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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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Jews decry UK newspaper for appearing to justify attack on bakery founded by Israelis
(JTA) — A Guardian column that seemed to rationalize the targeting of a popular Israeli-founded bakery has ignited controversy in the British Jewish community.
The March 14 piece in the British daily, by sports and culture writer Jonathan Liew, came days after the newly opened north London branch of Gail’s was repeatedly vandalized, with its windows smashed and red paint and pro‑Palestinian slogans daubed on its doors.
The Board of Deputies of British Jews denounced the vandalism, saying that “targeting a business on the basis of alleged or perceived Israeli and or Jewish connections reflects a very worrying trend.”
Liew, meanwhile, described the bakery chain’s expansion into diverse neighborhoods as a form of “aggression,” implying that its presence near a Palestinian-owned cafe was inherently provocative.
Critics, including British Jewish media, communal leaders and online commentators, accused Liew of rationalizing an attack on a business they say is being targeted solely because of its founders’ Israeli heritage. Gail’s was founded in the 1990s as a wholesale bakery by Israeli baker Gail Mejia, who with an Israeli partner opened a storefront bakery in 2005. In 2021, the company, today with close to 200 stores, was acquired by the American investment firm Bain Capital.
“We are a British business with no specific connections to any country or government outside the UK,” a spokesperson for Gail’s told the Jewish News. “Our focus right now is on working with the authorities and making sure our people feel safe and supported.”
Although the Guardian piece acknowledges Bain’s ownership, it also notes allegations that the investment firm “invests heavily in military technology, including Israeli security companies.” As a result, wrote Liew, “its very presence 20 metres [65 feet] away from a small independent Palestinian cafe feels quietly symbolic, an act of heavy-handed high-street aggression.” High Street is the British equivalent of “Main Street.”
Pro-Palestinian demonstrators had protested the opening of the branch in the days before the vandalism.
A spokesperson for the Israeli embassy in the U.K. told The Daily Mail that Liew’s article was “an astonishing exercise in bigotry disguised as moral commentary.”
“Beneath its surface lies a familiar and ugly trope: the repackaging of anitsemitic prejudice in fashionable political language,” said Alex Grandler.
The debate, playing out in fiery messages on social media, has highlighted broader concerns about Jewish-owned businesses in Britain being cast as proxies in disputes over the Middle East. In 2025, the Community Security Trust, Britain’s main antisemitism watchdog, recorded 20 incidents involving vandalism at Jewish businesses and organizations.
“In the Guardian’s hall-of-mirrors morality, smashing up a shop because it was founded by Jews is just a touching little political tantrum,” Jewish News editor Richard Ferrer wrote in a column.
In the Guardian piece, Liew seemed to sympathize with the Palestinian-owned cafe in the neighborhood, Cafe Metro, for having been the frequent victim of “pro-Israel activists” who “regularly descend on it to slap stickers on its windows reading ‘Stop killing people’ and ‘One of these days you’ll thank us.’” At the same time, he referred to the window-smashing at Gail’s among the “small acts of petty symbolism” that grow out of Palestinian frustration with their failure to exert influence on the Israel-Palestine debate.
Hadley Freeman, a former columnist for the Jewish Chronicle who now writes a column for The Times, called out Liew for applying an apparent double standard.
“So let me get this straight,” she wrote on X. “1. Petty activism against a Palestinian-owned cafe is bad (agreed!) 2. But *violent* activism against a cafe that people associate (wrongly!) with Israel is justified and understandable.
“Update your rule book accordingly!” she added.
CAMERA UK, a media watchdog group that monitors coverage of Israel, said it had contacted the Guardian, asking if Liew’s column met its “editorial standards.”
“We know the answer, but are nonetheless hoping to see how they justify Liew’s latest defense of antisemitism,” CAMERA said in a statement.
A Guardian spokesperson did share a terse reply with The Daily Mail. “Complaints about Guardian journalism are considered by the internally independent readers’ editor under the Guardian’s editorial code and guidance,” the spokesperson said.
The controversy even reached across the Atlantic. “Good grief — Gail’s is just a bakery!” Patricia Heaton, the actress and conservative political activist, wrote on X. Heaton said she ”had no idea it had any connection to Israel or the Jewish people. But now I want to support it even more.”
Public defenses of the article have been limited, though some pro-Palestinian activists online argued that Liew was only describing the motivations of the protesters rather than endorsing vandalism.
Liew hasn’t responded to the criticism of his column, although he pinned the article to the top of his Bluesky social media account, with the message “the war at home.”
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Report: Israeli group quietly organized charter flights evacuating Palestinians from Gaza
(JTA) — An Israeli organization headed by a right-wing activist quietly arranged a series of charter flights that evacuated Palestinians from Gaza last year, according to an Associated Press investigation.
The organization, Ad Kan, a right-wing Israeli organization founded by Gilad Ach, an Israeli combat reservist and West Bank settler activist, coordinated the flights via another company called Al-Majd, which describes itself on its website as a humanitarian organization “supporting Palestinian lives.”
Among the evacuations facilitated by Ad Kan was a flight in May that transported nearly 60 Palestinians to Indonesia and other locations, as well as two flights in October and November that transported over 300 Palestinians to South Africa.
It was not clear who had planned or paid for the flights. South African Foreign Minister Ronald Lamola decried the evacuations as representing “a broader agenda to remove Palestinians from Palestine,” and an investigation was launched into one of the flight’s origins.
At the time, President Donald Trump had walked back his proposal to relocate the population in Gaza to other countries amid criticism, despite getting Israeli Prime Minister Benjamin Netanyahu’s endorsement.
The AP investigation found that Ach had stuck with Trump’s plan after the U.S. president dumped it, publishing a report detailing how he would implement the “voluntary exit.”
The newly revealed origins of the charter flights adds to a history of controversy surrounding small-scale efforts to evacuate Palestinians from Gaza. Last August, France suspended its effort to evacuate Palestinians after a woman who took part in the program was accused of making antisemitic comments online. The same month, the United States also suspended a program designed to give Palestinian medical care after the far-right Jewish influencer Laura Loomer called the effort a “national security threat.”
Several of the passengers on the South Africa flights told the Associated Press that they were unaware of who was behind the flights, but said they did not care and were more concerned with leaving the besieged territory. (Six Palestinians who spoke to the outlet said they paid up to $2,000 per person for the transportation.)
“There was famine, and we had no options. My children were almost killed,” said a 37-year-old Palestinian who arrived in South Africa in November. “Death and destruction was everywhere, all day, for two years, and nobody came to the rescue.”
In a statement to the Associated Press, Ach rejected South Africa’s allegations that the evacuations amounted to ethnic cleansing and decried the “profound hypocrisy” of countries unwilling to accept Palestinian refugees.
“Their continued presence in Gaza, under dire conditions, serves as a tool to pressure Israel internationally and allows Hamas to maintain its rule over this suffering population,” Ach said.
While it was unclear if Ach had coordinated with the Israeli government to facilitate the evacuations, Muayad Saidam, a Palestinian identified on the group’s website as its Gaza humanitarian project manager, told the outlet that travel arrangements for Palestinians must be made with Israeli authorities.
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Illinois primary pits Jewish candidate with deep Israel ties against AIPAC spending
Daniel Biss might seem like the kind of candidate the American Israel Public Affairs Committee could live with. The two-term Evanston mayor grew up partly in Israel, where his family spent summers. His mother is Israeli. He speaks Hebrew. And in his political career, he regularly engaged with pro-Israel groups, including AIPAC.
But with voters going to the polls Tuesday in Illinois for a closely watched Democratic congressional primary, Biss, 48, finds himself in the unusual position of defending himself against nearly $6 million in spending from an AIPAC-aligned super PAC. His district includes Evanston and Chicago’s North Shore suburbs, with one of the largest Jewish populations in the Midwest and a history of Jewish representation. An estimated 11% of the electorate is Jewish.
Speaking with the Forward, Biss acknowledged that the barrage of negative ads has been unpleasant. But he said the outside spending has become central to his campaign, as he seeks to highlight who is behind the attacks. Once voters learn about AIPAC’s role, he said, “they are repelled.”
Biss is the latest target of the major Israel lobby group’s campaign to eliminate candidates for Congress who have substantial engagement on Israel aimed at taking a more moderate path for U.S. policy — even if that means helping get far-left candidates who denounce Israel nominated instead.
That’s what happened in AIPAC’s first intervention in Democratic primaries this year, in a New Jersey special election for a House seat. There, progressive candidate Analilia Mejia — who described Israel’s military campaign in Gaza as a genocide — prevailed after an AIPAC-associated super PAC spent more than $2 million targeting former Democratic Rep. Tom Malinowski.
Elect Chicago Women, a super PAC aligned with AIPAC, has invested more than $5.7 million in attacking Biss and boosting State Sen. Laura Fine, who is also Jewish.
Recent polling, however, showed the spending has not necessarily reshaped the race in Fine’s favor. Kat Abughazaleh, a young Palestinian-American progressive candidate, has risen to second place in recent weeks. She is backed by Justice Democrats and a newer pro-Palestinian political group called Peace, Accountability, Leadership PAC. Her surge has fueled concerns among some Democrats that the race could produce another member of the progressive “Squad” in Congress and make it harder to win the general election.
Biss had tried to get into AIPAC’s good graces. He acknowledged that he had previously engaged with local AIPAC representatives in “good faith,” even submitting a position paper outlining his views on Israel. But he now believes the organization’s approach has become too inflexible to allow for meaningful dialogue.
He called “absurd” AIPAC’s stance opposing any conditions on U.S. military aid to Israel. “And then try to enforce it with millions of dollars of dark money, is certainly bad for democracy and bad for our politics here in America,” Biss added.
Biss said he supports a pair of measures that would restrict certain offensive arms sales to Israel and increase oversight of Israel’s policies in the occupied West Bank and in Gaza. Current Rep. Jan Schakowsky, who is Jewish and has held the seat for nearly three decades, is a co-sponsor of both the Block the Bombs Act and the Ceasefire Compliance Act.
Biss’ views on Israel are shaped in part by his own family’s history. All four of his grandparents were born in Europe. His father’s parents fled Nazi-era Europe in the late 1930s, settling in Decatur, Illinois, where his grandfather established a medical practice.
His mother’s family had a more harrowing journey. Ethnic Hungarians living in what was then Romanian-controlled Transylvania, they were deported to Auschwitz in 1944. Biss’ grandmother, her sister and one brother survived, while her parents and two other siblings were killed. After the war, the surviving members of the family returned to their hometown before immigrating to Israel, where Biss’ mother was raised. Much of his extended family still lives there today.
He said he visited Israel nearly every year from childhood through his early adulthood and speaks Hebrew, which he learned as a child from his mother.
“My connection to Israel is very deep, real and personal,” Biss said. “This is not some political position I take for a questionnaire.”
At the same time, he said, his Jewish upbringing also shaped how he thinks about the Israeli-Palestinian conflict.
If elected to Congress, Biss said, he would push the United States to bring diplomatic and economic pressure to bear on Israel, measures backed by J Street, a more liberal alternative to AIPAC. “I think that it’s important to have people in Congress who advocate for that kind of position, from a standpoint of supporting Israel’s right to exist as a Jewish democratic state, understanding Israel’s need to defend itself, and advocating for a vision of Israeli defense and security that is not inconsistent with basic humanitarian principles, and with the Jewish values of treating every life as equally sacred,” he said.
Steve Sheffey, a longtime Chicago Democratic activist who writes an insider politics newsletter, said that AIPAC’s attacks on Biss seem perplexing — until understood as targeting someone who poses a threat to uncritical U.S. backing. “Biss’ background on Israel is so much deeper and more extensive than almost any member of Congress in either party,” Sheffey said. “When Daniel Biss says something about Israel, it comes with authority.”
Sheffey suggested that independent thinking may be exactly what worries AIPAC.
“AIPAC sees me as a threat because they know that in Congress, I can’t be dismissed,” Biss said in a recent statement.
More districts, more division
The contest is not the only Illinois primary where hardline Israel advocacy groups are playing a major role.
In the 2nd District, a crowded race to replace Rep. Robin Kelly — who is running for the U.S. Senate — has drawn attention after Schakowsky withdrew her endorsement of Cook County Commissioner Donna Miller over her ties to AIPAC-aligned donors. One of Miller’s chief rivals is State Sen. Robert Peters, a Black Jew who has been endorsed by Vermont Sen. Bernie Sanders, accused Israel of genocide and signed on to the Block the Bombs Act. Peters wrote in an op-ed for the Forward that AIPAC’s opposition to him is driven by concern that outspoken Jewish critics of Israeli policy like himself will prompt “others who may have been nervously hanging back…feel like they can take bolder action as well.”
In the crowded race to replace retiring Rep. Danny Davis in the 7th District, the campaign of Chicago City Treasurer Melissa Conyears-Ervin has received about $5 million in spending from AIPAC’s United Democracy Project and an endorsement from Democratic Majority for Israel. Jason Friedman, who is Jewish and previously got AIPAC support, has been “approved” in the primary by J Street.
AIPAC is also boosting former Rep. Melissa Bean, vying to replace incumbent Rep. Raja Krishnamoorthi, who is running in a Senate primary. Elect Chicago Women spent $3.9 in the race. Bean’s campaign also received more than $400,000 in donations from AIPAC donors. Her chief rival is Junaid Ahmed, a critic of Israel who supports an arms embargo on the Jewish state. Chicago Progressive Partnership, a group that shares vendors and donors with other AIPAC-affiliated PACs, aired an attack ad against Ahmed, attacking his personal wealth and investments in Tesla.
In an email to its supporters, AIPAC attempted to frame the races as a fight against potential “Squad” members. It listed Abughazaleh, Peters and Ahmed, along with an additional three progressive lower-tier candidates, as people with “dangerous visions for America,” who need to be stopped. “The pro-Israel community is taking the political fight to them, and we are not backing down,” Jake Braunstein, AIPAC senior director, wrote.
Biss, the candidate most heavily targeted by AIPAC-aligned spending, was not mentioned.
“AIPAC is backing a candidate who has almost no chance of winning,” Sheffey said, referring to Fine.
Joe Rubin, a Democratic commentator and foreign policy expert, said the Biss-Fine-Abughazaleh race differs from AIPAC’s earlier intervention in New Jersey in ways that could prove more embarrassing for the group. In the New Jersey election, AIPAC sought to defeat Malinowski without backing a clear favorite and was willing to take that risk. In Illinois, however, the group is investing heavily to elect Fine — so far unsuccessfully.
“I don’t believe AIPAC is necessarily heartbroken” if they empower a far-left candidate, Rubin said. “But I do think that they’re trying to defeat who they feel will be a very strong opponent.”
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