Archive for the ‘Leo Frank’ Category

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

Fair Usage Law

July 20, 2017   Posted in: Leo Frank  Comments Closed

The Lynching of Leo Frank

It was April 26, in the spring of 1913, that Mary Phagan went down to the pencil factory in Atlanta where she worked. She was going to pick up $1.20, which she had earned working twelve hours that week. Mary Phagan was thirteen-years-old.

The man who paid her, Leo Frank, was the last person to acknowledge seeing her alive. Her body, bruised and bloody, was found that night in the factory cellar. Her murder electrified Atlantas population, so repulsed by rumors of sexual assault and the senseless murder of a young girl. They followed the story in the news and demanded swift action by authorities.

Leo Frank became the prime suspect. He was Jewish, a member of The Temple, and hed come to Atlanta from the north. As such, he was an easy target for the anti-Semitic population who distrusted northern merchants who had come south following the Civil War. It hardly mattered that the evidence against Frank was circumstantial and thin, at best.

The primary witness was a janitor who claimed he had helped Frank dispose of the body. He had given four different, and conflicting, affidavits prior to trial. Mobs of people gathered outside the courthouse, cheering on the prosecutor as he came and went each day. Whipped into a frenzy by newspaper coverage, much of it anti-Semitic in tone, they erupted in cheers when the jury returned a guilty verdict following twenty-five days of trial.

Following a series of failed appeals, the governor of Georgia, John Slaton, was contacted by Franks attorneys. They sought a commutation to save their clients life. At the same time, Thomas E. Watson, the publisher of the Jeffersonian began a campaign against Frank and commutation of the sentence. His open rants against Jews generally and Frank particularly sent his readership soaring. Public outrage grew right along with his circulation numbers.

Yet Slaton began to review the case in great detail, even going so far as to visit the pencil factory. After reviewing more than 10,000 pages of documentation, Governor Slaton commuted the sentence to life in prison. His decision flew wildly in the face of public opinion. Enraged Atlantans marched on the governors mansion, forcing Slaton to declare martial law and call out the National Guard.

His term of office ended just a few days later, at which time he was escorted to a train station by police. Slaton and his wife boarded a train, left the state, and did not return to Georgia for more than ten years, so great was the public outcry against them.

Franks fate was considerably worse. The mob that had marched on the governors mansion turned their attention to the prison where Frank was being held. They stormed the gates, dragging Frank out and transporting him to Marietta, where Phagan was from.

From an oak tree, on the morning of August 17, 1915, Leo Frank was hung by a lynch mob. In the crowd were prominent political and business leaders, including the son of a United States senator. Later, the leaders of the lynch mob, calling themselves the Knights of Mary Phagan, gathered atop Stone Mountain. There, they revived the Ku Klux Klan.

Franks death at the hands of an openly anti-Semitic lynch mob, led by the leaders of the community, whipped into a frenzy by the editor of a popular publication, alarmed Jewish leaders across America. This dark chapter in Americas history frightened members of The Temple and Atlantas Jewish community even more.

A sense of security that had pervaded the Jews of Atlanta was shattered, and it would not be restored for decades. In the wake of the lynching, the Anti-Defamation League was founded to combat bigotry generally and anti-Semitism specifically. Yet here in Atlanta, many Jews retreated from public life. Once present across the spectrum of political life, no Jew ran for office for over two decades after the Frank lynching.

Frank himself received the smallest measure of justice in 1986, when he was given a posthumous pardon. Four years earlier, eighty-three-year-old Alonzo Mann testified that as an office boy at the factory, he had seen the janitor carrying Mary Phagans body. He was threatened to remain silent, and did so for almost seventy years. While the testimony did not fully exonerate Frank, it was a major development that led to his 1986 pardon.

Link:
The Lynching of Leo Frank

Fair Usage Law

July 20, 2017   Posted in: Leo Frank  Comments Closed

O.J.’s last defender F. Lee Bailey is broke, disbarred and … – Washington Post

Johnnie Cochran is dead.

Marcia Clark writes murder mysteries.

Judge Lance Ito is retired.

Kato Kaelin tweets a lot.

And F. Lee Bailey, the famed criminal defense attorney, is flat broke.

On Thursday, O.J. Simpson the NFL icon who brought them together more than two decades ago was granted parolefrom his prison sentence for a Nevada robbery conviction, asserting during a highly anticipatedhearing thatIm not a guy who has lived a criminal life.

But of all the characters who played a role in Simpsons unforgettable acquittal for the murder of his ex-wife, Nicole Brown Simpson, no ones life has changed as dramatically as Baileys.

By changed, we mean cratered.

O.J. Simpson was found not guilty of the murders of Nicole Brown Simpson and Ronald Goldman in 1995. The investigation and trial lasted more than a year and included a number of memorable moments. Here are a few of them, starting with O.J.’s infamous car chase which took place June 17, 1994. (The Washington Post)

Bailey joined Simpsons defense team with a courtroom rsum that even Perry Mason would be jealous of. Baileygot neurosurgeon Sam Sheppard a new trial on charges he brutally killed his wife and a not-guilty verdict. He defended fugitive newspaper heiress Patty Hearst, the Boston Strangler and scores of other accused murderers. He was rich, flew on private jets and even played himself in a movie.

[Unsolved and overlooked murders: Investigating cold cases of the civil rights era]

Today he lives with a hairstylist in Maine. At 83, he works above her salon.

I wont say its depressing, because I dont think I ever get depressed, Bailey told writer Andrew Goldman in a remarkable profile this month in Town & Country magazine.

The story details Baileys life post-O.J. not just his remarkable fall but also his steadfast belief that a Los Angeles jury reached the correct verdict in acquitting the actor and Hertz pitchman of killing Nicole and her friendRonald Goldman.

[The Ku Klux Klan was dead. The first Hollywood blockbuster revived it.]

Last year, Bailey filed for bankruptcy after a string of scandals inside and outside the courtroom left him disbarred and shamed. He was accused of misappropriating funds from his defense of an alleged drug dealer.

Heres what he had left: a 1999 Mercedes station wagon (gold, of course).

Unable to practice law, Bailey runs a consulting business above the salon. His office is decorated with models of jets he once owned. But to thefine people of Yarmouth, Maine, Bailey is still famous, a courtroom legend in their midst.

The Town & Country writer had lunch there with Bailey, who ordered a pinot grigio:

Next to him sits Debbie Elliot, his girlfriend of seven years. A pretty good-looking 62, he remarks, an accurate assessment of the curvaceous salon owner, who is dressed in head-to-toe black, her platinum blond hair pulled back in a ponytail. Bailey, who in the 1970s wore sideburns so bushy they resembled a barristers wig, now has thin white hair clipped close to the scalp, a side effect of cohabitation with a hairdresser.

Bailey tried to return to the courtroom, but hehas been turned down, even after passing the bar exam not long ago in Maine. His old lawyer pals, including Alan Dershowitz, have a not-so-complicated legal theory about why.

O.J.

Without a doubt, Dershowitz told Town & Country. I think it was a major factor in the vindictive way in which hes been treated.

Bailey wont object tothat one.

People at every level, judges on down, pointed the finger and said, If you hadnt prostituted your talents for this guy, he would have gone to jail, he told Town & Country.

Bailey used to keep in touch with Simpson, who would call to chat about life and, later, from jail, about how to get out. And then suddenly, after Simpson was convicted in the Nevada case, the calls stopped.

He says he was told that Simpson was warned by prison officials to steer clear of Bailey if he wanted to get on the good side of the parole board, Town & Country reported.

Accused murderers used to walk free with Bailey at their side.

Now they have a better chance if he stays just where he is, above the salon.

Read more Retropolis:

Six Nazi spies were executed in D.C. White supremacists gave them a memorial on federal land.

Virginia Tech was not the worst school massacre in U.S. history. This was.

Leo Frank was lynched for a murder he didnt commit. Now neo-Nazis are trying to rewrite history.

Assassins!A Confederate spy was accused of helping kill Abraham Lincoln. Then he vanished.

Excerpt from:
O.J.’s last defender F. Lee Bailey is broke, disbarred and … – Washington Post

Fair Usage Law

July 20, 2017   Posted in: Leo Frank  Comments Closed

PARADE to Be Staged at World’s Oldest Paper Factory This Autumn – Broadway World

Alfred Uhry and Jason Robert Brown’s 1998 Tony Award-winning musical PARADE, based on the infamous trial and lynching of Leo Frank, is set to be professionally staged at the world’s oldest working paper factory this September.

Staged at the Frogmore Papermill in Apsley, Hertfordshire, the production will be directed as an immersive experience where audiences will follow the actors through the atmospheric building as they create a thrilling and visceral retelling of this true poignant story.

PARADE tells the heart wrenching true story of Leo Frank, a Brooklyn-born Jew living in Atlanta, Georgia. Frank was accused of the murder of his 13-year-old employee Mary Phagan in 1913. Already guilty in the eyes of everyone around him, a sensationalist publisher and a janitor’s questionable testimony along with a litany of false testimonies, clearly lacking any clear, real evidence seals Leo’s fate. His only defenders are a Governor with a conscience, and, eventually, his Southern wife who finds the strength and love to become his greatest champion.

Directed by Dan Cowtan, PARADE THE MUSICAL will run at the Frogmore Papermill from the 7thto 16thof September. PARADE will be the first professional production to help revive the life of the Frogmore Papermill, hoping to create a safe and innovative space for future arts related events.

Casting is yet to be announced.

PARADE is presented by Vivo D’Arte, a theatre company looking to change the norms of a theatrical experience and offer a platform for both graduates and professional performers to showcase themselves.

For more information, follow @_PARADEMusical or visit www.vivodarte.co.uk for the latest news and casting regarding this production.

VIVO D’ARTE Ltd is a theatre arts training organisation and Production Company. We work with new writers as well as performing established works, working in a traditional theatre setting as well as finding new and innovative spaces to perform in. Our Production Company focuses on creating performance opportunities for graduates and students as well as older performers who may be professional or semi-professional. Our popular Vivo Youth Theatre company provides opportunities for performers from a wide age range from 6 up to 23 years of age to have high-quality stage experiences.

Photo Credit: Jamie Scott

Original post:
PARADE to Be Staged at World’s Oldest Paper Factory This Autumn – Broadway World

Fair Usage Law

July 18, 2017   Posted in: Leo Frank  Comments Closed

The week ahead in LA theater, July 16-23: ‘Our Great Tchaikovsky’ and more – Los Angeles Times

THEATER

Capsule reviews are by Philip Brandes and Daryl H. Miller (D.H.M.) Compiled by Matt Cooper.

Kids Koncerts Family-friendly show with Auntie Kayte. Will Geers Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. Sun., 10:30 a.m. $10; under 2, free. (310) 455-3723.

King of the Yees Lauren Yee explores her family history and Chinese American heritage in this world-premiere tale. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. Sun, 6:30 p.m.; Tue.-Wed., 8 p.m.; Thu., 8:30 p.m.; Fri., 8 p.m.; Sat., 2 and 8 p.m.; next Sun., 1 and 6:30 p.m.; ends Aug. 6. $25-$70. (213) 628-2772.

OG Summer Desmadre Comedy trio Culture Clash joins forces with Latin R&B band Tierra, Pacifico Dance Company and others for an evening of political satire, music and more. Ford Theatres, 2580 Cahuenga Blvd. East, Hollywood. Sun. 7:30 p.m. $35 and up. (323) 461-3673. (323) 461-3673.

Rapture, Blister, Burn Santa Monica Rep presents a staged reading of Gina Gionfriddos feminist fable about two friends who take different paths in their lives. The Edye at the Broad Stage, 1310 11th St. Santa Monica. Sun., 2 p.m. $25. (310) 434-3200.

13th Annual New Play Reading Festival Staged readings of new works, plus panel discussions, etc.; details at www.bostoncourt.com. Boston Court, 70 N. Mentor Ave., Pasadena. Mon., 7:30 p.m.; Sat., 11 a.m., 2:30 and 5 p.m.; ends July 29. Free; reservations recommended. (626) 683-6801.

Costume Runway Show Retrospective features costumes from past productions. A Noise Within, 3352 E. Foothill Blvd., Pasadena. Tue., 6 p.m. $75, $150. (626) 356-3103.

Our Great Tchaikovsky Hershey Felder portrays the Russian composer in this musical bio-drama. Wallis Annenberg Center for the Performing Arts, Bram Goldsmith Theater, 9390 N. Santa Monica Blvd., Beverly Hills. Wed.-Fri., 8 p.m.; Sat., 2 and 8 p.m.; next Sun., 2 and 7 p.m.; ends Aug. 6. $35-$100. (310) 746-4000.

Martha Limited return engagement of Ellen Melavers bio drama about modern-dance maven Martha Graham; Christina Carlisi stars. The Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. Wed., 8 p.m.; also Aug. 16, Sept. 30. $25. (818) 687-8559.

The Anatomy of Love Workshop production of Ted Malawers new drama about parents confronted with the possibility that their 7-year-old daughter might be transgender. Chance Theater, 5522 E. La Palma Ave., Anaheim. Thu., 8 p.m.; Sat., next Sun., 7 p.m.; ends July 23. $15. (888) 455-4212.

Born for This Bio-musical tells the story of gospel greats and siblings BeBe and CeCe Winans. The Broad Stage, 1310 11th St., Santa Monica. Thu.-Fri., 7:30 p.m.; Sat., next Sun., 2 and 7:30 p.m.; ends Aug. 6. $50 and up. (310) 434-3200.

ICONversations Vocal artist Reign Morton shares stories and salutes Sinatra, Prince, Whitney, et al. in the cabaret show. The Colony Theatre, 555 N. 3rd St., Burbank. Thu.-Sat., 8 p.m.; next Sun. 3 p.m.; ends July 23. $35. (866) 811-4111.

Sequence The stories of a gambler and a genetics researcher intertwine in West Coast premiere of Arun Lakras thriller. Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, Beverly Hills. Thu., 8 p.m.; Fri., 7 p.m.; Sat, 8 p.m.; next Sun., 2 p.m.; ends Aug. 20. $30. (310) 364-0535.

Shine Storytellers share tales about moving somewhere new. Santa Monica Playhouse, 1211 4th St., Santa Monica. Thu., 7 p.m. $12; discounts available. (310) 452-2321.

Soliloquy Broadways James Snyder (If/Then) performs in this cabaret show. Catalina Bar & Grill, 6725 W. Sunset Blvd., Hollywood. Thu., 8:30 p.m. $15-$30; food and drink minimums apply. (323) 466-2210.

We Will Not Be Silent Staged reading of David Meyers fact-based drama about Sophie Scholl, the German college student who led a public act of resistance against the Nazis during WWII. The Fountain Theatre, 5060 Fountain Ave., L.A. Thu., 7 p.m. Free. (323) 663-1525.

Yitzhak Rabin: Chronicle of an Assassination Two actresses read from late Israeli prime ministers memoirs in this music-enhanced bio-drama. Skirball Cultural Center, 2701 N. Sepulveda Blvd., L.A. Thu., 7 p.m. $8-$12. (310) 440-4500.

Gaga Gardens Musical send-up of Grey Gardens, the classic 1975 documentary about two faded New York socialites. Cavern Club Theater, 1920 Hyperion Ave., L.A. Fri.-Sat., 9 p.m. $25. (800) 838-3006.

The Marvelous Wonderettes Hit jukebox musical features classic songs from the 1950 and 60s. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre. Sat., 8 p.m.; next Sun., 2:30 p.m.; ends Aug. 27. $25-$35. (626) 355-4318.

The MisMatch Game Host Dennis Hensley returns with a new edition of his off-color send-up of the 1970s-era game show. L.A. Gay & Lesbian Centers Renberg Theatre, 1125 N. McCadden Place, Hollywood. Fri., 8 p.m.; next Sun., 7 p.m. $15. (323) 860-7300.

My Janis Arianna Veronesi portrays the 1960s singer in this bio-drama. The New Collective Theatre, 6440 Santa Monica Blvd., Hollywood. Fri.-Sat., 8 p.m. $10. www.hollywoodfringe.org

The Rainbow Bridge A man struggling to get on with his life is haunted by his familys past in Ron Nelsons new comedy. Ruskin Group Theatre, 3000 Airport Ave., Santa Monica. Fri.-Sat., 8 p.m.; next Sun., 2 p.m.; ends Sept. 17. $20, $25. (310) 397-3244.

So Long Boulder City Writer-performer Jimmy Fowlies comedic take on Emma Stones characters one-woman show in the hit 2016 movie musical La La Land. Celebration Theatre @ The Lex, 6760 Lexington Ave, Hollywood. Fri.-Sat., 8 p.m.; ends Aug. 19. $25. www.celebrationtheatre.com.

The Spidey Project Musical send-up of the comic-book characters origin story. Studio/Stage, 520 N. Western Ave., L.A. Fri.-Sat., 8 p.m. $20. (818) 849-4039.

Cowboy Versus Samurai Wyoming-set update of Cyrano de Bergerac puts an Asian American twist on the classic romantic comedy. The Studio at Long Beach Playhouse, 5021 E. Anaheim St., Long Beach. Sat., 8 p.m.; ends Aug. 19. $14-$20; opening night only, $27. (562) 494-1014.

Nocturne Triptych Theatre Company stages Adam Rapps drama about a man whose world is shattered after he accidentally causes a death. Vs. Theatre, 5453 W. Pico Blvd., L.A. Sat., 8 p.m.; next Sun., 7 p.m. $25. www.triptychgroup.org.

Fritz Colemans One Night Comedy Show The comic/weatherman performs in his benefit show. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. July 23. Next 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 Dr., Costa Mesa. Next Sun., 7 p.m. $49 and up. (714) 556-2787.

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

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., Fri.-Sat, 8 p.m.; ends Aug. 6. $34. (310) 307-3753.

Parade Time and the daily headlines just keep reaffirming the power of this underappreciated stunner of a musical. A mans religion and origin mark him for scapegoating when the public needs an outlet for its collective rage. Alfred Uhry and Jason Robert Brown base their work 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, a city still hurting from the Civil War. 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. $31-$45; discounts available. (888) 455-4212.

See original here:
The week ahead in LA theater, July 16-23: ‘Our Great Tchaikovsky’ and more – Los Angeles Times

Fair Usage Law

July 17, 2017   Posted in: Leo Frank  Comments Closed

At the Chance Theater, ‘Parade’ marches to the drumbeat of history – Los Angeles Times

A martial cadence is heard throughout the soul-rattling musical Parade. You could think of it as the drumbeat of history a history from which we repeatedly fail to learn.

Time and the daily headlines just keep reaffirming the power of this 1998 musical by Alfred Uhry and lyricist-composer Jason Robert Brown. A difficult show about wrenching topics, Parade is infrequently staged, but the Chance Theater in Anaheim is making a go of it just when it should be heard. This visually arresting, emotionally potent production is hard to shake off afterward.

In Parade, a mans religion, origin and social position mark him for persecution at a moment when the public needs an outlet for its collective frustration. Uhry and Brown base their work 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, a city still hurting from the Civil War. Though Frank is not the only suspect, he is, as an outsider, the preferred scapegoat of a showboat prosecutor whos under pressure from a constituent-wary governor. The public devours every bit of news, true or fake, that reinforces its worldview.

This is the tale not of one man, but of a society, which director-choreographer Kari Hayter subtly underscores by keeping the cast close at hand to, literally, set the stage for each new development in the story by precisely rearranging the minimal scenic elements a collection of chairs and small tables on the raw-plank playing area.

Uhry (Driving Miss Daisy) and Brown (whose subsequent shows include The Last Five Years) launch the show with a rousingly patriotic number The Old Red Hills of Home that yearns for the past, When the Southland was free. The song segues into 1913s Confederate Memorial Day in Atlanta as Brooklyn-raised Frank (Allen Everman) stiffly departs his wife, Lucille (Erica Schaeffer), and heads to the factory like a fish against a stream of celebrating townsfolk.

He is no clear-cut hero, just as the townsfolk are not cardboard villains. Lean, with slick hair and bookish, wire-framed glasses, Everman bears a striking resemblance to the real Frank, pictured in a lobby display. His body language, like that of the man in the pictures, is prim and closed. He is curt, officious, hard to like. These qualities work against him when the local solicitor general (the towering, truly imposing Chris Kerrigan) tries to pin him for the murder of young Mary Phagan (Gabrielle Adner, with large bows at each side of her face like the real Mary in the lobby photos).

The first act is a slowly tightening noose. The second act seems to loosen it as Lucille works inexhaustibly in her husbands defense, despite his objections, until he finally recognizes her as the equal partner she always has been. Their voices twine, gorgeously, in All the Wasted Time. Here, as always, Schaeffer displays a crystalline voice and true heart; Everman brings a finely calibrated performance to its penultimate moment.

The African American perspective is concisely conveyed by Summer Greer and Robert Stroud in the gospel-blues number A Rumblin and a Rollin, which observes that, although Theres a black man swingin in evry tree, the North is finally paying attention because a white man is set to hang.

Robert Collins, portraying a factory janitor turned informant, pins the audience to its seats with the shows big, powerhouse number: the chain-gang-like Blues: Feel the Rain Fall.

In this song as in so many others, spellbinding melodies carry chilling messages. The singing, with a couple of exceptions, is superb. The most arresting voice belongs to Dillon Klena, whose expert phrasing and emphasis magnify the already considerable power of the material hes given in a succession of young-man roles, including a friend of Marys who thirsts for vengeance. Robyn Manion leads six offstage instrumentalists.

Richly evocative throughout, Hayters staging (moodily complemented by Masako Tobarus lighting) delivers its defining image just moments from the end, when two characters, forever linked by tragedy, somberly exit the story side by side.

Frank is perceived as an elitist, out of touch with the common man. At the same time, he is regarded as a dangerous outsider who should be shut behind walls. He can be read any number of ways, all pertinent to Americas persistent divisions. Such is the enduring relevance of Parade.

Where: The Chance Theater, 5522 E. La Palma Ave., Anaheim

When: 7:30 p.m. Thursdays, 8 p.m. Fridays, 3 and 8 p.m. Saturdays, 3 p.m. Sundays; ends July 30

Tickets: $40 and $45

Information: (888) 455-4212, www.ChanceTheater.com

Running time: 2 hours, 30 minutes

SIGN UP for the free Essential Arts & Culture newsletter

daryl.miller@latimes.com

Twitter: @darylhmiller

MORE THEATER COVERAGE:

Love, trickery and the drama of uncertainty in ‘Heisenberg’

Denis Arndt, an overnight sensation after 45 years in the biz

The dreaded intermission: Long plays at a time when shorter is sweeter

A Christian conservative baker, a gay wedding and the smart, funny ‘Cake’

View post:
At the Chance Theater, ‘Parade’ marches to the drumbeat of history – Los Angeles Times

Fair Usage Law

July 14, 2017   Posted in: Leo Frank  Comments Closed

BWW Review: PARADE is Breathtaking at The Merry Go Round Playhouse – Broadway World

Chilling, breathtaking, and astonishing are just some of the words that come to mind after seeing the latest production playing at The Merry- Go- Round Playhouse. Under the meticulous and masterful direction of Brett Smock, Parade is stunning audiences at the Finger Lakes Musical Theatre Festival.

This musical features a Tony Award-winning book by Alfred Uhry along with Tony Award-winning music and lyrics by Jason Robert Brown. This serious musical, based on real events, dramatizes the 1913 trial of Leo Frank (Aaron Galligan-Stierle), a Jewish factory manager accused of raping and murdering his employee, thirteen-year-old Mary Phagan (Shannon Beel) in Georgia. The trial proved to be a media event, and it stirred a lot of anger and prejudice within the community. Mr. Frank originally received the death sentence, which was changed to life in prison. This change led some members of the community to take matters of “justice” into their own hands, which has huge consequences for Mr. Frank and his dutiful wife Lucille (Kristin Wetherington).

The artistic elements of the show are some of the best that have graced the stage at the Merry – Go – Round Playhouse. The set by Czerton Lim evokes power and intensity before the show even begins. The audience sees chairs hanging from the rafters, which are constantly carried in and out by the performers. The lighting by Jose Santiago adds another layer of intensity to the thought-provoking production, while the costumes by Tiffany Howard and wig designs by Al Annotto help bring the complex characters to life within a specific historical era. This production of Parade is brilliantly done. Although it’s a large-scale production, the staging is still very intimate, which makes it all the more absorbing. It is truly special.

The large committed cast is truly phenomenal.

Aaron Galligan-Stierle, as Leo Frank, is consistently intense and highly believable. Galligan-Stierle portrayal of Leo Frank sends chills down the spine, especially as he sings the emotional song “It’s Hard to Speak My Heart.” He captures the perceived crudeness and uneasy feeling that Leo Frank gives off to the factory girls in “Come Up to My Office.”

Kristin Wetherington, as Lucille Frank, is truly stunning. She shows off her passionate and powerful vocals at every moment, and uses this passion to convey Lucille’s devotion to her husband. Her devotion to the role is evident. Her well-trained voice shines in “You Don’t Know This Man” and “Do It Alone” as she passionately belts out the powerful lyrics. Her duets with Aaron Galligan-Stierle, namely “This is Not Over Yet” and “All the Wasted Time,” are equally powerful and passionate. They represent some of the best moments on stage.

Shannon Beel, as Mary Phagan, is incredibly likeable. She captures the wide-eyed innocent girl beautifully. She charms the audience in “The Picture Show” along with Brendan Jacob Smith playing her friend Frankie Epps. Speaking of Brendan Jacob Smith, he oozes confidence in his numbers “There is a Fountain/It Don’t Make Sense” and “Frankie’s Testimony.” He’s highly memorable.

Other memorable performances include Marcus Jordan as Newt Lee in the “Interrogation Sequence,” and Alexander Zenoz as the Young Soldier opening the show with the breathtaking number “The Old Red Hills of Home” along with David Atkinson as the old soldier. Jamison Stern, as Hugh Dorsey, makes his mark with “Twenty Miles from Marietta.” Likewise, Dave Shoonover, as Governor John Slaton, performs a lovely rendition of “Pretty Music” while Scott Guthrie as Britt Craig shows off in “Real Big News;” Erin Katzkar, as Mrs. Phagan, sings an emotional rendition of “My Child Will Forgive Me.” Banji Aborisade and Crystal Sha’nae charm in “A Rumblin’ and a Rollin’.” Fergie L. Philippe, as Jim Conley, is confident and intense while Jake Mills is most memorable as Tom Watson. Finally, the talented Emma DeGroff, Madeline VanRiper, and Adeline Whitener portray the Factory Girls with such maturity and professionalism.

Brett Smock has brought a show that is powerful, passionate, and stunning to Central New York audiences. There is no doubt that Parade has exquisite and gorgeous music by the incomparable Jason Robert Brown. That music beautifully played by the live orchestra under the musical direction of Jeff Theiss. But this production doesn’t just feature amazing songs. It showcases a talented cast that captures the intensity of the story perfectly. Parade does not disappoint. It is a definite must-see at the Merry-Go-Round Playhouse, a theatre that once again proves that they definitely know how to put on a show that surpasses some current Broadway productions. It truly is Broadway in the Finger Lakes.

Running Time: Approximately Two hours and twenty minutes with one twenty-minute intermission.

Parade runs through July 26, 2017 at The Merry – Go – Round Playhouse as part of the 2017 Finger Lakes Musical Theatre Festival. For tickets and information on Parade and other upcoming productions at The Merry-Go-Round Playhouse click here, or call (315)255-1785 (toll free 1-800-457-8897).

Excerpt from:
BWW Review: PARADE is Breathtaking at The Merry Go Round Playhouse – Broadway World

Fair Usage Law

July 14, 2017   Posted in: Leo Frank  Comments Closed

A potently tragic ‘Parade’ of human nature in Anaheim Orange … – OCRegister

Erica Schaeffer and Allen Everman as Lucille and Leo Frank epitomize the sterling acting in Chance Theaters intimate staging of the fact-based 1998 musical Parade. (Photo by Doug Catiller, True Image Studio)

Leo Frank (Allen Everman) is convicted of murder and sentenced to death by hanging and the entire courtroom bursts into a jubilant cakewalk. (Photo by Doug Catiller, True Image Studio)

Georgia Governor John Jack Slaton (Tucker Boyes) promises the citizens of Atlanta that hell see that murder victim Mary Phagan receives justice. (Photo by Doug Catiller, True Image Studio)

On a fishing trip, Judge Roan (Devin Collins, left) and Hugh Dorsey (Chris Kerrigan) discuss their political options, with Dorseys star rising high after convicting Leo Frank of murder. (Photo by Doug Catiller, True Image Studio)

Under pressure from Lucille Frank (Erica Schaeffer, right), Governor Slaton (Tucker Boyes) starts to re-interview the witnesses in her husbands trial, including Minola Minnie McKnight (Asia Washington). (Photo by Doug Catiller, True Image Studio)

Alfred Uhry gained recognition for Driving Miss Daisy and The Last Night of Ballyhoo, which revealed what its like to be a native of the Deep South while also being of Jewish heritage.

Both plays in part touch on issues unique to those who, like the Uhrys, identified themselves as part of Atlanta society while steeped in Judaism and who rarely saw these markers as mutually exclusive.

The 1998 musical Parade, though, is brutal in exposing the anti-Semitism that roiled, unseen, just beneath the surface in Atlanta circa 1913, until a brutal murder brought it to light.

Broadway-style productions of the show strive for large-scale treatments complete with sets and special effects. Chance Theaters intimate version brings the tragic story of Leo Frank up close and personal too close for comfort, some might say with regard to director Kari Hayters staging.

With music and lyrics by Jason Robert Brown, Parade revolves around the 1913 trial of Leo Frank (Allen Everman), an Atlanta factory manager accused and convicted of raping and murdering 13-year-old employee Mary Phagan (Gabrielle Adner).

Police and prosecutors had little, if any, physical evidence against Frank but he was a New Yorker, and Jewish, making him not just an outlier, but a despised one at that.

Self-serving prosecutor Hugh Dorsey (Chris Kerrigan), clearly motivated by political ambition, led the charge against Frank. Influential right-wing journalist Tom Watson (Ryan Lloyd) helps sway public opinion, while newspaper reporter Britt Craig (Mitchell Turner) recognizes his coverage of the case could make him famous and wealthy.

Leo Frank, as Parade shows us, was guilty of just one thing: Being different. Period. Chance Theaters powerhouse staging magnifies the levels of corruption even further in Act 2, as Gov. John Jack Slaton (Tucker Boyes), with prodding from Leos wife Lucille (Erica Schaeffer), begins to uncover Dorseys pressuring witnesses to exaggerate or fabricate testimony.

To call these events, and Uhry and Browns masterful handling of them, sobering and heartbreaking is to understate. Parade shows human nature at its worst. The case against Frank was a travesty, his mistreatment brutal and ultimately tragic.

And while Chances production is by no means small in scale, its stripping away of theatrical window dressing proves that the shows power lies in handling it as a chamber musical. Nothing in Hayters heart-wrenching staging separates us from the characters and their words and actions, and her choreography and Robyn Manions musical direction amplify the force of the story and songs.

Their work is bolstered by Fred Kinneys mostly bare raked wooden stage, Masako Tobarus subtle lighting, Ryan Brodkins sound design and Elizabeth Coxs spare-looking early 20th-century costumes.

Chances up-close handling puts our focus wholly onto the actions, emotions and vocal work of every member, top to bottom, of Hayters superlative 18-person cast. Each songs potency lies in how it links to those before and after it, driven home by the casts singing, and Manion and her unseen combos playing, of Browns score.

All the more shattering is the Franks newfound love: Before his arrest, Leo ignores Lucille, and during and just after his trial, hes stubbornly determined to win an appeal on his own.

Her success in getting his sentence commuted from capital murder to life in prison opens Leos eyes and his heart. At Chance, Everman and Schaeffer arent just a tense, ill-at-ease Leo and quiet Southern belle Lucille; the scenes of the two falling in love as if for the first time are genuinely moving, albeit tinged with melancholy.

Our realization that Leos life will be spared offers some consolation, helping us ward off feelings of outrage and despair. So in its depiction of the vigilante justice Leo ultimately was victim to, the closing moments are like a sucker punch to the gut.

The title refers to the annual parade held April 26 Confederate Memorial Day in most Southern states to remember the Souths Civil War dead. But it also, in a sense, alludes to life itself as a parade of humanity, often flawed as unable to see the truth nor even to demonstrate any desire to find truth if it runs counter to ingrained beliefs.

People and events conspired to destroy Leo Frank, their shame intensified by their refusal to admit their actions were driven by prejudice and a thirst for revenge. Chances Parade makes it impossible for us, just by being human, to not partly own that shame.

When: Through July 30. 8 p.m. Fridays and Saturdays, 3 p.m. Sundays

Where: Cripe Stage, Chance Theater at Bette Aitken Theater Arts Center, 5522 E. La Palma Ave., Anaheim Hills

Tickets: $31-$45

Length: 2 hours, 30 minutes

Suitability: Adults and teens (for content)

Information: 888-455-4212, chancetheater.com

See the original post here:
A potently tragic ‘Parade’ of human nature in Anaheim Orange … – OCRegister

Fair Usage Law

July 13, 2017   Posted in: Leo Frank  Comments Closed

Two theatre works 400 years apart shock with effects of anti-Semitism – People’s World

left to right, Willow Geer, Peter Magnus Curry, Tavis L. Baker, Tim Halligan and Alan Blumenfeld / Ian Flanders

LOS ANGELESSome days it seems like the old prejudiceswe could easily name a dozen offhandwill never die away. All the well-intentioned groups have been working for decades, yet poisonous bigotry still pollutes modern life at every turn. Hate crimes are up, while worldwide, agencies of religion, media and the state continue to inhibit gender, ethnic, racial, nationaland other forms of equality.

Two successive nights of theatergoing, two Jews lynched, one by law, the other by rope: William Shakespeares The Merchant of Venice (1597) and the American musical Parade (1998), book by Alfred Uhry, music and lyrics by Jason Robert Brown, which take us back to Atlanta, Ga., in 1913, when Leo Frank, a Brooklyn-raised Jew making his life with his new Southern-born wife Lucille, was put on trial for the murder of a 13-year-old girl.

Merchant is part of the Will Geers Theatricum Botanicum summer season of five plays under the rubric Rising Up. Ellen Geer, daughter of Will and Merchants director, says it points up a lack of caring about humanityit puts it right in front of your faceperfect for now because it mirrors our own society a bit.

I am most interested in exploring Parade as an intimate and exposed platform that reveals the most raw and universal truths of a community, says director Kari Hayter of Chance Theater in Orange County, Calif., in order to remind us of our responsibilities today to demonstrate love, tolerance, and acceptance.

The Merchant of Venice is considered both a comic tragedy and a tragic comedy (for it ends with a trio of marriages and the thorough humiliation of the Jew), a forerunner of the dark and jet black comedies in theaters today. Against a long history of denigration on the public Venetian Rialto which the yellow-badged Shylock has endured for years, he upholds his dignity by tossing off a merry prank, absurdly demanding a pound of flesh from the borrower Antonio, one of his chief tormentors, if the debt goes unpaid in three months time. No one ever imagined the bond would in fact come due.

In his courtroom defense, Shylock insists on punctilious adherence to the law of contracts, about the only sure thing he as a Jewish alien can depend on. Answering the courts appeal for him to show mercy, Shylock throws the idea back in societys face. He summons up the foundational story of the Jewish nation, its liberation from hateful slavery:

What judgement shall I dread, doing no wrong? You have among you many a purchased slave, Which, like your asses and your dogs and mules, You use in abject and in slavish parts, Because you bought them: shall I say to you, Let them be free, marry them to your heirs? Why sweat they under burthens? let their beds Be made as soft as ours, and let their palates Be seasond with such viands? You will answer The slaves are ours: so do I answer you: The pound of flesh, which I demand of him, Is dearly bought; tis mine and I will have it. If you deny me, fie upon your law!

The chutzpahthe gallof the court preaching mercy when Venice is so profoundly corrupt and cruel! Even Portias (Willow Geer) famous The quality of mercy is not straind speech is maliciously delivered by a duplicitous masqueraded character (Portia in the disguise of a distinguished lawyer) who has no mercy whatsoever for Shylock but expects him to forfeit his bond with magnanimity. One law for Christians, another for Jews. The actor who plays Shylock, the magisterial Alan Blumenfeld, was quoted in the local Jewish Journal, saying that his character endured what is going on today, Christians yanking the hijab off of Muslim womens heads, the skullcaps off of Jews, and turbans off of Sikhs.

Comedy often entails taking the oppressor down a notch and lifting the oppressed, a social leveling that affirms our common humanity; but such is not Merchants agendano, the oppressed get a few final kicks before the curtain descends. A viewer is hard-pressed to identify any character in this play who fits into a neat box of good guy or bad guy.

Perhaps old Will is simply trying to tell us we are all flawed human beings, most of us blind to our own prejudiceshimself included, for dramaturgs argue to this day whether the playwright was ultimately trying to portray Shylock sympathetically or if he was simply reflecting the ignorance, intolerance and a shrewd business sense of his own time. The Merchant of Venice dates from 1597. Was his play a rejoinder to Christopher Marlowes immensely popular and highly inflammatory The Jew of Malta (1589), or was he merely capitalizing on the surefire success of demonizing the Jew? In 1594 a crypto-Jewish physician, Roderigo Lopez, was tortured and executed, implicated in a plot to kill Queen Elizabeth. In the anti-Jewish frenzy surrounding the case, The Jew of Malta was immediately revived to great acclaim.

In this staging, although Shylock does say, I am content when he loses his case and is severely punished, even forced to become a Christian, he is later seen donning a Jewish prayer shawl and reciting Hebrew prayers, obviously remaining a Jew in secret. Vigilantes snatch him away to an uncertain fate.

Its not a coincidence that the titular merchant has investments and commerce with Lisbon, Barbary, India, the (West) Indies, Mexico, in other words, in that post-1492 era of European expansion through colonialism and mercantilism. They times they were a-changing, and its always convenient to haul out the ancient hatreds, shine them up for re-use, and take the peoples minds off the upset to the old order.

Atlanta, Georgia, 1913

And thats kind of what happened to poor Leo Frank (Allen Everman). Atlanta had become an industrial-based town, far removed in its ethos from the agrarian past. Farmers moved into the city for work in factories, such as young Mary Phagan (Gabrielle Adner), a 13-year-old pencil factory worker earning 10 cents an hour. The populace are still drenched in Civil War glory, hatred of Northern Yankees, resentment of change, loyal to their nostalgic memories of The Old Red Hills of Home, the opening chorus of Parade.

When Mary is found dead in the factory basement, the mousy, meticulous Jewish factory manager Leo Frank finds himself preposterously accused of murder. The double Tony Award-winning Parade (Best Book and Best Score) is based on a true historical incident, which gave rise to the Anti-Defamation League, so outrageous was the miscarriage of justice in the urgency to find a scapegoat.

Parade highlights the role of yellow journalism, the sensationalistic ginning up of popular sentiment even as it ignores the truth. Newspapers catered to fear and insecurity. Georgia Governor John Slaton (Tucker Boyes) finally begins to entertain doubts about the obviously coerced testimony in the trial and is voted out of office. Populist rabble rouser Tom Watson (Ryan Lloyd) forms an opportunistic alliance with the prosecutor Hugh Dorsey (Chris Kerrigan), who later becomes governor himself. Although spared his life by the governor, Frank was sent to a state farm, whence he was abducted and lynched, one Jew among the over 450 lynchings in Georgia alone between 1882 and 1930, almost all of them Black.

The response of the Black community, as depicted in the musical, was understandably skeptical. What if a little black girl had been killed? How could Shakespeares Venetians be so upset about Antonio while the slaveowners among them treat their property so abjectly?

Anaheims Chance Theater gave this show a stunning, innovative production (scenic design by Fred Kinney) on bare wooden planks in a staging involving little more than tables and chairs in constant motion. Costuming by Elizabeth Cox brought out the class disparities of a deeply racist society given to populist appeals against outsiders who besmirch our Southern womanhood. Confederate flags are prominently waving.

It has become one of the great American social commentary musicals, a powerful story not just of prejudice and discrimination, but also of feminist emergence as Leos wife Lucille (Erica Schaeffer) rises to her husbands defense, even as he tried to discourage her from asserting herself so visibly (typical mans I can handle this pride).

The singing and acting are completely engaging, proving, as many companies are coming around to appreciate today, that glitz and lots of stage furniture do not necessarily a musical make. The emphasis is purely on the fine performances by a cast of 18. An unseen orchestra of six players directed by keyboardist Robyn Manion is highly effective, and the choral singing is a strong contribution. The inspired score sheds a bright though tragic light on a dark corner of history with all too much contemporary meaning.

Parade will be performed through July 30 on Thurs. at 7:30 pm, Fri. at 8 pm, Sat. at 3 and 8 pm, and Sun. at 3 pm. There is one additional special performance on Wed., July 12 at 7:30 pm. The Cripe Stage at the Chance Theater at the Bette Aitken Theater Arts Center is located at 5522 E. La Palma Ave., Anaheim CA 92807. For tickets and other information, call (888) 455-4212 or visit www.ChanceTheater.com. Discounts are available for seniors, students and military.

Future performances of The Merchant of Venice will take place on July 15 at 3:30, Aug. 6 at 3:30, Aug. 12 at 7:30, Aug. 19 at 3:30, Aug. 27 at 3:30, Sept. 2 at 3:30, Sept. 10 at 3:30, Sept. 17 at 7:30, Sept. 23 at 3:30, and Oct. 1 at 3:30 pm. Will Geers Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd., Topanga 90290 (midway between Pacific Coast Highway and the Ventura [101] freeway). Their website can be viewed here.

Go here to read the rest:
Two theatre works 400 years apart shock with effects of anti-Semitism – People’s World

Fair Usage Law

July 11, 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.

Fair Usage Law

July 20, 2017   Posted in: Leo Frank  Comments Closed

The Lynching of Leo Frank

It was April 26, in the spring of 1913, that Mary Phagan went down to the pencil factory in Atlanta where she worked. She was going to pick up $1.20, which she had earned working twelve hours that week. Mary Phagan was thirteen-years-old. The man who paid her, Leo Frank, was the last person to acknowledge seeing her alive. Her body, bruised and bloody, was found that night in the factory cellar. Her murder electrified Atlantas population, so repulsed by rumors of sexual assault and the senseless murder of a young girl. They followed the story in the news and demanded swift action by authorities. Leo Frank became the prime suspect. He was Jewish, a member of The Temple, and hed come to Atlanta from the north. As such, he was an easy target for the anti-Semitic population who distrusted northern merchants who had come south following the Civil War. It hardly mattered that the evidence against Frank was circumstantial and thin, at best. The primary witness was a janitor who claimed he had helped Frank dispose of the body. He had given four different, and conflicting, affidavits prior to trial. Mobs of people gathered outside the courthouse, cheering on the prosecutor as he came and went each day. Whipped into a frenzy by newspaper coverage, much of it anti-Semitic in tone, they erupted in cheers when the jury returned a guilty verdict following twenty-five days of trial. Following a series of failed appeals, the governor of Georgia, John Slaton, was contacted by Franks attorneys. They sought a commutation to save their clients life. At the same time, Thomas E. Watson, the publisher of the Jeffersonian began a campaign against Frank and commutation of the sentence. His open rants against Jews generally and Frank particularly sent his readership soaring. Public outrage grew right along with his circulation numbers. Yet Slaton began to review the case in great detail, even going so far as to visit the pencil factory. After reviewing more than 10,000 pages of documentation, Governor Slaton commuted the sentence to life in prison. His decision flew wildly in the face of public opinion. Enraged Atlantans marched on the governors mansion, forcing Slaton to declare martial law and call out the National Guard. His term of office ended just a few days later, at which time he was escorted to a train station by police. Slaton and his wife boarded a train, left the state, and did not return to Georgia for more than ten years, so great was the public outcry against them. Franks fate was considerably worse. The mob that had marched on the governors mansion turned their attention to the prison where Frank was being held. They stormed the gates, dragging Frank out and transporting him to Marietta, where Phagan was from. From an oak tree, on the morning of August 17, 1915, Leo Frank was hung by a lynch mob. In the crowd were prominent political and business leaders, including the son of a United States senator. Later, the leaders of the lynch mob, calling themselves the Knights of Mary Phagan, gathered atop Stone Mountain. There, they revived the Ku Klux Klan. Franks death at the hands of an openly anti-Semitic lynch mob, led by the leaders of the community, whipped into a frenzy by the editor of a popular publication, alarmed Jewish leaders across America. This dark chapter in Americas history frightened members of The Temple and Atlantas Jewish community even more. A sense of security that had pervaded the Jews of Atlanta was shattered, and it would not be restored for decades. In the wake of the lynching, the Anti-Defamation League was founded to combat bigotry generally and anti-Semitism specifically. Yet here in Atlanta, many Jews retreated from public life. Once present across the spectrum of political life, no Jew ran for office for over two decades after the Frank lynching. Frank himself received the smallest measure of justice in 1986, when he was given a posthumous pardon. Four years earlier, eighty-three-year-old Alonzo Mann testified that as an office boy at the factory, he had seen the janitor carrying Mary Phagans body. He was threatened to remain silent, and did so for almost seventy years. While the testimony did not fully exonerate Frank, it was a major development that led to his 1986 pardon.

Fair Usage Law

July 20, 2017   Posted in: Leo Frank  Comments Closed

O.J.’s last defender F. Lee Bailey is broke, disbarred and … – Washington Post

Johnnie Cochran is dead. Marcia Clark writes murder mysteries. Judge Lance Ito is retired. Kato Kaelin tweets a lot. And F. Lee Bailey, the famed criminal defense attorney, is flat broke. On Thursday, O.J. Simpson the NFL icon who brought them together more than two decades ago was granted parolefrom his prison sentence for a Nevada robbery conviction, asserting during a highly anticipatedhearing thatIm not a guy who has lived a criminal life. But of all the characters who played a role in Simpsons unforgettable acquittal for the murder of his ex-wife, Nicole Brown Simpson, no ones life has changed as dramatically as Baileys. By changed, we mean cratered. O.J. Simpson was found not guilty of the murders of Nicole Brown Simpson and Ronald Goldman in 1995. The investigation and trial lasted more than a year and included a number of memorable moments. Here are a few of them, starting with O.J.’s infamous car chase which took place June 17, 1994. (The Washington Post) Bailey joined Simpsons defense team with a courtroom rsum that even Perry Mason would be jealous of. Baileygot neurosurgeon Sam Sheppard a new trial on charges he brutally killed his wife and a not-guilty verdict. He defended fugitive newspaper heiress Patty Hearst, the Boston Strangler and scores of other accused murderers. He was rich, flew on private jets and even played himself in a movie. [Unsolved and overlooked murders: Investigating cold cases of the civil rights era] Today he lives with a hairstylist in Maine. At 83, he works above her salon. I wont say its depressing, because I dont think I ever get depressed, Bailey told writer Andrew Goldman in a remarkable profile this month in Town & Country magazine. The story details Baileys life post-O.J. not just his remarkable fall but also his steadfast belief that a Los Angeles jury reached the correct verdict in acquitting the actor and Hertz pitchman of killing Nicole and her friendRonald Goldman. [The Ku Klux Klan was dead. The first Hollywood blockbuster revived it.] Last year, Bailey filed for bankruptcy after a string of scandals inside and outside the courtroom left him disbarred and shamed. He was accused of misappropriating funds from his defense of an alleged drug dealer. Heres what he had left: a 1999 Mercedes station wagon (gold, of course). Unable to practice law, Bailey runs a consulting business above the salon. His office is decorated with models of jets he once owned. But to thefine people of Yarmouth, Maine, Bailey is still famous, a courtroom legend in their midst. The Town & Country writer had lunch there with Bailey, who ordered a pinot grigio: Next to him sits Debbie Elliot, his girlfriend of seven years. A pretty good-looking 62, he remarks, an accurate assessment of the curvaceous salon owner, who is dressed in head-to-toe black, her platinum blond hair pulled back in a ponytail. Bailey, who in the 1970s wore sideburns so bushy they resembled a barristers wig, now has thin white hair clipped close to the scalp, a side effect of cohabitation with a hairdresser. Bailey tried to return to the courtroom, but hehas been turned down, even after passing the bar exam not long ago in Maine. His old lawyer pals, including Alan Dershowitz, have a not-so-complicated legal theory about why. O.J. Without a doubt, Dershowitz told Town & Country. I think it was a major factor in the vindictive way in which hes been treated. Bailey wont object tothat one. People at every level, judges on down, pointed the finger and said, If you hadnt prostituted your talents for this guy, he would have gone to jail, he told Town & Country. Bailey used to keep in touch with Simpson, who would call to chat about life and, later, from jail, about how to get out. And then suddenly, after Simpson was convicted in the Nevada case, the calls stopped. He says he was told that Simpson was warned by prison officials to steer clear of Bailey if he wanted to get on the good side of the parole board, Town & Country reported. Accused murderers used to walk free with Bailey at their side. Now they have a better chance if he stays just where he is, above the salon. Read more Retropolis: Six Nazi spies were executed in D.C. White supremacists gave them a memorial on federal land. Virginia Tech was not the worst school massacre in U.S. history. This was. Leo Frank was lynched for a murder he didnt commit. Now neo-Nazis are trying to rewrite history. Assassins!A Confederate spy was accused of helping kill Abraham Lincoln. Then he vanished.

Fair Usage Law

July 20, 2017   Posted in: Leo Frank  Comments Closed

PARADE to Be Staged at World’s Oldest Paper Factory This Autumn – Broadway World

Alfred Uhry and Jason Robert Brown’s 1998 Tony Award-winning musical PARADE, based on the infamous trial and lynching of Leo Frank, is set to be professionally staged at the world’s oldest working paper factory this September. Staged at the Frogmore Papermill in Apsley, Hertfordshire, the production will be directed as an immersive experience where audiences will follow the actors through the atmospheric building as they create a thrilling and visceral retelling of this true poignant story. PARADE tells the heart wrenching true story of Leo Frank, a Brooklyn-born Jew living in Atlanta, Georgia. Frank was accused of the murder of his 13-year-old employee Mary Phagan in 1913. Already guilty in the eyes of everyone around him, a sensationalist publisher and a janitor’s questionable testimony along with a litany of false testimonies, clearly lacking any clear, real evidence seals Leo’s fate. His only defenders are a Governor with a conscience, and, eventually, his Southern wife who finds the strength and love to become his greatest champion. Directed by Dan Cowtan, PARADE THE MUSICAL will run at the Frogmore Papermill from the 7thto 16thof September. PARADE will be the first professional production to help revive the life of the Frogmore Papermill, hoping to create a safe and innovative space for future arts related events. Casting is yet to be announced. PARADE is presented by Vivo D’Arte, a theatre company looking to change the norms of a theatrical experience and offer a platform for both graduates and professional performers to showcase themselves. For more information, follow @_PARADEMusical or visit www.vivodarte.co.uk for the latest news and casting regarding this production. VIVO D’ARTE Ltd is a theatre arts training organisation and Production Company. We work with new writers as well as performing established works, working in a traditional theatre setting as well as finding new and innovative spaces to perform in. Our Production Company focuses on creating performance opportunities for graduates and students as well as older performers who may be professional or semi-professional. Our popular Vivo Youth Theatre company provides opportunities for performers from a wide age range from 6 up to 23 years of age to have high-quality stage experiences. Photo Credit: Jamie Scott

Fair Usage Law

July 18, 2017   Posted in: Leo Frank  Comments Closed

The week ahead in LA theater, July 16-23: ‘Our Great Tchaikovsky’ and more – Los Angeles Times

THEATER Capsule reviews are by Philip Brandes and Daryl H. Miller (D.H.M.) Compiled by Matt Cooper. Kids Koncerts Family-friendly show with Auntie Kayte. Will Geers Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. Sun., 10:30 a.m. $10; under 2, free. (310) 455-3723. King of the Yees Lauren Yee explores her family history and Chinese American heritage in this world-premiere tale. Kirk Douglas Theatre, 9820 Washington Blvd., Culver City. Sun, 6:30 p.m.; Tue.-Wed., 8 p.m.; Thu., 8:30 p.m.; Fri., 8 p.m.; Sat., 2 and 8 p.m.; next Sun., 1 and 6:30 p.m.; ends Aug. 6. $25-$70. (213) 628-2772. OG Summer Desmadre Comedy trio Culture Clash joins forces with Latin R&B band Tierra, Pacifico Dance Company and others for an evening of political satire, music and more. Ford Theatres, 2580 Cahuenga Blvd. East, Hollywood. Sun. 7:30 p.m. $35 and up. (323) 461-3673. (323) 461-3673. Rapture, Blister, Burn Santa Monica Rep presents a staged reading of Gina Gionfriddos feminist fable about two friends who take different paths in their lives. The Edye at the Broad Stage, 1310 11th St. Santa Monica. Sun., 2 p.m. $25. (310) 434-3200. 13th Annual New Play Reading Festival Staged readings of new works, plus panel discussions, etc.; details at www.bostoncourt.com. Boston Court, 70 N. Mentor Ave., Pasadena. Mon., 7:30 p.m.; Sat., 11 a.m., 2:30 and 5 p.m.; ends July 29. Free; reservations recommended. (626) 683-6801. Costume Runway Show Retrospective features costumes from past productions. A Noise Within, 3352 E. Foothill Blvd., Pasadena. Tue., 6 p.m. $75, $150. (626) 356-3103. Our Great Tchaikovsky Hershey Felder portrays the Russian composer in this musical bio-drama. Wallis Annenberg Center for the Performing Arts, Bram Goldsmith Theater, 9390 N. Santa Monica Blvd., Beverly Hills. Wed.-Fri., 8 p.m.; Sat., 2 and 8 p.m.; next Sun., 2 and 7 p.m.; ends Aug. 6. $35-$100. (310) 746-4000. Martha Limited return engagement of Ellen Melavers bio drama about modern-dance maven Martha Graham; Christina Carlisi stars. The Whitefire Theatre, 13500 Ventura Blvd., Sherman Oaks. Wed., 8 p.m.; also Aug. 16, Sept. 30. $25. (818) 687-8559. The Anatomy of Love Workshop production of Ted Malawers new drama about parents confronted with the possibility that their 7-year-old daughter might be transgender. Chance Theater, 5522 E. La Palma Ave., Anaheim. Thu., 8 p.m.; Sat., next Sun., 7 p.m.; ends July 23. $15. (888) 455-4212. Born for This Bio-musical tells the story of gospel greats and siblings BeBe and CeCe Winans. The Broad Stage, 1310 11th St., Santa Monica. Thu.-Fri., 7:30 p.m.; Sat., next Sun., 2 and 7:30 p.m.; ends Aug. 6. $50 and up. (310) 434-3200. ICONversations Vocal artist Reign Morton shares stories and salutes Sinatra, Prince, Whitney, et al. in the cabaret show. The Colony Theatre, 555 N. 3rd St., Burbank. Thu.-Sat., 8 p.m.; next Sun. 3 p.m.; ends July 23. $35. (866) 811-4111. Sequence The stories of a gambler and a genetics researcher intertwine in West Coast premiere of Arun Lakras thriller. Theatre 40, Reuben Cordova Theatre, 241 S. Moreno Drive, Beverly Hills. Thu., 8 p.m.; Fri., 7 p.m.; Sat, 8 p.m.; next Sun., 2 p.m.; ends Aug. 20. $30. (310) 364-0535. Shine Storytellers share tales about moving somewhere new. Santa Monica Playhouse, 1211 4th St., Santa Monica. Thu., 7 p.m. $12; discounts available. (310) 452-2321. Soliloquy Broadways James Snyder (If/Then) performs in this cabaret show. Catalina Bar & Grill, 6725 W. Sunset Blvd., Hollywood. Thu., 8:30 p.m. $15-$30; food and drink minimums apply. (323) 466-2210. We Will Not Be Silent Staged reading of David Meyers fact-based drama about Sophie Scholl, the German college student who led a public act of resistance against the Nazis during WWII. The Fountain Theatre, 5060 Fountain Ave., L.A. Thu., 7 p.m. Free. (323) 663-1525. Yitzhak Rabin: Chronicle of an Assassination Two actresses read from late Israeli prime ministers memoirs in this music-enhanced bio-drama. Skirball Cultural Center, 2701 N. Sepulveda Blvd., L.A. Thu., 7 p.m. $8-$12. (310) 440-4500. Gaga Gardens Musical send-up of Grey Gardens, the classic 1975 documentary about two faded New York socialites. Cavern Club Theater, 1920 Hyperion Ave., L.A. Fri.-Sat., 9 p.m. $25. (800) 838-3006. The Marvelous Wonderettes Hit jukebox musical features classic songs from the 1950 and 60s. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre. Sat., 8 p.m.; next Sun., 2:30 p.m.; ends Aug. 27. $25-$35. (626) 355-4318. The MisMatch Game Host Dennis Hensley returns with a new edition of his off-color send-up of the 1970s-era game show. L.A. Gay & Lesbian Centers Renberg Theatre, 1125 N. McCadden Place, Hollywood. Fri., 8 p.m.; next Sun., 7 p.m. $15. (323) 860-7300. My Janis Arianna Veronesi portrays the 1960s singer in this bio-drama. The New Collective Theatre, 6440 Santa Monica Blvd., Hollywood. Fri.-Sat., 8 p.m. $10. www.hollywoodfringe.org The Rainbow Bridge A man struggling to get on with his life is haunted by his familys past in Ron Nelsons new comedy. Ruskin Group Theatre, 3000 Airport Ave., Santa Monica. Fri.-Sat., 8 p.m.; next Sun., 2 p.m.; ends Sept. 17. $20, $25. (310) 397-3244. So Long Boulder City Writer-performer Jimmy Fowlies comedic take on Emma Stones characters one-woman show in the hit 2016 movie musical La La Land. Celebration Theatre @ The Lex, 6760 Lexington Ave, Hollywood. Fri.-Sat., 8 p.m.; ends Aug. 19. $25. www.celebrationtheatre.com. The Spidey Project Musical send-up of the comic-book characters origin story. Studio/Stage, 520 N. Western Ave., L.A. Fri.-Sat., 8 p.m. $20. (818) 849-4039. Cowboy Versus Samurai Wyoming-set update of Cyrano de Bergerac puts an Asian American twist on the classic romantic comedy. The Studio at Long Beach Playhouse, 5021 E. Anaheim St., Long Beach. Sat., 8 p.m.; ends Aug. 19. $14-$20; opening night only, $27. (562) 494-1014. Nocturne Triptych Theatre Company stages Adam Rapps drama about a man whose world is shattered after he accidentally causes a death. Vs. Theatre, 5453 W. Pico Blvd., L.A. Sat., 8 p.m.; next Sun., 7 p.m. $25. www.triptychgroup.org. Fritz Colemans One Night Comedy Show The comic/weatherman performs in his benefit show. El Portal Theatre, 5269 Lankershim Blvd., North Hollywood. July 23. Next 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 Dr., Costa Mesa. Next Sun., 7 p.m. $49 and up. (714) 556-2787. Sondheim on Sondheim Guest vocalists including Vanessa Williams and Glees Matthew Morrison join Gustavo Dudamel, the LA Phil and Youth Orchestra Los Angeles for a cabaret-style presentation of this survey of the legendary Broadway composers classic songs. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. Next Sun., 7:30 p.m. $14-$189. (323) 850-2000. 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., Fri.-Sat, 8 p.m.; ends Aug. 6. $34. (310) 307-3753. Parade Time and the daily headlines just keep reaffirming the power of this underappreciated stunner of a musical. A mans religion and origin mark him for scapegoating when the public needs an outlet for its collective rage. Alfred Uhry and Jason Robert Brown base their work 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, a city still hurting from the Civil War. 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. $31-$45; discounts available. (888) 455-4212.

Fair Usage Law

July 17, 2017   Posted in: Leo Frank  Comments Closed

At the Chance Theater, ‘Parade’ marches to the drumbeat of history – Los Angeles Times

A martial cadence is heard throughout the soul-rattling musical Parade. You could think of it as the drumbeat of history a history from which we repeatedly fail to learn. Time and the daily headlines just keep reaffirming the power of this 1998 musical by Alfred Uhry and lyricist-composer Jason Robert Brown. A difficult show about wrenching topics, Parade is infrequently staged, but the Chance Theater in Anaheim is making a go of it just when it should be heard. This visually arresting, emotionally potent production is hard to shake off afterward. In Parade, a mans religion, origin and social position mark him for persecution at a moment when the public needs an outlet for its collective frustration. Uhry and Brown base their work 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, a city still hurting from the Civil War. Though Frank is not the only suspect, he is, as an outsider, the preferred scapegoat of a showboat prosecutor whos under pressure from a constituent-wary governor. The public devours every bit of news, true or fake, that reinforces its worldview. This is the tale not of one man, but of a society, which director-choreographer Kari Hayter subtly underscores by keeping the cast close at hand to, literally, set the stage for each new development in the story by precisely rearranging the minimal scenic elements a collection of chairs and small tables on the raw-plank playing area. Uhry (Driving Miss Daisy) and Brown (whose subsequent shows include The Last Five Years) launch the show with a rousingly patriotic number The Old Red Hills of Home that yearns for the past, When the Southland was free. The song segues into 1913s Confederate Memorial Day in Atlanta as Brooklyn-raised Frank (Allen Everman) stiffly departs his wife, Lucille (Erica Schaeffer), and heads to the factory like a fish against a stream of celebrating townsfolk. He is no clear-cut hero, just as the townsfolk are not cardboard villains. Lean, with slick hair and bookish, wire-framed glasses, Everman bears a striking resemblance to the real Frank, pictured in a lobby display. His body language, like that of the man in the pictures, is prim and closed. He is curt, officious, hard to like. These qualities work against him when the local solicitor general (the towering, truly imposing Chris Kerrigan) tries to pin him for the murder of young Mary Phagan (Gabrielle Adner, with large bows at each side of her face like the real Mary in the lobby photos). The first act is a slowly tightening noose. The second act seems to loosen it as Lucille works inexhaustibly in her husbands defense, despite his objections, until he finally recognizes her as the equal partner she always has been. Their voices twine, gorgeously, in All the Wasted Time. Here, as always, Schaeffer displays a crystalline voice and true heart; Everman brings a finely calibrated performance to its penultimate moment. The African American perspective is concisely conveyed by Summer Greer and Robert Stroud in the gospel-blues number A Rumblin and a Rollin, which observes that, although Theres a black man swingin in evry tree, the North is finally paying attention because a white man is set to hang. Robert Collins, portraying a factory janitor turned informant, pins the audience to its seats with the shows big, powerhouse number: the chain-gang-like Blues: Feel the Rain Fall. In this song as in so many others, spellbinding melodies carry chilling messages. The singing, with a couple of exceptions, is superb. The most arresting voice belongs to Dillon Klena, whose expert phrasing and emphasis magnify the already considerable power of the material hes given in a succession of young-man roles, including a friend of Marys who thirsts for vengeance. Robyn Manion leads six offstage instrumentalists. Richly evocative throughout, Hayters staging (moodily complemented by Masako Tobarus lighting) delivers its defining image just moments from the end, when two characters, forever linked by tragedy, somberly exit the story side by side. Frank is perceived as an elitist, out of touch with the common man. At the same time, he is regarded as a dangerous outsider who should be shut behind walls. He can be read any number of ways, all pertinent to Americas persistent divisions. Such is the enduring relevance of Parade. Where: The Chance Theater, 5522 E. La Palma Ave., Anaheim When: 7:30 p.m. Thursdays, 8 p.m. Fridays, 3 and 8 p.m. Saturdays, 3 p.m. Sundays; ends July 30 Tickets: $40 and $45 Information: (888) 455-4212, www.ChanceTheater.com Running time: 2 hours, 30 minutes SIGN UP for the free Essential Arts & Culture newsletter daryl.miller@latimes.com Twitter: @darylhmiller MORE THEATER COVERAGE: Love, trickery and the drama of uncertainty in ‘Heisenberg’ Denis Arndt, an overnight sensation after 45 years in the biz The dreaded intermission: Long plays at a time when shorter is sweeter A Christian conservative baker, a gay wedding and the smart, funny ‘Cake’

Fair Usage Law

July 14, 2017   Posted in: Leo Frank  Comments Closed

BWW Review: PARADE is Breathtaking at The Merry Go Round Playhouse – Broadway World

Chilling, breathtaking, and astonishing are just some of the words that come to mind after seeing the latest production playing at The Merry- Go- Round Playhouse. Under the meticulous and masterful direction of Brett Smock, Parade is stunning audiences at the Finger Lakes Musical Theatre Festival. This musical features a Tony Award-winning book by Alfred Uhry along with Tony Award-winning music and lyrics by Jason Robert Brown. This serious musical, based on real events, dramatizes the 1913 trial of Leo Frank (Aaron Galligan-Stierle), a Jewish factory manager accused of raping and murdering his employee, thirteen-year-old Mary Phagan (Shannon Beel) in Georgia. The trial proved to be a media event, and it stirred a lot of anger and prejudice within the community. Mr. Frank originally received the death sentence, which was changed to life in prison. This change led some members of the community to take matters of “justice” into their own hands, which has huge consequences for Mr. Frank and his dutiful wife Lucille (Kristin Wetherington). The artistic elements of the show are some of the best that have graced the stage at the Merry – Go – Round Playhouse. The set by Czerton Lim evokes power and intensity before the show even begins. The audience sees chairs hanging from the rafters, which are constantly carried in and out by the performers. The lighting by Jose Santiago adds another layer of intensity to the thought-provoking production, while the costumes by Tiffany Howard and wig designs by Al Annotto help bring the complex characters to life within a specific historical era. This production of Parade is brilliantly done. Although it’s a large-scale production, the staging is still very intimate, which makes it all the more absorbing. It is truly special. The large committed cast is truly phenomenal. Aaron Galligan-Stierle, as Leo Frank, is consistently intense and highly believable. Galligan-Stierle portrayal of Leo Frank sends chills down the spine, especially as he sings the emotional song “It’s Hard to Speak My Heart.” He captures the perceived crudeness and uneasy feeling that Leo Frank gives off to the factory girls in “Come Up to My Office.” Kristin Wetherington, as Lucille Frank, is truly stunning. She shows off her passionate and powerful vocals at every moment, and uses this passion to convey Lucille’s devotion to her husband. Her devotion to the role is evident. Her well-trained voice shines in “You Don’t Know This Man” and “Do It Alone” as she passionately belts out the powerful lyrics. Her duets with Aaron Galligan-Stierle, namely “This is Not Over Yet” and “All the Wasted Time,” are equally powerful and passionate. They represent some of the best moments on stage. Shannon Beel, as Mary Phagan, is incredibly likeable. She captures the wide-eyed innocent girl beautifully. She charms the audience in “The Picture Show” along with Brendan Jacob Smith playing her friend Frankie Epps. Speaking of Brendan Jacob Smith, he oozes confidence in his numbers “There is a Fountain/It Don’t Make Sense” and “Frankie’s Testimony.” He’s highly memorable. Other memorable performances include Marcus Jordan as Newt Lee in the “Interrogation Sequence,” and Alexander Zenoz as the Young Soldier opening the show with the breathtaking number “The Old Red Hills of Home” along with David Atkinson as the old soldier. Jamison Stern, as Hugh Dorsey, makes his mark with “Twenty Miles from Marietta.” Likewise, Dave Shoonover, as Governor John Slaton, performs a lovely rendition of “Pretty Music” while Scott Guthrie as Britt Craig shows off in “Real Big News;” Erin Katzkar, as Mrs. Phagan, sings an emotional rendition of “My Child Will Forgive Me.” Banji Aborisade and Crystal Sha’nae charm in “A Rumblin’ and a Rollin’.” Fergie L. Philippe, as Jim Conley, is confident and intense while Jake Mills is most memorable as Tom Watson. Finally, the talented Emma DeGroff, Madeline VanRiper, and Adeline Whitener portray the Factory Girls with such maturity and professionalism. Brett Smock has brought a show that is powerful, passionate, and stunning to Central New York audiences. There is no doubt that Parade has exquisite and gorgeous music by the incomparable Jason Robert Brown. That music beautifully played by the live orchestra under the musical direction of Jeff Theiss. But this production doesn’t just feature amazing songs. It showcases a talented cast that captures the intensity of the story perfectly. Parade does not disappoint. It is a definite must-see at the Merry-Go-Round Playhouse, a theatre that once again proves that they definitely know how to put on a show that surpasses some current Broadway productions. It truly is Broadway in the Finger Lakes. Running Time: Approximately Two hours and twenty minutes with one twenty-minute intermission. Parade runs through July 26, 2017 at The Merry – Go – Round Playhouse as part of the 2017 Finger Lakes Musical Theatre Festival. For tickets and information on Parade and other upcoming productions at The Merry-Go-Round Playhouse click here, or call (315)255-1785 (toll free 1-800-457-8897).

Fair Usage Law

July 14, 2017   Posted in: Leo Frank  Comments Closed

A potently tragic ‘Parade’ of human nature in Anaheim Orange … – OCRegister

Erica Schaeffer and Allen Everman as Lucille and Leo Frank epitomize the sterling acting in Chance Theaters intimate staging of the fact-based 1998 musical Parade. (Photo by Doug Catiller, True Image Studio) Leo Frank (Allen Everman) is convicted of murder and sentenced to death by hanging and the entire courtroom bursts into a jubilant cakewalk. (Photo by Doug Catiller, True Image Studio) Georgia Governor John Jack Slaton (Tucker Boyes) promises the citizens of Atlanta that hell see that murder victim Mary Phagan receives justice. (Photo by Doug Catiller, True Image Studio) On a fishing trip, Judge Roan (Devin Collins, left) and Hugh Dorsey (Chris Kerrigan) discuss their political options, with Dorseys star rising high after convicting Leo Frank of murder. (Photo by Doug Catiller, True Image Studio) Under pressure from Lucille Frank (Erica Schaeffer, right), Governor Slaton (Tucker Boyes) starts to re-interview the witnesses in her husbands trial, including Minola Minnie McKnight (Asia Washington). (Photo by Doug Catiller, True Image Studio) Alfred Uhry gained recognition for Driving Miss Daisy and The Last Night of Ballyhoo, which revealed what its like to be a native of the Deep South while also being of Jewish heritage. Both plays in part touch on issues unique to those who, like the Uhrys, identified themselves as part of Atlanta society while steeped in Judaism and who rarely saw these markers as mutually exclusive. The 1998 musical Parade, though, is brutal in exposing the anti-Semitism that roiled, unseen, just beneath the surface in Atlanta circa 1913, until a brutal murder brought it to light. Broadway-style productions of the show strive for large-scale treatments complete with sets and special effects. Chance Theaters intimate version brings the tragic story of Leo Frank up close and personal too close for comfort, some might say with regard to director Kari Hayters staging. With music and lyrics by Jason Robert Brown, Parade revolves around the 1913 trial of Leo Frank (Allen Everman), an Atlanta factory manager accused and convicted of raping and murdering 13-year-old employee Mary Phagan (Gabrielle Adner). Police and prosecutors had little, if any, physical evidence against Frank but he was a New Yorker, and Jewish, making him not just an outlier, but a despised one at that. Self-serving prosecutor Hugh Dorsey (Chris Kerrigan), clearly motivated by political ambition, led the charge against Frank. Influential right-wing journalist Tom Watson (Ryan Lloyd) helps sway public opinion, while newspaper reporter Britt Craig (Mitchell Turner) recognizes his coverage of the case could make him famous and wealthy. Leo Frank, as Parade shows us, was guilty of just one thing: Being different. Period. Chance Theaters powerhouse staging magnifies the levels of corruption even further in Act 2, as Gov. John Jack Slaton (Tucker Boyes), with prodding from Leos wife Lucille (Erica Schaeffer), begins to uncover Dorseys pressuring witnesses to exaggerate or fabricate testimony. To call these events, and Uhry and Browns masterful handling of them, sobering and heartbreaking is to understate. Parade shows human nature at its worst. The case against Frank was a travesty, his mistreatment brutal and ultimately tragic. And while Chances production is by no means small in scale, its stripping away of theatrical window dressing proves that the shows power lies in handling it as a chamber musical. Nothing in Hayters heart-wrenching staging separates us from the characters and their words and actions, and her choreography and Robyn Manions musical direction amplify the force of the story and songs. Their work is bolstered by Fred Kinneys mostly bare raked wooden stage, Masako Tobarus subtle lighting, Ryan Brodkins sound design and Elizabeth Coxs spare-looking early 20th-century costumes. Chances up-close handling puts our focus wholly onto the actions, emotions and vocal work of every member, top to bottom, of Hayters superlative 18-person cast. Each songs potency lies in how it links to those before and after it, driven home by the casts singing, and Manion and her unseen combos playing, of Browns score. All the more shattering is the Franks newfound love: Before his arrest, Leo ignores Lucille, and during and just after his trial, hes stubbornly determined to win an appeal on his own. Her success in getting his sentence commuted from capital murder to life in prison opens Leos eyes and his heart. At Chance, Everman and Schaeffer arent just a tense, ill-at-ease Leo and quiet Southern belle Lucille; the scenes of the two falling in love as if for the first time are genuinely moving, albeit tinged with melancholy. Our realization that Leos life will be spared offers some consolation, helping us ward off feelings of outrage and despair. So in its depiction of the vigilante justice Leo ultimately was victim to, the closing moments are like a sucker punch to the gut. The title refers to the annual parade held April 26 Confederate Memorial Day in most Southern states to remember the Souths Civil War dead. But it also, in a sense, alludes to life itself as a parade of humanity, often flawed as unable to see the truth nor even to demonstrate any desire to find truth if it runs counter to ingrained beliefs. People and events conspired to destroy Leo Frank, their shame intensified by their refusal to admit their actions were driven by prejudice and a thirst for revenge. Chances Parade makes it impossible for us, just by being human, to not partly own that shame. When: Through July 30. 8 p.m. Fridays and Saturdays, 3 p.m. Sundays Where: Cripe Stage, Chance Theater at Bette Aitken Theater Arts Center, 5522 E. La Palma Ave., Anaheim Hills Tickets: $31-$45 Length: 2 hours, 30 minutes Suitability: Adults and teens (for content) Information: 888-455-4212, chancetheater.com

Fair Usage Law

July 13, 2017   Posted in: Leo Frank  Comments Closed

Two theatre works 400 years apart shock with effects of anti-Semitism – People’s World

left to right, Willow Geer, Peter Magnus Curry, Tavis L. Baker, Tim Halligan and Alan Blumenfeld / Ian Flanders LOS ANGELESSome days it seems like the old prejudiceswe could easily name a dozen offhandwill never die away. All the well-intentioned groups have been working for decades, yet poisonous bigotry still pollutes modern life at every turn. Hate crimes are up, while worldwide, agencies of religion, media and the state continue to inhibit gender, ethnic, racial, nationaland other forms of equality. Two successive nights of theatergoing, two Jews lynched, one by law, the other by rope: William Shakespeares The Merchant of Venice (1597) and the American musical Parade (1998), book by Alfred Uhry, music and lyrics by Jason Robert Brown, which take us back to Atlanta, Ga., in 1913, when Leo Frank, a Brooklyn-raised Jew making his life with his new Southern-born wife Lucille, was put on trial for the murder of a 13-year-old girl. Merchant is part of the Will Geers Theatricum Botanicum summer season of five plays under the rubric Rising Up. Ellen Geer, daughter of Will and Merchants director, says it points up a lack of caring about humanityit puts it right in front of your faceperfect for now because it mirrors our own society a bit. I am most interested in exploring Parade as an intimate and exposed platform that reveals the most raw and universal truths of a community, says director Kari Hayter of Chance Theater in Orange County, Calif., in order to remind us of our responsibilities today to demonstrate love, tolerance, and acceptance. The Merchant of Venice is considered both a comic tragedy and a tragic comedy (for it ends with a trio of marriages and the thorough humiliation of the Jew), a forerunner of the dark and jet black comedies in theaters today. Against a long history of denigration on the public Venetian Rialto which the yellow-badged Shylock has endured for years, he upholds his dignity by tossing off a merry prank, absurdly demanding a pound of flesh from the borrower Antonio, one of his chief tormentors, if the debt goes unpaid in three months time. No one ever imagined the bond would in fact come due. In his courtroom defense, Shylock insists on punctilious adherence to the law of contracts, about the only sure thing he as a Jewish alien can depend on. Answering the courts appeal for him to show mercy, Shylock throws the idea back in societys face. He summons up the foundational story of the Jewish nation, its liberation from hateful slavery: What judgement shall I dread, doing no wrong? You have among you many a purchased slave, Which, like your asses and your dogs and mules, You use in abject and in slavish parts, Because you bought them: shall I say to you, Let them be free, marry them to your heirs? Why sweat they under burthens? let their beds Be made as soft as ours, and let their palates Be seasond with such viands? You will answer The slaves are ours: so do I answer you: The pound of flesh, which I demand of him, Is dearly bought; tis mine and I will have it. If you deny me, fie upon your law! The chutzpahthe gallof the court preaching mercy when Venice is so profoundly corrupt and cruel! Even Portias (Willow Geer) famous The quality of mercy is not straind speech is maliciously delivered by a duplicitous masqueraded character (Portia in the disguise of a distinguished lawyer) who has no mercy whatsoever for Shylock but expects him to forfeit his bond with magnanimity. One law for Christians, another for Jews. The actor who plays Shylock, the magisterial Alan Blumenfeld, was quoted in the local Jewish Journal, saying that his character endured what is going on today, Christians yanking the hijab off of Muslim womens heads, the skullcaps off of Jews, and turbans off of Sikhs. Comedy often entails taking the oppressor down a notch and lifting the oppressed, a social leveling that affirms our common humanity; but such is not Merchants agendano, the oppressed get a few final kicks before the curtain descends. A viewer is hard-pressed to identify any character in this play who fits into a neat box of good guy or bad guy. Perhaps old Will is simply trying to tell us we are all flawed human beings, most of us blind to our own prejudiceshimself included, for dramaturgs argue to this day whether the playwright was ultimately trying to portray Shylock sympathetically or if he was simply reflecting the ignorance, intolerance and a shrewd business sense of his own time. The Merchant of Venice dates from 1597. Was his play a rejoinder to Christopher Marlowes immensely popular and highly inflammatory The Jew of Malta (1589), or was he merely capitalizing on the surefire success of demonizing the Jew? In 1594 a crypto-Jewish physician, Roderigo Lopez, was tortured and executed, implicated in a plot to kill Queen Elizabeth. In the anti-Jewish frenzy surrounding the case, The Jew of Malta was immediately revived to great acclaim. In this staging, although Shylock does say, I am content when he loses his case and is severely punished, even forced to become a Christian, he is later seen donning a Jewish prayer shawl and reciting Hebrew prayers, obviously remaining a Jew in secret. Vigilantes snatch him away to an uncertain fate. Its not a coincidence that the titular merchant has investments and commerce with Lisbon, Barbary, India, the (West) Indies, Mexico, in other words, in that post-1492 era of European expansion through colonialism and mercantilism. They times they were a-changing, and its always convenient to haul out the ancient hatreds, shine them up for re-use, and take the peoples minds off the upset to the old order. Atlanta, Georgia, 1913 And thats kind of what happened to poor Leo Frank (Allen Everman). Atlanta had become an industrial-based town, far removed in its ethos from the agrarian past. Farmers moved into the city for work in factories, such as young Mary Phagan (Gabrielle Adner), a 13-year-old pencil factory worker earning 10 cents an hour. The populace are still drenched in Civil War glory, hatred of Northern Yankees, resentment of change, loyal to their nostalgic memories of The Old Red Hills of Home, the opening chorus of Parade. When Mary is found dead in the factory basement, the mousy, meticulous Jewish factory manager Leo Frank finds himself preposterously accused of murder. The double Tony Award-winning Parade (Best Book and Best Score) is based on a true historical incident, which gave rise to the Anti-Defamation League, so outrageous was the miscarriage of justice in the urgency to find a scapegoat. Parade highlights the role of yellow journalism, the sensationalistic ginning up of popular sentiment even as it ignores the truth. Newspapers catered to fear and insecurity. Georgia Governor John Slaton (Tucker Boyes) finally begins to entertain doubts about the obviously coerced testimony in the trial and is voted out of office. Populist rabble rouser Tom Watson (Ryan Lloyd) forms an opportunistic alliance with the prosecutor Hugh Dorsey (Chris Kerrigan), who later becomes governor himself. Although spared his life by the governor, Frank was sent to a state farm, whence he was abducted and lynched, one Jew among the over 450 lynchings in Georgia alone between 1882 and 1930, almost all of them Black. The response of the Black community, as depicted in the musical, was understandably skeptical. What if a little black girl had been killed? How could Shakespeares Venetians be so upset about Antonio while the slaveowners among them treat their property so abjectly? Anaheims Chance Theater gave this show a stunning, innovative production (scenic design by Fred Kinney) on bare wooden planks in a staging involving little more than tables and chairs in constant motion. Costuming by Elizabeth Cox brought out the class disparities of a deeply racist society given to populist appeals against outsiders who besmirch our Southern womanhood. Confederate flags are prominently waving. It has become one of the great American social commentary musicals, a powerful story not just of prejudice and discrimination, but also of feminist emergence as Leos wife Lucille (Erica Schaeffer) rises to her husbands defense, even as he tried to discourage her from asserting herself so visibly (typical mans I can handle this pride). The singing and acting are completely engaging, proving, as many companies are coming around to appreciate today, that glitz and lots of stage furniture do not necessarily a musical make. The emphasis is purely on the fine performances by a cast of 18. An unseen orchestra of six players directed by keyboardist Robyn Manion is highly effective, and the choral singing is a strong contribution. The inspired score sheds a bright though tragic light on a dark corner of history with all too much contemporary meaning. Parade will be performed through July 30 on Thurs. at 7:30 pm, Fri. at 8 pm, Sat. at 3 and 8 pm, and Sun. at 3 pm. There is one additional special performance on Wed., July 12 at 7:30 pm. The Cripe Stage at the Chance Theater at the Bette Aitken Theater Arts Center is located at 5522 E. La Palma Ave., Anaheim CA 92807. For tickets and other information, call (888) 455-4212 or visit www.ChanceTheater.com. Discounts are available for seniors, students and military. Future performances of The Merchant of Venice will take place on July 15 at 3:30, Aug. 6 at 3:30, Aug. 12 at 7:30, Aug. 19 at 3:30, Aug. 27 at 3:30, Sept. 2 at 3:30, Sept. 10 at 3:30, Sept. 17 at 7:30, Sept. 23 at 3:30, and Oct. 1 at 3:30 pm. Will Geers Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd., Topanga 90290 (midway between Pacific Coast Highway and the Ventura [101] freeway). Their website can be viewed here.

Fair Usage Law

July 11, 2017   Posted in: Leo Frank  Comments Closed


Fair Use Disclaimer

"Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the government for a redress of grievances."

Under the 'fair use' rule of copyright law, an author may make limited use of another author's work without asking permission. Fair use is based on the belief that the public is entitled to freely use portions of copyrighted materials for purposes of commentary and criticism. The fair use privilege is perhaps the most significant limitation on a copyright owner's exclusive rights.

Fair use as described at 17 U.S.C. Section 107:

"Notwithstanding the provisions of section 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phono-records or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright.

In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:

  • (1) the purpose and character of the use, including whether such use is of a commercial nature or is for or nonprofit educational purposes,
  • (2) the nature of the copyrighted work,
  • (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole, and
  • (4) the effect of the use upon the potential market for or value of the copyrighted work."