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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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The post ‘Spinning Gold’ movie departs from Hollywood stereotypes about Jewish music producers appeared first on Jewish Telegraphic Agency.
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Saul Rubinek plays a version of himself in ‘Playing Shylock’
דער מאָנטרעאַלער אַקטיאָר סאָל רובינעק האָט אַ סך װאָס צו דערציילן.
ער איז דערצו אויך אַ גרויסער מאמין אינעם כּוח פֿון דערציילן.
„דערציילן איז אַלץ,“ זאָגט ער.
טאַקע די פֿראַזע האָט רובינעק, בעת אַן אינטערװיו מיט מיר, אויסגעקליבן װי אַ פּרוּװ איבערצוזעצן דעם טיטל פֿון זײַן אויטאָביאָגראַפֿישן ראָמאַן, All in the Telling. אַרויס פֿון דרוק אין 2025, איז דער ראָמאַן אַ האַלב־פֿיקטיװע כראָניק פֿון זײַנע עטלערן, ביידע פֿון דער שארית־הפּליטה, און זײַנע פֿאַרװיקלטע באַציִונגען מיט זיי און מיט זייערע טראַװמאַטישע לעבנס־געשיכטעס.
דער טיטל װאָלט זיך אויך גוט צוגעפּאַסט צו זײַן אויפֿטריט אין דער מאָנאָדראַמע Playing Shylock („דאָס שפּילן שײַלאָק“), געשריבן פֿונעם קאַנאַדער דראַמאַטורג מאַרק לירין־יאָנג. די פּיעסע וועט מען שפּילן ביזן 7טן דעצעמבער אין פּאָלאָנסקי־שעקספּיר־צענטער אין ברוקלין.
במשך פֿון דער פּיעסע, דערציילט ער, פֿאַרציילט ער, רעדט ער זיך אַראָפּ פֿון האַרצן. און דער אינהאַלט פֿון זײַנע שפֿעדיקע רייד? אַ פֿיקטיװע, אַנולירטע אויפֿפֿירונג פֿון שעקספּירס „דער קויפֿמאַן פֿון װענעדיג“. במשך פֿון זײַנע צװיי שעה אויף דער בינע הערן מיר די צרות פֿון אַן אַקטיאָר, װאָס האָט געדאַרפֿט שפּילן די ראָלע פֿון שײַלאָק אין דער דאָזיקער פּראָדוקציע: צרות מיט די פּראָדוצענטן, מיטן הײַנטצײַטיקן אַנטיסעמיטיזם און שמאָלקעפּיקײט, און צרות מיט זיך אַליין — װײַל רובינעק שפּילט טאַקע אַ װערסיע פֿון זיך אַליין אין דער אויפֿפֿירונג.
די דראַמע איז אַ רעװידירטער נוסח פֿון אַ פּיעסע, „שײַלאָק“, װאָס לירין־יאָנג האָט צוערשט אָנגעשריבן אין 1996. (אַגבֿ, יוסף באָװשאָװערס באַקאַנטע ייִדישע איבערזעצונג פֿון דער פּיעסע, װאָס מען האָט אַ מאָל געשפּילט אויף דער צווייטער עװעניו, הייסט אויך „שײַלאָק“.) אינעם נײַעם נוסח פֿון לירין־יאָנגס װערק, שפּיגלט די פּיעסע אָפּ פֿאַרשיידענע פֿאַקטן פֿונעם הויפּט־אַקטיאָרס לעבן, און דער עולם װייסט קיין מאָל נישט װאָסער פּרט איז אַן אויסגעטראַכטער און װאָסערער איז טאַקע אַ טשיקאַװעס פֿון רובינעקס לעבן. אין דעם ליגט אַ סך פֿון דער פּיעסעס שפּאַנונג און אומזיכערקייט.
אין עטלעכע מאָמענטן, דעקלאַמירט רובינעק שײַלאָקס מאָנאָלאָגן אין דער שטים פֿונעם טאַטן — אַפֿילו אַ מאָל מיט אַ גמרא־ניגון („װער דען װאָלט געשפּילט שײַלאָק אַזוי?“ האָט ער מיך שפּעטער רעטאָריש געפֿרעגט). בײַם סוף פֿון דער פּיעסע, װאָס איז כּמעט אין גאַנצן אויף ענגליש, הערן מיר די באַרימטע רעדע „האָט דען אַ ייִד ניט קיין אויגן?“, דװקא אויף מאַמע־לשון.
„אין זײַן ספּעציפֿישקייט, װערט ייִדיש אוניװערסאַל,“ זאָגט רובינעק, װאָס האָט אויך געשפּילט אויף ייִדיש אינעם פֿילם Shttl („שטטל“, 2002) און די ראָלע פֿון הירש ראַסיינער (אויף ענגליש) אינעם פֿילם The Quarrel (די קריג, 1991), באַזירט אויף חיים גראַדעס דערציילונג. „אין זײַן ספּעציפֿישקייט װעגן אונדזערע איבערלעבונגען װי מענטשן, װי ייִדן, קענען מיר זיך ׳האַלטן בײַ די הענט׳ מיט דער גאַנצער װעלט.“
טיילװײַז האָט דער אַקטיאָר טאַקע דורכגעפֿירט דעם שמועס מיט מיר אויף ייִדיש, װאָס, ער איז מודה, קומט אים אָן שװערלעך, נאָר װאָס ער האָט בײַ זיך „נישט אין קאָפּ, נאָר אין האַרצן.“
איך האָב אים געפֿרעגט, צי ער פּרוּווט טאַקע פֿאַרגופֿן אין דער פּיעסע די אינטאָנאַציעס און זשעסטן פֿונעם טאַטן?
„איך האָב אַפֿילו ניט געדאַרפֿט פּרוּװן. אַלע קינדער קענען נאָכמאַכן זייערע טאַטע־מאַמעס,“ האָט ער געזאָגט. „דאָס גאַנצע לעבן האָב איך געזען װי דער טאַטע טרעט אויף פֿאַר משפּחה און פֿרײַנד. אַ נאַטירלעכער דערציילער איז ער געװען.“
מאַכט דער רמב״ן: „מעשׂה אָבֿות סימן לבנים“ — די טאַטן פֿון די עלטערן און די עלטערנס עלטערן זאָגן פֿאָרויס דאָס לעבן פֿון די קינדער.
רובינעקס טאַטע, ישׂראל רובינעק, אַ געבוירענער אין לאָדזש, האָט אָנגעפֿירט מיט אַ טעאַטער־טרופּע אין די־פּי־לאַגער פֿערנװאַלד, אין בײַערן. רובינעק איז טאַקע געבוירן געװאָרן אין דער זעלבער נאַכט, וואָס דער טאַטע איז דאָרט אויפֿגעטראָטן ווי דער גולם אין לייװיקס באַרימטער דראַמאַטישע פּאָעמע, אין 1948.
אָט דער צופֿאַל, דאָס געשעעניש, שמעקט מיט באַשערטקייט, מיט הייליקייט אַפֿילו. די אָ הייליקייט באַמערקט רובינעק אין משך פֿון „דאָס שפּילן שײַלאָק“, אין איינער פֿון דער פּיעסעס שטאַרקסטע רעפּליקן:
„איך האָב קיין מאָל ניט געגלייבט אין גאָט. איך גלייב אין דעם, אין טעאַטער. דאָס איז הייליק.“
אָבער אויך אין ייִדיש גלייבט ער. „ייִדיש, װי טעאַטער, איז קאָמונאַל — און איז הייליק,“ האָט ער מיר געזאָגט. „װי לאַנג האָט מען געזאָגט אַז טעאַטער איז טויט? אַזוי אויך מיט ייִדיש.“
דער אַקטיאָר זאָגט אַז עס גלוסט זיך אים איצט שפּילן אין ייִדישן טעאַטער, און ער האַלט אין אַרומרעדן מעגלעכע פּראָיעקטן.
אויך מיר, סײַ צוקוקער סײַ מיט־אַרטיסטן, קוקן אַרויס אויף דעם — אויף נאָך אַזאַ קאָמונאַלער, עקסטרע־הייליקער איבערלעבונג אין טונקעלן טעאַטער־זאַל, װוּ גאָר ניט איז ניט קאָנקרעט און קלאָר.
װי רובינעק זאָגט אין דער נײַער אויפֿפֿירונג, מיט פֿאַררייטלטע באַקן און שטאַרק אַקטיװירטע ברוגז־מוסקלען: „דער טעאַטער איז ניט קיין safe space (געזיכערט אָרט).“
דאָס הייסט, דער טעאַטער איז פֿאָרט אַ פֿאָרום פֿאַר פֿראַגעס, חילוקי־דעות, און גײַסטיקן געראַנגל.
זאָל זײַן אַזוי.
די פּיעסע וועט מען שפּילן ביזן 7טן דעצעמבער אין פּאָלאָנסקי־שעקספּיר־צענטער אין ברוקלין. צו קויפֿן בילעטן גיט אַ קוועטש דאָ.
The post Saul Rubinek plays a version of himself in ‘Playing Shylock’ appeared first on The Forward.
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Hasidic leader defends support for Mamdani. ‘I’m taking beatings to save you’
Zohran Mamdani’s election as New York City mayor is further deepening divisions within the Jewish community, with some mainstream organizations now adopting a wait-and-see approach while others denounce him as an “enemy.” At the same time, support for Mamdani among certain Hasidic groups is drawing growing attention.
In a recent tense interview with Mishpacha magazine, a weekly conservative publication widely read in the Haredi community, Rabbi Moshe Indig, a political leader of the sect known as the Ahronim, was pressed to defend his public embrace of Mamdani in the final days of the mayoral race. (The Ahronim is led by Rabbi Aaron Teitelbaum from Kiryas Joel.)
“People call me a kapo,” Indig told the magazine, using a term that originally referred to Jewish inmates at Nazi concentration camps who were assigned to assist the SS. “Anyone who knows what a kapo is can see that I am the exact opposite — a kapo beat you up to save himself. I’m taking beatings to save you.”
Indig’s endorsement of Mamdani set off a firestorm within the community, exposing sharp internal divides over whether the candidate deserved the trust of many Jews. Criticism of Mamdani intensified after the election, following his mixed response to the protest outside the Park East Synagogue, which featured anti-Israel and antisemitic slogans. Mamdani, through a spokesperson, questioned the use of a sacred place for an event promoting migration to Israel, while also discouraging the language that was used at the protest.
“I’m taking missiles over this, not just bullets,” Indig said in the interview. He explained that his support stemmed from Mamdani’s quiet, sustained outreach to Haredi leaders and his clear status as the race’s frontrunner, saying Mamdani had simply earned the endorsement.
“I didn’t promise him votes,” Indig said. “I explained that because the community was so convinced of his antisemitism, I wouldn’t be able to get the majority of people to vote for him.”
Mamdani, he said, replied that he wasn’t seeking votes so much as an opportunity to show he could earn the community’s trust and disprove their perceptions of him. “I saw that as a beautiful invitation to our community,” Indig said.
Part of Mamdani’s outreach included a visit to Hasidic leaders in South Williamsburg during Sukkot and an open letter in Hasidic Yiddish that outlined his plans to combat antisemitism and advance his affordability agenda.
Andrew Cuomo, who won a majority of the Jewish vote and dominated Hasidic areas in Brooklyn on Election Day, failed to do that sort of politicking, Indig said. “Cuomo, who was supposed to be the favorite of the Jews, didn’t ask to go to any sukkah. Not one,” he said.
Indig’s endorsement of Mamdani marks the third consecutive mayoral race in which the Ahronim has demonstrated its political influence by backing the eventual winner, while other Hasidic blocs supported rival candidates. In 2021, they endorsed Eric Adams over Andrew Yang, who was favored by most leading Hasidic sects. And in 2013, they backed Bill de Blasio, who narrowly avoided a runoff in the Democratic primary by just 5,000 votes, while the Zalonim and other groups supported Bill Thompson, then seen as the frontrunner.
“We are currently the only Yidden with access to the future City Hall,” he boasted, using the Yiddish word for Jews. He hopes that changes, he said.
Last month, Mamdani named more than a dozen diverse Jewish leaders and activists to his transition team. Monica Klein, the Mamdani transition’s communications director, said the subcommittees are preparing to implement his “agenda of safety and security for Jewish New Yorkers and everyone else who calls this city home, including his pledge for an 800% increase in anti-hate crime prevention.”
Perceptions of Mamdani have yet to change. A recent poll of 745 American Jews found that 67% believed Mamdani’s election would make New York City’s Jews less safe, while 6% believed they would be safer. The Anti-Defamation League, which clashed with Mamdani during the election, launched a monitor to track Mamdani’s appointments and policies. The ADL also criticized the inclusion of Tamika Mallory as a member of the transition committee on community safety. Mallory co-founded the 2017 Women’s March, then stepped down from the organization after criticism over her ties to Nation of Islam leader Louis Farrakhan and her refusal to affirm Israel’s right to exist.
Indiq affirmed that he’s comfortable with his decision. “Getting guarantees from him before the election gives me critical leverage afterward — if he fails to be a friend, I can call him on his promise to be there for us,” he said.
The post Hasidic leader defends support for Mamdani. ‘I’m taking beatings to save you’ appeared first on The Forward.
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Israel’s Netanyahu Says Syria Deal Possible, Expects Buffer Zone
Israeli Prime Minister Benjamin Netanyahu participates in the state memorial ceremony for the fallen of the Iron Swords War on Mount Herzl, in Jerusalem, Oct. 16, 2025. Photo: Alex Kolomoisky/Pool via REUTERS
Israeli Prime Minister Benjamin Netanyahu said on Tuesday a deal with Syria is possible and he expects Syrian authorities to establish a demilitarized buffer zone from Damascus to Mount Hermon and other areas.
Netanyahu spoke a day after US President Donald Trump, whose administration has been trying to broker a non-aggression pact between the two countries, said it was very important that Israel maintained a “strong and true dialogue” with Damascus.
Syria does not formally recognize Israel, which following the fall of longtime Syrian leader Bashar al-Assad in December moved troops into a buffer zone along the Syrian border to secure a military position to prevent terrorists from launching attacks against the Jewish state.
The previously demilitarized zone in the Golan Heights, a strategic region on Israel’s northern border previously controlled by Syria and later annexed by Israel, was established under the 1974 Disengagement of Forces Agreement between Damascus and Jerusalem that ended the Yom Kippur War. However, Israel considered the agreement void after the collapse of Assad’s regime.
“What we expect Syria to do is, of course, to establish a demilitarized buffer zone from Damascus to the buffer area, including the approaches to Mount Hermon and the Hermon peak,” Netanyahu said while visiting wounded soldiers in central Israel. “We hold these areas in order to ensure the security of Israel’s citizens, and that is what obligates us.”
He added: “With goodwill and an understanding of these principles, it is possible to reach an agreement with the Syrians, but we will stand by our principles in any case.”
Trump has backed Syria‘s new leader, Ahmed al-Sharaa, while Israel has voiced wariness over Sharaa’s past links to Islamist militancy, but has engaged in efforts to broker a deal.
An Israeli raid in southern Syria on Friday killed 13 Syrians, Syrian state media reported. The Israeli military said it had targeted a Lebanese Islamist militant group there. Netanyahu on Tuesday was visiting soldiers wounded in the clash.