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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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‘A collapse’: Number of Israelis who believe Trump prioritizes Israel’s security falls to new low, poll finds
(JTA) — The share of Israelis who believe that Israel’s security is a central consideration of President Donald Trump fell to a record low as Democratic support for Israel in the U.S. continued to decline, according to two new polls Tuesday.
A new poll from the Israel Democracy Institute found that, amid widening disagreements in Israel over U.S. efforts to broker a new nuclear deal with Iran, the share of Israelis who believe Trump prioritizes Israel’s security had seen a “collapse” from 44% in May to 28% in June, pollsters said.
The survey, which polled 603 Jewish respondents and 151 Arab respondents from June 28 to July 1, found that among Jewish respondents, the belief that Israel can fully rely on Trump has plummeted by 38 points between March and June 2026.
Just over one-third of Israelis said they believed Israel’s strategic security situation is better today than it was before the war with Iran. The margin of error was 3.57 percentage points.
Another survey released Tuesday, conducted by the Associated Press-NORC Center for Public Affairs Research from June 11 to 17, added to a growing number of polls showing waning support for Israel among U.S. adults.
The AP poll, which surveyed 3,040 people, including 1,022 Jewish adults, found that 40% of U.S. adults believe America is “too supportive” of Israelis, while 39% believe the U.S. is “not supportive enough” of Palestinians. While the survey included a large sampling of Jewish adults to allow for more reliable estimates of their opinions, the survey was weighted to ensure their views weren’t overrepresented in the findings, the pollsters said.
Among Democrats, the poll found that 58% now say the U.S. is “too supportive” of Israelis, up from 45% in an AP-NORC poll in January 2024.
The share dropped among Republicans, of which just 21% said they believed the U.S. was “too supportive” of Israelis. The share of Republicans who say the U.S. is “not supportive enough” of Israel has shrunk from 39% to 15% since 2024.
It also found that a third of American Jewish adults believe that Israel has committed genocide in Gaza, while another 49% said that it has not.
Among U.S. adults overall, the poll found that about one-third believe Israel has committed genocide, including roughly half of Democrats.
The poll also found that the favorability of Israeli Prime Minister Benjamin Netanyahu and New York City Mayor Zohran Mamdani was split. It found that, among U.S. adults, 38% have an unfavorable view of Netanyahu, while just 28% of U.S. adults have an unfavorable opinion of Mamdani.
Among Jewish adults, about 6 in 10 view Netanyahu unfavorably, while just 39% view Mamdani negatively and 44% view the New York City mayor positively.
For the AP poll, the margin of error for adults overall was 2.8 percentage points, and the margin of error for Jewish adults was 5.0 percentage points.
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The iconic crest worn by Messi and Argentina’s soccer team was designed by a Jewish superfan 50 years ag
(JTA) — BUENOS AIRES — Soccer fans around the world are familiar with the crest worn by Argentina and its star Lionel Messi: a vertical shield with laurel branches symbolizing victory and glory at the bottom and three stars at the top representing the team’s three World Cup titles.
But few are aware that the crest has its roots in Argentina’s close-knit world of Jewish sports clubs, where its designer developed his affinity for soccer.
Norberto “Toto” Rud was in his late 20s and a member of Club Náutico Hacoaj, a Jewish club, when he proposed the crest in 1976, drawing on the branding acumen and graphic design skills he would use throughout his career as a businessman and soccer aficionado in Buenos Aires.
Rud has long been credited with developing the crest after observing that while many European soccer teams wore distinctive emblems, his own beloved Argentina’s jerseys were notable only for their sky blue-and-white colors.
Watching international soccer in the era of black-and-white television, Rud noticed that supporters could instantly recognize teams such as West Germany by its eagle or the Soviet Union by its CCCP lettering, but Argentina could easily be confused with clubs wearing similar striped shirts. He concluded that the national team needed a visual identity equal to its footballing tradition.
Rud prepared approximately 20 design proposals and submitted them to the Argentine Football Association, in a proposal that reached its president and executive committee. The crest made its debut on Nov. 28, 1976, just days after it was approved, in a 0-0 friendly against the Soviet Union in Buenos Aires.
Fifty years later, the crest is basically unchanged and is one of the most widely worn team logos in the world, as Messi jerseys are popular across the globe.
“As a son and a member of the Jewish community and as an Argentinean, it’s a source of pride,” Toto Rud’s son Oliver Rud told the Jewish Telegraphic Agency. He added, “Every time I see Argentina’s national team crest, it still amazes me.”
Toto Rud got to see Argentina wear his crest to two World Cup championships, in 1978 and 1986. But he did not live to see the third in 2022. He died in 2010 at age 61 and is buried in Buenos Aires’ La Tablada, Latin America’s largest Jewish cemetery.
Oliver Rud said his father’s mother came to Argentina from Ukraine, a common pathway for Jewish migrants in the first half of the 20th century. Toto Rud was born in March 1948 and was a longtime member of Hacoaj, where he played club soccer himself.
Founded in 1935 by Jewish immigrants to Buenos Aires, Club Náutico Hacoaj is a sports and cultural club with around 10,000 members and five facilities, one in Buenos Aires city and four in Tigre, a city in the north of the Buenos Aires province. Hacoaj, which means “strength” in Hebrew, has been the launch pad for a number of prominent Jewish athletes, including tennis star Diego Schwartzmann. Oliver Rud said a tree dedicated to his father is planted on Hacoaj’s sprawling campus.
“For Hacoaj, it is a tremendous source of pride that one of our members was the creator of the Argentine Football Association’s crest,” the club’s president, Osvaldo Ofman, told JTA. “His design not only represents the jersey of the Argentina national team, the reigning World Cup champions, but also gives us the feeling that a small part of Hacoaj and the Jewish community lives on in an emblem recognized around the world.”
Now, Argentina will face off in the Round of 16 against Egypt, whose coach Hossam Hassan waved a Palestinian flag after defeating Australia in a 4-2 shootout on Friday. Footage of him walking across the field with the flag while chants of “Free, free Palestine” were heard quickly went viral. In a post-match interview, Hassan said his “heart and soul” were with the Palestinian people and dedicated the win to both Egyptians and Palestinians.
Tuesday’s match represents something of a de facto Israeli-Palestinian showdown in a tournament in which neither the Israelis nor the Palestinians are playing. In addition to the show of support for the Palestinians from Egypt, the Argentine government staunchly supports Israel, which Messi, a Catholic, has visited. And a recent poll by an Israeli magazine found that Argentina was the clear favorite among Israeli World Cup viewers, named by 38% of respondents as the team they hope wins the tournament.
The knockout game comes a decade after Messi ignited a backlash in Egypt after announcing on an Egyptian television program that he was donating his shoes to a charity in Cairo. Presenters on the TV show accused Messi of being Jewish and aligned with Israel, which he had visited three years earlier.
“I know he’s Jewish, he donated to Israel and visited the Wailing Wall and whatever,” then-Egyptian Football Federation spokesman Azmi Mogahed phoned in to say. “We don’t need his shoes and Egypt’s poor don’t need help from someone with Jewish or Zionist citizenship.” Mogahed died in 2020.
Messi, who plays for Inter Miami during the regular season, is 39 and is widely expected not to play in another World Cup after this one, meaning that an Argentina loss could be his last game in international competition.
For Oliver Rud, the game will be an opportunity to reflect not only on Messi’s contributions but on his father’s, as well.
“Every time I see Argentina’s national team crest, it still amazes me,” he said. “In fact, my brother Guido and I were just talking about it the other day — how incredible it is to think that Toto designed the crest for the national team some 50 years ago. It’s really extraordinary. Every time I see the crest, I feel a little piece of him in my heart. It’s a beautiful way to remember him.”
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Abdul El-Sayed has refused super PAC funding. An anti-AIPAC PAC says it will spend for him, anyway
(JTA) — A super PAC formed to counter the influence of pro-Israel political action committees confirmed that it will boost Abdul El-Sayed in Michigan’s Democratic U.S. Senate primary, despite the candidate’s pledge to refuse all super PAC funding.
A spokesperson for American Priorities PAC, the anti-AIPAC PAC, told the Jewish Telegraphic Agency on Tuesday that its vow two days earlier to “do whatever it takes” to help El-Sayed “means spending.”
The move would put El-Sayed, who has mounted an popular insurgent campaign for a seat viewed as a must-win for Democrats, in the company of other progressives this election cycle who specifically railed against pro-Israel super PACs when swearing off corporate funding — while also benefiting from spending by the newly created pro-Palestinian super PAC.
Super PACs have no limits on fundraising but by law are prohibited from directly coordinating with a campaign — so American Priorities could theoretically raise money to run ads and other get-out-the-vote operations to boost El-Sayed without his consent.
El-Sayed has yet to comment publicly on American Priorities’ plans.
A physician and former county health director, El-Sayed is scheduled to debate his opponent, U.S. Rep. Haley Stevens, on Tuesday night in Grand Rapids. A third candidate, state Sen. Mallory McMorrow, dropped out of the race over the weekend, which American Priorities said motivated its pledge to help El-Sayed. The primary is set for Aug. 4.
El-Sayed has made refusing PAC money a key element of his platform. “Money out of politics” forms part of the slogan that brands many of his yard signs. A new ad released by his campaign on June 30 claimed he was “the only candidate for Senate” who has taken “No Corporate PAC Money.”
The American Priorities spokesperson did not immediately respond to a follow-up to clarify what El-Sayed’s anti-PAC pledge would mean for the group’s spending plans. Requests for comment to the El-Sayed and Stevens campaigns also were not immediately returned.
Stevens, a pro-Israel moderate who has welcomed PAC support, has so far had at least $10 million in AIPAC-affiliated funding directed to boost her campaign, according to Federal Election Commission data. AIPAC-affiliated ads for her have trumpeted policies, including proposed restrictions on immigration enforcement, that AIPAC-funded ads in different races this year have lambasted.
American Priorities has complicated the narrative for the progressive wave of the 2026 primary cycle, which has made pro-Palestinian causes and opposition to corporate funding twin priorities while treating AIPAC as a particular bogeyman.
American Priorities also spent to help democratic socialists Claire Valdez and Darializa Avila Chevalier in their successful primary runs for New York congressional seats last month, even as Valdez pledged to “end Citizens United,” the 2010 Supreme Court decision that allowed unlimited political spending by corporations and unions, and Avila Chevalier called to “abolish Super PACs.”
The spending allowed the candidates’ opponents to accuse them of hypocrisy but failed to derail their success at the ballot box. American Priorities also spent heavily in favor of Adam Hamawy, a doctor who served in Gaza who won his crowded New Jersey congressional primary in June.
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