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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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Top PLO, Fatah Officials: Hamas Should Join Us, No Need to Disarm
Hamas police officers stand guard, amid a ceasefire between Israel and Hamas, in Gaza City, Oct. 11, 2025. Photo: REUTERS/Stringer
The Palestinian Authority (PA) appears eager to hijack the Board of Peace’s UN Security Council-approved administration of Gaza and unite with Hamas to control the Strip themselves, according to comments made by a top PLO official in a new interview documented by Palestinian Media Watch.
According to Egyptian reports, PLO Executive Committee Secretary Azzam Al-Ahmad has been in Cairo meeting with Hamas and Palestinian Islamic Jihad:
Two informed Palestinian sources said Azzam Al-Ahmad, the secretary-general of the PLO Executive Committee, held talks in Cairo with faction leaders including Hamas and Islamic Jihad about the two movements joining the PLO.
[Manassa.news (Egypt), Feb. 22, 2026]
Officials from the governing PA and its parent political body the Palestine Liberation Organization have been making repeated overtures to Hamas to join the PLO.
In November 2025, Fatah Central Committee Secretary Jibril Rajoub called on Egyptian help to “bridge the gaps” between Fatah and Hamas so they can unite against Israel.
The previous month, PA Chairman Mahmoud Abbas’ Advisor Mahmoud Al-Habbash declared “our hands are extended, and our hearts are open to rapprochement with Hamas.”
The implicit hope behind the unity push is that move might satisfy international demands for Hamas to relinquish control of Gaza. Back in October, Al-Habbash said that Hamas needed to disarm, but clearly the PA position has since softened. As a sweetener for Hamas to agree to join the PLO, the PLO says it is now ready to appease the terror group by allowing it to keep its weapons and remain an armed force on the ground.
The PA and PLO are aware that to legitimize absorbing Hamas into the PLO, Hamas – the perpetrators of the largest massacre of Jews since the Holocaust – must also be laundered of the stigma of being defined as a terror organization.
During al-Ahmad’s visit, he was interviewed by an Egyptian newspaper, tacitly confirming his mission:
They [US President Donald Trump and the Board of Peace] do not want Hamas to play any role in the Gaza Strip, and we reject this completely, because Hamas is part of the Palestinian national activity. It is true that it has not yet joined the PLO, but we are in a constant national dialogue with them to complete what is required for their entry into the PLO. Therefore, all talk about disarming Hamas and it being a terror organization is unacceptable to us, because Hamas is not a terror organization. [emphasis added]
[Shorouk News (Egyptian paper), Feb. 23, 2026]
The immediate follow-up question in the interview was seen as so important by Al-Ahmad that he made it into a post for his Facebook page:
Shorouk News’ Mohammed Khayal: “You mean clearly that you in the PLO do not view Hamas as a terror organization?”
Azzam Al-Ahmad: “We have never viewed it as a terror organization, and we always oppose when a decision is made by any international institution or any government classifying them as a terror organization, because they are part of the Palestinian national fabric.”
[Azzam Al-Ahmed’s Facebook page, Feb. 23, 2026]
Lest anyone thought that Al-Ahmad had misspoken, his strong statement was soon backed by Rajoub:
“Fatah Central Committee [Secretary and] member Jibril Rajoub emphasized that [PLO Executive Committee member] Azzam Al-Ahmad did not err in defending the weapons of the Hamas Movement and stating that it is part of the Palestinian national fabric.”
[Shahed, independent Palestinian news website, Feb. 24, 2026]
Meanwhile, without referencing Al-Ahmad directly, Fatah Movement Central Committee member Abbas Zaki doubled down on the renewed push for unity with the Islamist terror groups.
“Fatah Movement Central Committee member Abbas Zaki emphasized that national dialogue among Palestinian factions, foremost among them Hamas and Islamic Jihad, constitutes a ‘necessary path and an urgent national need… The real enemy of this unity is the Israeli occupation, and those who stand behind it politically and militarily, foremost among them the US, which is working to rearrange the region in a way that will serve Israel’s sovereignty at the expense of the Arab and Islamic rights.’”
[Sanad News, independent Palestinian news agency, Feb. 26, 2026]
Statements like these are nothing new for PA or PLO officials, who have been making overtures to Hamas for years. Yet the timing and stridency of this particular effort is everything, as it seeks to directly undermine the Trump-brokered ceasefire agreement and Gaza reconstruction plan based on the establishment of a technocratic government.
A technocratic government, to be known as the National Committee for the Administration of Gaza (NCAG), was chosen as the most effective way to begin to restore services to Gazans, and that makes sense. It provides the administrative structure to deliver essential services while at the same time depriving oxygen to any resumption of warfare against Israel from the territory – at least the parts of Gaza that Hamas no longer controls.
While the PA has decided to go along with the plan, a recent letter from PA Vice Chairman Hussein Al-Sheikh welcoming a PA liaison office with the NCAG stressed the PA’s expectation that this was all just a “transitional” prelude to PA control.
“These constitute practical transitional steps that contribute to alleviating the suffering of our people and providing administrative and security services, without creating administrative, legal, or security duality among our people in Gaza and the West Bank, and while reinforcing the principle of one system, one law, and one legitimate authority over arms.”
[WAFA, official PA news agency, English edition, Feb. 21, 2026]
In the PA’s mindset, whatever moves can hasten the end of this transition, the better, as the notion of suspending conflict with Israel in any Palestinian-populated area even temporarily is anathema to the PLO and Hamas alike.
As evidenced by Al-Ahmad’s latest remarks and others, the PA and PLO have no problem whatsoever with Hamas’ zeal for terrorism – but only appear to differ with the Islamist terror group on who gets to decide when and how it is used.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
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Israel Did Not Drag the US Into War
US President Donald Trump speaks with White House Chief of Staff Susie Wiles and Secretary of State Marco Rubio during military operations in Iran, at Trump’s Mar-a-Lago resort in Palm Beach, Florida, US. February 28, 2026. The White House/Social Media/Handout via REUTERS
“If anything, I might have forced Israel’s hand,” President Donald Trump exclaimed to a journalist on March 3. He was answering a question posed by ABC News Senior Political Correspondent Rachel Scott, who had just asked the Commander in Chief whether Israel had “pulled the United States into war.”
“Based on the way the negotiation [with Iran] was going, I think they were going to attack first,” Trump replied. “And I didn’t want that to happen.”
The President is completely right.
After a sound bite from Secretary of State Marco Rubio went viral, many on the isolationist right and the pro-Palestinian, “anti-war” left claimed that Israel, a country the size of New Jersey, had dragged the world’s most powerful military into a regional conflict.
“We knew there was going to be an Israeli action, we knew that that would precipitate an attack against American forces, and we knew that if we didn’t preemptively go after them before they launched those attacks, we would suffer higher casualties,” Rubio stated on March 2.
“So he’s flat out telling us that we’re in a war with Iran because Israel forced our hand,” responded popular conservative pundit Matt Walsh in a post on X.
But, as often occurs in cyberspace, Rubio’s comments were taken wildly out of context.
During the same press conference, Rubio was asked a similar question again: “Was the US forced to strike because of an impending Israeli action?” Rubio set the record straight unequivocally.
“No … No matter what, ultimately, this operation needed to happen … This had to happen no matter what.”
The Secretary of State is correct. His answer about Israel triggering the operation implied that it was only a matter of when, not if, the mission would be undertaken by the US.
American military power had been amassing in the Middle East for months, and some reports said that planning for the combined strikes began as far back as December. Other reports suggested that the operation was intended to begin a week earlier, but the conditions weren’t right.
Intelligence provided to Israel by the Central Intelligence Agency, combined with actionable intelligence gathered for years by Israel’s Mossad, suggested that February 28, at around 10 am Tehran time, was the optimal starting line for the mission. Why? Because former Supreme Leader Ayatollah Ali Khamenei was due to meet with nearly 50 of his closest advisors and other senior leaders, above ground. According to The Wall Street Journal, those were the circumstances that nailed down a start date for the ongoing conflict.
That’s why commentators across the aisle got Rubio’s statement so very wrong. In fact, Israel has shown in the past that it would comply willingly should its friends in Washington wish for IDF military action not to go forward.
On June 24, 2025, the Israeli Air Force cancelled planned strikes on Iran after Trump announced that he had told Netanyahu to bring the pilots home and that a ceasefire was in place. The strikes were planned in retaliation for a vicious attack on a Beer Sheva residential building that killed several civilians. Even then, Israel respected the wishes of the United States.
The ongoing conflict in Iran is a combined effort between what US Central Command (CENTCOM) Commander Brad Cooper called, “the two most powerful air forces in the world, the US and Israel,” comments later echoed by Secretary of War Pete Hegseth. It began with full coordination and will end the same way.
As Hegseth said, “only the United States of America military could lead this — only us. But when you add in the Israeli Defense Forces — a devastatingly capable force — the combination is sheer destruction for our radical Islamist Iranian adversaries.”
Aaron Goren is a research analyst and editor at the Foundation for Defense of Democracies (FDD).
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Shock and Resolve: Responsibility from Afar in Times of War
Emergency personnel work at the site of an Iranian strike, after Iran launched missile barrages following attacks by the US and Israel on Saturday, in Beit Shemesh, Israel, March 1, 2026. Photo: REUTERS/Ammar Awad
When my flight to Tel Aviv was canceled in Warsaw, the war had not yet officially begun. Airlines, however, often sense what governments have not yet declared. Within hours, Israel’s airspace closed. Soon after that, the Iranian missile barrage began.
I was en route to join 22 prominent social media voices from the United States and Europe at the Tel Aviv Institute, where I serve as president. We had convened them for four days of intensive work combating antisemitism — a phenomenon that does not subside during war, but metastasizes. Instead, I found myself watching from afar as our participants sheltered in place.
This is not about my disrupted travel plans. It is about what courage looks like when missiles are falling and what responsibility looks like when you are not physically present to hear the sirens.
Among those social media advocates on the ground was Hen Mazzig. His voice has reached millions with moral clarity and unapologetic conviction. When the missiles began, he did not retreat into silence. He did what he has always done: he spoke.
We were able to evacuate a small group of participants by chartered boat after 26 hours at sea. Among them were Karoline Preisler, a non-Jewish German politician and influencer, and Bernice Cohen, a dermatologist whose platform reaches well beyond the Jewish and Israeli ecosystem. Others remain in Israel, including Boston chef Ruhama Shitrit, who, between sleepless nights and repeated dashes to bomb shelters, continues to imagine new ways to present Jewish and Israeli life as vibrant, humane, and dignified — even under fire.
These are not soldiers. They are civilians — influencers, professionals, parents — demonstrating moral steadiness under extraordinary pressure.
If anything is deeply embedded in Jewish consciousness, it is guilt. Even as I insist this is not about me, I would be dishonest not to admit that guilt arrives in waves. I am the kind of person who shows up. I have spent nights in bomb shelters before; I have volunteered in past crises. When a nation you love is under attack, distance can feel like dereliction.
No rational explanation fully quiets that voice.
My flight was canceled. I would have added strain. My team is capable. Strategically, I may be more useful abroad.
The arguments are sound. The emotions persist.
But war clarifies something uncomfortable: showing up is not synonymous with boarding a plane. In modern conflict, the battlefield is not confined to geography. It is informational, diplomatic, and psychological. While missiles fall on Israeli cities, narratives are created abroad. While Israeli families race to shelters, antisemitic incidents spike in Diaspora communities. While soldiers defend borders, others must defend legitimacy.
That work does not happen automatically. It requires voices willing to withstand backlash. It requires influencers who refuse to equivocate when moral clarity is demanded. It requires institutions that remain operational rather than reactive. It requires people positioned outside the blast radius who understand that proximity to danger is not the only measure of courage.
The harder truth is this: guilt often signals an identity conflict. “I am the one who goes.” But leadership sometimes demands a different posture: remaining where you are most effective, even when every instinct pulls you toward physical solidarity.
The participants of our Institute — Hen and those sheltering in place — embody one form of courage: presence under fire. Those of us abroad are called to embody another: disciplined advocacy, amplification without distortion, and solidarity without self-centeredness.
Shock is inevitable in moments like these. But awe should not be reserved for weaponry or even endurance alone. It should be reserved for the character revealed under pressure—in Israeli civilians who continue building and speaking between sirens; in Iranian civilians whose longing for dignity and safety mirrors our own; and in diaspora communities that refuse to retreat when hostility surges.
Shock may be unavoidable. Passivity is not. If we cannot all stand beneath the same sky, we can at least stand within the same resolve.
That is what responsibility from afar demands.
Dr. Ron Katz is President of the Tel Aviv Institute and leads international efforts to combat antisemitism. He received his PhD from the University of California, Berkeley.