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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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How Dealing with Difficult Challenges Leads to Spiritual Growth and Leadership
A Torah scroll. Photo: RabbiSacks.org.
They say that “the devil is in the details,” and nowhere has that been more evident than in the corruption scandal currently shaking Ukraine — even as the deadly war with Russia continues to rage.
Over the past couple of weeks, Ukrainian anti-corruption investigators have been drip-feeding the world with information: wiretaps, redacted court testimony, and sordid specifics of a large bribery saga. The cast of villains includes prominent businessmen and contractors pressured for hefty “commissions,” high-ranking ministers abruptly resigning, and one of President Zelensky’s former business partners fleeing the country just hours before the police raided his home.
The entire scheme exploited a wartime loophole — a rule under martial law preventing contractors from collecting debts in court from companies providing essential services. Energoatom fits that definition perfectly, as it supplies more than half of Ukraine’s electricity.
But more fascinating than the scandal itself is the sheer level of detail — the way this scheme evolved from small to big to overwhelming, unfolding slowly, piece by piece, person by person, until you finally step back and see the broad contours of the entire sprawling disaster.
And oddly enough, all of this brings me straight into the heart of Parshat Vayeitzei, which was my late father’s bar mitzvah parsha. He would always say — with an unmistakable twinkle in his eye — that Vayeitzei was “the most important parsha in the Torah.” We’d nod and smile, convinced he was just having a laugh.
I mean, yes — Vayeitzei certainly has its blockbuster moments: Jacob’s ladder stretching toward heaven, the extraordinary promises God makes to him, his first encounter with Rachel at the well — one of the great love stories in Jewish history — followed by his marriages and the birth of 11 children who would become the founders of the tribes that became the Jewish people. All of these events are unquestionably consequential, to say the least.
But then you hit the middle of the parsha — the part everyone secretly hopes the baal koreh will speed through. It’s long, it’s intricate, and it’s bewilderingly detailed: the astonishing saga of Jacob’s business dealings with Lavan.
Wage agreements — and disagreements. Livestock negotiations. Contract revisions. Endless sheep rearing. Sheep with spots, sheep without spots, sheep with speckles, stripes, dark patches — every possible permutation of sheep coloration you can imagine. It’s the Torah’s version of a regulatory audit: too many technical notes, too many procedural details, and far too much information.
Most of us, understandably, wonder what all this sheep drama is doing in a sacred text. Why did the Torah — normally so concise — zoom in on this business relationship from hell? Why give us this level of detail? And whatever the answer might be, surely this story doesn’t belong in “the most important parsha in the Torah.”
But my father always insisted that Vayeitzei’s business section wasn’t a pointless, transitional interruption in the narrative — it was the narrative. And perhaps, as the revelations from Kyiv remind us, the line between spiritual greatness and moral disaster is drawn not in grand theological enterprises like ladders reaching heavenward or celestial dream sequences, but in the slow, grinding, unglamorous world of day-to-day commerce: negotiations, promises, deals, and the quiet ethical temptations that shadow every decision we make.
If you think about it, this strange middle section of Vayeitzei is the Torah’s earliest and most elaborate case study in business ethics — or, more accurately, business un-ethics. Lavan is the Biblical version of a man who smiles broadly to your face while his hand is quietly stealing your wallet.
He is charming, generous-sounding, and utterly unscrupulous. He cheats at negotiations. He alters contracts retroactively. He weaponizes hospitality. He manipulates family loyalty. If there were a Biblical Consumer Protection Bureau, Lavan would be its full-time subject of interest.
And Jacob — the bookish, scholarly son of Isaac — finds himself thrown into a years-long masterclass with one of the greatest Machiavellian businessmen of the ancient Near East. The holy patriarch of the Jewish nation, the spiritual heir to Abraham and Isaac, sits across the table from a crook arguing over sheep markings.
But that’s precisely the point. Spirituality is easy when you live a monastic life of solitude and separation. Show me how spiritual you are when you need to negotiate with a scoundrel — that’s when your character is truly revealed.
Judaism doesn’t believe in the mystique of the cloister. Our greatest spiritual heroes aren’t monks; they’re shepherds, merchants, craftsmen, farmers — even warriors and kings. Jacob’s true greatness emerges in the trenches of real life, in the dense and morally dangerous world where money, power, opportunity, resentment, and desperation mingle with our aspirations to become the people God wants us to be.
What Vayeitzei shows, in deliberately excruciating detail, is that Jacob absolutely refuses to become Lavan. Yes, he negotiates, he strategizes, he outsmarts. But he does not become Lavan. He maintains his integrity.
And here’s the deeper insight — the one my father, with his mischievous grin, seemed instinctively to understand: the Jewish mission from the very outset was never to escape the world; it was to elevate it — from the inside out.
If Jacob had spent 20 years in a desert cave meditating on the divine, he might have produced beautiful insights — but there would have been no tribes, no family, no nation, and no legacy. Instead, Jacob becomes the spiritual father of Israel the nation even as he ran a household, raised children, and navigated a business partnership with a morally bankrupt relative.
And that is precisely why the Torah dwells on the sheep. Because the sheep are not a distraction — they are the arena. They are the battlefield where Jacob’s greatness is forged. They are the proof that holiness is not found in what we avoid, but in how we behave when we can’t avoid what we would much prefer to have nothing to do with.
And as it turns out, in the final analysis Jacob was not transformed by his dream of angels — he was transformed by his years in business with Lavan. What we learn from Jacob and the sheep is that building a family, maintaining integrity in business, and dealing with difficult people are not obstacles to spiritual growth; they are spiritual growth.
Which only goes to prove that my father’s twinkling assertion wasn’t a joke at all. He understood something the rest of us tend to overlook. Maybe Vayeitzei really is the most important parsha in the Torah — not despite the details, but because of them.
The author is a rabbi in Beverly Hills, California.
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The Dangerous Legacy of the 1840 ‘Damascus Affair’ Blood Libel (PART TWO)
Smoke rises from a building after strikes at Syria’s defense ministry in Damascus, Syria, July 16, 2025. Photo: REUTERS/Khalil Ashawi
Part One of this article appeared here.
Worldwide Reaction and Coordinated Jewish Response
Western Jews in Europe and America were incensed at what was happening in Damascus. Europeans and American Jews lobbied their governments to intercede on behalf of the Jews in Damascus. In what was then an entirely novel approach, 15,000 Jews in six American cities gathered and protested on behalf of their fellow Jews in Syria.
In response to the advocacy, government leaders condemned the libel and attempted to intervene on behalf of the accused Jews. Among them were Queen Victoria, Lord Henry Palmerston, US Secretary of State John Forsyth, and, as previously mentioned, Klemens von Metternich of Austria.
Among the Jews who were advocating on behalf of the Damascus Jews, Sir Moses Montefiore stood out.
He, along with French lawyer and future French Justice Minister Adolphe Cremieux, Louis Loewe, and Solomon Munk, traveled as a delegation to Egypt to appeal to Muhammad Ali. They requested that the investigation be transferred to Egyptian or European judges to consider the case. Their request was denied, but as a result, Muhammad Ali decided instead to have the Jews released without acquitting them. The liberation order was issued on August 28, 1840. The prisoners who had survived the investigation were freed.
Seeing that the charges would not be dropped and the libel would continue, Montefiore and Cremieux chose to turn to Sultan Abdul Mejid of the Ottoman Empire, since he was the actual leader over the region, albeit largely powerless. They asked the Sultan to issue a decree proclaiming blood libels as false and prohibiting prosecuting Jews based on such accusations.
The Sultan acquiesced and issued his ruling on November 6, 1840. In a noteworthy act, he condemned the blood libel, stating clearly that it was utterly false and that “Muslim theologians had examined Jewish religious books and found that the Jews are strongly prohibited not only from using human blood but even from consuming that of animals. It therefore follows that the charges made against them, and their religion, are nothing but pure calumny.”
Nevertheless, for years to come, and on antisemitic websites until today, the Catholics of Damascus would continue to tell the story of the friar murdered by Jews for his blood, and that the Jews had only been let free due to the influence of powerful Jews from other countries.
What was France Thinking?
In the aftermath of the Damascus Affair, numerous questions arose. How could France, a country that gave civil equality to the Jews in 1791 and gave its Jewish population the most legal rights, openly support the patently false blood libel accusation and even allow torture to be used to extort confessions?
Most historians conclude that the answer was national self-interest. France’s leaders saw it as beneficial to maintain their foothold in Syria, and felt that supporting the accusers against the Jews would work for them. By the same token, countries hostile to France seized the opportunity to denounce France for its actions, as they sought to increase their control in the Middle East and diminish French influence there. So, Metternich, not known to be a friend of the Jews, denounced the blood libel charges, as did the leaders of Great Britain.
The Damascus Blood Libel, which might otherwise have passed unnoticed in Europe, garnered international attention because of the rivalry of Europe’s great powers in the Middle East.
The Jewish Reaction
The Damascus Affair has been described as a turning point in modern Jewish history, particularly for French Jews, who were among the most vocal supporters that traditional Jewish nationalism was a thing of the past. They were patriotic citizens for whom religion was a private matter, if it was relevant at all.
Yet, when they were exposed to the antisemitism that France displayed in the Damascus Affair, French Jews were completely shaken up. In fact, all of world Jewry was shocked that the blood libel accusation — a throwback to the antisemitism of the Dark Ages — was initially accepted as fact by almost the entire press in Europe. How could it be that educated citizens and modern leaders could believe and support this baseless and ridiculous accusation? No reassuring answer was forthcoming.
In an act that would reverberate for the next two centuries, in 1846, a two-volume book was published in Paris, written by Achille Laurent (a pseudonym), Relation historique des affaires de Syrie depuis 1840 jusqu’en 1842. It claimed to document the complete protocols of the investigation in Damascus, yet completely omitted any mention of the extensive use of torture and only focused on the Jews as murderers, and that the blood libel was a proven fact.
These protocols were published in German, Italian, Arabic, and Russian in the years and decades to come. This book allowed antisemites to “prove” that the murder accusation had been proven and documented, but that the Jews were released despite their guilt.
In fact, Russian coverage of the Damascus Affair in the media is seen as one of the causes that led to the pogroms of the 1890s. Unfortunately, these protocols continue to be published and publicized, particularly in the Arab-language media.
One of the end results of the Damascus Affair was its awakening of Jewish awareness for the need to cooperate to address Jewish needs and respond to charges and attacks towards Jews around the world. In the following decades, for the first time in modern history, multiple such organizations would form to address these concerns.
One Nation
The subsequent blood libel that made international news was that of Menachem Mendel Beilis in Russia in 1911. The lawyer who headed the defense team, the legendary Oscar Gruzenberg, was sure that the prosecution’s attack would take quotes out of context from the Talmud and use them to accuse the Jews. He had Rabbi Mazeh, Chief Rabbi of Moscow, head a rabbinic advisory team for the defense and prepare answers to the inevitable questions. As Gruzenberg had predicted, at the trial the prosecution quoted the Talmudic statement in Tractate Yevamos 61a, “You (the Jewish people) are called “Adam” (Man), and the other nations are not called “Adam” (Man).”
The prosecutors demanded, “How could the Jews claim only they are called man, and the other nations are not called man?! It must mean that they view non-Jews as subhuman!”
The defense had an answer prepared, provided by Rabbi Meir Shapiro, who was already renowned as a brilliant and eloquent leader of Polish Jewry. He explained that the quote reflects an essential characteristic of the Jews and was not intended an insult to the other nations.
Rabbi Shapiro explained that the Talmud (Shavous 39) teaches that “Kol Yisrael areivim zeh lazeh,” meaning all Jews are responsible for one another. He elaborated that in the court, the fate of a single Jew — Mendel Beilis — was being decided, yet the judgment touched Jewish people all over the world.
Rabbi Shapiro directed the defense team to ask the judge, “If an Italian citizen was arrested in Poland or a Frenchman in Germany, would all of Italy or all of France be praying on his behalf and advocating for his acquittal? Would Italians or Frenchmen all over the world be constantly worried about him and awaiting news of his release? Of course not. Yet, when one Jew in Russia is falsely accused of murder, the entire Jewish nation stands with him, because we are truly one. The Talmud says Jews are called “Adam,” because “Adam” shows the unity of the Jewish nation. We are one, a single unit, just as Adam was one man. The word “Adam” in Hebrew has no plural, and that is why it represents the Jewish people, who are one, and this pronoun is not used to identify other nations, as the Talmud stated.”
This answer was understood, even by the accusers. This message continues to serve as a beacon of light for the connection Jews share with one another. In good times and bad, the Jewish People are one.
Rabbi Menachem Levine is the CEO of JDBY-YTT, the largest Jewish school in the Midwest. He served as Rabbi of Congregation Am Echad in San Jose, CA from 2007 – 2020. He is a popular speaker and has written for numerous publications. Rabbi Levine’s personal website is https://thinktorah.org. A version of this article was first published at: https://aish.com/the-damascus-affair/
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Seven IDF Soldiers Wounded in Counterterrorism Operation in Syria
A damaged site, following an Israeli raid on Friday, according to Syrian state media, in Beit Jinn, Syria, Nov. 28, 2025. Photo: REUTERS/Ali Ahmed al-Najjar
i24 News — Seven Israel Defense Forces (IDF) soldiers were wounded during exchange of fire with Syrian jihadists as arrests were conducted of wanted suspects; two Syrian terrorists were killed.
The incident took place in the village of Beit Jinn in Southern Syria — 8 km from the Israeli border and Mount Hermon, an area where the IDF operates frequently (north of the Druze village of Hader).
The event began around 2 am during an operation to apprehend two wanted members of the terrorist organization Jamaa al-Islamiya at their home. A reserve paratrooper force from the 55th Brigade entered the structure, apprehended the terrorists, and began exiting the building in order to bring them in for questioning.
As the force left the building, it came under short-range fire, wounding seven soldiers — three seriously and four moderately to lightly. The soldiers returned fire and eliminated two additional fighters in the area. The Air Force was also dispatched, but could not engage due to the close proximity between the force and the militants.
Despite the exchange of fire, the operation was successful. The two wanted suspects from Jamaa al-Islamiya (whom intelligence had been monitoring for a long time prior to the operation) were transferred to security interrogation in Israel.
This is not the first time the IDF has carried out an arrest operation in the village: on June 12, soldiers from the Alexandroni Brigade captured a Hamas terrorist cell of six operatives who had planned to attack IDF forces in Syria and had based themselves in Beit Jinn. Numerous weapons were found with them.