Uncategorized
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.”
—
The post A new dance club in Williamsburg is bringing Tel Aviv party culture to Brooklyn appeared first on Jewish Telegraphic Agency.
Uncategorized
As the last generation of Holocaust survivors die, is AI the future of Holocaust education?
At a Brooklyn synagogue on a recent Monday afternoon, a video of Holocaust survivor Sonia Warshawski played on a two-foot-tall box. Seated in a leopard-print chair, her hands folded in her lap, Warshawski blinked and nodded her head expectantly on a continuous loop.
“Did anyone else from your family survive?” a Hebrew school student asked the AI-powered avatar.
The video cut to a separate clip. Warshawski said she and her sister had survived. Her brother, mother and father did not.
Warshawski, who survived three concentration camps and ran a tailoring shop in Kansas City until 2023, had made it part of her life’s mission to tell her story wherever she could. She spoke with students, filmed the 2016 documentary Big Sonia about her life, and was even a guest speaker at a local prison.
But Warshawski knew she wouldn’t live forever. So in 2021, with the help of the interactive media company StoryFile and her granddaughter’s production company, Inflatable Film, Warshawski recorded answers to hundreds of questions about her life, from “What do you remember about the death march?,” to “Why do you like leopard print so much?” Those answers were loaded into an AI-powered avatar of Warshawski that can converse through a video screen, which debuted as an exhibit at the Museum of Kansas City last year.
The technology also caught the attention of the Blue Card, a nonprofit that provides financial assistance to Holocaust survivors in need. The organization adapted it into a portable format and brought the virtual Warshawski to 20 schools and community centers across the New York area over the past year, with plans to expand nationwide. A parallel effort from the USC Shoah Foundation, called “Dimensions in Testimony,” also enables students to have conversations with virtual versions of Holocaust survivors.
The initiative reflects recognition that as survivors age, a model of Holocaust education built on firsthand testimony will be increasingly difficult to sustain. No lesson plan can match the impact of hearing directly from survivors, many of whom dedicate their golden years to speaking tours retelling their traumatic stories. But 90% of the world’s roughly 200,000 living Holocaust survivors are projected to die in the next 15 years. And for aging survivors — who have already lost so much of their lives to violence and deprivation — the weight of transmitting Holocaust memories to the next generation is a burden they cannot shoulder alone.
“It’s absolutely the future of Holocaust education,” said Masha Pearl, the Blue Card’s executive director. “It actually is as close as possible to hearing a live survivor speak.”
Warshawski’s story
Warshawski grew up in Międzyrzec, Poland, and was 17 years old when she and her family were forced into a ghetto. Sonia and her mother were deported to the Majdanek death camp, where she watched Nazis march her mother to her death via gas chamber. Warshawski was then sent to Auschwitz-Birkenau, where she was forced to spread her fellow prisoners’ ashes as fertilizer, and then to the Bergen-Belsen concentration camp, where she was shot in the chest on liberation day.

She recovered and met her husband, John, at the Bergen-Belsen displaced persons camp. The couple moved to Kansas City in 1948.
Using AI technology, students can ask the virtual Warshawski about all of those harrowing moments — with the added benefit that the real-life Warshawski only had to recall them once.
Many survivors “suffer from depression and PTSD, and it’s very difficult for them to recount these extremely painful experiences,” Pearl said. “This actually bypasses that in a way.”
The interactive element is also engaging for kids, Pearl said. At the Conservative synagogue Temple Sholom, after watching Big Sonia, nearly all 25 students ages 10 to 13 — half from the parochial school at the church across the street — raised their hands to ask the virtual Warshawski a question. A few students stayed after the programming had formally ended to ask more.
“It’s the same thing I heard from my uncle’s great grandpa,” said fifth-grader Noah Stein, who attends Hebrew school at Temple Sholom. “It’s amazing — I’ve never seen something like that.”
An imperfect technology
Warshawski, now 100 years old and still going strong, celebrated her birthday in November at a party with more than 1,000 people. But she doesn’t have as much energy as she used to and was unavailable to interview for this piece. So I interviewed her avatar instead.
My question — how she felt about her memory being preserved through AI — triggered an unrelated response.
“After we left [Majdanek], there were still people there, and I must tell you, one day when I was…”
“Can we pause this?” said Rechan Meshulam, special projects director at the Blue Card, who operated the technology at Temple Sholom.
Meshulam said the system had not matched my question to the correct response. She then manually selected the closest question, “Are you glad that you recorded this with StoryFile?”
“I feel this is a very important thing for the people in the world, not to forget and [to] read more about it. Read more history,” Warshawski said. “I’m very grateful that I had a chance to do it. I am thanking the Almighty for it, to give me the strength still to go on.”
The initial mismatched response illustrated the technology’s limits: Warshawski can only answer questions that StoryFile asked her during the original interview in 2021. If a question is similar enough, the AI is designed to redirect Warshawski to the appropriate answer. But this didn’t seem to work in practice. Whenever a student asked a question outside the suggested question bank, operators had to ask the student to rephrase — or pause Warshawski and jump in with their own knowledge about her story.
But according to Pearl, the limited scope of questions is a feature, not a bug. Limiting Warshawski to questions she actually answered prevents her words from being taken out of context or misconstrued, Pearl said.
“Sonia cannot tell you what the weather is today, what her thoughts are on politics — anything that’s really current,” Pearl said. “She can only speak to her experience.”
Not everyone draws the same line. Last year, a Utah-based tech startup called SchoolAI drew controversy for its AI-generated version of Anne Frank, which spits out responses that Frank never wrote herself. Henrik Schönemann, a German historian who tested the chatbot, found AI-Frank avoided holding Nazis responsible for her death and spun her story in an overly positive light.
“How anyone thinks this is even remotely appropriate is beyond me,” Schönemann posted to social media, adding that the technology “violates every premise of Holocaust-education” and amounted to “a kind of grave-robbbing.”
SchoolAI, which also offers the ability to chat with historical figures such as Alexander Graham Bell and Frederick Douglass, said it was implementing additional safeguards to help characters more directly address difficult questions.
I asked SchoolAI’s Anne Frank chatbot about how Frank feels about comparisons between ICE agents and the Gestapo. She didn’t take the bait.
“That’s a difficult question. When I lived in hiding, the Gestapo and police searched for people like us because of who we were, not because we had done anything wrong. I was always afraid,” AI-Frank wrote. “I believe it’s important to treat people with humanity and fairness, no matter their situation. What matters most is how we treat one another, especially those who are vulnerable.”
Yet even with careful control over the accuracy of testimony, some educators are uncomfortable with the idea of immortalizing Holocaust survivors in an interactive form.
In a research paper titled “Creating the ‘virtual’ witness: the limits of empathy,” Corey Kai Nelson Schultz argues that digital versions of Holocaust survivors can have the effect of undermining empathy. Viewers may treat the avatars more like virtual assistants than people, he wrote, and could be tempted to gamify the experience or test the technology’s limits.
Schultz told the Forward he prefers more traditional forms of Holocaust education — seeing artifacts like survivors’ shoes or toys, or watching video testimonies — mediums he believes better capture survivors’ humanity.
But the technology’s novelty was part of the appeal for Warshawski’s granddaughter, Leah, who directed Big Sonia — and said the AI component is just one more way to ensure her grandmother’s story lives on.
Warshawski “does authentically, passionately believe that everybody needs more education, and specifically, Holocaust education. And if this is the way to do it in the future, then so be it,” Leah told the Forward. “You know, ideally, everybody would be able to read more books.”
Pearl said the survivors she works with also have a different set of worries.
“We actually didn’t hear any ethical issues or concerns,” Pearl said. “The concerns that we heard were, Who will tell my story after I’m no longer here?”
The post As the last generation of Holocaust survivors die, is AI the future of Holocaust education? appeared first on The Forward.
Uncategorized
Board of Peace Members Have Pledged More Than $5 billion for Gaza, Trump Says
A drone view shows the destruction in a residential neighborhood, after the withdrawal of the Israeli forces from the area, amid a ceasefire between Israel and Hamas in Gaza, in Gaza City, October 21, 2025. Photo: REUTERS/Dawoud Abu Alkas/File Photo
US President Donald Trump said Board of Peace member states will announce at an upcoming meeting on Thursday a pledge of more than $5 billion for reconstruction and humanitarian efforts in Gaza.
In a post on Truth Social on Sunday, Trump wrote that member states have also committed thousands of personnel toward a U.N.-authorized stabilization force and local police in the Palestinian enclave.
The US president said Thursday’s gathering, the first official meeting of the group, will take place at the Donald J. Trump Institute of Peace, which the State Department recently renamed after the president. Delegations from more than 20 countries, including heads of state, are expected to attend.
The board’s creation was endorsed by a United Nations Security Council resolution as part of the Trump administration’s plan to end the war between Israel and Palestinian Islamist group Hamas in Gaza.
Israel and Hamas agreed to the plan last year with a ceasefire officially taking effect in October, although both sides have accused each other repeatedly of violating the ceasefire. According to Gaza’s Health Ministry, more than 590 Palestinians have been killed by Israeli troops in the territory since the ceasefire began. Israel has said four of its soldiers have been killed by Palestinian militants in the same period.
While regional Middle East powers including Turkey, Egypt, Saudi Arabia, Qatar and Israel – as well as emerging nations such as Indonesia – have joined the board, global powers and traditional Western US allies have been more cautious.
Uncategorized
Why a forgotten teacher’s grave became a Jewish pilgrimage site
Along Britton Road in Rochester, New York, a brick gatehouse sits across from ordinary homes. Beyond it lies Britton Road Cemetery, its grounds divided into family plots and sections claimed over time by Orthodox congregations and fraternal associations, past and present. Names like Anshe Polen, Beth Hakneses Hachodosh, B’nai Israel, and various Jewish fraternal organizations are found here.
On the east side of the cemetery, a modest gray headstone draws visitors who do not personally know the man buried there, who were never taught his name in school, and who claim no personal connection to his life. Some leave notes. Some light candles in a small metal box set nearby. Others whisper prayers and stand for a moment before going. They come because they believe holiness can be found here.
The grave belongs to Rabbi Yechiel Meir Burgeman, a Polish-born teacher who died in 1938. He did not lead a major congregation or leave behind an institution that bears his name. And yet, nearly a century after his death, people still visit.
Over time, Burgeman has come to be remembered as a tzaddik nistar, a hidden righteous person, whose holiness is known through their teaching and daily life rather than through any title or position. His grave has become a place of intercession. People come to pray for healing, for help in times of uncertainty, and for the hope of marriage. What endures here is not an individual’s biography so much as a practice: the belief that a life lived with integrity can continue to shape devotion, even after the body has been laid to rest.
In life, Burgeman was not known as a miracle worker or a public figure. He was a melamed, a teacher of children, living plainly among other Jewish immigrants in Rochester’s Jewish center in the early decades of the 20th century. At one point, he was dismissed from a teaching post for refusing to soften his instruction. He later opened his own cheder, or schoolroom. There was no congregation to inherit his name, no institution to archive his papers. When he died, he was buried in an ordinary way at Britton Road Cemetery, one grave among many.
What followed was not immediate.
Remembered in return

The meaning attached to Burgeman’s resting place accumulated slowly. Stories began to circulate. People spoke of his kindness, his discipline, his integrity. Over time, visitors came. The grave became a place not of answers, but of belief. For generations, this turning toward the dead has taken this same form. It is not worship. It is proximity. A way of standing near those believed to have lived rightly, and asking that their merit might still matter.
In Jewish tradition, prayer at a grave is a reflection on those believed to have lived with righteousness, asking that their merit accompany the living in moments of need. Psalms are traditionally recited. Words are often spoken quietly.
I have done something similar too. Years ago, before I converted to Judaism and before I had the means to travel, I sent a written prayer through a Chabad service that delivers letters to the grave of the Lubavitcher Rebbe in New York. Someone else carried it. I cannot say with absolute certainty what happened because of it. Only that the practice itself made space for hope that I was seen, and that a prayer was later answered in ways that shaped my life and deepened my understanding of Judaism.
Burgeman’s grave functions in a similar register, though without any institutional frame. People come not because his name is widely known, but because the story has endured. Over time, that story gathered details. The most persistent involves a dog said to have escorted Jewish children to Burgeman’s cheder so they would not be harassed along the way by other youths. The dog then stood watch until they were ready to return home. The versions differ. Some are reverent. Some are playful. Some verge on the miraculous. The story endures because it names something children needed: care, in a world that could be frightening.
In recent decades, Burgeman’s afterlife has taken on a digital form. His name surfaces in comment threads and genealogical forums, passed along by people who never met him and are not always sure how they are connected. Spellings are debated. Dates are corrected. A descendant appears. A former student’s grandchild adds a fragment. Someone asks whether this is the same man their grandmother spoke of. No single account settles the matter. Instead, memory gathers. What once traveled by word of mouth now moves through hyperlinks.
The internet allows fragments to remain visible. Burgeman’s story survives not because it was officially recorded, but because enough people cared to remember it. In this way, his legacy resembles the man himself: quiet, unadorned, sustained by actions rather than declaration.

This story does not offer certainty. It is about remembering a life and asking if we might still learn from it and if, perhaps, it can bring us closer to faith. Burgeman left no grand monument. He left descendants. A grave. A life of Jewish values that continues to teach.
Burgeman did not seek recognition in life. After death, he became something else: a teacher still teaching, not through words, but through the way people continue to act on his memory. That is the lesson. Not any miracle. Not any legend. The quiet insistence that a life lived with integrity does not end when the casket is placed into the earth.
Some graves are instructions.
This one still asks something of us.
The post Why a forgotten teacher’s grave became a Jewish pilgrimage site appeared first on The Forward.
