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A new dance club in Williamsburg is bringing Tel Aviv party culture to Brooklyn
(New York Jewish Week) — On a recent Saturday at Silo, a new dance club in Williamsburg, Brooklyn, an aerialist was dangling above the crowd, doing flips on a hula hoop in front of hundreds of people, while hypnotic house music boomed through the venue’s world-class sound system. It was 1 a.m. and the party was just getting started.
Alex Neuhausen, a 39-year-old Jewish musician-turned-club owner, told the New York Jewish Week that this experience of starting the night well past most people’s bedtimes is inspired by Tel Aviv, the beachside Israeli city famous for its club culture.
“In Tel Aviv, they all get dinner with their family and everyone hangs out at 10 or 11, and then you hang out before the club until 2 or 3, and then you go to the club,” Neuhausen said. “They keep super-late hours. You turn the entire night into an experience. We want to do that.”
Some of the biggest night club venues in Brooklyn can hold thousands of people. Silo, by contrast, holds only 500, which carries a more intimate feel. The club is located on the eastern fringes of Williamsburg inside an repurposed airplane hangar, and its high ceiling provides an open, airy atmosphere to what would otherwise feel like a tightly packed room.
An aerialist performs while hanging above the crowd at Silo in Brooklyn. (Courtesy/Annie Forrest)
The team behind Silo is “mostly Jewish,” Neuhausen said, including co-founder Lily Wolfson, the booking consultant, the sound team and the lighting engineers. Neuhausen’s girlfriend, Ariel Lasevoli, who is the club’s director of performance and production, is half-Jewish. A massive two-sided mural, which separates the main club room from the bar area, was created by the Israeli artist Yoshi.
The striking mural is a piece that seems to change after a guest consumes a few drinks while the music plays. The mural portrays a seemingly endless array of black smoke or fire — gray clouds with some white streaks of electricity in the middle of it — but Neuhausen said it is open to interpretation.
“The front represents chaos,” Neuhausen said about the mural, which stretches 15 feet tall and 24 feet wide. “The show room side is a mix of organic patterns, fractals and flowers, but it never quite resolves into anything if you look closely. It’s like a Rorschach [test]; the viewer gives it meaning.”
The Tel Aviv club scene is only one of Silo’s Jewish inspirations: Neuhausen said his interest in dance music goes back to a young age, when he went to his cousins’ bar and bat mitzvahs in the Washington, D.C. area, where he grew up.
“What’s really striking about going to a bar mitzvah is that everyone dances,” Neuhausen said. “It’s the entire family, from the old folks to everyone. It’s just this joyous occasion. American white bread culture doesn’t have a lot of these elements.”
If a bar mitzvah party is a familial, albeit sometimes corny celebration that involves dancing with your loved ones, then it shares a great deal with the ethos of Silo — namely, to provide a place to party all night long while maintaining a welcoming feeling. It’s the antithesis of the exclusive environment that characterizes many high-end Manhattan and Brooklyn nightclubs, which often come with judgmental door policies and an intense, cooler-than-thou attitude.
At Silo on a Saturday earlier this month, the vibe was almost the complete opposite. The security guard cracked jokes with those waiting in line while checking IDs, and Neuhausen himself took our coats as we walked through the door. The attendees were not just Instagram models; college students, queer folks dressed in drag and 50-somethings were also in the mix. It wasn’t a sold out show, but there were nearly 400 people in the room, and almost everyone was focused on the music.
House music — which combines four-on-the-floor drum beats with R&B vocals and other layers — is Silo’s main focus, a style of music that originated at Black LGBTQ clubs in Chicago and Detroit in the 1980s. It’s a history that, Neuhausen said, shares commonalities with the Jewish people.
“These marginalized communities, maybe almost in spite of the oppression, generate great art,” Neuhausen said. “Jews have a lot in common with that shared cultural experience of oppression.”
At Silo in Brooklyn, the club takes inspiration from Tel Aviv’s party culture. (Courtesy/Annie Forrest)
Neuhausen’s father is Jewish, but not “devout about practicing,” he said. “We only went to synagogue a couple of times but I picked up a lot of cultural Jewish identity from him,” he added. “Whenever I see my extended family, it’s much more Jewish.”
In 2012, Neuhausen formed a band with Wolfson and they moved from San Francisco to New York, where Neuhausen took up residence in a garage in Williamsburg. Eventually, he turned the space into a makeshift venue for performances that included bands, comedians, aerialists and eventually DJs.
By 2017, Neuahusen and Wolfson’s parties were growing, so they opened up a commercial space called “Secret Loft” in Manhattan, which held only 80 people. It’s where, over the next five years, Neuhausen learned how to perfect the art of throwing parties — and where he assembled the team that would later go on to build Silo.
“It did really well immediately,” Neuhausen said. “We thought this was a thing we could actually do for a living. That was really the dream.”
Those parties ultimately became too big for the space. Wanting to be closer to the booming club scene in Brooklyn, the team eventually opened Silo, which is located next to the established megaclub Avant Gardner.
At Silo, the goal is to create a space that’s welcoming for all. “Last weekend, we had the DJs on the floor, on a little bit of an elevated platform,” Neuhausen said. “They were surrounded by people on all sides — everybody is facing inwards. It’s very different from a concert, it feels more like a community event.” During the week, the venue also hosts DJ workshops.
Neuhausen added that the booking team is “two women and a gay guy,” and the goal is to bring women DJs and people of color into the club. Neuhausen noted that, despite its origins, “there tends to be a lot of white guys” within some sub-genres of house music.
“We are booking more eclectic artists than a lot of venues,” he said. “We’re not about making people feel uncool. We’re not elitist. We book elite level talent, but we want everyone to see it.”
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The post A new dance club in Williamsburg is bringing Tel Aviv party culture to Brooklyn appeared first on Jewish Telegraphic Agency.
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New documentary captures the lively history of Yiddish theater in America
The new documentary Immigrant Songs: Yiddish Theater and the American Jewish Experience, produced by the Milken Archive of Jewish Music, is fast, entertaining and a good introduction to the topic.
Focusing mainly on the musical side of the story, but covering ‘straight plays’ as well, the film opens with a superb ‘warm-up act’: “Hu Tsa Tsa,” a stock Yiddish vaudeville number performed by the widely mourned Bruce Adler, who died in 2008 at age 63. Bursting with charm and talent, Adler, scion of a top Yiddish vaudeville family, demonstrates that Yiddish theater used to be pretty damned lively.
What follows is the oft-told story of the rise and decline of the American Yiddish theater, beginning with its prehistory in the Purimshpiels — the annual performances that for centuries served as the only secular entertainment in the Ashkenazic world. From there the film takes us to Yiddish theater’s 1876 birth in Romania, courtesy of Avrom Goldfadn, a.k.a. “The Father of Yiddish Theater.”
The film also describes Yiddish theater’s arrival in America, which, thanks to massive Jewish immigration, quickly became its capital. We learn of its influence on American theater’s styles of acting and set design. And the film describes the decline of its audience, due to assimilation and the immigration quotas of the 1920s.
There’s an excellent section on “The Big Four” Yiddish theater composers — Joseph Rumshinsky, Alexander Olshanetsky, Abe Ellstein, and Sholom Secunda. All in all, the documentary does a fine job of teaching the aleph-beyz, the ABCs, of the history of Yiddish theater to the uninitiated.
The most impressive aspect of Immigrant Songs is its well-crafted pace. Though there are a few snippets of vintage Yiddish cinema (Yiddish theater’s “kid brother”), most of the film consists of recent concert footage, some well-selected photographs and ephemera, and a lot of talking heads. Almost every prominent Yiddish theater historian was interviewed for it, along with several musicologists, an archivist, Yiddish actors, directors, producers, etc. (Full disclosure: I am one of them.) Director Jeff Janeczko cuts between the interviewees so smoothly — sometimes in mid-sentence — that it feels like they’re in the same room and feeding off each other’s energy. The movie just flies by.
There are a few errors. Marc Chagall is described as an important designer of Yiddish theater; actually he designed one minor production in Russia in 1921, and never did another. In a bizarre, and biblically illiterate, statement, one interviewee claims that Jews hadn’t developed a theater culture earlier because the Second Commandment’s prohibition of “graven images” forbade the construction of sets. (Actually it’s about idol worship.)
Another interviewee claims that the Yiddish play Der Yeshiva Bokher; oder, Der Yudisher Hamlet — The Yeshiva Student; or, The Jewish Hamlet (Yiddish plays then often had subtitles), is closely patterned on Shakespeare’s tragedy. In truth, the play — written by Isidore Zolotarevski, the prolific writer of shund (“trash”) melodramas — is not only awful, but is as close to Shakespeare as baked ham is to your grandmother’s kreplach.
The film’s biggest fault, however, is its short running time (45 minutes). This is a rich topic, and too much is left by the wayside in the interest of brevity. There’s nothing about what shund melodramas felt like, why they appealed to their audiences, and why they became the only thing a lot of people know about Yiddish theater.
There’s also nothing about the World War I-era wave of shtetl plays, which reflected immigrants’ homesickness without indulging in nostalgia, and provided some of Yiddish theater’s shining moments with plays like Green Fields, The Empty Inn and Tevye. And the most important play in the Yiddish canon, The Dybbuk, is never mentioned.
Perhaps most surprisingly, considering the film’s emphasis on music, there is no examination of Yiddish theater’s influence on Broadway’s music. (Cole Porter — ironically, the only gentile among the major composers of Broadway’s Golden Age — had a pronounced Jewish lilt in a number of his songs, and he actually attended Yiddish theater regularly.)
The film’s last section is about the renewed interest in Yiddish that began in the 1970s and ’80s with the klezmer revival. Much of it focuses on the 2018 Yiddish production of Fiddler on the Roof in Yiddish, whose success was predetermined the moment the production was announced.
For the overwhelming majority of American Jews, from the Orthodox to the unaffiliated, Fiddler is all they know about the lives of their ancestors. And though it’s a world-class piece of musical theater, as a work of social history Fiddler is as phony as a glass eye. Nevertheless, for American Jews it’s a sacred text.
Fiddler was a huge hit, but it was a gimmick, a one-off, whose success does very little for the future of Yiddish theater. Worse, the Yiddish — not the text, but the lines spoken by most of the actors — was often mispronounced and had the wrong intonation. (One elderly gentleman of my acquaintance, a native Yiddish speaker from Czechoslovakia, told me he didn’t understand a word the actors said, and spent the whole evening reading the English supertitles.)
What follows the Fiddler section in Immigrant Songs is mostly bromides. But the best current Yiddish theater reflects the kind of fresh thinking that keeps the form alive.
An occasional well-presented museum piece, like the Folksbiene’s 2016 revival of Rumshinsky’s operetta The Golden Bride, is a very worthwhile project (though it, too, suffered from poorly spoken Yiddish). But the most dynamic contemporary Yiddish theater is, in Jeffrey Shandler’s apt phrase, “post vernacular” — i .e., the use of Yiddish is self-conscious, a deliberate choice rather than something that’s done automatically, as it would have been a century ago when there were a lot more Yiddish speakers in the world.
An example of this is the 2017 neo-realist film Menashe, which could far more easily and conventionally have been made in English. Or a well-known piece done in Yiddish translation, like Shane Baker’s stunning Yiddish translation of Waiting for Godot, can become something much more valuable than a mere stunt. The Yiddish version, under Moshe Yassur’s straightforward direction, humanized the play, stripping it of the encrusted pretentiousness that had hidden its soul. (When it was presented in the International Samuel Beckett Festival in Ireland, multiple audience members approached the cast afterwards with the same reaction: “I don’t speak a word of Yiddish. But I’ve seen Godot five or six times, and this is the first time I understood it.”)
There’s a lot to be learned from Immigrant Songs. If you find yourself hungry for more, you couldn’t do better than to seek out YIVO’s online Yiddish theater course “Oh, Mama, I’m in Love!” But by all means, start with Immigrant Songs. It’s a very entertaining and informative appetizer.
The post New documentary captures the lively history of Yiddish theater in America appeared first on The Forward.
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UK PM Starmer Says There Could Be New Powers to Ban Pro-Palestinian Marches
British Prime Minister Keir Starmer gives a media statement at Downing Street in London, Britain, April 30, 2026. Photo: REUTERS/Jack Taylor/File photo
British Prime Minister Keir Starmer said the government could ban pro-Palestinian marches in some circumstances because of the “cumulative effect” the demonstrations had on the Jewish community after two Jewish men were stabbed in London on Wednesday.
Starmer told the BBC that he would always defend freedom of expression and peaceful protest, but chants like “Globalize the Intifada” during demonstrations were “completely off limits” and those voicing them should be prosecuted.
Pro-Palestinian marches have become a regular feature in London since the October 2023 attack by Hamas on Israel that triggered the Gaza war. Critics say the demonstrations have generated hostility and become a focus for antisemitism.
Protesters have argued they are exercising their democratic right to spotlight ongoing human rights and political issues related to the situation in Gaza.
Starmer said he was not denying there were “very strong legitimate views about the Middle East, about Gaza,” but many people in the Jewish community had told him they were concerned about the repeat nature of the marches.
Asked if the tougher response should focus on chants and banners, or whether the protests should be stopped altogether, Starmer said: “I think certainly the first, and I think there are instances for the latter.”
“I think it’s time to look across the board at protests and the cumulative effect,” he said, adding that the government needed to look at what further powers it could take.
Britain raised its terrorism threat level to “severe” on Thursday amid mounting security concerns that foreign states were helping fuel violence, including against the Jewish community.
“We are seeing an elevated threat to Jewish and Israeli individuals and institutions in the UK,” the head of counter-terrorism policing, Laurence Taylor, said in a statement, adding that police were also working “against an unpredictable global situation that has consequences closer to home, including physical threats by state-linked actors.”
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War Likely to Resume After Trump’s Rejection of Latest Proposal, Says IRGC General
Iranians carry a model of a missile during a celebration following an IRGC attack on Israel, in Tehran, Iran, April 15, 2024. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
i24 News – A senior Iranian military figure said that fighting with the US was “likely” to resume after President Donald Trump stated he was dissatisfied with Tehran’s latest proposal, regime media reported on Saturday.
The comments of General Mohammad Jafar Asadi, one of the top Islamic Revolutionary Guard Corps (IRGC) commanders, were relayed by the Fars news agency, considered as a mouthpiece of the the powerful paramilitary body.
“Evidence has shown that the Americans do not not adhere to any commitments,” Asadi was quoted as saying.
He further added that Washington’s decision-making was “primarily media-driven aimed first at preventing a drop in oil prices and second at extricating themselves from the mess they have created.”
Iranian armed forces are ready “for any new adventures or foolishness from the Americans,” he said, going to assert that the Iran war would prove for the US a tragedy comparable with what was for Israel the October 7 massacre.
“Just as our martyred Leader said that the Zionist regime will never be the same as before the Al‑Aqsa Storm operation [the name chosen by Hamas leadership for the October 7, 2023 massacre in southern Israel], the United States will also never return to what it was before its attack on Iran,” he said. “The world has understood the true nature of America, and no matter how much malice it shows now, it is no longer the America that many once feared.”