Uncategorized
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.
—
The post The hora, the hora! How Jewish wedding music got that way appeared first on Jewish Telegraphic Agency.
Uncategorized
The stories of Passover and Pittsburgh share a common humanity
At the heart of the Passover story is an act of courage that feels both ancient and urgent.
Before the plagues, before the parting of the Red Sea, a man named Moses made a brave choice. Saved and raised by the Pharaoh’s daughter, he could have looked away from the suffering of others. But instead, Moses recognized his connection to and the humanity of the Israelites, insisting that Pharaoh let his people go.
We often tell the Passover story as one of liberation, and it is. But it is also a story about the risk of crossing divides in society and the tension between extending an open hand or isolating yourself.
That tension is not confined to ancient Egypt: it persists within the Jewish community today. In the wake of the 2018 Pittsburgh synagogue shooting, much of the conversation understandably focused on security, accountability and the urgent need to confront antisemitism directly. The intensity and urgency of that conversation has only increased as Jewish Americans face more hate than ever in our post-Oct. 7 reality. Security and accountability are essential. But on its own, hardening our institutions is not enough. We must also engage in the hard work of educating and building connections across lines of difference.
Hate festers in the absence of relationships across those boundaries, and confronting it requires human connection. When we build compassionate, healthy communities, we begin to heal the persistent societal wounds, such as antisemitism and hatred, that divide us.
In the days and weeks following the attack in Pittsburgh, something remarkable happened: communities that could have remained distant instead drew closer. Muslim neighbors raised money to help cover the cost of funerals and Christian congregations opened their doors, providing the Tree of Life Congregation a safe place for worship services and to gather in community. In those dark days, Pittsburghers, and people from near and far, prayed, cried and raised their voices in song together. They modeled a response to hate rooted in shared humanity.
Passover asks something similar of us. Each year at the Seder table, we are instructed not simply to retell the story but to see ourselves within it, to remember what it felt like to be strangers in a strange land. The Passover Haggadah commands us to welcome the stranger as we were once strangers in the land of Egypt.
The story is a call to action, asking us to recognize the common roots that unite us all. If we are to truly embrace the stranger, then our work must extend beyond our own community and bring people of different backgrounds together to cultivate mutual understanding and learn more about our neighbors. That mandate guides our work at The Tree of Life. We are building a new institution rooted in Pittsburgh with national impact, dedicated to inspiring courageous action and creating compassionate communities. We are bringing people together to engage with one another and to stay connected even when it is hard.
Our programs focus on inquiry, connection, and community engagement, remembering our past and celebrating Jewish tradition and joy. For example, the Holocaust Center of Pittsburgh, one of our core programs, worked closely with Lily Sassani, a local Girl Scout, to develop a Holocaust Education patch, which is now available to all Girl Scouts. The LIGHT Education Initiative, our cornerstone education program, hosts the Eradicate Hate Student Summit, which in 2025 brought together 450 attendees and, with the support of the Grable Foundation and Benedum Foundation, offered $1,000 grants to 34 schools in southwestern Pennsylvania to design and deliver programming on their campuses.
We’re also sharing the story of what happened on Oct. 27, 2018, the history of antisemitism in America and our work to uproot hate in a traveling exhibition visiting communities across the country, beginning in Pittsburgh and next headed to Broward County, Florida, home to Parkland, another community sadly shaped by tragedy. The exhibition offers a peek into what we will be doing in Pittsburgh at the site of the deadliest antisemitic attack in United States history.
Empathy and understanding are powerful antidotes to hate. Developing both is slow, but important. Beloved Squirrel Hill resident Mr. Rogers knew this and exemplified it. He famously responded to racist ideas of his time, not through loud condemnation but by modeling a different way forward. Amid contentious debates over segregated pools, he invited a Black character, Officer Clemmons, to join him in cooling his feet in a small wading pool and sharing a towel. He didn’t argue; he demonstrated.
We are not naive, nor do we think there is a single answer to the challenges and divisions we all face. What we do know, however, is that at the same time that antisemitism has increased exponentially in recent years, divides are deepening and isolation is rising. Pew Research suggests that approximately eight in ten Americans say they cannot even trust people of different political opinions to agree on basic facts.
When antisemitism is rising and trust is waning, the instinct is often to pull back; to ignore the forces of good at work and hide behind walls. Imagine if Moses had remained in Midian, continuing his exile. Ours would be a very different story.
Instead, Moses stepped out in faith and sought community. For the truth is, liberation is not only about moving past a place of discomfort, grief and hardship. It is about what we choose to build afterward and who we bring along the way. Only by recognizing our common humanity and building bridges across lines of difference can we bring about the better future that the youngest people seated at our Seder tables deserve.
The post The stories of Passover and Pittsburgh share a common humanity appeared first on The Forward.
Uncategorized
Trump Says US May Exit Iran War Soon, Threatens to Quit NATO
Emergency personnel operate around a destroyed car following a targeted Israeli strike, amid escalating hostilities between Israel and Hezbollah, as the US-Israel conflict with Iran continues, in Beirut, Lebanon, March 31, 2026. Photo: REUTERS/Stringer
The United States will end its war on Iran fairly soon and could return for “spot hits” if needed, President Donald Trump told Reuters on Wednesday, hours before he was scheduled to make a primetime address to the nation.
Trump also said he would state in the speech, which is due at 9 pm EDT (0100 GMT on Thursday), that he was considering withdrawing the US from the NATO alliance.
Asked when the United States would consider the Iran war over, Trump said: “I can’t tell you exactly … we’re going to be out pretty quickly.”
He was expected to reiterate a two-to-three-week timetable for ending the war in Iran during the address, a White House official later said.
US action had ensured Iran would not have nuclear arms, Trump said: “They won’t have a nuclear weapon because they are incapable of that now, and then I’ll leave, and I’ll take everybody with me, and if we have to, we’ll come back to do spot hits.”
An Iranian official, Mehdi Tabatabai, said in a post on X that an important letter to the American people from Iran‘s President Masoud Pezeshkian would be released “in a few hours.”
TRUMP CONSIDERS QUITTING NATO
Global oil supplies were expected to be hit twice as hard this month as in March, the International Energy Agency said on Wednesday, underlining the urgent need for an end to the conflict Trump began with Israel on Feb. 28.
Trump said separately on social media that Iran had asked for a ceasefire but that he would not consider it until Tehran ceased blocking the Strait of Hormuz, a major fuel shipment route. Iran denied making any such request.
Two security sources from Pakistan, which is mediating in the conflict, earlier told Reuters that Islamabad had proposed a temporary ceasefire to both sides but had not heard back from either.
US Vice President JD Vance communicated with intermediaries from Pakistan about the Iran conflict as recently as Tuesday, a source briefed on the matter told Reuters on Wednesday. At Trump‘s direction, Vance signaled privately that Trump was open to a ceasefire as long as certain US demands were met, including reopening the Strait of Hormuz, the source said.
Trump had signaled on Tuesday he could wind down the war in two to three weeks even without a deal, and scaled up threats to pull the US out of the NATO defense alliance if European states did not help stop Iran threatening the waterway.
In his remarks to Reuters on Wednesday, Trump said he would express his disgust with NATO for what he considers the alliance’s lack of support for US objectives in Iran.
European states took pains to appear unruffled, and France’s junior army minister Alice Rufo said operations by NATO in the Strait of Hormuz would be a breach of international law.
JET FUEL AND DIESEL SHORTAGE
The conflict has spread across the region and caused major energy disruption.
IEA head Fatih Birol said the main issue so far from Iran‘s effective closure of the Strait of Hormuz was the lack of jet fuel and diesel that was already a problem in Asia and would hit Europe in April or May.
The head of European budget airline Ryanair said jet fuel supply to Europe could be disrupted from June if the conflict did not end in the next month, potentially forcing the airline and rivals to consider cancelling summer season flights.
Businesses around the world are struggling, with cosmetics and tea among the latest sectors to report difficulties.
However, global stocks rallied and oil prices fell almost 3% as hopes of a de-escalation fueled the biggest rebound in regional equities in more than three years.
Higher fuel prices are already weighing on US household finances before the November midterm elections, with two-thirds of Americans believing the US should work to exit the Iran war quickly, a Reuters/Ipsos poll found.
TANKER HIT OFF QATAR
Drones hit fuel tanks at Kuwait’s international airport, causing a big blaze, and authorities in Bahrain reported a fire at an undisclosed company facility from an Iranian attack.
Qatar said an oil tanker leased to state-owned QatarEnergy was hit by an Iranian cruise missile in Qatari waters, but that there were no injuries or environmental damage.
An overnight strike hit Shahid Haghani Port, Iran‘s largest passenger terminal, deputy regional governor Ahmad Nafisi told state media, calling it a “criminal” attack on civilian infrastructure.
Iran has fired repeatedly on Gulf countries, some home to US bases, during the conflict, and is using the Strait of Hormuz, a conduit for a fifth of global oil and liquefied natural gas, as a bargaining chip.
Iran‘s Revolutionary Guards have threatened to hit US companies in the region including Microsoft, Google, Apple, Intel, IBM, Tesla, and Boeing, from 8 pm Tehran time (1630 GMT) on Wednesday. Trump has said he was not concerned.
LATEST STRIKES
In Tel Aviv on Wednesday, evening air raid sirens and air defense systems were repeatedly triggered as Iran fired a volley of missiles around an hour before the start of Passover, the Jewish festival of freedom.
Israel’s fire and rescue service said there had been multiple “impacts” in the greater Tel Aviv area. It was not immediately clear if the impacts were caused by missile strikes or debris from missile interceptions.
Shortly after the latest Iranian attack, the Israeli military said in a statement that the Air Force was carrying out strikes on dozens of targets across Tehran.
Uncategorized
UK Police Arrest 3 More Men Over Arson Attack on Jewish Community Ambulances
Charred remains of ambulances belonging to Hatzola, a Jewish community organization, which were set on fire in an incident that the police say is being treated as an antisemitic hate crime, in northwest London, Britain, March 23, 2026. Photo: REUTERS/Hannah McKay
British police said on Wednesday they had arrested three more men in connection with an arson attack on Jewish community ambulances in north London last month.
The ambulances were set on fire on March 23 in what British Prime Minister Keir Starmer described as a “deeply shocking antisemitic arson attack.”
The SITE Intelligence website has said an Iran-aligned multinational militant collective called Islamic Movement of the People of the Right Hand had claimed responsibility for the incident near a synagogue in the Golders Green area of London.
Counter-terrorism officers are heading the investigation, but as yet the incident is not being treated as terrorism.
The Metropolitan Police said the three men, aged 20, 19, and 17, had been arrested at separate addresses in east London on suspicion of conspiracy to commit arson with intent to endanger life.
Two were British nationals, while the third was a dual British-Pakistani national. Last week, detectives detained two British nationals aged in their 40s and later released both on police bail.
“We know concern among the Jewish community remains high, but I hope these arrests show that we are doing everything we can to bring those responsible to justice,” said Commander Helen Flanagan, Head of Counter Terrorism Policing London.