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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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Janet Mills Drops Out of Maine Senate Democratic Primary, Clearing Path for Anti-Israel Candidate Graham Platner
Democratic US Senate candidate Graham Platner speaks at a campaign town hall meeting in Ogunquit, Maine, US, Oct. 22, 2025. Photo: REUTERS/Brian Snyder
Maine Gov. Janet Mills on Thursday announced that she is ending her campaign in the Democratic primary for US Senate, a move that effectively clears the path for progressive challenger Graham Platner to secure the nomination in a high-stakes race against incumbent Republican Sen. Susan Collins.
In a statement, Mills cited the financial demands of a competitive statewide campaign, acknowledging she lacked the resources to continue. Her withdrawal came after weeks of trailing Platner in grassroots fundraising and momentum, despite support from establishment Democrats.
“While I have the drive and passion, commitment and experience, and above all else — the fight — to continue on, I very simply do not have the one thing that political campaigns unfortunately require today: the financial resources,” Mills said.
“That is why today I have made the incredibly difficult decision to suspend my campaign for the United States Senate,” she continued.
The development represents a sharp ideological shift in the Democratic field. Mills, a two-term governor, had been viewed by party leaders as a pragmatic candidate with broad appeal and a traditionally strong stance on US alliances, including support for Israel. Mills’s candidacy failed to gain traction in the state, with observers pointing to a Democratic primary electorate that is both incensed and deeply desirous for a shakeup from the status quo.
Platner, in contrast to Mills, has built his campaign on an anti-establishment message and drawn increasing scrutiny in part for his rhetoric on the Middle East. Some of his past statements criticizing Israel have alarmed more centrist Democrats and foreign policy observers, who argue his framing downplays Israel’s security concerns and risks alienating key constituencies in a general election.
Platner has repeatedly accused Israel of “genocide” in Gaza and vowed to vote against further military assistance to the Jewish state. Earlier this month, Platner accused Israel of “exterminating” people in Gaza and refused to clarify his stance on whether Israel should remain a Jewish state. Most of his criticisms of Israel’s military conduct in Gaza omit any mention of the Hamas terrorist organization, framing Israel as an aggressor with intent of wiping out the Palestinian population.
Further, Platner came under scrutiny last year after it was revealed that the Democratic insurgent possesses a tattoo of a Totemkopf — a symbol historically used by Nazi military units. Though Platner has emphatically denied any knowledge of the tattoo’s connections to Nazism, skeptics have pointed out that the oyster farmer identifies as a military historian, raising serious doubts about his claims.
Concerns about Platner’s conduct and Totemkompf tattoo are already emerging as a potential liability in a race Democrats had hoped to make competitive. Collins, a moderate Republican with a long record of electoral success in Maine, has historically attracted independents and crossover voters, groups that could be wary of candidates perceived as ideologically extreme.
Mills’s exit also highlights a broader dynamic within the Democratic Party, as insurgent candidates in several primaries continue to gain traction over more traditional figures. While that energy has reshaped races across the country, it has also raised questions about general election viability in closely divided states.
Many observers have argued that Platner’s ascendance in the Democratic Party serves as another signal that the party is shifting further away from Israel and becoming more tolerant of antisemitism. Across the country, support for Israel has emerged as a litmus test within Democratic primary competitions, with candidates vowing to curtail support for Israel and being pressured to condemn the Jewish state as a perpetrator of “genocide.”
Despite Platner’s vulnerabilities and personal baggage, he has racked up a bevy of endorsements from Democratic power-players such as Rep. Ro Khanna (CA) and Sen. Elizabeth Warren (MA). On Thursday, the Democratic Party officially endorsed Platner as the nominee to take on Collins.
As of now, polling indicates a close race in the Maine general election, with several polls showing Platner with a narrow lead over Collins. However, the Republican National Committee (RNC) has not yet aired ads against Platner, and the Republicans are expected to weaponize Platner’s history of controversial commentary in the lead-up to Election Day in November.
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Analysis: As Democrats unite behind Platner, Schumer’s future as leader faces tests
National Democrats on Thursday moved swiftly to unite behind Graham Platner — a progressive candidate whose past Nazi-linked tattoo and sharp criticism of Israel have alarmed some Jewish groups — after he became the presumptive nominee for Maine’s Senate seat.
The move made political sense. Platner, a Marine veteran and oyster farmer, had already been leading in polls against Gov. Janet Mills, who dropped out of the race on Thursday, citing fundraising struggles. Once Platner became the de facto Democratic nominee against incumbent Republican Sen.Susan Collins, party unity was all but automatic.
But that unity comes with serious risks.
Joel Rubin, a Democratic commentator and foreign policy expert, called Platner’s candidacy for a much-desired seat a “nightmare scenario” for the party.
“For Jewish Democrats, wanting to defeat Collins, to have a candidate who makes them very uncomfortable on Jewish issues could potentially dampen support for him,” Rubin said in an interview. “Typically, Jewish Democrats are the most enthusiastic of democratic constituencies for Democratic candidates.”
Senate Democratic leader Chuck Schumer, who had recruited Mills to run, is focused on winning back the majority, and Maine is a must-win in the pursuit to flip at least four Republican seats. “After years of allowing Trump’s abuses of power, Senator Collins has never been more vulnerable and we will work with the presumptive Democratic nominee Graham Platner to defeat her,” Schumer said in a joint statement with Sen. Kirsten Gillibrand of New York, who heads the Democratic campaign arm.
Schumer navigates new tensions
Schumer could play a pivotal role in mobilizing national donors, including Jewish donors, to support the Platner campaign.
Nonetheless, Schumer, who has seen his popularity decline since he supported a Republican spending bill to avert a shutdown last year, may be helping build a majority that won’t back him, as his longtime support for Israel increasingly becomes a liability in a party where many voters object to the United States providing funds to the Jewish state.
Platner has aligned himself with a new guard of candidates who could emerge from competitive primaries ready to challenge Democratic leadership — as well as the longstanding Democratic consensus in support of Israel.
Abdul El-Sayed, a U.S. Senate candidate from Michigan rising in the polls, and Zach Wahls, a progressive candidate from Iowa, have both said they oppose Schumer as leader.
These insurgents could also alienate moderate and pro-Israel Jewish voters in closely contested races in the fall. Figures like Platner and El-Sayed have adopted language and positions that would have been politically risky — if not disqualifying — in earlier cycles. Now, those stances are survivable.
And even if they win their races in the general election and Schumer stays on as leader, his role is getting harder to maintain as the party’s base has shifted, especially amid the wars in Gaza and Iran.
For years, Schumer has cast himself as an institutional anchor on issues important to the Jewish community, including support for Israel. In a speech for Jewish audiences, he bragged about preserving Democratic unity on Israel aid. In 2024, he told the Forward that “having a majority leader who’s committed to Israel is vital for Israel’s relationship with the U.S.”
But shifting dynamics suggest the balance may be slipping.
Earlier this month, 40 Senate Democrats voted to block $295 million for the transfer of bulldozers — used by the Israeli military to demolish homes in the West Bank and Gaza — and 36 of them also supported a measure to block the sale of 1,000-pound bombs to the Jewish state. Those counts shattered a previous high of 27 Democrats who backed a similar pair of resolutions last year.
Schumer was in the minority of his party on both votes.
If a future roster of Democratic senators includes more legislators elected on platforms critical of Israel and skeptical of party leadership, Schumer’s ability to manage internal divisions could be tested in ways it hasn’t been before. Schumer came under fire from progressives in February after telling a Jewish group that he will keep “fighting” for military assistance to Israel.
In a recent interview with Politico, Sanders asserted he has now become the leader for Senate Democrats on Israel policy. “I mean, we got 40 votes, and Schumer got seven,” he said. “We have more support for our position than Chuck has for his.”
What Jewish Democrats are watching
For many Jewish voters, Platner’s rise and the party’s embrace of him are another signal of changes many are finding hard to swallow.
Platner faced backlash last year after acknowledging that a black skull-and-crossbones tattoo on his chest resembled a Nazi symbol. He has since covered it up. In past Reddit posts, Platner made incendiary comments, including in defending a man with a Nazi SS lightning bolt tattoo who impersonated a federal officer at a Black Lives Matter protest in Las Vegas in 2020.
Last month, Platner accused Israel of committing genocide in Gaza and suggested the U.S. should cut off all aid to Israel.
Platner has done some outreach to the Jewish community across Maine. Recently, his campaign hosted a Passover Seder in Bath, Maine with some 50 community members, during which he discussed rising antisemitism. It was co-hosted with Steven Koltai, the state chair of the progressive Jewish political fundraising group J Street, who is a key Platner supporter.
For now, Democrats have little choice but to unite behind the presumptive nominee. But if candidates like Platner help deliver a majority, the real test will be holding it together.
The post Analysis: As Democrats unite behind Platner, Schumer’s future as leader faces tests appeared first on The Forward.
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Hamas Exploits Gaza Ceasefire to Tighten Civilian Control, Rebuild Military Power as Second Phase Talks Stall
Palestinians displaced during the two-year Israel-Hamas war shelter at a tent camp in Khan Younis in the southern Gaza Strip, Feb. 10, 2026. Photo: REUTERS/Ramadan Abed
As the second phase of the Gaza ceasefire agreement remains stalled, Israeli officials warn that the Palestinian terrorist group Hamas is quietly exploiting the pause in fighting to tighten its control over civilian life while simultaneously rebuilding its military capabilities behind the scenes.
Under the leadership of military wing commander and de facto Gaza ruler Izz ad-Din al-Haddad, Hamas is reinforcing its authority across the enclave, further undermining already fragile efforts to advance the truce.
Al-Haddad is said to be operating three parallel systems intended to secure the terrorist group’s survival and restore its military capabilities, according to a report by the Israeli news outlet Walla, which cited security sources.
The first line of effort seems to focus on reestablishing Hamas’s civilian governance and restoring its authority across the war-torn enclave, with its presence still visibly entrenched through checkpoints, strict regulation of goods, and the takeover of key civilian institutions, including hospitals.
Under the ceasefire, the Israeli military currently controls 53 percent of Gaza, while Hamas remains entrenched in the nearly half of Gazan territory it still controls, where the vast majority of the population lives.
The Palestinian terrorist group has also been reactivating internal security mechanisms to enforce day-to-day order while carrying out extensive intelligence operations aimed at identifying alleged collaborators with Israel and any opposition.
Hamas’s second line of effort has been focused on a violent internal campaign against armed militias and local gangs, particularly in southern Gaza, as the group seeks to reassert control and shore up its weakened position by targeting Palestinians it labels as “lawbreakers and collaborators with Israel.”
With its security control tightening, Hamas’s brutal crackdown has escalated, sparking widespread clashes and violence as the group seeks to seize weapons and eliminate any opposition.
A third line of effort reportedly centers on rebuilding military capabilities, including recruiting new operatives, conducting training both in the field and at command sites, restoring intelligence and surveillance systems, and rebuilding underground infrastructure and weapons stockpiles.
Israeli officials estimate that Hamas’s military wing, the al-Qassam Brigades, is rebuilding its forces, with its ranks now totaling roughly 27,000 members.
Despite Israeli intelligence assessments that Hamas’s smuggling capabilities have been significantly degraded, the group is reportedly seeking to rebuild its arsenal through local means by recovering Israeli Air Force munitions remnants and converting them into improvised explosive devices.
The Islamist group is also attempting to revive rocket and mortar production using makeshift materials, while reorganizing stockpiles buried under rubble or left largely intact.
Israeli officials have repeatedly warned that Hamas’s ongoing rebuilding efforts are allowing the group to retain control over much of the war-torn enclave and steadily sustain its influence despite over two years of military conflict.
According to a report by the Arabic newspaper Asharq Al-Awsat, a new draft proposal has been presented to Israel and Hamas, with talks potentially beginning this week on moving forward with the second phase of US President Donald Trump’s Gaza peace plan.
Earlier this year, the US-backed plan to end the war in Gaza hit major roadblocks after proposals surfaced that would allow Hamas to retain some small arms.
Israel has previously warned that the Islamist group must fully disarm for the second phase of the ceasefire to move forward, pointing to tens of thousands of rifles and an active network of underground tunnels still under the terrorist group’s control.
If Hamas does not give up its weapons, Israeli officials have vowed not to withdraw troops from Gaza any further or approve any rebuilding efforts, effectively stalling the ceasefire agreement.
The new draft allegedly proposes creating an “Implementation Verification Committee,” to be formed under Nickolay Mladenov, the high representative for Gaza on Trump’s Board of Peace, bringing together guarantor states, the International Stabilization Force, and a Peace Council to ensure compliance by all parties.
Under this proposed draft, the Peace Council would be granted authority over Gaza’s governance, reconstruction, and development until a reformed Palestinian Authority is able to resume its responsibilities.
The document also reportedly states that Hamas and other extremist Palestinian factions would have no role in governing the Gaza Strip, and that governance would be based on “one authority, one law, and one weapon,” as all armed groups would cease military activity and a phased disarmament process would transfer weapons to the incoming body.
By this framework, Israel’s withdrawal would take place in stages under an agreed timetable, contingent on verifiable progress in the process of disarmament.