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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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Rabbis and other Jewish New Yorkers join Mamdani’s 400-member mayoral transition committees
(JTA) — Five local rabbis are among the more than 400 New Yorkers tapped for New York City Mayor-elect Zohran Mamdani’s transition committees, the teams tasked with preparing his administration ahead of his Jan. 1 swearing-in.
They include Abby Stein, who appeared in “Jews for Zohran” campaigns and shares the mayor-elect’s anti-Zionist outlook, on the health committee; Ellen Lippman, who recently retired from Kolot Chayeinu, the Brooklyn congregation where Mamdani attended Rosh Hashanah services, on the social services committee; and Rachel Timoner, whose Park Slope synagogue Congregation Beth Elohim hosted Mamdani for a meeting with congregants, and Jason Klein, who helms the LGBTQ synagogue Congregation Beth Simchat Torah, on the immigrant justice committee.
Rabbi Joseph Potasnik, executive vice president of the New York Board of Rabbis, sits on the emergency response transition committee. He is the only Jewish clergy member to join the transition committees of both Mamdani and Mayor Eric Adams, whom Mamdani unseated.
Adams’ 700-member transition team had a clergy committee with 16 rabbis from across denominations, including several from the city’s Modern and haredi Orthodox communities. Mamdani does not have a clergy committee and there are no Orthodox rabbis on any of his committees; during the campaign, he drew criticism from a wide array of rabbis over his stances on Israel, and received little support from Orthodox voters.
The transition committees advise on policies, vet personnel and broker relationships between the incoming administration and New Yorkers. Mamdani’s appointees range from traditional leaders, such as Kathryn Wylde, the longtime head of the city’s fundraising nonprofit, to those who traditionally have lacked power in the city — including representatives of the Democratic Socialists of America, the left-wing movement where Mamdani cut his teeth and which is vying to sustain influence as he assumes the mayorship. Mamdani has two committees, on worker justice and community organizing, that have not before been part of a mayoral transition.
Other notable Jews on the transition committees include Jonah Boyarin, a member of Jews for Racial and Economic Justice who helped craft city antisemitism trainings, on the community safety committee; Ruth Messinger, the former leader of American Jewish World Service, on the immigrant justice committee; Masha Pearl of the Blue Card, which supports needy Holocaust survivors, on the social services committee; and Mamdani’s high school teacher Marc Kagan on the transportation committee.
Also on the committees are a number of prominent New Yorkers who are Jewish but who have not made their Jewish identity a primary feature of their public personas.
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Bipartisan bill in Congress would create ‘Jewish Refugee Day’
(JTA) — The United States would recognize Nov. 30 as “Jewish Refugee Day” under a bipartisan resolution sponsored by two Jewish members of Congress.
Debbie Wasserman Schultz, the Florida Democrat, and Texas Republican Craig Goldman submitted the resolution on Friday, saying that the day would be known by both its English name and the Hebrew translation, Yom HaPlitim.
“I was proud to introduce a bipartisan resolution with Rep. Craig Goldman to honor Yom Haplitim and Jewish communities forced out of North African and Middle Eastern countries where they lived for millennia after Israel became a country,” Wasserman Schultz said in a statement to the Jewish Telegraphic Agency. “Their resilience is inspiring and a testament to the improbable survival of Jewish people throughout history.”
Wasserman Schultz, who was the first Jewish woman elected to represent Florida in Congress, initially introduced a similar resolution in 2024, but it expired before the start of the new Congress. She was the sole sponsor of that resolution.
The holiday, which was first adopted by Israel in 2014, commemorates the departure and expulsion of roughly 900,000 Jews from Arab countries following the founding of the state of Israel.
The date Nov. 30 was selected by the Israel’s parliament, the Knesset, because it follows the date on Nov. 29, 1947, when the United Nations approved the partition plan for the Palestine Mandate and the creation of Israel, which spurred hostility toward Jews in Arab nations.
In 2021, the first physical memorial for the mass expulsion was erected in Jerusalem by the Jewish American Society for Historic Preservation.
The resolution states that Congress “continues to support the security of the State of Israel and the Jewish people around the world.” It also calls for “educational efforts throughout the United States, the Middle East, and North Africa to teach the history of the forced displacement and exile of the Jewish people.”
“Recognizing Jewish Refugee Day helps to ensure that Congress continues to bring awareness to the history of antisemitism and stand with the Jewish community around the world,” said Wasserman Schultz.
The resolution was referred to the House Committees on the Judiciary, Education and Workforce and Foreign Affairs for consideration.
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In Chicago, politicians are comparing ICE to the Gestapo — are they right?
On Halloween afternoon in Evanston, Illinois— just a couple miles north of my home — masked, armed men went on a rampage: They deliberately caused a fender-bender accident, shoved women to the ground, repeatedly punched a young man in the head and dragged him across the pavement, and pointed pistols at and pepper-sprayed passersby. These masked men were agents of the United States Customs and Border Protection.
“As soon as I walked up,” local resident Jennifer Moriarty recalled in an online interview, “an agent grabbed me by my neck and threw me back and threw me to the ground and was on top of me.”
As horrifying as the assault was, it had sadly become the norm for our community: For the previous two months, the greater Chicago area was the target of a Department of Homeland Security (DHS) crackdown on immigrants and, increasingly, those who came forward to protect their immigrant neighbors.
The following day, Daniel Biss, Evanston’s mayor, spoke to hundreds who gathered to protest the federal government’s campaign. “We in Evanston are on fire,” Biss said. “We know what is being done to our people… We know the violence and the emergency and the authoritarian nightmare that is coming at us.”
He then evoked the memory of his grandmother, who as a young woman in Europe in 1940 had not comprehended the dangers she faced. “By the time she knew the truth,” said Biss, “it was too late to protect herself, and she and her siblings and her parents were put on a cattle car, and the day they got off that cattle car was the last day her parents lived.”
The analogy is an extraordinary one, but Biss is not alone in evoking the specter of the Holocaust to describe the daily reality here — a reality that was subsequently visited upon Charlotte, North Carolina and is planned for New Orleans next. Several members of Chicago’s city council called out “the Gestapo tactics” of the twin DHS agencies, Customs and Border Protection (CBP) and Immigration and Customs Enforcement (ICE). And as far back as February, JB Pritzker — the first Jewish governor of Illinois — publicly decried the Trump administration’s “authoritarian playbook,” warning “It took the Nazis one month, three weeks, two days, eight hours and 40 minutes to dismantle a constitutional republic. All I’m saying is when the five-alarm fire starts to burn, every good person better be ready to man a post with a bucket of water if you want to stop it from raging out of control.”
The very name of the DHS campaign — “Operation Midway Blitz” — served to conjure up the WWII bombing of London. And the daily itinerary of its agents called to mind aspects of 1930s Germany. Every morning, federal agents departed their local headquarters in the near-west suburb of Broadview in unmarked SUVs, wearing gator-style face-coverings and carrying semi-automatic weapons.
They cruised the streets of a rotating group of targeted neighborhoods or suburbs, looking for dark-skinned workers whom they deemed would be easy pickings: tamale vendors, landscape workers, day laborers at Home Depot, drivers in the ride-share lot at O’Hare. They made only cursory efforts to determine whether their targets were citizens, legal residents, or undocumented individuals. The DHS talking point that agents are only seizing the “worst of the worst” criminals is easily refuted by the data: When the Trump administration finally released names of people they arrested in the Chicago operation, 598 of the 614 had no criminal record at all.
The DHS arrestees were manhandled and taken to Broadview, where they were held in gruesome conditions and pressured to sign self-deportation agreements. Many detainees are so fearful of indefinitely staying at Broadview — or a similarly cruel detention facility — that they sign. They often leave behind families and shattered lives.
The federal agents made a point of flouting the law, as if celebrating their indifference to anything other than their own cruel mission. If an immigrant refused to leave their car, agents routinely smashed the window, dragged the person from the vehicle, and sped off, leaving their victim’s car unattended and unsecured. When agents found themselves surrounded by residents calling attention to their presence, they brandished guns, hurled epithets, fired pepper bombs, and lobbed teargas canisters.
An investigation by Block Club Chicago found that federal agents employed tear gas and other chemical weapons 49 times in the Chicago area from Oct. 3 through Nov. 8. Even an admonishment from U.S. Circuit Court Judge Sara Ellis did not stop them; after her temporary restraining order, federal agents used chemical weapons at least four more times.
Ellis’s 233-page opinion in the use-of-force case, released on Thursday, is a compendium of immigration enforcement run amok. With access to aerial, bodycam, and cell phone footage, along with extensive testimony, the court found a consistent pattern of violence from government operatives, and an equally consistent pattern of lying about that violence from their superiors. In determining whether the government had violated the plaintiffs’ Fourth Amendment rights, Judge Ellis noted that “repeatedly shooting pepper balls or pepper spray at clergy members shocks the conscience… Tear gassing expectant mothers, children, and babies shocks the conscience… Tackling someone dressed in a duck costume to the ground and leaving him with a traumatic brain injury, and then refusing to provide any explanation for the action, shocks the conscience.”
When assessing the government’s truthfulness, Ellis wrote that “[CBP Commander Gregory] Bovino appeared evasive over the three days of his deposition, either providing ‘cute’ responses to Plaintiffs’ counsel’s questions or outright lying.”
The use of force, along with the targeting of individuals based on their ethnic identity and the government mandate to deport one million immigrants per year, brings to mind for me the Polenaktion, the mass arrest and deportation of 17,000 Polish Jews from Germany in 1938. At the same time, I ask myself, are such equivalences accurate and helpful? Holocaust scholar Daniel H. Magilow, in an astute discussion of ICE/Gestapo comparisons, reminds us that while “analogies can be useful for clarifying complex ideas… they risk oversimplifying and trivializing history.”
For my parents, who came of age as Brooklyn Jews as the Nazis were coming to power in Europe, the question had hovered over their lives: “Could it happen here?” After two months of brutal and lawless behavior, I was asking, “Is it happening here? Now?”
So I called my nonagenarian parents to ask them what they thought. My dad said Operation Midway Blitz did remind him of “Gestapo tactics, a Gestapo presence, the Gestapo’s impact on society.” My mom added a note of caution: “We should be careful talking about them like all individuals in ICE are the same. It takes a while to answer the question ‘who are they,” how Gestapo-ish all the people in ICE are.”
Who are the officers of ICE and CBP? It is a question that Illinois Senator Dick Durbin addressed in a letter to DHS Secretary Kristi Noem. Durbin pointed to loosened standards for ICE hiring and training, and to recruiting advertisements — targeted to white applicants — urging them to join up to “defend your culture.” (A recent article in Haaretz also raised alarms that imagery on DHS’s social media used antisemitic dog whistles and was intended to appeal to neo-Nazis.) Durbin asked Noem whether there was any vetting to check if applicants were January 6 rioters or members of white nationalist groups and, if so, whether those extremists were getting hired.
Such concerns go back many years. A ProPublica investigation in 2019 uncovered a secret Facebook group for current and former CBP personnel that revealed “a pervasive culture of cruelty aimed at immigrants.” In 2022, twenty-seven civil rights organizations wrote the Justice Department to warn that CBP was collaborating with white supremacist paramilitary groups on the U.S. southern border.
Whether one accepts the “Gestapo” analogy or not, it is clear that Chicago residents are heeding the dire warnings coming from politicians and activists alike. When the “five-alarm fire” commenced, the response of thousands of residents was rapid and well-organized. Secure chat groups were launched; ICE-watch trainings were at capacity. In my neighborhood and beyond, during the worst days of the crackdown, one could see on every street-corner people on patrol with orange whistles around their necks, ready to document and peacefully confront the armed federal incursion.
During the Halloween incident in Evanston, CBP agents stuffed three people — including Jennifer Moriarty — in an SUV. They then drove erratically around Evanston and Chicago’s Rogers Park neighborhood, attempting to goad other drivers into more traffic accidents. But wherever they went, the orange whistles were sounding. “When I was on the ground and when I was in the car,” Moriarty recalled, “looking out at all the people, all the faces of the community members… I never felt I was doing anything wrong. And all those people were also there, doing all the right things, as well.”
My experience when I joined a local patrol was the same as Moriarty’s. I had a sense of pride and wonder that so many neighbors were united in non-violent opposition to racist attacks. Whether DHS agents were akin to the Gestapo, in the end, did not matter to me. What mattered was that there was definitely a Resistance.
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