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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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Hungarian Filmmaker Says ‘Orgy of Antisemitism Overtaking the West,’ Feels ‘Ostracized’ by Film Industry
Hungarian film director László Nemes attends the photocall of “Moulin” at the 79th Cannes Film Festival in Cannes, France. Photo: Marco Barada / SOPA Images via Reuters Connect
Hungarian Jewish filmmaker László Nemes talked about antisemitism, the “politicization of cinema” regarding Jewish subject matters, and what he believes is an unhealthy “obsession with Jews” in a new interview with The Guardian published on Monday.
Nemes’s latest film, “Moulin,” which is about French resistance leader Jean Moulin, debuted at the Cannes Film Festival on Sunday.
His 2025 film “Orphan” is about a teenage Jewish boy who survived the Holocaust by being hidden in an orphanage. While he searches for his missing father, he discovers the truth about how his mother survived the Holocaust. The film has so far not secured a US distribution deal, and Nemes believes it is because of the film’s Jewish subject matter at a time when tensions are high around the world.
“You should be able to talk about these things without being ostracized,” the filmmaker told The Guardian, adding that he feels “a little bit” ostracized by the industry.
“Even some response [to ‘Orphan’] from the media smells of an ideological standpoint,” he noted, explaining that he thinks the film was “ignored” at last year’s Venice Film Festival.
“There’s an orgy of antisemitism, an absolute, shameless orgy of antisemitism, overtaking the West,” added the director, whose grandmother is a Holocaust survivor. He also described a “race obsession” and a “puritan, moralizing, self-righteousness” ideology that he believes has taken over the cultural world and online.
Nemes won an Oscar in 2016 for his debut feature film “Son of Saul,” which follows a day and a half in the life of an Auschwitz concentration camp prisoner who is forced to clear out the corpses of fellow Jews from the gas chambers and place the bodies in ovens to be incinerated. The film won an array of awards, including the Oscar for best foreign language film. When asked how he thinks “Son of Saul” would be accepted if it was released today, Nemes told The Guardian: “I don’t even think it would make the [Oscar] shortlist today. Because of the politicization of cinema, because anything that’s Jewish is now considered … Nobody would touch it with a 10-feet pole.”
He also said he thinks boycotting Israeli film institutions, which thousands of Hollywood figures have pledged to do, is “anti-humanist regression.”
“And because it’s not identified as this, I think it’s very effective at spreading,” the filmmaker said. “And one of its very potent vectors has been antisemitism … The Jew has always been [cast as] the sort of internal enemy, and I think now [the idea of] the Jew as the internal enemy of the West has reached the dimensions of European antisemitism before the takeover by the National Socialist [Nazi] party.”
He further criticized the thousands of film industry professionals who support cultural boycotts of Israel or protest Israel’s military actions in the Gaza Strip, which target Hamas terrorists in the enclave who orchestrated the massacre in Israel on Oct. 7, 2023.
“Obviously, they prefer to attach themselves to an ideology that’s been around for a long time and that pretends to be humanitarian, but it’s actually not what it purports to be,” Nemes said. “Had they really cared about the people in this region, they would have revolted against these people being ruled by a totalitarian death cult that’s actually killing its own population and at unprecedented levels.”
He believes there is an “obsession with Jews,” and when referring to the difficulty in finding a US distributor for “Orphan,” he said: “People [would] ask me about Gaza, instead of, you know, asking about the movie. [They ask] if I signed this or that petition.”
“It’s tiring to hear the overclass of Hollywood lecture us morally,” Nemes added. “Not only in Hollywood, but in the world. There’s definitely an overclass of people cut from reality, and they are eager to preach to us … Sometimes I think it’s better if actors don’t, you know, speak up that much, because I don’t think they’re very much qualified to talk about anything. They should try to be actors, the best they can, and not become activists. It’s not really their role.”
While speaking to The Guardian, the Hungarian director also criticized fellow Jewish filmmaker Jonathan Glazer for the speech he made at the 2024 Academy Awards. When the British director went on stage to accept his Oscar for the Holocaust-focused historical drama “The Zone of Interest,” Glazer said he and the film’s producer James Wilson “stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of Oct. 7 in Israel or the ongoing attack on Gaza.”
Nemes told The Guardian that making a film about the Holocaust “imposes on its maker a need for responsibility.”
“I didn’t feel that he was responsible at all,” Nemes said, referring to the Glazer. “I thought he wanted to please that overclass of Hollywood with the line of good, righteous thought … I don’t believe that he understands anything about the reality of the region, yet he feels the need to do it. And I think it’s very presumptuous, very condescending.”
Nemes is a graduate of the Sam Spiegel International Film Lab, which is part of the Jerusalem Sam Spiegel Film & Television School.
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UN Special Rapporteur Francesca Albanese Urges Germany to Get Over Holocaust Guilt in Antisemitic Tirade
Francesa Albanese, the United Nations special rapporteur on the situation of human rights in the Palestinian territories, speaks at a conference, “A Cartography of Genocide: Israel’s Conduct in Gaza,” at the Roma Tre University, in Rome, Italy, Oct. 6, 2025. Photo: REUTERS/Remo Casilli
Francesca Albanese, the United Nations’ special rapporteur on the human rights situation in the Palestinian territories, has published a bizarre social media post mixing antisemitic rhetoric with Holocaust revisionism, appearing to urge Germany to move beyond its historical guilt while casting Jews as arrogant and viewing themselves as morally superior to Europeans.
In a Facebook post published on Sunday, Albanese — who has an extensive history of using her role to denigrate Israel and seemingly rationalize the Palestinian terrorist group Hamas’s attacks against the Jewish state — called on Germans to absolve themselves of responsibility for the Nazi regime’s crimes and the historical burden of guilt tied to them.
The anti-Israel UN official argued that modern Germany’s efforts to come to terms with its past through strong support for the Jewish state do not reflect genuine remorse.
Instead, she claimed this stance reflects a “historical superiority syndrome” that has never been addressed and serves as a “convenient mask” for Germany’s return to the international community.
“The Western club accepted them because they proved themselves capable of tolerating certain members of the group that were previously ‘undesirable,’ and so they accepted the Jews, but not all of them,” Albanese wrote. “They learned that to survive in this world they must be superior. No longer a fragile minority. No longer a people in exile. No longer the people of the book. But the chosen people. ‘Chosen to rule?’ One might wonder when looking at what Israel has become.”
She then went on to claim that Germany does not respect Jews unless they are Zionist and behaves like a “socially deranged” state that enacts discriminatory laws, while calling on its citizens to free themselves from what she described as an obligation to Israel.
“I know Germans can do better,” Albanese concluded. “I have seen them. But they are called upon emancipating themselves. This is their chance.”
This latest controversy is far from the first involving Albanese, who has a mandate from the UN to advise the international body on the Israeli-Palestinian conflict. In her position, which she has held since 2022, Albanese has faced consistent criticism over a pattern of incendiary anti-Israel remarks, with officials accusing her of inciting violence and hatred.
Earlier this year, top diplomats from Austria, Germany, Italy, the Czech Republic, and France called for Albanese’s resignation after she delivered yet another inflammatory tirade against Israel.
During an Al Jazeera forum in Doha, Albanese described the state of Israel as “the common enemy of humanity” and accused the country of “planning and carrying out a genocide” during its defensive war against Hamas.
“It’s also true that never before has the global community seen the challenges that we all face, we who do not control large amounts of financial, algorithms, and weapons,” Albanese said at the time, appearing to invoke a long-standing antisemitic conspiracy that Jews control wealth and technology.
She also accused Western nations of being complicit in the so-called “genocide” by supplying arms and financing Israel, while claiming that Western media helps defend the Jewish state by “amplifying the pro-apartheid, genocidal narrative.”
Albanese has previously referred to a “Jewish lobby” controlling the US and Europe, compared Israel to Nazi Germany, and stated that Hamas’s violence against Israelis — including rape, murder, and kidnapping — needs to be “put in context.”
Despite her history of antisemitic statements, the UN has consistently refused to fire Albanese, citing her status as one of its “independent experts.”
Since taking on her UN role, Albanese has been at the center of controversy due to what critics, including US and European lawmakers, have described as antisemitic and anti-Israel public remarks.
Last year, the UN Human Rights Council (UNHRC) faced intense pressure to block Albanese’s reappointment for another three-year term, with several countries and NGOs urging UN members to oppose the move due to her controversial remarks and alleged pro-Hamas stance.
Despite significant pressure and opposition, her mandate was confirmed to extend until 2028.
Last year, the UN launched a probe into Albanese for allegedly accepting a trip to Australia funded by pro-Hamas organizations.
In the past, she has also celebrated the anti-Israel protesters rampaging across US college campuses during the 2023-2024 academic year, saying they represent a “revolution” and give her “hope.”
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Kuwaiti Jiu-Jitsu Gold Medalist Refuses Handshake With Israeli Athlete: ‘We Do Not Respect Them At All’
An aerial view shows Kuwait City, Kuwait, March 16, 2020. Photo: Reuters / Stephanie McGehee.
Kuwaiti jiu-jitsu gold medalist Jassim Alhatem refused to shake hands with Israeli bronze medalist Yoav Manor at the Abu Dhabi Grand Slam Jiu-Jitsu World Tour on Friday, saying later in a video posted on social media that he has no respect for an athlete from Israel.
Alhatem won all four of his bouts in the men’s blue belt amateur under-77-kilogram category at the competition and took home the gold, while Manor earned the bronze for winning three of his four matches. At the medal ceremony, Alhatem refused to shake Manor’s hand and also declined to pose with him for the traditional photo of all the winners.
Alhatem later defended his actions in an Arabic-language video posted on Instagram. He described Israel as a “Zionist entity” and claimed he told Manor before the award ceremony, “I don’t want to know you and I don’t want to greet you. Stay on your side and I on my side, so no problem happens,” according to an English translation of the video. He further claimed that “as a Muslim,” he will not respect athletes from Israel and does not believe in separating politics from sports.
“These types we do not respect,” Alhatem said. “As Kuwaitis, we do not respect them at all … as a Muslim man, [you] must have principle. It is not right for me to play with them or respect them. It is not right. You as a Muslim must have a principle, even if you told me sport is separate from politics. No, no. There is no [separation]. If that were true, Russia wouldn’t be banned right now from participating in the Olympics.”
The International Olympic Committee has allowed eligible Russian athletes to compete as neutrals and not under the Russian flag.
The Israeli delegation at the Abu Dhabi Grand Slam Jiu-Jitsu World Tour said in a statement to the Israeli publication Ynet that “despite the tension, the organizers and Emirati hosts tried to calm the situation and persuade the Kuwaiti competitor to take part in the medal ceremony, but he chose to leave the podium area. Manor, for his part, remained focused on the sporting achievement: a bronze medal at a prestigious international competition, after an impressive day of bouts against opponents from around the world.”
Members of the Israeli delegation added that Alhatem said to Manor, “You Israelis kill children,” and “If you had reached the final, I would not have competed against you.”
Amir Boaron, the coach of Israel’s national jiu-jitsu team, also told Ynet that Alhatem called Manor a “child murderer.”
“Yoav continued trying to shake his hand and behave like an athlete. It is important for me to stress that the Emirati hosts welcomed us wonderfully and even apologized for the incident,” Boaron added.
The Abu Dhabi Grand Slam Jiu-Jitsu World Tour is organized by the United Arab Emirates, which normalized diplomatic relations with Israel when it signed the 2020 Abraham Accords, while Kuwait does not have diplomatic ties with Israel. Senior Kuwaiti officials have said the country “will be the last to normalize ties” with the Jewish state.