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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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Women Wage Peace to hold Toronto event in memory of Vivian Silver
By BERNIE BELLAN (Posted MAY 11) In December 2023 we reported on a new fund that was being established in the name of the late Vivian Silver, who was a victim of the Hamas massacre on October 7, 2023.
The announcement of that fund came at a memorial event that was held here in Winnipeg on December 14, 2023. Among those in attendance were Vivian’s two sons: Yonatan and Chen Zeigen.
Vivian Silver was also one of the founders of “Women Wage Peace,” which has recently opened a Winnipeg chapter. Here is how Vivian’s role is described in information provided by Women Wage Peace: “A Canadian-born peace activist, Vivian dedicated her life to pursuing gender equality and fostering dialogue and partnership between Israelis and Palestinian communities. In 2014 she co-founded Women Wage Peace — Israel’s largest grassroots peace movement with recently developed chapters in Australia, Europe, South America, and here in Canada.”
At that December 14, 2023 event in Winnipeg, both of Vivian’s sons spoke of their mother. Here are some excerpts from their remarks:
Chen Zeigen said: We have seen our mother transformed into a symbol, but for us she will always remain a loving mother and grandmother.”
Chen noted that no matter what his mother was doing to help others, family was always important to her. “We’ll keep remembering her for the person she was, in all of her political activities and achievements.… They were part of it. But to me they were kind of secondary,” Chen said.
“She would march for her causes at noon and tuck us into bed at night,” he said. “She would orchestrate international peace rallies during the week and bake elaborate cakes for her grandchildren’s birthdays.”
“Winnipeg was a home away from home for our mother,” he added. “We would come here summers to be with our bobe and zaide” (the late Roslyn and Meyer Silver).
“To us, her sons, it didn’t matter what path we chose in life so long as it was meaningful to us. No matter what we did, she always had a hug for us.”
Yonatan Zeigen added: “It is said that the older you get the harder it is to make meaningful friends. That was not the case with our mother….She served as an unending source of energy and enthusiasm…She saw a mission in remaining involved in kibbutz responsibility.
“Her memory reminds us to keep hoping for a peaceful future,” Yonatan said.
In her name, he added, he and his brother were establishing a fund to recognize those working towards a shared society between Jews and Arabss.The Vivian Silver Memorial Fund. The proceeds will go towards recipients in Israel selected by her sons that exemplify her activism.
On Wednesday, June 4 in Toronto, Women Wage Peace Canada East, sponsored by the New Israel Fund Canada, will be presenting “In her Voice – the Vivian Silver Legacy Event.” The event will be raising funds for the Vivian Silver Impact Award.
We spoke with one of the organizers of the event, Lynne Mitchell, who grew up in Winnipeg with Vivian, having attended Peretz School with her and later, when they were both teens, were involved as president (Vivian) and vice president of Red River Region BBYO.
Lynne was at that December 2023 memorial event in Winnipeg and she recalls discussing – after the event, with Chen and Yonatan, what might be the most appropriate way they could honour Vivian’s legacy
Eventually, as Lynne describes it, the people organizing the Toronto event are sort of a “hodge podge…of Women Wage Peace Canada East, my family, and some grass roots people who wanted to be involved in it, including a Palestinian women – who remembers Vivian.”
“Our lead sponsor is the New Israel Fund of Canada,” Lynne explained, “because Vivian was on their board years ago and their executive director (whose name is Ben Murane) was captivated by her message also.”
“In Her Voice” will feature a variety of different media, including “music and art to create opportunities for reflection, inspiration, and hope.”
There will also be presentations by Vivian’s sons and a number of other speakers, including from a Palestinian woman who worked with Vivian in Israel for many years in NISPED-AJEEC Negev Institute for Peace and Economic Development)
The first recipients of the Vivian Silver Impact Award will also speak on video – one a Palestinian and the other an Israeli Jew.
Lynne Mitchell added that there are two things that the organizers of the event are hoping attendees will take from the event: “What makes a peacemaker and what can I do?”
One of the speakers,, recently arrived from Ramallah, has also long been dedicated to finding a peaceful path forward between Palestinian and Jewish Israelis. Lynne said that he was quite “astonished at how polarized our respective societies are here in Toronto.”
I asked her whether she thought it was any different in any other city and she admitted that it isn’t
But, just to put a more hopeful tinge to the ongoing tension between Canadian Jews and Palestinians, Lynne mentioned something else that is reflective of the willingness of at least some members of both communities to engage in a more meaningful dialogue.
“There are going to be two MCs for the evening,” Lynne noted. One will be her daughter, while the other will be a Palestinian Canadian woman .
There will be at least two members of the Winnipeg chapter of Women Wage Peace coming from Winnipeg to the event: Chana Thau and Esther Blum. In addition, Vivian’s sister Rachelle, along with her husband and one of her grandsons will be coming, along with Vivian’s brother Neil (who lives in Calgary), as well as many cousins of Vivian’s who live in Toronto.
Toward the end of my conversation with Lynne I referred to the terrible rift that had developed within our own Winnipeg Jewish community over BB Camp and said that there are many who have said we should remain silent about everything that’s gone on – to which Lynne responded: “No, we need to learn from it and not condemn each other and silence each other. That was Vivian’s perspective.”
If you are interested in attending or “donating to In Her Voice,” tickets can be purchased online at nifcan.org/inhervoice.
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JACQUELINE HOCHMAN JUNE 7, 1938 – APRIL 1, 2025
Jacqueline “Jackie” Hochman passed away peacefully on April 1, 2025 at the Simkin Centre in Winnipeg at the age of 86.
Jackie was born on June 7, 1938. She is predeceased by her husband Sam, daughter Robyn, parents Samuel and Bertha “Birdie” Niznick, and brother Allyn.
Jackie will be deeply missed by her remaining children, Marshall and Shawn (Karen), her grandchildren, Hannah, Daniel (Jodi), and Freya (and her partner, Spencer), and her great-granddaughter, Haisley.
Her children and grandchildren were her world. Jackie will be remembered for her fierce love and unwavering devotion to family. Sam, her husband of 65 years, loved her with every fibre of his being. May her memory be a blessing. In lieu of flowers, the family kindly requests that donations be made to the Saul and Claribel Simkin Centre.
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Samsung Washing Machine Repair: Frequent Issues and Professional Fixes
When your Samsung washing machine begins acting up, it can throw your entire laundry routine into chaos. Even with cutting-edge technology and sleek designs, these appliances can develop issues that range from minor glitches to major malfunctions. This comprehensive guide will take you through the most common problems encountered with Samsung washers, walk you through initial diagnostic steps, and explain when and why professional repairs become essential. For more detailed repair insights, Discover more here.
Understanding the Challenges
Samsung washing machines are celebrated for their innovative features, energy efficiency, and robust performance. Yet, like all complex machinery, they are susceptible to wear and tear. Users often report issues such as:
- Error Codes: Cryptic digital messages indicating malfunctioning sensors or control board errors.
- Water Drainage Problems: Incomplete draining leading to wet clothes or water pooling in the drum.
- Excessive Vibration or Noise: Unusual sounds during spin cycles, often a sign of imbalance or mechanical wear.
- Leaking Water: Water escaping from the machine, which can damage floors and other nearby surfaces.
- Door Lock or Latch Failures: Problems with door sensors or locking mechanisms that prevent the machine from starting.
- Motor or Pump Issues: Malfunctions that affect the washer’s ability to agitate, drain, or complete cycles properly.
Each of these issues may have different root causes, and understanding them is the first step to determining whether you can fix it yourself or need professional assistance.
Step-by-Step Diagnostic Process
Before jumping into repairs, it is wise to perform a systematic diagnostic check. Begin by noting any error codes displayed on your machine’s control panel. Samsung models typically provide codes such as “4E” (water inlet issues) or “5E” (drainage errors), which can guide your troubleshooting efforts.
Initial Checks:
- Power and Settings: Ensure the washer is properly plugged in and that the selected cycle includes the drain phase.
- Water Supply: Verify that the water inlet is unobstructed and that water pressure is sufficient. Low water pressure can sometimes trigger fill errors.
- Drainage System: Inspect the drain hose for kinks or blockages. Remove any debris that may hinder the water flow.
Advanced Checks: For more persistent issues, consider:
- Cleaning filters and pump components to remove lint or foreign objects.
- Checking sensor contacts and wiring for signs of corrosion or loose connections.
- Observing the machine during a test cycle to listen for unusual noises that might indicate a failing motor or pump.
These steps can help determine if the problem is a simple fix you can handle on your own, such as clearing a clogged hose, or if it indicates a more severe fault.
When Professional Repairs Are Necessary
While basic troubleshooting can resolve many issues, there are cases when professional repair is the safer and more effective route:
- Complex Electronic Failures: If your washer is displaying persistent error codes or the control board seems unresponsive, professional diagnostics are crucial to avoid further damage.
- Mechanical Breakdowns: Problems with the motor, pump, or internal transmission often require specialized tools and expertise to repair correctly.
- Warranty Considerations: If your Samsung washer is still under warranty, attempting a DIY repair could void it. Authorized technicians use approved parts and methods to maintain your warranty’s validity.
- Safety Risks: Any repairs involving electrical components or high-voltage parts should be handled by professionals to prevent injury.
When in doubt, it’s best to consult a certified repair service. Professionals have access to manufacturer-specific repair manuals and diagnostic tools that increase the likelihood of a lasting fix.
Professional Fixes: What to Expect
A reputable service technician will start by running a complete diagnostic test on your Samsung washing machine. Once the issue is identified, they may take actions such as:
- Replacing faulty sensors or electronic control boards that trigger error codes.
- Cleaning or replacing clogged filters, drain hoses, and pump components to restore proper drainage.
- Rebalancing or repairing motor assemblies to reduce excessive vibration and noise.
- Fixing or replacing door locks and latches to ensure safety and proper operation.
The goal of a professional repair is not only to fix the immediate issue but also to provide preventive advice to reduce the likelihood of future malfunctions. Technicians often inspect related components that might soon wear out, recommending part replacements as needed to avoid recurring problems.
Preventive Maintenance: Tips for Longevity
Keeping your Samsung washing machine in peak condition requires a blend of regular maintenance and occasional professional check-ups. Here are some effective strategies:
- Regular Cleaning: Clean the filter, drain hose, and pump area at least once a month to remove lint and debris.
- Descaling: In areas with hard water, mineral deposits can affect performance. Use a descaling agent as recommended by the manufacturer.
- Proper Loading: Avoid overloading the washer, which can strain the motor and pump, and always use the appropriate amount of detergent.
- Periodic Professional Inspections: Schedule an annual service call to ensure that all components are functioning correctly and to replace any parts showing signs of wear.
- Follow the Manual: Always refer to the user manual for specific maintenance recommendations tailored to your model.
By adopting these habits, you not only prevent common issues but also extend the overall lifespan of your appliance.
Case Studies: Real-World Success Stories
Consider the experience of Emily, who noticed her Samsung washer repeatedly displaying a “5E” error—indicative of a drainage problem. After a thorough DIY inspection revealed a partially blocked drain hose, she still encountered intermittent issues. Emily then called a professional repair service, which discovered a worn-out pump impeller. Replacing this part not only resolved the error but also improved the machine’s overall efficiency.
In another instance, James’s Samsung washer started to vibrate excessively during spin cycles. What began as a minor annoyance quickly escalated into a concern about potential damage. Professional technicians found that the machine’s suspension system was compromised, and they rebalanced the unit while replacing worn-out shock absorbers. The result was a quieter, more stable machine that James could rely on for years to come.
Samsung washing machines are built to offer convenience and efficiency, but even the best appliances need proper care and occasional expert attention. Whether you’re a DIY enthusiast or prefer to call in the professionals, understanding the common issues and their solutions is key to keeping your machine in top shape. With proactive maintenance and timely repairs, you can ensure that your washer not only lasts longer but also continues to perform at its best.
Embrace preventive practices, know when to take matters into your own hands, and don’t hesitate to seek professional help when needed. In doing so, you safeguard your investment and enjoy the seamless, stress-free operation of your Samsung washing machine for years to come.
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