June 26, 2025 • 8 mins
On the Thursday June 26, 2025 edition of The Armstrong & Getty One More Thing Podcast...
- Joe brings us the details of a stunning new musical about Anne Frank, called Slam Frank.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Holocaust humor. It's one more thing. I'm one more thing.
Speaker 2 (00:09):
Well, I'm pretty uncomfortable where this might be going.
Speaker 3 (00:12):
Yeah no, oh.
Speaker 4 (00:12):
Yeah, yeah me too, And I know where it's going. Uh,
this is oh should I this almost gives it away.
This is a really good companion piece with something we
did on the radio show today, Slash Podcast. But I
can't say what I realized. I would give it away.
(00:33):
I'm just going to go through this.
Speaker 1 (00:36):
And there's a plot twist this is I'm quoting. Who
is this?
Speaker 4 (00:41):
I like to give credit Susie Weiss, who writes for
a handful of people, including.
Speaker 1 (00:47):
The Free Press. She says, it's my duty.
Speaker 4 (00:50):
To report that there's a new musical called Slam Frank,
a satirical Hamilton style show that imagines Ann Frank of
the Diary of Anne Frank Fame. Okay, everybody you familiar
the diary Vent Frank, teenage girl hiding with her family
from the Nazis in Amsterdam in the attic of a home. Uh.
(01:13):
And and they were ratted out, discovered and all died.
Speaker 1 (01:18):
I think the whole family died.
Speaker 4 (01:19):
Maybe one person survived, but and Frank, who was was
killed by the Nazis.
Speaker 1 (01:25):
Anyway.
Speaker 4 (01:27):
So there's a new musical Jewish yes exactly, Yes, Twitter
influencers who I won't get into a fight with anyway. Uh,
there's a new musical called Slam Frank, a satirical Hamilton
style show that imagines Anne Frank as LATINIX, her story transformed,
(01:48):
translated and transgendered into something new in it, Frank and
her family and the von Dans, the other family the
Franks hid in the.
Speaker 1 (01:59):
Att with during the Holocaust.
Speaker 4 (02:02):
Quote combat stigma, like their dodging bombs and practice self
care to repair from these air raids. Those are quotes
from the musical. When they're not singing about how there's
more than one way to be an ally, the characters
are coming out Peter van Dana's non binary otto, Frank
is gay and neurodivergent, and Ann herself is pan sexual
(02:24):
and talking about white male privilege.
Speaker 1 (02:26):
I give I quit. I seriously quit. I like that.
Speaker 2 (02:31):
I like that as an attitude just in general.
Speaker 1 (02:32):
I quit.
Speaker 4 (02:37):
You can't force me to listen to this, all right,
there's one more bit build as an intersectional, multi ethnic,
gender queer, decolonized, empowering Afro Latin hip hop musical, Slam
Frank is meant to explore the idiocies of the woke movement,
which is a rare thing to see on stage now,
By the way, Susie says, it's wild at point, it's
(03:00):
genuinely daring and fun and funny, but it doesn't really work.
It's just too awful.
Speaker 2 (03:08):
So it's kind of like the Well, it's different than
the Producers. The Producers was meant to fail for monetary reasons.
Speaker 1 (03:16):
But so this reminds me of Katie. Just hang on
a second.
Speaker 4 (03:21):
But Jack brought us this idiotic piece in the Atlantic
about how the movie Jaws fifty years later was actually
a daring exploration of class division and income, income inequality
and shit like that and scary Sharko was going to
bite your legs off, right, And Noah Rothman of the
(03:41):
National Review wrote a hilarious parody of that.
Speaker 2 (03:45):
But yes, Michael, I was just remembering that I saw
Jaws as my dad, he said, as we were watching
in the theater, talking about income and quality.
Speaker 1 (03:53):
Yeah, yeah, he caught it. Yeah, memory, I'm sure.
Speaker 4 (03:58):
And the key to it was that the Noah Rothman
parody of the Atlantic piece was indistinguishable from the Atlantic piece.
Speaker 1 (04:05):
Sure, these people are so absurd, Katie, Oh this whole thing.
Speaker 3 (04:09):
I'm I just went to the website for this slam
Frank and the poster for the play. Yeah, clearly Ai
because for some reason AI doesn't have the hands right yet.
Speaker 1 (04:19):
But it is.
Speaker 3 (04:20):
And Frank, she's got the star of David patch like
they made the Jews wear during the Holocaust. And she's
got headphones on standing at a DJ booth DJing.
Speaker 1 (04:31):
Oh lord, oh lord.
Speaker 4 (04:36):
So again this is it's barely exaggerated enough, right to know.
I mean, it was probably when I started giggling reading
it that some some of you good folks started to
suspect that something was up here, because you couldn't tell
until I got almost to the end.
Speaker 2 (04:55):
No, it could have gone either way.
Speaker 1 (04:56):
Could could have been mocking, it could have been real.
Speaker 2 (04:59):
You can't tell.
Speaker 4 (05:00):
So here's here's how the idea for the show began.
The guy who wrote it and what is his name?
I don't remember, I'll mention her Fox.
Speaker 1 (05:11):
Oh thank you.
Speaker 4 (05:12):
He was on Twitter and there was one of those
gd Twitter debates. This is in twenty twenty two, over
whether Ann Frank ever acknowledged her white privilege for real.
It wasn't parody that was for real and so yeah,
there's a name. Andrew Fox grabbed the bit and ran
(05:35):
with it far. The result is an over the top
off Broadway spectacle which spares no sacred cows and raps
about being from the barrios of Frankfurt and her dad
can't focus when an SS officer is in derogating him
because of his attention deficit disorder, et cetera. Extention, and
(05:57):
the show is about the incoherence the far left worldview.
The actors screamed down with capitalism in the same breath
advocate for more black CEOs, yeah, which is a pretty
good twist. H And the best lines come during a
song towards the end, when the ensemble sings quote, the
oppressors have been lurking here among us, and tomorrow we'll
(06:19):
see that they're purged in, they're dealt with at last.
It's unclear at that point whether they're talking about Nazis
or the Jews, who've been recast as oppressors in recent years.
Of course, if you're talking about purging, it raises the
question could you be doing some oppressing yourself.
Speaker 1 (06:36):
Anyway?
Speaker 2 (06:38):
I like Katie's take, I quit that should be a
T shirt. Just like the modern world. I quit, and
it's not I'm gonna commit to U side.
Speaker 1 (06:45):
I just quit.
Speaker 2 (06:46):
I'm going to engage in the modern world anymore.
Speaker 4 (06:48):
I'm done with this right, Well, what about globalizing the
INTI no I quit.
Speaker 2 (06:54):
I quit quit a long time ago. Not enough black
people women Graham.
Speaker 1 (07:02):
Out, So she says.
Speaker 4 (07:05):
It's gleeful in its offensiveness, but not to any particular end.
There's only one note though. Admittedly it's struck. Admittedly it's
struck impressively, But when I left, I wasn't sure what
I was supposed to feel besides entertained. I tell you what, David,
David Fox, keep tweaking it, keep working on it, like
what you're going for here. There needs to be so
(07:27):
much more mockery like this and Noah Offman's piece, And
Noah's a very serious guy. But the power of mockery
and humor in changing minds, in changing or motivating political movements,
in knocking down political movements. I've been fascinated by that
(07:47):
since I was a kid. It's probably why I do
what I do. Great arguments matter, having the guns matters.
But if everybody's laughing at somebody you win.
Speaker 2 (08:02):
The nineteen thousand word article in the Atlantic is what
Jaws got wrong. It portrays class divisions in a way
that anticipated a fight that has defined American politics since
twenty sixteen.
Speaker 1 (08:14):
Was that what Jaws was about? You people are effing hilarious, right, Well,
I was breaking down Caddyshack. We have Ted Knight, who
expressed white privilege.
Speaker 2 (08:27):
And in the scene in Caddyshack when Bill Murray gets
struck by lightning in a thunderstorm, early climate change, well, brilliant,
I guess that's it.
Holocaust humor. It's one more thing. I'm one more thing.
Speaker 2 (00:09):
Well, I'm pretty uncomfortable where this might be going.
Speaker 3 (00:12):
Yeah no, oh.
Speaker 4 (00:12):
Yeah, yeah me too, And I know where it's going. Uh,
this is oh should I this almost gives it away.
This is a really good companion piece with something we
did on the radio show today, Slash Podcast. But I
can't say what I realized. I would give it away.
(00:33):
I'm just going to go through this.
Speaker 1 (00:36):
And there's a plot twist this is I'm quoting. Who
is this?
Speaker 4 (00:41):
I like to give credit Susie Weiss, who writes for
a handful of people, including.
Speaker 1 (00:47):
The Free Press. She says, it's my duty.
Speaker 4 (00:50):
To report that there's a new musical called Slam Frank,
a satirical Hamilton style show that imagines Ann Frank of
the Diary of Anne Frank Fame. Okay, everybody you familiar
the diary Vent Frank, teenage girl hiding with her family
from the Nazis in Amsterdam in the attic of a home. Uh.
(01:13):
And and they were ratted out, discovered and all died.
Speaker 1 (01:18):
I think the whole family died.
Speaker 4 (01:19):
Maybe one person survived, but and Frank, who was was
killed by the Nazis.
Speaker 1 (01:25):
Anyway.
Speaker 4 (01:27):
So there's a new musical Jewish yes exactly, Yes, Twitter
influencers who I won't get into a fight with anyway. Uh,
there's a new musical called Slam Frank, a satirical Hamilton
style show that imagines Anne Frank as LATINIX, her story transformed,
(01:48):
translated and transgendered into something new in it, Frank and
her family and the von Dans, the other family the
Franks hid in the.
Speaker 1 (01:59):
Att with during the Holocaust.
Speaker 4 (02:02):
Quote combat stigma, like their dodging bombs and practice self
care to repair from these air raids. Those are quotes
from the musical. When they're not singing about how there's
more than one way to be an ally, the characters
are coming out Peter van Dana's non binary otto, Frank
is gay and neurodivergent, and Ann herself is pan sexual
(02:24):
and talking about white male privilege.
Speaker 1 (02:26):
I give I quit. I seriously quit. I like that.
Speaker 2 (02:31):
I like that as an attitude just in general.
Speaker 1 (02:32):
I quit.
Speaker 4 (02:37):
You can't force me to listen to this, all right,
there's one more bit build as an intersectional, multi ethnic,
gender queer, decolonized, empowering Afro Latin hip hop musical, Slam
Frank is meant to explore the idiocies of the woke movement,
which is a rare thing to see on stage now,
By the way, Susie says, it's wild at point, it's
(03:00):
genuinely daring and fun and funny, but it doesn't really work.
It's just too awful.
Speaker 2 (03:08):
So it's kind of like the Well, it's different than
the Producers. The Producers was meant to fail for monetary reasons.
Speaker 1 (03:16):
But so this reminds me of Katie. Just hang on
a second.
Speaker 4 (03:21):
But Jack brought us this idiotic piece in the Atlantic
about how the movie Jaws fifty years later was actually
a daring exploration of class division and income, income inequality
and shit like that and scary Sharko was going to
bite your legs off, right, And Noah Rothman of the
(03:41):
National Review wrote a hilarious parody of that.
Speaker 2 (03:45):
But yes, Michael, I was just remembering that I saw
Jaws as my dad, he said, as we were watching
in the theater, talking about income and quality.
Speaker 1 (03:53):
Yeah, yeah, he caught it. Yeah, memory, I'm sure.
Speaker 4 (03:58):
And the key to it was that the Noah Rothman
parody of the Atlantic piece was indistinguishable from the Atlantic piece.
Speaker 1 (04:05):
Sure, these people are so absurd, Katie, Oh this whole thing.
Speaker 3 (04:09):
I'm I just went to the website for this slam
Frank and the poster for the play. Yeah, clearly Ai
because for some reason AI doesn't have the hands right yet.
Speaker 1 (04:19):
But it is.
Speaker 3 (04:20):
And Frank, she's got the star of David patch like
they made the Jews wear during the Holocaust. And she's
got headphones on standing at a DJ booth DJing.
Speaker 1 (04:31):
Oh lord, oh lord.
Speaker 4 (04:36):
So again this is it's barely exaggerated enough, right to know.
I mean, it was probably when I started giggling reading
it that some some of you good folks started to
suspect that something was up here, because you couldn't tell
until I got almost to the end.
Speaker 2 (04:55):
No, it could have gone either way.
Speaker 1 (04:56):
Could could have been mocking, it could have been real.
Speaker 2 (04:59):
You can't tell.
Speaker 4 (05:00):
So here's here's how the idea for the show began.
The guy who wrote it and what is his name?
I don't remember, I'll mention her Fox.
Speaker 1 (05:11):
Oh thank you.
Speaker 4 (05:12):
He was on Twitter and there was one of those
gd Twitter debates. This is in twenty twenty two, over
whether Ann Frank ever acknowledged her white privilege for real.
It wasn't parody that was for real and so yeah,
there's a name. Andrew Fox grabbed the bit and ran
(05:35):
with it far. The result is an over the top
off Broadway spectacle which spares no sacred cows and raps
about being from the barrios of Frankfurt and her dad
can't focus when an SS officer is in derogating him
because of his attention deficit disorder, et cetera. Extention, and
(05:57):
the show is about the incoherence the far left worldview.
The actors screamed down with capitalism in the same breath
advocate for more black CEOs, yeah, which is a pretty
good twist. H And the best lines come during a
song towards the end, when the ensemble sings quote, the
oppressors have been lurking here among us, and tomorrow we'll
(06:19):
see that they're purged in, they're dealt with at last.
It's unclear at that point whether they're talking about Nazis
or the Jews, who've been recast as oppressors in recent years.
Of course, if you're talking about purging, it raises the
question could you be doing some oppressing yourself.
Speaker 1 (06:36):
Anyway?
Speaker 2 (06:38):
I like Katie's take, I quit that should be a
T shirt. Just like the modern world. I quit, and
it's not I'm gonna commit to U side.
Speaker 1 (06:45):
I just quit.
Speaker 2 (06:46):
I'm going to engage in the modern world anymore.
Speaker 4 (06:48):
I'm done with this right, Well, what about globalizing the
INTI no I quit.
Speaker 2 (06:54):
I quit quit a long time ago. Not enough black
people women Graham.
Speaker 1 (07:02):
Out, So she says.
Speaker 4 (07:05):
It's gleeful in its offensiveness, but not to any particular end.
There's only one note though. Admittedly it's struck. Admittedly it's
struck impressively, But when I left, I wasn't sure what
I was supposed to feel besides entertained. I tell you what, David,
David Fox, keep tweaking it, keep working on it, like
what you're going for here. There needs to be so
(07:27):
much more mockery like this and Noah Offman's piece, And
Noah's a very serious guy. But the power of mockery
and humor in changing minds, in changing or motivating political movements,
in knocking down political movements. I've been fascinated by that
(07:47):
since I was a kid. It's probably why I do
what I do. Great arguments matter, having the guns matters.
But if everybody's laughing at somebody you win.
Speaker 2 (08:02):
The nineteen thousand word article in the Atlantic is what
Jaws got wrong. It portrays class divisions in a way
that anticipated a fight that has defined American politics since
twenty sixteen.
Speaker 1 (08:14):
Was that what Jaws was about? You people are effing hilarious, right, Well,
I was breaking down Caddyshack. We have Ted Knight, who
expressed white privilege.
Speaker 2 (08:27):
And in the scene in Caddyshack when Bill Murray gets
struck by lightning in a thunderstorm, early climate change, well, brilliant,
I guess that's it.
Hosts And Creators
Joe Getty
Jack Armstrong
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