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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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Talarico blames Netanyahu, not the Israeli people, for devastation in Gaza
(JTA) — James Talarico, Texas’ Democratic nominee for the U.S. Senate, said he holds Prime Minister Benjamin Netanyahu, rather than the Israeli people, responsible for civilian devastation in Gaza.
Talarico, a Texas state representative, is running neck and neck against Republican Attorney General Ken Paxton, in a race whose results could affect which party controls the Senate this November. Israel has been one of many sources of disagreement among the candidates, who have sparred on issues ranging from affordability to immigration to reproductive rights.
“I believe that Israel, like any nation, has a right to defend its people,” the candidate said while fielding questions on Wednesday at a CNN town hall. “But I don’t believe that Benjamin Netanyahu has a right to wage war against civilians or use collective punishment or restrict aid to civilians.”
A Texas Politics Project poll, issued by the University of Texas this week, showed Paxton trailing Talarico by 3 percentage points, with 47% to the Democrat’s 50% and a margin of error of 3.34 percentage points.
Talarico said in August that he supported stopping arms sales to the Netanyahu government and conditioning military aid “on ending the death and the destruction in Gaza and the West Bank.” He declined to call the crisis “genocide,” noting that the term is being litigated in the International Court of Justice. But he said he’d “use every bit of our nation’s diplomatic and financial leverage to protect the lives of Palestinians.”
When he was pressed further by Rabbi Holly Levin Cohn of Congregation Beth El Binah in Dallas during the town hall, Talarico stressed the importance of directing his criticisms “toward Prime Minister Benjamin Netanyahu and not the Israeli people.”
Addressing Israelis’ trauma, Talarico acknowledged that the Oct. 7, 2023, Hamas attack on Israel “was the deadliest day for the Jewish people since the Holocaust.”
Cohn pushed back on his comments regarding aid restrictions, noting Israeli support of humanitarian efforts and arguing that there’s much more going on in the country than the media may be projecting.
Talarico told the rabbi he recognized that his “words carry weight” and gave her his word that he’s “going to continue to listen to all sides of this conflict.” He also expressed hope that “we can all come together to fight for a two-state solution where we have security for Israel and we have freedom and self-determination for Palestinians.”
Talarico also gave a “shoutout” to a local rabbi, Neil Blumofe at Congregation Agudas Achim in Austin. “I spent my first year of my seminary studies learning the Hebrew scriptures from a local rabbi,” he said. “Shout out Rabbi Neil Blumofe!” Cohn grinned.
The post Talarico blames Netanyahu, not the Israeli people, for devastation in Gaza appeared first on The Forward.
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Irish Jewish leader ‘shocked’ after hotel cancels over 70 rooms for antisemitism conference
(JTA) — DUBLIN — An Irish Jewish leader said a Dublin hotel canceled rooms reserved for European delegates after learning that they were visiting for an antisemitism conference.
Maurice Cohen, the president of the Jewish Representative Council of Ireland, said he booked over 70 rooms at the Herbert Park Hotel for people attending a meeting of the Special Envoys and Coordinators Combating Antisemitism (SECCA).
The envoys, who included Jewish community leaders, diplomats and government ministers from across Europe, were invited to the conference this week organized by the World Jewish Congress and the European Commission. The event was tied to Ireland’s Presidency of the Council of the European Union, which rotates between EU member states, and included delegates meeting with Irish Prime Minister Micheál Martin. Most of the government-appointed special envoys are not themselves Jewish.
Cohen said he met with Herbert Park Hotel’s general manager in May to inspect its conference rooms and explained the purpose of the event. According to Cohen, the manager responded by asking, “Will the IDF be involved?”
That question “shocked” Cohen, he told the Jewish Telegraphic Agency.
“I said, this is about antisemitism. It’s not about Israelis, it’s not about Israel, it’s not about the IDF,” he said.
Cohen said the manager told him she had to consult with the hotel owners to determine if his booking could be accepted. The next day, he learned that the rooms were canceled without explanation. The Herbert Park Hotel did not respond to JTA requests for comment.
Cohen booked rooms for the delegates and the conference at different hotels. He described the cancellation in a speech at the SECCA meeting on Tuesday, calling it an example of “contemporary antisemitism.”
“How quickly does the word ‘Jewish’ change a conversation?” he said to the attendees. “How easily does a gathering about antisemitism become associated with the Israeli army? And how quickly can people who were welcome when they were simply 70 hotel guests become something rather different once they are known to be attending a Jewish conference?”
Yoni Wieder, Ireland’s chief rabbi, suggested that the hotel could have based its decision on fears of controversy.
“It’s possible that whoever took the decision had no objection to the conference itself,” Wieder told JTA. “They may simply have wanted to avoid the possibility of protests outside the hotel or some other backlash.”
Ireland’s government has been sharply critical of Israel. The country has recognized Palestinian statehood, barred Israeli far-right ministers from entering its borders and in July passed a law that banned imports from Israeli settlements in the Palestinian territories. Martin has said that Israel committed genocide in Gaza, a charge Israel vigorously rejects. He has also condemned rising antisemitism in Ireland, which is home to about 2,200 Jews.
Herbert Park Hotel is “actually quite familiar with Jewish guests,” according to Wieder, who said that he has overseen kosher catering at the hotel.
Cohen, who has lived in Dublin all his life, said he had fond memories of the hotel. For years it was his favored site for meetings, New Year’s Eve celebrations and his mother’s birthdays through her 93rd.
“Over time the hotel became associated in my mind with friendship, celebration and my mother,” he said in his speech. “So it was strange that, many years later, the same hotel would acquire a very different place in my memory.”
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Whatever you think of Ilhan Omar, these threats are unconscionable
The Trump administration is reportedly planning to build a case to strip Congresswoman Ilhan Omar (D-MN) of her citizenship and eventually deport her.
It is my hope that American Jews — even those who do not like Omar and can recite every questionable comment she has made over the past 15 years to illustrate why — will understand this as offensive and outrageous not only because they are Americans, but because they are Jews.
The Trump administration may claim that it is building a case against Omar due to paperwork (reports suggest that they are interested in whether her father listed her age as 17 on her citizenship application when she was really 18). It is similarly filing dozens of lawsuits attempting to denaturalize citizens by trying to prove they lied in the process of gaining citizenship. However, that this is happening now, ahead of the midterm elections against a sitting member of Congress, a high-profile progressive whom the president has said should “go back” to her country of origin, suggests that it is, to put it mildly, politically motivated.
Evidently, the Trump administration sees citizenship not as a right or a responsibility but as a reward, one that can be taken away if that is seen as useful to the president and his adherents. That use could be silencing political opposition or something as simple (and callous) as an opportunity to brag about the sheer number of attempted denaturalizations.
Jews, too, have found themselves on the wrong end of political denaturalization. I do not mean to compare the Trump administration to the Nazis, but the stubborn fact is that Jews were indeed stripped of their citizenship as part of a political project in Germany and elsewhere in Europe in the 1930s and 40s. And in the early 20th century in the United States, it was Jews who politicians claimed were incapable of assimilating, of ever really being a part of the United States. These arguments culminated in legislation that kept out Jews who could have found refuge here. The threat of denaturalization and the experience of perpetual otherness is a grievous part of modern Jewish history; we should be offended by its presence in our political present.
Jewish tradition as well as history encourages us to stand up to authority when that authority is wrong. Mordecai refuses to bow to Haman; Nathan yells at King David for sleeping with Bathsheba and having her husband killed; Moses famously urges Pharoah to change his oppressive ways. Even God is on the receiving end of pushback when Abraham pleads and negotiates to spare Sodom.
I do not think one needs to be Jewish to be outraged by the attempt to denaturalize Ilhan Omar. I think it is also bone-chilling as an American who believes we, including our elected officials, have the right to openly oppose our president, and I am worried as a person who thinks it would be good to continue to live in a democratic republic. And I am sure that there are Jews who will say that Omar deserves to lose her citizenship because she has said things about Israel they do not like.
But the Jewish lens through which I see this is that it is right to challenge power when it is abused, and it is wrong for the powerful to make a show of trying to cast their opponents out of the country.
The point is not whether Trump can make good on the threat to strip Omar of her citizenship and deport her, but that it is obscene to use denaturalization as punishment for being a high-profile political opponent in the first place. If he is trying to make it more dangerous to speak out while being from the “wrong” country, then the rest of us need to say that this is a fundamental misunderstanding of what it means to be an American citizen.
We should do this because we are Americans and we should do this because we are Jews. We should do this because of the ways in which our American and Jewish identities bleed into one another. And, we should do this because we may not know exactly whether it is as Americans or as Jews that we know we have to protect the right to speak truth to power, but we know we need to do it all the same.
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