural basis for this behavior of blame, guilt-fostering and shaming out-group members, thus working in a kind of symbiosis or as a bulwark for assimilation, while simultaneously promoting Jewish racial consciousness (cohesiveness for the in-group and deracination for the out-group).

A One-Hundred-Year Masquerade

From the highest consciousness of the Gentile point of view, the deduction regarding the Leo Frank case and the ongoing media circus renditions that are continually rebooted about the trial and aftermath from 1913 to 1915 — amplified over the last one hundred years– is it reminds us that Jews as both a race and a religion perpetually wage a tribal “us versus them” paradigm against Gentiles. Has Antisemitism become a highly profitable industry for Jews? Look carefully at the monetary budgets and resources of ADL and SPLC, as well as other Jewish groups for factual answer, compare these numbers with the population of Jews and their over representation in media, academy, finance and government.

After several thousand years of this dysfunctional Jewish-Gentile relationship, could be time to separate peacefully instead of starting World War III?

Long Review of the Pseudo-Scholarly Docudrama: The People v. Leo Frank, 2009

The People v. Leo Frank tells the one-sided Jewish version of the Mary Phagan tragedy that led to the suspicion, indictment, conviction, and hanging of Leo Frank for the crime. Perpetuating myths and falsehoods about the Leo Frank case in the style of a pseudo-scholarly fictionalized docudrama, this film offers the false impression of respectable academic credibility and third-person historian neutrality, but in fact, it is cunningly anti-Gentile racism masking itself as pseudo-respectability.

The height of intellect is the dispassionate researcher, and this film gives a false air of it. Thus, when distilled to its essence, this movie is an insolent pack of half-truths, outright lies, conspiracy theories, and anti-Semitic smears directed at European-Americans. The sources of funding for this picture are enabling the proselytizing of children, students, teachers, and adults into a one-hundred-year long Jewish hoax. The account narrates “Good Jews versus Bad Yahoos” scenario, as Steve Oney once put it in a different context as something to be avoided.

In the bigger historical picture of Jewish-Gentile relations, the People v. Leo Frank is one of more than one thousand unique Jewish propaganda hate films directed toward smearing Gentiles using every conceivable subject involving Jews. Indeed, this “docudrama” is another reminder that Jews are genetically programmed in their odd behaviors of being paranoid and obsessed with relentlessly waging both overt and proxy tribal warfare campaigns against European-Americans and the descendants of Europeans, wherever they reside in the world.

Jewish Pedophile Cheerleaders

For more than one hundred years, the Jewish community has been using Leo Max Frank, who inspired the birth of the anti-American espionage agency Anti-Defamation League (ADL) of B’nai B’rith which cloaks itself as a civil rights organization, to wage a biological, cultural, political, social, spiritual, physical, mental, and genetic conflict against Gentiles using a divide and conquer strategy. Can there be forgiveness for a people who have attempted to turn B’nai B’rith’s Atlanta president of 1913 — Patron father of the Anti-Defamation League of B’nai B’rith — from a rapist pedophile and strangler into a martyr of a Gentile-inspired anti-Semitic conspiracy?

Preaching to the Choir and Creating New Converts, The People v. Leo Frank

The People v. Leo Frank might be best described as serving two significant purposes for the Jews and Leo Frank cult members (called Frankites then and now): first, it provides an up-to-date, as of 2009, Jewish media regurgitation, creatively spun, for reinforcing the one-hundred-year-old Jewish position on the Leo Frank case, and second, it attempts to be a successful proselytizing propaganda video for recruiting new Frankites (a Frankite is not limited by race or religion). For more information on what a “Frankite” is, read Tom Watson’s publication called Watson’s Magazine issues January, March, August, September, and October 1915 located here on archive.org. Search for Tom Watson or Tom Watson 1915 or Tom Watson and Leo Frank to find his five major 1915 issues about the case.

One Hundred Years of Lies: The People v. Leo Frank

The People v. Leo Frank resembles every other film created by Jews about Jewish-Gentile relations. It is melodramatic, self-aggrandizing, egotistical, paranoiac, narcissistic, self-deceiving, self-serving, ennobling, and emotionally exalting. In essence, it’s the revenge of the nerds (Jews vs. Gentiles) metaphor portrayed a variety of different ways with the Jew as the underdog losing the battle, but triumphing with vindication by Pyrrhic victory through an empty posthumous pardon in 1986 (without exonerating or absolving Leo Frank of the crime), in other words “Gentile injustice” became “posthumous Jewish justice” that came too late. This is the smoke and mirrors that citizens of the 21st century must contend with concerning this affair being used to demoralize Gentiles whether they be considered racially black or white.

Like innumerable other Jewish films, it is yet another broken-record interpretation by the controlled media, creating another representation of the heroic Promethean Jew, struggling cynically against the forces of Gentile evil for some measure of justice and freedom. “The Jew is trapped within the eternally anti-Semitic and hostile Gentile world.” In the Jewish worldview, our galaxy looks like a swastika in a universe of swirling swastika galaxies.

So why are Jews constantly attempting to move into Gentile countries and live amongst Gentiles when they are continually accusing White Gentiles of being collectively anti-Semitic? Wouldn’t you expect the opposite?

The answer is because the sum total of “Jewish Identity,” genetically and historically speaking, is the culture and religion embracing reinvented melodramatic childish themes, rhyming, and rebooting incessantly through the decades and centuries of Jews living amongst Gentiles.

The Jewish-Gentile relationship over the last two thousand years is represented by a love-hate sadomasochistic relationship. The Jews collectively cry out in agony as they, with united force, slap the Gentiles across the face. Afterward, the Jewish community scurries away and then wails out, calling you an anti-Semite. This drama has metaphorically been playing out for the last several thousands of years Gentiles have had experiencing Jews living amongst them with the final culmination of Jewish occupation of leading reigns of power.

What The People v. Leo Frank Really Is: A Failed Attempt to Rehabilitate

The People v. Leo Frank was created as an attempt to rehabilitate Leo Frank from what he will eternally be remembered as, first, an effete (self-indulgent as Paul Berger put it) cockalorum (a self-important little man), who suffered from a Napoleon complex and abused his power, authority, and position as a high-ranking factory supervisor. Second, Leo Frank will permanently be remembered as a child-molester, child abuser, pedophile, child rapist, strangler, and convicted murderer — affirmed by more than a baker’s dozen judges over two years (1913 to 1915).

Today, we honor Leo Frank by dubbing him: Leo Frank the toilet strangler.

Lucille Frank Deserves the Sympathy, Not Leo Frank

Some speculate the adulterous pedophile Leo Frank may have contracted an STD from his innumerable escapades at the National Pencil Co. and he may have infected his poor wife Lucille Frank with genital warts, chlamydia, and herpes. Shouldn’t Lucille be the one deserving sympathy? She had a disloyal husband who seldom touched her, except to disease her at a time in history where there were no cures for venereal diseases.

A Reminder to Jews that Gentiles Are All Conspiratorial Monsters

The Frankite rehabilitation efforts on behalf of Leo Frank will not only endeavor to transfigure him from the most loathsome type of man into the highest and most noble, but Frank will assume a new permanent role as an IDOL, a high holy Jewish religious figure, one to be added to the Jewish holy books and to be edified as a new chapter of the Babylonian Talmud, Old Testament Judaism, and secular Jewish history.

A New Cultural Icon Is Born and a New Branch of Judaism Is Conceived

After one hundred years of propaganda, Leo Frank has become a new book in the spiritual and religious texts of Judaism, a noble victim who was persecuted and railroaded, martyred by a widespread anti-Semitic conspiracy and an anti-Semitic U.S. legal system. The result is Leo Frank has become the spiritual patron fatherly symbol and martyr of anti-Semitism in the United States, and now as the tentacles of the ADL extend into every country in the world and influence governments to pass laws that punish people for criticizing Jews or questioning the Jewish version of history, we welcome everyone to Jewish occupation. Having our history and future stolen is our reward for allowing this to happen. This could be restated many ways: He who controls the present, controls the past and he who controls the past, controls the future. Just as he who controls the past controls the present.

Did Leo Frank CONFESS to the Murder of Mary Phagan?

Asking did Leo Frank confess is a rhetorical question. Ironically, Leo Frank ineluctably incriminated himself during his murder trial with a statement he made to the judge and jury on August 18, 1913, one that led many people to believe with absolute certainty he was responsible for strangling Mary Phagan. If you study the Leo Frank case and read the closing arguments of Hugh M. Dorsey and Frank Arthur Hooper, which are available within American State Trials Volume 10 (X) 1918, and then read Tom Watson’s crystal clear analysis of the Leo Frank’s incriminating statements in the August and September 1915 issue of Watson’s Magazine, it will clarify why it required less than two hours for the jury to convict. What was this earth shattering incident?

Dorsey is somewhat long-winded in his peroration, but his 158 page closing argument is very much worth the read. However, Watson’s writings on the Leo Frank case are quite scrumptious. You will discover why the Jews despise Tom Watson with such foaming at the mouth rabid fanaticism–simply put, its because he articulated the Leo Frank virtual murder confession so deliciously. Jews are persistently trying to suppress the fact that Leo Frank made such obvious incriminating statements regarding the murder of Mary Phagan at his trial. This is why Watson either inspires their shrill screeching or they ignore him completely by writing him off with the scare word Antisemitic. Read Watson’s Magazine August and September of 1915 to find out why, read it out loud.

The People v. Leo Frank Pretends to Be Neutral and Deceives the Public

The film feigns neutrality by presenting itself as a legitimate docudrama of consensus, but for those who have studied the details of the Leo Frank case, the movie is nothing more than another example of Jews rewriting history on the Leo Frank case as of 2009, almost a century after the murder of Mary Phagan and the lynching of Leo Frank. This rewriting of history will never cease. They will continue to mutate the Leo Frank case until it is unrecognizable, like they did in the 1988 miniseries called The Murder of Mary Phagan and Profiles of Courage (1964): John Slaton.

More Specifically, How the Fake Scholarship Was Done and Delivered

Presenting the Leo M. Frank case in the moral high ground manner is achieved by interspersing throughout the storyline carefully selected sound bites and edited segments of face-to-face interviews, from numerous people who are knowledgeable about the Leo M. Frank case and Southern history. The story is then woven through a contrived and dishonestly biased path that will leave people in doubt about Leo M. Frank’s guilt and thus ultimately feeling righteously indignant about the potential anti-Semitic railroading he endured. This aggressively promoted position portrayed to a duped public is the century-old Jewish defense side of the Leo Max Frank case and the bottom line: it represents a vicious anti-Gentile blood libel smear created by Jews against European-Americans.

The Perfect Fall Guy: Leo Max Frank

The Jews assert that Leo M. Frank was unjustly framed as an innocent Jew in the wrong place at the wrong time by a blindly bigoted people looking for anyone to punish to appease their wrath over the murder of Mary Phagan. The claim by Jews is the “guilty” negro James “Jim” Conley was not worthy to pay the price for Mary Phagan’s murder because he was black and a janitor, so they went after an “innocent” Jew instead (see: Elaine Marie Alphin, Robert Seitz Frey, and other Frankites).

Weird Jewish Race Obsessions: White Racists Secretly Love “Guilty” Black Rapists Who Strangle Little Girls, But Not “Innocent” White Jews

The Jews and Leo Frank partisans (Frankites), like Elaine Marie Alphin, allege that racial separatist white Southerners would rather blame the Phagan murder on a well-educated “innocent” white Jew named Leo Frank, who created hundreds of jobs for the community, over an uneducated alcoholic “guilty” Negro sweeper. In the film, the Jewish biker gang looking assistant district attorney of Georgia states that during the white separatist South of 1913 the drunk negro Jim Conley was equal in status to the white Southerners and the white Jew Leo Frank was ranked below Negros because he was a Northerner.

Gentiles Hate Jews So Much, They Let Them Live in Their Countries.

This “anti-Semitic conspiracy” is one the Jews believe has been going on for more than 5,700 years, despite the fact the European non-Jew founded United States, and the United States has provided Jewish people more opportunities for wealth building and success climbing than any other country since the dawn of civilization. Not even Israel can claim to offer Jews so much wealth, power, and success.

Meet Some of the Frankites Like Steve Oney and Ben Loeterman Who Created This Film

Just as it was in the 1988 miniseries The Murder of Mary Phagan, the Jewish position on the Leo Frank case tends to manipulate, embellish, and contradict the true facts and evidence of the case, with numerous types of published texts rewriting history, including various books and articles by Oney, Dinnerstein, Alphin, Frey, Melnick, Mamet, Bernstein, Goldfarb, Golden, and many other Frankites who deceitfully narrate their Jewish slanted history of the Leo Frank story. These books are unanimously written from the Frankite position, and they invariably omit massive volumes of damaging facts against Frank. None of them ventures to address in detail and context the Leo Frank murder trial statement of August 18, 1913.

The Wailing Wall: The Eternal Successful Victim

The defense position regarding the Leo Frank case embraces racial victimhood and persecution with the somber infantile emotions of us versus them and in-group versus out-group, turning the whole affair into a melodramatic mini Holocaust of sorts and Tom Watson the spiritual precursor of Adolph Hitler.

Jewish Supremacism

To see the true power of the Jewish community, they turned out corrupt Georgian Governor John M. Slaton in 1915, like a high-priced Atlanta hooker, forcing him to trade his soul for a satchel of thirty silver shekels. After his disqualified Leo Frank commutation scandal erupted, Slaton took a long hiatus to NYC. Slaton commuted the death sentence of Leo Frank to life in prison in a commutation stating that he was not disturbing the verdict of guilt.

Slaton had Leo Frank relocated to the Milledgeville penitentiary, and before the transfer, his Atlanta city jail cell received significant improvements, including comfortable cotton bedding, a radio and wind-up record player, cigars, cola, and whiskey.

See: John Marshall Slaton’s written remarks and justification in the aftermath of the commutation he made on behalf of Leo M. Frank and how Slaton compares Leo Frank to Jesus Christ and himself to the Roman Governor Pontius Pilate (you have to read it to believe it) in a pathetic attempt to soothe the outraged Christian public, but the insolent appeal was utterly transparent and ultimately backfired. One thousand people marched on the home of Slaton, and if it had not been for the National Guard shielding him from the justly indignant protesters, Slaton would have received his own dose of Southern justice.

Shocking But True: Governor John Slaton Was a Part Owner of the Law Firm Representing Leo Frank

John M. Slaton betrayed the Constitution he swore to uphold and violated his oath of office in the most brazenly obvious way. When Slaton became a senior legal partner and part owner of the law firm representing Leo M. Frank as his legal defense team, the disqualified Slaton did what amounted to commuting the sentence of one of his own business clients, Leo M. Frank.

The Distorted Jewish Mind

All of the numerous Hollywood-style films have unanimously reflected the Leo Frank rehabilitation views of the Jewish community for more than one hundred years, and it demonstrates the true ugliness of the Jewish mindset and their media control. By using their vast media clique to rewrite history, the Jewish-controlled media has turned a child-molesting killer into the leader of a new sect of Judaism called Frankitism.

“Based on a True Story,” Code Phrase for Jewish-Spun Propaganda

This film, although biased, is based partly on a true story about the real life strangulation of thirteen-year-old little Mary Phagan (1899 to 1913) on that infamous Saturday in the early teens of the twentieth century, right in the heart of Atlanta, Georgia.

The eighty-four-minute movie highlights and briefly covers selective segments of the events in this case and carefully leaves out volumes of the significant facts against Leo Frank.

Film topics include the murder investigation by Atlanta police detectives and the Pinkerton Detective Agency hired by the National Pencil Company. Both the unanimous decisions against Leo Frank by the coroners inquest jury and the grand jury Indictment are missing. For your information, a coroner’s inquest jury voted 7 to 0 (coroner plus six jurymen) to have Leo Frank held for murder and reviewed by a grand jury for the strangulation of Mary Phagan. A grand jury, which included four Jewish members, voted unanimously 21 to 0 to indict Leo Frank for the murder of Mary Phagan, and then a court of thirteen men (a judge and a jury of twelve men) voted unanimously 13 to 0 to convict Leo Frank of murder. A grueling two-year appeals process essentially affirmed all the earlier unanimous decisions from the trial verdict of 13 to 0, grand jury verdict of 21 to 0, and inquest verdict of 7 to 0. The two-year appeals process affirmed the initial 7 + 21 + 13 = 41 to 0 that occurred between April and August 1913.

In the picture, the trial is partially covered, but spun in favor of Leo Frank because it omits 99 percent of the evidence against him. The conviction and death sentence judgment are barely highlighted. Even worse, the movie failed to cover the frivolous two years of appeals by Leo M. Frank. The majority and unanimous decisions of every single appellate court level of the United States, from the Superior and Supreme Court of Georgia, Federal District Court, and United States Supreme Court issued majority decisions that essentially amounted to the entire United States Court System upholding the verdict of the thirteen-man panel of Judge Leonard S. Roan and petit jury.

Meet Steve Oney

The governor’s controversial commutation was spun effectively with Steve Oney’s excrement in the shaft theory, turning Jim Conley’s feces in the elevator shaft into the smoking gun (or the steaming pile) to exonerate Leo Frank. The mob lynching was covered, but not the interesting conversations on that four-hour night drive leading to Leo M. Frank’s lynching.

Jewish Supremacist Power to Pardon a Child Molester, Rapist, Abuser, and Murderer

The story concludes with the aftermath and eventual ADL posthumous pardon WITHOUT EXONERATION for Leo Max Frank in 1986. Amazing! Leo Frank was pardoned without absolving him of the crime.

Yes, after countless legal reviews, everyone supports the verdict of the jury. No one, not even Governor Slaton, disturbed the guilty verdict of the jury.

Over a dozen appellate judges affirmed the guilty verdict, and all of these judges had studied the trial testimony and evidence meticulously, as their job fully required of them by the Law and Constitution of the United States. What the film left out was that in the calm quiet quarters, where no false accusations of mob terror could even remotely be possible, every appellate decision affirmed the guilt of Leo Frank from the Superior Court, State Supreme Court, District Court, and United States Supreme Court.

The Biggest Censorship of This Film

What the film leaves out is the virtual murder confession Leo Frank made on the witness stand on August 18, 1913, when he told a packed court room of 200+ people, media, stenographers, and a judge and jury, that he might have “unconsciously” gone to the bathroom in the metal room during the time of the murder and positioned himself in the very place the prosecution spent twenty-nine days endeavoring to prove was the real scene of the homicide — the infamous metal room.

Jewish Film Production and Consultation

The 1913 Mary Phagan murder true crime story ultimately resulting in the lynching of Leo Frank in 1915, is re-created, filmed, and creatively spun by producer and director Ben Loeterman. Steve Oney, author of The Dead Shall Rise (a book alleging the total sum of the Leo Frank case was a vast anti-Semitic conspiracy and that Conley did it), acted as chief consultant for the storyline, and he also served as assistant director. Steve Oney is interviewed extensively throughout the docudrama speaking face to face to the viewers of the film through his metaphorical hexagram rose-colored glasses, about his meticulously selected version of the historical events. Oney even plays an extra in re-created dramatized scenes. Lucky him.

A Noble Lawyer Corrupted by Jewish Money and Pressure

The story is narrated with a fake Southern accent in the first person by a fictionalized version of prosecution lawyer William Manning Smith, who represents one of the trials star witnesses, factory sweeper James “Jim” Conley (the man the Jews accuse of really committing the murder). Through the course of the film, William Smith becomes more and more convinced Jim Conley was the murderer after the commencement of the trial, even though the entire appeals process to exhaustion affirmed Leo Frank’s conviction.

Smith eventually becomes senile, succumbing to a degenerative brain disease, but before dying of dementia and brain damage, he scrawls a kindergarten-style barely legible deathbed confession that he believes Leo Frank is an innocent man of good character. This is despite the overwhelming evidence against Frank in real life from the Leo Frank Murder Trial Brief of Evidence, which is available for download from The Internet Archive.

The People v. Leo Frank Film Begins

The film story opens momentarily in 1915 with a dreamy Leo Frank in a black and white prison jump suit, winding up an old-fashioned record player, sighing, listening to opera, and “William Smith,” the fictionalized narrator in an obnoxiously slow drawl and fake voice speaks of the strength of Leo Frank’s marriage (yet his wife Lucille Selig Frank specifically mandated she did not want to be buried with her husband and her wish was fulfilled). Then the movie flashes back to the pencil factory basement at some time around 3:00 to 3:15 a.m. on Sunday, April 27, 1913, where the lantern beholden night watch, Newt Lee, discovers the dead body of Mary Phagan, a little girl who had been killed the afternoon on the day before, April 26, 1913, at 12:05 to 12:10, maybe 12:07.

The narrator of the movie claims that if Leo Frank had picked up the phone at 3:30 to 4:00 a.m. after Newt Lee and the police had tried to call him in the middle of the night, the outcome of the case would have been significantly different.

From there, the true story deviates on in a fictionalized manner, unfolding on the infamous day, Saturday, April 26, 1913, Confederate Memorial Day. There is brief discussion about the Southern holiday being celebrated, as in reality the few remaining Confederate veterans at the time would march through Atlanta, Georgia, or ride in slow-moving vintage cars with the tops down as they wave to cheering crowds of onlookers and Southern patriots.

The story continues with defensive embellishment and half-truths about the specific events leading to and after the disappearance and murder of Mary Phagan. The objective of the movie is to leave you doubting that Leo Frank committed the murder. The slant and half-truths used to achieve this are spun up exceptionally well. This is another rendition of a deceptive Hollywood propaganda film at its best.

Read the Official Brief of Evidence

The Brief of Evidence in the Leo Frank Murder Trial ratified by both the prosecution and defense team reveals the true story of Leo M. Frank’s guilt without all the Jewish bias, and it is available online on Archive.org.

The nexus of the story was after Phagan walks alone into the virtually empty pencil factory at just minutes after noon on April 26, 1913. Phagan had been temporarily laid off on the previous Monday, because metal supplies had been fully depleted and not replenished yet. She had gone to the factory to pick up her final pay of $1.20 and find out if the metal shipment had arrived yet or when it would arrive. Leo Frank was the last person to admit seeing her alive before he killed her.

Go here to read the rest:
Leo Frank Case: The People vs. Leo Frank … – Internet Archive

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July 20, 2017   Posted in: Leo Frank  Comments Closed

The week ahead in LA theater, Aug. 6-13: ‘Hamlet,’ ‘Marlene’ and more – Los Angeles Times

THEATER Capsule reviews are by Charles McNulty (C.M.), Philip Brandes (P.B.) and Daryl H. Miller (D.H.M.). Compiled by Matt Cooper. Journey of the Monkey King Taiwans Rom Shing Hakka Opera Troupe makes its U.S. debut with this ancient Chinese folktale; Taiwans Lei Dance Theatre the Irvine-based Sun Musical Concert Choir also perform. Pasadena Civic Auditorium, 300 E. Green St., Pasadena. Sun., 7 p.m. $39 and up. (800) 653-8000. Kill Local World premiere of Mat Smarts dark comedy about about a woman and her two daughters who work as professional assassins. La Jolla Playhouse, 2910 La Jolla Village Drive, La Jolla. Sun., 7 p.m.; Tue.-Wed., 7:30 p.m.; Thu.-Fri., 8 p.m.; Sat., 2 and 8 p.m.; next Sun., 2 and 7 p.m.; ends Aug. 27. $35 and up. (858) 550-1010. Marlene Cindy Marinangel portrays legendary actress Marlene Dietrich in this solo bio-drama written by Willard Manus. Write Act Repertory @ Brickhouse Theatre, 10950 Peach Grove St., North Hollywood. Sun., next Sun., 7 p.m.; ends Aug. 27. $20. (800) 838-3006. OPC Summer New Works Festival The Ojai Playwrights Conferences 20th annual showcase includes workshop productions of new works-in-progress by Sandra Tsing Loh, Samuel D. Hunter, et al.; details at www.ojaiplays.org. Zalk Theater, 703 El Paseo Road, and Matilija Auditorium, 703 El Paseo Road, Ojai. Sun.-next Sun.; ends Aug. 13. $30. (805) 640-0400. Golden Girlz Drag show celebrates the hit 1980s-90s sitcom. Cavern Club Theater, 1920 Hyperion Ave., L.A. Wed., 8 p.m.; Thu.-Sat., 8 and 10 p.m.; next Sun., 3, 7 and 9 p.m.; ends Aug. 13. $30. (800) 838-3006. August Reading Series Staged readings of new plays by Brian Otano, Charlie Kelly, Sigrid Gilmer and Daria Polatin. IAMA Theatre Company @ Sacred Fools Theater, 1078 Lillian Way, L.A. Thu.-next Sun., 8 p.m.; $5 each; series pass, $17. (323) 380-8843. Las Garca Writer-performer Gabriela Ortega explores her life and Dominican ancestry in this solo drama. Asylum @ Studio C Artists, 6448 Santa Monica Blvd., L.A. Thu., Sat., 8 p.m.; ends Aug. 21. $15. (323) 533-7371. New Original Works Festival 2017 The 14th-annual performing-arts showcase concludes; program details at www.redcat.org. REDCAT, 631 W. 2nd St., L.A. Thu.-Sat., 8:30 p.m.; ends Aug. 12. $16, $20; festival pass, $40. (213) 237-2800. Tilda Swinton Answers a Craigslist Ad The British actress, portrayed by Buffys Tom Lenk, moves in with a shy gay man (writer-performer Byron Lane) to study him for a film role in Lanes satirical comedy. Celebration Theatre @ the Lex, 6760 Lexington Ave., Hollywood. Thu., 8 p.m.; ends Aug. 31. $20. (323) 957-1884. Honky Tonk Laundry Bets Malone and Misty Cotton star in the L.A. premiere of writer-director Roger Beans Nashville-set jukebox musical/comedy. Hudson Mainstage Theatre, 6539 Santa Monica Blvd., Hollywood. Fri.-Sat, 8 p.m.; next Sun., 2 and 7 p.m.; ends Sept. 17. $45, $55. (323) 960-7773. Love Letters A.R. Gurneys two-character epistolary drama. Lewis Family Playhouse, 12505 Cultural Center Drive, Rancho Cucamonga. Fri.-Sat., 2 and 7:30 p.m.; next Sun., 1 p.m.; ends Aug. 11. $16. (909) 477-2752. Rebel With a Cause: The Sal Mineo Story Writer-performer Dean Ghaffari portrays the actor and gay icon in this solo biographical drama. Promenade Playhouse, 1404 3rd St. Promenade, Santa Monica. Fri.-Sat., 8 p.m.; ends Aug. 26. $12-$27. (310) 656-8070. Hamlet Shakespeares tragedy of the melancholy Dane. The Old Globe, San Diego, 1363 Old Globe Way, San Diego. Sat.-next Sun. 8 p.m.; ends Sept. 10. $30 and up. (619) 234-5623. The Cake With understanding, respect and compassion for opposing points of view, This is Us writer/co-producer Bekah Brunstetters impeccably staged new dramedy explores the human repercussions when that quintessential symbol of union and hope the wedding cake becomes a flashpoint in the culture war over marriage equality. (P.B.) Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave., L.A. Sun., next Sun., 4 p.m.; Mon., Wed.-Fri., 8 p.m.; Sat., 2 and 8 p.m.; ends Aug. 13. $34. (310) 307-3753. Fun Home Based on the graphic memoir by Alison Bechdel about growing up as a lesbian with a closeted gay father, this deeply moving musical drama combines textured character psychology and nuanced storytelling with the enchantment of a score that can go from melancholy to zany in a heartbeat. Fun but never frivolous, this Tony-winning show by composer Jeanine Tesori and playwright Lisa Kron shimmers with a Proustian glow. (C.M.) Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Dr., Costa Mesa. Ends Sun., 1 and 6:30 p.m. $29 and up. (714) 556-2787. Parade A mans religion and origin mark him for scapegoating when the public needs an outlet for its collective frustration. Alfred Uhry and Jason Robert Brown base this stunner of a musical on the 1913 trial of Leo Frank, a Jewish Northerner indicted for the murder of a 13-year-old girl at the factory he supervised in Atlanta. Director Kari Hayter and a committed cast deliver a fluid, coiled production that shakes the audience to its core. (D.H.M.) Chance Theater, 5522 E. La Palma Ave., Anaheim. Fri.-Sat., 8 p.m.; next Sun., 3 p.m.; ends Aug. 13. $40, $45; discounts available. (888) 455-4212. Rhinoceros With darkly hilarious urgency, this superbly staged and disconcertingly timely revival illuminates playwright Eugene Ionescos absurdist warning about the seductively corrosive lure of herd mentality and the fragility of civilized norms we take for granted. (P.B.) Pacific Resident Theatre, 703 Venice Blvd., Venice. Thu.-Sat., 8 p.m.; next Sun., 3 p.m.; ends Sept 10. $25-$34; discounts available. (310) 822-8392.

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‘Parade’ opens under the Corn Stock Tent on Aug. 4 – Morton Times-News

PEORIA Parade, a Tony Award-winning musical about religious intolerance, political injustice, and racial tension, opens Friday, Aug. 4, at Corn Stock Theatre. Parade is one of the most important musical theater productions ever written, said director Deric Kimler. It is a true story that took place during the lead up of World War I and follows the ‘parade’ of events and individual agendas surrounding the case of Mary Phagan. The drama centers on the 1913 conviction of Jewish factory manager Leo Frank after he is accused of raping and murdering 13-year-old Mary Phagan, a factory worker. Sensationalized by the media, the events arouse antisemitic sentiments in Georgia. When Franks death sentence is commuted, he is seized by a lynching party and hung from an oak tree in Marietta. The case fired up the Ku Klux Klan and led to the formation of the Anti-Defamation League, a Jewish Civil Rights organization. Portraying the lead role of Leo Frank, Peoria native Dustin Presley has returned from New York City, where he has spent the past decade working as an actor, filmmaker and casting director. “Every once in awhile, life gives you an opportunity to do something meaningful and important with your art. For me, portraying Leo Frank in the musical “Parade” is that opportunity, said Presley. Ive wanted to play this role since I first listened to the cast album many years ago. I immediately fell in love with the beautiful and intricate music of Jason Robert Brown. A graduate of both Roosevelt Universitys Chicago College of the Performing Arts and the American Musical and Dramatic Academy for musical theater, Presley grew up doing shows in Peoria and is fond of performing in Corn Stocks uniquely intimate space. For a few years now, Ive been looking for an excuse to come back to the community that nurtured my skills as a young actor, he said. Being able to do this particular show under the tent, surrounded by amazing local talent, is an absolute dream come true. Shows are at 7:30 p.m. Aug. 4-12. Tickets are $22/adults, $17/students and are available by calling 676-2196 or online at cornstocktheatre.com. The Corn Stock Theatre tent is located in upper Bradley Park, 1700 N. Park Road.

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‘Parade’ opens under the Corn Stock Tent on Aug. 4 – Peoria Journal Star

PEORIA Parade, a Tony Award-winning musical about religious intolerance, political injustice, and racial tension, opens Friday, Aug. 4, at Corn Stock Theatre. Parade is one of the most important musical theater productions ever written, said director Deric Kimler. It is a true story that took place during the lead up of World War I and follows the ‘parade’ of events and individual agendas surrounding the case of Mary Phagan. The drama centers on the 1913 conviction of Jewish factory manager Leo Frank after he is accused of raping and murdering 13-year-old Mary Phagan, a factory worker. Sensationalized by the media, the events arouse antisemitic sentiments in Georgia. When Franks death sentence is commuted, he is seized by a lynching party and hung from an oak tree in Marietta. The case fired up the Ku Klux Klan and led to the formation of the Anti-Defamation League, a Jewish Civil Rights organization. Portraying the lead role of Leo Frank, Peoria native Dustin Presley has returned from New York City, where he has spent the past decade working as an actor, filmmaker and casting director. “Every once in awhile, life gives you an opportunity to do something meaningful and important with your art. For me, portraying Leo Frank in the musical “Parade” is that opportunity, said Presley. Ive wanted to play this role since I first listened to the cast album many years ago. I immediately fell in love with the beautiful and intricate music of Jason Robert Brown. A graduate of both Roosevelt Universitys Chicago College of the Performing Arts and the American Musical and Dramatic Academy for musical theater, Presley grew up doing shows in Peoria and is fond of performing in Corn Stocks uniquely intimate space. For a few years now, Ive been looking for an excuse to come back to the community that nurtured my skills as a young actor, he said. Being able to do this particular show under the tent, surrounded by amazing local talent, is an absolute dream come true. Shows are at 7:30 p.m. Aug. 4-12. Tickets are $22/adults, $17/students and are available by calling 676-2196 or online at cornstocktheatre.com. The Corn Stock Theatre tent is located in upper Bradley Park, 1700 N. Park Road.

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Pittsfield: Lecture explores 1894 political scandal – Berkshire Eagle (subscription)

Temple Anshe Amunim will host an illustrated lecture on “The Dreyfus Affair” at 11:30 a.m. Wednesday, Aug. 2, as part of its “Lunch and Learn” series. TAA is located at 26 Broad St. Jesse Waldinger, who lectured last year on the Leo Frank trial, will give a power point demonstration on the 1894 political scandal that involved a Jewish captain in the French Army who was falsely convicted of passing military secrets to the Germans. Guests are invited to bring their own lunch; beverages and dessert will be provided. Admission is free for Temple members and $5 for non-members. Information: 413-442-5910 or email templeoffice@ansheamunim.org. If you’d like to leave a comment (or a tip or a question) about this story with the editors, please email us. We also welcome letters to the editor for publication; you can do that by filling out our letters form and submitting it to the newsroom.

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PARADE Adds Three Performances at Chance Theater – Broadway World

Chance Theater, Anaheim’s official resident theater company, is pleased to add three additional shows to its production of PARADE. With a book by Alfred Uhry, music and lyrics by Jason Robert Brown, direction by Kari Hayter, and musical direction by Robyn Manion, the Chance’s production of PARADE was named a Los Angeles Times Critic’s Choice and is Ovation Recommended. PARADE will be adding performances on August 11 at 8pm, August 12 at 8pm, and August 13 at 3pm. Performances will be at Chance Theater @ Bette Aitken theater arts Center on the Cripe Stage. This Tony Award-winning musical is based on one of the most notorious, publicized, and hotly debated trials in US history. Leo Frank, a Brooklyn-raised Jewish factory manager in Georgia, is accused of an unthinkable crime. Exploring a case full of false testimonies and circumstantial evidence, Parade is an example of the power of musical theater to tell complex and important stories. Armed with a breathtaking score by Jason Robert Brown (The Last Five Years) and a powerful script by Alfred Uhry (Driving Miss Daisy), this transformational story is part murder mystery and part exploration of the endurance of love and hope against all odds. ABOUT CHANCE THEATERProud to be one of the leading ensemble-driven theatre companies in Southern California, CHANCE THEATER recently received a National Theatre Company grant from American Theatre Wing. The Chance has won six Ovation Awards, including two for Best Production of a Musical – Intimate Theater for its West Coast premiere of Triassic Parq – The Musical and Southern California premiere of Jerry Springer – The Opera, as well as four LADCC Awards, including the Polly Warfield Award for Outstanding Season. The Anaheim City Council named Chance Theater “the official resident theater company of Anaheim”, and Arts Orange County has twice named the Chance as “Outstanding Arts Organization”. Known for using bold and personal storytelling to promote dialogue and connection within the Southern California theatrical landscape, the Chance is committed to contributing to a more compassionate, connected and creative community. As a constituent member of Theatre Communications Group, Network of Ensemble Theaters, and the LA Stage Alliance, Chance Theater continues to bring national attention to the Southern California and Orange County theater scenes.

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July 28, 2017   Posted in: Leo Frank  Comments Closed

BWW Review: Chance Theater presents Emotional, Intimate Staging … – Broadway World

It is nearly impossible not to be emotionally affected by the events depicted in PARADE, the stirring, Tony Award-winning 1998 musical inspired by shocking actual events that took place in Atlanta, Georgia between 1913-1915. In it, the musical condenses the unfortunate legal battle of Leo Frank, a mild-mannered but anxious factory manager of Jewish decent, who is wrongfully accused and is later convicted for the brutal rape and murder of one of his 13-year-old employees, Mary Phagan. In the primarily divisive and highly-suspect-of-outsiders South, Frank’s shockingly unfair trial becomes the talk of the entire state, a scandal that would rock news outlets and neighborhood gossip circles, and also further stoked already fiery anti-semitic sentiments deeply ingrained in the citizenry. It’s certainly a heavy, morose subject to wrap an entire musical around, which is probably why PARADE is so rarely produced despite its high-caliber book by Alfred Uhry and gorgeous music by Jason Robert Brown. But when the material is executed with emotional heft and interesting staging, the results can be powerful, gut-wrenching, and, most importantly, thought-provoking. For the most part, Chance Theater’s new production of this musical—which continues through July 30 in Anaheim, CA—achieves all these feats quite handily. I personally have only ever experienced this musical in larger theaters with large sets and a huge ensemble, so to see this little-known story play out in the more intimate footprint of Chance Theater’s Cripe Stage, is in itself an exciting opportunity to experience the show at its most vulnerable and at its most exposed state. As soon as characters enter into our view—whether they are main players or merely in the periphery of narrative importance—there’s very little to hide. Their facial tics and body language can sometimes speak volumes, even if they’re tucked away in the far corner. This theatrical exposure is almost like an understood metaphor for the times in which this musical takes place. The South—with its long history of subjugating whole races into slavery and fighting a war to keep that way of life—is often a place where prejudices are unapologetically out in the open, and where someone like Leo Frank, a man so obviously uncomfortable with his surroundings, is himself unable to hide his disdain for the very people who look at him with immediate suspicion and detestation for being a Jewish Yankee (there are times that Leo himself even comes off as snobby, holier-than-thou, and more educated than his neighbors— though in his defense, he’s not that far off). More likely to hear “howdy” than “shalom,” Leo is definitely out of his element. Though the South certainly does not hold a monopoly on its disdain of “outsiders,” history suggests that their communities certainly seem to be quickest to jump to such sentiments. It is this kind open hostility towards people that are different that makes Leo’s existence in this place doomed from that start. Using an imposing but mostly bare antiqued-wood platform by scenic designer Fred Kinney (which pretty much takes up most of this intimate theater’s space to stage the action), Chance’s production of PARADE—under the precise yet sensitive direction of Kari Hayter—lets the cast and their exposed performances tell and, well, sing the story, allowing the audience to focus on each character’s feelings about the events happening around them without the distractions of huge sets. Very interestingly, though, the production also uses many chairs repositioned and repurposed here and there as props, set pieces, and, yes, furniture—reminiscent of how chairs are similarly utilized in productions of THE SCOTTSBORO BOYS and THE COLOR PURPLE, two recent productions whose themes also touch on prejudice in the South. Here, unobstructed in this open setting, it’s hard not to notice a mother’s anger, a wife’s anguish, an alleged (other) suspect’s guilt, powerful men’s malicious intentions, nor a wife’s quest for justice. It’s also hard to look away watching a man who in his daily life is so much more controlled and stoic suffer through an accusation he knows is untrue and yet he knows he may not be able to overcome because of who is and where this crime took place. However, as stirring as it is being able to see every characters’ emotional journeys in the raw, the “exposed” nature of this production also has a side-effect that may not be that flattering either. Perhaps my only gripe with this otherwise satisfying production is that there are fleeting moments when I am taken out of the story–and the gravity and seriousness of the events transpiring–because of my own inability to ignore the fact that much of the cast is played by actors far, far too young to play the reality-based characters they’re supposed to be embodying. Maybe all that Georgia heat and humidity really causes people to look decades younger than they are, but because the proximity of the audience to the actors is sometimes mere inches/feet away, it’s hard to ignore the age disparity, making it very difficult to buy that certain characters are in their mature 50’s and 60’s (old age make-up/wigs may help, maybe?) despite their best efforts in mannerisms and acting abilities. It doesn’t help matters either when actual mature actors are standing side-by-side next to the younger actors—and they’re supposedly playing generational peers. Alas, despite this recurring trait that sometimes becomes a distraction, this PARADE still evokes an air of artistic flair. The musical starts off with a gripping bang, thanks to the terrific vocal performance provided by Dillon Klena, later joined by the full ensemble in a choral opener that sets up the powerful mood of the drama about to transpire. Klena plays a young soldier about to go off to fight in the Civil War, singing “The Old Red Hills of Home,” an ode of his love of his hometown and his sweetheart. Towards the end of the song, time passes and the young soldier morphs into an older soldier (Devin Collins), about to march in the annual Confederate Memorial Day parade. It’s clear that despite the decisive defeat against the North, the South is still very much stringent in hanging on to their past ideologies with passionate pride. It is, of course, just this kind of mentality that further exacerbates such an unforgiving, prejudiced environment that Leo Frank (a superb Allen Everman) must try to endure. Leo, you see, reluctantly relocates from the comfort of his Brooklyn upbringing to Atlanta, Georgia, to live with his wife Lucille (Erica Schaeffer) and to work as The Manager of the local pencil factory owned by his wife’s family. Leo’s irritation of being in Atlanta becomes a mutual feeling with everyone he comes in contact with, and has, sadly, put a strain in his marriage as well. As Lucille tries to make the best of the situation—even wondering whether marrying him was a mistake—Leo shuns her special plans for a holiday meal, opting instead to go into work (to his defense, it’s not exactly his holiday). Meanwhile across town, teenagers Frankie Epps (Klena, again) and Mary Phagan (Gabrielle Adner)—like most people their age—exchange flirtations in a trolley car, culminating in an invite to the “picture show.” Mary tells her would-be paramour that her mother may have some objections to their pairing. But today, she’s only got one thing in her mind: to get her paycheck at the pencil factory. Much later in the evening, Leo and Lucille are awoken from their slumber by the arrival of Detective Starkes (Ryan Lloyd) accompanied by policemen. They insist Leo come down to the pencil factory immediately, though they deny him explanation. Upon arrival, Leo is shocked to be shown the lifeless body of his employee Mary Phagan, who, according to their initial assessment had been raped and murdered in the basement. Though the police first suspect that the deed may have been done by Newt Lee (Robert Stroud), the night guard who first found Mary’s body, Newt’s initial questioning redirects the suspicion towards Leo instead—who, it turns out, has been Starke’s target all along (ah, don’t you just love people who jump to immediate conclusions based on nothing but being different?). As expected, Leo is arrested soon after. Mary’s murder becomes the talk of the community overnight, giving way to an angry citizenry demanding to know why such a horrific tragedy against a young, helpless little white girl was allowed to happen. Unfortunately for the innocent but “outsider” Leo, the court of public opinion seems to have already weighed in, with no help from those tasked with searching for the actual truth. Aside from Leo and those directly connected to these tragic events, many in the community are finding themselves quite invested in the outcome of the trial. The murder and subsequent funeral strikes curiosity with nosey news reporter Britt Craig (Mitchell Turner), seeing the scandal as an opportunity to further his career. Mary’s crush Frankie, pained by the loss of a possible first love, leads the rallying cry to punish Mary’s murderer. Extremist right-wing writer Tom Watson (Lloyd, again) is also motivated to see the case to justice, perhaps to prove his political stance against people who don’t look and act like, well, his ilk. Georgia Governor John Slaton (Tucker Boyes) wants a quick resolution that won’t derail the community’s confidence in the justice system nor disrupt future elections. And ambitious local prosecutor Hugh Dorsey (Chris Kerrigan), eager to erase his terrible reputation as a frequent loser in court, desperately wants to solidify a conviction by any means. Thus begins the smear campaign against Leo. First, Dorsey dismisses Newt as a possible suspect. Then he demands Starkes and his officers to round up any eyewitnesses, no matter the strength (or lack thereof) of their testimony. He even goes as far as bargaining with the pencil factory’s shady janitor Jim Conley (Robert Collins), an ex-convict looking to get immunity for a previous prison escape in exchange for damning testimony against Leo. What’s even worse? There is some evidence that suggest Jim Conley himself may be responsible for Mary’s rape and murder. As the much-gawked at trial gets underway, Lucille, after a heartbreaking plea from her husband to stay by his side, watches as her husband is vilified in court. Dorsey puts on a very eye-opening show, providing the court supposed “witnesses” with one false testimony after another, culminating in Jim Conley’s surprisingly detailed account of apparently witnessing the murder and then helping Leo cover up the crime. In many ways, his trial felt like the Salem witch trials, where hysteria, hyperbole, and hearsay seems to carry more weight than actual investigative proof (which, if I’m correctly remembering, never actually even made it into the trial). Gosh, this sounds sooo familiar. Despite an emotional, heartbreaking plea of innocence, Leo is, unsurprisingly, found guilty. The second act focuses on Lucille’s quest to solve the details of the case herself, while at the same time, finding herself falling more and more in love with Leo in the process. As she does her best to steer her husband’s innocence to the forefront, their genuine affection, love, and—dare I say it—lust for each other continue to grow. She enlists the help of Governor Slaton personally, who after a change of mind and heart decides that there is much more to unearth in Leo’s conviction. But, like all tragic stories, despite what looks like progress towards a happy and fair ending becomes all too heartbreaking instead. As history recalls, Leo does not get his deserved ending—and to an extent, neither does Leo’s wife nor, Mary, the victim. If any part of this scandal is seeming a little familiar to one and all, it may be because this pattern of rush-to-judgment, tainted evidence, and, uh, unfair politically-motivated collusion in such high-profile cases has become so ensconced in our day-to-day briefing of life that very little of such things surprises us anymore. This production of PARADE, of course, arrives at a time of exaggerated political uneasiness and further divisiveness, so it’s hard not to look at this material and see parallels still haunting our daily lives now more than ever—for some more than others, naturally. Though the central target of the musical’s tragic events is essentially a college-educaTEd White man, his “other”-ness is still a huge reason for his unfair conviction. Even African-American characters in PARADE don’t have things so easy either, allowing themselves a rare moment to breathe a sigh of (temporary) relief that the bigoted community leaders have their sights set on another “other” for the time being. The fact that at 2017, that “others” still have this fear so systematically imprinted is definitely a cause for alarm. That is certainly one of the more obvious strengths of this production: the ability to shine a light on these recurring themes in an effort to learn from despicable past practices. It is often said that looking closely at our mistakes of the past for guidance should be automatic. But are we, though? Emotionally resonant from start to finish, Chance Theater’s admirably ambitious production of PARADE creates grandness in a smaller scale, yet its impact is still palpable. As in past productions I have seen of the musical, the effectiveness of its narrative partly rests on the empathy elicited by its portrait of Leo Frank, a complicated character with several layers of emotional baggage. On one hand, Leo is a wealthy, highly-educated, slightly elitist person with a visible chip on his shoulder having to “tolerate” the people around him whom he most likely deems “less than.” Rather than engage with the, um, common folk he must supervise each day in his capacity as a manager, he instead makes the best of his situation by creating a bubble around himself, so as to have little or no interaction with the people around him. In turn, this outward behavior—Leo’s version of a security blanket—makes him all the more odd to the people around him, including his wife. How ironic that he himself falls victim to a similar (albeit much more harmful) intolerance, not doing himself any favors by having a reputation for being cold, standoffish, and dismissive. Kudos to Everman for not overacting Leo’s harrowing journey, but rather show the subtle ebb and flow between the deeply complex layers of a man just trying to put a semblance of order into his chaotic life, only to be handed a debilitating and ultimately deadly blow. Though the actor, at times does show his age physically, his level of acting maturity served the character very well. Everman’s performance elevates his co-stars’ own performances in many ways, creating a fairly cohesive ensemble, many of whom have spectacular singing voices. Musical Director Robyn Manion leads a live backstage-hidden band that well suits this production’s musical grandness. At the same time, Kinney’s set is complimented well by Masako Tobaru’s lighting design, Elizabeth Cox’s period costumes, and the soundscapes designed by Ryan Brodkin. Visually and by its enveloping sound, this PARADE is creatively satisfying. Overall, yes, the heartbreaking, fact-based musical is deeply morose and sometimes incredibly frustrating to watch as we witness injustice unfold in such an “acceptable” almost expecTEd Manner. It is no coincidence that the affectations and attitudes on display in this musical tragically still resonates in our world today, particularly in such angrily-charged times that has once again blasted the doors wide open for out-in-the-open prejudices. This is exactly why PARADE and its little-known tragedy needs to be seen and heard over and over again. Follow this reviewer on Twitter: @cre8iveMLQ. Review also published in On Stage. Photos from Chance Theater’s production of PARADE by Doug Catiller/True Image Studio. ——- Chance Theater’s Production of PARADE continues at the Cripe Stage through July 30, 2017. The Chance Theater is located in the Bette Aitken Theater Arts Center at 5522 E. La Palma Ave., Anaheim Hills, CA 92807. For more information or to purchase tickets, call (714) 777-3033 or visit www.ChanceTheater.com

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July 24, 2017   Posted in: Leo Frank  Comments Closed

Evangelical Trump supporters hark back to the good old days that … – Religion News Service

commentary By A. James Rudin | 8 hours ago Supporters of Republican presidential nominee Donald Trump cheer at a campaign rally in Wilkes-Barre, Pa., on Oct. 10, 2016. Photo courtesy of Reuters/Mike Segar (RNS) I am constantly asked why in last years presidential election 81 percent of white conservative Christians voted for Donald Trump, a thrice-married, self-proclaimed womanizer whose personal behavior, religious practices and lifestyle are far different than the majority of evangelical churchgoers. The answer is not hard to find. Trumps winning mantra Make America Great Again was congruent with a wishful return to the Protestant hegemony that once existed in the United States back in the Eden-like good old days. In the recollections of many evangelicals, America was then a tranquil, moral land deeply rooted in a specific set of traditional Christian values: the shining city on the hill, an idyllic small-town nation dominated by a white male leadership group. It is a vision that offered Trump voters a fuzzy feel-good moment about a history that never happened. Those who believe such an America actually existed suffer from historical amnesia because the reality was far different. Cruel child labor and exploited immigrant workers constituted much of the work force required to build and maintain an expanding economy. It was an America that actively engaged in a vicious system of human slavery the countrys original sin only to be followed after a bloody Civil War by legally sanctioned racial segregation, discrimination and persecution. During those blissful years when America was great, women could not vote and factory and railroad workers, miners and other laborers had no recourse to collective bargaining or economic rights. There was widespread anti-Catholic, anti-Jewish and anti-Asian bigotry. Supporters pray before Republican presidential nominee Donald Trump holds a rally at Atlantic Aviation in Moon, Pa., on Nov. 6, 2016. Photo courtesy of Reuters/Mark Makela In the 19th century Catholic churches were burned, and in 1913 Leo Frank, a Jew, was lynched near Atlanta, brutally killed for a crime he did not commit. At the same time there was widespread fear of the Yellow Peril. American Indians may have unwittingly provided America with a host of geographical place names the Dakotas, Massachusetts, Mississippi, and many other appellations but they were denied the right to vote in some states until the 1950s. Many tribes were victims of a U.S. policy that forcibly moved Indians into government-built reservations that were degrading and stifling. One result of the forced confinements of the tribes was a high incidence of unemployment, alcoholism and other maladies. It was an America in which millions of its citizens, including many public officials, were members of the racist, anti-Semitic, anti-Catholic Ku Klux Klan. And there were a host of other social, economic, political and cultural problems. But no matter. In the 2016 election that mythical time of pristine American greatness was invoked for millions of voters, many of them evangelical Christians who believed America had been stolen from them. They voted to take back America, and the past ills, inequities and wretched economic conditions were conveniently erased from their collective memories. In place of historical reality was a hazy image of a lost innocent America, and a desperate craving to make our nation great again. Many members of Trumps political base have not come to terms with the challenges of the modern world: rapid scientific advances especially in bioethics, growing religious indifference among millions of fellow Americans, the rapidly changing ethnic, racial and religious demographics in the U.S., and, of course, the reality of climate change. Many evangelical voters suffer a sense of political bereavement, the death of a once great Christian America. When the mourning for a lost America is combined with religious rage and spiritual certitude, it is a potent combination that astute politicians like Donald Trump can harness to their electoral advantage. That is why many white evangelicals resonate with coded language about the dreaded others in todays America: immigrants, Muslims, Hispanics, LGBTQ, secular humanists, elites out of the American mainstream, globalists, and the privileged media are regularly pilloried to garner evangelical votes. A warning: Political and religious leaders who fail to recognize that perceived sense of traumatic loss are doomed to suffer electoral failures and the steady decline of mainline Protestant church membership. The hope for a restoration, while not based on historical reality, cannot be minimized or disregarded because those feelings constitute the linchpin of Trumps conservative Christian base. As evangelicals feel themselves beleaguered and belittled in what was once their America, shrewd politicians will fine-tune their messages and continue to gain election victories. The 2016 campaign was not a quirk or a fluke. Fasten your seat belts; Americas bumpy electoral ride is certain to continue. (Rabbi A. James Rudin is the American Jewish Committees senior interreligious adviser. His latest book is Pillar of Fire: The Biography of Rabbi Stephen S. Wise, published by Texas Tech University Press. He can be reached atjamesrudin.com)

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July 24, 2017   Posted in: Leo Frank  Comments Closed

The week ahead in LA theater, July 23-30: ‘As You Like It,’ REDCAT’s NOW Festival and more – Los Angeles Times

Capsule reviews are by Philip Brandes (P.B.) and David C. Nichols (D.C.N.) Becoming Human Celebrity therapist and playwright Dr. Nicki J. Monti explores her difficult relationship with her mother in this new dark comedy. McCadden Place Theatre, 1157 N. McCadden Place, L.A. Sun., next Sun., 5 p.m.; Fri.-Sat., 8 p.m.; ends Aug. 6. $30. (323) 960-4451. Billy Elliot: The Musical Based on the hit 2000 film about a working-class British lad who loves ballet. Simi Valley Cultural Arts Center, 3050 Los Angeles Ave., Simi Valley. Sun., next Sun., 2 p.m.; Sat., 8 p.m.; ends Aug. 27. $18-$25. (805) 583-7900. Fritz Colemans One Night Comedy Show The comic/weatherman performs in a benefit show. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. Sun., 7 p.m. $25-$50. (866) 811-4111. The Scott Brothers House Party The stars of HGTVs Property Brothers share clips, stories, songs and more. Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. Sun., 7 p.m. $49 and up. (714) 556-2787. Sondheim on Sondheim Guest vocalists including Vanessa Williams join Gustavo Dudamel, the LA Phil and Youth Orchestra Los Angeles for a cabaret-style presentation of this revue showcasing the Broadway composers classic songs. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. Sun., 7:30 p.m. $14-$189. (323) 850-2000. As You Like It Antaeus Theatre Company presents a partner-cast staging of Shakespeares gender-bending pastoral comedy. Kiki & David Gindler Performing Arts Center, 110 E. Broadway, Glendale. Thu.-Sat., 8 p.m.; next Sun., 2 p.m.; ends Sept. 10. $30, $34. (818) 506-1983. New Original Works Festival 2017 14th-annual three-weekend showcase for L.A.-based theater, dance and multimedia artists; program info at www.redcat.org. REDCAT, 631 W. 2nd St., L.A. Thu.-Sat., 8:30 p.m.; ends Aug. 12. $16, $20; festival pass, $40. (213) 237-2800. Garbage Pail Groundlings All-new sketch show. Groundlings Theatre, 7307 Melrose Ave., West Hollywood. Fri., 8 p.m.; Sat., 8 and 10 p.m. $20; opening night only, $50. (323) 934-4747. Love Connie Xtreme Makeover Greatest Hits Vol. 1 Drag artist John Cantrell revisits highlights from previous shows in this revue. Cavern Club Theater, 1920 Hyperion Ave., L.A. Fri.-Sat., 9 p.m.; next Sun., 7 p.m.; ends July 30. $30. (800) 838-3006. Mamma Mia Disney Channel stars Dove Cameron and Corbin Bleu head the cast of a star-studded, fully staged production of this hit romantic musical built around the songs of Swedish pop group ABBA; Kathleen Marshall directs. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. Fri.-Sat., 8 p.m.; next Sun., 7:30 p.m.; ends July 30. $14-$196. (323) 850-2000. Misty Lee: Bold Magic The illusionist performs; for ages 12 and up. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. Fri., 8 p.m.; Sat., 3 and 8 p.m.; next Sun., 3 p.m.; ends July 30. $35-$50. (866) 811-4111. Riding the Midnight Express with Billy Hayes In this solo show, Hayes tells the true story behind his 1970 arrest and imprisonment in Turkey for drug smuggling, events which later inspired a hit 1978 film. Odyssey Theatre, 2055 S. Sepulveda Blvd., West L.A. Fri.-Sat., 8 p.m.; next Sun., 3 p.m.; ends July 30. $25, $35; discounts available. (310) 477-2055. Ball Yards The wide world of sports is satirized in Chuck Faerbers fantastical new dark comedy. Zephyr Theatre, 7456 Melrose Ave., L.A. Sat., 8 p.m.; next Sun., 3 p.m.; ends Aug. 27. $25. (323) 960-7738. Here & Now: The Legacy of Luther Vandross Terry Steele pays tribute to the late R&B singer. Nate Holden Performing Arts Center, 4718 W. Washington Blvd., L.A. Sat., 8 p.m. $25-$55. (323) 964-9766. The Italian in Me Return engagement of Dina Morrones solo show about being a young actress in Rome. Theatre West, 3333 Cahuenga Blvd. West, L.A. Sat. 8 p.m.; next Sun., 2 p.m.; ends July 30. $20-$30. (323) 851-7977. The Lost Child An estranged couple have a strange encounter at a deserted cabin in the woods in Jennifer W. Rolands thriller; in repertory with The Devils Wife (opened July 15). The Skylight Theatre, 1816 1/2 North Vermont. Ave., Los Feliz. Sat., 8:30 p.m.; next Sun., 3 p.m.; ends Sept. 3. $15-$39; both plays, $50. (213) 761-7061. Three Can Keep a Secret Audience members help decide the plot of this darkly comic crime thriller. Studio/Stage, 520 N. Western Ave., L.A. Sat., 8 p.m. $20. (818) 849-4039. Three Sisters Chekhovs classic comedy about a Russian family in decline. Archway Studio/Theatre, 10509 Burbank Blvd., North Hollywood. Sat., 8 p.m.; next Sun., 2 p.m.; ends Aug. 26. $28. (818) 980-7529. Trouble in Mind An African American actress may have to make comprises to get ahead in Alice Childress satirical backstage drama. Will Geers Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. Sat., next Sun., 7:30 p.m.; ends Sept. 30. $15-$38.50. (310) 455-3723. Los Angeles Womens Theatre Festival Excerpts from four solo works by female writer-performers. Veterans Memorial Building, 4117 Overland Ave., Culver City. Next Sun., 7 p.m. $18-$25. (818) 760-0408. Marlene Cindy Marinangel portrays legendary actress Marlene Dietrich in this solo bio-drama written by Willard Manus. Write Act Repertory @ Brickhouse Theatre, 10950 Peach Grove St., North Hollywood. Next Sun., 7 p.m.; ends Aug. 27. $20. (800) 838-3006. Robin Hood World premiere of Ken Ludwigs comedy about the legendary hero of Sherwood Forest and his band of merry men. The Old Globe, San Diego, 1363 Old Globe Way, San Diego. Next Sun., 7 p.m.; Sun., ends Sept. 3. $39 and up. (619) 234-5623. Shout Sister Shout! New bio-musical about gospel and R&B singer Sister Rosetta Tharpe, known as the godmother of rock and roll. Pasadena Playhouse, 39 S. El Molino Ave., Pasadena. Next Sun., 5 p.m.; ends Aug. 20. $25-$115. (626) 356-7529. To Dad With Love: A Tribute to Buddy Ebsen Kiki Ebsen honors her late father, the film and TV star, in this multimedia show. Simi Valley Cultural Arts Center, 3050 Los Angeles Ave., Simi Valley. Next Sun., 7:30 p.m. $25, $35. (805) 583-7900. The Cake With understanding, respect and compassion for opposing points of view, This is Us writer/co-producer Bekah Brunstetters impeccably staged new dramedy explores the human repercussions when that quintessential symbol of union and hope the wedding cake becomes a flashpoint in the culture war over marriage equality. (P.B.) Echo Theater Company, Atwater Village Theatre, 3269 Casitas Ave., L.A. Sun., next Sun., 4 p.m.; Mon., Thu.-Sat, 8 p.m.; ends Aug. 13. $34. (310) 307-3753. Parade A mans religion and origin mark him for scapegoating when the public needs an outlet for its collective frustration. Alfred Uhry and Jason Robert Brown base this stunner of a musical on the 1913 trial of Leo Frank, a Jewish Northerner indicted for the murder of a 13-year-old girl at the factory he supervised in Atlanta. Director Kari Hayter and a committed cast deliver a fluid, coiled production that shakes the audience to its core. (D.H.M.) Chance Theater, 5522 E. La Palma Ave., Anaheim. Sun., next Sun., 3 p.m.; Thu., 7:30 p.m.; Fri.-Sat., 8 p.m.; ends July 30. $40, $45; discounts available. (888) 455-4212. Rhinoceros With darkly hilarious urgency, this superbly-staged and disconcertingly timely revival illuminates playwright Eugene Ionescos absurdist warning about the seductively corrosive lure of herd mentality, and the fragility of civilized norms we take for granted. (P.B.) Pacific Resident Theatre, 703 Venice Blvd., Venice. Sun., next Sun., 3 p.m.; Thu.-Sat., 8 p.m.; next Sun., 3 p.m.; ends Sept 10. $25-$34; discounts available. (310) 822-8392.

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July 23, 2017   Posted in: Leo Frank  Comments Closed

Leo Frank Case: The People vs. Leo Frank … – Internet Archive

An Educational Lesson in the Relentless Racist Jewish Propaganda War Against Gentile Western Civilization in the Mainstream Media and Academia Current College Students of History and Law: With this PBS-showcased film, we offer you the opportunity to study the psychology, evolutionary strategy, and behavioral genetics of the well-organized Jewish community. Please follow the steps below in this academic research project about deconstructing motion-picture agitprop and its use in influencing the attitudes of the population about ethnic-cultural relations and social-political history. On completion of this thesis level endeavour, you will produce a scholarly research paper about the subject. First: Students, please begin by downloading and then watching the entire film from beginning to end to familiarize yourself with this high production value Jewish docudrama about the case of Mary Phagan and Leo Frank. Second: Please review the film again, but this time, use time-slider tool and pause button whenever necessary to transcribe the narrative and visually describe the details depicted on the screen, with relevant information about their occurrences in timeline sequence. This step will require a considerable amount of time and painstaking patience to complete appropriately. Third: Once you have meticulously documented each section of the film and noted the approximate time it occurred, your final task will be to utilize the primary sources of the Leo Frank case listed in the references section to fact check every segment. Fourth: Write a research paper discussing your research process throughout the course of this project and the results of your findings. Introduction Abridged Review of Ben Loeterman’s ‘The People v Leo Frank’ Stripping away all pretenses and political correctness in presenting a synopsis of this disingenuous historical documentary, it is essentially at its very core an unpardonably racist anti-Gentile docudrama and dishonest retelling of the Mary Phagan and Leo Frank case in the predictable formulation of a Jewish propaganda film that professes to be fair, neutral, and unbiased. The creators of the film intended to convey different messages to two distinct groups of people. First, the message to Jews is that we are professional victims so watch out for the Goyim because at any moment they might railroad you for raping, strangling, and mutilating a young Christian white girl in her early teens. Second, the picture’s implicit moral lesson is meant to instill righteous indignation, guilt and shame in Gentiles since they falsely accused, and wrongfully convicted an “innocent” Jew for a heinous crime that the “black janitor probably committed alone”. People v. Leo Frank is an agitprop film which like every other disingenuous Jewish (Frankite) film and book created in the last 100+ years on this particular subject is designed to establish an orthodox Jew-safe narrative in the academy and media popular culture. The machinations are usually based predominantly on cherry picking, spinning, fabricating, lying-by-omission, suppressing, censoring and manipulating facts in a web-of-lies on behalf of Leo Frank, exalting him in a lachrymose apotheosis, transfiguring him from a Jewish rapist-pedophile and child strangler — a convicted murderer whose conviction was affirmed by the entire U.S. legal system over a two year period by more than a dozen constitutionally sworn U.S. Judges — into a melodramatic hagiography about an innocent holy Jewish religious martyr of Antisemitism. Leo Frank is almost Greek-mythologized into a heroic Jewish stoic, tormented by fateful circumstances that are almost divinely deviant, and then scapegoated into a mini Jewish holocaust on American soil from 1913 to 1915 by irrational and conspiring Southerners. Such events fit so perfectly into the psychosocial narrative Jews wish to convey to their in-group and the Goyim outgroup that the Jewish experience in history is eternal repetition of nobility wrongfully persecuted. Film Funding U.S. tax payer dollars and leftist foundation philanthropy trust funds often use their financial resources for making these kinds of clever propaganda films to demoralize and derogate European-Americans. Independently Investigate the financing of this film using the Internet as a source for searching online newspaper archives. What kinds of financial resources were garnered to fund this movie? What does the film Intro say about who sponsored the film? What information does the film leave out about who profited from it? Do some investigative journalism about where the world premiere of this film was shown, and uncover resources indicating how some $250,000 was raised using this main event to financially benefit the Anti-Defamation League of B’nai B’rith (ADL). Examine closely the ADL’s narrative about the Leo Frank case in their teaching guide published on their website and examine closely their intentions of using it for poisoning the minds of children and educators to the Jewish persecution narrative. Next examine closely pro-Leo-Frank books (Dinnestein, Oney, Frey, Melnick, Alphin, Golden, Samuels) at how carefully the racist framing of Newt Lee and Jim Conley by Leo Frank — that embarrassingly failed — is suppressed in their contextualization. For this part of your research project you should also read and carefully study ‘The Secret Relationship Between Blacks and Jews, Part Three, Leo Frank’, produced by the Nation of Islam research team and available free online. Does the National of Islam that is smeared as Antisemitic by Jewish activists groups like ADL and SPLC reporting closer to the truth on failed framing attempts of Newt Lee and Jim Conley than the Jewish partisan books? Look at this matter and write about it in a dispassionate manner as part of your thesis project by comparing the pro-Jewish version books and the Nation of Islam’s book (Secret Relations… Part 3) concerning which more accurately contextualizes the Atlanta newspaper and trial records from 1913. Could the Nation of Islam’s colorful language about Jews be metaphors for more or less describing their true nature as the most ethnocentric-conscious and tribal extremist people in the world? As you read the pro Leo Frank version books of the case and fact check them against the primary sources in the references section investigate why people with academic credentials and prominently good reputations are willing to falsify history to protect a Jewish pedophile (See: Kevin MacDonald’s major treatments on Judaism). The Takeaway The worst thing about this history drama is not only the outright misrepresentation and rewriting of history on behalf of Leo Frank, but the atavistic undercurrent propounding exaggerated Jewish victimhood. However, this propaganda film is less overt in perpetuating the century-old bloodlibel smear against Southern European-Americans associated with the Leo Frank case than other Jewish documentaries on the case, like the 50-minute 1964 John Slaton Profiles in Courage film (available on Internet Archive, watch this made-for-TV production, transcribe it, describe each scene along its timeline, document and meticulously deconstruct it using primary sources as part of your project). The intimations are clear, insinuating European-Americans are blindly prejudiced anti-Semites, who would orchestrate a vast anti-Jewish conspiracy to railroad and frame an “innocent” noble Jew, the 1913 Atlanta President of B’nai B’rith, for the most unjust reasons possible. Leo Frank, they suggest, was not prosecuted, but persecuted. The Jews have determined that none of their own aristocrats would ever be permitted to accept punishment for raping and strangling a Gentile child laborer and that reality should be inverted. The Leo Frank affair was a hemorrhoidal flare up of the smoldering tribal war instigated by Jews against Gentiles, in their ongoing global genetic war that has been churning for thousands of years, with countless peaks and valleys in its history, including world wars, where large populations of Jews and Gentiles were exterminated (like under the Judeo-Communist Soviet Union). In a centenary context, the Leo Frank case is a multigenerational Jewish-instigated cultural conflict, a microcosm of their undeclared Jewish culture war that is thousands of years old and continues today on myriad fronts. Doorway into the Psychology of the Collective Jewish Mind and Genome The Leo Frank case has become a profoundly insightful doorway into the collective Jewish mind, gene patterns, history, social culture, and behavior, revealing that Jews are a neurotic, narcissistic, egomaniac, xenophobic, tribal, and race obsessed people, accusing everyone else of being anti-Semites when they themselves are ethnocentric and xenophobic to the most human extreme. Are loaded words like Antisemite, racist, and other antiwhite racial epithets meant to put people on the defense and distract people from the fact Jews are the most racially tribal hyperethnocentric people in the history of the human race? Does this explain why Jews with high academic credentials are willing to perjure themselves in their retellings of legal history? Jews use the terms anti-Semite and anti-Semitism to conceal their own hyper-ethnocentrism and hatred of the other. A behavior pattern is exposed about the Jewish genome: They are hardwired for deflecting comprehension of their own innate bigotry for ‘the other’ (in-group verses out-group), always accusing other people of what they do in the extreme. This behavioral pattern echoes through Jewish history, which indicates a genetic and cultural basis for this behavior of blame, guilt-fostering and shaming out-group members, thus working in a kind of symbiosis or as a bulwark for assimilation, while simultaneously promoting Jewish racial consciousness (cohesiveness for the in-group and deracination for the out-group). A One-Hundred-Year Masquerade From the highest consciousness of the Gentile point of view, the deduction regarding the Leo Frank case and the ongoing media circus renditions that are continually rebooted about the trial and aftermath from 1913 to 1915 — amplified over the last one hundred years– is it reminds us that Jews as both a race and a religion perpetually wage a tribal “us versus them” paradigm against Gentiles. Has Antisemitism become a highly profitable industry for Jews? Look carefully at the monetary budgets and resources of ADL and SPLC, as well as other Jewish groups for factual answer, compare these numbers with the population of Jews and their over representation in media, academy, finance and government. After several thousand years of this dysfunctional Jewish-Gentile relationship, could be time to separate peacefully instead of starting World War III? Long Review of the Pseudo-Scholarly Docudrama: The People v. Leo Frank, 2009 The People v. Leo Frank tells the one-sided Jewish version of the Mary Phagan tragedy that led to the suspicion, indictment, conviction, and hanging of Leo Frank for the crime. Perpetuating myths and falsehoods about the Leo Frank case in the style of a pseudo-scholarly fictionalized docudrama, this film offers the false impression of respectable academic credibility and third-person historian neutrality, but in fact, it is cunningly anti-Gentile racism masking itself as pseudo-respectability. The height of intellect is the dispassionate researcher, and this film gives a false air of it. Thus, when distilled to its essence, this movie is an insolent pack of half-truths, outright lies, conspiracy theories, and anti-Semitic smears directed at European-Americans. The sources of funding for this picture are enabling the proselytizing of children, students, teachers, and adults into a one-hundred-year long Jewish hoax. The account narrates “Good Jews versus Bad Yahoos” scenario, as Steve Oney once put it in a different context as something to be avoided. In the bigger historical picture of Jewish-Gentile relations, the People v. Leo Frank is one of more than one thousand unique Jewish propaganda hate films directed toward smearing Gentiles using every conceivable subject involving Jews. Indeed, this “docudrama” is another reminder that Jews are genetically programmed in their odd behaviors of being paranoid and obsessed with relentlessly waging both overt and proxy tribal warfare campaigns against European-Americans and the descendants of Europeans, wherever they reside in the world. Jewish Pedophile Cheerleaders For more than one hundred years, the Jewish community has been using Leo Max Frank, who inspired the birth of the anti-American espionage agency Anti-Defamation League (ADL) of B’nai B’rith which cloaks itself as a civil rights organization, to wage a biological, cultural, political, social, spiritual, physical, mental, and genetic conflict against Gentiles using a divide and conquer strategy. Can there be forgiveness for a people who have attempted to turn B’nai B’rith’s Atlanta president of 1913 — Patron father of the Anti-Defamation League of B’nai B’rith — from a rapist pedophile and strangler into a martyr of a Gentile-inspired anti-Semitic conspiracy? Preaching to the Choir and Creating New Converts, The People v. Leo Frank The People v. Leo Frank might be best described as serving two significant purposes for the Jews and Leo Frank cult members (called Frankites then and now): first, it provides an up-to-date, as of 2009, Jewish media regurgitation, creatively spun, for reinforcing the one-hundred-year-old Jewish position on the Leo Frank case, and second, it attempts to be a successful proselytizing propaganda video for recruiting new Frankites (a Frankite is not limited by race or religion). For more information on what a “Frankite” is, read Tom Watson’s publication called Watson’s Magazine issues January, March, August, September, and October 1915 located here on archive.org. Search for Tom Watson or Tom Watson 1915 or Tom Watson and Leo Frank to find his five major 1915 issues about the case. One Hundred Years of Lies: The People v. Leo Frank The People v. Leo Frank resembles every other film created by Jews about Jewish-Gentile relations. It is melodramatic, self-aggrandizing, egotistical, paranoiac, narcissistic, self-deceiving, self-serving, ennobling, and emotionally exalting. In essence, it’s the revenge of the nerds (Jews vs. Gentiles) metaphor portrayed a variety of different ways with the Jew as the underdog losing the battle, but triumphing with vindication by Pyrrhic victory through an empty posthumous pardon in 1986 (without exonerating or absolving Leo Frank of the crime), in other words “Gentile injustice” became “posthumous Jewish justice” that came too late. This is the smoke and mirrors that citizens of the 21st century must contend with concerning this affair being used to demoralize Gentiles whether they be considered racially black or white. Like innumerable other Jewish films, it is yet another broken-record interpretation by the controlled media, creating another representation of the heroic Promethean Jew, struggling cynically against the forces of Gentile evil for some measure of justice and freedom. “The Jew is trapped within the eternally anti-Semitic and hostile Gentile world.” In the Jewish worldview, our galaxy looks like a swastika in a universe of swirling swastika galaxies. So why are Jews constantly attempting to move into Gentile countries and live amongst Gentiles when they are continually accusing White Gentiles of being collectively anti-Semitic? Wouldn’t you expect the opposite? The answer is because the sum total of “Jewish Identity,” genetically and historically speaking, is the culture and religion embracing reinvented melodramatic childish themes, rhyming, and rebooting incessantly through the decades and centuries of Jews living amongst Gentiles. The Jewish-Gentile relationship over the last two thousand years is represented by a love-hate sadomasochistic relationship. The Jews collectively cry out in agony as they, with united force, slap the Gentiles across the face. Afterward, the Jewish community scurries away and then wails out, calling you an anti-Semite. This drama has metaphorically been playing out for the last several thousands of years Gentiles have had experiencing Jews living amongst them with the final culmination of Jewish occupation of leading reigns of power. What The People v. Leo Frank Really Is: A Failed Attempt to Rehabilitate The People v. Leo Frank was created as an attempt to rehabilitate Leo Frank from what he will eternally be remembered as, first, an effete (self-indulgent as Paul Berger put it) cockalorum (a self-important little man), who suffered from a Napoleon complex and abused his power, authority, and position as a high-ranking factory supervisor. Second, Leo Frank will permanently be remembered as a child-molester, child abuser, pedophile, child rapist, strangler, and convicted murderer — affirmed by more than a baker’s dozen judges over two years (1913 to 1915). Today, we honor Leo Frank by dubbing him: Leo Frank the toilet strangler. Lucille Frank Deserves the Sympathy, Not Leo Frank Some speculate the adulterous pedophile Leo Frank may have contracted an STD from his innumerable escapades at the National Pencil Co. and he may have infected his poor wife Lucille Frank with genital warts, chlamydia, and herpes. Shouldn’t Lucille be the one deserving sympathy? She had a disloyal husband who seldom touched her, except to disease her at a time in history where there were no cures for venereal diseases. A Reminder to Jews that Gentiles Are All Conspiratorial Monsters The Frankite rehabilitation efforts on behalf of Leo Frank will not only endeavor to transfigure him from the most loathsome type of man into the highest and most noble, but Frank will assume a new permanent role as an IDOL, a high holy Jewish religious figure, one to be added to the Jewish holy books and to be edified as a new chapter of the Babylonian Talmud, Old Testament Judaism, and secular Jewish history. A New Cultural Icon Is Born and a New Branch of Judaism Is Conceived After one hundred years of propaganda, Leo Frank has become a new book in the spiritual and religious texts of Judaism, a noble victim who was persecuted and railroaded, martyred by a widespread anti-Semitic conspiracy and an anti-Semitic U.S. legal system. The result is Leo Frank has become the spiritual patron fatherly symbol and martyr of anti-Semitism in the United States, and now as the tentacles of the ADL extend into every country in the world and influence governments to pass laws that punish people for criticizing Jews or questioning the Jewish version of history, we welcome everyone to Jewish occupation. Having our history and future stolen is our reward for allowing this to happen. This could be restated many ways: He who controls the present, controls the past and he who controls the past, controls the future. Just as he who controls the past controls the present. Did Leo Frank CONFESS to the Murder of Mary Phagan? Asking did Leo Frank confess is a rhetorical question. Ironically, Leo Frank ineluctably incriminated himself during his murder trial with a statement he made to the judge and jury on August 18, 1913, one that led many people to believe with absolute certainty he was responsible for strangling Mary Phagan. If you study the Leo Frank case and read the closing arguments of Hugh M. Dorsey and Frank Arthur Hooper, which are available within American State Trials Volume 10 (X) 1918, and then read Tom Watson’s crystal clear analysis of the Leo Frank’s incriminating statements in the August and September 1915 issue of Watson’s Magazine, it will clarify why it required less than two hours for the jury to convict. What was this earth shattering incident? Dorsey is somewhat long-winded in his peroration, but his 158 page closing argument is very much worth the read. However, Watson’s writings on the Leo Frank case are quite scrumptious. You will discover why the Jews despise Tom Watson with such foaming at the mouth rabid fanaticism–simply put, its because he articulated the Leo Frank virtual murder confession so deliciously. Jews are persistently trying to suppress the fact that Leo Frank made such obvious incriminating statements regarding the murder of Mary Phagan at his trial. This is why Watson either inspires their shrill screeching or they ignore him completely by writing him off with the scare word Antisemitic. Read Watson’s Magazine August and September of 1915 to find out why, read it out loud. The People v. Leo Frank Pretends to Be Neutral and Deceives the Public The film feigns neutrality by presenting itself as a legitimate docudrama of consensus, but for those who have studied the details of the Leo Frank case, the movie is nothing more than another example of Jews rewriting history on the Leo Frank case as of 2009, almost a century after the murder of Mary Phagan and the lynching of Leo Frank. This rewriting of history will never cease. They will continue to mutate the Leo Frank case until it is unrecognizable, like they did in the 1988 miniseries called The Murder of Mary Phagan and Profiles of Courage (1964): John Slaton. More Specifically, How the Fake Scholarship Was Done and Delivered Presenting the Leo M. Frank case in the moral high ground manner is achieved by interspersing throughout the storyline carefully selected sound bites and edited segments of face-to-face interviews, from numerous people who are knowledgeable about the Leo M. Frank case and Southern history. The story is then woven through a contrived and dishonestly biased path that will leave people in doubt about Leo M. Frank’s guilt and thus ultimately feeling righteously indignant about the potential anti-Semitic railroading he endured. This aggressively promoted position portrayed to a duped public is the century-old Jewish defense side of the Leo Max Frank case and the bottom line: it represents a vicious anti-Gentile blood libel smear created by Jews against European-Americans. The Perfect Fall Guy: Leo Max Frank The Jews assert that Leo M. Frank was unjustly framed as an innocent Jew in the wrong place at the wrong time by a blindly bigoted people looking for anyone to punish to appease their wrath over the murder of Mary Phagan. The claim by Jews is the “guilty” negro James “Jim” Conley was not worthy to pay the price for Mary Phagan’s murder because he was black and a janitor, so they went after an “innocent” Jew instead (see: Elaine Marie Alphin, Robert Seitz Frey, and other Frankites). Weird Jewish Race Obsessions: White Racists Secretly Love “Guilty” Black Rapists Who Strangle Little Girls, But Not “Innocent” White Jews The Jews and Leo Frank partisans (Frankites), like Elaine Marie Alphin, allege that racial separatist white Southerners would rather blame the Phagan murder on a well-educated “innocent” white Jew named Leo Frank, who created hundreds of jobs for the community, over an uneducated alcoholic “guilty” Negro sweeper. In the film, the Jewish biker gang looking assistant district attorney of Georgia states that during the white separatist South of 1913 the drunk negro Jim Conley was equal in status to the white Southerners and the white Jew Leo Frank was ranked below Negros because he was a Northerner. Gentiles Hate Jews So Much, They Let Them Live in Their Countries. This “anti-Semitic conspiracy” is one the Jews believe has been going on for more than 5,700 years, despite the fact the European non-Jew founded United States, and the United States has provided Jewish people more opportunities for wealth building and success climbing than any other country since the dawn of civilization. Not even Israel can claim to offer Jews so much wealth, power, and success. Meet Some of the Frankites Like Steve Oney and Ben Loeterman Who Created This Film Just as it was in the 1988 miniseries The Murder of Mary Phagan, the Jewish position on the Leo Frank case tends to manipulate, embellish, and contradict the true facts and evidence of the case, with numerous types of published texts rewriting history, including various books and articles by Oney, Dinnerstein, Alphin, Frey, Melnick, Mamet, Bernstein, Goldfarb, Golden, and many other Frankites who deceitfully narrate their Jewish slanted history of the Leo Frank story. These books are unanimously written from the Frankite position, and they invariably omit massive volumes of damaging facts against Frank. None of them ventures to address in detail and context the Leo Frank murder trial statement of August 18, 1913. The Wailing Wall: The Eternal Successful Victim The defense position regarding the Leo Frank case embraces racial victimhood and persecution with the somber infantile emotions of us versus them and in-group versus out-group, turning the whole affair into a melodramatic mini Holocaust of sorts and Tom Watson the spiritual precursor of Adolph Hitler. Jewish Supremacism To see the true power of the Jewish community, they turned out corrupt Georgian Governor John M. Slaton in 1915, like a high-priced Atlanta hooker, forcing him to trade his soul for a satchel of thirty silver shekels. After his disqualified Leo Frank commutation scandal erupted, Slaton took a long hiatus to NYC. Slaton commuted the death sentence of Leo Frank to life in prison in a commutation stating that he was not disturbing the verdict of guilt. Slaton had Leo Frank relocated to the Milledgeville penitentiary, and before the transfer, his Atlanta city jail cell received significant improvements, including comfortable cotton bedding, a radio and wind-up record player, cigars, cola, and whiskey. See: John Marshall Slaton’s written remarks and justification in the aftermath of the commutation he made on behalf of Leo M. Frank and how Slaton compares Leo Frank to Jesus Christ and himself to the Roman Governor Pontius Pilate (you have to read it to believe it) in a pathetic attempt to soothe the outraged Christian public, but the insolent appeal was utterly transparent and ultimately backfired. One thousand people marched on the home of Slaton, and if it had not been for the National Guard shielding him from the justly indignant protesters, Slaton would have received his own dose of Southern justice. Shocking But True: Governor John Slaton Was a Part Owner of the Law Firm Representing Leo Frank John M. Slaton betrayed the Constitution he swore to uphold and violated his oath of office in the most brazenly obvious way. When Slaton became a senior legal partner and part owner of the law firm representing Leo M. Frank as his legal defense team, the disqualified Slaton did what amounted to commuting the sentence of one of his own business clients, Leo M. Frank. The Distorted Jewish Mind All of the numerous Hollywood-style films have unanimously reflected the Leo Frank rehabilitation views of the Jewish community for more than one hundred years, and it demonstrates the true ugliness of the Jewish mindset and their media control. By using their vast media clique to rewrite history, the Jewish-controlled media has turned a child-molesting killer into the leader of a new sect of Judaism called Frankitism. “Based on a True Story,” Code Phrase for Jewish-Spun Propaganda This film, although biased, is based partly on a true story about the real life strangulation of thirteen-year-old little Mary Phagan (1899 to 1913) on that infamous Saturday in the early teens of the twentieth century, right in the heart of Atlanta, Georgia. The eighty-four-minute movie highlights and briefly covers selective segments of the events in this case and carefully leaves out volumes of the significant facts against Leo Frank. Film topics include the murder investigation by Atlanta police detectives and the Pinkerton Detective Agency hired by the National Pencil Company. Both the unanimous decisions against Leo Frank by the coroners inquest jury and the grand jury Indictment are missing. For your information, a coroner’s inquest jury voted 7 to 0 (coroner plus six jurymen) to have Leo Frank held for murder and reviewed by a grand jury for the strangulation of Mary Phagan. A grand jury, which included four Jewish members, voted unanimously 21 to 0 to indict Leo Frank for the murder of Mary Phagan, and then a court of thirteen men (a judge and a jury of twelve men) voted unanimously 13 to 0 to convict Leo Frank of murder. A grueling two-year appeals process essentially affirmed all the earlier unanimous decisions from the trial verdict of 13 to 0, grand jury verdict of 21 to 0, and inquest verdict of 7 to 0. The two-year appeals process affirmed the initial 7 + 21 + 13 = 41 to 0 that occurred between April and August 1913. In the picture, the trial is partially covered, but spun in favor of Leo Frank because it omits 99 percent of the evidence against him. The conviction and death sentence judgment are barely highlighted. Even worse, the movie failed to cover the frivolous two years of appeals by Leo M. Frank. The majority and unanimous decisions of every single appellate court level of the United States, from the Superior and Supreme Court of Georgia, Federal District Court, and United States Supreme Court issued majority decisions that essentially amounted to the entire United States Court System upholding the verdict of the thirteen-man panel of Judge Leonard S. Roan and petit jury. Meet Steve Oney The governor’s controversial commutation was spun effectively with Steve Oney’s excrement in the shaft theory, turning Jim Conley’s feces in the elevator shaft into the smoking gun (or the steaming pile) to exonerate Leo Frank. The mob lynching was covered, but not the interesting conversations on that four-hour night drive leading to Leo M. Frank’s lynching. Jewish Supremacist Power to Pardon a Child Molester, Rapist, Abuser, and Murderer The story concludes with the aftermath and eventual ADL posthumous pardon WITHOUT EXONERATION for Leo Max Frank in 1986. Amazing! Leo Frank was pardoned without absolving him of the crime. Yes, after countless legal reviews, everyone supports the verdict of the jury. No one, not even Governor Slaton, disturbed the guilty verdict of the jury. Over a dozen appellate judges affirmed the guilty verdict, and all of these judges had studied the trial testimony and evidence meticulously, as their job fully required of them by the Law and Constitution of the United States. What the film left out was that in the calm quiet quarters, where no false accusations of mob terror could even remotely be possible, every appellate decision affirmed the guilt of Leo Frank from the Superior Court, State Supreme Court, District Court, and United States Supreme Court. The Biggest Censorship of This Film What the film leaves out is the virtual murder confession Leo Frank made on the witness stand on August 18, 1913, when he told a packed court room of 200+ people, media, stenographers, and a judge and jury, that he might have “unconsciously” gone to the bathroom in the metal room during the time of the murder and positioned himself in the very place the prosecution spent twenty-nine days endeavoring to prove was the real scene of the homicide — the infamous metal room. Jewish Film Production and Consultation The 1913 Mary Phagan murder true crime story ultimately resulting in the lynching of Leo Frank in 1915, is re-created, filmed, and creatively spun by producer and director Ben Loeterman. Steve Oney, author of The Dead Shall Rise (a book alleging the total sum of the Leo Frank case was a vast anti-Semitic conspiracy and that Conley did it), acted as chief consultant for the storyline, and he also served as assistant director. Steve Oney is interviewed extensively throughout the docudrama speaking face to face to the viewers of the film through his metaphorical hexagram rose-colored glasses, about his meticulously selected version of the historical events. Oney even plays an extra in re-created dramatized scenes. Lucky him. A Noble Lawyer Corrupted by Jewish Money and Pressure The story is narrated with a fake Southern accent in the first person by a fictionalized version of prosecution lawyer William Manning Smith, who represents one of the trials star witnesses, factory sweeper James “Jim” Conley (the man the Jews accuse of really committing the murder). Through the course of the film, William Smith becomes more and more convinced Jim Conley was the murderer after the commencement of the trial, even though the entire appeals process to exhaustion affirmed Leo Frank’s conviction. Smith eventually becomes senile, succumbing to a degenerative brain disease, but before dying of dementia and brain damage, he scrawls a kindergarten-style barely legible deathbed confession that he believes Leo Frank is an innocent man of good character. This is despite the overwhelming evidence against Frank in real life from the Leo Frank Murder Trial Brief of Evidence, which is available for download from The Internet Archive. The People v. Leo Frank Film Begins The film story opens momentarily in 1915 with a dreamy Leo Frank in a black and white prison jump suit, winding up an old-fashioned record player, sighing, listening to opera, and “William Smith,” the fictionalized narrator in an obnoxiously slow drawl and fake voice speaks of the strength of Leo Frank’s marriage (yet his wife Lucille Selig Frank specifically mandated she did not want to be buried with her husband and her wish was fulfilled). Then the movie flashes back to the pencil factory basement at some time around 3:00 to 3:15 a.m. on Sunday, April 27, 1913, where the lantern beholden night watch, Newt Lee, discovers the dead body of Mary Phagan, a little girl who had been killed the afternoon on the day before, April 26, 1913, at 12:05 to 12:10, maybe 12:07. The narrator of the movie claims that if Leo Frank had picked up the phone at 3:30 to 4:00 a.m. after Newt Lee and the police had tried to call him in the middle of the night, the outcome of the case would have been significantly different. From there, the true story deviates on in a fictionalized manner, unfolding on the infamous day, Saturday, April 26, 1913, Confederate Memorial Day. There is brief discussion about the Southern holiday being celebrated, as in reality the few remaining Confederate veterans at the time would march through Atlanta, Georgia, or ride in slow-moving vintage cars with the tops down as they wave to cheering crowds of onlookers and Southern patriots. The story continues with defensive embellishment and half-truths about the specific events leading to and after the disappearance and murder of Mary Phagan. The objective of the movie is to leave you doubting that Leo Frank committed the murder. The slant and half-truths used to achieve this are spun up exceptionally well. This is another rendition of a deceptive Hollywood propaganda film at its best. Read the Official Brief of Evidence The Brief of Evidence in the Leo Frank Murder Trial ratified by both the prosecution and defense team reveals the true story of Leo M. Frank’s guilt without all the Jewish bias, and it is available online on Archive.org. The nexus of the story was after Phagan walks alone into the virtually empty pencil factory at just minutes after noon on April 26, 1913. Phagan had been temporarily laid off on the previous Monday, because metal supplies had been fully depleted and not replenished yet. She had gone to the factory to pick up her final pay of $1.20 and find out if the metal shipment had arrived yet or when it would arrive. Leo Frank was the last person to admit seeing her alive before he killed her.

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