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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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Whistleblower claims Trump’s campus antisemitism crackdown was a cash grab
A new whistleblower report alleges that the Trump Administration’s investigations into campus antisemitism were merely efforts to extract millions from universities, under the pretense of rooting out hate.
The report, written by the Washington, D.C.-based Government Accountability Project on behalf of former Department of Justice Attorney Haley Van Erem, alleges that the administration’s antisemitism task force carried out “politically motivated” investigations that were “unsupported by facts and contrary to law.” The investigations did not follow proper Title VI procedure, she said, adding that they were opened with predetermined outcomes, and did not respect the First Amendment.
The report has prompted Jewish U.S. Rep. Jamie Raskin (D-Maryland) to initiate an investigation into the allegations. The Nexus Foundation, a watchdog organization dedicated to combating antisemitism and protecting free speech, released a statement supporting Raskin and Van Erem.
This is not the first time Raskin or Nexus have criticized the administration’s antisemitism task force. Many left-leaning Jewish organizations have long criticized Trump’s efforts, with Raskin describing them as “weaponizing, distorting and exploiting the reality of antisemitism to attack academic freedom.”
In a statement to the Forward, the DOJ denied that Van Erem worked on university investigations. “And for all matters, the Department stands behind the integrity of these investigations,” a spokesperson wrote.
According to the report, Van Erem was involuntarily re-assigned from her role as a DOJ Civil Rights attorney to the U.S. Department of Health and Human Services in order to investigate alleged antisemitism at medical schools — a probe prompted by a single New York Post article about protesters shouting “Free Palestine” and wearing Palestinian flags or keffiyehs at a medical school graduation.
Unable to find enough evidence of antisemitism at medical schools, Van Erem said, the task force soon expanded its probe to entire universities to increase the chances of finding it.
“This was one of the first major indications to the DOJ assignees that the investigations were not grounded in law or fact,” the report reads.
HHS did not immediately respond to request to comment.
Van Erem also criticized the administration for breaking the protocol of Title VI investigations, pursuing enforcement before first issuing a finding and allowing universities to resolve issues voluntarily. That enforcement: withholding funds.
To restrict funds, the administration used a separate legal mechanism that allows them to do so “for convenience” and for “not satisfying purpose.”
“The funding suspensions were meant to be coercive irrespective of investigative findings,” according to the report.
Van Erem and colleagues found no evidence at Brown of “deliberate indifference” to antisemitic incidents, the report said. But a supervisor allegedly discouraged sending Brown a closure letter stating those findings. According to the report, the administration settled with Columbia before an investigation was finished. Harvard sued the Trump administration, before its own investigation was complete, claiming the funding freeze was unlawful.
Van Erem said she observed findings of discrimination that she believed were actually “protected First Amendment activity” and believed that the task force’s settlement “content-based conditions” violated free expression.
Brown and Columbia both settled with the administration to restore federal funding, with Columbia paying the government $200 million and Brown agreeing to pay $50 million to Rhode Island workforce development organizations. A federal judge recently dismissed the Trump administration’s antisemitism lawsuit against Harvard, saying antisemitic incidents were “too isolated and episodic” to constitute a Title VI violation.
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An influential book of a Nazi leader’s confessions is now available in English
(JTA) — Jürgen Stroop, the Nazi commander who led the killing of more than 50,000 Jews, was sitting in a cell in Warsaw awaiting his own execution.
Before he met the gallows, Stroop described in unrepentant detail his ascent as a Nazi, his destruction of the Warsaw Ghetto and his daily prosecution of mass murder. He gave his account to Kazimierz Moczarski, the journalist, Polish resistance leader and veteran of the Warsaw Uprising who shared Stroop’s cell in Mokotów Prison for 255 days in 1949.
Though he is now remembered as a hero for fighting the Nazi occupation, Moczarski was villainized by Poland’s postwar Communist regime, which viewed his resistance group as a threat to their monopoly on power. His unlikely imprisonment alongside a former Nazi officer he’d once tried to assassinate gave Moczarski the chance to document Stroop’s confessions in an influential book, “Conversations with an Executioner.”
This book, despite being censored for years by the Polish government, proved revelatory about the psychology and motivations behind Nazi ideology. After decades of being translated into over 15 languages and adapted for the stage and screen, “Conversations with an Executioner” was published Tuesday for the first time in an uncensored English translation by Steerforth, an imprint of Pushkin Press.
The book’s champions say it’s about time.
“On the one hand, this book is a central historical source for this really important event in the modern history of the world,” Sean Casper Bye, the book’s English translator, told the Jewish Telegraphic Agency. “And at the same time, it’s one that has continually struggled to get fully into publication.”
The book’s revelations about Stroop, the rise of Nazism and the psychology of genocide is reaching English readers after a long deferral. Moczarski made many unsuccessful attempts to publish “Conversations with an Executioner” after his release, but found little interest from publishers in Communist Poland.
The book did not align with Communist ideological narratives about the Holocaust, which deemphasized tragedy in favor of total victory over the Nazis. And the government’s crackdown on Polish resistance members — which led to Moczarski’s imprisonment with Stroop — remained a taboo subject.
A serialized version of the book first appeared in the Polish magazine Odra from 1972 to 1974, and Moczarski died the following year at age 68. He never saw the first censored edition in 1977, which removed references to the reasons behind his own incarceration. Nor did he see the publication of “Conversations with an Executioner” as an uncensored book in 1992, after the fall of Communism, when it became a bestseller.
Now, the book has “canonical status” in Poland, said Bye. It has been included for years on required school reading lists, shaping how generations of Polish people remember the Holocaust.
Moczarski’s account also faced an uphill battle to reach English readers. During the Cold War, censorship, disrupted communication and closed archives in Eastern Europe made it difficult to publish books from Poland in English, said Bye. That lowered the focus on Eastern European sources and languages for years in Holocaust scholarship across English-speaking countries.
The new English translation was championed by Clare Bullock, the book’s editor in the United Kingdom, who has Polish Jewish heritage. She spent years pushing for it to appear in English at multiple publishing houses, said Bye.
Moczarski and Stroop’s fates were intertwined long before they shared a cell. During World War II, Moczarski joined the Home Army, the main Polish resistance force, where he worked for the Office of Information and Propaganda.
Identifying local Nazi officials and collaborators as targets, Moczarski and his associates assassinated Stroop’s predecessor, Franz Kutschera, nicknamed the “Butcher of Warsaw” for his mass executions of Polish civilians. They also made a failed attempt to kill Stroop, detailed by Moczarski in their cell.
Though he was not Jewish, Moczarski supported and liaised with the Jewish Fighting Organization, known in Polish as ŻOB. The Home Army provided ŻOB leaders with weapons and technical instructions for the 1943 Warsaw Ghetto Uprising, the largest Jewish revolt against the Nazis.
A year later, Moczarski fought in the Home Army’s citywide Warsaw Uprising. The Nazis also brutally crushed this revolt, which led to the deaths of over 160,000 Poles, including some 17,000 Polish Jews who took part in the fighting or were discovered in hiding.
Instead of being rewarded after the war, Moczarski was arrested in 1945 as the Communists consolidated their power in the aftermath of Nazi rule. The new regime baselessly declared the Home Army a quasi-fascist organization, claiming they had collaborated with the Nazis rather than fighting against them. Moczarski spent 11 years in prison, where, he would later recount, he endured 49 methods of torture.
His confinement with Stroop made for another form of torture, according to Bye, who said it was “symbolically equating him, a brave Polish patriot, with a Nazi war criminal.”
The men had a third cellmate: Gustav Schielke, a German former policeman turned low-ranking SS officer who resented the police’s subordination to the Nazis, but did not resist them. In prison, these enemies lived under a code that required equality and confidentiality for survival. They slept on the floor together on three pallets, and Moczarski spent nights huddled between Stroop and Schielke to stay warm.
Moczarski made it his mission to understand the war criminals.
“If I succeed, I have the chance — if only to a certain extent — to answer my own question,” he wrote. “What historical, psychological, sociological mechanism led some Germans to come together into a gang of mass murderers who governed the Reich and did their utmost to introduce their ‘Ordnung’ — their Order — in Europe and the world?”
He unraveled in Stroop an average German middle-class man of his time, with a low level of education, a drive to rise through military ranks, a reverence for order and obedience and a penchant for parroting Nazi ideology.
As his defenses wore down, Stroop gave Moczarski a day-by-day account of his orders to crush the Warsaw Ghetto Uprising in 1943. Over nearly a month, his forces battled Jewish guerilla fighters and eventually burned down the ghetto block by block. He referred to the operations as “neutralizing” Jews or “cleansing” the Warsaw Ghetto of “subhumans.”
When Moczarski asked Stroop whether he pitied the women fighters whom he captured and killed, he said the commander responded, after a long and “worked up” silence, with Nazi clichés.
“Finally, the general straightens up, smooths down the hair at his temples and replies, in a chanting rhythm,” Moczarski wrote. “‘Anyone wishing to be a true man in those days, meaning a strong one, had to act as I did. Gelobt sei was hart macht!’” The German phrase by Nietzsche, meaning “Praised be what hardens,” was taken from Nazi propaganda.
In this portrait of Stroop, Bye saw a man who was motivated primarily by moving up the Nazi Party hierarchy. While Stroop repeated Nazi tropes and adapted his beliefs accordingly — upon becoming an SS officer, he broke with the Roman Catholic Church and declared himself “Gottgläubig,” a Nazi religious term — much of his testimony amounted to a boastful account of personal victories.
“This was a type of Nazi,” said Bye. “Not everybody was a completely 100% committed idealogue. There were lots of people who were just ambitious and unscrupulous, and that was part of the engine that kept the Nazi machine going.”
The idea that the Holocaust could have been willingly committed by everyday, career-minded people, not just Nazi ideologues and sadists, has been echoed in other landmark works of scholarship and culture, from Hannah Arendt’s 1963 “Eichmann in Jerusalem” to the 2023 film “The Zone of Interest.”
“Conversations with an Executioner” has been challenged as an authentic document, since Moczarski had no materials to take notes in the cell, yet recounted years of dialogue in vivid detail. Moczarski claimed that he honed an exceptional memory in prison and could write the book in his mind. After being released in 1956, he verified facts by obtaining Stroop’s reports from the Polish Commission for Researching Nazi War Crimes and information from the U.S. Pentagon archives.
The limitations of the book as a firsthand account also make it a precious resource, said Bye. Stroop’s destruction of the Warsaw Ghetto was so effective that “Conversations with an Executioner” provided a rare surviving window into what occurred.
Bye said that voices like Moczarski’s are becoming ever more crucial as the last generation of survivors die out and the Holocaust fades from living memory. He hopes the new English translation will give readers a counterweight to current-day narratives about the Holocaust, emerging in politics and elsewhere, that mold the past to fit ideological messages.
“There are so many people who have a vested interest in getting us to look at the Holocaust in a particular way, who want to instrumentalize the Holocaust as this hugely emotionally weighty event for their own purposes,” he said. “One of the ways that we can keep in touch with the reality of the Holocaust is by going back to primary sources like this — going back to the people who did see it with their own eyes and who wrote about it themselves.”
This article originally appeared on JTA.org.
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California Democratic primary pits AIPAC-backed candidate against progressive Israel critic
(JTA) — AIPAC and its allies have poured millions of dollars into a California special election, transforming a race between two Democrats into a battleground over the pro-Israel group’s place in Democratic politics.
The spending in the Bay Area’s 14th congressional district is aimed at boosting Melissa Hernandez, a moderate Democrat and president of the Bay Area Rapid Transit Board, over Aisha Wahab, a progressive state senator who supports ending U.S. military aid to Israel.
Wahab replied “yes” during an April debate when asked whether Israel’s war in Gaza constituted a genocide. In contrast, Hernandez declined to give a yes-or-no answer, instead saying that Israel had a right to defend itself following the Oct. 7, 2023, attacks, but that the “destruction into Gaza has gone too far.”
Wahab remains the favorite heading into Tuesday’s election to replace former Rep. Eric Swalwell, a reliable supporter of Israel in Congress who resigned in April amid sexual misconduct allegations that he has denied. Wahab finished ahead of Hernandez in the election’s June 16 special primary, receiving 42.8% of the vote compared to Hernandez’s 16.8%.
The United Democracy Project, AIPAC’s main super PAC, has poured close to $2.5 million into boosting Hernandez and attacking Wahab this election cycle, while Bold America, another group that has received funding from the United Democracy Project, has spent roughly $1.8 million, according to The Hill.
When asked about the AIPAC spending in the race by the Pleasanton Weekly, Hernandez replied, “I have no say over independent expenditures. That is the law, and I see them when you do.” She added: “I have thousands of donors and not one of them sets my agenda.”
But while the Bay Area race has become one of the the latest focuses of the pro-Israel lobby, following a costly defeat by Abdul El-Sayed in Michigan’s Democratic Senate primary, Israel has hardly been a defining issue in the contest, and Wahab has not neatly fit the mold of other progressive candidates the group has targeted this election cycle.
Wahab, who is the child of Afghan refugees, has centered her campaign on affordability issues and civil rights. While her campaign website calls for “No More Wars!” it does not specifically reference the Israeli-Palestinian conflict. Citing the civilian toll in U.S. military operations in Afghanistan, Iraq, Syria and Libya, her site reads, “We cannot bomb our way to lasting peace.”
Hernandez, who previously served as the mayor of Dublin, California, has focused her campaign on lowering costs and her commitments to fighting crime and increasing public safety.
Wahab, 39, has drawn endorsements from a host of labor unions, the California Democratic Party and Our Revolution, the group formed by Sen. Bernie Sanders to advance the progressive movement. Hernandez, 51, meanwhile, has received endorsements from several police and fire unions, as well as Democratic Jewish Reps. Lois Frankel of Florida and Brad Schneider of Illinois.
During a Thursday appearance on the livestream of Hasan Piker, who has faced accusations of antisemitism, Wahab said that she would have voted for the Stop the Bombs Act and supported ending all U.S. aid to Israel, though she stipulated that “humanitarian aid is important to me too.”
During the livestream, Wahab also touted a September 2025 resolution she co-authored with Jewish state Senator Scott Wiener, which called for the “end to the humanitarian catastrophe in Gaza and the immediate release of all hostages.” The resolution was also signed by members of the California Legislative Jewish Caucus.
In 2021, Wahab also collaborated with local Jewish leaders on a fundraiser for Afghan refugee resettlement in the aftermath of the U.S. pullout from the country.
“I work well with the Jewish community. I’m very proud to support them. They’re my constituents,” Wahab said on the livestream.
“As an Afghan, you know, I really deeply want to ensure that all people feel welcomed and safe and secure in this nation. And we know that there’s a rise in antisemitism. We know all of that,” Wahab continued. “But that doesn’t mean you can’t criticize a foreign nation. You can’t criticize their leadership.”
Wahab attributed the volume of AIPAC spending in the race to “pure racism and prejudice,” saying that her “Jewish Senate colleagues are literally confused as to why they are spending this much money against me.”
As Wahab pushes back on the attack ads, she has also garnered $200,000 in support from American Priorities, a pro-Palestinian PAC that formed as a counterweight to AIPAC.
The liberal pro-Israel lobby J Street Action Fund also announced Thursday that it was spending $100,000 to support Wahab.
Tali deGroot, the group’s vice president of political and digital strategy, said in a statement that AIPAC’s spending against her marked another “cynical attempt” to “defeat a candidate who won’t rubber-stamp their agenda.”
“AIPAC’s super PAC has failed time and again this cycle, and we expect this latest attempt to take Republican billionaire dollars and buy a Democratic primary to fail as well,” said deGroot. “Voters in the 14th deserve better, and they deserve a Member of Congress who will bring the kind of clear-eyed, nuanced and compassionate leadership that Dr. Wahab has shown throughout her career.”
This article originally appeared on JTA.org.
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