Uncategorized
‘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.”
—
The post ‘Spinning Gold’ movie departs from Hollywood stereotypes about Jewish music producers appeared first on Jewish Telegraphic Agency.
Uncategorized
Netanyahu Says US Deal with Iran Must Dismantle Nuclear Infrastructure
Israeli Prime Minister Benjamin Netanyahu speaks during a press conference at the Prime Minister’s office in Jerusalem, Aug. 10, 2025. Photo: ABIR SULTAN/Pool via REUTERS
Israeli Prime Minister Benjamin Netanyahu said on Sunday he told US President Donald Trump last week that any US deal with Iran must include the dismantling of Iran’s nuclear infrastructure, not just stopping the enrichment process.
Speaking at the annual Conference of Presidents of Major American Jewish Organizations, Netanyahu also said Israel still needs to “complete the job” of destroying all tunnels in Gaza. Israel, he said, has already dismantled 150 km (93 miles) of an estimated 500 km.
A second round of talks between the US and Iran are slated for this week. Iran is pursuing a nuclear agreement with the US that delivers economic benefits for both sides, an Iranian diplomat was reported as saying on Sunday.
Netanyahu said he is skeptical of a deal but it must include enriched material leaving Iran. “There shall be no enrichment capability – not stopping the enrichment process, but dismantling the equipment and the infrastructure that allows you to enrich in the first place,” he said.
Iran and the US renewed negotiations earlier this month to tackle their decades-long dispute over Tehran’s nuclear program and avert a new military confrontation. The US has dispatched a second aircraft carrier to the region and is preparing for the possibility of a sustained military campaign if the talks do not succeed, US officials have told Reuters.
Netanyahu also said that he aimed to end US military aid to Israel within the next 10 years, after the current 10-year deal of receiving $3.8 billion a year – which is largely spent in the United States on equipment – ends in 2028.
Due to a thriving economy, “we can afford to phase out the financial component of the military aid that we’re receiving, and I propose a 10-year draw down to zero. Now, in the three years that remain in the present memorandum of understanding and another seven years draw it down to zero,” Netanyahu said.
“We want to move with the United States from aid to partnership,” he said.
Uncategorized
Muslim and Sephardic Jewish college students are connecting over shared heritage
Joseph Pool, a senior at Rollins College in Florida, grew up hearing his Moroccan-born grandparents describe Mimouna, a traditional Moroccan Jewish celebration marking the return to eating chametz after Passover. Because Jewish families had cleared their homes of chametz for the holiday, Muslim neighbors would bring over fresh flour, butter, and milk, and together they would enjoy a chametz-filled meal.
Amid rising campus tensions after October 7, Pool decided to host a Mimouna event of his own at Rollins College, and Muslim students showed up in droves.
“I spent years sleeping over at my grandparents’ house and hearing stories about the connection Muslims and Jews shared in Morocco,” Pool said. Seeing Muslim classmates embrace the celebration, he recalled thinking: “Wow, this is still the case today. There is still this connection ability here.”
At a moment when Jewish-Muslim tensions have intensified on campuses nationwide, some Sephardic and Muslim students say shared cultural heritage, rather than formal interfaith programming, is opening unexpected space for connection.
SAMi (Sephardic American Mizrahi Initiative) hosts Sephardic cultural programming on 16 college campuses across the country, including Persian music karaoke nights, hamsa painting events, and Mimouna celebrations. According to Manashe Khaimov, SAMi’s founder and CEO, roughly 10% of the 6,000 students the organization has engaged are Muslim.
The events are not intended to be spaces for interfaith dialogue, and that is a big part of their appeal. “Students don’t want to show up to an interfaith event unless [they’re] interested in political dialogue,” said Khaimov. Rather, students who are just looking for a place to engage with their culture show up to listen to the kind of music they grew up with, eat familiar foods, and hear Arabic or Farsi spoken.
For many Muslim students, SAMi events “smell the way it smells at home” as opposed to many Jewish spaces on college campuses that can feel “foreign” or “alienating,” said Khaimov. “For most of the Muslim students,” he said, “this is the first time even walking into Hillel spaces.”
Emily Nisimov, a Bukharian student from Queens College who organized Sephardic heritage events on her campus with SAMi, said, “The point of the events originally was to spread love and intimacy between Jewish students.” To her surprise, Muslim students started showing up. “Maybe they did just come for the food,” she said, “but the fact is that they stayed and they interacted with us and they tried to find a middle ground, which I was really impressed and shocked by.”
These connections are not limited to organized programming. Across campuses, Muslim students say friendships with Sephardic and Mizrahi peers have reshaped their understanding of Judaism, and Jewish students say the friendships have changed them, too.
Ali Mohsin Bozdar, a Muslim student at Springfield College who met Sephardic students through Interfaith America’s BRAID fellowship, said, “Jewish people from Middle Eastern backgrounds — most of the culture is similar. The food, the music, the language. I found that really fascinating,” he said. “It automatically binds you.”
Yishmael Columna, a Moroccan Jewish student and SAMi organizer at Florida International University, said the exchange has been mutual. “After Oct. 7”, he said, “it’s easy to give in to hate.” But getting to know Muslim peers complicated that instinct. “I wouldn’t be able to form opinions on many things as well as I do now if I didn’t have these conversations with them,” he said.
Sofia Houir, a Moroccan Muslim senior at Columbia University, said she had never met a Jewish person before attending college. Forming close friendships with Sephardic students on Columbia’s campus changed that. “Having friends who are Middle Eastern Jews definitely made Judaism more personal to me,” she said. “You can read about Judaism, you can study it, but talking to friends about how they grew up made me realize that, regardless of our religion, we’re all North African or Middle Eastern.”
Sofia formed a particularly close bond with an Iraqi Israeli student, Orpaz Zamir, during her time at Columbia, which she says deeply influenced her decision to travel to Israel for the first time. “Orpaz played a huge role in me going to Israel, just because I’m super close to him. And I really, really wanted to discover his culture, and to discover his country,” she said.
But that decision came with consequences.
Sofia said that her friendships with Jewish and Israeli students as well as her decision to travel to Israel caused peers in the Muslim and Arab communities on campus to stop speaking to her.
“I had some heated arguments with people who basically argued with me as if I was representing the Israeli government,” she said. “The frustrating thing was that they never had a conversation with me about it. They just presumed that me going was me validating Netanyahu’s politics or betraying the Palestinians.”
Nisimov said campus tensions at Queens College, part of New York City’s public university system, have not disappeared simply because of a heightened awareness of shared culture.
After October 7, she said, “A lot of claims were made that we should go back to where we came from.” “We tried to explain to them — just like you, we came from the same spot — but they didn’t want to listen.”
Even so, she said, her personal friendships have endured outside the realm of discourse on the Israeli-Palestinian conflict. “My Muslim friend and I, we’re not really on the political level of conversation,” she said. “But we have plenty of conversations about our cultures and our religions and the differences and similarities.”
Rethinking Jewish Whiteness
For some students, these relationships have also challenged assumptions about Jewish identity and, thus, the tenor of political conversations.
Mian Muhammad Abdul Hamid, a Muslim student from Syracuse University, told the Forward that he “thinks the majority” of Muslim students on his college campus believe Jews only come from Europe. “When people think Jewish, the first thing that pops up is European.”
Bozdar agreed. “When I met these people, it confirmed for me that there are Jews from the Middle East,” he said. “Until you meet people, nothing is for sure.”
Columna recalled participating in a tabling event about Israel shortly after Oct. 7, when a Muslim student approached him to talk. The two later became friends. Weeks later, Columna asked why he had approached him rather than the other nearby Jewish students.
“He told me, ‘I decided to talk to you because, in contrast to the Ashkenazi Jews nearby, you were the only one who looked brown,” Columna said.
“I feel that sometimes the reason why these conversations do not work is because Muslim students don’t feel that Jews are even part of the Middle East,” said Columna. “Once you break that wall, and you find a common ground,” he said, “it becomes a more productive conversation.”
Zamir, an Iraqi Jewish student at Columbia University, described a similar experience. Though initially nervous about enrolling amid campus tensions, he said, “I never felt I was being attacked for my views.”
A Muslim friend later told him it was because he was seen as “from the region.”
“If you are Mizrahi,” Zamir said, “Muslim students respect what you say a bit more because if you’re from the region, you’re entitled to be there.”
But that dynamic also raises uncomfortable questions about which Jewish students are seen as having legitimate perspectives on campus.
“There’s this extreme position that Ashkenazi Jews shouldn’t be there or shouldn’t have this view because they’re ‘colonizers,’ but you’re okay because you’re part of the region,” he said.
“Unfortunately, this is the case, but it also makes my interactions with them easier,” he added.
While several students said their conversations about their shared background remain at the cultural level rather than getting political, Pool believes shared meals can create space for conversations that lean on these shared identities.
“If you share a meal with someone, you start with something in common,” he said. “You have the same food, maybe then you have the same family tradition of how to cook this food. And then suddenly, when you’re talking about politics, you can talk about just a political issue versus it being your entire identity.”
The post Muslim and Sephardic Jewish college students are connecting over shared heritage appeared first on The Forward.
Uncategorized
The one Jewish value everyone should hold dear in the age of AI
As friends, relatives and even colleagues dive headlong into our AI future, I’ve been stuck nervously on the platform’s edge. I’m not a skeptic of technology by nature, but by experience. I’ve watched too many shiny new toys come along, promising to make society smarter or better connected, only to become superspreaders of confusion, alienation and disenfranchisement.
So when you tell me a machine can summarize any book, draw any picture or write any email, my first thought is going to be, What could possibly go wrong?
This, too, was the reaction of the Haredi rabbis who declared a communal fast over AI last month.
“If at the push of a button, I can get a hold of a d’var torah for my Shabbos meal from AI, to us, that’s a problem,” a Haredi leader told me at the time. “No, no — I want you to open the book and read it and come up with a question and come up with an answer. That’s part of what’s holy about learning Torah. It’s not just end result. It’s the process.”
Curious about their logic, I spent some time tracking down Lakewood’s gedolim to learn more. This was no straightforward task — I found it easier to get a hold of their wives than the great rabbis themselves. Even at dinner hour, these titans of Torah study were still in the beit midrash. But eventually I got through to three — thanks to my cousin Jeffrey, who knew a rav who knew a rav — and that was fortunate, because I came away with the Jewish skeleton key to our brave new world.
That key is the Jewish value of עֲמֵילוּת (ameilut), or toil. As far as Jewish values go, ameilut is an obscure one. It lacks the celebrity swagger of its better-known peers like chesed and tzedakah or the political power of tikkun olam. It was never associated with a biblical matriarch or carved into a golem’s forehead. Yet I believe it is just as crucial. Yes, toiling is a mitzvah. And in the age of AI, ameilut can be a human road map.
The word’s root appears a couple dozen times in the Hebrew Bible — unsurprisingly, it’s a recurring theme in Job — but its salience comes not from the Torah but from commentary on Leviticus 26:3, which establishes ameilut as a sacred endeavor. When God implores Israel to “walk with” the commandments, Rashi, an 11th century rabbi whose commentaries are considered authoritative, reinterpreted this to mean that God wants Jews to be ameilim b’torah — toiling in Torah study. He is reinterpreting God’s command that we walk and move forward to also mean that we should take time to stand still, turn over (and over) the same words to find new meaning and view getting stuck as a sign of progress.
For Haredim — who pronounce it ameilus — the notion that struggle can be its own reward underpins a life spent poring over sefarim in the beit midrash (and missing phone calls from the Jewish press). It follows that ChatGPT, which transforms knowledge from something developed to something consumed, is anathema to their approach. They’ve realized that making learning easy has actually made learning hard.
To be sure, the goals of the Haredi world are not exactly the same as mine. Those communities are famously insular, wary of the internet and especially cognizant of secular society’s pernicious influence. I’m basically the opposite: I love to mix it up (including with Haredi Jews) and am extremely online. A little narishkeit is good for the soul, as far as I can tell.
But I’ve found that ameilut-maxxing translates pretty well to non-religious life, too. It’s an imperative to embrace the challenge. As a notoriously limited chef, I’m now toiling in cookbooks; as a writer, I can cherish the blank page. Reframing the hard part as the good part, then, is a reminder that the toil is actually our divine right. Because ameilut is something AI can’t experience, replicate or understand. It is the very essence of what it means to be alive.
The post The one Jewish value everyone should hold dear in the age of AI appeared first on The Forward.