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The hora, the hora! How Jewish wedding music got that way
(JTA) — When my wife and I were planning our wedding, we thought it might be cool to hire a klezmer band. This was during the first wave of the klezmer revival, when groups like The Klezmatics and The Klezmer Conservatory Band were rediscovering the genre of Jewish wedding music popular for centuries in Yiddish-speaking Eastern Europe.
Of course we also wanted to dance to rock ‘n’ roll and needed musicians who could handle Sinatra for our parents’ benefit, so we went with a more typical wedding band. Modernity won out over tradition.
Or did it? Musician and musicologist Uri Schreter argues that the music heard at American Jewish weddings since the 1950s has become a tradition all its own, especially in the way Old World traditions coexist with contemporary pop. In a dissertation he is writing about the politics of Jewish music in the early postwar period, Schreter argues that American Jewish musical traditions — especially among secularized Conservative and Reform Jews — reflect events happening outside the wedding hall, including the Holocaust, the creation of Israel and the rapid assimilation of American Jews.
That will be the subject of a talk he’ll be giving Monday for YIVO, titled “Yiddish to the Core: Wedding Music and Jewish Identity in Postwar New York City.”
Because it’s June — and because I’m busy planning a wedding for one of my kids one year from now — I wanted to speak to Schreter about Jewish weddings and how they got that way. Our Zoom conversation Wednesday touched on the indestructibility of the hora, the role of musicians as “secular clergy” and why my Ashkenazi parents danced the cha-cha-cha.
Born in Tel Aviv, Schreter is pursuing his PhD in historical musicology at Harvard University. He is a composer, pianist and film editor.
Our conversation was edited for length and clarity.
I was struck by your research because we’re helping to plan a child’s wedding now. It’s the first wedding we’ve planned since our own, and we’re still asking the same questions, like, you’ve got to make sure the band can handle the hora and the Motown set and, I don’t know, “Uptown Funk.” Your research explores when that began — when American Jewish weddings began to combine the traditional and secular cultures.
In the period that I’m talking about, post-World War II America, this is already a fact of life for musicians. A lot of my work is based on interviews with musicians from that period, folks now in their 80s and 90s. The oldest one I have started playing professionally in 1947 or ’48. Popular American music was played at Jewish weddings as early as the 1930s, but it’s a question of proportion — how much the wedding would feature foxtrots and swing and Lindy Hop and other popular dance tunes of the day, and how much of it is going to be klezmer music.
In the postwar period, most of the [non-Orthodox] American Jewish weddings would have featured American pop. For musicians who wanted to be in what they called the “club date” business, they needed to be able to do all these things. And some “offices” — a term they used for a business that books wedding bands — would have specialists that they could call on to do a Jewish wedding.
You’re writing about a period when the Conservative movement becomes the dominant American Jewish denomination. They have one foot in tradition, and the other in modernity. What does a wedding look like in 1958 when they’re building the big suburban synagogues?
The difference is not so much denominational but between the wide spectrum of Orthodoxy and the diverse spectrum of what I describe as “secular.”
Meaning non-Orthodox — Reform, Conservative, etc.?
Right. Only in the sense that they are broadly speaking more secular than the Orthodox. And if so they are going to have, for the most part, one, maybe two sets of Jewish dance music — basically a medley of a few Jewish tunes. You might have a wedding where it could be a quarter of the music or even half would be Jewish music, but this would be for families that have a much stronger degree of attachment to traditional Jewish culture, and primarily Yiddish culture.
There’s a few interrelated elements that shape this. Class is an important thing. For lower class communities in some areas, and I am talking primarily about New York, you’d have communities that are a little bit more secluded, probably speaking more Yiddish at home and hanging out more with other Jewish people from similar backgrounds. So these kinds of communities might have as much as a third or half of the music be Jewish, even though they consider themselves secular. It’s actually very similar to an Orthodox wedding, where you might also have half and half [Jewish and “American” music].
Jews in the higher socioeconomic class might, in general, be more Americanized, and want to project a more mainstream American identity. They might have as little as five minutes of Jewish music, just to mark it that they did this. Still, it’s very important for almost all of them to have those five minutes — because it’s one of the things that makes the wedding Jewish. I interviewed couples that were getting married in the ’50s, and a lot of them told me, “You need to have Jewish dance music for this to be a Jewish wedding.”
Composer and pianist Uri Schreter is pursuing his PhD in historical musicology at Harvard University. (Nicole Loeb)
When I was growing up in the 1970s at a suburban Reform synagogue on Long Island, klezmer was never spoken about. I don’t know any parents who owned klezmer albums. Then when I got married a decade later, it was in the middle of the klezmer revival. Am I right about that? Were the ’50s and ’60s fallow periods for klezmer?
You’re definitely right. Up until the mid-1920s, you still have waves of immigration coming from Eastern Europe. So you still have new people feeding this desire for the traditional culture. But as immigration stops and people basically tried to become American, the tides shift away from traditional klezmer.
The other important thing that happens in the period that I’m looking at is both a negative rejection of klezmer and a positive attraction to other new things. Klezmer becomes associated with immigrant culture, so people who are trying to be American don’t want to be associated with it. It also becomes associated with the Holocaust, which is very problematic. Anything sounding Yiddish becomes associated for some people with tragedy.
At the same time, and very much related to this, there’s the rise of Israeli popular culture, and especially Israeli folk songs. A really strong symbol of this is in the summer of 1950, when the Weavers record a song called “Tzena, Tzena,” a Hebrew Israeli song written in the 1940s which becomes a massive hit in America — it’s like number two in the Billboard charts for about 10 weeks. Israeli culture becomes this symbol of hope and the future and a new society that’s inspiring. This is all in very stark contrast to what klezmer represents for people. And a lot of the composers of Israeli folk song of its first decades had this very clearly stated ideology that they’re moving away from Ashkenazi musical traditions and Yiddish.
So the Jewish set at a wedding becomes an Israeli set.
At a typical Conservative wedding in the 1950s and ’60s, you might hear 10 minutes of Jewish music. The first one would be “Hava Nagila,” then they went to “Tzena, Tzena,” then they would do a song called “Artza Alinu,” which is today not very well known, and then “Hevenu Shalom Aleichem.” They are songs that are perceived to be Israeli folk songs, even though if you actually look at their origins, it’s a lot murkier than that. Like two of the songs I just mentioned are actually Hasidic songs that received Hebrew words in pre-state Palestine. Another probably comes from some sort of German, non-Jewish composer in 1900, but is in Hebrew and is perceived to be a representation of Israeli culture.
But even when the repertoire already represents a shift towards what’s easier to digest for American Jewry, the arrangements and the instruments and the musical ornamentation are essentially klezmer. The musicians I spoke to said they did this because they felt that this is the only way that it would actually sound Jewish.
That is to say, to be “Jewish” the music had to gesture towards Ashkenazi and Yiddish, even if it were Israeli and Hebrew. As if Jews wanted to distance themselves from Eastern Europe — but only so far.
Someone like Dave Tarras or the Epstein Brothers, musicians who were really at the forefront of klezmer in New York at the time, were really focused on bringing it closer to Ashkenazi traditions. Ashkenazi Jewish weddings in America are not the totality of Jewish weddings in America, and Israeli music itself is made up of all these different traditions — North African, Middle Eastern, Turkish, Greek — but in effect most of the really popular songs of the time were composed by Ashkenazi composers. Even “Hava Nagila” is based on a melody from the Sadigura Hasidic sect in Eastern Europe.
Of course, if you’re a klezmer musician you’re allergic to “Hava Nagila.”
Then-Vice President Joe Biden dances the hora with his daughter Ashley at her wedding to Howard Krein in Wilmington, Delaware on June 2, 2012. (White House/David Lienemann)
You spoke earlier about Latin music, which seemed to become a Jewish thing in the 1950s and ’60s — I know a few scholars have focused on Jews and Latinos and how Latin musical genres like the mambo and cha-cha-cha became popular in the Catskill Mountain resorts and at Jewish weddings.
Latin music is not exclusively a Jewish thing, but it’s part of American popular culture by the late 40s. But Jews are very eagerly adopting it for sure. In the Catskills, you would often have two separate bands that alternated every evening. One is a Latin band, one is a generic American band playing everything else. And part of that is American Jews wanting to become American. And how do you become American? By doing what Americans do: by appropriating “exotic” cultures, in this case Latin. This is a way of being American.
Jews and Chinese food would be another example.
And by the way, in a similar vein, it also becomes very popular to dance to Israeli folk songs. A lot of people are taking lessons. A lot of people are going to their Jewish Y to learn Israeli folk dance.
I’ve been to Jewish weddings where the “Jewish set” feels very perfunctory — you know, dance a hora or two long enough to lift the couple on chairs and then let’s get to the Motown. Or the Black Eyed Peas because they were smart enough to include the words “Mazel Tov!” in the lyrics to “I Gotta Feeling.”
So that’s why we always hear that song! I will say though, even when the Jewish music appears superficial, it does have this deeper layer of meaning. It’s very interesting how, despite all these changes, and despite the secularization process of American Jewish weddings, the music still connects people to their Jewishness. These pieces of music are so meshed with other religious components. Of course, most people see this as secular. But a lot of people connect to their Jewish identity through elements such as Jewish music, Jewish food, certain Jewish customs that are easier to accommodate in your secular lifestyle, and the music specifically has this kind of flexibility, this fluidity between the sacred and the profane.
That’s beautiful. It sort of makes the musicians secular clergy.
It’s interesting that you say that. In his history of klezmer, Walter Zev Feldman refers to the klezmer — the word itself means “musician” — as a kind of a liminal character, an interstitial character between the secular and the mundane. The music is not liturgical, but when the klezmer or the band is playing, it is an interval woven with all these other religious components and things that have ritual meaning.
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The post The hora, the hora! How Jewish wedding music got that way appeared first on Jewish Telegraphic Agency.
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80 Years After the Holocaust, Did Antisemitism Disappear? Or Did Anti-Zionism Replace It?
A German and Israeli flag fly, on the day Chancellor Friedrich Merz meets with Israeli President Isaac Herzog for talks, in Berlin, Germany, May 12, 2025. Photo: REUTERS/Liesa Johannssen
There is a comforting narrative circulating in Western discourse. It insists that the surge of anti-Israel activism we see today is nothing more than political engagement. We are told it is about policy disagreements, about borders, about governments and human rights. We are assured it has nothing to do with Jews as Jews.
Yet over and over again, the façade cracks. Beneath the slogans and hashtags, something much older surfaces. What presents itself as principled opposition to a state too often reveals itself as hostility toward a people.
For centuries, Jews have been blamed for calamities that had nothing to do with them. During the Black Death in medieval Europe, Jewish communities were accused of poisoning wells and spreading plague. These lies triggered massacres. In times of disease and social instability, fear sought an outlet and found it in the Jewish minority.
The pattern did not end there. Blood libels claimed that Jews murdered Christian children to use their blood in religious rituals. Jews were portrayed as shadowy financiers manipulating global markets, engineering wars, and controlling governments. These were not fringe ideas whispered in dark corners. They were preached from pulpits, embedded in political rhetoric, and woven into cultural narratives.
The consequences were catastrophic. The expulsions from European kingdoms. The pogroms that swept across Eastern Europe and parts of the Middle East all the way up until the 1900s. The 1929 massacre in Hebron, where Jews were slaughtered in their homes. And ultimately the Holocaust, orchestrated by the Nazi regime under Adolf Hitler, in which six million Jews were systematically murdered. Each era insisted it was responding to some new threat. Each era recycled ancient accusations.
Many antisemites now claim they only oppose Israel — but are we really supposed to believe that 80 years after 1/3 of every Jew on Earth was murdered, that antisemitism has disappeared and this is all about Israel?
Modern terrorism continued the pattern. At the 1972 Munich Olympics, members of the Israeli team were murdered in cold blood. In 1985, during the hijacking of the cruise ship Achille Lauro, a Jewish passenger was singled out and killed. In 1976, Jewish hostages were separated from others in Entebbe before a dramatic rescue operation. And on October 7, 2023, Israeli civilians were massacred in their homes, children were abducted, and elderly people were dragged into Gaza by Hamas. Once again, Jews were targeted not for what they had done as individuals, but for who they were.
Each time, the world proclaims never again. Each time, hatred finds new language.
That’s why most “anti-Zionism” is just antisemitic logic repackaged for the digital age.
The intellectual dishonesty extends further. Marginal sects such as Neturei Karta are frequently showcased as the authentic voice of Judaism because they oppose the State of Israel. This tiny, fringe group does not represent mainstream Jewish communities in Israel or the Diaspora. Yet their images are amplified to suggest that “real Jews” reject Jewish self determination. It is not an honest engagement with Jewish diversity. It is a strategy to legitimize hostility.
In online spaces, the pattern is unmistakable. Comment sections filled with recycled tropes about Jewish control of media, finance, and politics are everywhere. Every geopolitical development is reframed as evidence of a hidden Jewish hand. Emotional accusations drown out factual context. In the age of algorithms, outrage spreads faster than correction. A sensational claim travels further than a careful explanation.
None of this means that Israel is beyond criticism. But there is a difference between criticism and much of what is happening now.
The State of Israel was established after centuries in which Jews lacked sovereignty and paid for that vulnerability with blood. It emerged in the aftermath of the Holocaust, when the absence of refuge proved fatal. To reduce its existence to colonial ambition is to erase Jewish history and the lived reality of exile, persecution, and statelessness.
Antisemitism disguised as anti-Zionism is not diminishing. It is intensifying across university campuses, in activist movements, and in mainstream conversation. The vocabulary may sound modern, but the underlying message echoes the past. Jews are uniquely malevolent. Jews are collectively responsible. Jews are the problem.
The antidote is not censorship but clarity. Historical literacy matters. Facts matter. Calling out antisemitic tropes when they appear, even when wrapped in fashionable language, is not an attempt to silence dissent. It is a defense of truth and moral consistency.
The lesson of history is neither abstract nor distant. When antisemitism is trivialized or excused, it spreads. When it is confronted with moral seriousness and factual rigor, it loses legitimacy. If we are sincere in our commitment to a world where Jews are not scapegoats for every crisis, then we must recognize that anti-Zionism too often serves as the latest vessel for the oldest hatred.
The responsibility to say so belongs to all of us.
Sabine Sterk is the CEO of Time To Stand Up For Israel.
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Israel, AIPAC Take Center Stage in Competitive US Congressional Primary
Aug. 12, 2025, Chicago, Illinois, US: Daniel Biss, mayor of Evanston, Illinois, attends a rally at Federal Plaza in Chicago after the announcement that the Trump administration has unilaterally ended the collective bargaining agreement with federal unions. Photo: Chicago Tribune via ZUMA Press Wire via Reuters Connect
Leading candidates in a hotly contested open-seat Democratic primary for US Congress are dueling over support for Israel and the country’s largest pro-Israel lobbying group, which have become key focal points of the race.
Tensions have been simmering for months but escalated after a super PAC known as Elect Chicago Women — which is reportedly supported by donors tied to the American Israel Public Affairs Committee (AIPAC) — began airing its first attack ad in Illinois’ 9th Congressional District last weekend. The ad accused progressive Evanston Mayor Daniel Biss of being “willing to say anything to get elected.”
Elect Chicago Women has spent hundreds of thousands of dollars on broadcast television attacking Biss and more than $2 million boosting moderate state Sen. Laura Fine, according to federal filings.
The political action committee has not publicly disclosed its donors ahead of the primary, fueling complaints from Biss and other candidates about covert influence in the contest.
In a statement on Sunday, the Biss campaign stated that voters “won’t be fooled by these slimy dark money ads, and they won’t allow right-wing special interests to pick our next member of Congress.”
The next day, Biss released an attack ad targeting Fine for receiving money from supporters of AIPAC, which Biss’s campaign described as a “Trump-aligned, pro-Netanyahu” group, referring to US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu. The ad also said that AIPAC was aligned with “MAGA,” or Trump’s Make America Great Again movement.
AIPAC is a prominent lobbying group that seeks to foster bipartisan support for the US-Israel alliance. Despite making bipartisanship a key tenet of its work, AIPAC has in recent years become a favorite target of left-wing, Democratic activists and politicians.
Before the latest dueling ads, the clash in Illinois’ 9th District spilled into a candidate forum hosted by the Pink Poster Club last week in Evanston, where contenders were asked directly whether they accept contributions from AIPAC or longtime AIPAC supporters.
Fine was the only candidate on stage to say yes. She clarified that she has not received money directly from AIPAC itself but has accepted donations from individuals who support the group, as well as from some Republican donors. AIPAC has not formally endorsed any candidates in the race.
Nonetheless, Biss seized on Fine’s distinction, arguing that Democratic voters should question why right-leaning and pro-Israel special-interest donors are investing heavily in a Democratic primary. He has framed the super PAC spending as an attempt by outside forces to purchase the seat and shape the district’s representation on foreign policy.
Fine was also the sole candidate last week to respond “yes” to supporting continued military assistance for Israel.
Other rivals echoed concerns about transparency and influence, but it was Biss who most forcefully made policy toward Israel and AIPAC-aligned spending a centerpiece of his critique.
Fine has pushed back, saying the attacks mischaracterize both her record and her motivations. She points to her legislative work in Springfield on issues such as abortion rights, health-care access, and environmental protection, arguing that her support is grounded in her progressive credentials.
She has also emphasized her longstanding ties to the local Jewish community, a significant constituency in the district, and said backing from pro-Israel donors reflects shared values, not outside control. Supporters argue that strong US–Israel relations are a mainstream Democratic position and that accepting donations from pro-Israel individuals does not conflict with progressive priorities.
Fine and her campaign have denied any coordination with outside groups and contend that Biss is unfairly singling out Jewish and pro-Israel donors for political gain. Moreover, Fine has taken aim at Biss for his supposed connections with conservative donors.
“Daniel Biss has relied on Republican donors for years and voters are sick of politicians who say whatever it takes to win an election,” Fine’s campaign said in a statement.
At last week’s forum, Fine said she was “sick and tired of being Dan-splained,” noting that Biss met with AIPAC officials multiple times before rebuking their involvement in the race.
“When they said, ‘We don’t trust you,’ he changed his tune again. And that’s not a surprise, because he’ll tell one group one thing and another group another,” Fine said.
Another candidate in the race, Kat Abughazaleh, a 26-year-old Palestinian-American social media personality who has repeatedly accused Israel of so-called “genocide” in Gaza, also slammed Biss for previously meeting with AIPAC officials.
Biss currently leads the primary with 24 percent support among voters, according to a new poll commissioned by the Evanston RoundTable and conducted by Public Policy Polling, a firm affiliated with the Democratic Party. He was followed by Abughazaleh at 17 percent and Fine at 16 percent, with nearly a quarter of voters still undecided.
In the open competition to replace retiring Democratic Rep. Jan Schakowsky, Fine has sought to establish herself as the most Israel-friendly candidate, stressing the importance of Israel’s self-defense and the importance of continuing the American alliance with the Jewish state.
Biss, who is Jewish, has taken a harsher stance against Israel, issuing sharpened criticisms of the Jewish state’s conduct in Gaza. Though Biss has stated that he supports Israel and has expressed desire for continuing the alliance between Washington and Jerusalem, he has condemned the Netanyahu government and called for increased restrictions on US military aid. However, the mayor also spent large stretches of his childhood in Israel and has expressed a generally positive sentiment toward the nation and its people.
Nonetheless, Biss has promised not to accept any funding or support from AIPAC, accusing the prominent lobbying group of having “MAGA-aligned donors” and arguing that accepting its support would force him to “compromise” his progressive values.
Last month, US Rep. Tim Walberg (R-MI), chairman of the House Committee on Education and the Workforce, penned a letter demanding answers from Biss, accusing him of failing to protect Jewish students during a pro-Hamas, anti-Israel encampment at Northwestern University that, lawmakers say, devolved into widespread antisemitic harassment and violence. Northwestern’s campus is located in Evanston.
Illinois’ 9th District, long represented by progressive stalwarts, is heavily Democratic and includes Evanston and Chicago’s North Side. In such a deep-blue seat, the winner of the March primary will be the overwhelming favorite to win the general election.
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IDF Base Sports Center Destroyed in Oct. 7 Attack Reopens as Part of Multi-Million Dollar Rebuilding Project
Inside the reconstructed sports complex at the Israel Defense Forces’ Re’im Base during its reopening ceremony on Feb. 24, 2026. Photo: FIDF
A sports center and gym at the Israel Defense Forces (IDF) base in Re’im, Israel, reopened on Tuesday after being infiltrated on Oct. 7, 2023, by Hamas-led terrorists, who used the facility to plan further attacks against Israelis before it was ultimately destroyed.
The sports center at the IDF base in Re’im, which serves as the military’s Gaza Division headquarters, was reconstructed and reopened as part of a NIS 23 million ($7.44 million) project to restore facilities destroyed during the deadly massacre across southern Israel. The facility was rebuilt from the ground up and now includes a state-of-the-art fitness gym and indoor basketball arena. A mezuzah was placed on the doorpost of the center during its reopening ceremony on Tuesday and a commemorative plaque was unveiled.
A project to make the base fully operational again was led by Friends of the Israel Defense Forces (FIDF) and the Association for Israel’s Soldiers (AFIS). The sports center’s original construction was funded by donors from FIDF’s New York Tristate Area Real Estate Affinity Group, who united after the Oct. 7 attack to launch its rebuilding. Marty Berger, co-chair of the group, spoke at the center’s reopening on Tuesday.
“I remember when we first built this gym and facility and coming back over the years to see how much they meant to you,” he told IDF solders and FIDF supporters in attendance. “When we returned in December 2023, just two months after Oct. 7, we saw the damage and the bullet holes throughout the gym and fitness center. It was heartbreaking, but we also saw how the Gaza Division re-emerged ready to defend Israel with strength and determination and we vowed to rebuild it. To see this place rebuilt and to have played a small part in restoring it is deeply humbling.”
Hamas-led terrorists infiltrated the IDF base on Oct. 7, 2023, and used the sports center as their own center for operations, where they planned further attacks on IDF soldiers and their families on base. When IDF special forces closed in and tried to regain control of the base, the terrorists used the gym as the site for their final stand-off. The IDF ultimately ordered an airstrike against the terrorists, which completely destroyed the building. Many of the military base’s structures were also damaged in the Oct. 7 attack and considered unusable.
“Rehabilitating [the] Re’im base is a true mission, stemming from the inseparable bond between the Jewish community in the United States and IDF soldiers,” said FIDF CEO Maj. Gen. (Res.) Nadav Padan. “The reconstruction of the sports center and other welfare facilities symbolizes the determination to restore routine, stability, and a place that enables soldiers to continue their mission with a sense of security and pride. We stand alongside the soldiers of the Gaza Division today and in the future, with full and ongoing commitment.”
“The completion of this rehabilitation project is not only the rebuilding of structures but also symbolizes the end of a complex period and the beginning of a new path for the soldiers and commanders at Re’im base,” added AFIS CEO Col. (Res.) Shari Nechmias-Carmel. “It is an expression of life, spirit, and hope returning to the base, and of our commitment to providing those who serve there with a dignified environment that is strengthening and secure.”
The NIS 23 million reconstruction project also includes the restoration of the military base’s synagogue, library, health clinic, and other structures damaged during the Oct. 7 attack.