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
Roald Dahl’s monstrous views have a seat at the table today
Roald Dahl’s house is falling down.
It’s 1983, and the children’s author’s Buckinghamshire estate is undergoing a gut renovation. Its exposed plumbing and naked beams bespeak an unseemly core behind the author’s facade of prickly charm, cracking after publication of his incendiary review of the book God Cried, about the 1982 Lebanon War. The article, which ran in the magazine Literary Review, crossed a then-clear line from legitimate critique of Israel into antisemitic tropes of the most noxious variety.
The play Giant, now on Broadway after an Olivier Award-winning run on the West End, imagines an afternoon in which Dahl’s publishers try to cajole him into an apology he’s determined not to make.
For the greater part of the first act in Mark Rosenblatt’s crackling script, the precise nature of Dahl’s comments remains obscure. We’re told that they were condemned in the press as “the most disgraceful thing to be written in the English language in a very long time.” They were so bad as to inspire a death threat credible enough to station a police constable outside Dahl’s home.
Finally, a Jewish-American sales director from Farrar, Straus and Giroux, who has arrived to do damage control, quotes Dahl’s remarks at length following a tense lunch of salad niçoise.
“Never before in the history of man has a race of people switched so rapidly from being much-pitied victims to barbarous murderers,” Dahl wrote of Israelis — or was it simply Jews? “Never before has a race of people generated so much sympathy around the world and then, in the space of a lifetime, succeeded in turning that sympathy into hatred and revulsion. It is as though a group of much-loved nuns in charge of an orphanage had suddenly turned around and started murdering all the children.”
Is it bad to say I’ve heard worse?
Were Dahl still with us, he would have an ideological home with certain members of Corbynite Labour and the Greens, to say nothing of Roger Waters. He would not run afoul of the “Zionists in Publishing” X account that tells consumers which authors are insufficiently critical of Israel; perhaps he would be marked on reading lists as an acceptable, pro-Palestinian alternative to J.K. Rowling.
Even the context of war in Lebanon that Dahl decried has currency, as Israel now trades fire with the remnants of Hezbollah and videos of demolished apartment blocks in Beirut proliferate online. More than 1,000 have died in airstrikes, more than 1 million are displaced and a possible ground invasion looms. (The play, written well before Oct. 7, and certainly before the latest offensive in Iran, suffers from a poignant prescience.)
Can a drama built around Dahl’s screed still work with the shift of the Overton Window toward a strident, existential questioning of Israel and its influence? Remarkably, it does.
The credit is shared. John Lithgow, playing his whole repertoire from Churchill and avuncular alien to Dexter’s Ice Truck Killer, is a rangy stick of dynamite. He pivots from boyish jokes to cruel barbs that catch on his victims like nettles.
Also in the cagey chess game are Aya Cash — as the invented American FSG envoy Jessie Stone — and Elliot Levey’s Tom Maschler, Dahl’s real-life British publisher, who was a Kindertransport child from Germany.
Maschler embodies a certain Jewish-English self-effacement, angling to keep the peace and resenting Israel as an impediment to his full acceptance as an Englishman — he thinks of the country as something he’s made to defend at parties.
Stone’s more forceful, American approach — calling out Dahl for lumping all Jews together as a “single organism” — rankles her host.
Dahl waxes Goebellsian, calling her “Stein,” and has her take dictation to a Holocaust survivor bookseller in the Hudson Valley who refuses to stock his work: “The kinder of his shtetl in upstate Noo Yoik will have to make do – no, survive on a strictly kosher diet of Laura Ingalls Wilder.”
Director Nicholas Hytner has staged a boxing match for today’s discourse, without changing a line from a pre-Oct. 7 script. What makes the work sing is its refusal to resort to caricature, humanizing Dahl through his fiancée Liccy Crossland (Rachael Stirling), the tragedies of his dead daughter and disabled son and, yes, his genuine concern and justified anguish for the Lebanese and Palestinians, particularly the children.
In a quieter moment, Dahl asks Stone if she read God Cried. She tells him she was moved by an image of a legless boy with crutches. (Dahl identifies him with ease, the victim of a penetration bomb near his school, and describes in typically gruesome fashion how “his arterial blood must have sprayed everywhere like a rogue garden hose.”)
“Why is that image not enough, on its own, for you to demand a halt?” he presses Stone. “And what’s wrong with insisting Jewish people, whose country it surely is, say ‘not in my name’? Surely it’s your voice we need above all?”
This cri de coeur is common now even in Jewish circles, but the sentiment is slippery when it hints at collective blame. After his encounter with Stone, Dahl clarifies his position in a verbatim interview, infamously opining that, when it comes to Jews, “even a stinker like Hitler didn’t just pick on them for no reason.”
That draws a gasp from the audience and a gobsmacked expression from Dahl’s housekeeper Hallie (Stella Everett).
But just how different is this claim to Ana Kasparian saying the goyim are waking up, Candace Owens claiming Satanic pedophile “Frankists” control the world, Young Republicans praising Hitler in group chats, Tucker Carlson platforming Holocaust deniers who suggest Winston Churchill was the real villain of World War II or Joe Kent writing in his resignation letter that the U.S. is continually drawn into wars “manufactured by Israel”? At a point, the figleaf of anti-Zionism proves flimsy. Older innuendos peek out from behind.
In the literary world of today, an audiobook narrator’s call for Zionists to kill themselves is not a cancellable offense — a Zionist moderating a book talk is. (But then, being a Palestinian critic of Israel can lead to a disinvitation to a book festival or reading series — that may be cancelled when other authors withdraw in solidarity.)
Now that we are further from the Holocaust, the carnage in Gaza was broadcast to our phones and the monoculture has atomized into internet echo chambers, Dahl’s review seems pedestrian if not quite mainstream. A cause célèbre in 1983 is now a viral retweet or a chart-topping podcast. His claim that “ancient wounds” didn’t make Jews wiser, but gave them a “partial sight” of their own trespasses sounds a lot like the thesis of Peter Beinart’s last book.
With Giant’s move to Broadway, a local analogy may be in order.
Earlier this month, New York Mayor Zohran Mamdani’s wife, Rama Duwaji, was revealed to have contributed freelance illustrations to a book of stories by young people in Gaza compiled by the Palestinian-American writer Susan Abulhawa. Abulhawa’s social media posts, which called Israelis “vampires” and “cockroaches” and refused to distinguish between Jews and Zionists, prompted Mamdani to call her words “reprehensible,” earning him grief from pro-Palestinian quarters.
What would the response be, had the First Lady of New York provided artwork on a book of Dahl’s and his comments came to light? Abulhawa cuts a different figure: She is the daughter of Palestinian refugees and writes movingly of her people’s suffering. Yet I suspect, like her, Dahl, would have his defenders.
Just as Dahl doubled down when reached for comment on his review — the occasion of his “Hitler stinker” quote — Abulhawa responded to Mayor Mamdani’s censure in an interview by claiming American Jews were the “most privileged demographic in this country” and “the resentment that they are seeing now is stemming from the world watching the so-called Jewish State commit a genocide.”
In other words, the logic follows, the world isn’t picking on Jews for no reason. The sleeping giant of this rationale — a proverbial light sleeper — has been awakened. Dahl, it seems, was just too early to rouse it.
The play Giant is now playing at the Music Box Theatre on Broadway. Tickets and more information can be found here.
The post Roald Dahl’s monstrous views have a seat at the table today appeared first on The Forward.
Uncategorized
New Report Reveals Rampant Human Rights Abuses in Iran as Activists Warn of Another Wave of Mass Executions
People attend Eid al-Fitr prayers, marking the end of Muslim holy fasting month of Ramadan, amid the US-Israeli conflict with Iran, in Tehran, Iran, March 21, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
A new report reveals the widespread scale of human rights abuses in Iran over the past year, as activists warn the regime may carry out another wave of mass executions to suppress growing opposition amid deepening unrest.
The Human Rights Activists News Agency (HRANA), an independent group monitoring Iran, released a report last week, timed for Nowruz, the Persian New Year, outlining a deeply concerning human rights situation over the past 12 months, citing crackdowns on protesters, harassment of activists, threats to minorities, executions of children, violations of women’s rights, and dire prison conditions.
According to HRANA’s Statistics and Documentation Center, 78,907 people were arrested on ideological or political grounds from March 2025 to March 2026, highlighting a pervasive climate of repression across the country.
But the report warns that the number of arrests is likely much higher, given the difficulty of tracking such cases — especially earlier this year during recent nationwide anti-government protests, which security forces violently crushed, leaving thousands of demonstrators tortured or killed.
HRANA reports that at least 6,724 protesters, including 236 children, were killed during these protests, with an additional 11,744 cases still under verification. Multiple reports have put the death toll at over 30,000.
During the regime’s violent crackdown, the group also recorded 25,877 people sustaining serious injuries, with 53,777 arrests occurring on just Jan. 8 and 9 alone.
On women’s rights, HRANA reports that 105 women were murdered, including seven so-called “honor killings” — murders committed under the pretext of preserving family honor — and documents 68 cases of rape or sexual abuse.
Recent media reports indicate that Iranian security forces raped and tortured medical staff who treated wounded anti-regime protesters during the country’s nationwide uprising in January, targeting them in a campaign of intimidation against those aiding demonstrators.
As in past years, executions remain one of the starkest manifestations of human rights abuses in Iran, with at least 2,488 people executed last year, including 63 women and two children, 13 of them carried out publicly.
According to a report by Harm Reduction International (HRI), a global organization tracking drug policy and human rights, 955 people were executed for drug-related offenses in 2025 — an average of roughly three per day — with over 1,000 more currently on death row.
Nearly one in four of those executed were from ethnic minority groups, more than one in five were foreign nationals, and the majority were poor, accused of minor drug offenses, and denied proper legal protections, the report notes.
As the regime continues its campaign of executions, the report says at least 222 children have been left without parents.
United Nations Special Rapporteur on human rights in Iran Mai Sato denounced the regime’s brutal treatment of individuals accused of drug crimes, highlighting the disproportionate impact on vulnerable families.
“Many of the drugs-related cases in Iran involve young fathers from minority ethnic backgrounds experiencing economic hardship who face not only execution but also confiscation of their limited assets – including family homes and farmland – devastating their families long after their execution,” Sato said in a statement.
According to HRI’s latest report, at least 65 executions were carried out in secret without prior notice, denying families the chance to say goodbye, and some occurred despite ongoing legal proceedings.
Iranian security forces also systematically used coercion and torture, while denying prisoners access to legal counsel, to force illegitimate confessions.
HRI also reports that under Iran’s Islamic Penal Code, the principle of elm‑e‑qazi — which allows judges to determine guilt based solely on circumstantial evidence without confessions or witnesses — is frequently applied arbitrarily.
With an increasing number of reports exposing the scale of systematic abuses across the country, human rights groups are warning that the death toll may climb sharply, with over 100 detainees at risk of execution.
Last week, three young Iranian men, including 19-year-old wrestling champion Saleh Mohammadi, were executed as the regime intensifies its crackdown on dissent, The Associated Press reported.
Mahmood Amiry-Moghaddam, head of Oslo-based Iran Human Rights, told the AP the executions are “intended to instill fear in society and deter new protests” amid deepening unrest.
On Monday, Iran’s judiciary confirmed that cases tied to the January protests have reached final verdicts and warned that those convicted would face no leniency.
Uncategorized
‘Verbal sparring’ at a conference for religious Jews breaking from Israel orthodoxy? That’s not what I experienced
To the editors:
The Forward‘s article about the recent Smol Emuni conference seems to describe a different event than the one that I attended. There were certainly different viewpoints among the people assembled at the gathering for religious Jews who, per the organization’s mission, seek “justice, equality, and dignity for Jews and Palestinians.” And there were views and perspectives shared that felt challenging or even difficult to hear.
But to assert, as the Forward‘s article did, that the conference was riven by strife and anger is simply not true.
The basis of the article’s claim, and the focus of a flurry of subsequent op-eds and blog posts, was Rabbi Saul Berman’s address to open the afternoon session. Berman used his remarks to criticize the Palestinian activist who had spoken in the morning; in doing so, he invoked a broad, monochromatic description of Islamic theology that felt out of place to some of us, including me.
Berman argued that Islamic Law prohibits any territorial concession, suggesting that Islamic law, but not Jewish law, continues to make peace impossible. The implication that Jewish theology has not blocked work toward peace is quite problematic, given the central role of religious leaders and communities in building settlements and in right-wing politics in Israel.
It is precisely this line of argument that many came to this conference to escape. In too many Jewish communities, it feels impossible to acknowledge the ways in which Judaism has contributed to Palestinian suffering and injustice. Smol Emuni was created in part to end that silence. That is why Berman’s words felt jarring.
But reading the Forward‘s article, one might think that Berman spoke with anger or that the audience actively derided him.
In fact, Berman spoke for close to 20 minutes. As far as I could see, everyone listened to him attentively. Most of the audience applauded when he concluded; I heard no boos. While a few people came and went during his remarks, as is the case at any such event, I saw no evidence that anyone “walked out in protest.”
One of the organizers did feel the need to note, after Berman concluded, that the conference organizers specifically did not share all of his views. She did so gracefully, while thanking him warmly for speaking and affirming her deep respect for him. I do not know how Berman felt, but he was not visibly angered and he stayed for the remainder of the program.
It was an awkward moment, to be sure, but not one of rancor or disrespect. It certainly did not define the conference, which elevated a range of important voices and viewpoints that I found both thoughtful and thought-provoking.
The post ‘Verbal sparring’ at a conference for religious Jews breaking from Israel orthodoxy? That’s not what I experienced appeared first on The Forward.