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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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Longing for the way secular Jews used to be
איך זיץ דאָ און הער זיך צו צום קול פֿון מײַן פֿעטער יונה ז״ל ווי ער ריכט אָפּ דעם פּסח־סדר אינעם יאָר 1962… און איך קוועל דערפֿון.
יונה גאָטעסמאַן איז געווען אַ סעקולערער ייִד, אָדער ווי מע פֿלעג עס רופֿן אין יענע יאָרן — אַ וועלטלעכער. ער האָט נישט געהיט שבת אָדער כּשרות, און טאַקע דערפֿאַר איז בײַ אים נישט געווען קיין מניעה צו רעקאָרדירן זײַן קול בײַם סדר. אָבער ווען מע הערט ווי ער זאָגט דעם יום־טובֿדיקן קידוש, אָדער דעם „הא לחמא עניא‟ (די דערקלערונג וואָס רופֿט יעדן איינעם וואָס ס׳איז הונגעריק צו קומען און עסן) אָדער דעם „אחד מי יודע‟, דאַכט זיך דיר אַז סע זינגט אַ פֿרומער ייִד מיט אַ קיטל. ער זאָגט די הגדה מיט אַ ניגון וואָס חזרט זיך כּסדר איבער און די ווערטער פֿליִען פֿאַרבײַ אַזוי גיך אַז ס׳איז מיר אַ מאָל שווער צו דערקענען וווּ ער האַלט. אָבער טאַקע דערפֿאַר קלינגט עס אַזוי נאַטירלעך.
אונטן קענט איר אַליין הערן ווי יונה גאָטעסמאַן ריכט אָפּ דעם סדר. די ערשטע 30 סעקונדעס זענען שווער צו הערן אָבער דערנאָך הערט מען שוין אַ סך בעסער.
ווי אַ סך ייִדן פֿון זײַן דור איז דער פֿעטער דערצויגן געוואָרן אין אַ פֿרומער שטוב. די משפּחה האָט געוווינט אין סערעט, אין דער בוקאָווינע, און יונה האָט, אַ פּנים, גוט געדענקט דעם נוסח פֿון זײַן טאַטן, חיים, וואָס האָט געדאַוונט סײַ בײַ די וויזשניצער חסידים, סײַ בײַ די סאַדעגערער. ווי עס דערציילט זײַן זון, איציק גאָטעסמאַן, האָט יונהס טאַטע אָנגעשטעלט אַ גמרא־מלמד צו לערנען מיט אים ווײַל קיין ישיבֿה איז אין סערעט נישט געווען. אַפֿילו מיט יאָרן שפּעטער, ווען יונה האָט שוין אויסשטודירט אויף דאָקטער און מער נישט געפֿירט קיין פֿרום לעבן, אַז ער איז געפֿאָרן צו גאַסט צו טאַטע־מאַמע האָט דער טאַטע אָנגעשטעלט פֿאַר אים אַ גמרא־לערער.
אונדזער שרײַבערין מרים האָפֿמאַן דערציילט אַז איר מאַן, מענדל ז״ל, אויך אַן אָפּשטאַמיקער פֿון די וויזשניצער חסידים, האָט געטאָן דאָס זעלבע. נישט געקוקט אויף דעם וואָס ער האָט נאָכן חורבן (בפֿרט נאָך דעם וואָס ער האָט אָנגעוווירן זײַן טאַטע־מאַמע, זײַן 12־יעריק ברידערל בנימעלע און דרײַ שוועסטער אין גאַזקאַמער) אָפּגעוואָרפֿן זײַן אמונה און אַפֿילו געהייסן זײַן פֿרוי נישט פּראַווען קיין שבת אָדער האַלטן אַ כּשרע קיך אויס כּעס צום אייבערשטן, פֿלעגט ער יעדן פּסח זיך אָנטאָן אַ יאַרמלקע און אָפּריכטן דעם גאַנצן סדר אויפֿן אַלטן שטייגער.
אויך מײַן טאַטע האָט יעדעס יאָר אָנגעפֿירט מיט אַ טראַדיציאָנעלן סדר אויף לשון־קודש כאָטש ער איז, אין פֿאַרגלײַך מיט יונהן און מענדלען, דווקא נישט דערצויגן געוואָרן אין אַ פֿרומער היים. ווי אַ דערוואַקסענער האָט ער זיך אַליין אויסגעלערנט ווי אָפּצוריכטן דעם סדר — מסתּמא טאַקע פֿון זײַן שוואָגער יונה — ווײַל ער האָט געוואָלט אַז דער סדר זאָל האָבן אַ דורותדיק פּנים.
מיט אַנדערע ווערטער, אין יענע יאָרן איז געווען אָנגענומען אַז איינער וואָס האַלט זיך פֿאַר אַ פֿולשטענדיקן סעקולערן ייִד קען נאָך אַלץ, כאָטש איין מאָל אַ יאָר, אָנפֿירן מיט אַ רעליגיעזע צערעמאָניע (אַפֿילו אַ דרײַ־שעהיקן ריטואַל ווי דער סדר), כאָטש עס דערמאָנט גאָט אויף שריט און טריט.
אַן אַטעיִסט וואָלט אפֿשר געשטעלט די פֿראַגע: וואָס איז דער שׂכל פֿון מאַכן ברכות און דורכפֿירן רעליגיעזע ריטואַלן ווען מע גלייבט אַליין נישט אין דעם? איז דאָס נישט אַ מין נישט־אויסגעהאַלטנקייט? מײַן טאַטע ע״ה פֿלעגט, למשל, יעדן שבת מאַכן קידוש און המוציא אויף אַזאַ נאַטירלעכן אופֿן, אַז איך בין געווען זיכער ער איז אַ גלייביקער. און דערפֿאַר ווען איך האָב צו 17 יאָר אַליין זיך פֿאַראינטערעסירט אין גײַסטיקע ענינים און געפּרוּווט פֿאַרפֿירן אַ שמועס מיט אים וועגן דעם, האָט ער פּלוצלינג אויסגערופֿן: „פֿאַר וואָס פֿרעגסטו מיך די אַלע שאלות? דו ווייסט דאָך, אַז איך בין אַן אַטעיִסט!‟
„דו ביסט אַן אַטעיִסט?‟ האָב איך איבערגעפֿרעגט, אַ פֿאַרחידושטע. „פֿאַר וואָס זשע האָסטו די אַלע יאָרן געמאַכט קידוש און המוציא יעדן שבת?‟
זײַן ענטפֿער: „צוליב אײַך!‟
לאַנגע יאָרן האָב איך איבערגעקלערט וואָס עס מיינט טאַקע דער „צוליב אײַך‟. הייסט עס, אַז ער אַליין האָט נישט הנאה געהאַט דערפֿון? אַז דאָס איז בלויז געווען אַ מיטל צו פֿאַרבעסערן די שאַנסן אַז זײַנע קינדער זאָלן זיך שטאַרק אידענטיפֿיצירט ווי ייִדן?
אַז איך קלער איצט וועגן דעם, זעט מיר אויס אַז עס זענען מסתּמא געווען עטלעכע סיבות פֿאַר וואָס די דרײַ וועלטלעכע ייִדן (צוויי פֿון זיי — געשוווירענע אַטעיִסטן) און אַ סך אַנדערע פֿון זייער דור, זענען געווען גרייט אָנצופֿירן מיט אַ רעליגיעזן סדר. ערשטנס, ווי מײַן טאַטע האָט געזאָגט, האָבן זיי עס געטאָן פֿאַר זייערע קינדערס וועגן. ס׳שטייט דאָך בפֿירוש געשריבן אין דער הגדה: „והגדת לבנך — זאָלסט דערציילן דײַנע קינדער וואָס ס׳איז געשען אין לאַנד מצרים‟.
נו, אויב אַזוי, האָבן זיי דאָך געקענט פּשוט דערציילן די געשיכטע פֿון די ייִדן אין מצרים און זייער באַפֿרײַונג אויף אַ סעקולערן אופֿן, אָן צו דערמאָנען גאָט בכלל. זיי האָבן געקענט ניצן די הגדה אַרויסגעגעבן פֿונעם אַרבעטער־רינג אָדער אַן אַנדער סעקולערער ייִדישער אינסטיטוציע. זיי האָבן דאָס אָבער נישט געטאָן. יאָ, אויפֿן סדר־טיש זענען טאַקע געלעגן די וועלטלעכע הגדות, כּדי מע זאָל קענען זינגען בציבור די שיינע מאָדערנע ייִדישע לידער ווי אַבֿרהם רייזענס „אויפֿן ניל‟, דוד עדעלשטאַדטס „אין דעם לאַנד פֿון פּיראַמידן‟ און יצחק לוקאָווסקיס „חד גדיא‟. די וועלטלעכע הגדה איז אָבער בלויז געווען אַ צוגאָב צום סדר, נישט דער הויפּטטעקסט.
מיט אַנדערע ווערטער, די אָ דרײַ וועלטלעכע ייִדיש־רעדנדיקע ייִדן האָבן געוואָלט ביידע: סײַ דעם כּמעט צוויי טויזנט־יאָריקן נוסח, סײַ די וועלטלעכע ייִדישע עלעמענטן.
אויב אַזוי איז די כּוונה, אַ פּנים, געווען עפּעס שטאַרקערס ווי בלויז איבערגעבן די געשיכטע פֿון יציאת־מצרים. ס׳איז אויך געווען אַן אופֿן צו ווײַזן דעם ייִנגערן דור ווי רײַך און ווי טיף איז די ייִדישע טראַדיציע; אַז ייִדיש איז נישט בלויז אַ לשון נאָר אַ גאַנצע קולטור, וואָס איז אָנגעזאַפּט מיט רעליגיעזן וויסן; אַז אַ ייִד דאַרף קענען, אָדער כאָטש זײַן היימיש מיט, דעם רעליגיעזן אַספּעקט פֿון דער ייִדישער טראַדיציע, אַפֿילו אויב ער אַליין איז נישט קיין פֿרומער.
פֿון מײַן זײַט בין איך גאָר צופֿרידן וואָס איציק גאָטעסמאַן האָט אָנגעהאַלטן די רעקאָרדירונג פֿון זײַן טאַטן. איצט קען איך — און ווער נאָך עס וויל נאָר — זיך אויסלערנען דעם סדר־נוסח פֿון די אַמאָליקע בוקאָווינער ייִדן און דערבײַ באַרײַכערן דעם אייגענעם סדר.
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Iran War Increases Threat to Sweden, Security Service Says
Swedish Security Service Chief Charlotte von Essen speaks next to Fredrik Hallstroem, chief of operations, during a press conference where the Swedish Security Service (SAPO) presents the situational picture of the country’s security, in Stockholm, Sweden, March 18, 2026. Photo: TT News Agency/Claudio Bresciani via REUTERS
Sweden‘s Security Service (SAPO) warned on Wednesday of increased threats to the Nordic nation from the war in Iran, including risks to Jewish targets, as it released its annual national security assessment.
“History has shown that a desperate and pressured regime can be a dangerous regime,” SAPO operative chief Fredrik Hallstrom told a press conference, referring to the US-Israeli war on Iran.
Iran has long been considered a serious threat, and Swedish authorities have noted how criminal networks – already at the center of a decade-long surge in gang-related violence – have been exploited by state actors to carry out attacks.
“The US-Israeli military operation against Iran, and the countermeasures carried out by Iran, have increased the threat against American, Israeli, and Jewish targets in Sweden,” Security Service Chief Charlotte von Essen said in the report.
In recent years, the agency has also highlighted threats from China and, above all, Russia, which it describes as increasingly willing to take risks in support of its war in Ukraine — including through hybrid operations across Europe.
“Overall, we expect that the threat levels against Sweden will continue to deteriorate in the coming years,” von Essen said, adding that Russia was regarded as a primary driver.
While it is difficult to determine what can be linked to a particular actor, Sweden assesses that Russia is behind several sabotage incidents in Europe targeting critical infrastructure, the security service said. Moscow has denied any involvement.
The agency said it has reviewed hundreds of cases of suspected sabotage in Sweden, including of underwater cables, electricity substations and water-treatment facilities.
“It has so far not been possible to link any physical sabotage to a foreign power,” it said.
The comments came as Iran executed a Swedish citizen on Wednesday, according to Sweden‘s foreign minister, who added that she had summoned the Iranian ambassador in Stockholm to condemn the decision.
The person, who was not named, was arrested in Iran in June of last year and Sweden has repeatedly raised the case with Iranian officials, Foreign Minister Maria Malmer Stenergard said.
“The death penalty is an inhumane, cruel, and irreversible punishment. Sweden, together with the rest of the EU, condemns its application in all circumstances,” Stenergard said.
The legal proceedings leading up to the execution did not meet the standards of due process, she added.
The European Union’s foreign policy chief Kaja Kallas condemned the execution in a statement on Wednesday evening.
“The appalling human rights situation in Iran and the alarming increase in executions are intolerable and show the regime’s true colors,” she said, sending condolences to the family of the citizen.
The Swedish foreign ministry and the Iranian embassy in Stockholm did not immediately respond to a request for comment when contacted by Reuters via phone and email.
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Israel Doubles Troops in Hezbollah Fight, Searches Homes in South Lebanon
Israeli soldiers walk next to military vehicles on the Israeli side of the Israel-Lebanon border, amid escalation between Hezbollah and Israel, and amid the US-Israeli conflict with Iran, in northern Israel, March 16, 2026. Photo: REUTERS/Avi Ohayon
Israel has more than doubled the number of troops along its border with Lebanon since March 1 and they are searching homes in southern Lebanese villages that the military has ordered evacuated, a senior Israeli commander said on Wednesday.
As Israeli warplanes pound Beirut in operations against Hezbollah that have become the deadliest spillover of the US-Israeli war on Iran, heavy smoke could be seen rising from villages in southern Lebanon as troops fired artillery across the border.
Hundreds of thousands of Lebanese have fled southern Lebanon since Israel ordered people to clear the area south of the Litani River, viewed by Israel as a stronghold of Iran-backed terrorist group Hezbollah. The Shi’ite Islamist group has been firing rockets toward Israel since joining the war in support of Iran on March 2.
‘DEFENSIVE POSITIONS’ INSIDE LEBANON
“The plan is to make sure that Hezbollah does not have military infrastructure,” said the commander, whose name was withheld by the Israeli military on security grounds.
Speaking to Reuters in Eilon, an Israeli town four kilometers from the border, the commander, who is responsible for infantry warfare in Lebanon, declined to say how many troops Israel had now deployed in the area.
Describing the military’s fortifications inside Lebanon as “defensive positions,” he said troops were searching “the villages to see if Hezbollah hid weapons or communications centers.”
Asked if that included searching houses that residents had fled following Israeli orders, the commander said: “In some of the cases they hid their weapons in houses. We have no choice but to make sure that house is not a military installation.”
Two Israeli soldiers have been killed since the start of operations in southern Lebanon, the Israeli military says.
At least 968 people in Lebanon have been killed since the start of Israel‘s attacks, Lebanese authorities say.
Hezbollah has not provided regular updates on deaths among its fighters. On Monday, a Hezbollah official told Reuters that at least 46 had been killed so far.
LEBANESE VILLAGE OF KHIYAM AN INITIAL TARGET
The Israeli military is advancing slowly through southern Lebanon, aiming to completely clear the town of Khiyam as a first step before advancing toward the Litani River, according to a Lebanese security source and a foreign official tracking developments on the ground.
In response to a question on whether Israel intended to establish positions up to the Litani, the commander said it was not his decision. If troops receive orders, he added, they are “prepared to do all kind of operations.”
The Israeli military did not immediately comment on its operations in Khiyam, five kilometers inside the Lebanese border from the Israeli town of Metula.
Along the border near Metula, Reuters saw several Israeli military fortifications dug into hillsides, filled with rows of tanks, armed personnel carriers, and bulldozers.
Smoke rose from Khiyam throughout the day on Wednesday, and many of the buildings on the southern side of the town had been reduced to rubble. A neighboring town remains in ruins from Israel‘s attacks in 2024.
‘EVERY FIVE MINUTES YOU CAN HEAR THE BOMBS’
Israel‘s northern border area with Lebanon is known as the Upper Galilee, its rolling hills offering vantages into southern Lebanese villages now occupied and bombarded by Israeli troops.
Near Metula, Israeli Apache helicopters and jets were making near-constant sorties on Tuesday and Wednesday, with the sounds of rocket fire from Lebanon interspersed with the booms of Israeli artillery fire.
For residents of Israel‘s far north, the current war with Hezbollah has seen less rocket fire than during a year of fighting that ended in 2024.
Hezbollah‘s ability to launch missiles has largely been degraded, but it still retains capacity to strike areas deep inside Israel, Israeli officials say.
Ofer Moskovitz, 60, who works at an avocado farm in the area, and said being so close to the border meant he had little time to run to a bomb shelter when sirens signaled incoming Hezbollah fire.
Near his farm, the military dug out a muddy fortification from where troops fired artillery across the border.
“Every five minutes you can hear the bombs,” he said.