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There’s a Grammy for Christian music. These musicians want Jewish music to get one, too.
(J. The Jewish News of Northern California via JTA) — There is a Grammy Award for just about every kind of music — from pop to metal to New Age to Contemporary Christian — but there’s no Jewish category. Two Jewish musician friends hope to change that.
Joanie Leeds, a children’s musician and Grammy winner in New York City, and Mikey Pauker, a self-described “devotional rock” artist from California, are working on a formal proposal to add “best Jewish music album” to the list of Grammys awarded each year. They plan to submit their proposal to the Recording Academy, the body that governs the Grammys, by March 1.
In the past, albums of what is traditionally considered to be Jewish music have been nominated in a variety of categories, including best contemporary world music. The Klezmatics’ “Wonder Wheel” album won in that category in 2006, and some referred to the award as “the first Jewish Grammy.”
But musicians who produce albums of Jewish music often find themselves caught between categories, Leeds said. The global category is not a fit for American musicians, and categories for religious music, even if expanded, are also not an easy fit, she said.
“‘Jewish’ is complicated, because it’s not just a religion like Christianity,” Leeds said. “It’s also a culture.”
To strengthen their proposal, the pair consulted with rabbis and Jewish educators about what constitutes Jewish music.
“We’re doing our best to be as clear as possible and as inclusive as possible, because not everybody knows that Jewish music is diverse,” Pauker said. “It’s transdenominational, it’s based in spirituality, it’s based in culture and it’s not just Ashkenazi.”
Mikey Pauker, seen here performing in Berkeley, California, is one of the musicians behind a petition to add a Jewish music category to the Grammys. (Courtesy Pauker)
In their proposal, Pauker and Leeds make the case for a new category that will encompass Jewish religious music, such as cantorial music, nigguns and Mizrahi music, as well as secular music, such as klezmer, Yiddish, Ladino and Judeo-Arabic music. Albums with Christian themes, including those produced by Messianic Jews, would not be eligible.
“It needs to have some sort of Jewish content in it to make it Jewish music,” Leeds said. “If there’s a song in Israel about some guy meeting a girl at a bar, or whatever it’s about that has no grounds in text or liturgy or anything, then it wouldn’t be considered Jewish music.”
“Our goal is really to educate not just the Recording Academy about what Jewish music is, but also educating the public as to what Jewish music is,” she said.
The Recording Academy regularly adds and modifies Grammy categories. This year, it added five new ones, including best score soundtrack for video games and other interactive media and best spoken-word poetry album.
Pauker said this is not the first time musicians have petitioned the Recording Academy to add a Jewish category. But this time, he said, he and Leeds can point to the consistent output of high-quality Jewish music in recent years. He noted that in the past two years alone, more than 100 albums were released that could have been nominated in such a category.
“We’re at a point in music history where we’re having a Jewish renaissance, and the market has arrived,” he said. “We have enough artists where we can get this done.” He added that the Recording Academy has been supportive of him and Leeds in their endeavor.
In an effort to raise awareness about their proposal, they have launched a petition on the Change.org website. By Friday, it had more than 1,800 signatures, including from non-Jewish musicians.
A petition to add a Jewish Grammys category garnered more than 1,800 signatures in its first week. (Screenshot from Change.org)
Among the signers is Sephardic singer and activist Sarah Aroeste. She said she supports the push to add a Jewish category at the Grammys because her albums, including 2021’s “Monastir,” do not fit cleanly into the other categories.
“Jewish music crosses so many musical boundaries, yet we get lost, or are ineligible, in existing categories,” she wrote. “As a Ladino musician specifically, I’ve always been put in the global music category. I am literally up against musical acts from all around the globe!”
She added: “Having our own category — much like other ethnic or religious groups have them — would highlight the breadth and diversity of Jewish music as a genre and would allow those Academy members knowledgeable about the music to be able to vote.”
Pauker, 37, lives in southern California and recently launched his own folk-rock-reggae-chant record label called Beautiful Way Records. He will help lead Shabbat services during Wilderness Torah’s upcoming Passover in the Desert festival.
Leeds, who is based in New York City, won a 2021 Grammy in the Best Children’s Music Album category for her ninth album, a compilation of secular children’s music called “All the Ladies” that included a song about Jewish Supreme Court Justice Ruth Bader Ginsburg. She has also released multiple albums of Jewish kids’ music, including “Meshugana” and “Challah, Challah,” as well as a Christmas record called “Oy Vey” in collaboration with the rapper Fyütch.
Pauker said the two became close friends during the pandemic, when they spent many hours on the social media app Clubhouse discussing Judaism and music.
As the Recording Academy considers their proposal in the coming weeks, Pauker said he and Leeds will hold community conversations about trends in Jewish music.
“One of our hopes is this will launch hundreds of new artists, new records and collaborations that can really help push this genre forward,” he said.
This story originally appeared in J. The Jewish News of Northern California and is reprinted with permission. Jackie Hajdenberg added reporting for JTA.
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‘The Yiddish Teacher’ (Poem)
One thing about the late Forverts staff writer and critic Miriam Hoffman — she cooked a heavenly eggplant in tomato sauce.
And why do I know this about one of our writers? Hoffman, a veritable lexicon-caldron of Yiddish sayings and terms she’d archived from her own mother’s distinct poylish dialect, was many things: A distinguished long-term professor of Yiddish at Columbia University; a theater critic turned playwright who turned the New York Public Theatre’s founding director Joseph Papp into a serious supporter of Yiddish culture; a child survivor of Siberian exile, and so much more.
As she encountered immigrant American life in da Bronx, the tiny dynamo that was Hoffman delighted in becoming American, freely advising everyone on the best consumer goods this country had to offer. A country that was a home and refuge to her, her parents, her husband and so many in her vast circle of Yiddishist friends, students, fellow writers, educators and chosen family. And then, once upon a time, she welcomed me into her Florida home for an overnight stay, so that I could record her jaw-dropping tales of how she and her beloved mameloshn Yiddish both survived the khurbn, the Holocaust. And talk into the video camera she did.
But first, there was lunch.
Rest in all your ferocious deliciousness, Miriam Hoffman, and thank you. For the eggplant, the advice on the best toothpaste, the stories — and for doing everything, everything, everything possible, to transmit your Yiddish to another generation.
The Yiddish Teacher
The Yiddish teacher bending saying:
In my book you’ll learn
the alefbeys through pictograms like so:
The gimel is a camel
The beys a house
You see?
The Yiddish teacher has an archive
in her bedroom closet
The folding doors open revealing:
shoeboxes filled with
stories and
poems and
songs she
wrote as a child
in the displaced persons camp
on paper donated to Jewish refugees
The Yiddish teacher was once
seated in back
of a transport truck
with all the other refugees
Trying to go over the Swiss Alps
to Mandate Palestine
The Yiddish teacher was born
in a Siberian prison camp
“people were starving, sure,
but there was sex”
The Yiddish teacher was the only
woman writer on staff
at the Forverts Yiddish newspaper
The Yiddish teacher remembers
the first time her family ate
Chef-Boy-Ar-Dee spaghetti and
meatballs
from a can
in the Bronx
We go shopping together
The Yiddish teacher loves Rao’s tomato sauce
“it’s the best”
The Yiddish teacher recommends
“Mavis Toothpaste”
It’s the best
The Yiddish teacher loves to
go fly fishing
The Yiddish teacher is short and slim
and round
I think
if I cup my hands together
I can
carry her around always
— Chana Pollack
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Christopher Nolan’s ‘Odyssey’ is a Talmud-quoting, Tisha B’Av epic
“Before there were Jews… there was ‘The Odyssey,’” a theater manager infamously posted on a marquee in Portland, Oregon.
While the mythic, Bronze Age events recounted in the blockbuster film likely never transpired, Homer’s epic poem is by any measure younger than the Jewish people. And Christopher Nolan’s Odyssey, now a proxy for a pitched battle over the essence of Western civilization, could not exist as it is without the Jews. Indeed, whether it knows it or not, it is telling a foundational story of our history.
Much of the criticism surrounding the film, which managed to agitate classicists from its first set photos of Matt Damon in a crested Grecian helmet (not a period-accurate Mycenaean boar-tusk ensemble) and bigots of all stripes with its casting of a trans man and people of color, has shifted since its release just before Tisha B’Av, taking aim at the film’s ideas and how they may clash with those of antiquity’s.
“Did you Christianize The Odyssey?” podcaster Zhong Shu asked Nolan in a now-viral interview.
Nolan explained that he was drawn to the ancient ethic of “xenia,” called “Zeus’ Law” in the film. In the Greek conception, this means welcoming guests because you never know if they may be a God. In Nolan’s blockbuster it’s described as treating others how you would be treated. When the law is breached, society as we know it comes undone, leading to our hero’s atonement and qualms that seem at odds with his traditional characterization.
While Nolan’s understanding mirrors the Christian Golden Rule, which itself is antedated by statements in the Torah and by Hillel, his vision of civilizational ruin when it is trespassed is more central to Judaism. Odysseus laments that, by creating the Trojan horse, and exploiting the code of hospitality to launch a massacre, he has broken something.
“To burn the walls of Troy is to burn the world entire,” Damon’s Odysseus tells Anne Hathaway’s Penelope. This is more or less a paraphrase from Talmudic wisdom: “To destroy one life is to destroy the world entire,” and its more recognizable corollary, “to save one life is to save the world entire.”
The Hebrew Bible is rife with examples of hospitality in extremis. In Sodom, Lot offers his daughters to a mob of rapists rather than have them violate his heavenly guests. The result: a destroyed city and a wife reduced to a table condiment. (Just before, Abraham fed these visitors, plus another angel of God.)
But watching the film Tuesday, I was reminded of another story. Remember when I mentioned Tisha B’Av, the holiday marking the destruction of Judaism’s ancient capital?
Our tradition teaches that the second temple fell because a man holding a banquet in Jerusalem kicked out his enemy, a fellow by the name of Bar Kamtza. Humiliated by his host, Bar Kamtza plots his revenge. He goes to Caesar and tells him the Jews are conspiring against his rule. To prove it, Bar Kamtza, like the wily Odysseus, concocts a ruse, suggesting the Romans send a sacrifice to the rabbis and see if they offer it.
They don’t, as Bar Kamtza blemishes the animal, making it unfit for offering.
In The Odyssey, the famous gift horse is presented as a tribute to Athena. Its blemish is the fighting force it hides inside, ready to sack the city.
The upshot of the rejected temple sacrifice was the razing of Jerusalem at the hands of the Romans. The temple is desecrated, in much the way the temple of Athena is in the film.
Christian theology doesn’t argue quite so forcefully that the violation of the Golden Rule augurs a civilizational collapse. Quite the contrary today, where xenophobia and whispers of Great Replacement — akin to the trade-wind rumors of sea peoples in Nolan’s film — have taken root in the Evangelical right. (Ezra Klein, and really anyone attuned to commentary as subtle as IMAX subwoofers, picked up on this tension.)
Jewish history tells us we fare poorly in places where the stranger isn’t welcome.
In a departure from the text, Nolan ends Odysseus’ wandering with his voluntary exile. He sails west, predicting a benighted age to come, where his exploits will be sung as men lose the ability to write.
Our story ends on a similarly bleak, yet hopeful note.
When Jerusalem fell, Rabban Yohanan ben Zakkai devised his own deception, sneaking past the city walls in a casket (before he was let out, zealots wanted to stab the bier, recalling the Trojans’ stabbing of the horse).
But before Yohanan can make his escape he’s intercepted by the general Vespasian, who he mistakenly refers to as the emperor. Vespasian offers a correction, but almost instantly a messenger confirms this designation, telling him Caesar died and named him his successor. Regarding Yohanan’s mistake as prophecy, he offers him a request.
Jerusalem had fallen, self-determination was unrealistic, and so Yohannan asks for the city of Yavneh and its sages. From there our modern history began, literacy thrived and a dark age was subdued.
The Temple and Troy have yet to be rebuilt, but their legends live on.
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Antisemitic incidents in Britain rose 21% in first half of 2026, remaining near record levels
(JTA) — Britain’s antisemitism watchdog says it received reports of nearly 2,000 incidents in the first half of 2026 — the second-most its recorded ever for the time period, following only the first half of 2024.
The new figures released Wednesday by the Community Security Trust represent a 21% increase in reported incidents over the same time period last year, which followed a surge in the early months of the war in Gaza that started when Israel attacked Hamas on Oct. 7, 2023.
Watchdogs in multiple countries have recorded surging antisemitism since and say the numbers portend an unsettling new normal when it comes to Jewish safety and security.
The increase in antisemitic incidents from January to June in Britain was driven, the CST found, by both violent attacks and a sharp rise in online abuse. While the largest category of incidents recorded was abusive behavior, which accounted for more than four-fifths of all reported incidents, the group also recorded a record number of assaults for any January-to-June period, while incidents affecting synagogues, schools and other Jewish institutions also reached new highs.
The CST has tracked, reported on and published antisemitic incidents since 1984.
Among the incidents highlighted in the report were the April stabbing of two visibly Jewish men in London’s heavily Orthodox Golders Green neighborhood, which British authorities treated as a terrorist attack, and a series of arson attacks targeting synagogues and Jewish organizations, including the destruction of ambulances belonging to the volunteer Jewish emergency service Hatzolah.
The report also cited suspected hostile activity linked to Iranian intelligence targeting Britain’s Jewish community. CST said the U.S-Israel war with Iran coincided with another spike in antisemitic incidents.
“These attacks are directed against British Jews but they are also attacks on Britain and our society,” CST’s chief executive, Mark Gardner, said in a statement, adding that the incidents should “concern everyone who cares about Britain and the threats against it, whether state-directed from Iran, or internally driven by Islamist, far Right, far Left, or other ideological extremes.”
The findings come as the British government has expanded funding for security at Jewish institutions following a series of violent attacks over the past year. Following the release of the report, Policing Minister Sarah Jones said, “Antisemitism goes against our country’s values and I will do everything in my power to protect our Jewish communities.”
CST compiles its statistics from incidents reported directly to it as well as cases recorded by police and other agencies. CST reviews each report before including it in its database. It says it does not include reports of anti-Israel rhetoric or activity that do not also include “explicit anti-Jewish language, targeting, or motivation.”
This article originally appeared on JTA.org.
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