Uncategorized
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.
—
The post The hora, the hora! How Jewish wedding music got that way appeared first on Jewish Telegraphic Agency.
Uncategorized
Australian Police Arrest Teens for Antisemitic Harassment of Jewish Schoolboys
Illustrative: Government workers cleaning antisemitic graffiti in Sydney, Australia in February 2025. Photo: AAPIMAGE via Reuters Connect
Australian police have arrested two teenagers suspected of chasing Jewish schoolboys in a stolen car while shouting Nazi slogans in Melbourne last week.
The suspects, one of whom already has a criminal history at age 16, were taking a joyride in the vehicle in the St. Kilda East section of the city when they spotted the Jewish boys walking home, according to Australian media. After initially passing by them, the driver reportedly executed a U-turn and gave chase, nearly striking one of the fleeing boys as he tried to escape what appeared to be an imminent threat to his life.
“Parents said the boys were badly shaken and reluctant to return to school, struggling to understand why they had been targeted,” the outlet J-Wire reported. “One father said the use of Nazi gestures was particularly distressing for families in a community where many are descendants of Holocaust survivors.”
Police confirmed on Friday night that they arrested the 16-year-old boy, who has been charged with aggravated burglary, theft of a motor vehicle, and numerous driving offences.
The announcement from law enforcement came after a 15-year-old was arrested for the incident and charged with theft of a motor vehicle.
The younger boy has been bailed ahead of his court appearance next month, Australian media reported. However, the 16-year-old has been remanded in custody and is set to appear in court on Tuesday.
Australian lawmakers have sought to confront antisemitism in recent weeks with new legislation, following a historic surge in antisemitic incidents across the country.
The wave of antisemitism culminated last month at Sydney’s Bondi Beach, where gunmen, allegedly inspired by the Islamic State terrorist group, opened fire on a Jewish gathering celebrating the start of Hanukkah, killing 15 people and wounding dozens of others.
On Tuesday, the Australian Federal Parliament passed the Combatting Antisemitism, Hate, and Extremism Act, increasing penalties imposed on hate crime perpetrators and creating new ones against “preachers and leaders” who promote hatred. Other provisions of the law, passed as separate acts, impose new gun restrictions and strengthen and aim to strengthen the immigrations system’s threat detection capabilities.
These measures passed as Prime Minister Anthony Albanese apologized for his government not doing enough to combat antisemitism.
A year before the incident, the Executive Council on Australian Jewry (EJAC) reported a 316 percent increase in antisemitic incidents between 2023 and 2024, a figure which included a surge in physical assaults and “graffiti calling to kill Jews as a direct imperative.”
“In the past such deal calls were in the form of the ‘Death to the Jews’ — expressing a sentiment rather than an act,” the group said in its 2025 report. “The same theme has also occurred in hate emails, phone calls, and other messages — calling for the mass death of Jews. The expression of such sentiments has become much more common, adding to the sense of social license for acts of severe physical violence against Australian Jews.”
In other incidents, someone graffitied the home of Lesli Berger, former president of the New South Wales Jewish Board of Deputies; a Jewish man was assaulted by an anti-Israel mob because he took down an advertisement of a pro-Palestinian rally; and, in one notorious episode in the immediate aftermath of the Oct. 7 attack, hundreds of pro-Hamas protesters gathered outside the Sydney Opera House chanting “gas the Jews,” “f—k the Jews,” and other epithets.
Anti-Israel sentiment in Australia has also led to vandalism. In June 2024, the US consulate in Sydney was vandalized and defaced by a man carrying a sledgehammer who smashed the windows and graffitied inverted red triangles on the building. The inverted red triangle has become a common symbol at pro-Hamas rallies. The Palestinian terrorist group, which has ruled Gaza for nearly two decades, has used inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. According to the Anti-Defamation League (ADL), “the red triangle is now used to represent Hamas itself and glorify its use of violence.”
“We are now at a stage where anti-Jewish racism has left the fringes of society, where it is normalized and allowed to fester and spread, gaining ground at universities, in arts and culture spaces, in the health sector, in the workplace and elsewhere,” EJAC president Daniel Aghion said in a statement on the day the group released its 2025 report. “In such an environment, Jews have legitimate concerns for their physical safety and social well-being in Australia. Together, we must do all we can to combat this scourge.”
Follow Dion J. Pierre @DionJPierre.
Uncategorized
What an antisemitic conspiracy theory and the Alex Pretti killing have in common
The night after Border Patrol agents shot and killed Alex Pretti in Minneapolis, as federal officials continued to spread lies about what happened, a friend asked me for advice on another disturbing instance of misinformation. What she should say, she asked, to a colleague who is posting antisemitic conspiracy theories about last month’s wildfires in Argentina.
That conundrum was related to the horror of our government trying to blame an innocent man for his own murder, I told her. And democracy, our very society, depends on figuring what to do about both.
In both cases, there’s a stubborn refusal to admit reality. Blinded by hate, suspicion or party loyalty, and locked in hermetically sealed media silos, people blame phantoms — in the case of Argentina — or the actual victims — as in Minneapolis — for the ills of our world.
And with each rejection, each accusation, society bends a bit more toward breaking.
In Argentina, after fires ravaged some 3,000 acres earlier this month, retired military general César Milani and others blamed the blazes on Israel.
My friend’s colleague was one of the many thousands of social media posters who spread those accusations, convinced that Israelis in Patagonia deliberately started the fires in order to clear the way for Zionist settlement.
Nothing my friend could say — that authorities had not determined the cause, that the Argentine government itself said the “Zionist fire” accusations were baseless — could convince her colleague otherwise.
“She would just tell me, ‘That’s what they want you to believe,’” my friend said. “What could I say to that?”
I wish I knew. Because all weekend I despaired seeing the same dynamic at work in the United States, in even more tragic circumstances.
Video footage, eyewitnesses and expert analysis show that Border Police shot Pretti multiple times, after they threw him to the ground and removed a holstered firearm he was legally carrying. Videos show that Pretti, who had been using his iPhone to film Border Police and ICE agents, had run to help a woman whom the federal agents had shoved down.
Anyone who takes the time to look and listen to the evidence can agree on what happened. Or so you would think.
Yet many federal officials, including President Donald Trump and Secretary of Homeland Security Kristi Noem, suggested that the real victims were the agents who killed Pretti.
Stephen Miller, Trump’s senior aide, called Pretti “a domestic terrorist.” Gregory Bovino, the official in charge of Border Patrol operations, said Pretti sought to “massacre law enforcement.” (Federal officials used very similar language to describe Renée Good, an unarmed mother whom ICE agents shot and killed earlier this month, after her death.)
Pretti “allegedly tried to pull out a firearm,” reported the resolutely pro-Trump OneAmerica News — ignoring the fact, clear in videos of the incident, that it was agents who removed his firearm from his holster, and agents who shot him after.
As with the Argentine fires, these were the accusations that ricocheted across social media, where posters accused Pretti — with zero evidence — of being an agitator paid for by Jewish Hungarian-born billionaire George Soros.
“Pretti was unalived” — online slang for “killed” — “by federal law enforcement officers who were defending themselves from being murdered by a deranged, Soros-paid terrorist,” was one of the typical, depressing posts to pop up in my feed this weekend.
At least in Argentina the government issued a statement debunking the Zionist arson claim, after an investigation found it was baseless.
In the U.S., a full, fair inquiry into Pretti’s death may shed more light on why the killing occurred. But despite some Republican lawmaker’s calls for a joint federal and state investigation, the federal government is so far doing what it did after the Good’s killing: shutting state authorities out and focusing on the actions of the victims, not the shooter. Three days ago an FBI agent assigned to investigate Good’s death resigned after the Department of Justice pressured her to drop her investigation into the agent behind the shooting.
And so a senseless death that could provide a moment of national reckoning, even reconciliation, will be mourned by many Americans in justifiable outrage. But for others, nothing will penetrate their conviction that Alex Pretti was guilty of provoking his own murder.
The historical record provides little hope that people so locked into a point of view shaped by misinformation can ever change their minds.
I always assumed that the public understanding of the Kent State University shootings, on May 4, 1970, was a matter of settled history: Ohio National Guard troops opened fire on peaceful protesting college students, killing four, and we all knew it was an unjustifiable massacre.
But revisiting that history in the wake of Pretti’s death, I discovered that was far from the truth.
“There was still that sentiment out there that they should have shot more students,” Dean Kahler, a former Kent State protester permanently paralyzed after a National Guardsman’s bullet severed his lower spine, told NPR in 2020, “that they should’ve killed more people.”
And long before Kent State, there was Captain Alfred Dreyfus, the French Jewish officer accused of treason in 1894 and later fully exonerated, in a case that divided France to the brink of civil war.
Ever since, a succession of right-wing elements in France have stuck to their belief in Dreyfus’ guilt. In 2021, the French lawyer Germain Latour said French antisemites suffered from an “epidemic of mental cholera” that prevented them from accepting the truth.
I wish I hadn’t had to tell my friend that it’s hard, if not impossible, to crack open every closed mind. But I did. My friend’s colleague will likely never stop believing Israel burned Argentina. Pretti’s killers will continue to have millions of defenders who will never see what to most of us is obvious.
Both stories follow the same script: reality conflicts with ideology, so reality gets discarded.
What matters more is that the people who care about finding and defending the facts push their institutions — courts, media, academia, clergy — to do the same. It is, to borrow a recent movie title, one battle after another. But for Alex Pretti’s sake, we cannot quit.
The post What an antisemitic conspiracy theory and the Alex Pretti killing have in common appeared first on The Forward.
Uncategorized
Guinness World Records Starts Accepting Israeli Submissions Again Following Legal Pressure
People stand next to flags on the day the bodies of deceased Israeli hostages, Oded Lifschitz, Shiri Bibas, and her two children Kfir and Ariel Bibas, who were kidnapped during the deadly Oct. 7, 2023, attack by Hamas, are handed over under the terms of a ceasefire between Hamas and Israel, in Tel Aviv, Israel, Feb. 20, 2025. Photo: REUTERS/Ammar Awad
Guinness World Records (GWR) is once again accepting submissions from Israel and the Palestinian territories, following pressure from an association of British lawyers that claimed the policy was discriminatory and threatened the validity of Guiness’s registered trademarks.
GWR confirmed to UK Lawyers for Israel (UKLFI) via email that it ended its temporary pause on submissions from Israel and the Palestinian territories that was implemented in November 2023, shortly after the start of the war in the Gaza Strip following the Hamas-led Oct. 7 terrorist attack across southern Israel.
The exclusionary policy drew widespread condemnation in early December after Guinness World Records refused to accept a submission from the Israeli NGO Matnat Chaim, which was hoping to set a world record with an event in Jerusalem where 2,000 Israeli kidney donors will gather in one place.
GWR told Matnat Chaim at the time it was “not generally processing” record applications from Israel or the Palestinian territories “with the exception of those done in cooperation with a UN humanitarian aid relief agency.” Guinness denied claims that its policy against submissions from Israel or the Palestinian territories unlawfully excluded and discriminated against Israelis and Palestinians because the policy was based on location, not nationality or ethnicity.
In late December, UKLFI wrote to Guinness and warned that the company could face legal risks because of the policy and that it amounted to indirect discrimination. UKLFI noted that marketing publications under the title “Guinness World Records” while excluding records from in Israel or the Palestinian territories could be considered unfair commercial practice under consumer protection law. The policy could also risk the validity of Guinness’s registered trademarks, according to UKLFI.
Starting Jan. 15, GWR resumed its “routine acceptance” of applications, it told UKLFI in an email shared with The Algemeiner.
“We have continued to monitor the situation in the region carefully, reviewing the policy monthly,” GWR wrote. “The recent ceasefire and the return to a more stable environment have been key factors in these reviews. With these factors in mind … we recommenced our routine acceptance of applications for world records from Israel and the Palestinian Territories, including the application made by the Matnam Chaim charity.”
The company added that the decision to resume processing applications from the region was not an admission that its temporary pause had been unlawful or that its trademarks had been used improperly. Guinness also shared that several records set in Israel had in fact been recognized during the temporary pause. They included records for the fastest robot to solve a rotating puzzle clock, most backward somersault burpees in 30 seconds done by a male, oldest female person to perform a headstand, most sequences completed in a game of “Simon,” and tallest drag performer.
“Guinness World Records’ decision to resume accepting submissions from Israel and the Palestinian territories is welcome,” said UKLFI chief executive Jonathan Turner. “Excluding particular countries carries serious legal and commercial risks. Global organizations cannot present themselves as neutral and inclusive while applying exceptional policies to certain countries, particularly where this misleads consumers and disadvantages entire populations.”
Israeli Foreign Minister Gideon Sa’ar also commented on GWR’s change in policy, celebrating that the massive gathering of kidney donors in Jerusalem will be recognized.
“Two thousand Israeli kidney donors are making the largest donation ever, in a selfless act of solidarity and humanity,” Sa’ar posted on the social media platform X on Monday. “Good to see it finally receive the celebration it deserves by the Guinness World Records, which revoked their original distorted decision to deny Israeli kidney donors their rightful recognition.”