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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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NYPD chief pledges to protect Jews at Central Synagogue one week after Shabbat attack
(JTA) — New York City Police Commissioner Jessica Tisch said she felt a “deeply personal” commitment to protect Jews in a speech at Central Synagogue, where she is a member, in the aftermath of an attack during Shabbat services there.
Tisch addressed the Reform synagogue in Midtown Manhattan during its Friday evening prayers a week after a man disrupted the service by shouting obscenities, punched a congregant in the face and spat on and headbutted a Black security guard while calling him a racial slur. Suspect Larry Montes, who was arrested at the scene, has been charged with hate crimes in federal and state court.
Tisch said there were no serious injuries. She called the attack “a message written in violence,” intended to tell “everyone who shares the victim’s identity that they do not belong, that they are vulnerable, and that they should be afraid.”
She also noted that roughly half of confirmed hate crimes in New York City have for years targeted Jews, who make up about 10% of the population.
“As a proud Jew and a lifelong member of this congregation, you have my word that I stand with you in these uncertain and precarious times,” said Tisch, adding that her commitment at Central Synagogue was “deeply personal.”
Tisch spoke after an interfaith group of seven Christian, Muslim and Jewish leaders gave remarks about solidarity between their communities.
“Might our presence here be a testament to the ties, the durable ties that bind each of us together,” said Cardinal Timothy Dolan.
“We are here tonight to affirm that you do not walk through this city alone, but you are held in a covenant between our communities,” added Rev. Adriene Thorne of The Riverside Church. “What affects one of us touches all of us.”
Montes told NYPD officers after his arrest that he felt disrespected at the Central Synagogue service and described the incident as “a racial thing” and “all religious motivated,” according to a federal criminal complaint. He also said that he identified as Jewish.
His aunt, Myriam Montes, told The New York Post that he was “mentally traumatized because of his desire to belong to that religion [Judaism].” The New York Times reported that Montes had a history of mental health issues documented by the NYPD.
A Facebook page that appears to belong to Montes is littered with posts about Israel and Judaism. They include an image of a map of Israel with the text, “Keep Israel in your heart,” a video of Rabbi Yosef Mizrachi discussing why evangelical Christians support Israel and a video comparing Mayor Zohran Mamdani with Iran’s former supreme leader, Ruhollah Khomeini.
This article originally appeared on JTA.org.
The post NYPD chief pledges to protect Jews at Central Synagogue one week after Shabbat attack appeared first on The Forward.
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Israel slammed for closing probe into killing of seven World Central Kitchen workers
(JTA) — TEL AVIV — The United Kingdom, Canada and Australia jointly condemned Israel for declining to open a criminal probe into the April 2024 killing of seven World Central Kitchen workers in Deir al-Balah.
The three countries, whose citizens were among the dead, called the decision “shameful,” adding that “the victims of this incident and their families deserve justice and accountability, and we will continue to seek answers on their behalf.”
Poland, who also lost a citizen in the strike, also sharply criticized Israel and summoned its ambassador to the Foreign Ministry in Warsaw last week. Australia also summoned Israel’s ambassador.
The seven aid workers were killed by an Israeli airstrike after they had just dropped off food supplies at a warehouse. The army mistook them for Hamas operatives, according to the IDF.
In a statement released last week, the IDF said its prosecutors found that despite serious failures in its assessment that Hamas had seized the aid convoy, commanders’ decisions raised no “reasonable suspicion of criminal misconduct.”
The World Central Kitchen (WCK) had hired armed guards and had not coordinated the route with the IDF, leading the army to conclude Hamas had seized the supplies and that its operatives were in the vehicles that left the warehouse, according to the army.
José Andrés, the Spanish-American chef who founded World Central Kitchen, said at the time that the convoy had been targeted “systematically, car by car.”
The WCK denounced the IDF’s decision, writing in a statement last week, “There has never been any excuse or justification for the attacks, and there is nothing in this account that does so. The decision is inconsistent with the full truth and deeply offensive.”
It called for an independent investigation into the strikes on the convoy, “because the IDF cannot credibly investigate its own conduct.”
The WCK incident was one of five cases out of Gaza about which the IDF on Wednesday gave an update regarding its investigations, including the death of Hind Rajab, age 5, on January 29, 2024.
She had been traveling in a vehicle in Gaza with six members of the Hamada family, which included her aunt, uncle and five cousins. In its statement Wednesday, the IDF admitted for the first time that it fired at the vehicle, killing five members of the Hamada family. Hind and her 15-year old cousin Layan Hamada initially survived, but were trapped in a combat zone and killed within hours.
The IDF said it is opening an investigation into the events in the hours that followed the initial shooting of the five members of the Hamada family, including Hind’s death.
Hind’s killing resonated globally, galvanizing students 5,700 miles away who seized Hamilton Hall during the Columbia University protests, renaming it “Hind’s Hall” after her.
The film “The Voice of Hind Rajab,” built around recordings of her phone calls with the Red Crescent begging for help, was nominated for an Academy Award this year.
The IDF had initially said its forces were not within firing range of the vehicle. The army’s announcement Wednesday was a reversal of that position.
“Troops fired at a vehicle that was approaching them,” even though the army had issued a notice to Gaza residents to stay away from the area, the military explained.
“According to the reports published, this vehicle belonged to the Hamada family. As a result of the fire, five of the vehicle’s passengers were killed, and two survived: Hind Rajab and her cousin Layan Hamada,” the IDF stated.
The experience of the two girls caught in an active combat zone was documented by the Red Crescent after Layan called its operators. Once she was killed by gunfire, Hind continued to talk to the dispatchers until she too was killed.
The Israeli army described how it tried to coordinate with the Red Crescent to allow for an ambulance to evacuate the girls.
“Upon the ambulance’s arrival at the scene of the incident, a shell was fired toward it,” resulting in the deaths of the two paramedics travelling in it,” the IDF said. “Several days later, the bodies of the seven members of the Hamada family, including the bodies of Hind and Layan, were recovered from the vehicle. In addition, the bodies of the two paramedics were recovered from the ambulance.”
The statement does not say how Hind and Layan died.
The IDF said it was ordering the investigation because of failures in coordinating the ambulance’s movement, but that it could not release further details while the probe is ongoing.
In a statement to JTA, the Palestinian Red Crescent said it “demands an independent international committee of inquiry into this incident, as well as the protection of medical personnel wherever they may be.” It added, “There is no communication with the Israeli occupation regarding this matter or any other. The Palestinian Red Crescent will cooperate with the investigation once it is international and independent.”
The IDF said last week it was also opening a criminal probe into the killing of 15 Palestinian emergency workers, including a U.N. employee, in March 2025.
In its statement last week, the IDF on that day said its forces had set an ambush for Hamas vehicles in Tel al-Sultan. “Approximately one hour later, the troops received a report regarding five vehicles moving toward them at high speed,” the military said.
“The vehicles stopped in very close proximity to the troops, and their occupants rapidly disembarked. A decision was then made to open fire toward them. Approximately fifteen minutes later, the troops fired at an additional vehicle that arrived at the scene,” the military explained. Only later, the army said, did its forces understand that they had struck ambulances, a fire truck, and a U.N. vehicle. The army said that six of the emergency workers were also Hamas members.
The earlier IDF review led to the dismissal of a deputy commander after professional failures were found. At first, the military said that the vehicles approached without their emergency signals activated, an account contradicted by cellphone video recovered from one of the dead paramedics. On Wednesday, the military said that there was reasonable suspicion of criminal conduct.
The IDF declined to investigate two other incidents involving the deaths of four employees of the medical aid group Doctors Without Borders, two of whom were killed in the Khan Younis area in February 2024, and another two who were killed in Gaza City in 2023.
In a statement on its website, Doctors Without Borders rebuked the IDF’s decision to close the cases. “This is not justice,” the group said. “Two years of silence, followed by closures that raise more questions than they answer. However, it is the predictable output of a military apparatus investigating itself.”
B’Tselem, the left-wing Israeli human rights organization, went further, telling the JTA that Israel’s military law enforcement system, “is not a genuine mechanism for uncovering the truth and ensuring accountability, but a whitewashing mechanism designed to create the appearance of an investigation.”
Yair Dvir, the spokesperson, added that such investigations focus on low-ranking soldiers while “the policies, orders, and senior military and political officials behind them remain outside the scope of investigation.”
This article originally appeared on JTA.org.
The post Israel slammed for closing probe into killing of seven World Central Kitchen workers appeared first on The Forward.
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When does criticizing Israel become antisemitism? Ask Mark Ruffalo
American actor Mark Ruffalo on Saturday denied that he is antisemitic, one day after Paramount accused the actor of invoking antisemitic tropes in his campaign against the studio’s $111 billion bid to acquire Warner Bros. Discovery.
The clash lands as Paramount is trying to clear the last major obstacle to closing the Warner Bros. Discovery deal: a lawsuit filed by California and 11 other state attorneys general seeking to block it on antitrust grounds.
“The accusation that I am antisemitic is appalling and fundamentally dishonest,” Ruffalo said on Saturday. “Criticizing the actions of the Israeli prime minister, a military technology contract, or the executives who supply it is not the same as criticizing Jewish people.”
Now, what started as a celebrity spat has turned into a stand-in for a much bigger fight: When does criticizing Israel’s government turn into hating Jews?
Ruffalo and his defenders say targeting a defense contractor’s technology and a media family’s wealth is ordinary corporate criticism. Paramount and its allies say invoking Israel in a business dispute imports old tropes about Jewish power and money into a fight that has nothing to do with Jews. The same argument has played out over campus protests, in Congress and across the globe since the Oct. 7, 2023, Hamas attacks on Israel.
The dispute began Friday, when Ruffalo posted a 2024 clip of former Oracle CEO Safra Catz reportedly discussing “profoundly scary technologies” the company built for the Israeli military after Oct. 7. Along with the clip, Ruffalo wrote that the war in Gaza was “a genocide, which was built on an apartheid system of oppression powered by Oracle.”
Larry Ellison, who co-founded Oracle and has an estimated net worth of around $200 billion, has personally backstopped $40.4 billion in equity financing for his son David Ellison’s Paramount to acquire Warner Bros. Discovery.
Ruffalo called the elder Ellison a “classic Oligarch” and warned that the “most destructive and inhuman forces in the world” would soon sit inside an important media company if the merger succeeds. The deal would give the family control of CNN. It already owns CBS News.
Paramount fired back. “We are, as always, troubled when antisemitic tropes are invoked in purported service of a business dispute,” a company spokesperson told The Wrap, a Hollywood trade publication. “Words like ‘genocide’ and ‘apartheid,’ applied to a corporate transaction, aren’t just wrong — they’re a bridge too far, and they cheapen the very real suffering those words are meant to describe.” The company added that the episode “exposes the true motivation of some who have advocated opposition to this transaction.”
It’s not the first time Paramount has made that argument. Axios reported in June that company executives believed antisemitism was fueling opposition to the merger more broadly, pointing to the Ellisons’ Jewish identity and Larry Ellison’s friendship with Israeli Prime Minister Benjamin Netanyahu.
Ruffalo pushed back on social media Saturday refuting the accusation that he is antisemitic and adding: “Everything I know about acting, activism, and humanism has been profoundly shaped by the Jewish friends, colleagues, and loved ones who have been integral and family throughout every point of my life.”
An advocate and activist
Ruffalo, 58, is best known for playing the Hulk in the Marvel cinematic universe and has been nominated for four Academy Awards, for his performances in The Kids Are All Right, Foxcatcher, Spotlight and Poor Things.
He has also built a reputation as one of Hollywood’s most consistent activists, campaigning for environmental causes and protesting against the Trump administration. This fight is the latest flashpoint in the actor’s history of pro-Palestinian activism.
Since the Hamas attack on Israel, he has frequently called out Israel’s military action in Gaza, notably wearing an Artists4Ceasefire pin to the 2024 Oscars. In September 2024, he was among more than 700 SAG-AFTRA members who signed a letter demanding the actors’ union publicly call for a Gaza ceasefire and protect pro-Palestinian members from what they described as industry blacklisting.
In September 2025, he said he supported efforts to “boycott, divest, sanction, and prosecute” Israel. And just 10 days before the Oracle post, he joined Javier Bardem, Susan Sarandon and other artists in a statement arguing that despite the U.S.-brokered truce in place since October 2025, “there is no ceasefire in Gaza.”
That history is why three prominent voices in the fight against antisemitism sided with Paramount over the weekend.
“Words matter, and so does the willingness to draw a line when legitimate debate gives way to antisemitic tropes,” wrote Jim Berk, CEO of the Simon Wiesenthal Center, praising the studio for “refusing to allow prejudice to masquerade as political or corporate criticism.”
He went on: “Invoking Israel in an issue where it is completely irrelevant is a textbook case of obsession and demonization.”
Creative Community for Peace, a Hollywood group that pushes back on boycotts of Israel, went further, with executive director Ari Ingel accusing Ruffalo of fusing “hostility toward Israel and Zionism with Jewish-associated wealth, media ownership, oligarchic power and ominous warnings about concentrated control into a single narrative.”
Jonathan Greenblatt, the CEO of the Anti-Defamation League, called Ruffalo’s posts “cynical and sickening.”
Antisemitism vs. anti-Zionism
The fight lands amid the worst stretch of global antisemitism in decades. Researchers at Tel Aviv University found that 20 Jews were murdered in antisemitic attacks worldwide last year, the highest toll in more than 30 years — a count that includes a gunmen who killed more than a dozen people at a Hanukkah celebration on Sydney’s Bondi Beach in December.
As incidents rise, and amidst Israel’s ongoing campaign in Gaza and its war with Iran, the country’s standing in the world has cratered.
A Pew Research Center survey of 36 countries this spring found a median of 67% hold unfavorable views of Israel, with opinion growing more negative since 2025 in most countries where Pew has trend data. Even in the U.S., Israel’s staunchest ally, Americans no longer clearly side with Israelis over Palestinians for the first time since Gallup began asking in 2001 — a reversal driven largely by independents and voters under 35.
Where the merger stands
Representatives for Paramount and California are expected to meet Monday for preliminary talks, at Paramount’s request, though people briefed on the discussions cautioned there’s no guarantee they will lead anywhere. The Writers Guild has also sued to block the deal.
The stakes of delay are real: if the deal doesn’t close by October, Paramount would owe Warner Bros. Discovery shareholders hundreds of millions of dollars in fees. If there is no resolution, a trial is set for March.
The post When does criticizing Israel become antisemitism? Ask Mark Ruffalo appeared first on The Forward.
