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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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Why I went to Michigan to talk to Jewish voters about Abdul El-Sayed
I’d just climbed the steps to another home on my canvassing list, a lovely residence in the suburbs of Detroit, and rang the doorbell. I was there last week to talk with Jewish voters about the upcoming Michigan Senate election. The woman who answered asked me to come inside, and I demurred, telling her that my project discourages its volunteers from accepting such invitations, for safety reasons. She was petite and elderly, with a soft, open face. She reminded me of my long deceased mother. We chit-chatted a little, then I got down to brass tacks. “What are your feelings about the race?” I asked. “About Abdul El-Sayed?”
Her face sagged. “You’re too late,” she said. “My husband and I already voted. For Mike Rogers. And I feel terrible!” She looked like she was about to cry. “Please,” she said, “Come inside.” I relented (but didn’t sit down on her sofa).
The Michigan race pits El-Sayed, a progressive young Democrat, against Rogers, a Republican former Congress member who is closely allied with Donald Trump. As a New Yorker, I don’t have a vote in the election. But I came to Michigan as a Jew who is increasingly frightened by the threat posed by MAGA and horrified by what Trump-think and Trump power is doing, and not just to immigrants, people of color, sexual and gender minorities, middle-class and working people, students, intellectuals, and those whose jobs and civic activity nurture liberal and progressive causes.
I’m also worried about us Jews.
We are disproportionately members of the communities I just listed. We are also vulnerable to antisemitic acts and policies, which appear to be increasing. (At my shul on Rosh Hashanah I was chilled to find flyers placed by the Siddurs, instructing how to hide or flee if a terrorist were to enter the sanctuary.) And we are vulnerable to the politics of Christian nationalism. I grew up in Texas in the 1950s and 1960s. I vividly recall being made to sing “The Crusaders’ Hymn” in grade school and memorize the words (“Onward Christians soldiers, marching as to war. With the cross of Jesus, going on before!”). Making public school kids do this is now illegal. But for how long?
Mike Rogers’ campaign gets much of its money from a rich Texan named Tim Dunn, a Christian nationalist who wants to abolish public schools. Not long ago, Dunn told a member of the Texas legislature — a Jew — that Jews should not hold major political office.
El-Sayed, on the other hand, is a public health expert with a long history of activism for progressive causes. A native-born American, he went to a suburban Detroit high school where he was on the football team and had many Jewish classmates. He has repeatedly said that the fact that he is Muslim is merely incidental to the fact that he is an American who deeply respects the rights guaranteed to everyone in this country under the U.S. Constitution — including to worship, or not, as one pleases.
Polling shows El-Sayed leading Rogers, but the margin of error puts them very close, and the race is tightening. Pundits say that if El-Sayed loses, the Senate could remain Republican. But if he wins, it would signal to the whole country that the Democratic Party is entering a new phase of progressivism — one prefigured by Zohran Mamdani’s mayoral win in New York City.
Like El-Sayed, Mamdani is a Muslim who sharply criticizes the Israeli government. And though many New York City Jews are wary of him, his main opponent during his campaign, Andrew Cuomo, wasn’t part of MAGA or surrounded by antisemites, as Mike Rogers is. I’d canvassed for Mamdani, and the stakes are much higher in Michigan. So I decided to spend five days in suburban Detroit as part of a joint canvassing effort by Jews in Seed the Vote, Bend the Arc Action, IfNotNow Movement, and Michigan United Action. Our goal was to knock on doors and share our own stories with fellow Jews.
Mine is that my maternal grandparents fled here from the Pale of Settlement, and my mother told me about my grandmother escaping a pogrom after her parents dressed her with a large cross around her neck, and paid a peasant to hide her under hay in a cart. She was fifteen years old when the pogrom happened — prime age for a Jewish girl to be raped.
She and her extended family made it to Pittsburgh. To the United States, the capital of democracy and pluralism. In all of history, Jews have never done so well as we have under democracies like this one. We’ve become so comfortable, as one Detroit-area rabbi remarked in his Kol Nidre sermon this year, that his community’s biggest intramural argument used to be over where to get the best bagels.
Then a Lebanese-American man whose relatives had just been killed by an Israeli air strike on Lebanon drove a truck into Temple Israel, a metro-Detroit synagogue. Dozens of preschoolers were inside. No one was hurt, but the building was damaged. El-Sayed, quickly made a lengthy statement condemning the culprit’s inexcusable antisemitism and vowing to support Jewish safety. But he also tried to explain the man’s terrorism. “Hurt people hurt people,” he said.
He later apologized for introducing political context so soon. But months later, his words still anger some people with whom I spoke. One woman glared, said she had grandchildren at the synagogue preschool, and slammed the door on me. Other canvassers described a man in a car who saw their t-shirts, sporting slogans like “Jews for Shared Safety,” and screamed that if he were to see El-Sayed and his family on fire right now across the street, he would do nothing to help them. He added that he was on the board of a shul.
Rogers’ campaign and its supporters are flooding TV and the social media with material excoriating El-Sayed as a dangerous Islamic fundamentalist and antisemite. AIPAC has also painted him as a threat to Jews, and spent over $30 million attacking him to defeat him in the primary. El-Sayed won anyway, but Michigan’s Jews remain saturated with a miasma of anti-El-Sayed propaganda. The woman who reminded me of my mother said she voted for Rogers because her father was a Holocaust survivor and she had to put Israel first, even though she knew Rogers could “roll back everything, including civil rights and abortion rights, that we Jews have worked so hard for. And even though I’ve never voted Republican in my life!”
I also canvassed Jews who were enthusiastically voting for El-Sayed. Other supporters, though, were terribly conflicted. At one door, a person — I won’t say their gender because they were so anxious about being identified — told me they are high up in local, Jewish-inflected Democratic Party politics. (I looked them up later and verified this.)
They, too, invited me into the sanctum of their home, as though afraid for the neighbors to see them talking with me. “I voted for El-Sayed,” they said. “But it was a horrible decision to have to make!” They strongly agreed with me about the need to vote for him, but they didn’t want their Jewish bigwig colleagues to know. “Half of them would never speak to me again,” they said. “What about your personal friends?” I asked. “Could you talk to them about the need to vote for El-Sayed?” “Yes,” they said. “I can do that.”
“This is what canvassing is about,” I told myself as I left.
Some Jewish bigwigs who openly support El-Sayed have been holding wine-and-cheese house parties for the un-decideds. Michigan Jews for Democracy sponsors these intimate gatherings. I went to one last week, at the house of Elaine Driker, formerly board president of Hillel of Metro Detroit. Former Michigan Congress member and political progressive Andy Levin addressed the group.
The setting was a cozy living room. To ensure that attendees felt comfortable voicing their feelings, journalists were told they could quote the speakers, but questions from the audience were off the record unless the individuals asking them agreed later to be quoted. The attendees were engaged, intent, and split, with some expressing strong support for El-Sayed and others venting reservations.
At the end. Levin summed things up. “We’re here struggling as Jews,” he told the audience. With young progressives entering the Democratic Party, he added, “We are really coming into a new era of politics in the United States, and I’m really hopeful about it.” He talked of the need to elect El-Sayed, then “hold him to be a great senator for the Jewish community.” Yes, he is a Muslim, Levin noted, and that is good. He added that, for Jews as for everyone, pluralism in government “has been great for us.”
This election in Michigan, Levin concluded, is “a time of great wrestling with God. Of wrestling with each other.” Then we all repaired to a room to eat brie and fine bread and wrestle some more.
The post Why I went to Michigan to talk to Jewish voters about Abdul El-Sayed appeared first on The Forward.
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Noah Wyle, TV’s nice Jewish doctor, is People’s Sexiest Man Alive
(JTA) — Noah Wyle, the Jewish actor who both mends and steals hearts as a doctor on the hit HBO Max medical drama “The Pitt,” has been named People magazine’s Sexiest Man Alive.
Tuesday’s announcement described the actor’s “smoldering intensity” and “leading-man looks,” while noting that “he loves to do the dishes.”
Wyle, 55, told People he initially thought the news was “a classic set-up for a prank.” His wife, Sara Wells, helped persuade him to accept the honor, he said, because she believes his qualities as a husband and father are worth celebrating.
The actor, who starred in the ’90s medical drama “ER,” is enjoying a career resurgence as Dr. Michael “Robby” Robinavitch, the brilliant, troubled emergency-room physician at the center of “The Pitt.” The role has earned Wyle two consecutive Emmy Awards for outstanding lead actor in a drama series, along with renewed attention to his own Jewish heritage.
As JTA reported last year, Wyle drew on his father’s Russian-Jewish background in helping create Robby, his first Jewish character. The doctor wears a Star of David necklace and, in a pivotal scene in the show’s first season, clutches it while reciting the Shema, a central Jewish prayer, during an emotional crisis.
Wyle, whose father is Jewish and mother is Episcopalian, did not grow up in a religious household. But in an interview with the Jewish Chronicle this year, he said Judaism had become more relevant to his life through the show and that his daughter, then 10, has expressed the most interest to “pick up the mantle of Judaism.” She helped him with the pronunciation of the Shema, he said, and her bat mitzvah has been scheduled.
Wyle has also brought Jewish history into “The Pitt.” In an episode he wrote for the show’s second season, a patient with ties to the 2018 Tree of Life synagogue shooting in Pittsburgh struggles with post-traumatic stress disorder.
Wyle said portraying a Jewish character offered an opportunity to present a humanist and healer at a time of heightened antisemitism. “I have come to learn that the world’s knowledge of Jews comes through depictions of them in the media,” he told the Jewish Chronicle.
This article originally appeared on JTA.org.
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New York Gov. Kathy Hochul says defending Israel would be ‘a lot easier’ if Netanyahu loses
New York Gov. Kathy Hochul, an incumbent Democrat running for reelection, said it would be “a lot easier” for her to defend Israel if Prime Minister Benjamin Netanyahu loses Tuesday’s election. New York has the largest concentration of Jews outside of Israel and is home to many ex-pat Israelis.
In an interview with Politico magazine published as Israelis headed to the polls, Hochul suggested that Netanyahu’s “overreach” in the Gaza war has become an obstacle to Israel’s international standing and that his government policies have killed any prospects for the creation of an independent Palestinian state.
“I believe we have to get people of goodwill who can make this happen, and as long as Netanyahu is sitting there, that is not in his interest to do that,” Hochul said. “It’s just not, and it won’t happen.”
Hochul has remained a strong supporter of Israel despite growing criticism of the country within her party. She was the first foreign elected official to visit Israel shortly after Hamas-led attacks on Oct. 7, 2023 and criticized the pro-Palestinian protests on campus.
In 2024, she came under fire for making an analogy to her hometown, Buffalo, in defending Israel’s military campaign against Hamas amid mass Palestinian casualties in Gaza.
“If Canada someday ever attacked Buffalo, I’m sorry my friends, there would be no Canada the next day,” she said in remarks to Jewish leaders, first reported by the Forward. “That’s a natural reaction. You have a right to defend yourself and to make sure it never happens again.” Immediately after it was publicized, Hochul apologized for implying that Israel had a right to destroy Gaza.
Hochul recalled in the interview privately warning Israeli officials during her visit to Israel that the country would lose international support.
“The world is with you when it comes to the brutal assault by a terrorist organization known as Hamas on innocent Israeli people,” Hochul said she told Israeli officials. “An overreach could change that dynamic, and that’s what’s happened.”
The Democratic governor also suggested that if Netanyahu continues as prime minister, it could complicate the prospects of a Jewish Democrat winning the party’s presidential nomination in 2028. The Israeli leader would remain “a lightning rod,” comparing his political survival instincts to those of President Donald Trump. “Who knows what he’s going to do next for self-preservation,” she said.
Closely watching the Israeli election
Hochul’s remarks came as Israelis voted in their first national election since Oct. 7, 2023, with unusually high turnout raising the possibility that participation could exceed 80%, a level not seen since the early 1970s.
Netanyahu, Israel’s longest-serving prime minister, is fighting to remain in power after nearly two decades in office. Many Israelis blame Netanyahu for the security failures that allowed the Oct. 7 attack, while his supporters credit him with confronting Hamas and Iran. Recent polls suggest Netanyahu’s right-wing coalition could fall short of the 61 seats needed to form a government. His main challenger is Gadi Eisenkot, a former military chief whose son and two nephews were killed in the war in Gaza.
Netanyahu’s campaign slogan, “It’s the right or Palestine,” taps into post-Oct. 7 fears about the establishment of a Palestinian state, warning that an Eisenkot-led government dependent on Arab support will lead to Palestinian statehood. But a Netanyahu defeat would not necessarily bring the changes Hochul wants. Eisenkot and other opposition leaders like Naftali Bennett and Avigdor Lieberman also oppose a Palestinian state.
A balancing act
Hochul’s comments also reflect the political challenge she faces at home, where she has maintained strong ties with Jewish leaders while working closely with New York City Mayor Zohran Mamdani, a fierce critic of Israel.
Hochul endorsed Mamdani last year after staying neutral during the Democratic primary. But she has continued to distance herself from the mayor on issues of antisemitism and Israel, which has left many Jewish New Yorkers uneasy. Her most recent state budget included a measure establishing a buffer zone around houses of worship to prevent disruptive protests from blocking access, an issue on which Mamdani had raised objections.
In the Politico interview, Hochul said Mamdani had brought “new energy” to the party, even as she acknowledged their disagreements. “Again, differences on approaches to the Jewish community, Israel and all that — that’s another topic,” she said.
A recent poll found that 65% of Jews in New York City disapproved of the mayor’s handling of antisemitism, while Hochul received 54% approval.
Hochul is seeking reelection against Republican Bruce Blakeman, the Jewish Nassau County executive, who has made support for Israel and opposition to antisemitism central themes of his campaign. But Blakeman has struggled to match the support former Republican gubernatorial candidate Lee Zeldin received from Jewish voters and Hasidic voting blocs four years ago.
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