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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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Ben Shapiro denounces Tucker Carlson at Heritage, urges policing of conservative movement
(JTA) — Ben Shapiro walked onto a Heritage Foundation stage Wednesday and used it to draw a line against Tucker Carlson and a strain of conservatism Shapiro warned is drifting toward conspiracy theories and antisemitism.
For a talk that lasted about an hour, Shapiro, one of the most prominent Jewish voices on the American right, denounced Carlson by name, arguing that the former Fox News host no longer belongs inside the conservative movement and urging the institution hosting him to enforce what he called “ideological border control.”
“A conservatism that treats Tucker Carlson as a thought leader is no conservatism,” Shapiro said. “If conservatives do not stand up and draw lines, conservatism and the dream of America itself will cease to exist.”
The speech was as notable for its venue as for its content. It was hosted by Kevin Roberts, Heritage’s president, who has come under fire in recent months for publicly defending Carlson after Carlson interviewed Nick Fuentes, a white nationalist and Holocaust revisionist. Roberts’ comments triggered resignations and criticism from Jewish leaders and former Heritage affiliates. Two more trustees of the foundation resigned this week over Roberts’ support for Carlson.
Despite the directness of Shapiro’s message, and his explicit call for Heritage to police the boundaries of the conservative movement, Roberts did not respond to the criticism or address antisemitism on the right during the event.
In his opening remarks, Roberts praised Shapiro as a “patriot,” a “man of faith” and a “trusted counselor,” and described Shapiro’s book as “a truly good book,” without mentioning Carlson, Fuentes or the controversy that has engulfed the organization. When Roberts moderated the discussion that followed, he pivoted to policy topics including immigration, housing affordability and elections, again avoiding any reference to Carlson or antisemitism.
Roberts also did not acknowledge the resignations or public criticism that followed his defense of Carlson, At the conclusion of the event, he broadly aligned Heritage with Shapiro’s message, telling the audience, “Count on Heritage to fight with you.”
In his speech, Shapiro accused Carlson of abandoning free-market principles, rejecting constitutional governance and advancing conspiracy theories that echo antisemitic tropes, particularly around Israel and Jewish influence. He cited Carlson’s repeated criticism of Israel, his suggestion of “nefarious Israeli influence in American government,” and his hostility toward Christian Zionists.
Shapiro also criticized Carlson for repeatedly platforming figures with extremist or antisemitic records, including Fuentes, whom he described as “America’s foremost Hitler apologist,” as well as Russian ideologue Alexander Dugin and revisionist historian Darryl Cooper. “None of this comports with traditional American values,” Shapiro said.
Shapiro framed the moment as a test of the conservative movement’s credibility. “Conservatism means something,” he said. “And if we refuse to stand for it and defend it, it will disappear.”
The post Ben Shapiro denounces Tucker Carlson at Heritage, urges policing of conservative movement appeared first on The Forward.
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Citing Sydney attack, police in London say they will now arrest those who chant ‘globalize the intifada’
(JTA) — Police in London and Manchester, England, say they will now arrest pro-Palestinian protesters who chant the phrase “globalize the intifada,” in a policy change responding to the deadly terror attack on Jews celebrating Hanukkah in Sydney.
Police in London also indicated that they will take more aggressive action to limit protests near synagogues where services are taking place.
The commissioner of the Metropolitan Police in London and the chief constable of Greater Manchester Police announced the new policies on Wednesday, saying in a statement that they had decided to act even though prosecutors had long advised that “the phrases causing fear in Jewish communities” were not criminal offenses.
“Now, in the escalating threat context, we will recalibrate to be more assertive,” they said, noting that the changes were “practical and immediate.”
The chant “globalize the intifada” is used widely used at pro-Palestinian protests and according to many of its proponents is meant to galvanize worldwide solidarity against Israel. Its critics, including many Jews, charge that it is a call for violence against Jews. “Intifada,” which means “uprising” or “shaking off” in Arabic, was the name of two violent Palestinian uprisings including one from 2000 to 2005 that killed an estimated 1,000 Israelis in terror attacks, including on buses, at cafes and at recreational centers.
The phrase has drawn renewed scrutiny in the wake of the Bondi Beach attack in Sydney, which killed 15 people. Authorities said the alleged attackers, who are not accused of using the phrase, had pledged allegiance to the Islamic State terrorist group. A man who pledged allegiance to the Islamic State staged an attack on a Manchester synagogue on Yom Kippur in October in which two people were killed.
Among those drawing a connection between the Sydney attack and the protest phrase was British Chief Rabbi Ephraim Mirvis.
“Why is it still allowed? What is the meaning of ‘globalize the intifada’? I’ll tell you the meaning — it’s what happened on Bondi Beach,” Mirvis told the BBC this week. He added, “We have to be far stricter with regard to what people are allowed to say.”
The British police crackdown on the phrase contrasts with the stance taken in New York City by Mayor-elect Zohran Mamdani, a longtime advocate for the Palestinian cause. During the campaign, he declined to condemn the phrase and then, after hearing from Jewish New Yorkers, said he would “discourage” it. But Mamdani, who hires the police chief and sets department priorities, has said he is not comfortable “with the idea of banning the use of certain words.”
In London, police are already acting on their new policies. The Metropolitan Police relocated a planned demonstration on Wedneday away from areas of London where public Hanukkah celebrations were scheduled, igniting allegations from the Palestine Solidarity Campaign that its protest was being illegally banned.
The police department said that was not true. And the statement announcing the new policies emphasized that they are not intended to prevent legal protest.
“All members of society have a responsibility to consider their impact on others – it is possible to protest in support of Palestinian people without intimidating Jewish communities or breaking the law,” the statement said.
The rally on Wednesday night attracted about 1,000 people, the Palestine Solidarity Campaign said on social media, including former Labour Party leader Jeremy Corbyn.
The post Citing Sydney attack, police in London say they will now arrest those who chant ‘globalize the intifada’ appeared first on The Forward.
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After MIT professor’s killing, Jewish influencers spread unverified antisemitism claim
There is no evidence that Nuno F.G. Loureiro, an M.I.T.-affiliated scientist who was shot Monday at his home in Brookline, Mass., was killed in an antisemitic attack. It’s not even clear that he was Jewish.
But in the hours after his death Tuesday morning, a rumor spread that Loureiro was Jewish — and targeted for his pro-Israel politics. In the wake of a mass killing at a Hanukkah celebration in Sydney, Australia, prominent Jewish social media influencers pointed to Loureiro’s death as proof that Jews all over the world were under attack.
The claim appeared to originate from Ira Stoll, the author of a conservative-leaning Substack newsletter called The Editors. In the newsletter and on X, Stoll reported Tuesday that Loureiro was Jewish. On Substack, Stoll attached a screenshot of a Threads post in which a user with that name defended Israel and criticized Hamas.
There was just one problem: The Threads account did not belong to the slain M.I.T. professor. But in an online information ecosystem that rewards virality, paranoia and hot takes — and whose most influential voices are rarely beholden to journalistic ethics — the unverified assertion took hold.
“Loureiro has been reported to be Jewish with strong pro-Israel views,” the pro-Israel account StopAntisemites shared with more than 350,000 followers. Quoting that post, pro-Israel activist Eyal Yakoby wrote to his 250,000 followers on X, “Every Jew must arm themselves.”
Influencers who repeated Stoll’s claim stated it as fact, usually without stating their source of information. If they had, other uses might have seen that Stoll deleted the X post, and edited his Substack article to include a clarification that MIT had clarified the Threads account belonged to a different person.
Instead, the unverified claim spread to other platforms.
“It’s Jew-hunting season,” the pro-Israel food influencer Gabriel Boxer, who goes by Kosher Guru, and the Jewish account Community News told nearly 400,000 Instagram followers in a joint post. Marnie Perlstein, an Australian Jewish influencer, asked in a Reel why the media wasn’t talking about Loureiro’s Jewish heritage.
There was a good reason legacy media that covered Loureiro’s death, among them the Associated Press and The New York Times, did not report that Loureiro was Jewish: It’s not yet clear whether he was. Indeed, some evidence suggests he wasn’t.
At around the same time as Yakoby’s post, a man named Joah Santos tried to shoot down the rumor, saying Loureiro, a friend of his, was not Jewish and would have never spoken about Israel or Gaza. (The Forward has reached out to Santos.)
StopAntisemites’ post had been reposted nearly 2,500 times and received nearly 600,000 views as of this Wednesday evening, and remains visible on X. Santos’ opposing claim, meanwhile, has been seen only 150,000 times.
The idea that Loureiro was Jewish eventually found its way into Yeshiva World News and the Jerusalem Post, which called Loureiro “a Jewish and vocal pro-Israel nuclear scientist.”
Authorities have opened a homicide investigation into Loureiro’s death; no suspects or possible motives have been disclosed. Funeral details have not been announced.
It’s possible that Loureiro was Jewish — neither the university that employed him nor his family has stated otherwise. But no one has been able to say definitively that he was.
The MIT media relations team told the Forward it could not comment on a staff member’s ethnicity or religion. MIT Hillel did not respond to a voicemail left Wednesday evening.
Bruno Cappi, who described himself as a close friend of Loureiro’s in the MIT physics department, said in an interview that he had worked with the professor since 2016 and that his friend had never mentioned being Jewish during that time. Many of their colleagues in the department were Jewish, Cappi said, with last names typical for Jewish ancestry like Friedman and Rosen; if someone were attacking Jews, why would they go after someone whose Jewish identity was not widely known? “It’s all absurd,” he said.
More than 24 hours after Santos and others tried to correct the record, the articles from the Jerusalem Post and Yeshiva World News remained online. The posts by Yakoby, KosherGuru and Perlstein — none of whom responded to requests for comment prior to publication — also remain up as of this publication. (Some X posts have pending crowd-sourced Community Notes underneath stating he is not Jewish and linking to Santos’ post, but those notes are not currently being shown to all users.)
Additional evidence that Loureiro was pro-Israel was also thin: An X user claimed that a Google Street view image of the professor’s home showed a “Stand With Israel” sign. If the image did depict his building, it had been taken three years earlier; it also showed a multifamily building, and Loureiro — if he did live in the building at the time — did not necessarily live in the unit with that window.
Nevertheless, the claim continued to spread. Around 8 p.m. ET on Tuesday — several hours after the posts from Stoll and StopAntisemites — a Wikipedia article was created about Loureiro, which claimed he was born “to a Sephardic Jewish family.” That claim remained on the article for four hours before a different editor removed it.
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