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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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How a law used to protect synagogues is now being deployed against ICE protesters and journalists
After a pro-Palestinian protest at a New Jersey synagogue turned violent in October, the Trump administration took an unusual step — using a federal law typically aimed at protecting abortion clinics to sue the demonstrators.
Now, federal authorities are attempting to deploy the same law against journalists as well as protesters against Immigration and Customs Enforcement amid the agency’s at times violent crackdown in Minneapolis.
Former CNN anchor Don Lemon, a local journalist, and two protesters were arrested after attending a Jan. 18 anti-ICE protest at a church in St. Paul, Minnesota, Justice Department officials said Friday. Protesters alleged the pastor at Cities Church worked for ICE.
The federal law they are accused of violating, the Freedom of Access to Clinic Entrances Act, or FACE, prohibits the use of force or intimidation to interfere with reproductive health care clinics and houses of worship.
But in the three decades since its passage in 1994, the law had almost entirely been deployed against anti-abortion protesters causing disruptions at clinics.
That changed in September of last year, when the Trump administration cited the FACE Act to sue pro-Palestinian demonstrators at Congregation Ohr Torah in West Orange, New Jersey.
It was the first time the Department of Justice had used the law against demonstrators outside a house of worship, Harmeet Dhillon, an assistant attorney general for the department’s civil rights division, said at the time.
The novel legal strategy — initially advanced by Jewish advocacy groups to fight antisemitism — is now front and center in what First Amendment advocates are describing as an attack on freedom of the press.
“I intend to identify and find every single person in that mob that interrupted that church service in that house of God and bring them to justice,” Dhillon told Newsmax last week. “And that includes so-called ‘journalists.’”
How the law has been used
The FACE Act has traditionally been used to prosecute protesters who interfere with patients entering abortion clinics. Conservative activists have long criticized the law as violating demonstrators’ First Amendment rights, and the Trump administration even issued a memo earlier this month saying the Justice Department should limit enforcement of the law.
But in September, the Trump administration applied the FACE Act in a new way: suing the New Jersey protesters at Congregation Ohr Torah.
They had disrupted an event at the Orthodox shul that promoted real estate sales in Israel and the West Bank, blowing plastic horns in people’s ears and chanting “globalize the intifada,” a complaint alleges.
Two pro-Israel demonstrators were charged by local law enforcement with aggravated assault, including a local dentist, Moshe Glick, who police said bashed a protester in the head with a metal flashlight, sending him to the hospital. Glick said he had acted in self defense, protecting a fellow congregant who had been tackled by a protester.
The event soon became a national flashpoint, with Glick’s lawyer alleging the prosecution had been “an attempt to criminalize Jewish self-defense.” Former New Jersey Gov. Phil Murphy pardoned Glick earlier this month.
The Trump administration sued the pro-Palestinian protesters under the FACE Act, seeking to ban them from protesting outside houses of worship and asking that they each pay thousands of dollars in fines.
At the time, Nathan Diament, executive director of the Orthodox Union Advocacy Center, told JNS he applauded the Trump administration “for bringing this suit to protect the Jewish community and all people of faith, who have the constitutional right to worship without fear of harassment.”
Diament did not respond to the Forward’s email asking whether he supported the use of the FACE Act against the Minneapolis journalists and protesters.
Mark Goldfeder, CEO of the National Jewish Advocacy Center, a pro-Israel group that says it uses legal tools to counter antisemitism, did not express concern over the use of the FACE Act in the Minnesota arrests — and emphasized the necessity of protecting religious spaces from interference.
“The idea that ‘you can worship’ means nothing if a mob can make it unsafe or impossible,” Goldfeder wrote in a statement to the Forward. “So if you apply it consistently: to protect a church in Minnesota, a synagogue in New Jersey, a mosque in Detroit, what you are actually protecting is pluralism itself.”
Goldfeder has also attempted to use the FACE Act against protesters at a synagogue, citing the law in a July 2024 complaint against demonstrators who had converged on an event promoting Israel real estate at Adas Torah synagogue in Los Angeles. That clash descended into violence.
The Trump administration Justice Department subsequently filed a statement of interest supporting that case, arguing that what constituted “physical obstruction” at a house of worship under the FACE Act could be interpreted broadly.
Now, similar legal reasoning may apply to journalists covering the Sunday church protest in Minneapolis. Press freedom groups have expressed deep alarm over the arrests, arguing that the journalists were there to document, not disrupt.
The arrests are “the latest example of the administration coming up with far-fetched ‘gotcha’ legal theories to send a message to journalists to tread cautiously,” said Seth Stern, chief of advocacy for Freedom of the Press Foundation. “Because the government is looking for any way to target them.”
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Nearly 90% of Turkish Opinion Columns Favor Hamas, Study Shows
Pro-Hamas demonstrators in Istanbul, Turkey, carry a banner calling for Israel’s elimination. Photo: Reuters/Dilara Senkaya
About 90 percent of opinion articles published in two of Turkey’s leading media outlets portray the Palestinian terrorist group Hamas in a positive or neutral light, according to a new study, reflecting Ankara’s increasingly hostile stance toward Israel.
Earlier this week, the Israel-based Jewish People Policy Institute released a report examining roughly 15,000 opinion columns in the widely read Turkish newspapers Sabah and Hürriyet, revealing that Hamas is often depicted positively through a “resistance movement” narrative portraying its members as “martyrs.”
For example, Turkish journalist Abdulkadir Selvi, writing in Hürriyet, described the assassinated Hamas leader Ismail Haniyeh as “a holy martyr not only of Palestine but of Islam as a whole” who “fought for peace,” while portraying Israeli Prime Minister Benjamin Netanyahu as “the new Hitler.”
JPPI also found that most articles in these two newspapers took a neutral stance on the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, offering almost no clear condemnation of the attacks and failing to acknowledge the group’s targeting of civilians.
Some journalists even went so far as to praise the violence as serving the Palestinian cause, the study noted.
In one striking example, Hürriyet published an article just one day after the attack, lauding the “resistance fighters” who carried out a “mythic” assault on the “Zionist occupying regime” and celebrating the killings.
In other cases, some journalists went as far as to portray Hamas as treating the Israeli hostages it kidnapped “kindly,” denying that the terrorist group had tortured and sexually abused former captives despite clear evidence.
“There was not the slightest indication that the Israelis released by the Palestinian resistance had been tortured,” Turkish journalist Hilal Kaplan wrote in Sabah, denying claims that the hostages had suffered brutal abuse.
“They all looked exactly the same physically as they did on Oct. 6, 2023, more than a year later,” he continued.
Prof. Yedidia Stern, president of JPPI, described the study’s findings as “deeply troubling,” urging Israeli officials not to overlook the Turkish media’s positive portrayal of Hamas and denial of its abuses.
“We must not normalize incitement and antisemitism anywhere in the world – certainly not when it comes from countries with which Israel maintains diplomatic relations,” Stern said in a statement.
According to the study, nearly half of the columns expressed a positive view of Hamas, while approximately 40 percent took a neutral position.
The analysis also found that around 40 percent of opinion columns mentioning Jews or Judaism contained antisemitic elements, with some invoking “Jewish capital” to suggest global power, while others compared Zionism to Nazism or depicted Jews as immune from international criticism.
For instance, two weeks after the Oct. 7 atrocities, Turkish journalist Nedim Şener wrote in Hürriyet that global Jewish capital and control over media and international institutions had brought the United States and Europe “to their knees,” allowing Israel to carry out a “genocide against Palestinians in Gaza.”
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ADL appoints former head of embattled Gaza aid foundation to its board
The Anti-Defamation League named Rev. Johnnie Moore, who led the controversial Gaza Humanitarian Foundation, to its board of directors last week.
Moore became the public face of the foundation over the summer as it faced blame for hundreds of Palestinian civilians being killed while attempting to access aid at distribution centers that critics said were risky and inefficient.
But the ADL described the foundation, which was created with support from the U.S. and Israeli governments, as a “historic effort to provide nearly 200 million meals for free to the people of Gaza,” in a press release.
The ADL’s leadership has become more protective of Israel in recent years as it has shifted away from its historic work on civil rights issues unrelated to antisemitism. That change included a 2017 reworking of its governance structure, which had been run by a committee of several hundred lay leaders, to a more traditional nonprofit board.
The United Nations reported in August that 859 Palestinians had been killed near the Gaza Humanitarian Foundation sites, mostly by the Israeli military. Doctors Without Borders said that the centers had “morphed into a laboratory of cruelty” with children being shot and civilians crushed in stampedes.
Moore’s role involved defending the organization. He blamed Hamas and the United Nations for causing mass starvation in Gaza and presented the Gaza Humanitarian Foundation as the best means of distributing food to civilians without allowing it to be diverted to militants.
“Hamas has been trying to use the aid situation to advance their ceasefire position,” Moore said during a July presentation to the American Jewish Congress.
The foundation shut down in December.
An evangelical leader and former campaign adviser to President Donald Trump’s with no background in international aid prior to his work with the foundation in Gaza, Moore brings a Christian perspective to the ADL’s board at a time when evangelicals are increasingly divided over Israel and antisemitism. “As a Christian, I consider it a responsibility to stand alongside ADL in this critical moment for the Jewish community and for our nation,” he said in the statement announcing his appointment.
He was appointed alongside Stacie Hartman, an attorney and lay leader based in Chicago, and Matthew Segal, a media entrepreneur who former President Joe Biden named to the U.S. Holocaust Memorial Council. They join a mix of philanthropists and business leaders, including Jonathan Neman, the CEO of salad chain Sweetgreen, and Max Neuberger, the publisher of Jewish Insider.
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