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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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Hezbollah Pays Steep Price in Battle to Reverse Its Fortunes
Workers remove a coffin with a body from temporary graves and prepare for transport for a funeral ceremony of four Hezbollah fighters and two civilians, amid a temporary ceasefire between Lebanon and Israel, in Tyre, southern Lebanon, April 26, 2026. Photo: REUTERS/Marko Djurica/File Photo
Hezbollah has paid a heavy price for going to war with Israel on March 2: Israel has occupied a chunk of southern Lebanon, displaced hundreds of thousands of its Shi’ite Muslim constituents and killed as many as several thousand of its fighters, according to previously unreported casualty estimates from within the group.
The move has brought severe political consequences, too. In Beirut, opposition has hardened to its status as an armed group, which domestic rivals see as exposing Lebanon to repeated wars with Israel.
In April, Lebanon’s government held face-to-face talks with Israel for the first time in decades, a decision Hezbollah firmly opposed.
However, more than a dozen Hezbollah officials told Reuters they see a chance to reverse deteriorating fortunes by aligning with Tehran in its war with Israel and the United States. The group, founded by Iran’s Islamic Revolutionary Guard Corps in 1982, opened fire two days into the conflict, which began with U.S. and Israeli strikes on Iran on February 28.
The group’s calculations are based on the assessment that its participation would force Lebanon onto the agenda of U.S.-Iranian negotiations, and that Iranian pressure can secure a more robust ceasefire than one that took effect in November 2024 following a conflict sparked by the war in Gaza, the officials said.
Hezbollah was mauled in the last war, which killed its leader, Hassan Nasrallah, along with some 5,000 fighters, and weakened its long-dominant hold over the Lebanese state.
Rearmed with Iranian help, it has used new tactics and drones, surprising many with its capabilities after a fragile 15-month truce during which Hezbollah held fire, even as Israel continued to kill its members.
Hezbollah lawmaker Ibrahim al-Moussawi denied the group was acting on Iran’s behalf when it resumed hostilities, as alleged by opponents. He told Reuters Hezbollah saw a window to “break this vicious cycle … where the Israelis can target, assassinate, bombard, kill, without any revenge.”
He acknowledged losses and damage in southern Lebanon but said “you don’t go into making calculations of how many are going to be killed” when “pride and sovereignty and independence” are at stake.
Hezbollah’s media office said the figure of several thousand fighters killed in the present war was false.
While a US-mediated ceasefire that took effect on April 16 has led to a significant reduction in hostilities, Israel and Hezbollah have continued to trade blows in the south, where Israel maintains troops in a self-declared “buffer zone.”
Yezid Sayigh, a senior fellow at the Carnegie Middle East Center in Beirut, said Hezbollah had “shown more resilience than many thought possible, but that was not a strategic gain in itself.”
“The only thing that will contain Israel is a comprehensive US-Iran deal,” he said. “Without a deal, there’s going to be a lot of pain for everyone. At best, a hurting stalemate.”
GRAVES FRESHLY DUG, AND QUICKLY FILLED
More than 2,600 people have been killed since March 2, around a fifth of them women, children and medics, Lebanon’s health ministry has reported. Its toll does not distinguish between civilians and combatants.
Three sources, two of them Hezbollah officials, said the ministry’s figures do not include many of the group’s casualties. They said several thousand Hezbollah fighters have been killed, though the group does not have the full picture yet.
In a statement to Reuters, Hezbollah’s media office denied the figures cited by the sources, and that the numbers published by Lebanon’s health ministry included its members killed in Israeli strikes.
One source, a Hezbollah commander, said scores of fighters had gone to the frontline towns of Bint Jbeil and Khiyam intending to fight to the death. Their bodies have yet to be recovered.
In the Hezbollah-controlled southern suburbs of Beirut, more than two dozen freshly dug graves were quickly filled with fighters’ bodies in the days after the ceasefire took hold. Simple marble tombstones identify some as commanders, others as fighters.
In one southern village alone, Yater, the council recorded the deaths of 34 Hezbollah fighters.
Lebanon’s Shi’ite Muslim community has borne the brunt of Israel’s attacks, forced to flee into Christian, Druze and other areas, where many blame Hezbollah for starting the war.
Israel has been entrenching its hold over a security zone stretching as far as 10 km (6 miles) into Lebanon and demolishing villages, saying it aims to shield northern Israel from attacks by Hezbollah militants embedded in civilian areas.
An Israeli government official said Hezbollah had abrogated the November 2024 ceasefire by firing on Israeli citizens on March 2. The threat to northern Israel would be eradicated, the official said, adding thousands of Hezbollah militants had been killed, and Israel was steadily destroying the group’s infrastructure.
The Israeli military says Hezbollah has fired hundreds of rockets and drones at Israel since March 2. Israel has announced 17 soldiers killed in southern Lebanon, along with two civilians in northern Israel.
Citing ongoing Israeli strikes, Hezbollah has called the April ceasefire meaningless and continued to attack.
IRAN ‘WILL NOT SELL’ THEIR FRIENDS
A diplomat who has contact with Hezbollah described its decision to enter the war as a big gamble and a survival strategy, saying it felt it needed to be part of the problem so it could be part of an eventual regional solution.
It has yet to be seen if the gamble will pay off.
Tehran has demanded that Israel’s campaign against Hezbollah be included in any deal on the wider war. But US President Donald Trump said last month that any deal Washington reaches with Tehran “is in no way subject to Lebanon.”
A spokesperson for Pakistan’s Foreign Ministry, Tahir Andrabi, referred Reuters to an April 16 statement in which he said peace in Lebanon was essential to the talks it is mediating between the U.S. and Iran.
A Western official said they saw a possibility the US and Iran might eventually reach a settlement that does not address the war in Lebanon.
Asked about this, the US State Department, Iran’s mission to the United Nations in Geneva and Lebanon’s government did not immediately comment.
Hezbollah’s Moussawi said a ceasefire in Lebanon continues to be a top priority for Iran, adding Tehran shares Lebanon’s objectives, including that Israel halt attacks and withdraw from Lebanon. Hezbollah has “full trust in Iran – that the Iranians will not sell their own friends”, he said.
The State Department referred Reuters to an April 27 interview Secretary of State Marco Rubio did with Fox News, in which he said Israel had a right to defend itself against Hezbollah’s attacks, and that he didn’t think Israel wanted to maintain its buffer zone in Lebanon indefinitely.
The United States has urged Israel “to make sure their responses are proportional and targeted,” he said.
When the April 16 ceasefire was announced, Israeli Prime Minister Benjamin Netanyahu said Hezbollah’s disarmament would be a fundamental demand in peace talks with Lebanon.
Hezbollah has ruled out disarmament, saying the matter of its weapons is a topic for a national dialogue. Any move by Lebanon to disarm the group by force would risk igniting conflict in a country shattered by civil war from 1975 to 1990.
Lebanon’s President Joseph Aoun and Prime Minister Nawaf Salam have sought Hezbollah’s peaceful disarmament since last year. On March 2, the government banned the group’s military activities.
Hezbollah has demanded the government cancel that decision and end its direct talks with Israel.
Lebanese officials have told Reuters they believe direct talks with Israel under the auspices of the US are the best way to secure a lasting ceasefire and the withdrawal of Israeli troops, as only Washington has enough leverage with Israel to achieve those aims.
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US President Trump Tells Israeli Media: ‘I Studied Iran’s New Proposal, It Is Not Acceptable to Me’
US President Donald Trump arrives to award the medal of honor to Master Sgt. Roderick ‘Roddie’ W. Edmonds, Staff Sgt. Michael H. Ollis, and retired Command Sgt. Maj. Terry P. Richardson during a ceremony in the East Room of the White House in Washington, DC, USA, 02 March 2026.
US President Donald Trump said he has reviewed Iran’s latest proposal and described it as “unacceptable” in an interview with Israeli broadcaster Kan News on Sunday. Trump added that ongoing efforts related to the conflict are “progressing very well,” without providing further details. He also renewed his call for clemency for Israeli Prime Minister Benjamin Netanyahu, arguing that Israel needs a leader focused on wartime priorities rather than legal matters.
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Israel Court Extends Detention of Gaza Flotilla Activists
Activist Saif Abu Keshek, a member of the Global Sumud Flotilla detained by Israel, sits at a magistrate’s court for a detention extension hearing in Ashkelon, southern Israel, May 3, 2026. REUTERS/Amir Cohen
An Israeli court has extended by two days the detention of two activists arrested aboard a Gaza-bound flotilla that was intercepted by Israeli forces in international waters near Greece, their lawyer said on Sunday.
Saif Abu Keshek, a Spanish national, and Brazilian Thiago Avila were detained by Israeli authorities late on Wednesday and brought to Israel, while more than 100 other pro-Palestinian activists aboard the boats were taken to the Greek island of Crete.
A court spokesperson confirmed that their remand had been extended until May 5.
The governments of Spain and Brazil issued a joint statement on Friday calling their detention illegal.
The activists were part of a second Global Sumud flotilla, launched in an attempt to break Israel’s blockade of Gaza by delivering humanitarian assistance. The ships had set sail from Barcelona on April 12.
Israeli authorities requested a four-day extension of their arrest on suspicion of offenses that include assisting the enemy during wartime, contact with a foreign agent, membership in and providing services to a terrorist organization, and the transfer of property for a terrorist organization, said rights group Adalah, which is assisting in the activists’ defense.
Hadeel Abu Salih, the men’s attorney, said that the two deny the allegations. Their arrest was unlawful due to a lack of jurisdiction, she told Reuters at the Ashkelon Magistrate’s Court after the hearing, adding that the mission was meant to provide aid to civilians in Gaza, not to any militant group.
Abu Salih said that Abu Keshek and Avila were subjected to violence en route to Israel and kept handcuffed and blindfolded until Thursday morning.
Asked for comment, the Israeli military referred Reuters to the Israeli foreign ministry, which said that staff were compelled to act to stop what it described as violent physical obstruction by Abu Keshek and Avila. All measures taken were lawful, it said.