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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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Saudi Warplanes Struck Militias in Iraq During War, Sources Say
F-15SA fighter jets are seen at King Faisal Air College in Riyadh, Saudi Arabia, Jan. 25, 2017. Photo: REUTERS/Faisal Al Nasser
Saudi fighter jets bombed targets linked to powerful Tehran-backed Shi’ite militias in Iraq during the Iran war, while retaliatory strikes were also launched from Kuwait into Iraq, multiple sources familiar with the matter said.
The strikes are part of a broader pattern of military responses around the Gulf that remained largely hidden during a conflict that began with US-Israeli attacks on Iran and has spread to the wider Middle East.
For this report, Reuters spoke to three Iraqi security and military officials, a Western official, and two people briefed on the matter, one of them in the US.
The Saudi strikes were carried out by Saudi air force fighter jets on Iran-linked militia targets near the kingdom’s northern border with Iraq, one Western official and the person briefed on the matter said. The Western official said some strikes took place around the time of the April 7 US-Iran ceasefire.
They targeted sites from which drone and missile attacks were launched at Saudi Arabia and other Gulf states, the sources said.
Citing military assessments, the Iraqi sources said rocket attacks were launched on at least two occasions from Kuwaiti territory on Iraq. One set of strikes hit militia positions in southern Iraq in April, killing several fighters and destroying a facility used by Iran-backed militia Kataib Hezbollah for communications and drone operations, they said.
Reuters could not determine whether the rockets from Kuwait were fired by the Kuwaiti armed forces or the US military, which has a large presence there. The US military declined to comment. The Kuwaiti information ministry and the Iraqi government did not immediately respond to requests for comment.
SAUDI ARABIA ALSO HIT IRAN
A Saudi foreign ministry official said Saudi Arabia sought de-escalation, self-restraint and the “reduction of tensions in pursuit of the stability, security, and prosperity of the region,” but did not address the issue of strikes on Iraq. A spokesperson for Iraq’s Kataib Hezbollah also did not immediately respond to a request for comment.
On Tuesday, Reuters reported that Saudi Arabia launched strikes directly on Iran during the war in retaliation for attacks on the kingdom, the first time Riyadh is known to have hit Iranian soil. The UAE also carried out similar strikes on Iran, three people familiar with the matter said.
But hundreds of the drones that targeted the Gulf emanated from Iraq, all the sources said.
Militia-linked Telegram channels repeatedly posted statements during the war claiming attacks on targets in Gulf states, including Saudi Arabia and Kuwait. Reuters could not independently confirm their authenticity.
Sustained attacks from a second front in Iraq prompted Saudi Arabia and Kuwait to lose patience with the militias, which collectively command tens of thousands of fighters and arsenals including missiles and drones.
Kuwait summoned Iraq’s representative in the country three times during the war to protest cross-border attacks, as well as the storming of the Kuwaiti consulate in the city of Basra on April 7. Saudi Arabia also summoned Iraq’s ambassador on April 12 to protest attacks.
IRAQ-GULF TIES DEFINED BY SUSPICION
Gulf Arab relations with Iraq have long been defined by suspicion. Ties were severely damaged in 1990 when Iraqi President Saddam Hussein’s forces invaded Kuwait and fired Scud missiles at Saudi Arabia, and they remained strained for decades.
The 2003 US-led invasion of Iraq deepened Gulf concerns by empowering Shi’ite political factions and armed groups closely tied to Tehran, turning Iraq into a key node in Iran’s regional network of proxies.
Gulf states have repeatedly accused Baghdad of failing to rein in those groups, which operate with significant autonomy and have launched attacks across borders.
A China-brokered détente between Iran and Saudi Arabia in 2023 had offered hope for broader regional stabilization. But the outbreak of war has severely tested those gains, drawing Gulf states into a conflict they had sought to avoid and exposing the limits of diplomatic progress made in recent years.
In March, Saudi Arabia and Kuwait had warned Baghdad via diplomatic channels to curb rocket and drone attacks by pro-Iranian groups against Gulf states, according to two Iraqi security officials and a government security adviser.
Iraqi forces say they intercepted some attempted attacks, including the seizure of a rocket launcher west of Basra intended to strike Saudi energy facilities.
But Iran-backed militias continue to fly surveillance drones along Iraq’s borders with Kuwait and Saudi Arabia, conducting reconnaissance and feeding intelligence to Iran, according to four Iraqi security sources and a person briefed on the matter.
“They are gathering information on what has been damaged, what is still working. They are preparing for the next strike,” the person briefed on the matter said.
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Swiss Considering Rival Air Defenses After Washington Delays Patriots Over Iran War
US Patriot missile defense systems at a US army base in Pyeongtaek, South Korea, March 10, 2026. Photo: REUTERS/Kim Hong-Ji
Switzerland said on Wednesday it will look into whether to buy air-defense systems from other suppliers, after the United States informed it that long-delayed Patriot missile systems will be held up further because of the war in Iran.
Switzerland ordered the five Patriot missile-defense systems in 2022 with an initial expectation they would be supplied in 2026-2028, a timeline that has already slipped by four to five years because of the war in Ukraine.
The government said it had now been told by Washington that the Iran war would lead to additional delays and cost increases, with a delay of five to seven years now to be expected.
“All options would lead to delivery delays as well as substantial additional costs,” the government said.
Switzerland expects to receive feedback by the end of the month from five additional suppliers of long-range ground-based air-defense systems, the government said. It did not identify the suppliers but said they came from Germany, France, Israel, and South Korea. It said it would prefer if the systems were produced in Europe.
The governing Federal Council is expected to decide on next steps in the coming months, the statement added.
The Swiss government said in April that terminating the Patriot purchase was an option.
The price for the five Patriot systems could double from 2.3 billion Swiss francs ($2.9 billion) to 4.6 billion francs, Swiss newspaper Tages-Anzeiger said, citing informed sources.
Swiss procurement agency armasuisse and the Pentagon did not immediately reply to requests for comment on the report.
Reuters reported last month that the US had informed European counterparts of likely delays in previously contracted weapons deliveries, as the Iran war continues to draw on weapons stocks.
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All American Jews should acknowledge Nakba Day — for Israel’s sake, and Palestine’s
Many American Jews were raised with the word “Nakba” absent from our vocabularies.
We were taught, correctly, about the miracle of Israel’s founding; the refuge Israel provided after the Holocaust; and the flourishing of Jewish life in our ancestral homeland. What went unmentioned was the other side of that joy: the Nakba, meaning “catastrophe” in Arabic, the name by which the displacement and dispossession of hundreds of thousands of Palestinians during the creation of the state of Israel is known through the Arab world.
For Palestinians, the Nakba is the defining experience of their collective life — carried in family histories, in refugee camps and in the enduring statelessness of millions. It is living memory, not ancient history. The remarkable story of Israel’s creation is real, essential and worth celebrating. But it’s time that all Jews — Zionists alongside anti-Zionists — acknowledge that it was never the only story.
Acknowledging Nakba Day — an annual commemoration on May 15 — can feel uncomfortable, even threatening. There is a fear within much of the Jewish community that recognizing Palestinian loss will in some way undermine Jewish claims to self-determination, or feed efforts to delegitimize Israel.
I understand that fear. I lead a Jewish organization with Zionist roots; I feel this tension in my daily work and life. But I also believe this fear is misguided.
When we deny or minimize the full history of 1948, we deny not just the humanity and pain of the Palestinian people, but also our own honest understanding of today’s reality. For Jewish leaders struggling to understand why younger American Jews won’t simply follow their lead when it comes to support for Israel, this is part of the answer.
When we avoid learning and teaching about the Nakba, we do not make Palestinian loss disappear. Rather, we simply reinforce the perception that we are unwilling to confront this essential part of Israel’s story.
And when we expand our historical understanding we do not weaken our connection to Israel, or that of our children. On the contrary, we strengthen it. A relationship built on selective memory is fragile and incomplete. One grounded in truth — even uncomfortable truth — is far more honest and resilient.
The best reasons to commemorate Nakba Day are the moral mandate to recognize the truth, the value of opening a door to allow for transformational relationships.
Two truths can coexist. It is true the establishment of Israel was a moment of profound liberation for the Jewish people, and it is equally true that it was a moment of profound loss for Palestinians. Holding both facts is not easy. To do so challenges the binary narratives many of us were raised with. But maturity — personal and communal — requires sitting with complexity rather than retreating from it.
Embracing that complexity carries real world implications.
The dismissal of Palestinian grievances is already harming Israel, degrading security and imperiling the country’s future as an integral part of the Middle East. That rejection salts the soil in which deep relationships between Israeli Jews and their Arab neighbors might otherwise take root.
Durable peace will not come from either side insisting that their narrative is the only legitimate one. It will come — if it comes at all — from mutual recognition of history, suffering and shared humanity.
For Jews and Jewish organizations to acknowledge Nakba Day can be one small step in that direction. Doing so would signal a willingness to listen, learn and take Palestinian perspectives seriously. That is an expression of respect that any shared future requires.
To American Jews who find this proposal uncomfortable: It is time for some courage. The easy path is silence. That silence will bring us more isolation, and hamper our capacity to foster relationships grounded in trust with Palestinians. The harder path is to expand our understanding, starting with a more complete and honest account of the past.
Jewish tradition gives us a framework for exactly this kind of engagement.. We regularly recount our own moments of vulnerability, exile and moral failure. We imagine ourselves as slaves departing Egypt and remind ourselves of the ethical obligations that follow. Applying that same ethic in the present day does not betray our story. It honors it.
Commemorating Nakba Day recognizes that the past shapes the present. It embraces intellectual and moral honesty. It affirms that Palestinian lives and histories matter and must coexist alongside Jewish lives and history.
In a time of deep polarization — within the Jewish community, between Israelis and Palestinians, and across American society — the temptation is to retreat into camps, to draw sharper lines and to insist on simpler stories. Giving in to that temptation will not lead us to a future of peace, justice, and mutual dignity.
Instead, we need to complicate our narratives. We need to listen more than we speak. And we need to find ways to honor the humanity of those whose experiences do not mirror our own. Recognizing Nakba Day on May 15 is a good place to start.
The post All American Jews should acknowledge Nakba Day — for Israel’s sake, and Palestine’s appeared first on The Forward.