Anne Frank was not Hispanic. 

She has no ties, no roots to Latin America. She was a German-born Jew who lived in Amsterdam. 

I would assume that would be common sense to most people. But, of course, assumptions are often wrong. 

“Slam Frank”, TikTok’s rager of a musical, combines falsehoods, slam poetry, and hip hop rap battles to portray a fairytale. A bedtime story told to toddlers. 

It explores themes of liberal ideas, twisting horrific history into a disgusting plot. 

Anne Frank is now Anita Franco. She’s a queer Latinx feminist who has assimilated into Dutch society. Peter Van Daan is reimagined as a non-binary dancer, and both discover self-expression as the war rages around them. 

Instead of being caged in 1943 Germany, a world closely compared to 2025 America, characters are allowed to revel in the power of love and cultural acceptance. 

The creators and producers claim the musical expresses diversity. Critics argue it is ugly and offensive. 

Honestly, “Slam Frank” is just wrong. 

Anne Frank was not Hispanic – I hope you’ve processed that by now. She was not pansexual, though some would claim her diary dips into an exploration of sexuality. Peter Van Daan, Frank’s main “love interest,” was not non-binary. 

Both were white Jews, imprisoned by one of history’s most brutal terrors. They were not killed for their race, their culture, or their sexual identity. 

They were killed for their belief system. And now, right now, in the midst of a war, a viral hatred spreading across the globe, it is imperative that we as a collective society understand that. 

Frank died for her religion. 

And while some would say that is not enough to feel pity, that they have to change the narrative for the Holocaust-deniers, that they have to reset the table to gain more sympathy, it doesn’t change the fact that she was murdered. 

Frank was white – yes, I know, luck was on her side! 

But Frank did not have white privilege, as the musical and the creators argue. She died in a concentration camp, surrounded by half-starved prisoners and vermin and guards who were nauseated by her existence. 

She was 13. 

The production also pokes fun at “Hamilton,” a Broadway sensation that rose to stardom in 2015. Lin-Manuel Miranda used the rap genre to “rewrite” history, retelling the life of Alexander Hamilton, one of our founding fathers. 

Many historical figures become characters – Eliza, Washington, Jefferson, and Burr. And while many have declared Miranda’s lyrics as a work of genius, “Slam Frank” begs a different perspective. 

I’m sure colonists would be appalled by Miranda’s production – a musical better suited for the younger generations. Their grand speeches were twisted into cabinet rap battles, and their hardships were fabricated into plot devices. 

Just like “Slam Frank.” However, the American Revolution does not even come close to the atrocities of the Holocaust. 11 million people – 6 million Jews, 5 million other “undesirables.” 

They were burned, tortured, experimented on, and murdered for an agenda stitched into policy. 

And while an African American Thomas Jefferson may be striking at first, he was not killed to solve an argument

And “Hamilton” still tells the story, depicting Hamilton as a nuanced character, revealing the truth of humanity. 

Anne Frank was not Hispanic. She did not have white privilege. 

She was more concerned about staying alive than exploring her sexuality – making a decision about her sexuality. 

“Slam Frank” is not a work of art; it is a repulsive lie, told to appease the complainers, the sensitive. 

And maybe the writers are mocking the left for their progressive ideals. Taunting the right for their conservative ways. 

However, Frank’s legacy should not be tarnished by modern-day activism