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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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ITV’s ‘Breaking Ranks’: The IDF Soldier Documentary That Broke From the Truth
Then-IDF Chief of Staff Lt. Gen. Herzi Halevi, center, speaking to commanders and soldiers in the Golan Heights on Dec. 13, 2024. Photo: IDF.
A new documentary airing on ITV, Breaking Ranks: Inside Israel’s War, claims to be “the story of the war in Gaza told by the soldiers who fought it.”
An insider account of war sounds promising, especially amid the flood of misinformation online from people who were never on the ground as IDF soldiers and have no experience of the reality of fighting a terrorist organization.
Yet, of all the thousands of soldiers, both in mandatory service and reserve duty, the documentary presents a carefully selected handful of soldiers to tell the story of what they believe really happened in Gaza.
But the story they tell distorts — if not entirely omits — key facts. The film overlooks the reality of what it means to fight a terrorist organization driven by an ideology of extermination, one that deliberately embeds itself among civilians to wage war from within their communities.
That didn’t stop other media outlets from jumping on allegations of war crimes, with outlets such as The Guardian and Independent publishing pieces based on the documentary’s conclusions. That the Tehran Times gleefully pounced on it as well tells a story in itself.
The War Against Hamas
While the film does spend a few minutes showcasing the horrific tragedies of the October 7, 2023, massacre led by Hamas, it quickly shifts its focus to alleged atrocities committed by the IDF in the aftermath.
From the very beginning, the IDF made it explicitly clear that the war was against terrorist organizations only – there was no deliberate targeting of innocent civilians in Gaza. The IDF has maintained this throughout the war, taking every measure possible to warn the civilian population of any potential danger, including sending leaflets before a targeted strike and creating civilian zones to ensure the safety of non-combatants.
The complexity of fighting a terrorist organization is largely overlooked throughout the film. At one point, the use of force in Gaza is called “unprecedented in combat in terms of the number of explosives dropped per square mile,” making it out to be worse than the bombings of Hiroshima and Nagasaki. What it fails to acknowledge is that Israel precisely targets terrorists and terrorist infrastructure.
That viral cartoon comparing Gaza to Hiroshima and London is seriously misleading. Designed to provoke outrage, the reality shows Israel’s precision in targeting terrorists, even in the toughest situations. Context matters. pic.twitter.com/rxvi2YBvl2
— HonestReporting (@HonestReporting) December 14, 2024
Of course, for the documentary to accurately acknowledge the terrorist infrastructure in Gaza, it would have to spend a considerable amount of time discussing the vast tunnel network Hamas has built beneath the entirety of the Gaza Strip. However, this undeniable fact gets quickly glossed over. The filmmakers suggest the tunnels are merely used for “smuggling, warfare, and to avoid Israeli airstrikes.”
This framing subtly shifts blame onto Israel, as if Hamas’s need to “avoid” the Israeli air force is a defensive response rather than a deliberate strategy to wage war from beneath civilian areas. Terrorism? The inhumane holding and torture of hostages in clear violation of every facet of humanitarian law? Entirely unmentioned.
Breaking the Silence
The omission of the true purpose of the tunnels instead becomes spun into a claim based on hearsay that the IDF uses human shields in Gaza. Despite the IDF’s unequivocal denial of such allegations, this assertion is amplified by the interviewees.
However, this should come as no surprise, as one of the interviewees, under the name “Yaakov,” has previously espoused this claim to the New York Times via Breaking the Silence. This highly politicized Israeli organization spends less of its time trying to convince the Israeli public of its case and more on providing the foreign media with fodder to attack Israel.
While the organization seeks to “expose the public to the reality of everyday life in the Occupied Territories,” in reality, it relies on unverified and exaggerated claims provided by IDF soldiers, some of whom receive a paycheck from the organization and therefore may very well have ulterior motives.
“Yaakov” shared photos he took during his time in reserve duty in Gaza, including one now infamous photo that was previously shared in his New York Times article. The photo is said to display civilians who are used as human shields by the IDF when exploring the tunnel network. But the blurry and contextless image offers no evidence whatsoever to support such a serious accusation.
The credits of the documentary give special “thanks” to “Yaakov” from Breaking the Silence, revealing a clear bias in its sources in order to frame a specific narrative about the IDF as a whole. Instead of drawing on a range of credible voices – including a wide array of active-duty soldiers, independent analysts, and military experts – they elevate a figure tied to a controversial advocacy group with a record of misrepresentation.
Amplifying Non-Neutral Voices
“Yaakov” from Breaking the Silence is not the only biased source. Dr. Itamar Mann, a professor of international law at Haifa University, for instance, gives highly critical commentary on the IDF’s actions.
Dr. Mann is listed as an author and legal consultant on a report by Physicians for Human Rights (Israel), claiming there is genocide in Gaza. The organization has been known to spread false, distorted narratives as a way of delegitimizing Israel. In fact, in the immediate aftermath of October 7, the organization stated that it is our “human obligation to contextualize yesterday’s violence.”
The documentary also brings in Amjad al-Shara, the director of the Palestinian NGO Network (PNGO), who refers to the IDF as the “occupation forces,” and is himself described as a “pro-Hamas” figure. PNGO has in the past supported terrorism and hosted conferences or speakers connected to the PFLP.
False Casualty Statistics and Disproved Claims
With the poor sourcing and reliance on problematic organizations, it is no surprise that the documentary also fell into the trap of repeating already thoroughly debunked claims about casualty statistics, genocide, and famine in Gaza.
At one point, the film refers to a previously debunked statistic from a so-called study by The Guardian and +972 Magazine, which claims that 83% of all casualties in Gaza are women and children. This figure is based on data from the Hamas-run Ministry of Health, creating a misleading comparison to the IDF’s confirmed count of 8,900 identified terrorists. By subtracting that number from Hamas’ unverifiable total of 53,000 casualties at the time, these outlets and the documentary falsely present the remaining 83% of casualties as civilians, echoing Hamas propaganda.
Naturally, given the bias of the documentary, the claims of genocide and famine are also leveled against Israel. Even though the definitions of both terms have been distorted in order to accuse Israel of such atrocities, the film presents these allegations as fact, rather than propaganda.
Final Gaza fake “famine” analysis: IPC declared famine on Aug 22. Through ceasefire on Oct 10 there should have been 10,000 starvation deaths. But Hamas/UN counted 192 (most if not all with pre-existing conditions). That’s 98% below famine levels. It was always a hoax. 1/ pic.twitter.com/jWcZOnwdAe
— Aizenberg (@Aizenberg55) October 21, 2025
For a documentary to do its job and remain neutral on such serious allegations, the contrary evidence must be presented, but throughout the documentary, this was deliberately avoided.
War, especially against a terrorist organization that operates using guerrilla tactics, presents immensely challenging scenarios. In the fog of war, mistakes and errors of judgment can and do happen. But it is also true that the IDF has consistently held its soldiers to the highest of standards, investigating any wrongdoing as it occurs.
It would be naive to suggest that every soldier in the IDF or any other comparable army behaves in an exemplary fashion. In September 2024, The New Yorker published a database of what it said is the “largest known collection of investigations of possible war crimes committed [by the US military] in Iraq and Afghanistan since 9/11—nearly eight hundred incidents in all.”
Some of the alleged crimes include “the case of soldiers raping a fourteen-year-old girl and subsequently murdering her and her family; the alleged killing of a man by a Green Beret who cut off his victim’s ear and kept it; and cruelty toward detainees at Abu Ghraib prison and at the Bagram Air Base detention facility.”
All of this is not to claim that the IDF is necessarily more moral than the American military, although there is certainly a good case to be made. The point is that nobody would condemn the entirety of the U.S. Army as an immoral entity that brings shame to its country despite the behavior of a minority of its troops.
And ultimately, ITV’s documentary relies on a tiny number of Israeli soldiers as “eyewitnesses,” most of whom appear to have a political agenda backed by Breaking the Silence.
Rather than offering an honest insight into the complexities of modern warfare against a terrorist organization, the filmmakers chose a simplified, one-sided narrative of Israel’s supposed aggression. In doing so, ITV’s Breaking Ranks fails the very test it set for itself: to tell the story of the war “through the soldiers who fought it.” Instead, it tells a story already written — one shaped by bias, omission, and a refusal to confront the full truth.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.
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Musician-ethnographer Michael Alpert to receive Dreaming in Yiddish Award
Michael Alpert, an influential klezmer musician and ethnographer who has played a key role in the global renaissance of Yiddish music and culture, has been selected as this year’s recipient of the prestigious Adrienne Cooper Dreaming in Yiddish Award.
The ceremony will take place at the Dreaming in Yiddish Award Concert during the Yiddish New York festival — the largest annual Yiddish culture festival in the world — in December.
Now in its eleventh year, the hybrid festival brings together a global community for in-person events at Hebrew Union College in downtown New York, as well as online programming via Zoom. The festival includes concerts, workshops, lectures, films, Yiddish classes, dance parties and intergenerational community events.
Adrienne Cooper was a popular Yiddish singer, musician and activist who was integral to the revival of klezmer music. The Dreaming in Yiddish Award supports artists who have contributed to the contemporary Yiddish cultural scene.
Michael Alpert, also known by his Yiddish name Meyshke, received an NEA National Heritage Fellowship — the nation’s highest honor in the traditional and heritage arts — in 2015. He has been a pioneering singer, multi-instrumentalist, ethnographer and educator for over five decades. His award-winning work with ensembles including Brave Old World, Kapelye, Khevrisa and Itzhak Perlman’s In the Fiddler’s House has shaped generations of performers and listeners alike.
A native Yiddish speaker and cultural bridge between East European-born tradition bearers and contemporary artists, Alpert is celebrated both for preserving the roots of Yiddish folk and klezmer music and for composing a new body of Yiddish songs that speak to today’s world.
The Dreaming in Yiddish Award Concert — an evening of music, memories, and celebration — is sponsored by Yiddish New York and GOH Productions. It will take place on Wednesday, Dec. 24, 2025 at 7 p.m. ET at Hebrew Union College and will be livestreamed as well.
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A new documentary humanizes Israeli soldiers. It also alleges war crimes.
“It feels like a betrayal to be interviewed by foreign media,” an IDF combat veteran says. He’s out of uniform, brow furrowed, plucking nervously at his goatee. His name is Yuval Ben-Ari, and he is here — on camera, using his real name — telling us what he saw in Gaza.
Ben-Ari, who served in an infantry unit, is one of nearly a dozen soldiers who appear in Breaking Ranks: Inside Israel’s War, a new documentary from indie production company Zandland which streamed in the U.K. and can be viewed on YouTube. Four of the speakers appear on camera, identified by their real names; the rest are disguised and use aliases. Taken together, their testimonies are a scathing indictment of what Israeli Prime Minister Benjamin Netanyahu has called the “world’s most moral army.”
If their stories are true — and nearly everything the soldiers say has already been corroborated by other media reports — they are describing war crimes as the rule in Gaza, not the exception. Unarmed civilians are shot or bombed as a matter of course. Homes are torched without cause. Humanitarian aid sites are shelled out of sheer resentment. The people telling us this — young men and women who served hundreds of days in the territory over the past two years — are still reckoning with their role in the destruction.
Breaking Ranks is not the first documentary to be made about the war in Gaza, and it will not be the last. But it may be the only one to focus on the targeting of innocent Palestinians while also humanizing Israeli soldiers. The soldiers outline their belief in the IDF and the importance of the mission in Gaza. The film contextualizes the war, showing footage of the atrocities of Oct. 7 and noting that Hamas leaders, too, have been charged with war crimes in international courts. Palestinian casualty figures are provided, the film notes, by the “Hamas-run Gaza health ministry”; the tunnel network, it explains, is used for smuggling and warfare. It does not avoid discussing the 251 Israeli hostages.
Those elements ultimately strengthen the film’s argument about how the war was conducted. They do not, however, soften the accounts that follow. The picture that emerges is one of lawlessness and cruelty, coupled with a tolerance for collateral damage and a lack of accountability that runs counter to the IDF’s “Purity of Arms” statute. Yet that portrait also shows the rank-and-file — not all, but some — resisting the practices of their superiors.
A tank commander (“Daniel,” an alias) recounts a time his commander informed troops he planned to destroy a humanitarian aid building. The unit warned him the building was off-limits, but the commander shelled it anyway. Then — according to the soldier — the commander made up an excuse to justify the attack: “I had an anti-tank weapon pointed at me.”
A member of a different unit tells a similar story: When a man hanging laundry on the roof of a building is deemed a “spotter,” a commander shells the structure, killing and injuring many people inside. “This kind of thing happened every week,” says the soldier telling us this story. “And that’s just my unit.”
A platoon sergeant, using the alias “Yaakov,” tells how a pair of Palestinian teenage boys came to be his unit’s human shields, sent down into Gaza’s tunnels as scouts. The unit’s objections eventually won out — they cited international law — but Yaakov insists the IDF has a policy sanctioning the practice called “Mosquito Protocol.” (The Associated Press published an investigative report on the practice earlier this year; the IDF denies that it uses human shields.)
“I carried out these things,” says Yaakov. “I hope I can find a way to live without feeling shame with every step I take.”
One soldier says his unit once reported killing 112 people over the course of a deployment. Only one of the 112, he said, was even suspected of holding a weapon.
Not all of the soldiers recalling their enlistment in Breaking Ranks regret their participation. We meet Rabbi Avraham Zarbiv, who claims to have invented the tactic of razing entire Gaza neighborhoods, block by block, with a bulldozer. Another, given the alias “Lt. Col. F.,” says he would have happily pushed every Palestinian in Gaza into the ocean, given them snorkels and “let them swim to Egypt.”
Their hawkishness puts the defiance and disillusionment of soldiers like Yaakov in stark relief. And it raises questions as to why the IDF — which says it has launched dozens of Military Police investigations into alleged misconduct by soldiers — has not found more wrongdoing.
Ben-Ari, who admits that after Oct. 7 he was “consumed by rage and a desire to fight and avenge,” has since become a peace activist; he was injured last week in the West Bank, attacked by Israeli settlers, while accompanying Palestinians during the annual olive harvest.
He vows to never return to Gaza. But Ben-Ari will not quit the IDF entirely, either. Toward the end of the film, he says he would answer a call to protect Israel’s other borders because that is what he is trained to do, and because he still believes it’s necessary.
“This separation works for me,” he says. “I totally understand if people would say I’m a hypocrite, but this is my decision.”
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