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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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At the edge of America, six Jewish graves endure
A July 1954 funeral in Fairbanks, Alaska, drew unexpected attention from Jewish newspapers across the country. The woman being buried, Lena Ferguson, was laid to rest in what the Fairbanks Daily News-Miner described simply as the “Jewish plot” inside the city’s Clay Street Cemetery — a small, largely forgotten burial ground that many outside Alaska did not even know existed.
Reports in papers from Florida to Chicago described the “discovery” of what was believed to be the only known Jewish cemetery in the Last Frontier. Some emphasized the unusual circumstances of a Jewish burial in the remote Alaskan interior. Others noted that Ferguson had been married to a non-Jew.
Long before Alaska had a purpose-built synagogue, the Jewish plot at Clay Street had already begun preserving the names of Jews who lived and died in the territory.
The six graves within the plot preserve fragments of a largely forgotten Jewish world built around mining camps, frontier trade, military outposts and isolated immigrant lives. Together, they show how Jewish life appeared in one of the most remote corners of the United States, often before the institutions that sustained it elsewhere.
Ferguson’s funeral itself reflected that improvisational frontier Judaism. According to accounts published at the time, her Jewish identity only became widely known after her brother, Joseph Wishengrad of Catskill, New York, contacted a Fairbanks funeral chapel and requested that she be buried according to Jewish law.
Alaska’s only rabbi, military chaplain Jacob Rubenstein, happened to be away visiting Jewish servicemen stationed at remote military installations. In his absence, Jack Frankel — a former Biloxi, Mississippi, resident working for the United Service Organizations-Jewish Welfare Board — helped officiate the service alongside Robert Bloom, a former Klondike Gold Rush miner who later opened a hardware and general merchandise store in Fairbanks.
Jewish newspapers reported that the cemetery plot had not been used for more than 25 years because many Jews who died in Alaska were sent “to the states” for burial instead.
Before Ferguson, the most recent burial there had been Gussie Beckman in 1939. Born in New York in 1882, Beckman operated the Palace Baths and the Palace Liquor Store on Fourth Avenue in Fairbanks. Her obituary noted that “nothing is known in this city of any surviving relatives.”
Her funeral demonstrated how tenuous Jewish communal life in Alaska could be: a Christian minister, Rev. Rudolph G. Fitz, conducted the service, while Leonard Newman, a University of Alaska mining engineering student from New York City, read the burial prayers. Her pallbearers included future state senator John B. Hall, Deputy Marshal Pat O’Connor and other Fairbanks civic figures.
Other graves preserve similar fragments of frontier life.
Thomas Robin, a Romanian-born immigrant who arrived in Alaska in 1893, was buried in 1923 under the auspices of the Pioneers of Alaska, a fraternal organization founded by early settlers in the territory. His obituary identified him as a member of the Iditarod Igloo chapter.
Julia Warren, buried in 1929, lived near the Mason Creek gold mine and died in an automobile accident alongside three others. Her husband worked as a miner.
Anna Marks, who died in 1915, received a public funeral in Moose Hall, reflecting how civic lodges and fraternal organizations often doubled as gathering places in frontier towns where formal Jewish institutions scarcely existed.
Little survives about David Hurvitz, who died in 1920, beyond a brief bankruptcy notice published years earlier.
And that absence itself forms part of the story. The record preserves only fragments: names, occupations, scattered newspaper clippings and weathered gravestones. Yet together they reveal that Jewish life in Alaska did not begin with synagogues or other organized institutions. It began with individuals — merchants, miners, and immigrants — carrying pieces of Jewish identity into an isolated region where religious infrastructure barely existed.
Alaska’s first purpose-built synagogue, Congregation Beth Sholom in Anchorage, would not be dedicated until 1965, more than a decade after Lena Ferguson’s burial and nearly 360 miles south of Fairbanks.
Clay Street Cemetery eventually closed to new burials as Fairbanks shifted to Birch Hill Cemetery after 1938. In 1982, the historic cemetery was added to the National Register of Historic Places.
Today, Jewish life in Alaska is more visible than it once was. Congregation Or HaTzafon was founded in Fairbanks in 1980, and Chabad established a center there in 2024. The closest active Jewish cemetery is now in Anchorage.
The six graves at Clay Street remain among the earliest surviving records of Jewish life at the edge of America.
The post At the edge of America, six Jewish graves endure appeared first on The Forward.
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Texas candidate’s antisemitic rhetoric sparks outrage ahead of Tuesday runoff. Did it fuel her rise?
(JTA) — When Maureen Galindo finished first in a crowded Democratic primary for a newly redrawn South Texas congressional district in March, the result surprised even seasoned observers of San Antonio politics.
With voters set to decide the Democratic nomination Tuesday, as Galindo faces off with sheriff’s deputy Johnny Garcia, local officials and political observers are grappling with how a little-known candidate with a history of inflammatory remarks about Israel and Jews has come within striking distance of a seat in Congress.
The local housing activist went into the race with little political profile, having received less than 3% of the vote in a San Antonio City Council race last year. Local officials familiar with the contest chalked up Galindo’s success to a litany of factors, including low voter awareness of the candidates and a newly drawn Republican-leaning district that attracted few high-profile Democratic contenders.
What they did not credit for her success was her antisemitic rhetoric. While the race heading into Tuesday night’s runoff has been defined by scrutiny and criticism of Galindo’s views toward Zionists, local political analysts and activists told the Jewish Telegraphic Agency that her controversial positions were not widely known ahead of her March win and, if anything, are hurting her chances against Garcia.
Israel is a growing flashpoint in a number of Democratic primaries across the country, and several candidates have drawn allegations of antisemitism as they employ harsh criticism of Zionism. Galindo’s rhetoric has been even more extreme – including vows to turn a local immigrant detention center “into a prison for American Zionists” – but San Antonio political observers caution against lumping her early success in with the recent wins of progressive candidates in urban districts.
Jon Taylor, a political science professor at University of Texas San Antonio, told JTA that Galindo’s antisemitic rhetoric had been largely unknown at the time of the primary.
“What I can tell from previous candidate forums, she talked about the 1%, she talked about going after Trump and ICE,” Taylor said. “None of the stuff on Zionism, from what I could tell, was ever mentioned.”
Now that her antisemitic tirades have received so much attention, Taylor predicted they would turn off voters in the socially conservative district, where elections are usually driven by pocketbook issues.
“To be honest, talking about Israel, talking about some sort of Zionist conspiracy, is not what voters are looking for,” Taylor said.
Galindo has previously told local outlets that it was her “perception that Zionist billionaires run the world” and posted on social media that “ZIOS=GENOCIDAL EUROPEAN COLONIZER FREAKS,” After Texas Senate candidate James Talarico revealed to JTA that he would not back or campaign with Galindo, she told JTA that “coordinated media attacks declaring my anti-Zionist rhetoric as anti-Semitic” were “causing MORE harm to the Jews of San Antonio by playing into all the stigmas that they own the media.”
Galindo, who has raised almost no direct funding for her campaign, has benefitted from an opaque, newly formed Political Action Committee, which Democrats are charging is Republican-backed.
For some Jewish Democrats, the purported GOP-backed funding is evidence that Galindo’s anti-Israel rhetoric is a political liability rather than a strength.
“Republican dark money groups are spending big to elevate anti-Israel Democratic candidates who are out of touch with voters — because they’d rather face a weaker opponent in races that will decide the House majority in November. It’s cynical and it’s disturbing,” the president and CEO of the Democratic Majority for Israel, Brian Romick, said in a statement to JTA.
Taylor noted that the GOP would only be promoting Galindo because the party wants Democrats “to nominate the worst candidate possible,” backing up the notion that her views are not appealing to voters.
The newly launched Lead Left PAC, which has not disclosed its donors, has spent more than $900,000 on ads and mailers promoting Galindo. Campaign finance watchdogs accuse the group of structuring its activity in a way that allowed it to bypass donor disclosures before voters cast their ballots.
Last week, the Campaign Legal Center filed a complaint with the Federal Election Commission accusing the PAC of having “strategically gamed federal reporting deadlines” in order to not disclose the sources of its funds ahead of the primaries.
The alleged GOP interference in the Texas race also spurred a row between the Republican Jewish Coalition and the Democratic Majority for Israel, which, after it called on Democrats to condemn Galindo, asked the RJC if it would “condemn the Republican Super PACs promoting her?”
The RJC, Texas GOP and Winred – a Republican donation platform that reportedly was at one point linked in the metadata for the website of Lead Left PAC – did not respond to a request for comment from JTA.
A local Democratic Party official familiar with the race told JTA in an emailed statement that it was likely voters did not know much about Galindo ahead of the race, but that with “more knowledge and media attention, voters are now much better equipped about their choices.”
The race has unfolded against the backdrop of a major Republican redistricting overhaul. Congressional District 35, where Galindo is competing, was impacted so heavily that the incumbent Rep. Greg Casar is now running for a different seat, while roughly 43% of residents of Bexar Country, which the district partially covers, were placed in a new district, according to the San Antonio Report.
On Wednesday, a host of Texas Democratic Party leaders released a joint statement decrying Galindo’s rhetoric, writing that her comments “do not reflect our values as Democrats or as Texans.”
Casar, who chairs the U.S. House Progressive Caucus and currently represents much of the district, made the unusual move last week of endorsing Garcia, Galindo’s moderate runoff opponent, telling the San Antonio Express-News that Galindo’s “very inappropriate remarks” sealed the deal.
“I’m a progressive Democrat. Johnny has been endorsed by the more conservative Blue Dogs. But we can all agree that he’s the candidate who can win this race,” Casar told the outlet.
Rabbi Mara Nathan, the senior rabbi of Temple Beth El, a Reform congregation in San Antonio, told JTA that she did not think Galindo had drummed up support heading into her campaign from voters over her antisemitic rhetoric, adding that “if that had been the case, we would have heard about it much earlier on.”
She explained, “An alarm would have been sounded pretty early, and not necessarily from Jewish people, but from other people in the San Antonio community who are our friends and allies.”
Looking to Tuesday’s primary, Taylor said he believed the public spotlight on Galindo’s remarks had changed the race by making voters more aware of her record.
“With this animus now out there and highly visible, people are really alerted to the danger of this woman and what her rhetoric could mean,” Taylor said.
This article originally appeared on JTA.org.
The post Texas candidate’s antisemitic rhetoric sparks outrage ahead of Tuesday runoff. Did it fuel her rise? appeared first on The Forward.
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Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening
(JTA) — President Donald Trump announced in a post on Truth Social Saturday afternoon that a deal with Iran had been “largely negotiated,” despite saying earlier in the day that he was undecided on whether to agree to a proposal or resume strikes.
Trump described the deal as a “Memorandum of Understanding pertaining to PEACE” that was “subject to finalization” by the United States, Iran and other countries that participated in talks on Saturday. He noted that he’d “just had a very good call” with Saudi Arabia, the United Arab Emirates, Qatar, Pakistan, Turkey, Egypt, Jordan and Bahrain.
Trump said in his Truth Social post that, separately, he had spoken with Israel Prime Minister Benjamin Netanyahu in a conversation that “went very well.” There was no immediate statement released by the Prime Minister’s Office following Trump’s post.
“Final aspects and details of the Deal are currently being discussed, and will be announced shortly,” Trump added.
In the post, Trump said the deal would include the opening of the Strait of Hormuz, though a widely reported quote from Iran’s Fars New Agency, which is close to Iran’s Islamic Revolutionary Guard Corps, said that Trump’s assertion was “incomplete and inconsistent with reality” and that the strait would remain under Iranian control.
Trump’s announcement comes over a month since he unilaterally extended a fragile U.S.-Iran ceasefire in April.
The announcement did not make mention of Iran’s nuclear program or highly enriched uranium, which Trump has previously stressed must be included in a deal.
Trump’s announcement came hours after he told Axios that he was a “solid 50/50” on whether he would be able to make a “good” deal with Iran, or else “blow them to kingdom come.”
Trump also told Axios that Netanyahu was “torn” over the potential deal but rejected the idea that the Israeli leader was “worried” that he might strike an unfavorable agreement.
This article originally appeared on JTA.org.
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