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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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Instagram Pushes Antisemitic Videos to Hundreds of Millions of Users, Report Finds
Silhouettes of mobile users are seen next to a screen projection of the Instagram logo in this picture illustration taken March 28, 2018. Photo: REUTERS/Dado Ruvic/Illustration
Instagram actively recommends bigoted content to its users, according to newly published research from a leading antisemitism watchdog group.
The revelation followed two high-profile losses this week in lawsuits that charged billionaire Mark Zuckerberg’s Meta, which owns Instagram, with failing to protect children on its social media platforms.
On Wednesday, the Combat Antisemitism Movement (CAM) published new findings from its Antisemitism Research Center (ARC). The report, “Engineered Exposure: How Antisemitic Content Is Pushed and Amplified to Millions Across Instagram,” focused on tracking 100 antisemitic posts during a 96-hour period which Instagram directly pushed into users’ accounts through its own recommendation system.
CAM’s researchers found that these posts provoked 5.3 million likes and 3.8 million shares, which analysts estimate reached as many as 280 million users.
“Among the most disturbing findings is that the ARC researchers identified AI-generated ‘rabbi’ personas that were fabricated to push antisemitic tropes while projecting false religious authority,” CAM said in a statement announcing the report.
One bogus rabbi account CAM uncovered had collected more than 1.4 million followers. The report described how an account called Rabbi Goldman “pushes antisemitic conspiracy theories, including allegations of Jewish control of the global financial system, to a large audience, with some videos getting more than five million views.”
ARC identified 11 other fake rabbis, bringing the total followers for such accounts up to 2.1 million. According to the researchers, “each presents a distinct persona and voice, yet all promote narratives portraying Jews as obsessed with money, playing to classical antisemitic stereotypes.”
The report also documented substantial linking of Jews with occult themes including references to demons, Satan, 666, Moloch, freemasonry, the Illuminati, and especially the ancient Canaanite storm god Baal. The slander against Jews as secretly worshipping a deity who demanded child sacrifice and rivaled the God of Israel in the Bible has manifested elsewhere on social media. Far-right podcaster Candace Owens has claimed that the Star of David has “ALWAYS [sic] been associated with Canaanite cults and Baal worship.”
An important component of this new research is that rather than investigators searching for hateful content, they relied solely on “the standard use of Instagram over four days, via content actively suggested by the platform’s recommendation systems.”
“This distinction demonstrates that exposure to these narratives does not require users to seek out extremist material,” the researchers explained. “Instead, the platform itself can act as a vector, introducing and amplifying such content through its own distribution mechanisms.”
Through providing examples of the content analyzed, the researchers showed how conspiracy theories transition into calls for violence. One video discussed in the report blamed “the Rothschilds” and central banks as guilty of causing all global crises including wars, diseases, and 9/11. The video then “escalates into explicit eliminationist rhetoric, calling for their eradication as a solution. It uses the Rothschild family as a proxy for Jews and frames them as a singular, malevolent force controlling world events.”
CAM CEO Sacha Roytman said the report provided evidence “of a broad systemic failure on the part of Instagram and Meta.”
“When a platform actively recommends content that dehumanizes Jews to mass audiences, we are no longer talking about a simple oversight or a mistake in the algorithmic design. We are talking about infrastructure that normalizes hatred at scale that must be addressed immediately,” he added.
Regarding potential motivations for what might have inspired Zuckerberg to allow for such a proliferation of hate, the report noted in its introduction that Meta had been “generating substantial advertising revenue from engagement with the content in question.”
In 2025, Meta’s revenue reached $200.966 billion, an increase of 22.17 percent from 2024, when revenue hit $164.501 billion, a 21.94 percent increase from 2023’s $134.9 billion, which in turn had grown 15.69 percent from 2022.
Bloomberg currently ranks Zuckerberg as the fifth wealthiest person on the planet, with an estimated net worth of $211 billion. Earlier this month, he purchased a $170 million mansion in South Florida’s Indian Creek, noted as the most expensive sale in Miami-Dade County and listed as “the largest residence ever created on Miami’s most exclusive island.”
On Wednesday, Meta laid off 700 employees, largely those affiliated with the failed Reality Labs division, which burned through $80 billion in pursuit of creating the virtual reality platform Horizon Worlds. The platform will shut down on June 15.
Roytman said that Meta “must take a hard look at how its algorithms are promoting antisemitic content and put real, transparent safeguards in place to stop it.”
Meta may have additional motivation now to level up the safety protocols on its platforms following back-to-back decisions in a pair of lawsuits this week which, legal analysts suspect, may have now opened the floodgates for thousands of similar cases around the country.
On Tuesday in Santa Fe, jurors found Meta liable and imposed a $375 million fine for failing to prevent minors’ exposure to harmful sexual content including online solicitations, human trafficking, and explicit imagery.
“Meta executives knew their products harmed children, disregarded warnings from their own employees, and lied to the public about what they knew,” New Mexico Attorney General Raúl Torrez said in a statement following the verdict. “Today the jury joined families, educators, and child safety experts in saying enough is enough.”
Torrez vowed to go after Meta for more money and force changes to the platforms.
“New Mexico is proud to be the first state to hold Meta accountable in court for misleading parents, enabling child exploitation, and harming kids,” Torrez said. “In the next phase of this legal proceeding, we will seek additional financial penalties and court-mandated changes to Meta’s platforms that offer stronger protections for children.”
On Wednesday in Los Angeles, jurors found Meta and Alphabet (parent company of YouTube) liable for the addictive qualities of their platforms exacerbating the mental health problems of a young woman and awarded her $3 million in damages with $3 million more in punitive damages.
Omri Ben-Shahar, a law professor at the University of Chicago, told the Wall Street Journal that “what is new is the addiction element.” He warned “that could create a very broad liability. The notion of addiction, there is something very abstract about it.”
Meta and Alphabet both plan to appeal the ruling. Alphabet spokesman José Castañeda sought to distance the company from Meta (which jurors found more heavily liable at a 70-30 penalty ratio), saying “this case misunderstands YouTube, which is a responsibly built streaming platform, not a social media site.”
Previous legal challenges to social media and online video companies for failing to prevent exposure to harmful content have usually failed due to longstanding legal interpretations of Section 230 of the 1996 Communications Decency Act, which states that “no provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider.”
This statute has prevented plaintiffs from suing a website’s host the way they would an individual committing slander or a publisher engaged in libel. The legal innovation which allowed for success in these cases was lawyers’ decision to focus not on the content itself but on the design of the products which intended to hold users captivated, glued to their phones for hours.
“They knew,” said Mark Lanier, the lawyer for the 20-year-old plaintiff in the addiction case. “They targeted the children.”
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University of Wisconsin–Madison Denounces BDS Resolution Passed by Student Government
University of Wisconsin-Madison campus on May 1, 2024. Photo: USA TODAY Network via Reuters Connect
The University of Wisconsin–Madison’s student government on Wednesday passed a resolution which endorsed the boycott, divestment, and sanctions (BDS) movement and demanded the institution divest from companies involved financially with Israel, drawing a stern rebuke from the school’s administration.
As previously reported by The Algemeiner, the resolution accuses the Jewish state of “apartheid, genocide, and militarized violence … at the intersections of race, gender, religion, disability, and socioeconomic status.” It also compares Israel’s conduct in its defensive war against the terrorist group Hamas to the Rapid Support Forces of Sudan (RSF), a notorious paramilitary group responsible for a slew of war crimes and premeditated mass casualties of civilians.
After failing to reach the floor for a vote when the Associated Students of Madison (ASM) first considered it last week, it was approved during an evening session on Wednesday. The body has not yet released the final tallies of the vote, but the UW Madison administration confirmed that it passed in a statement which condemned the outcome.
The university also said it was “reviewing reports alleging that an online chat, including possibly some ASM representatives, used an antisemitic term in reference to limiting potential speakers at the March 18 ASM meeting” where the resolution was considered.
According to The Daily Cardinal, a campus newspaper, an SJP member told their contact in ASM via text message to slash the time allotted for public comment because the “proportion of Zios [sic] rises as the speaker list goes on.”
“Zio” is an antisemitic slur brought into prominence by former Ku Klux Klan leader David Duke. While the term, derived from “Zionist,” has generally been deployed by white supremacists and other far-right extremists, it has more recently been used as well by anti-Israel activists on the progressive far left to refer to Jews in a derogatory manner.
Noting that the resolution “issued a number of flawed, unrelated and illegal demands,” the administration said in Wednesday’s response to the vote that “Wisconsin state law prohibits state and local government agencies from adopting their own rules or policies that would involve them in a boycott of Israel” and that “ASM leadership was counseled by university attorneys on the clear illegality of that specific part of the resolution” but “nonetheless voted to pass it.”
The administration did not condemn BDS as matter of principle, however, but said that UW-Madison “condemns antisemitism in all of its forms” in regard to the “Zio” text message.
Formally launched in 2005, the BDS movement opposes Zionism — a movement supporting the Jewish people’s right to self-determination — and rejects Israel’s right to exist as a Jewish nation-state. It seeks to isolate the country with economic, political, and cultural boycotts. Official guidelines issued for the campaign’s academic boycott state that “projects with all Israeli academic institutions should come to an end,” and delineate specific restrictions that its adherents should abide by — for instance, denying letters of recommendation to students applying to study abroad in Israel.
Leaders of the BDS movement have repeatedly stated their goal is to destroy the world’s only Jewish state.
The apparent antisemitic undertones of the ASM vote at the University of Wisconsin-Madison underscore the reality of campus antisemitism and the degree to which it has changed Jewish student life.
According to a recent survey commissioned by the American Jewish Committee (AJC) and Hillel International, a striking 42 percent of Jewish students reported experiencing antisemitism during their time on campus, and of that group, 55 percent said they felt that being Jewish at a campus event threatened their safety. The survey also found that 34 percent of Jewish students avoid being detected as Jews, hiding their Jewish identity due to fear of antisemitism.
Meanwhile, 38 percent of Jewish students said they decline to utter pro-Israel viewpoints on campus, including in class, for fear of being targeted by anti-Zionists. The rate of self-censorship is significantly higher for Jewish students who have already been subjected to antisemitism, registering at 68 percent.
The survey, included in AJC’s new “The State of Antisemitism in America” report, added that 32 percent of Jewish students feel that campus groups promote antisemitism or a learning environment that is hostile to Jews, while 25 percent said that antisemitism was the basis of their being “excluded from a group or an event on campus.”
Jewish students endure these indignities while preserving their overwhelming support for Israel. Sixty-nine percent of those surveyed identified caring about Israel as a central component of Jewish identity and 76 percent agreed that calling for its destruction or describing it as an illegitimate state is antisemitic.
Follow Dion J. Pierre @DionJPierre.
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Iran Lowers Minimum Age for War Roles to 12, Sparking Outcry Over Child Soldier Use
Kids hold up an Iranian flag and chant slogans during a protest against the Israeli airstrikes on Iran, in Sana a, Yemen, June 20, 2025. Photo: IMAGO/Hamza Ali via Reuters Connect
The Iranian regime has lowered the minimum age for participation in war-related activities to just 12 years old, a move that will likely fuel the concerns of human rights groups, which have condemned Iran’s treatment of children.
In a televised interview with state media, Rahim Nadali, a cultural with Iran’s Islamic Revolutionary Guard Corps (IRGC) in Tehran, announced that the new initiative “For Iran” is recruiting participants to assist with patrols, checkpoints, and logistics.
“Since children are increasingly volunteering to take part, we have lowered the minimum age to 12,” Nadali said, urging young children to join the war effort if they wish.
Rahim Nadali, Cultural Deputy of the IRGC’s Tehran branch (Mar 26, 2026):
“12 and 13-year-old children wanted to participate in Basij checkpoints across the cities. We have lowered the age limit to 12 and above.” pic.twitter.com/lLZy9pU5xm— حافظه تاریخی (@hafezeh_tarikhi) March 26, 2026
Iran International first reported Nadali’s statement, which has since circulated on social media.
As part of the regime’s state media coverage of the US-Israeli war against Iran, this latest announcement has ignited mounting backlash over the use of minors in security‑related roles — a practice that is not new in Iran.
“Recruiting children into military activity is a violation of international laws and the international community must not stay silent,” Iranian-American activist Masih Alinejad posted on social media, along with video of Nadali’s comments. “This is the same regime that lectures the world about morality. But when it comes to survival? They’re willing to send children into danger.”
In the past, widely circulated social media images and videos have repeatedly shown children and teenagers in military-style uniforms cracking down on protests, including during the 2022 Woman, Life, Freedom uprising, which erupted nationwide after Mahsa Amini, a young Kurdish woman, died in a Tehran police station following her arrest for allegedly violating hijab rules.
Under international law, Iran’s move flagrantly violates the Convention on the Rights of the Child, which explicitly prohibits the use of children in military activities, marking a dramatic breach of its global obligations.
Human rights groups have also repeatedly accused Iranian security forces of killing child protesters during past crackdowns.
According to the Center for Human Rights in Iran, more than 200 children were killed during the nationwide anti‑government protests earlier this year, which security forces violently crushed, leaving thousands of demonstrators tortured or killed.
Amnesty International and Human Rights Watch have also documented cases of children being shot, detained, and abused during these latest demonstrations, noting that government forces have repeatedly targeted minors in ways that breach international law.
Iran has a long track record of widespread human rights abuses, including crackdowns on protesters, harassment of activists, threats to minorities, executions of children, violations of women’s rights, and dire prison conditions.
During the January uprising, at least 6,724 protesters, including 236 children, were killed, with another 11,744 cases still under verification, according to the Human Rights Activists News Agency (HRANA). Multiple other reports have estimated that the overall death toll may exceed 30,000.
As in past years, executions remain one of the starkest manifestations of human rights abuses in Iran, with at least 2,488 people executed last year, including 63 women and two children, 13 of them carried out publicly.
Tehran’s latest controversial move comes as Iran has reportedly slammed a US proposal to end the war as “one‑sided and unfair,” a rebuff that has cast doubt on the prospects for a negotiated ceasefire.
US President Donald Trump has warned the Islamist regime it must reach a deal or face a continued onslaught.
“They now have the chance, that is Iran, to permanently abandon their nuclear ambitions and to join a new path forward,” Trump said during a Cabinet meeting at the White House.
“We’ll see if they want to do it. If they don’t, we’re their worst nightmare. In the meantime, we’ll just keep blowing them away.”