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How this Brooklyn neighborhood became the ‘Klezmer Shtetl’
(New York Jewish Week) — Some of the greatest talents in Jewish music have strolled Midwood’s lettered avenues, including the klezmer musician Pete Sokolow and the Hasidic composer Ben Zion Shenker. Both have left us — Sokolow in 2022, Shenker in 2016 — but the Modzitzer synagogue on Avenue L, where Shenker once lead prayers, is a spiritual home for klezmer virtuoso and Midwood denizen Andy Statman, 73. He’s davened (prayed) there for more than 30 years.
Now, a younger group of klezmer musicians joins Statman in making the quiet, south-central Brooklyn neighborhood their home, due to the (relatively) affordable rents, low density and greenery, as well as its proximity to Jewish communal life spread across the borough.
“We needed more room than Park Slope could provide on our budget,” Pete Rushefsky, who has played a hammered dulcimer known as the tsimbl in the city’s klezmer scene for more than 30 years, told the New York Jewish Week. “It’s been a great neighborhood to raise a family.” That’s especially true for a culturally active family: Rushefsky’s wife, Madeline Solomon, sings, plays accordion and runs the Brooklyn Workers Circle School in Park Slope; their 12-year-old daughter, Mathilda, plays in a children’s fiddle band in the neighborhood.
Midwood looms so large over the present-day Jewish music scene that there’s even a klezmer rock band named for it: Midwood, the band, was founded in 2015 by the fiddler Jake Shulman-Ment. The 39-year-old veteran klezmer violinist lives in the same apartment building on Ocean Avenue as Jeremiah Lockwood, a blues performer and a scholar of cantorial music.
“I call it the ‘Klezmer Shtetl,’” said Midwood’s vocalist, Eleonore Weill, who is also a multi-instrumentalist. (Weill used to reside in Midwood but now lives in next-door Ditmas Park, which is also home to Sarah Gordon, lead singer of the rock band Yiddish Princess. Nearby Kensington counts among its klezmer-making residents D. Zisl Slepovitch and the klezmer couple Ilya Shneyveys and Sarah Myerson.)
Another Midwood musician is Michael Winograd, 40, who many consider to be the best klezmer clarinetist of his generation. As a teenager, he went to Statman’s home for lessons; last summer he moved to the neighborhood.
Midwood musicians Jeremiah Lockwood, left, and Pete Rushefsky. (Courtesy)
Elsewhere in Midwood resides guitarist Yoshie Fruchter, founder of Pitom, which the Tzadik record label called “a shredding Jewish instrumental band.” Fruchter has performed with Jon Madof’s Zion80, which plays Shlomo Carlebach tunes in an Afrobeat style, and Mazal Tov Cocktail Party, the latest klezmer/dance music project led by David Krakauer and Kathleen Tagg.
“I didn’t choose Midwood, particularly,” Shulman-Ment told New York Jewish Week. “It sort of fell into my life.” The fiddler decided to rent his Midwood one-bedroom in the summer of 2021 while he was on tour in the Pacific Northwest. After seeing the place online and sending a couple of friends to check it out in person, Shulman-Ment signed a lease while he was still on the road.
As it happens, Lockwood — who lives with his two sons, ages 14 and 16, on the floor below Shulman-Ment — also rented his apartment sight unseen that same summer.
The two neighbors credit Ivona Hertz, co-owner of Ocean Empire Management, with helping them find a home. Her company manages a pair of buildings across from Prospect Park that are home to so many jazz musicians, they came to be known as “the jazz dorms.”
“When the tenants are happy they always recommend their friends,” Hertz said, describing how she came to rent Midwood apartments to so many musicians. “That’s how the ‘jazz dorms’ were created and that’s how the Midwood buildings are now getting more musicians. The apartments are larger, up to three bedrooms, including the square footage, and more affordable in Midwood.”
According to the available rentals on the real estate website StreetEasy, the median rent in Midwood is $2,566. (Hertz, the property manager known for helping musicians, says she typically charges between $1,500 and $1,750 a month for one-bedroom rentals.) The median sale price in the nabe for the first quarter of this year was $644,000, according to the real estate website PropertyShark — that’s substantially less than the Brooklyn borough-wide median of $755,000.
In addition to relatively low housing costs, Midwood is also known for being home to a very large — and mostly Orthodox — Jewish community. Traditionally Ashkenazi, the southern reaches of the neighborhood have also seen steady growth of its longtime Sephardic Jewish community. “Sephardic Jews dominate from [an area known as the] Avenue H cut to Avenue Z,” Sarina Roffe, CEO of the The Brooklyn Jewish Historical Initiative and president of the Sephardic Heritage Project, told the New York Jewish Week. “The Sephardic community in Brooklyn has been growing for more than 100 years.”
Most of these newer, klezmer residents identify as secular Jews, and not Orthodox. But many of them said they enjoy living among their Orthodox brethren. Clarinetist Winograd lives in part of Midwood that’s “very Jewish,” as he described it. “I kind of like being a secular Jew who gets to experience the benefit of a quiet Shabbes. I enjoy being a culturally-engaged Jew living in a Jewish neighborhood even if I’m not partaking in the more religious activities.”
Shulman-Ment — who identifies as a secular Jew who is committed to Jewish culture — spent a year living in Crown Heights, so he was familiar with the feeling of living in an Orthodox neighborhood and feeling like a bit of an outsider. He said he’s noticed, though, that if he’s in his “gig costume” — a suit and fedora — some of his Orthodox co-religionists offer a friendly greeting.
Lockwood described his (and Shulman-Ment’s) section of Midwood, along Ocean Avenue, as “rough-hewn and unlovely. It is a hard-working and threadbare place.” And yet, “I like it here fine,” he told the New York Jewish Week, adding: “I just don’t want to encourage out-of-towners to move in.”
Fruchter — who moved to Midwood last December with his wife, Jewish cookbook author Leah Koenig, and their two kids, aged 4 and 9 — said his area of Midwood has a lot of Pakistani residents, but on Saturday his family can often hear zemiros, hymns sung at the Sabbath table, coming from the homes of Orthodox neighbors down the block. “I really like how you see people from so many different places, cultures, religions and backgrounds all sharing the same sidewalks,” Fruchter told the New York Jewish Week via email. “I love walking by businesses with signs in different languages and restaurants where I have no idea what to order… I love that it’s a ‘quiet’ neighborhood but with a lot of bustle in it.”
Klezmer virtuoso Andy Statman, left, has lived in the neighborhood more than 30 years, while guitarist Yoshie Fruchter, right, is a more recent resident. (Courtesy)
The family is involved in the Flatbush Jewish Center, a Conservative egalitarian synagogue in the neighboring Kensington section of Brooklyn where Fruchter has served as cantor on the High Holy Days and organized a concert series.
Fruchter is also a member of Shulman-Ment’s band Midwood — whose recording of their live performance at the “Klezmer On Ice” festival in Minneapolis last winter will be released in the coming months. Midwood the band’s next gig is at the National Yiddish Book Center’s annual Yidstock festival in Amherst, Massachusetts on July 16.
Shulman-Ment will also be performing with the actor and musician Daniel Kahn on June 15 at the East Village world music venue Drom. The performance is timed to the release of the duo’s first album, “The Building & Other Songs,” which features Yiddish versions of songs by Leonard Cohen, Bruce Springsteen, Tom Waits and Woody Guthrie.
The other Midwood klezmer musicians with gigs to look forward to are Rushefsky — who is also the executive director of the Center for Traditional Music and Dance — and Statman, who will both be playing with the violinist Itzhak Perlman in the coming months.
In addition, Statman plays in two trios: The Andy Statman Trio, which has performed at the Greenwich Village Synagogue in Manhattan regularly for 20 years, and another with the Eddy Brothers, two young West Virginia bluegrass musicians. More recently, Statman started playing with a traditional bluegrass quartet that’s comprised of players he’s known since he was a teenager. That band is now known as Andy’s Ramble, not to be confused with the 1994 Statman album of the same name.
Statman grew up in Queens and was in his mid-20s when he first moved to Brooklyn in 1976. After a series of apartments, he and his wife Basha moved to Avenue L in Midwood in 1987, where they raised their four children. “Our kids needed to be here. We needed to be here,” Statman said. “There is sky and trees and grass here. There are birds chirping all over. The neighborhood was incredibly vibrant.”
When he first arrived, Statman took a break from his music career for a year to study Jewish holy texts full time. In the 35 years since, he’s seen real estate values soar to a level he calls “ridiculous.” Statman said that since the early 2000s, he’s watched kids who grew up on his block move to Lakewood, New Jersey or Monsey in Rockland County — both home to sizable Orthodox Jewish communities — because they couldn’t afford to buy homes in Midwood. Now their parents are leaving, he added, because they want to be near their grandchildren.
It’s a fate the clarinetist is personally familiar with: None of his four children, now grown, live in the area. With two daughters and their grandchildren living near Lakewood, the Statmans are considering relocating there themselves.
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The post How this Brooklyn neighborhood became the ‘Klezmer Shtetl’ appeared first on Jewish Telegraphic Agency.
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Ed Sheeran’s support acts bail on Loop Tour after Macklemore dropped
(JTA) —
All of Ed Sheeran’s opening acts and his backing band have withdrawn from his Loop Tour after the pro-Palestinian rapper Macklemore was dropped as an opening act amid pressure from Robert Kraft and other stadium owners.
Kraft, the Jewish and pro-Israel billionaire who owns the Boston-area stadium where one of the tour stops had been scheduled, said on Monday that he had told Sheeran’s team that Macklemore wouldn’t be allowed to perform there.
Macklemore was subsequently dropped from the tour following pushback from unnamed venues that “will not allow a concert to take place with Macklemore on the lineup,” Rolling Stone reported on Monday.
At a Macklemore performance at MetLife Stadium in East Rutherford, N.J., earlier this month, the rapper declared “Free Palestine” before performing his 2024 song, “Hind’s Hall,” referring to Columbia University’s Hamilton Hall. Pro-Palestinian protesters occupied the building and unofficially renamed it for Hind Rajab, a 6-year-old Palestinian girl who was killed during the war in Gaza. Israel is investigating her killing.
Sheeran said Tuesday that he wasn’t behind the tour promoter’s decision to drop Macklemore.
“I am not complicit,” Sheeran wrote in a statement on Instagram Tuesday, saying that Macklemore leaving the tour “was the promoter’s decision, it was not mine.” It was Sheeran’s first public statement on the controversy.
Hours after Sheeran’s comments, acts began pulling out of the tour.
His backing band, Beoga, said in an Instagram post that it was leaving the tour “following the silencing of Macklemore by zionist lobbies.”
“We believe in dialogue as a means of progressing the plight of the Palestinian people,” they added. Beoga’s management did not immediately respond to requests for further comment.
Kraft’s decision to bar Macklemore from performing at Gillette Stadium in Foxboro, Mass. got the backing of the Jewish Community Relations Council of Greater Boston.
“Mr. Kraft drew a clear moral line in the sand about the demonization and offensive conduct that he will not allow in ‘his home’,” Jeremy Burton, the JCRC CEO, said, referring to the stadium. “He also showed leadership and complexity … by rejecting those who would diminish the suffering of innocent Palestine people.”
“This decision is not about diminishing the suffering of innocent Palestinians or denying anyone the right to advocate on their behalf,” Kraft had said in his statement. “Their pain and loss are real.”
Other acts scheduled to support Sheeran on the Loop tour, including Aaron Rowe, Finneas and Lukas Graham, also withdrew Tuesday. Rowe and Lukas Graham were supposed to replace Macklemore on the remaining U.S. dates, AP reported.
It’s not yet clear what the fate of the tour is, given the withdrawal of his backing band. At least one Israeli musician joked that he was ready to put together a replacement band for “unlimited beer.”
Sheeran’s own note added, “I am appalled by the conflict between Israel and Palestine.” The British singer-songwriter wrote that he had been “involved in direct talks” between Kraft and various promoters “to try and find a mutual resolution for all.”
Sheeran didn’t mention Jews in his statement, but noted, “I have always used my platform and music to bring people from all backgrounds and cultures together and this won’t ever change.”
He also had some veiled criticism of his tourmate’s methods. “Those who come to my shows do not expect a political forum,” Sheeran wrote. “I respect Macklemore’s strength of purpose to stand up for what he believes. However, there is room for multiple approaches to the same end: peace… If we only focus on shouting the loudest, nothing will ever change.”
The Israeli-American Council, which organized a boycott against Macklemore following his New Jersey show, criticized Sheeran in a statement to the Jewish Telegraphic Agency.
“It’s time to take responsibility for giving a stage to antisemitic messaging,” the IAC said, of Sheeran. “This isn’t just ‘criticism of Israel.’ It’s a message that crosses the line between legitimate political criticism and antisemitism. This is Ed Sheeran’s stage, it’s the tour that carries his name — and so the responsibility for what happens on it is his too.”
The post Ed Sheeran’s support acts bail on Loop Tour after Macklemore dropped appeared first on The Forward.
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Vance: Trump willing to ‘part ways’ with Netanyahu when necessary, and has often opposed him
(JTA) —
President Donald Trump has an unprecedented track record of opposing Israeli Prime Minister Benjamin Netanyahu when it comes to advancing the interest of the American people, Vice President JD Vance said during a virtual address Tuesday at a Los Angeles-based technology summit.
More than any president in the last 40 years Trump “has shown a willingness to actually part ways with ‘Bibi’ Netanyahu when he feels like the interests of the American people are different from the interests of the government of Israel,” Vance told the All-In Summit on technology.
The claim that Trump is the “one president” who would differ with Netanyahu is one that would surprise many watchers of the U.S.-Israel relationship.
The most significant U.S.-Israel rupture since 2009, when Netanyahu was first elected prime minister, was with President Barack Obama in 2015 over Obama’s nuclear deal with Iran.
Vance’s comments were the latest in a series he has made emphasizing the widening gulf between Jerusalem and Washington as November midterm elections approach and at a time when Netanyahu’s popularity in the United States is at a low after three years of Middle East wars.
A Pew poll from the end of March, when the United States was actively at war with Iran, found that 60% of U.S. adults unfavorably view Israel and that 59% lacked confidence in Netanyahu’s handling of world affairs, an increase of 7% in both categories.
Republicans are scrambling to shuck off unpopular policies and associations, fearing the party will lose control of Congress in the midterms, a result that would cripple Trump’s agenda in the final two years of his presidency.
“I find it a little ironic … that you have Democrats criticizing Donald Trump for his relationship with Bibi when Donald Trump is the one president of the last 40 years who’s been willing to say, you know what, yeah, Bibi is a good partner, but also Bibi and I have a different opinion on this, or Bibi’s wrong about this, or maybe Bibi’s right about this from the perspective of Israel. But the American people need us to go in a different direction,” Vance said.
Trump has often touted himself as the president who has done the most for Israel, including relocating his country’s embassy to Jerusalem and rupturing Obama’s Iran deal, during his first term in 2018 and securing the release of the Gaza hostages in 2025 during his second, nonconsecutive term. The war he and Netanyahu launched against Iran in February is the first ever joint U.S.-Israeli military action.
The friendship between the two leaders is a highly public one, with Netanyahu enjoying more White House visits than any other world leader. Each has made the close ties central to their electoral campaigns. Netanyahu pitches himself as the world leader most influential with Trump, while Trump’s evangelical base lauds his closeness with Israel.
Vance, however, has often taken a harsher line, including accusing Israel of trying to manipulate U.S. public opinion on the Iran war.
“Israel has been an important partner when it comes to military technology, when it comes to intelligence sharing, but also sometimes the United States doesn’t always agree with Israel,” Vance said on Tuesday.
Serious differences have emerged since the joint U.S.-Israel goals in the Iran war – to change the regime and end once and for all Iran’s potential to acquire a nuclear weapon – have foundered. Among these has been the U.S. decision to end the Iran war without a clear plan to block the Islamic Republic’s path to nuclear weapons and its agreement to enter into a civilian nuclear deal with Saudi Arabia, without insisting on a normalization deal with the Jewish state.
“We cannot let our Middle Eastern foreign policy be subservient to the state of Israel,” Vance told the All In Summit.
Vance has also ruffled American Jewish feathers by refusing to disavow media personality Tucker Carlson, who has promoted conspiracy theories about Israel and Jews.
Vance’s remarks rankled pro-Israel figures who have otherwise been supportive of Trump’s policies.
“American foreign policy should be subservient to no country,” Jonathan Schanzer, the executive director of the Foundation for the Defense of Democracies, an influential think tank that backed the Iran war, wrote on X. “Why does the VP feel compelled to call out Israel in this respect? Why not call out the Qataris, or the Saudis, or Ukraine? Odd how this keeps happening.”
Heather Johnston, a Christian evangelical who founded the U.S. Israel Education Association, accused Vance on X of catering to Israel haters.
“Our U.S. foreign policy has never been subservient to Israel’s foreign policy,” she said, attaching a clip of Vance’s remarks. “He knows that. Why would he need to say that unless he’s trying to politically gain some points with Israel haters?”
The accusation hit a nerve. Vance’s communications director Taylor Van Kirk quoted Johnston’s tweet, and posted the entire exchange on X. “Let’s all take a moment to actually watch this exchange in full, where the VP was specifically asked about Israel,” Van Kirk said.
The post Vance: Trump willing to ‘part ways’ with Netanyahu when necessary, and has often opposed him appeared first on The Forward.
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LA Federation sues museum for custody of looted paintings once hoarded by Hermann Göring
(JTA) — The Jewish Federation of Los Angeles and the heirs to a Jewish artist filed suit against a California museum to recover a pair of 16th-century oil paintings seized by the Nazis and held in the private collection of Hermann Göring.
Also on Monday, the daughters of Holocaust survivor Dina Gottliebova Babbitt sued the Auschwitz-Birkenau Museum to recover watercolors of Roma victims she was forced to paint for Josef Mengele, the physician who tormented and experimented on inmates at Auschwitz. The artist died in 2009.
The two lawsuits were filed at the end of the filing window under a 2024 California law that permits claimants in previously dismissed lawsuits to refile for the retrieval of looted artworks. The law permits claimants to recover personal property stolen as the result of “political persecution” when earlier lawsuits were dismissed on procedural grounds.
The federation is suing the Norton Simon Museum in Pasadena for the retrieval of a life-sized oil diptych of Adam and Eve by the German painter Lucas Cranach the Elder. In 1940, the Nazis seized the pair of paintings from their Jewish owner, the art dealer Jacques Goudstikker. The art wound up in the hands of Göring, the Nazi air force commander and convicted war criminal, along with about 800 other pieces from Goudstikker’s collection. The paintings eventually made their way to the Norton Simon in 1971.
In a press release, the Jewish federation said it would use the majority of the proceeds from the sale of the art to care for Los Angeles-based Holocaust survivors living in poverty. (A 2018 study from the Jewish Federations of North America found that one-third of Holocaust survivors in the United States are living below the poverty line.)
“By pursuing the recovery of the Cranachs, we are seeking to reverse a great injustice perpetrated by the Nazi theft of a Jewish family’s property, and securing the resources that will enable us to provide for the many needs of thousands of impoverished Holocaust survivors in the greater Los Angeles area so they can live in dignity for the remainder of their lives,” Rabbi Noah Farkas, president and CEO of the Los Angeles federation, said in a statement.
Goudstikker’s daughter-in-law, Marei von Saher, first sued the Norton Simon Museum in 2007, claiming the paintings belonged to her family. A 2018 ruling determined on procedural grounds that they belong to the museum.
In addition to the 2024 California law, Congress passed a law earlier this year that eliminated “state doctrine,” the principle that acts committed by foreign countries within their territory are immune from lawsuits, strengthening the cases for the heirs of Goudstikker and Babbitt.
Dina Babbitt in 2006, at work on a recreation of the “Snow White” mural that she painted in the children’s barracks at Auschwitz. Her family is seeking the recovery of the portraits she drew of Roma inmates at the concentration camp. (Lawrence Stern for The David S. Wyman Institute for Holocaust Studies)
Also in 2024, 21 countries agreed to updated guidelines for restituting Nazi-looted art, which specifies that works sold to the Nazis under duress are also considered looted or stolen property.
“I am grateful to the Jewish Federation Los Angeles and its Chairman Daniel Gryczman for taking up this cause and pursuing the recovery of Adam and Eve by Lucas Cranach the Elder,” von Saher said in a statement shared with the Jewish Telegraphic Agency. “This effort represents a meaningful step toward justice for Holocaust survivors and victims of Nazi era atrocities.”
Jewish federations rarely file lawsuits as the plaintiffs in a Nazi-looted art restitution case. The San Diego Jewish Federation was a co-plaintiff in a lawsuit in 2015.
JTA has reached out to the attorneys for the Jewish federation for comment.
The Pasadena museum held onto the Cranachs even as other works that had been looted from Goudstikker’s collection were restituted by the Dutch government in the decades since their seizure.
“After decades of litigation, court after court including the United States Supreme Court ha confirmed that the Norton Simon Art Foundation has proper title to Adam and Eve by Lucas Cranach the Elder,” a spokesperson for the Norton Simon Museum told JTA in a statement. “We will continue to make these important artworks accessible to the public, as we have since 1971.”
The spokesperson said the museum is reviewing the complaint, and referred to a 2016 court decision that placed the artworks in their possession.
Goudstikker first acquired the paintings at a 1931 Berlin auction hosted by the Soviet authorities, which also included many works previously owned by the Russian Stroganoff family. In 1940, after Jacques Goudstikker’s death, his collection was sold to the Nazis under duress — but no cash ever came to his family.
In the Norton Simon Museum’s online catalogue, provenance cards for the works say they were “[s]aid to have been in the Stroganoff Collection” and describe the transfer from Goudstikker to Göring as “appropriated 1940.”
The quest to restitute Goudstikker’s artwork began in 1946, when his wife Désiree, an opera singer, filed a claim in the Netherlands that was initially rebuffed. Though she was able to retrieve one painting just a few years later, all of the pieces that had been seized by Göring were kept in the Dutch national collections. In later years, more than 200 artworks were returned to von Saher’s possession.
But in 1961, George Stroganoff-Scherbatoff, a descendant of the aristocratic family whose works were sold en masse along with the Cranachs, claimed the diptych from the Dutch government. He later sold the works to the Norton Simon Museum for $800,000.
In the case of the Gottliebova drawings, a spokesperson from the Auschwitz-Birkenau Museum told JTA that the memorial was their appropriate home. “The drawings of Roma victims made in the camp must remain in the Memorial as part of the documentation of the crimes of Mengele,” the spokesperson for the state-run museum said.
“We fully understand the emotional approach of Dina Gottliebova’s family,” said the spokesperson, but “we express the deep conviction that the watercolors should remain at the Memorial.”
“The portraits of Roma victims are the few remaining fragments of the documentation made by Mengele as part of his criminal experiments,” the spokesperson continued. “Therefore, they should be treated as unique documents related to the history of Auschwitz.”
Earlier this month, an Argentine court ordered the restitution to van Saher of a looted painting, after the painting was spotted on a real estate website advertising the sale of a home of the daughter of a former Nazi official. The painting came from Goudstikker’s collection.
Earlier this year, a judge ruled that a painting by Italian artist Amedeo Modigliani, once valued at more than $25 million, must be returned to the descendants of its original owner, who was forced to sell the painting to the Nazis under duress.
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