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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 Democratic upset in Connecticut — but Israel was not a factor
(JTA) — Luke Bronin scored a decisive victory over longtime Rep. John Larson in Connecticut’s Democratic primary Tuesday, marking another defeat for AIPAC which had backed the 14-term congressman.
The pro-Israel lobby group is increasingly viewed as politically toxic in Democratic primaries across the country, with several progressive candidates notching victories after making opposition to the group a centerpiece of their campaigns.
Israel and the American Israel Public Affairs Committee, however, were not at the forefront of the contest in Connecticut’s 1st Congressional District, reflecting a more nuanced picture regarding Democratic voters’ shifting sentiments toward Israel.
Bronin and Larson, the race’s two candidates with more traditionally pro-Israel positions, together won nearly 90% of the vote, with Bronin receiving 53% while Larson received 34%. The two progressive candidates in the race, Jillian Gilchrest and Ruth Fortune, who both accused Israel of genocide in Gaza, finished a distant third and fourth.
Bronin, 46, who has Jewish ancestry on his father’s side, is the former mayor of Hartford and also served in the Obama Administration as the Deputy Assistant Secretary for Terrorist Financing and Financial Crimes. His campaign largely centered on affordability and emphasizing the need for new leadership in the Democratic party.
“If we are going to fix this mess that we are in, we need to build a Democratic Party that is bringing a whole new energy to this fight,” Bronin told supporters following his victory.
Israel was not entirely absent from the campaign. Larson, who first took office in 1999, split with Bronin during a primary debate last month when Larson defended his recent vote in support of U.S. military aid to Israel.
“Yes, I voted in favor of making sure that Israel, our ally, is going to get the aid from the United States that it needs. But the Palestinians need humanitarian aid, and Donald Trump has got to enforce the law,” Larson said.
Bronin pushed back at Larson, replying, “Trusting Donald Trump to do the right thing is a mind-blowing example of putting hope over all of the evidence in front of us.”
While Larson had long supported Israel during his tenure in Congress, he has been critical of Israel’s prosecution of the war in Gaza and treatment of Palestinians and vocally opposed the United States’ war in Iran.
Bronin, meanwhile, has said he is against taxpayer money going toward funding offensive military aid to Israel, though he supports “defenses for civilians that protect civilian life against rockets and missiles and drones.”
“I think it’s hugely important that Israel exists as a safe, secure homeland for the Jewish people,” Bronin said when asked about his views on Israel on The Lisa Wexler Show in May. He also spoke out against Prime Minister Benjamin Netanyahu, explaining that the premier had “done enormous damage to Israel’s security, Israel’s standing in the world,” adding that “we have an obligation as a country to say what’s happening is not okay.”
Bronin slightly outraised Larson on the campaign trail, receiving roughly $3.1 million largely from individual donations from billionaires and large firms, while Larson received $2.7 million and relied more on donations from PACs, according to the Federal Election Commission.
Larson received roughly $120,000 in AIPAC-linked donations during the campaign cycle, according to the campaign finance database Open Secrets.
Bronin will now face Republican Amy Chai, a physician and mental health advocate, in the general election for the state’s first congressional district. The district, which spans Bristol, Hartford and Torrington, is home to 27,800 Jews, representing 3.9% of the total population, according to the Berman Jewish Data Bank.
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Jack Ukeles, who used data and idealism to shape Jewish communal life, dies at 89
(JTA) — Throughout a storied career of more than five decades that included key roles in teaching courses at elite universities, policy planning for city and state governments and community surveys for Jewish organizations around the world, Jack Ukeles had one consistent goal: to blend research, data and strategic problem-solving with idealism in making the world a better place.
Ukeles, who died July in Jerusalem at the age of 89, was widely and deeply admired as well for his integrity, wisdom and compassion on both a personal and professional level.
He was also one of the most prominent members of a cohort of Jewish social scientists who, from the 1980s through the 2000s, played a central role in setting the agenda for organized Jewish life. Philanthropists and nonprofit leaders sought their data and recommendations on hot-button issues like rising intermarriage, attachment to Israel, population trends and declining engagement with Jewish institutions.
In 1981, Ukeles joined the Jewish non-profit world as senior planning officer of the New York Federation of Jewish Philanthropies (now UJA-Federation of New York). He led the charity’s first scientific study of the New York area’s Jewish population, and major studies on senior services and Jewish poverty.
Five years later, he went out on his own, launching Ukeles Associates, Inc., and for 28 years led consulting projects combining his experience in policy research, planning and management for a range of secular and Jewish non-profits.
Speaking at the funeral in Jerusalem, where Ukeles and his wife, Mierle, lived since making aliyah in 2012, longtime friend and colleague Asher Ostrin predicted that Ukeles’s teaching, in both classrooms and nonprofit board rooms, will have a lasting effect, especially for American Jewry.
“Generations of Jewish communal professionals are his students, and are taught to reflect the method and values he held dear,” said Ostrin, an executive at the American Jewish Joint Distribution Committee.
Those values were shaped growing up in a religious Zionist home, aware of the trauma his parents endured in Eastern Europe before settling in New York. Ukeles’s mother wanted a first-rate Jewish education for her only son, and after visiting a number of yeshivas, moved the family from The Bronx to Brooklyn so he could attend the Yeshiva of Flatbush, where he thrived academically and as student council president and member of the basketball team.
After seeing a newspaper ad announcing the opening of a university in Israel committed to integrating modern scholarship and traditional Jewish learning, he applied and was accepted in 1955 to Bar-Ilan University’s first class.
“My father was proud to be a member of that first class, and as a student leader there, he wanted to help build the school and be a part of its growth” in synthesizing secular and religious studies, his daughter Raquel Ukeles recalled. “But the administration wasn’t interested.” He was 18 at the time.
After a year in Israel, Ukeles attended a yeshiva and Brooklyn College, where he took courses in community planning, research and data. He received his B.A. in political science in 1959, and an M.A. in city planning two years later at the University of Pennsylvania. In 1962, Ukeles spent a year in New Delhi, India, as a Fulbright Fellow and returned to complete his Ph.D. at Penn in 1971.
During his graduate school years, Ukeles turned a summer job in the New York City planning department into a three-year position. He helped produce the first data-driven analysis of New York City’s housing needs, and was part of a team that reshaped the city’s approach to urban renewal.
He then turned to academia, starting a long-term pattern of moving back and forth between university posts — including the New School, where he later became chairman of the first urban policy graduate program in the U.S. — and designing and leading civil service and financial reforms in New York through the mayor’s office under Abe Beame and Ed Koch.
On behalf of Jewish organizations, he conducted a 2006 survey of Atlanta’s Jewish population that confirmed the explosive growth of Jewish communities in the Sun Belt, and co-authored a 2002 community study showing how Russian immigrants and Orthodox Jews were changing the face of New York City Jewry.
Ukeles was he co-authopr of a 2012 study showing that New York City area’s Jewish population was on the rise again, thanks largely to the growth of Orthodox households.(Spencer Platt/Getty Images)
In 2009, he wrote a report on how nonprofits can turn the severe economic downturn into opportunity. Drawing on his experience in city management, he advised nonprofits neither to panic nor deny the reality of squeezed budgets.
“You can forget about strategy if you do not have courage, if you do not have big ideas, or if you do not have vision, and most importantly, if you do not have compassion,” he said in a lecture that year drawing on the report. “In fact, without the ‘right stuff,’ you are in the wrong line of work.”
Family members noted that the common thread in Ukeles’s career in academia, city government and non-profits was to deal with difficult problems by making decisions based on real data, not theoretical ideas, and to bring the stakeholders around the table to make the best — or sometimes least worst — decisions based on need and priority.
Elie Kaunfer, CEO and president of the Hadar Institute, a center of Jewish life and learning, said that when Ukeles conducted the first formal evaluation of the organization in 2011, “he taught me so much about what kind of questions to ask — not just about experience of the program but ultimate impact on people’s lives.”
John Ruskay, former CEO of UJA-Federation, described him as “a loyal friend and dear colleague who I and so many others turned to repeatedly for counsel, for wisdom, for ‘chizuk’” (inner strength).
Sometimes his counsel came with critique. Steve Bayme, a former American Jewish Committee executive and longtime Ukeles friend, noted: “Jack knew how to offer constructive criticism and even occasional rebuke in ways that colleagues, including those in senior communal positions, could hear and absorb.”
Alan Gill, who served as CEO of the JDC, praised Ukeles for “his expertise in challenging and guiding us.” He said Ukeles “yelled at us” once, which was unheard of from consultants who tended to be dispassionate and analytical, he noted. But the outburst had “a positive effect,” Gill added, reminding JDC staff how much “the mission and work mattered” to Ukeles.
That sense of heartfelt criticism also applied to Ukeles’s devotion to, and frustration with, the state of Israel in recent years. He agonized over the growth of extremism in the haredi Orthodox community and Jewish settler violence, and he spoke out in pieces he published in The Times of Israel.
“Jack loved the Jewish people,” said Sally Gottesman, who was hired by Ukeles as a young consultant in 1997. Now an activist-philanthropist focused on gender and justice in the Jewish community, Gottesman said Ukeles was “a mentor and master teacher” and praised his efforts to promote equality for women.
A prime example was his support for and great pride in the accomplishments of his wife, Mierle, who in seeking to blend art with waste management became the official artist-in-residence of the NYC Department of Sanitation, a volunteer position she has held since 1977. Her unique career was the focus of an award-winning 2025 documentary, “Maintenance Artist.”
“Jack was my heart and soul,” she said. “His support, championing my being a free artist and a full person, all through the years, extending as well to his supporting the work of many other women artists of our time, was without a peer, without an end.”
In addition to his wife, Ukuleles is survived by his daughters, Raquel, who is head of collections at the National Library of Israel, and Yael, a product market manager and founder of two non-profit Israeli environmental education programs, and a son, Meir, who works with an Israel-based VC fund investing in startups.
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A pair of Jewish businessmen gave the Lakers their name. Now another Jewish duo is buying the team.
Back when the National Basketball Association was little more than a startup, two Jewish businessmen named Benjamin Berger and Morris Chalfen bought the worst team in the sport, the Detroit Gems, for $15,000. They relocated the franchise to Minneapolis and gave it a name that nodded to state geography.
Eighty years later, the Lakers are a global brand, have won 17 championships and play in Los Angeles — and for the first time since Berger and Chalfen sold, a Jewish duo will take the reins. Joshua Kushner and Bob Iger are buying a majority stake in the team, ESPN reported Wednesday. They’ll be paying a tad more than Berger did in the 1940s —the Lakers were valued at $12.5 billion in the sale.
It’s been a busy summer for Kushner, a real estate scion married to supermodel Karlie Kloss; his brother Jared is a former Trump administration fixture. A company backed by his VC firm, Thrive Capital, tried to buy a stake in the World Cup last month, causing an international backlash that may yet lead to the resignation of FIFA president Gianni Infantino. (That subsidiary, Thrive Eternal, also owns a stake in the San Francisco Giants.)
Kushner and Iger were reportedly angling to buy an expansion NBA franchise in Las Vegas before pivoting to the Lakers.
“As lifelong NBA fans, we are deeply honored for the opportunity to become stewards of the Los Angeles Lakers, one of the most iconic sports franchises in the world,” Kushner and Iger said in a statement to ESPN.
Kushner is now tasked with restoring the Lakers to “Showtime” glory — perhaps with Kloss courtside in the seat once held by an earlier model-turned-owner, Jeanie Buss.
He comes from a family well-acquainted with the tabloids. His brother, Jared, is married to Ivanka Trump and serves as a White House advisor. Their father, Charles Kushner, made billions in real estate development before he was sent to prison for illegal campaign contributions, tax evasion and witness tampering. (Trump later pardoned him, and today Kushner serves as the U.S. ambassador to France.)
The sale comes 14 months after Buss sold the Lakers to Mark Walter, the head of a private equity firm and a co-owner of the Los Angeles Dodgers. Walter, who bought the team at a $10 billion valuation, is currently facing federal and SEC investigations into insurance companies tied to his broader business operations.
It was not publicly known that the Lakers were for sale, and ESPN’s Ramona Shelburne reported Wednesday that Kushner and Iger — who had previously been bidding for an expansion NBA team in Las Vegas — approached Walter with an offer he couldn’t refuse.
The sale would make the Lakers the 14th NBA team out of 30 with Jewish principal owners. The league was founded by Jewish businessmen in the 1940s.
The newcomers will inherit a roster in transition following the departure of LeBron James, who at 41 is a few months older than Kushner, the youngest majority owner in the NBA.
Behind James and Luka Dončić, the Lakers finished with the fourth-best record in the Western Conference last season and were eliminated in the second round of the playoffs. James signed with the Philadelphia 76ers this offseason in free agency.
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