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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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Shower, shelter, swipe: Israel’s ‘startup nation’ meets Iran war with a wave of apps
(JTA) — TEL AVIV — Smartphones have become as essential as shelters for Israelis riding out Iran’s missile attacks, with internet traffic up 25% since the war began on Saturday. From the screaming alerts of the military’s official app that, as one comedian put it, sound like a “baby dragon giving birth,” to bomb-shelter Tinder to multiple apps that tell you when it’s safe to shower, the startup nation is trying to digitize the panic into something more manageable.
At the serious end of the wartime app stack is Home Front Command, the Israeli army’s app available in Hebrew, Arabic, Russian and English. It uses GPS to figure out where you are and only pings you when your area is at risk, with separate alerts for rockets, missiles and terror incidents. In this war, Iran’s long-range fire has come with an extra layer of notice, a warning-before-the-warning that can buy people a few more minutes. The shorter-range threats from Hezbollah, which joined the fray on Tuesday, do not come with that same courtesy.
Bomb Shelter Locator turns shelter-seeking into a map exercise, listing around 20,000 official sites, offering offline city maps and walking routes, and estimating the time it will take to reach the nearest protected space.
For anyone who cannot sprint, Purple Vest tries to close the gap. People with disabilities or older residents can register in advance and request help during alerts, with volunteers using the app to locate them and assist with shelter access or urgent supplies.
For others, shelters are turning into accidental social spaces where people can meet-cute on a mattress. The Hooked app, originally built for speed-dating at events, now doubles as a bomb-shelter icebreaker. Shelter-goers post a QR code at the entrance, and singles who scan it can see who else in the same bunker has the same relationship status. US Ambassador Mike Huckabee — who has not been single since high school — shared it on X alongside the caption: “Someday they will tell their kids ‘we met on a dating app in a shelter while dodging ballastic [sic] missiles.’”
But for some, even showering has become its own risk calculation. Martine Berkowitz was one of many who vented after her attempts to scrub up were interrupted by missiles no less than five times on the second day of the war.
For software developer Ben Greenberg, a father of teenagers, Berkowitz’s complaint was familiar, so he built an app called Best Shower Time that spits out a percentage risk score on whether a shower is likely to be interrupted by an alert.
Posts about it spread on social media and what began as a tool for his family is now drawing about 5,000 visitors a day. Greenberg, a California native who immigrated to Israel from New York in 2018, insists it’s “not a joke app.”
“Sirens are just the ultimate example of lack of control in one’s life,” he said, describing the app as a way to “restore some level of control and predictability … in a time when that feels most vulnerable and most taken away from us.”
The app uses real-time alert data from the Home Front Command, and the score is based on four inputs: how long it has been since the last alert, the average gap between alerts over a six-hour window, whether the frequency is trending up or down, and the total alert count over the past 24 hours. Those are weighted into a single score that appears when you open the app.
Users can then set their own parameters, including how long a shower typically takes and how much buffer time they want afterward to dry off and reach shelter.
And for those who have a penchant for extended bathroom breaks, Greenberg added a separate option that relies on the same logic.
It’s not the only app homing on issues of basic cleanliness to emerge this week. Another app, Can I Shower Now?, has developed a following of its own.
Berkowitz said she was “grateful” for apps to help her navigate the question of whether to jump in the shower. After checking and seeing a 13% chance of a missile alert on Wednesday afternoon, she decided to risk it.
“I took a full 20-minute hot shower and washed my hair. It was lovely. And the next warning only came when I was finished and getting dressed,” she said.
Greenberg is piloting a new app, called Best Walking Time, based on the same principle and prompted by his wife, who regularly walks around the neighborhood during work calls but has been afraid to stray from home lest a missile head their way.
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Gavin Newsom says some ‘appropriately’ call Israel an ‘apartheid state’ while questioning US military aid
(JTA) — California Gov. Gavin Newsom provided sharp criticism of the Israeli government during an interview this week, suggesting that he agreed with claims that it is an “apartheid state” and questioning U.S. military aid to the country.
Newsom, a likely 2028 presidential candidate, offered his rebuke of the Israeli government during an event on Tuesday with the hosts of “Pod Save America,” a political podcast, while promoting his new memoir, “Young Man in a Hurry: A Memoir of Discovery.”
During the conversation, while suggesting that Israel’s alleged influence over the United State’s strikes in Iran was “pretty damn self-evident,” Newsom took aim at Israeli Prime Minister Benjamin Netanyahu.
“The issue of Bibi is interesting because he’s got his own domestic issues. He’s trying to stay out of jail, he’s got an election coming up, he’s potentially on the ropes, he’s got folks, the hard line, that want to annex the West Bank,” said Newsom, adding that “others are talking about it appropriately as sort of an apartheid state.”
When a host of the podcast asked Newsom whether he believed the United States should consider “rethinking our military support for Israel,” the California governor replied, “It breaks my heart, because the current leadership in Israel is walking us down that path where I don’t think you have a choice.”
Newsom’s comments come shortly after the politician vowed he would “never” accept AIPAC funding, a stance that has increasingly become a litmus test for Democratic candidates amid record low support for Israel among its base.
While Newsom has been vocal in his critiques of Netanyahu in the past, saying earlier this year that he is “crystal clear in my love for Israel — and my condemnation of Bibi,” his latest comments signal a notable shift in tone as he adopts a more openly critical stance on Israel amid growing pressure from the Democratic party.
“I didn’t expect to be in that place, you know, a few years ago, let alone, you know, where we are today, and it’s accelerating in real time in a deeply, deeply alarming way,” said Newsom.
Calls to strip U.S. military aid from Israel have gained traction among progressive Democrats in recent months, with a record number of Senate Democrats voting to block weapons sales to Israel in July.
In January, Netanyahu said for the first time that he wanted to “taper off” U.S. military aid to Israel over the next decade, a goal that was quickly welcomed by South Carolina Republican Sen. Lindsey Graham as pockets of the Republican party have grown increasingly skeptical of U.S. aid to Israel.
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Andrea Weiss, trailblazing Reform rabbi who merged scholarship and activism, dies at 60
(JTA) — Rabbi Andrea Weiss, a former provost of Hebrew Union College-Jewish Institute of Religion who made history as the first woman to ordain rabbis in the Reform movement, has died.
Weiss died on Tuesday surrounded by family at her home in Lower Merion, Pennsylvania, following a year-long battle with cancer. She was 60.
“Andrea brought lev shalem — a whole heart to everything she did,” Cantor Jill Abramson, HUC’s interim head of seminary and director of its Debbie Friedman School of Sacred Music, said in a statement. “Whether in a classroom or a hallway discussion, she has always been a model of what it means to live a life guided by scholarship and sacred purpose. We will miss her presence in these halls and hold her family in our prayers.”
Weiss’ death strikes another blow for the leadership of the Reform movement, which has also buried two leaders of HUC who died prematurely while Weiss worked there — Rabbi Aaron Panken, then the seminary’s president, in 2018, and Rabbi David Ellenson, its past president, in 2023. The school of sacred music, meanwhile, is named for another luminary of the movement who died prematurely at 59 in 2011.
Born on Sept. 9, 1965, Weiss was raised in San Diego where her family belonged to Temple Emanu-El. In 1987, Weiss received her bachelor’s degree from the University of California, Berkeley, and was ordained as a rabbi at HUC in 1993.
Weiss joined the HUC faculty in 2000 alongside Rabbi Lisa Grant, who served as the director of the school’s rabbinical program.
“There was actually four of us, four women, who started at the same time, and we really changed the whole gender balance of the faculty, which was very exciting and thinking about, long term potential of what that would mean for the culture of the school,” Grant told the Jewish Telegraphic Agency.
During her tenure at the school, Weiss led multiple initiatives including a curricular redesign, the launch of the Virtual Pathway for Rabbinical students and the creation of the Seminary Hebrew Program.
Weiss taught several courses at the school, including “The Poetry and Power of the Psalms,” “Literary Artistry of the Bible” and “Teaching Bible to Adult Learners,” a course she co-taught with Grant beginning in 2003.
“Rabbi Weiss has been a transformative presence at Hebrew Union College for more than two decades,” said the school’s current president, Andrew Rehfeld, in a statement. “Her scholarship, vision, and fierce commitment to the formation of Jewish clergy have shaped this institution in ways that will endure for generations. We are grateful beyond measure for her service and hold her and her loved ones in our hearts.”
Weiss received her PhD from the University of Pennsylvania in 2004, where her research centered on metaphor and biblical poetry, scholarship that informed her later work including her 2006 book, “Figurative Language in Biblical Prose Narrative: Metaphor in the Book of Samuel.”
In 2008, Weiss won the National Jewish Book Awards Book of the Year as the associate editor of “The Torah: A Women’s Commentary,” the first comprehensive collection of Torah commentary written entirely by female scholars. Sen. Elissa Slotkin chose the text to be sworn in on last year.
In 2016 and 2020, Weiss led a nonpartisan, interfaith initiative titled “American Values, Religious Voices” that brought together 100 faith leaders to write letters to former President Joe Biden and President Donald Trump as well as Congress during the first 100 days of their administrations. The letters were later published as two books.
Weiss described the initiative at the time as “a national, nonpartisan campaign created from the conviction that scholars who study and teach our diverse religious traditions have something important to say about our shared American values.”
Grant said Weiss offered a model of Jewish engagement that was validated by the ancient rabbis.
“There’s a great Talmudic debate about which is more important, which is greater, study or action, and the rabbis have this back and forth about it, and in the end, they conclude study because it leads to action,” Grant said. “She certainly lived that, that her study and her teaching led her to be an activist as well.”
In 2018, Weiss was appointed as HUC’s provost, becoming the first female rabbi to ordain rabbis in the Reform movement.
Grant said the honor was “extraordinarily meaningful and very heavy” for Weiss.
“She would make the time every year to meet individually for an hour with every single student, to hear about their story, their journey, their learning,” said Grant. “And she would craft that into a short blessing upon ordination.”
As news of Weiss’ death spread on Tuesday, many of her former students and rabbis whom she ordained eulogized her on social media.
“Rabbi Andrea Weiss helped me to grasp and appreciate biblical poetry in a way that nobody else could,” wrote Evan Schultz, the senior rabbi of Congregation B’nai Israel in Bridgeport, Connecticut, in a post on Facebook. “Her wisdom helped shape me as a rabbi and a writer. She was brilliant, kind, and genuine.”
Rabbi Binyamin Minich, the leader of Kehilat Daniel in Tel Aviv, recalled in a post on Facebook being a part of Weiss’ first ordination cohort.
“I remember this feeling of awe, understanding that our 2019 cohort of Israeli Rabbinical Program alumni would be the first ordained by a woman,” wrote Minich. “That meant the idea of women being rabbis settled fully in the Jewish contemporary life and ascended to a next level. It was the real proof of [lalmud velelemed leshmor vela’ashot] – ‘to study and to teach, to preserve and to act.’”
Rabbi Shira Koch Epstein, the executive director of Atra: Center for Rabbinic Innovation, recalled connecting with Weiss in 2019 in Jerusalem and hearing about a bar mitzvah project Weiss had helped organize for her son. The project brought his baseball team to Cuba, where they donated equipment and met with locals.
“It was a big project that they did that was really inspirational; it inspired my son, Ami, to do a baseball-related mitzvah project for his bar mitzvah,” said Epstein. “Definitely not as ambitious as theirs, but Rabbi Weiss really taught me both Torah and the living Torah, of how to turn what you care about and your interests into tzedakah and action in the world.”
Weiss is survived by her husband Alan; her two children, Rebecca and Ilan; her father, Marty; her siblings, Mitch, Laura and Roger; her sister-in-law Catherine; and her nieces, nephews and cousins.
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