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‘Spinning Gold’ movie departs from Hollywood stereotypes about Jewish music producers
(JTA) — In the hit show “The Sopranos,” veteran actor Jerry Adler plays mob-adjacent Jewish businessman Hesh Rabkin, who made a fortune in the music business decades earlier. In a first season episode, Hesh is confronted by a rapper seeking “reparations” for a late Black musician who he says Rabkin didn’t pay fairly for a hit record.
When Hesh responds by bragging that he wrote the hit songs he worked on back in the day, Tony Soprano corrects him: “A couple of Black kids wrote that record, you gave yourself co-writing credit because you owned the label.”
The greedy Jewish music mogul has been a common trope, from the acclaimed work of Spike Lee to the rants of Kanye West. “Walk Hard: The Dewey Cox Story,” a 2003 parody of music biopics, made fun of the trope itself by making the record executives into Hasidic Jews, led by Harold Ramis. (They were depicted as friendly and not so greedy, and the film’s writers, Judd Apatow and director Jake Kasdan, are both Jewish.)
The new movie “Spinning Gold,” which opened in theaters last week, tells the real-life story of Neil Bogart, the founder of Casablanca Records and a top music executive of the 1970s. It breaks from the mold of most other music biopics in a couple of key ways: The protagonist is a music executive, not an artist or a group, and the music mogul character — in this case, another Jewish one — is not treated as a villain.
The Jewish Brooklyn native whose given name was Neil Scott Bogatz helped promote bubblegum pop and early disco, signing artists such as Donna Summer, Gladys Knight, Cher and the Village People. A notable rock signing was Kiss. In one scene of “Spinning Gold,” the Bogart character (played by Jewish actor Jeremy Jordan, who starred in the Broadway hit “Rock of Ages”) implies to Kiss’ Gene Simmons that he signed the band, in part, because Simmons’ and guitarist Paul Stanley’s real names are Chaim Witz and Stanley Eisen. He relates to them, the film argues, as fellow Jewish guys who hailed from the outer boroughs of New York City. Bogart died of cancer in 1982.
The movie covers a long span in Bogart’s life and career, and it shows him struggling for many years before striking gold by shepherding Donna Summer’s single “Love to Love You Baby” to hit status. Timothy Scott Bogart, the mogul’s son and the film’s director, did not want to depict Bogart as an unambiguous hero. In the story, the elder Bogart is shown cheating on his first wife with the woman who would become his second, and the film also makes clear that his record label was heavily in debt for many years. It does sometimes show him at odds with the talent, such as when the members of Kiss complain to him that their career hasn’t taken under Bogart’s tutelage.
“I don’t know that I looked at it as protagonist or antagonist, I think he was a bit of both,” Timothy Scott Bogart told the Jewish Telegraphic Agency.
“But I do think the character of the executive, in general, has been a much-maligned character… certainly in the music biopic world,” he added. “And that’s not who Neil Bogart was.”
He added that the personal relationships between his father and the label’s artists were always valued. He remembers his family going on vacation with Donna Summer, and Gladys Knight and members of Kiss being at his home.
The younger Bogart, who previously produced the 2019 Vietnam War drama “The Last Full Measure,” said that rather than relying on any book or article, he constructed the film based on interviews he did with his artists, executives and others involved in the story over several years.
Jews have been part of the business side of the American music industry for most of its existence, in part because of the way they were shut out of many professions in the first half of the 20th century. Music executive Seymour Stein, who passed away this week after a long career of working with the likes of Madonna and The Ramones, said in a 2013 interview that “music is something Jews were good at and they could do. All immigrants into America tried their hand at show-business.”
Some executives in the early days of the music industry — Jewish and non-Jewish — did exploit their artists, doing everything from underpaying Black artists to denying them songwriting credits or royalties. Moguls of the past with reputations for doing so included Herman Lubinsky of Savoy Records. Others, like the recently deceased Stein and Milt Gabler of Commodore Records, had better reputations. Historians have differing opinions on specific individuals.
Neil Bogart is shown with The Isley Brothers in June 1969. (Don Paulsen/Michael Ochs Archives/Getty Images)
“There is a scholarly controversy between those who look at the moguls and say that they exploited the [Black] musicians and those who say that they encouraged and made possible Black success in music,” said Jonathan Sarna, the professor of American Jewish history at Brandeis University. “Both use the same data, but some point to the money Jews made and others point to the musicians that Jews discovered and promoted.”
Spike Lee drew fire for his depiction of fictional Jewish music executives Moe and Josh Flatbush (played by John and Nicholas Turturro) in his 1990 movie “Mo’ Better Blues.”
“In the history of American music, there have not been Jewish people exploiting black musicians?” Spike Lee said in his defense to New York Magazine in 2006. “In the history of music? How is that being stereotypical?”
Other “bad guy” examples include Paul Giamatti’s Jerry Heller in 2015’s “Straight Outta Compton” and David Krumholtz’s Milt Shaw in 2004’s “Ray.” “Cadillac Records,” from 2008, starred Adrien Brody as Leonard Chess, the Jewish founder of the legendary Chess Records who, the film implied, gave his mostly Black artists Cadillacs, but not always the money they were owed. “Get On Up,” the 2014 biopic of James Brown that starred the late Chadwick Boseman, cast Fred Melamed as famed Cincinnati mogul Syd Nathan (a mentor to Seymour Stein); journalist RJ Smith criticized the film for depicting Nathan as a “bumptious racist.”
Actor Seth Rogen discussed the trope in his 2021 memoir “Yearbook.” He tells the story of running into comedian Eddie Griffin, who at a late point in his career had been struggling to get movie roles. Griffin told Rogen to “tell your Jews to let other people make some movies!”
Rogen called this “insane because he’s really ignoring the fact that if there’s one thing that Jewish people are NOT above, it’s making money producing things that are fronted by Black people. Anyone who’s ever seen a biopic of any Black musician knows the character I’m talking about, and he’s usually very appropriately played by my dear friend David Krumholtz.” (Krumholtz played one of the Hasidic producers in “Walk Hard.”)
“It’s certainly true that, in the post-war U.S. music industry, Jews were more likely to be producers and impresarios than performers. And, given the importance of African-Americans in the post-war U.S. music industry, that inevitably created a particular kind of relationship with certain Jews in the music industry,” sociologist and music critic Keith Kahn-Harris told JTA.
“That relationship starts to be put under scrutiny and under strain from the late 1960s, as the civil rights coalition started to fall apart and people of color began to assert their agency,” he added. “It’s also true that the post-war music industry was an unregulated space with an almost-normative pattern of exploitation of performers. Put all that together and you have all the ingredients for significant African-American-Jewish tension. Plus, the rapacious Jewish impresario sits easily with ingrained antisemitic stereotypes.”
“Spinning Gold” isn’t the only counterexample to the trend in film. In last year’s Whitney Houston biopic “I Wanna Dance With Somebody,” the Jewish label honcho character, Clive Davis (played by Stanley Tucci), is treated as a benevolent guiding light. In that case, Davis was among the producers of the movie.
“Jewish promoters, like all music promoters, were and are first and foremost business people selling a product. Their goal: promote a performer to reap income. The performers have obviously a different stake in the transaction, although both depend on the other,” said Hasia Diner, an American Jewish history professor at New York University.
“If the hero of the film is the performer then her/his perspective is the focus and almost by definition the promoter’s perspective has to reflect the antagonist encounter. Does that merit being called antisemitism? Not in my estimation. By doing so it undermines real antisemitism. It also ignores the inherent business transaction involved,” Diner said.
How can filmmakers navigate this?
“With great care,” Kahn-Harris said. “It does mean paying attention to how such a portrayal can be accurate and not feeding on deeper antisemitic stereotypes. There’s no one way of doing this. It requires care and attention to the historical record.”
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Toronto synagogue hit by gunfire hours after Purim event
(JTA) — A Toronto synagogue was hit by gunfire late on Monday night, just hours after a Purim celebration was held there.
No injuries were reported in the shooting, according to police, which targeted Reform synagogue Temple Emanu-El at around 10:49 p.m. The event, which was billed as a “sing-along shpiel” and costume contest, had run until 9 p.m.
But Rabbi Debra Landsberg told reporters that she couldn’t sleep much Monday night: She was still inside the building when the shooting occurred, and could hear the gunshots.
“I’m a bit shaken up,” she said. “It is devastating that there are those in this society that want to shatter what we have here.”
Police did not confirm how many shell casings were found outside the building, but the synagogue wrote on Instagram that “20 shots were fired at our synagogue.”
“We are working closely with law enforcement and security partners,” the post read. “We remain united and resilient. Our building is damaged; our congregation is not. Chag sameach, everyone.”
The incident is being investigated by Toronto police’s hate crime unit, as well as the gun and gang task force; the suspect is currently unknown.
Police have upped their presence in Toronto’s Jewish neighborhoods since the war in Iran broke out on Saturday, as well as around houses of worship and other Jewish institutions, deputy chief Robert Johnson said in a press conference on Tuesday. Iranian agents have a record of targeting Jewish sites with gunshots and other disturbances, and Jewish security officials have urged vigilance since the war began.
When asked if there was any connection between the Temple Emanu-El attack and the war in Iran, Johnson said making that connection “would be speculation at this point.”
The shooting is the latest in a string of crimes targeting Jewish institutions and residents in Toronto. A Jewish girls’ elementary school was hit by gunfire three times in 2024 alone. This past December, mezuzahs were ripped from residents’ doorposts in multiple buildings, including a seniors’ residence. A month prior, police said a suspect had “damaged the outer glass windows” of Kehilath Shaarei Torah, a synagogue near Temple Emanu-El. (Police visited that synagogue while investigating the Temple Emanu-El shooting, which prompted false reports that both synagogues were attacked on Monday night.)
“This is the fourth time a Jewish institution has been targeted for gunfire in Toronto over the past two years, in addition to countless threats and acts of vandalism,” said Adam Minsky, president of UJA Federation of Greater Toronto, in a statement. “Every day, families across our community carry deep concerns for the safety of their children. But we are resilient and refuse to be intimidated. We will continue to proudly celebrate Jewish life.”
Noah Shack, CEO of the Centre for Israel and Jewish Affairs, said in a statement that incidents like this will “inevitably lead to much worse.”
“As we witnessed in Australia, when incitement goes unchecked and synagogues are threatened, we can expect to see mass violence and tragedies that could have been prevented,” Shack wrote.
So far this year, anti-Jewish hate crimes have made up 63% of all reported hate crimes in Toronto, according to Johnson, continuing a trend of increased antisemitic crimes since Oct. 7, 2023.
“These numbers are not abstract. They represent real people and real harm,” Johnson said. “Our commitment is clear: We are doing everything within our authority to protect Toronto’s Jewish community.”
Toronto Mayor Olivia Chow called the shooting “an unacceptable act of antisemitism and intimidation.”
She also alluded to the timing of the shooting, which came days after war broke out between Israel and the United States and Iran.
“As we have seen repeatedly, incidents increase across our city as international events unfold. I want to be clear: it is never acceptable to target faith communities or cultural groups,” Chow wrote.
Shack said the shooting took place “at a time when Iran’s Islamic regime poses a heightened threat to Jewish and Persian communities worldwide,” and urged authorities to “redouble measures to safeguard our country and all Canadians.”
Just one night before the Temple Emanu-El shooting, another shooting occurred at around 2:30 a.m. in Toronto. Nobody was injured, but police said there was “damage” to businesses in the area, including Old Avenue Restaurant, a restaurant owned by pro-Israel activist Esther Bakinka. The hate crime unit “is aware” of the investigation, according to police, but not leading it. Bakinka wrote on Facebook that the restaurant’s upcoming Purim celebration would be canceled due to “extenuating circumstances.”
Deputy mayor Mike Colle called Bakinka “a courageous fighter for protection of our Jewish Community,” and called for the creation of a joint task force to combat antisemitic violence, “especially now with the Middle East on fire.”
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Trump rejects idea that Israel drew US into war with Iran: ‘If anything, I might have forced Israel’s hand’
(JTA) — President Donald Trump rejected claims that Israel had pulled the United States into the war with Iran on Tuesday, instead suggesting that he had “forced their hands.”
Trump’s comments came after Secretary of State Marco Rubio told reporters on Monday that the United States entered the conflict because officials “knew that there was going to be an Israeli action” and expected to become embroiled as a result. Rubio’s comments ignited questions about whether Trump was taking his cues from the Israelis.
“Based on the way the negotiation was going, I think they were going to attack first and I didn’t want that to happen,” Trump told reporters at the White House on Tuesday during a press conference with German Chancellor Friedrich Merz. “So, if anything, I might have forced Israel’s hand, but Israel was ready and we were ready.”
The president’s claims appeared to contradict reports from the Pentagon to Congress on Sunday that there was no intelligence suggesting Iran planned to attack U.S. forces first.
“If we didn’t do what we’re doing right now, you would have had a nuclear war and they would have taken out many countries because you know what? They’re sick people,” Trump told reporters on Tuesday. “They’re mentally ill sick people. They’re angry, they’re crazy, they’re sick.”
While Trump and Israeli Prime Minister Benjamin Netanyahu have denied suggestions that Israel steered the U.S. into the conflict, which has rapidly escalated tensions across the region, critics across the political spectrum have continued to question the extent to which the United States’ actions were influenced by Israel.
During the president’s meeting with Merz, the German leader told reporters that the two countries had a shared desire to get rid of the “terrible regime in Iran,” with Trump adding that Germany had allowed U.S. forces land in “certain areas,” though the U.S. was not asking Germany to provide troops.
The meeting followed a joint statement on Sunday by France, Germany and the United Kingdom in which the three countries vowed to “take steps to defend our interests and those of our allies in the region.”
While Republican lawmakers largely backed the joint U.S.-Israeli strikes on Iran Saturday morning, rising American casualties and suggestions by Trump that he had not ruled out sending troops into Iran have spurred concern from some about the potential for a drawn-out conflict.
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Berlin groups received $3M to fight antisemitism. What happened to that money?
(JTA) — Germany’s leading party is being investigated in Berlin for funneling millions to groups that proposed fighting antisemitism but lacked transparency about their use of the funds — including one group whose director has been accused of antisemitic language herself.
The Berlin branch of the Christian Democratic Union, the center-right party leading the federal government, is being probed by a parliamentary committee for allegedly improperly allocating 2.6 million euros (about $3 million) to combat antisemitism. The party, the committee alleges, did not vet the groups adequately or monitor their spending.
The government allocated special funds toward fighting antisemitism at the end of 2023, shortly after the Oct. 7 Hamas-led attack on Israel that spurred a spike in antisemitic incidents in many places.
Among the grants triggering concern was 390,000 euros to the Zera Institute, founded in December 2024 by an Iranian-German music producer named Maral Salmassi. She has been accused of posting antisemitism rhetoric online.
In a post on X from February 2025, Salmassi said the Jewish billionaire George Soros “is and always has been a parasite.” Nazi-era propaganda frequently depicted Jews as parasites. Since the comment was resurfaced by Die Tageszeitung, Salmassi has deleted it and expressed regret.
Daniel Eliasson, a local Green Party politician, called the post a “clearly antisemitic statement” to a local newspaper. “As a Jew, I find it nothing short of a mockery that the Berlin CDU is providing this person with €390,000 to fight antisemitism,” he said.
Berlin’s antisemitism commissioner, Sigmount Königsberg, resigned from the expert council of the Zera Institute after the post came to light.
Salmassi has also referred to philosopher Omri Boehm, journalist Peter Beinart and scholars Amos Goldberg and Raz Segal — all staunch critics of Israel — as “token Jews.”
Salmassi is a CDU member who sits on a local board of the party. Several other funding recipients have been discovered to have ties to the party, and some have no verifiable experience in combating antisemitism, according to Stern magazine. They include a real estate company and other recently founded groups.
Staffers from the CDU’s Department for Culture and Social Cohesion, which was responsible for awarding the grants, testified at a parliamentary inquiry hearing on Friday. The investigation, initiated by the Left Party and the Greens, will determine whether funding was disbursed based on unclear criteria and cronyism.
During Friday’s hearing, one witness said “the expertise and the resources were lacking” for their department to handle the large sum of funds allocated in the wake of Oct. 7, according to Berliner Morgenpost. The next hearing is scheduled for Friday.
When Der Tagesspiegel contacted 12 organizations that received funding to implement projects in the 2025 fiscal year, only three gave answers about how they used or planned to use the funds. One of these projects organized an exhibition about Israel’s Nova music festival, a target of the Hamas attacks. Another group organized concerts, workshops and exhibitions to combat antisemitism in the music scene, and a third supported Israeli artists in Berlin.
Uffa Jensen, deputy director of the Center for Research on Antisemitism at the Berlin Institute of Technology, told Der Tagesspiegel that he was skeptical about where the 2.6 million euros would end up.
“Based on the selection of the funded projects, I have doubts as to whether it is effective or whether it will achieve the goals that the funds were intended to pursue,” said Jensen.
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