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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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US Lawmaker Introduces Bill to Deport Immigrants With Extremist Ideologies

US Rep. Chip Roy (R-TX) leaves the House Republican Conference caucus meeting in the US Capitol on April 15, 2026. Photo: Bill Clark/CQ Roll Call/Sipa USA via Reuters Connect

US Rep. Chip Roy (R-TX) has introduced sweeping legislation aimed at expanding the federal government’s authority to deport, denaturalize, deny US citizenship, and refuse entry to immigrants tied to extremist ideologies, including socialism, communism, and Islamic fundamentalism.

The legislation, titled the MAMDANI Act, short for Measures Against Marxism’s Dangerous Adherents and Noxious Islamists, is a direct political reference to New York City Mayor Zohran Mamdani and what conservatives describe as a growing alliance between far-left anti-Israel activism and Islamist extremism.

Mamdani, a far-left democratic socialist and avowed anti-Zionist, has made anti-Israel activism a cornerstone of his political career and been widely accused of promoting antisemitic rhetoric.

In a statement, Roy argued that the legislation would increase the government’s capability to filter out potential immigrants with anti-American, anti-Western ideologies.

“Not just for the last six years, but for the last 60 years, our immigration system has been cynically used to disadvantage American workers’ competitiveness in favor of mass-importing the third world,” Roy added. “This has not just led to higher crime and lower wages, but also the promulgation of hostile ideologies fundamentally opposed to American values.”

Roy said the bill is intended to confront what he called a “Red-Green Alliance” between far-left and Islamist extremists that has fueled antisemitism, anti-American radicalism, and support for terrorist organizations under the guise of progressive politics.

“By targeting the Red-Green Alliance, this legislation deploys new tools to fight back against the Marxist and Islamist advance that has devastated Europe and has now arrived on our doorstep, especially in my home state of Texas,” Roy continued. 

Under the proposal, non-citizens affiliated with socialist parties, communist parties, the Chinese Communist Party, or organizations deemed to promote Islamic fundamentalism could be denied entry or deported. The bill would also expand grounds for denying naturalization and, in some cases, allow denaturalization for individuals found to have concealed ideological affiliations or to be actively advocating for violent anti-democratic movements.

Supporters of the bill argue that the measure is necessary amid rising antisemitic incidents across the United States following Hamas’s Oct. 7, 2023, attack on Israel, amid the ensuing war in Gaza. They point to pro-Hamas rhetoric on some college campuses and among far-left activist circles as evidence that immigration enforcement should include stronger scrutiny of extremist ideological affiliations.

In recent years, conservatives have drawn attention to the massive surge in antisemitic protests on American soil, pointing to an increase of foreign migration as the culprit. In the immediate aftermath of the Oct. 7 slaughters in Israel, protests erupted on US campuses and streets. Many of these demonstrations, many of which devolved into riots, were spearheaded by either foreign nationals or recent migrants from the Middle East or southeast Asia.

US Director of National Intelligence Avril Haines warned in 2024 that “actors tied to Iran’s government” have encouraged and provided financial support to many of these protests.

Critics, however, say Roy’s legislation raises serious constitutional concerns, particularly around First Amendment protections, religious liberty, and due process rights. Civil liberties advocates have warned that broad ideological tests for citizenship or deportation could be vulnerable to court challenges and used too broadly against political dissent.

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Orthodox Jews Harassed in Brooklyn as Antisemitic Hate Crimes Surge in New York City Under Mamdani

New York City Mayor Zohran Mamdani delivers a speech during his inauguration ceremony in New York City, US, Jan. 1, 2026. Photo: REUTERS/Kylie Cooper

Multiple videos which emerged this week captured in vivid detail the surge of antisemitic hate crimes that have proliferated under New York City Mayor Zohran Mamdani’s leadership.

On Monday, Williamsburg News shared a 36-second video depicting two young males riding bicycles on Williamsburg Street & Lee Avenue in Brooklyn. The first swerves his bike in front of an elderly Jewish man, leading the victim to turn and address his assailant. Then the second perpetrator comes from behind on his bike and knocks off the Jewish man’s black hat.

Officers from the New York City Police Department (NYPD)’s 90th precinct responded to the assault and opened a hate crime investigation.

Also on Monday, the Boro Park Shomrim, a Jewish organization that monitors antisemitism and also serves as a neighborhood watch group, released a 37-second clip of young males driving a white SUV into a crosswalk before stopping to address a Jewish man with payot wearing traditional Hasidic attire. He begins to walk away, provoking a teenager in the back seat to leap out, chase after him, and yell, “Come here! Come here!”

An individual sitting in the front seat’s passenger side applauds the act of intimidation before the young man rushes back into the SUV which speeds away, tires squealing.

While evidence of these antisemitic incidents emerged from security footage, the perpetrators of a separate incident from last week chose to film their harassment targeting a Jewish pizzeria proprietor themselves.

Operatives of the so-called Palestine News Network (PNN) conducted one of their pseudo-interviews of Isaac Garson, owner of Slices Pizza in Hastings-on-Hudson, a community roughly 20 miles north of New York City.

The Anti-Defamation League (ADL) describes the group’s modus operandi of choreographed hostility, explaining that members “have a history of entering neighborhoods with significant Jewish populations, or approaching those attending Jewish or Israel-related events, where they shoot videos that walk the line between ‘interview’ and provocation.”

The 47-second video appears in a vertical format, indicating filming on a phone. In the lower right corner, the video bears a red and white PNN logo intended as a parody of the traditional CNN logo. Garson emerges from the restaurant, gestures his hands, and says, “I’m going to be calm. I want peace around the world.”

The man filming the encounter then goads, “What about Palestine? Can you say Palestine, specifically?”

The video cuts to footage of a man outside the restaurant who appears to be affiliated with PNN and carries a fractured placard that says, “End US AID to Israel.” However, the word “Israel” was originally at the bottom of the sign but snapped off, requiring the activist to carry along the broken piece to complete his political proclamation.

The next 20 seconds of the video focus on the men harassing a woman wearing a black baseball cap and black sunglasses walking by on the sidewalk. They demand to know “what’s your opinion?” The video cuts off her answer and jumps to them insulting her as “a textbook case of white mediocrity. Mediocre aesthetics, no stances, this is what we call ‘white mediocrity.’ You’re a shining example of mediocrity.”

The woman, taken aback by being insulted by eccentric activists carrying a dilapidated sign on the street, says, “Oh. Well, that’s also your opinion.”

The conclusion of the video returns to Garson, who asks the men: “What happened to Israel in 1948?”

The cameraman then yells, “Oh, it came out! It came out!”

Garson asks, “What happened?”

The cameraman then chants proudly, “The Nakba! The Nakba!”

The Arabic term “Nakba” translates as “catastrophe,” and anti-Zionists regularly deploy it to signify the founding of the modern State of Israel. In 2023, Palestinian Authority President Mahmoud Abbas issued a decree defining the “Nakba” as “the crime against humanity committed against the Palestinian people in 1948.”

Garson then asks in the video: “How many people were killed on Oct. 7?” referring to the Palestinian terrorist group’s 2023 invasion of and massacre across southern Israel.

The cameraman shoots back, “We support Oct. 7!”

Beginning to walk back into his restaurant, Garson says, “OK, great, you support a murder.”

Hastings-on-Hudson Mayor Tom Drake released a statement on Wednesday condemning PNN’s harassment.

“I am sorry that this type of conduct has reached our amazing and tolerant village,” Drake said. “Today, the strength exhibited by our friend and business owner, who I have been in communication with, makes me proud to be your mayor and do everything to support our businesses and residents, even when faced with such a gross display of hate.”

Drake added, “As a community, we cannot let stickers placed on signs or other forms of hate become normal. While they may seem small in some cases, they are intended to cause fear and intimidation. These actions have targeted a specific population of our village, and I urge all Hastings residents to join me in condemning such actions of hate and come together and support one another.”

The ADL names the leaders of PNN as Ramsey Aburdene and David Wolf, explaining they chose to found the group following the Oct. 7, 2023, terrorist attacks in southern Israel. Aburdene says that he has urged people for years to “stop condemning Hamas.”

Wolf is Jewish and described by the ADL as “an extreme anti-Zionist” who “had his Star of David tattooed over with a Palestinian flag.”

PNN has amassed more than 100,000 followers on the X social media platform and has seen its videos shared by prominent anti-Zionist influencers such as British rapper Lowkey and “anti-imperialist journalist” Benjamin Rubenstein.

The incidents come amid continued criticism and scrutiny over the Mamdani administration’s approach to countering antisemitism.

Earlier this month, NYPD Commissioner Jessica Tisch revealed that “confirmed hate crimes increased nearly 12 percent this quarter citywide. We continue to see that the vast majority of our hate crimes are antisemitic in nature.”

Tisch added that “in fact, in the first quarter of 2026, more than half of all confirmed hate crimes, or 55 percent, were antisemitic, despite Jews only making up approximately 10 percent of the population of New York City.”

Mamdani assumed office on Jan. 1.

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‘Another Holocaust’: Netanyahu Tells Bereaved Families on Memorial Day of Iran Plot to Destroy Israel

Israeli Prime Minister Benjamin Netanyahu attends the opening event for the Memorial Day at the Yad LaBanim House in Jerusalem, April 20, 2026. Photo: Marc Israel Sellem/Pool via REUTERS

Israeli Prime Minister Benjamin Netanyahu invoked the Holocaust during a Memorial Day ceremony in Jerusalem on Tuesday, saying joint US-Israeli strikes on Iran had prevented the regime from carrying out its genocidal vision. 

“The Ayatollah regime in Iran planned another Holocaust. It plotted to destroy us with nuclear bombs and thousands of ballistic missiles,” he said at the state ceremony for fallen soldiers at Mount Herzl military cemetery. “Had we not acted against the existential threat, had we not acted with determination and daring, the names of the death sites Natanz, Fordow, Isfahan might have joined the names of the death camps of the Holocaust: Auschwitz, Majdanek, Treblinka.”

“But that did not happen because together with our great friend, the United States, we crushed the Iranian regime’s machinery of destruction in time,” he said. “We removed an immediate existential threat.”

Netanyahu ended by saluting wounded soldiers and bereaved families. “May the memory of the fallen of Israel’s wars be blessed and kept in our hearts forever,” he said.

Israeli Prime Minister Benjamin Netanyahu wearing the Tefillin of IDF Golani Brigade Fighter First Sgt. Sean Carmeli, who fell in the 2014 war with Gaza. Photo: Ma’ayan Toaf (GPO)

The national Memorial Day, known as Yom Hazikaron, came as Iran poured cold water on the notion of extending the ceasefire, saying it would not send officials to Islamabad to continue negotiations with the US.  

Meanwhile, a second ceasefire brokered by US President Donald Trump with Iran’s Lebanese proxy Hezbollah was also poised to be tested, as rocket sirens sounded toward evening in northern Israeli communities near the border with Lebanon.

At a separate Memorial Day ceremony for fallen Mossad personnel, intelligence agency chief David Barnea disclosed that one of the service’s operatives was killed during the war with Iran.

The officer, whose identity remains under gag order, had served in the agency for more than three decades, Barnea said, adding that he was “filled with pride” by his actions.

“There is no other day during the year that is as difficult for us, for me, as Memorial Day for Israel’s fallen,” Barnea said, tracing a line from the defenders of the pre-state Jewish community to the soldiers fighting since Hamas’s Oct. 7, 2023, attack on Israel. He said the obligation to defend the country had passed from generation to generation, with each cohort choosing to shoulder it anew.

Other commemorations took place outside the state ceremonies. On Memorial Day eve, OneFamily, a nonprofit that supports victims of terrorism and bereaved families, held a gathering centered on personal testimony.

The evening was led by two bereaved mothers, Liat Smadja and Laly Derai, whose sons were killed in the same explosion in Gaza in June 2024.

Smadja, who serves in the reserves as a casualty notifier, described the cruel inversion of learning that the task she performs for other families had come to her own door.

“I have the job of knocking on doors and delivering the worst possible news, one that changes a family’s life forever,” she said. “And then the message came for me as well.”

In Israel, “the knock on the door” has become a traumatic shorthand for one of the most feared moments in public life, the arrival of military representatives to tell a family that a loved one has been killed.

Derai said the families had forged a bond that cut across their different backgrounds.

“We come from different worlds and different backgrounds. Since [their death], we are one family, connected by something deep and unbreakable.”

Two days earlier, Derai had attended a weekend for bereaved families organized by OneFamily, spending the run-up to Memorial Day among others carrying the same loss.

Yigal Tamam, whose son Adir and daughter-in-law Shiraz were murdered on their way to the Nova music festival during the Oct. 7 attack, was also there.

As rocket fire erupted early in the morning that day, the couple pulled over and ran into a roadside bomb shelter, where they were killed by Hamas terrorists who threw grenades inside. The two were survived by their young daughters. 

“I’m breathing but I’m not alive,” Tamam said over the weekend.

He said he breaks down when he thinks about his grandchildren, Goshen, 10, and Gili, 8, growing up without their parents.

OneFamily founder Chantal Belzberg is set to receive the Israel Prize for lifetime achievement, a rare national award granted by the state for outstanding contributions to Israeli society, presented on Independence Day, which follows Memorial Day.

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