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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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U2’s New EP References Holocaust, Hitler, Women’s Rights Protests in Iran, Deceased Palestinian Activist
The Irish rock band U2. Photo: BANG Showbiz
The Irish rock band U2 released an EP on Wednesday titled “Days of Ash” that addresses a wide range of topics, including the “Women, Life, Freedom” uprising in Iran, the Holocaust, the killing of a Palestinian activist, ICE raids in the United States, and the Russia-Ukraine war.
“Days of Ash,” which was released on Ash Wednesday and is now available on all streaming platforms, is the first time U2 is releasing a collection of new music since 2017. The EP features five new tracks – “American Obituary,” “The Tears Of Things,” “Song Of The Future,” “One Life At A Time,” and “Yours Eternally” (ft. Ed Sheeran & Taras Topolia) – and the recitation of the poem “Wildpeace,” written by Israeli poet Yehuda Amichai. The poem is read on the EP by Nigerian artist Adeola Fayehun. It begins with the following lines: “Not the peace of a ceasefire / not even the vision of the wolf and the lamb / but rather as in the heart when the excitement is over / and you can talk only about a great weariness.”
In a new interview with the U2 fanzine “Propaganda,” which is being relaunched as a one-off digital zine to accompany the new EP, lead singer Bono talked about the music referencing Nazi leader Adolf Hitler, concerns about antisemitism, his condemnation of the Hamas-led terrorist attack in southern Israel on Oct. 7, 2023, and his criticism of Israeli Prime Minister Benjamin Netanyahu for how he is managing the Israel-Hamas war.
The title for “The Tears of Things” is a reference to the 2025 book by Richard Rohr titled The Tears of Things: Prophetic Wisdom for an Age of Outrage. The book is about the Jewish prophets and imagines a conversation between Italian sculptor and artist Michelangelo and his marble statue of the Bible’s King David.
“If you put a man into a cage and rattle it long enough/A man becomes the kind of rage that cannot be locked up … The tears of things/Let the desert be unfrozen,” Bono sings in the track. He also sings about “six million voices silenced in just four years,” which is a reference to the six million people killed in the Holocaust. Bono told “Propaganda” the same song includes a reference to a true story about Mussolini and Hitler meeting. Hitler’s name in the song is replaced by the word “shadow,” Bono explained.
“Mussolini came to see me/A shadow by his side,” Bono sings. “Church bells ring, a vanishing/Then the vanishing denied/Six million voices silenced in just four years/The silent song of Christendom/So loud everybody hears.”
The track concludes with the lyrics: “River, sea and mountain/Desert, dust and snow/Everybody is my people/Let my people go.”
Bono told “Propaganda” it is “the moral force of Judaism that helped shape Western civilization.”
“Some of my favorite bits … some of the greatest hits of Western civilization … were gifted to us by brilliant Jewish minds … mathematicians, scientists … writers … not to mention singwriters,” added the singer-songwriter, who said he comes from a “Judeo-Christian tradition.”
“There has never been a moment when we have needed the moral force of Judaism more than right now,” he explained. “And yet, it has rarely in modern times been under such a siege. From where I stand, as a person with a limited view, Judaism, one of the great and noble religions, is being slandered by far-right fundamentalists from within its own community … I could argue the same about Christianity or Islam.”
Antisemitism “has been a scourge for millennia,” and “was rising long before Oct. 7 and the resulting war in Gaza,” Bono said. “As with Islamophobia, antisemitism must be countered every time we witness it. The rape, murder, and abduction of Israelis on Oct. 7 was evil, but self-defense is no defense for the sweeping brutality of Netanyahu’s response,” he continued.
The musician also talked about how the Israel-Hamas war has resulted in “deep knock-on effects for the Jewish diaspora and their safety … As if all Jews are to blame for the actions of Netanyahu, Smotrich, and Ben Gvir.” He was referring to Israel’s Finance Minister Bezalel Smotrich and National Security Minister Itamar Ben Gvir.
When asked later on in the interview about criticism he has faced, especially in Ireland, for not speaking out enough against the conflict in Gaza, Bono said, “I’ve written on Israel and Gaza, but in terms of actions I’ve been focused on the things I know more about.”
Bono also told “Propaganda” that the song “One Life at a Time” on the new EP is inspired by Palestinian activist and filmmaker Awdah Hathaleen, whose was killed last year by an extremist Israeli settler in the West Bank. Hathaleen was featured in the Oscar-winning documentary “No Other Land,” which focuses on Israel’s demolition of Palestinian homes in the West Bank village of Masafer Yatta and criticizes Israel’s military actions. The lyrics of “One Life at a Time” do not reference Hathaleen by name, but the band’s lyric video for the track features a picture of Hathaleen’s face, as well as image of Israel’s West Bank security barrier and the Dome of the Rock.
“Song of the Future” honors the 2022 Women, Life, Freedom movement and uprising in Iran as well as the protesters killed, including 16-year-old Iranian Sarina Esmailzadeh, who was beaten to death by Iranian security forces. Esmailzadeh is the “star of our song,” Bono told “Propaganda.”
“This new EP is a response to current events, inspired by the many extraordinary and courageous people fighting on the frontlines of freedom,” U2 said. “Four of the five tracks are about individuals – a mother, a father, a teenage girl whose lives were brutally cut short – and a soldier who’d rather be singing but is ready to die for the freedom of his country.”
The first track of the EP, “American Obituary,” is dedicated to Renee Good, a mother of three and protester who was fatally shot on Jan. 7 in Minneapolis, Minnesota, by a US Immigration and Customs Enforcement (ICE) agent during a protest.
The track “Yours Eternally” is about the war in Ukraine.
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Jewish Peoplehood Shouldn’t Be Up for Debate
Thousands of participants and spectators are gathering along Fifth Avenue to express support for Israel during the 59th Annual Israel Day Parade in NYC, on June 2, 2024. Photo: Melissa Bender via Reuters Connect
The world’s largest association of psychologists is currently debating whether Jews are allowed to describe themselves as a people.
As crazy as that sounds, this is not a joke. It is a controversy unfolding right now among members of the American Psychological Association (APA), as a group of Jewish psychologists has sought recognition similar to that enjoyed by other ethnic minority groups within the association. The APA’s governing council is set to vote on this question imminently. What should have been an uncontroversial measure has instead become an argument over identity itself — one that reveals a deeper problem in how discrimination is understood today.
We are two Jewish women who have direct, personal experiences with antisemitism, and whose families historically have been discriminated against simply because they were Jewish. Our families’ and our own experiences, as Jews who faced persecution and as advocates for other vulnerable communities, make it especially painful to see our Jewish identities and need for representation and protection questioned in this way.
The opponents from ethnic caucuses within the APA that already have formal representation argued that Jews are a “majority white” population and therefore do not need such recognition. They asserted that Jewish identity is only religious, not ethnic; that antisemitism is not a distinct concern; and that acknowledging Jewish peoplehood would somehow undermine efforts to confront white supremacy.
At a time when antisemitism has reached historic levels in the US and globally, these claims are not only deeply concerning but also evidence of a larger pattern of discrimination in professional and academic organizations and labor unions.
Like any ethnic or religious minority, Jews should not have to justify their existence to others. No one should be told that their identity is somehow invalid because it does not fit neatly into racial categories or prevailing political narratives. Yet that is precisely what is happening here.
Jewish identity has always been multifaceted, encompassing ancestry, culture, history, and, for some, religion. Jews today include families from the Middle East and North Africa, Ethiopia, Europe, and the Americas, observant and secular alike. But the specifics matter less than the principle: In every other context, communities are trusted to define their own lived experience and identity. Here, that authority is being claimed by those outside the community, ironically, inside a profession dedicated to compassionate and nuanced understanding of identity and trauma.
To understand why this moment is so troubling, one must understand something distinctive about antisemitism: It adapts to the assumptions of the era.
At times throughout our history Jews were persecuted as a religious group, forced to convert, be expelled, or be killed. At others, we were targeted as a race, culminating in Nazi racist ideology used to justify the extermination of 6 million Jews. One of our aunts (Eveline Shekhman’s), Rocha Vilenski, was forcibly transported from the Kovno ghetto in Lithuania to Stutthof and then Auschwitz. Her transport papers listed “Jude” as her race, a clear marker that she was not considered “white.”
In other periods Jews have been accused of being foreigners, disloyal to their countries of origin. And sometimes, even simultaneously, Jews are painted as the ultimate insiders, wielding outsized power to manipulate society in pursuit of some untoward end. The accusations are rarely consistent, but they do paint a pattern: Jews are blamed for whatever is most feared or condemned in society at that particular moment.
Today, in some spaces, the prevailing narrative is that Jews are overly powerful, privileged, and white. From there flows a natural conclusion: that Jews cannot meaningfully experience discrimination and therefore require no specific protections.
The logic is familiar even if the language is new.
A prejudice that changes form to match prevailing moral categories is harder to recognize. But that does not make it any less real — only adaptable. Indeed, antisemitism’s shapeshifting nature is part of what makes it so pernicious and difficult to combat.
Psychologists help shape how institutions recognize bias, how patients’ experiences are interpreted, and how discrimination is measured across society. When a field responsible for understanding prejudice treats a community’s lived experience as a definitional debate, protection becomes conditional on whether the group fits an approved framework. Such a dynamic is anathema to the discipline of psychology.
At a moment when confidence in expert institutions is fragile, credibility depends on applying principles morally, and consistently. Members of the APA Council have an opportunity to reaffirm a simple principle: Communities deserve the same respect for self-definition that psychology teaches in every other context.
Sara Colb is Director of Advocacy at the Anti-Defamation League. Eveline Shekhman is Chief Executive Officer of AJMA, The American Jewish Medical Association.
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New Location of London Bakery Founded by Israeli Vandalized With Anti-Israel, ‘Free Gaza’ Graffiti
April 4, 2025, London, England, United Kingdom: Exterior view of a Gail’s bakery in Covent Garden. Photo: ZUMA Press Wire via Reuters Connect
A newly opened London branch of a popular bakery founded by an Israeli baker was vandalized on Wednesday night with anti-Israel graffiti as the chain was accused of funding “Israeli tech.”
Photos and videos shared on social media show that the new Gail’s Bakery location, which opened this week near the tube station in the Archway neighborhood, had splattered red paint on its walls and graffiti that read “Free Gaza,” along with another message that said “Boycott Gail’s Funds Israeli Tech.”
More thuggery from so-called activists.
Pro-Palestine thugs have vandalised the newest Gail’s branch in Archway.
Targeting businesses with Jewish roots belongs in the dustbin of history.@MetPoliceUK must ensure the perpetrators face consequences.pic.twitter.com/vZ8Au7cgHv
— Campaign Against Antisemitism (@antisemitism) February 19, 2026
Police were called to the scene on Wednesday night, but the vandals had fled before officers arrived, according to a spokesperson for the Metropolitan Police.
“Our bakeries are places for the community, and no one – whether that’s our bakery teams or our customers – should feel targeted or unsafe,” a spokesperson for Gail’s told The Algemeiner following the vandalism. “We are a British business with no specific connections to any country or government outside the UK. Our focus right now is on working with the authorities and making sure our people feel safe and supported.”
An anti-Israel demonstration also took place at the same Gail’s location this week, according to multiple reports. Videos online show protesters standing outside Gail’s holding signs including a massive banner that said, “Boycott Israel for Genocide and War Crimes in Gaza.” Another sign held by a protester read “No to Gail’s” and accused the American investment firm Bain Capital, which acquired a majority stake in Gail’s parent company Bread Holdings in 2021, of having “links to Israeli war-tech.”
First the vandals, then the harassment. Another scene today at Gail’s in Archway, London, the city that we all know is a “shining beacon of hope” where “everyone is loved and wanted”. pic.twitter.com/zd25zMucqR
— habibi (@habibi_uk) February 19, 2026
Bain Capital was among the more than 200 venture capital funds that signed an open letter in support of Israel following the Hamas-led massacre in southern Israel on Oct. 7, 2023. The company has investments in Israel, including in cybersecurity, artificial intelligence, and software companies. In October 2025, CTech reported that Bain Capital had invested more than $150 million into Israeli companies over the past year.
Gail’s was founded by Israeli baker Gail Mejia in the 1990s and serves freshly handmade bread, pastries, and cakes. Its first store opened in 2005 in London’s Hampstead High Street with the help of Israeli entrepreneur Ran Avidan, and today, there are hundreds of locations in and around London. Gail’s was voted the best bakery chain in Britain last year. Meija and Avidan no longer have any involvement in the company.
The European Jewish Congress condemned the “deeply concerning” anti-Israel graffiti found on Gail’s Bakery. “Targeting a local business because of perceived Jewish or Israeli associations reflects a troubling normalization of hostility that must be firmly rejected,” the EJC wrote in a post on X. “Such acts have no place in our societies and must be unequivocally condemned.”
In a statement given to The Algemeiner, the Campaign Against Antisemitism called on London’s Metropolitan Police to ensure those responsible for the vandalism are punished for their actions.
Last summer, hundreds of people signed a petition criticizing the opening of a Gail’s in east London and several of them said they opposed the new location because of the bakery’s “Zionist” ties, according to The Jewish Chronicle. In a statement released to The Guardian at the time, the company reiterated that it is “a UK-based business with no specific connections to any country or government outside of the UK and does not fund Israel.”
In an interview with The Times in 2024, Gail’s co-founder and CEO Tom Molnar denied the “ludicrous” accusations that the company is owned by Israel or funds the Jewish state.
“Gail’s proudly has Jewish roots and there’s plenty of stuff out there celebrating our heritage and history, but it’s not true it’s Israel-owned,” he said. “There’s some just crazy stuff on the web thinking we are funding Israel, which is just completely ridiculous. We’re a wholly UK-based business, paying UK taxes, it’s just ludicrous and I think it needs to be called out.”