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
Maduro Accuses Zionists of Trying to Deliver Venezuela to ‘Devils’ as US Threatens Terror Designation
Venezuelan President Nicolas Maduro speaks during a march amid the disputed presidential election, in Caracas, Venezuela, Aug. 3, 2024. Photo: REUTERS/Maxwell Briceno
Venezuelan President Nicolás Maduro accused Zionists of trying to hand his country over to “devils,” as the United States ramped up military pressure and opposition leaders continued to voice support for action against his regime.
“There are those who want to hand this country over to the devils – you know who, right? The far-right Zionists want to hand this country over to the devils,” Maduro said on Saturday during a speech to local pro-government grassroots organizations.
“Who will prevail? The people of [King] David, the people of God, the people of [Simón] Bolívar, or the imperialist demons?” he continued. “We are the people of David against the Goliaths that we have already defeated in history. If God wills it, we will face them.”
| Nicolás Maduro: “Algunos quieren entregar este país a los demonios; ya saben quiénes son: la facción sionista de ultraderecha”.
pic.twitter.com/i7IJ5W0kOs— Alerta News 24 (@AlertaNews24) November 16, 2025
The Venezuelan leader has a long history of blaming the Jewish state and Jewish communities for the country’s problems, even as opposition leaders continue to publicly voice support for Israel and denounce his regime.
Last year, Maduro blamed “international Zionism” for the large-scale anti-government protests that erupted across the country following the presidential elections, in which he claimed victory amid widespread claims of fraud.
He also called the Argentinian government “Nazi and Zionist” earlier this year, amid an ongoing dispute over the arrest of an Argentine military officer in Venezuela.
Maduro broke diplomatic relations with Argentina after President Javier Milei refused to recognize his reelection in July.
During his Saturday speech, the Venezuelan leader insisted that the country is a Christian nation and questioned why Americans would want to kill Christians, as he urged Washington to refrain from military escalation amid a US buildup in the Caribbean and strikes on alleged drug trafficking vessels.
“I place at the forefront of this battle our Lord Jesus Christ, to whom our homeland has been entrusted, the only king between heaven and Earth, Jesus of Nazareth, the young child and Palestinian martyr, Jesus of Nazareth,” Maduro said.
“I place Jesus of Nazareth as commander-in-chief of the battle for peace and the sovereignty of the Venezuelan people,” he continued.
He also tried to appeal to the American people, urging them to say “no” to war and “yes” to peace.
Maduro’s latest remarks came just before the Trump administration on Sunday announced the decision to designate the Cartel de los Soles, which the Trump administration has accused Maduro of leading, as a foreign terrorist organization. The designation could open the door to strikes on Maduro’s assets and infrastructure inside Venezuela.
“Based in Venezuela, the Cartel de los Soles is headed by Nicolás Maduro and other high-ranking individuals of the illegitimate Maduro regime who have corrupted Venezuela’s military, intelligence, legislature, and judiciary,” the US State Department said in a statement, noting the designation will take effect next week, on Nov. 24.
“Neither Maduro nor his cronies represent Venezuela’s legitimate government. Cartel de los Soles by and with other designated [foreign terrorist organizations] including Tren de Aragua and the Sinaloa Cartel are responsible for terrorist violence throughout our hemisphere as well as for trafficking drugs into the United States and Europe,” the statement continued. “The United States will continue using all available tools to protect our national security interests and deny funding and resources to narco-terrorists.”
Congress has seven days to review the decision after being notified, and “in the absence of congressional action to block the designation,” it will take effect, according to the State Department.
US President Donald Trump said on Sunday that, while he doesn’t believe the administration needs congressional authorization for potential military strikes inside Venezuela, he would like to keep lawmakers informed.
“We like to keep Congress involved. I mean, we’re stopping drug dealers and drugs from coming into our country,” he said. “We don’t have to get their approval. But I think letting them know is good.”
In recent weeks, Trump has ordered at least 21 strikes on boats believed to be carrying narcotics and has built up thousands of troops in the region.
Last month, US Defense Secretary Pete Hegseth announced the creation of a new counter-narcotics Joint Task Force, saying it was established “to crush the cartels, stop the poison, and keep America safe.”
Uncategorized
Harvard Students to Vote on Anti-Israel Divestment Measure
April 20, 2025, Cambridge, MA, USA: Harvard University and Harvard Square scenes with students and pedestrians. Photo: Kenneth Martin/ZUMA Press Wire via Reuters Connect.
Harvard University students will vote this week on an anti-Israel measure calling for divestment from the Jewish State, amid rising concerns about the growth of antisemitism across the political spectrum.
According to The Harvard Crimson, the Harvard Palestine Solidarity Committee — a self-described revolutionary movement which issued some of the world’s first endorsements of Hamas’s Oct. 7, 2023, massacre across southern Israel — overcame objections expressed by the Harvard Undergraduate Association, a student government body, to place the idea on this academic year’s fall survey. Another group, working in concert with PSC, prevailed over the HUA as well, and added a survey question which aims to build a consensus of opposition to the International Holocaust Remembrance Alliance’s definition of antisemitism.
“Should Harvard disclose its investments in companies and institutions operating in Israel?” asks PSC’s question, which was originally framed to accuse Israel of committing genocide in Gaza. “Should Harvard divest from companies and institutions operating in Israel?”
PSC’s diction was edited at the behest of the administration, which determined that it was “leading” and contravened school rules.
“The commission emphasizes that the survey process is designed to foster an environment where students can share their perspectives freely and without pressure,” Harvard’s Election Commission told the Crimson in a statement. “It is not intended to serve as a platform for activism or advocacy by any particular group.”
The US campus antisemitism crisis has kept Harvard University in the headlines.
In October, school officials disclosed a $113 million budget deficit caused by the Trump administration’s confiscation of much of its federal contracts and grants as punishment for, among other alleged misdeeds, its admitted failure to combat antisemitism on its campus.
According to Harvard’s “Financial Report: Fiscal Year 2025” the university’s spending exceeded the $6.7 billion it amassed from donations, taxpayer support, tuition, and other income sources, such as endowment funds earmarked for operational expenses. Harvard also suffered a steep deficit in non-restricted donor funds, $212 million, a possible indication that philanthropists now hesitate to write America’s oldest university a blank check due to its inveterate generating of negative publicity — prompted by such episodes as the institution’s botching the appointment of its first Black president by conferring the honor to a plagiarist and its failing repeatedly to quell antisemitic discrimination and harassment.
“Even by the standards of our centuries-long history, fiscal year 2025 was extraordinarily challenging, with political and economic disruption affecting many sectors, including higher education,” Harvard president Alan Garber said in a statement. “We continue to adapt to uncertainty and threats to sources of revenue that have sustained our work for many years. We have intensified our efforts to expand our sources of funding.”
Harvard is also in court fighting a lawsuit which alleges that administrative officials violated civil rights law by declining to impose meaningful disciplinary sanctions on two students who allegedly assaulted a Jewish student during a protest held to rally anti-Israel activists just days after the Hamas-led Oct. 7, 2023, massacre across southern Israeli communities.
The university’s lawyers contend that the Jewish student, Yoav Segev, has not backed his claim with evidence and that his grievance is founded not in any legally recognizable harm but a disagreement regarding policy.
“Mr. Segev’s allegation, then, is not that Harvard failed to take action, but simply that he disagrees with the actions taken after the investigation,” a motion to dismiss the suit says, adding that the school believes Segev’s contention that Harvard “conspired” to deny him justice cannot be substantiated.
Segev had endured a mobbing of pro-Hamas activists led by Ibrahim Bharmal and Elom Tettey-Tamaklo, who stalked him across Harvard Yard before encircling him and screaming “Shame! Shame! Shame!” as he struggled to break free from the mass of bodies which surrounded him. Video of the incident, widely viewed online at the time, showed the crush of people shoving keffiyehs — traditional headdresses worn by men in the Middle East that in some circles have come to symbolize Palestinian nationalism — in the face of the student, whom they had identified as Jewish.
Nearly two years after the assault, Bharmal and Tettey-Tamaklo have not only avoided hate crime charges but also even amassed new accolades and distinctions — according to multiple reports.
After being charged with assault and battery, the two men were ordered in April by Boston Municipal Court Judge Stephen McClenon to attend “pre-trial diversion” anger management courses and perform 80 hours of community service each, a decision which did not require their apologizing to Segev even though Assistant District Attorney Ursula Knight described what they did as “hands on assault and battery.”
Follow Dion J. Pierre @DionJPierre.
Uncategorized
Iran’s Execution Spree Continues Unabated, Alarming Human Rights Groups
A February 2023 protest in Washington, DC calling for an end to executions and human rights violations in Iran. Photo: Reuters/ Bryan Olin Dozier
The Islamist regime in Iran has ramped up its executions in what one human rights watchdog group described as “an unprecedented increase compared to previous years,” leading observers to raise alarm bells over Tehran’s crackdown on dissent.
Iran has executed 1,286 human beings so far this year through the end of October, according to a new report by the Human Rights Activist News Agency (HRANA).
The organization identified 31 recent executions on murder and drug-related charges, adding, “As of the time of this report, prison authorities and responsible institutions have not publicly announced these executions.”
While most of the executed are accused of murder or drug charges, human rights groups say these charges are often fabricated, conceal the real crime of political opposition, and target minority groups as Baluchis, Kurds, and Arabs.
The Times reported on Sunday that family members of political prisoners on Iran’s death row now wait by their phones in a state of terror and trauma. “Every phone call is a nightmare for me, especially in the morning. It might bring heartbreaking news,” one woman in Tehran told the British paper. “Every night I go to bed with the same dread of what tomorrow may bring.”
The increase in executions — usually carried out by hanging at dawn — have reportedly inspired hunger strikes among prisoners around the country.
One unnamed Iranian activist in exile described to The Times how the executions served as intimidation against those who would resist, saying that “the noose has become the regime’s loudspeaker” and “every hanging is a message: we are still in charge.”
Amnesty International called the increase in killings “state-sanctioned murder on an industrial scale.” Human rights groups have noted the current pace is the highest since 1988, when the regime infamously executed thousands of political prisons, and has already surpassed last year’s total of 1,001.
“Over the past year, as its nuclear program and network of militant proxies have been severely weakened, the regime has become even more reliant on domestic repression,” Shahin Gobadi, of the National Council of Resistance of Iran, told The Times.
The inhumane conditions of Iranian prisons also act as a tool to repress those who would speak out for freedom. Those who have escaped describe being packed so tightly into cells that they needed to sleep in shifts under lights that remained on permanently.
On Thursday, the Center for Human Rights in Iran (CHRI) released a report about Goli Kouhkan, a victim of child marriage who has lived on death row in Iran, scheduled for execution in December.
“Girls are married off at age 13 or even younger, and subjected to decades of beatings and rape, with no real possibility of divorce or escape,” said Bahar Ghandehari, director of advocacy at CHRI. “Many are often killed by family members if they try. Courts must consider these circumstances as mitigating factors when sentencing.”
Ghandehari explained how “the Iranian regime is deeply complicit in these killings because it does not take even the most basic measures to end child marriage or to protect girls and women from domestic abuse — situations that all too often end in death, although it is usually that of the woman.”
Zahra Rahimi co-founded the Imam Ali Popular Students Relief Society and has described the process by which child brides are forced into marriages in Iran.
“The judge will ask questions such as, ‘What is the price of meat? If you want to buy something for your home, what do you buy?’ and based on the girl’s answers, he will determine whether she is ready for marriage,” Rahimi said. “In this process, there is no lawyer, psychologist, doctor, expert, or trusted person to talk to the child … Where the court did not allow marriages to take place [for example, when the girls were under 9 years old], the girls were sent into ‘temporary marriages’ until they turned 13, and then their marriage would become legal.”