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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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‘Marty Supreme’ is an outstanding celebration — and indictment — of chutzpah
Marty Mouser will have the beef Wellington and caviar, as they are the most expensive items on the menu.
The 23-year-old table tennis phenom, heralded as “the chosen one,” is dining at the Ritz in London. Seated opposite him, his recent opponent, Bela Kletzki. The two are friends, but this didn’t stop Mouser from telling a gaggle of reporters before their match of his plans to “do to Kletzski what Auschwitz couldn’t.” He can say that, he assured them — he’s a Jew.
This, like Mouser’s remark that he is the “ultimate product of Hitler’s defeat,” is all bluster. (He’s really a lowly Lower East Side shoe clerk who stole money from his shop to fly to the tournament.) But we soon see what Auschwitz meant for his survivor companion: defusing bombs on the camp outskirts and once managing to sneak honey from a beehive onto his person, which his fellow prisoners licked off him for nourishment.
We get a flashback of Kletzki. It’s lensed like a Renaissance painting, with honey glistening off of the hairy chest of actor Géza Röhrig, (Hungarian star of the Sonderkommando drama Son of Saul).
You may wonder what exactly this moment is doing in Josh Safdie’s Marty Supreme, a walloping period piece that follows Mouser’s picaresque ploys to become a global icon by hustling, stealing and lying his way into a tournament in Japan. But there’s rarely a moment in the frenetic picture, set over eight months in 1952, where only one thing is happening. While Kletzki tells his haunting honey story, to pen magnate and potential patron Milton Rockwell (Kevin O’Leary, Mr. Wonderful, indeed), Marty makes eyes at Rockwell’s wife from across the room, another sort of honeypot in mind. The contrast is the point.
Unlike Kletzki, Marty — very loosely based on ping-pong champ Marty Reisman — is an American, New York-born, and believes in the Augie March doctrine of first knocked, first admitted. To get his foot in the door so he can stare down from his rightful place on a Wheaties box, he will shove anyone and everyone out of the way. He refuses to demean himself by playing Harlem Globetrotter halftime shows with Kletzki, or throwing a match for Rockwell — but his principles are malleable when the straits are dire.
Mouser feels entitled to everything: the money in his uncle’s safe at the shoe shop; a suite at the Ritz; other men’s wives; a chunk of the pyramids, which he presents to his manipulative mother (Fran Drescher) with the words, “We built that.”
We know from how he speaks about this hunk of Egyptian rock — and about Kletzki, the Holocaust and Hitler — his entitlement comes in part from a legacy of immiseration and violence he never suffered personally. But Mouser, this New Jew coming of age after the Shoah, claims redemption as his birthright while also striving to float above his people’s history of oppression and retail drudgery, concocting a mythology of self-invention and radical individualism. (Meanwhile, Kletzki, a world champ before the war, is all too happy to be treated kindly and paid decently for hitting balls with skillets for the Globetrotters.)
The tension between the horror of the recent past, and the just-dawning promise of an America where antisemitism is unfashionable, plays through Marty’s vision of what’s to come. He dreams up orange-colored ping-pong balls, a hue only approved for use by the International Table Tennis Federation in 2019. The 1980s synth-pop needle drops remixed by composer Daniel Lopatin, lean into futurism. Our hero is ahead of his time, chafing at the present to which he’s tethered. He wants an unready world to acknowledge his greatness now. He has no patience for a rocky transition.
If the opening credits of Uncut Gems bespeak a past-one’s-prime ritual — a colonoscopy — Marty Supreme‘s titles are set to a burst of youthful virility. (Inventive, hilarious, if something I’ve seen before.)
Timothée Chalamet, outfitted with prosthetic acne scars and eye-shrinking contact lenses, is incandescent and somehow stays to the right side of insufferable as he wrecks the lives of all around him with his singular focus. Unlike Gems’ Howard Ratner, a sleaze with a gambling addiction and little else to offer, Mouser’s talent is undeniable, but like any Safdie protagonist, he takes his licks.
The film, co-written and co-edited with Safdie’s constant collaborator Ronald Bronstein, is a rich Jewish text that alternates between wish fulfillment and nightmare. Mouser competes for the WASPy Rockwell’s patronage while shtupping his icy blonde wife (Gwyneth Paltrow). On the other side of the ledger, his lover, Rachel (a pitch-perfect Odessa A’zion), is attacked near a Forverts delivery truck. Marty’s uncle Murray (music journalist Larry “Ratso” Sloman) calls a cop goyische kopf for ordering the roast beef over pastrami at the Garden Cafe. It’s no mistake that, at his lowest, Mouser faces a treyf humiliation orchestrated by Rockwell: lose and kiss a pig.
But Marty Supreme is too dense with plot points and people to insist on a solely Jewish gloss, even as critics for the non-Jewish press have been tempted to apply one.
Exploring the warrens of postwar New York — the wings of a Broadway theater, the back alley of a Chinatown restaurant, stockrooms, airshafts and fire escapes — all outstandingly revived by legendary production designer Jack Fisk, Safdie proves he’s not only ready for a solo effort away from brother, Benny, but ready to leap over space and time. He may not be ready to say goodbye to all that (New York stuff), the backdrop for all his features up to now, but he easily could.
In this epic of chutzpah, we have a mature work via a singularly immature avatar. Mouser may have never reached the recognition he felt he was owed, but coming into awards season, there’s little doubt that Safdie’s film is a cross-category contender.
Should the gentleman order the caviar, there’s no doubt he’s earned it.
The post ‘Marty Supreme’ is an outstanding celebration — and indictment — of chutzpah appeared first on The Forward.
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The Future of War: Israel Takes Global Lead on Military Innovation With New AI Division, Iron Beam Laser System
A part of Iron Beam laser anti-missile interception system, developed by Israel, is seen in this handout image obtained by Reuters on Sept. 17, 2025. Photo: Israel Defense Ministry/Handout via REUTERS
The Israel Defense Forces (IDF) announced this week a revolutionary reorganization of the technology and artificial intelligence capabilities of the Jewish state’s military, unveiling new plans to prepare for future warfare with cutting-edge advancements.
Israel’s major defense overhaul, unveiled on Tuesday, comes in preparation for the deployment of the long-anticipated “Iron Beam” laser interceptor system, which will be delivered to the military at the end of the month.
Under the name “Bina” — Hebrew word “intelligence” — the IDF has chosen to shut down its Lotem Unit from the C41 Corps, replacing it with the Artificial Intelligence (AI) Division and the Spectrum Division. The latter will focus on communications and electronic warfare with an emphasis on threats from Iran, China, and Russia.
The AI Division will grow through merging other sections within the IDF, including Mamram (the abbreviation for the Center of Computing and Information Systems) and software development units Shahar and Mitzpen. This consolidation of AI-development related divisions intends both to intensify security and avoid accidentally duplicating research efforts. The project will align with Israel’s Project Nimbus cloud computing program supplied by Amazon and Google.
The IDF also announced the ICT Division, which will focus on satellite warfare in outer space.
According to the military, about 50 percent of the new divisions are composed of women soldiers, with female officers comprising 40 percent of the senior command including two of the five top leadership positions.
Brig. Gen. Yael Grossman now heads ICT and the Cyber Defense Division, and Brig Gen. Racheli Dembinsky will head the Spectrum Division. Others in leadership positions include Chief Signals Officer Brig. Gen. Omer Cohen and Maj. Gen. Aviad Dagan.
“I have no doubt that the world is heading towards a space war, especially after the US and China defined space as a possible war arena,” Dr. Moshik Cohen, CEO for defense technology company AIPEX which focuses on missiles, told the Israeli publication Globes.
“Rival powers are already using it on the battlefield,” Cohen continued. “The Chinese have developed a way to detect stealth aircraft using satellites, and the Russians have jammed GPS signals from US satellites, which have dropped thousands of smart bombs on earth and blocked satellite communications for the Ukrainians. At the same time, the US is promoting Golden Dome, which will consist of a network of low-flying satellites able to perform military missions such as intercepting ballistic and hypersonic missiles and blocking enemy communications.”
Dagan said that the new divisions aspired to use technology to “turn one tank into 100 tanks, one soldier into 100 fighters.”
On Monday, meanwhile, Danny Gold, the head of the Israeli Defense Ministry’s Directorate of Defense Research and Development, revealed that the military would soon receive the “Iron Beam” laser interception system, a project a decade in development.
“With development complete and a comprehensive testing program that has validated the system’s capabilities, we are prepared to deliver initial operational capability to the IDF on Dec. 30, 2025,” Gold said. “The Iron Beam laser system is expected to fundamentally change the rules of engagement on the battlefield. Simultaneously, we are already advancing the next-generation systems.”
Created by Rafael Advanced Systems Ltd., the Iron Beam is intended to supplement rather than replace Israel’s Iron Dome and other air defense systems, focusing especially on smaller targets. As long as the weapon maintains a power source then it cannot run out of ammunition. However, the system does not function optimally in situations with clouds or low visibility.
The IDF chose to rename the laser weapon from Magen Or (Light Shield) to Or Eitan (Eitan’s Light) in honor of Cpt. Eitan Oster, a member of the Egoz Commando Unit killed in October 2024 while fighting the Hezbollah terrorist group in Lebanon.
Brig. Gen. Benny Aminov also announced this week an Israeli breakthrough in countering enemy drone attacks.
“We are now working on interception solutions using drone-based systems that enable response to swarm scenarios while accelerating the development of new directed-energy weapons,” Aminov said. “The issue of low-altitude threats is an example of a challenge that requires our defense establishment to fundamentally change its operational approach, responding within compressed time frames, spiral development, accelerating testing during the development process, and bridging small defense-tech companies with major defense contractors.”
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‘Dancing With the Stars’ Airs Its First Dance Dedicated to Hanukkah During Holiday Special
Alan Bersten, Val Chmerkovskiy, Gleb Savchenko, Emma Slater, Onye Stevenson, and Hailey Bills dancing to “Miracle” by Matisyahu on “Dancing with the Stars” on Dec. 2, 2025, on ABC. Photo: Disney/Eric McCandless
“Dancing with the Stars” aired a holiday special on Wednesday night that included the show’s first celebration of the Jewish holiday of Hanukkah, which begins later this month.
The reality show and dancing competition aired its first full holiday special, titled “Dancing with the Holidays,” which highlighted the skills of its professional dancers without their celebrity partners. The dances mainly honored Christmas, but for the first time in the show’s 20-year history, there was a dance dedicated to Hanukkah.
Professional dancers Alan Bersten and Val Chmerkovskiy, who are both Jewish, along with four non-Jewish pros – Gleb Savchenko, Emma Slater, Onye Stevenson, and Hailey Bills – danced to “Miracle” by Matisyahu. Bersten choreographed the dance, which included the men linking their raised arms to form a menorah, a hora, a sit-spin as a nod to a spinning dreidel, and a take on some of the dances from the classic Jewish musical “Fiddler on the Roof.”
“We have a lot of work to do,” the Mirrorball champion told the dancers in rehearsal. “We need a miracle.”
In the intro package for the dance, Bersten, who is the son of Russian-Jewish immigrants, talked about not seeing much Hanukkah representation around the holiday season when he was growing up. Bersten said he wanted to create something that Jewish kids today could identify with.
“Everyone celebrates holidays in a different way. Growing up Jewish, you don’t really see a lot of Hanukkah representation, so tonight we’re doing a special performance to celebrate Hanukkah,” he said. “Hopefully a Jewish kid’s watching this, and they feel seen, and they feel proud.”
Following the dance, DWTS co-host Alfonso Ribeiro reminded the audience and viewers at home “that the holiday season is for everyone.”
The “Dancing with the Stars” holiday special was released on Disney+ and Hulu.