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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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Hamas Continues to Reject Disarmament as Fragile US-Backed Gaza Peace Plan Faces Hurdles
Palestinians walk among piles of rubble and damaged buildings in Khan Younis in the southern Gaza Strip, Nov. 24, 2025. Photo: REUTERS/Ramadan Abed
As the US-backed Gaza peace plan falters amid mutual accusations of ceasefire violations, Hamas continues to refuse to disarm in accordance with the agreement, insisting that any decisions about the terrorist group’s weapons should be resolved through “internal Palestinian dialogue.”
In an interview published Wednesday with Saudi media outlet Al-Arabiya, Hamas spokesman Hazem Qassem said that any move toward disarmament “is connected to internal consensus, and is also tied to a real political process that leads to an independent Palestinian state with Jerusalem as its capital.”
The senior terrorist figure also said Hamas has “fully committed to everything required in the first stage in order to open the way for transitioning to the second stage, which Israel continues to obstruct.”
Last week, the United Nations Security Council formally backed US President Donald Trump’s Gaza peace plan — which went into effect last month — calling for an interim technocratic Palestinian government in the war-torn enclave, overseen by an international “board of peace” and supported by an International Stabilization Force (ISF) for at least two years.
Under Trump’s plan, the ISF — comprising troops from multiple participating countries — will oversee the Gaza ceasefire between Israel and Hamas, train local security forces, secure Gaza’s borders with Israel and Egypt, and protect civilians while maintaining humanitarian corridors.
In addition, the ISF would seemingly be expected to take on the responsibility of disarming Hamas — a key component of Trump’s peace plan to end the war in Gaza which the Palestinian terrorist group has repeatedly rejected.
Earlier this week, Hamas leader and chief negotiator Khalil al-Hayya said that the group’s disarmament remains under discussion, emphasizing that the issue “is tied to the end of the Israeli occupation.”
Hamas and other Palestinian terrorist groups have not only consistently refused to give up their weapons but also rejected key elements of Trump’s plan — including the ISF, which they have threatened to treat as a “foreign occupying force” and actively fight it.
Hamas officials rejected any “foreign guardianship” over Gaza and vowed to oppose any attempts to disarm “the Palestinian resistance.”
“Assigning the international force tasks and roles inside the Gaza Strip, including disarming the resistance, strips it of its neutrality and turns it into a party to the conflict in favor of the occupation,” the terrorist group said in a statement.
In his Wednesday interview, Qassem emphasized that Hamas’s senior delegation visit to Cairo this week reflects the group’s seriousness, signaling its intent to move forward and lay the groundwork for the next stage.
According to Qassem, Hamas has been meeting with Qatari, Turkish, and Egyptian mediators, as well as with Palestinian factions, “to consult and engage in dialogue, and to reach agreed-upon national political understandings.”
Turkey and Qatar, both longtime backers of Hamas, have been trying to expand their roles in Gaza’s reconstruction and post-war efforts, which experts have warned could potentially strengthen Hamas’s terrorist infrastructure.
Israeli officials have repeatedly rejected any Turkish or Qatari involvement in post-war Gaza.
Under phase one of Trump’s peace plan, Hamas released the remaining 20 living hostages still held in Gaza, along with the remains of most of the 28 others who died in captivity, while Israel freed 2,000 Palestinian prisoners, including several hundred convicted terrorists.
Two deceased hostages – an Israeli and a Thai national – still remain in Gaza who were kidnapped during Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
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Crypto’s Role in Iran’s Global Terrorism Exposed by New Lawsuit Against Binance
The logo of cryptocurrency exchange Binance. Illustration: Reuters/Dado Ruvic
Cryptocurrency has come under increasing scrutiny for its alleged role in subverting the United States’ sanctions against Iranian state-sponsored terrorism, with the world’s top platform receiving an unwanted spotlight this week.
On Monday, lawyers in North Dakota sued Binance, the world’s largest cryptocurrency exchange, and its CEO, Changpeng Zhao, alleging the company had facilitated more than $1 billion in funding to designated terrorist groups backed by the Islamic regime in Iran. The US federal lawsuit was filed on behalf of victims of Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel.
The suit represents the latest instance of cryptocurrency allegedly playing a role in Iran’s efforts to destroy the Jewish state. Leaders of Iran and its network of terrorist groups named in the complaint, including Hamas, Hezbollah, and Palestinian Islamic Jihad (PIJ), routinely declare their goal of wiping Israel off the map.
Israel has previously clashed with Binance in its counter-terrorism efforts. In May 2023, the Jewish state seized nearly 200 accounts on the platform linked to Islamist groups, including ISIS. In November 2022, researchers at Nobitex said that since 2018, Binance had processed $7.8 billion through Iran-linked accounts.
This week’s suit adds further evidence of the recurring link between Iranian terrorism and cryptocurrency, identifying the high profit potential for those willing to attempt to dodge US sanctions against terror financing.
Binance has declined to discuss the lawsuit but told Reuters that “we comply fully with internationally recognized sanctions laws.”
Jonathan Missner, the attorney who represents the Oct. 7 victims and their families named as plaintiffs in the suit, said that Binance’s alleged facilitating of payments to terror groups “was not a compliance” but rather “a business model.”
“Our investigation shows that Binance built systems designed to evade oversight, using its off-chain network and weak controls to move enormous sums for sanctioned groups,” he said in a statement.
The lawsuit states that “by knowingly moving and concealing the movement of hundreds of millions of dollars for Hamas, the IRGC [Iran’s Islamic Revolutionary Guard Corps], Hezbollah, and PIJ, Defendants Binance Holdings Limited, Changpeng Zhao, and Guangying ‘Heina’ Chen provided pervasive and systemic assistance to these terrorist organizations.”
Chen is described in the suit as a co-founder of Binance and “de facto CFO.” The lawsuit charges that Zhao and Chen “materially contributed to the Oct. 7 attacks and to subsequent terrorist attacks perpetrated by Hamas, Hezbollah, and PIJ.”
One of the plaintiffs named in the suit is Eyal Balva, whose son Omer died in combat following the Oct. 7 atrocities while serving in the Israel Defense Forces. “Binance’s platform moved the money that helped fund the violence that destroyed our family,” he said.
Zhao and Binance — the world’s largest crypto trading platform with $300 billion in daily trades and more than 280 million users — have previously faced penalties for criminality. As part of a 2023 settlement agreement with the US Treasury Department’s Financial Crimes Enforcement Network, Binance paid $4.3 billion in fines and restitution. Zhao was previously convicted of money laundering and served four months imprisonment. US President Donald Trump pardoned Zhao, with analysts noting the decision came following a sizable investment by Binance into the Trump family Crypto exchange platform World Liberty Financial.
The lawsuit also notes a money laundering scheme involving transferring gold from Venezuela to Iran to overcome American sanctions, and that Binance “pitched itself to terrorist organizations, narcotics traffickers, and tax evaders as beyond the reach of any single country’s laws or regulations.”
On Wednesday, Iran’s Foreign Minister Abbas Araghchi put out a statement condemning the possibility of potential US military action against Venezuela, labeling the Trump administration’s posture a “bullying approach.”
The filing against Binance comes in a year in which Australian authorities have highlighted the alleged role of cryptocurrency in directing antisemitic hate crimes in Melbourne and Sydney, prompting the expulsion of Iran’s ambassador in August.
Australian Security Intelligence Organization (Asio) chief Mike Burgess said that his team had found connections “between the alleged crimes and the commanders in Iran’s Islamic Revolutionary Guard Corps, the IRGC.”
He added, “They’re just using cut-outs, including people who are criminals and members of organized crime gangs to do their bidding or direct their bidding.”
Cryptocurrency has long functioned as a tool of Iran to evade US sanctions. The high energy costs from the so-called “mining” of cryptocurrency — powerful computers must run complex programs in order to generate additional tokens for trading — has put a strain on Iran’s electrical system. Mohammad Allahdad, Iran’s deputy director of power generation, said that the business practice “represents around 5 percent of total electricity consumption” and “it accounts for up to 20 percent of the current power deficit.”
Allahdad also warned that the heat from crypto mining devices was “intense” and could cause fires. “We’ve had multiple reports from fire departments about fires linked to mining rigs, some of which spread to neighboring homes,” he noted.
Now is potentially the worst time for fires in Iran, given a persistent devastating drought and ongoing government mismanagement of the water system. The situation has reached the point that Iran’s president said last week that the country had “no choice” but to evacuate and move the capital Tehran.
“The truth is, we have no choice left — relocating the capital is now a necessity,” Iranian President Masoud Pezeshkian said in a speech.
The US State Department recently noted that Iran has provided Lebanese Hezbollah with more than $100 million each month this year. Critics of the regime have pointed out that funds spent in the war effort to destroy Israel could have gone toward improving infrastructure to better support the civilian population. Analysts at the Center for Strategic and International Studies noted that one-third of the water supply to Tehran is lost through leaks and theft.
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Mamdani Draws Fury After Naming Activist Booted From Women’s March for Antisemitism to Transition Team
Tamika Mallory at the Wilmington Public Library in Wilmington, Delaware, Sept. 19, 2024. Photo: Saquan Stimpson/Cal Sport Media/Sipa USA via Reuters Connect
Tamika Mallory, the former Women’s March co-chair who was forced out of the organization amid allegations of antisemitism, has been appointed to New York City mayor-elect Zohran Mamdani’s transition team, according to newly released staffing lists.
Mallory was selected to serve on the Committee on Community Safety, one of several advisory bodies shaping the incoming mayoral administration’s approach to policing, public safety, and community relations. Her appointment has already drawn sharp criticism from Jewish communal organizations, which say the decision raises serious concerns at a time of rising antisemitic incidents across the city.
Mamdani himself has also faced allegations of antisemitism, and his electoral victory earlier this month raised alarm bells among Jewish New Yorkers, many of whom expressed concern about their future with an ardent anti-Israel activist in office.
Mallory resigned from the Women’s March leadership in 2019 after extensive reporting said that she and other senior figures had allowed antisemitic rhetoric to permeate the organization. A widely discussed investigative article at the time claimed Mallory referenced conspiracy theories portraying Jews as exploiters of black and brown communities and echoed false claims linking Jewish financiers to the transatlantic slave trade.
She denied making the statements but continued to face criticism for her longstanding praise of Nation of Islam leader Louis Farrakhan, who has repeatedly made antisemitic remarks such as comparing Jews to termites, describing Judaism as a “dirty religion,” calling the Jewish people “Satan,” publicly questioned the Holocaust, sharing anti-Israel conspiracy theories, and blamed Jews for pedophilia and sex trafficking. Mallory called Farrakhan “the greatest of all time because of what he’s done in black communities.”
Transition team members typically serve in an advisory capacity, though their recommendations often help shape early policy direction.
The Anti-Defamation League (ADL), a prominent Jewish civil rights organization, condemned the new appointment, arguing that Mallory is “simply the wrong choice” to join the Mamdani transition team, citing her “highly insensitive remarks about Jews and money.”
Mamdani, a far-left democratic socialist who has made anti-Israel activism a cornerstone of his young political career, has filled several transition committees with progressive activists, criminal-justice reform advocates, and academics associated with police abolition movements. His Community Safety Committee includes multiple figures known for their opposition to traditional law-enforcement models.
Jewish and allied leaders said the decision to include Mallory reinforces fears that the incoming administration may sideline concerns about antisemitism.
“New Yorkers are shocked to learn that Zohran Mandani has appointed Tamika Mallory to his team. Mallory is a notorious trafficker of Jew-hatred in America, a defender for Louis Farrakhan’s vicious vitriol against Jews,” The Lawfare Project, which provides legal services to victims of antisemitism, posted on social media. “We must be vigilant and carefully scrutinize who Mamdani appoints to key positions and, more importantly, what they do once in office. Protecting Jewish civil rights means taking action whenever they are violated.”
Mallory’s appointment isn’t the only one to draw concern due to allegations of antisemitism.
For example, Hassaan Chaudhary, an adviser to Mamdani who describes himself as the political director for the mayor-elect’s transition team, once used the word “Jew” as a slur. In 2012, he wrote Jew hoga tera baap,” which means in English, “Jew will be your father.” He also referred to Israel as a “cancer which will be eliminated very soon.”
The appointments come as New York City has seen a major spike in anti-Jewish hate crimes over the last two years, following the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel. According to police data, Jews were targeted in the majority of hate crimes perpetrated in the city last year. Meanwhile, pro-Hamas activists have held raucous — and sometimes violent — protests on the city’s college campuses, oftentimes causing Jewish students to fear for their safety.
Mamdani, a far-left democratic socialist and anti-Zionist, is an avid supporter of boycotting all Israeli-tied entities who has been widely accused of promoting antisemitic rhetoric. He has repeatedly accused Israel of “apartheid” and “genocide”; refused to recognize the country’s right to exist as a Jewish state; and refused to explicitly condemn the phrase “globalize the intifada,” which has been associated with calls for violence against Jews and Israelis worldwide.
A recently released Sienna Research Institute poll revealed that a whopping 72 percent of Jewish New Yorkers believe that Mamdani will be “bad” for the city. A mere 18 percent hold a favorable view of Mamdani. Conversely, 67 percent view him unfavorably.