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Two late iconic Israeli singers have been resurrected via AI for a duet. Not everyone is happy about it.
(JTA) — Two popular Israeli singers — one the “Madonna of the East,” the other the “king” of Mizrahi music as well as a convicted rapist — have teamed up on a new song in honor of their country’s 75th birthday.
The twist: Both Ofra Haza and Zohar Argov have been dead for decades.
Their collaboration, “Here Forever,” wasn’t unearthed in a dusty archive. Instead, the song and its accompanying video are essentially deepfakes, created using artificial intelligence that mined recordings from when they were alive to fabricate a lifelike performance of a song composed long after their deaths.
Their families signed off on the song, a soulful duet about Israel’s bygone past that has caught on among Israeli listeners. But some in the country are asking why Argov, who died in prison while facing another rape charge, should be a centerpiece of Israel’s Independence Day celebrations.
Meanwhile, others who were close to the artists, including Haza’s longtime manager Bezalel Aloni, have panned the song.
“The song does not resemble the tone of her divine voice,” Aloni told Israeli news outlet N12. “She broke through thanks to her artistry, and none of that is reflected in this piece. ֿI want to cry for her.”
An Argov impersonator who was part of the team that created the song also slammed it in the press, calling it “shameful” for not accurately reproducing Argov’s voice.
The song is part of a growing trend of using AI to create new tracks with pop stars’ voices. Fresh, but fake, songs or covers have been published using the vocals of artists like Drake and Rihanna, raising ethical questions as to who owns an artist’s voice or likeness.
The new song’s popularity — the video has racked up 200,000 views since launching last week, and the song is the 16th-most-requested in Israel on Shazam, a music app — also suggests that Israelis are embracing nostalgia for a shared Israeli past at a time when the country is occupied with social strife and political upheaval.
“Not to be too cliched, but with everything that’s been happening in the last three months, that offered a lot of inspiration,” Oudi Antebi, CEO and co-founder of Session 42, the Israeli music production company spearheading the AI music project, told the Times of Israel.
The video for “Here Forever” uses archival footage of the singers to make them look like they’re singing the song, combined with grainy scenes from Israel during earlier eras of its history.
Both Haza and Argov played a role in shaping that history through their music, which earned them distinctive nicknames. Haza, who died in 2000, was dubbed the “Madonna” of Israel, and is perhaps best known to American audiences for her singing on the soundtrack of the 1998 animated musical film “The Prince of Egypt.” Her musical style blended Mizrahi influences and pop.
Argov was called, simply, the “king” of Mizrahi music, and he helped mainstream the genre that is rooted in the songs and poetry of Jews from across the Middle East and North Africa. But his life and legacy have been tainted by a conviction for rape as well as other criminal charges. He died by suicide in a prison cell in 1987 while facing his second rape charge, nearly 10 years after the conviction. Even so, in the decades since his death, his music has become ever more popular. He is one of the most-played artists on Israeli radio, even after growing awareness of sexual abuse in the years since the beginning of the #MeToo movement.
“I had hoped, but it’s hard to say I expected” that attitudes toward Argov would change, Orit Sulitzeanu, executive director of the Association of Rape Crisis Centers in Israel, told the Times of Israel last year in an article exploring Argov’s legacy. “Until there is societal shaming, sexual violence will continue all over the place,” she said. “There have to be people pushing for it … the only way to make change is through activism.”
In a column last week, Israeli music journalist Avi Sasson suggested that Argov’s rape conviction should have been grounds for excluding him from “Here Forever.”
“What about this pairing?” Sasson wrote in the Israeli publication Ynet. “After all, Ofra Haza and Zohar Argov worked in parallel in the ’70s and ’80s, and when they could have collaborated, they chose not to. Moreover, did anyone stop to think about the fact that, had Ofra Haza been alive today, in the #MeToo era, perhaps she wouldn’t have opted to record a duet with Argov, a person who was convicted of rape and later ended his life in a jail cell?”
For his part, Aloni said that Haza “vehemently refused to collaborate with Zohar Argov,” but the manager did not attribute that refusal to Argov’s rape conviction. Rather, although Haza is widely described as a Mizrahi singer and was of Yemeni Jewish descent, Aloni said Haza did not consider her musical genre to be Mizrahi.
Antebi said that after conducting a poll to see which artists best represented Israel, the vast majority voted for Haza and Argov.
Antebi told the Times of Israel that the track is “a love song for the nation.” Its chorus seems to allude not only to Israeli resilience but also to the technological innovation that made the song possible — and that has placed new words in Argov and Haza’s mouths long after their passing.
“I’ll stay here always, I’ve missed you,” the lyrics read. “Even if you can’t see it, we are here forever.”
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The post Two late iconic Israeli singers have been resurrected via AI for a duet. Not everyone is happy about it. appeared first on Jewish Telegraphic Agency.
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This Orthodox filmmaker strove to find common ground between Jews and non-Jews
Menachem Daum (1946-2024) was not your typical Orthodox Jewish filmmaker. In his work, the late director often strove to find common ground between Jews and non-Jews, Orthodox and secular Jews, Polish Catholics and Jews (which he wrote about in these pages) and even between Palestinians and Holocaust survivors.
Fordham University is hosting a free retrospective of his films at Lincoln Center in New York. Called “Hidden Sparks,” the retrospective kicks off with Daum’s 1997 work A Life Apart: Hasidism in America — the first in-depth documentary portrait of Hasidim in New York City, produced and directed by an insider who knew the community intimately. The film is narrated by Leonard Nimoy.
In the documentary, we see a grandfather chatting in Yiddish with his children and grandchildren at home on Purim; a lively scene at the local butcher’s, and a young African-American’s unexpected reaction to a group of Hasidic men engaged in the tashlikh ritual in Brooklyn.
The film will be followed by a panel discussion that includes anthropologist Ayala Fader; filmmaker Oren Rudawsky (Daum’s frequent co-producer and co-director) and Daum’s wife, Rifke Daum.
On Tuesday, Feb. 3, 2026, Fordham will also host a screening and discussion of Hiding and Seeking: Faith and Tolerance after the Holocaust — a documentary that follows Daum as he travels with his two grown sons to the Polish village of Dzialoszyce to track down the Christian farmers who hid their family from the Nazis.
What’s fascinating about the film is the obvious reluctance of his sons, married yeshiva students, to go on the trip at all, poking fun at their father’s liberal attitude towards the Poles — and then seeing their reaction when they finally meet the now-aging children of those farmers.
As Oren Rudavsky put it: “A Life Apart was our attempt to humanize Haredim for outsiders. Hiding and Seeking is our attempt to humanize outsiders to the Haredim.”
The post-screening discussion for Hiding and Seeking will include the Polish-born historian Natalia Aleksiun, filmmaker Oren Rudavsky, and Daum’s son, Tzvi Dovid Daum. To register for the film, go here.
The retrospective also includes the 2026 film The Ruins of Lifta (2016), a documentary centered around the only Arab village abandoned in the 1948 Arab-Israeli war that wasn’t destroyed or repopulated. It will be followed a week later by a conversation with Israeli historian Hillel Cohen about the legacy of The Ruins of Lifta.
There will also be a screening of portions of Menachem Daum’s unfinished film Memory Keepers, about a group of non-Jews — mostly Christian Poles — working to restore and preserve Jewish cemeteries in Poland.
The film retrospective, which takes place at the McNally Amphitheater in Manhattan, runs from Jan. 27 — Feb. 17. For more information and to register, go here.
The post This Orthodox filmmaker strove to find common ground between Jews and non-Jews appeared first on The Forward.
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Could a video game help combat antisemitism on college campuses?
At a time of escalating antisemitism in the online gaming community, Julia Sebastien’s upcoming PC game, StrangeLand, which explores the difficulties of Jewish life at an Ivy League college, offers an alternative: the digital game not as an agent of antisemitism, but as a bulwark against it.
“What I want players to experience with this game,” Sebastien told me over Zoom, “is the sequence of choices and trade-offs a Jewish student in a really rigorous institution has to make.”
Yet she also has a longer-term, and perhaps loftier, aim for StrangeLand: That college educators and administrators use it as a guide of sorts to Jewish student life in general, and in particular, to “antisemitism on campuses,” she said.
Still, its target audience is one you might expect — current and former Jewish students at North American colleges, who, Sebastien believes, need help communicating “to family and friends when they’re feeling too tired or burnt out by everything that’s been going on.”
Sebastien has made digital games before. Indeed, she’s had a couple, both also academic in tone, published in digital journals. (One explored the effects of burnout in academia.) But thanks to a grant from the nonprofit Maimonides Fund, StrangeLand is her most ambitious, well-funded effort yet.
It’s also a little more personal.
Sebastien grew up in what she described as a “pretty religious Jewish suburb,” a modern orthodox community in Toronto. She attended Jewish day school and was fluent in Hebrew. But she never really took to prayer, she told me, and even as a teenager she had begun to see her Jewishness as an intellectual pursuit more so than a religious one.
She stayed in Toronto for her BA at York University, but then ventured south to Cambridge, Mass., where in 2022 she got a Master’s in Learning, Design, and Technology from Harvard, before starting a PhD in media psychology at Cornell (she’s partway through).
StrangeLand is loosely based on her own experiences in the academy, though it also comprises anecdotes from dozens of other Jewish undergraduates, graduates and alumni, whom Sebastien consulted via a survey. Players will “inhabit the life of a Jewish student who has just left home to start graduate school at an Ivy League university, sometime in the 2010s,” she said. There, they’ll be presented with a series of scenarios, organized thematically.
These scenarios will be “evergreen” Jewish student dilemmas: negotiating obligations around Jewish holidays alongside the traditional academic calendar; staying late at a laboratory on a Friday night versus leaving to meet other Jewish students for Shabbat dinner. And some will have a grain of antisemitism, at least according to Sebastien: how to respond to an off-color remark in a social setting, say, or whether or not to wear a Magen David necklace in public.
There’s no winning or losing, per se. Rather, StrangeLand will aim to illustrate the “impossibility of satisfying the demands of these two worlds; that, really, is the crux of the gameplay,” Sebastien said.
Notably absent from StrangeLand, however, are Zionism and Israel, the very topics that have elevated the Jewish collegiate experience to something of a national issue. Their omission is no accident. “I’m not trying to shine a light on what’s happening now,” Sebastien said. “I’m trying to educate people about antisemitism.”
And to include such divisive subjects wouldn’t help Sebastien fulfill this aim, she feels. “As a designer, I need to consider the very real possibility that for some players, StrangeLand might be their first exposure to antisemitism as a distinct concept,” she said. “And I feel that the best way to bring antisemitism awareness to diverse audiences is to use examples that are clear, universal, and evergreen.”
These hot-button issues, moreover, would seriously upset the vibe Sebastien is going for. “I actually don’t want characters in the game shouting horrific things,” she said. “I don’t want to jar the player. I want to explore concepts in a safe way that can still be emotionally poignant and meaningful and educational.”
The game will have a retro feel, then, a lo-fi aesthetic — the heavily-pixelated, Game Boy-style gameplay that Sebastien adored as a child — which she’s confident will reinforce these feelings of comfort and safety. (She cited Tomorrow, Tomorrow, and Tomorrow, Gabrielle Zevin’s best-selling 2022 novel about a pair of Jewish, Harvard-educated video game developers in the ‘90s, as one of the game’s inspirations.)
In short, Sebastien wants StrangeLand to be a respite from the pressures of campus life, while at the same time illuminating, especially for those non-Jewish players, the complexities of the Jewish student experience.
How it can accomplish this without meaningfully discussing Zionism is an open question. To my mind, StrangeLand seems to be as much a work of history as anything else. The antisemitism Sebastien repeatedly referenced during our conversation was of the classical U.S. variety, the WASP-y strain of the 1960s and 1970s often found in Roth and Bellow novels. Nowadays, of course, discussions about campus antisemitism are typically focused on something else entirely. So it’s a little hard to square Sebastien’s broader goal for StrangeLand, that it eventually be part of DEI curricula, with its lack of contemporary examples.
But Sebastien is confident players will leave StrangeLand with a more complete understanding of Jewish student life. “I want this to speak to and for Jewish students now and in the past,” she said. “That’s what this game is to me.”
The post Could a video game help combat antisemitism on college campuses? appeared first on The Forward.
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People are enchanted with this 12-year old singer of Yiddish songs
דאָס איז איינער פֿון אַ סעריע קורצע אַרטיקלען אָנגעשריבן אױף אַ רעלאַטיװ גרינגן ייִדיש און געצילעװעט אױף סטודענטן. די מחברטע איז אַלײן אַ ייִדיש־סטודענטקע. דאָ קען מען לײענען די פֿריִערדיקע אַרטיקלען אין דער סעריע.
אין זומער 2020, בעת די װעלט איז געװען פֿאַרשפּאַרט צוליב קאָװיד־19, האָב איך געקוקט נאָך אַ מאָל און װידער אַ מאָל אױף אַ װידעאָ װאָס האָט זיך באַװיזן אױף דער סאָציאַלער מעדיע. דאָרטן האָבן צװײ קינדערלעך — דינה סלעפּאָװיטש און פּיניע מינקין — געזונגען אַ ייִדיש פֿאָלקסליד װעגן די בולבעס װאָס אָרעמע ייִדן האָבן געגעסן אין מיזרח־אײראָפּע.
איך בין פֿאַרכּישופֿט געװאָרן. אַ פּנים בין איך נישט געװען די אײנציקע, װײַל באַלד נאָך דעם איז אַן אַרטיקל װעגן דעם װידעאָ אַרױס אינעם פֿאָרװערטס.
דעמאָלט האָב איך אָבער נישט געװוּסט אַז דינה סלעפּאָװיטש, נישט געקוקט אױף איר צאַרטן עלטער, איז שױן געװען אַ געניטע זינגערין פֿון ייִדישע לידער. דאָ זעט מען װי זי האָט צו פֿיר יאָר אויף אַ חנוכּה־פֿאָרשטעלונג אין דער ניו־יאָרקער אַרבעטער־רינג שולע געזונגען פֿון אױסנװײניק דאָס קינדער־לידל „האָב איך מיר אַ מאַנטל“. איר טאַטע, דער כּלי־זמר און כּלי־זמר־מוזיק פֿאָרשער זיסל סלעפּאָװיטש האָט זי אַקאָמפּאַנירט אױף דער קלאַװיאַטור. מען הערט אינעם װידעאָ װי דער עולם זינגט מיט מיט איר דעם רעפֿרען.
דינה און איר טאַטע האָבן רעקאָרדירט אַ היפּשע צאָל װידעאָס פֿון ייִדישע לידער במשך פֿון די לעצטע פֿינעף יאָר. אָט איז אַ שפּיל־רשימה װוּ מען קען קוקן אױף זײ. איך האָב ספּעציעל ליב „שנירעלע פּערעלע“, װאָס דינה זינגט מיט אַ בעכער אין דער רעכטער האַנט, װי דאָס ליד באַשרײַבט. „דײנו“, װאָס זי זינגט מיטן טאַטן, איז מונטער און אָפּטימיסטיש. „דאָס עלנטע קינד“, קאָמפּאָנירט אין דער װאַרשעװער געטאָ מיט װערטער פֿון שמערקע קאַטשערגינסקי, זינגט זי װײך און מיט טרױער.
אין 2025 האָט דינה צו צװעלף יאָר אָפּגעהאַלטן אין אַ ניו־יאָרקער טעאַטער די װעלט־פּרעמיערע פֿון איר טאַטנס ליד „אױפֿן טײַכל שלום“. די קאָמפּאָזיציע איז באַזירט אױף אַ ליד פֿונעם פּאָעט און שרײַבער באָריס סאַנדלער, װעמענס 75סטן געבוירן־טאָג האָט דער קאָנצערט אָפּגעמערקט. זי האָט אױך דעבוטירט װי אַ סאָליסטקע מיט דער נאַציאָנאַלער ייִדישער טעאַטער־פֿאָלקסבינע בעת זײער חנוכּה־פּראָגראַם אין היברו־יוניאָן קאָלעדזש. זי פֿיגורירט אויך אין װידעאָס, אַרײַננעמעננדיק „זאָל שױן קומען די גאולה“, קאָמפּאָנירט נאָכן חורבן מיט װערטער פֿון שמערקע קאַטשערגינסקי.
לעצטנס האָב איך געשמועסט (אױף ענגליש) מיט דינה און איר טאַטן װעגן איר באַציִונג צו ייִדישע לידער — אַמאָל, הײַנט צו טאָג און האָפֿנטלעך אין דער צוקונפֿט.
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שטערן׃ װי אַזױ האָט דינה אָנגעהױבן צו זינגען לידער אױף ייִדיש?
זיסל סלעפּאָװיטש: זינט זי איז געבױרן געװאָרן האָב איך איר געזונגען אױף ייִדיש. זי האָט נאַטירלעך אָנגעהױבן נאָכצוזינגען די ייִדישע לידער. מיר רעדן רוסיש בײַ אונדז אין דער הײם, װײַל איך און מײַן פֿרױ זענען אױפֿגעװאַקסן אין בעלאַרוס. אַװדאי רעדט דינה ענגליש אין שול, און ענגליש און רוסיש מיט די חבֿרים. ייִדיש און ייִדישע לידער זענען אָבער געװען אַ טײל פֿון אונדזער משפּחה־לעבן, און זי האָט זײ אײַנגעזאַפּט אין זיך במשך פֿון איר טאָגטעגלעך לעבן. כאָטש זי האָט זיך נאָך נישט געלערנט ייִדיש סיסטעמאַטיש — גראַמאַטיק אאַז״װ — הערט מען װי נאַטירלעך זי זינגט אױף ייִדיש.
שטערן׃ דינה, װי לערנסטו זיך אַזױ גוט אױס די לידער?
דינה סלעפּאָװיטש: קודם־כּל זינגט מײַן טאַטע פֿאַר מיר אַ נײַ ליד, אַזױ פֿיל מאָל װי איך דאַרף. כ’האָב אַ גוטן זכּרון, הײב איך גיך אָן צו געדענקען די מעלאָדיע. דערנאָך דיסקוטירן מיר די װערטער, זעצנדיק זײ איבער אױף רוסיש און אַ מאָל אױף ענגליש. װײַל איך קען אַ סך ייִדישע לידער זענען עטלעכע װערטער מיר שױן באַקאַנט — מער און מער װערטער מיט דער צײַט.
שטערן: װאָס זענען דײַנע באַליבטסטע ייִדישע לידער?
דינה סלעפּאָװיטש: איך פֿיל זיך פֿאַרבונדן מיט „שנירעלע פּערעלע“, װײַל איך האָב דאָס געזונגען אין מײַן ערשטן װידעאָ בעת קאָװיד־19. און אַװדאי איז דאָס ליד װעגן בולבעס נאָענט צום האַרצן, װײַל אַ סך מענטשן האָבן געקוקט אױפֿן דאָזיקן װידעאָ און הנאה געהאַט פֿון אים. „אַרום דעם פֿײַער“ האָב איך אױך זײער ליב. װען איך זינג דאָס ליד פֿיל איך זיך רויִק און פֿאַרבונדן מיט אַנדערע מענטשן.
שטערן: װאָסער מין רעאַקציע באַקומט איר אױף די װידעאָס?
זיסל סלעפּאָװיטש: מיר באַקומען זײער אַ פּאָזיטיװע רעאַקציע. איך פֿאָר איבער דער װעלט צוליב מײַן מוזיק־אַרבעט, הער איך אָפֿט אַז מוזיקערס און ליבהאָבערס פֿון ייִדיש אין אַנדערע לענדער קוקן אױף די װידעאָס, אָפֿט מאָל מיט זײערע קינדער. לערערס פֿון ייִדיש און פֿון ייִדישער מוזיק װײַזן זײ אין די קלאַסן.
דינה סלעפּאָװיטש: מײַנע חבֿרים קוקן אױף די װידעאָס, און איך מײן אַז זײ האָבן זײ ליב!
שטערן: דינה, װי פֿילסטו זיך װען דו זינגסט פֿאַר אַן עולם, ספּעציעל אין אַ טעאַטער אָדער אױדיטאָריע?
דינה סלעפּאָװיטש: נערװעז. מײַן מאַמע העלפֿט מיר אָבער אַ סך. זי איז אַלע מאָל בײַ דער זײַט װען איך האַלט בײַ זינגען. מיט איר הילף באַרויִק איך זיך און מאַך זיך גרײט צו גײן אױף דער בינע.
שטערן: צי װילסטו זיך לערנען ייִדיש סיסטעמאַטיש, אפֿשר מיט ייִדיש פּאָפּ?
דינה סלעפּאָװיטש: יאָ, דעם קומעדיקן זומער, װען איך װעל נישט האָבן אַזױ פֿיל שולאַרבעט צו טאָן. האָפֿנטלעך װעל איך זיך לערנען רעלאַטיװ גרינג, װײַל כ’האָב געהאַט ייִדיש אין די אױערן לעבנסלאַנג. און איך קען שױן אַ סך װערטער.
שטערן: צי װעסטו װײַטער זינגען ייִדישע לידער פֿאַר אַן עולם און רעקאָרדירן װידעאָס?
דינה סלעפּאָװיטש: יאָ. נאָך דעם װי איך װעל זיך לערנען ייִדיש מער סיסטעמאַטיש װעל איך קענען זינגען װײַטערדיקע לידער. איך זינג מיטן ניו־יאָרקער פֿיליאַל פֿונעם נאַציאָנאַלן קינדער־כאָר, װאָס העלפֿט מיט געזאַנג־טעכניק. מיר זינגען אױף ענגליש, שפּאַניש, יאַפּאַניש, העברעיִש, האַװאַייִש…די דיריגענטן העלפֿן אונדז מיטן גוט אַרױסרעדן די װערטער בעת מיר זינגען. איך האָב ליב דאָס זינגען אױף פֿאַרשײדענע שפּראַכן. ייִדישע לידער װעלן מיר אָבער בלײַבן ספּעציעל װיכטיק, װײַל ייִדיש איז אַזאַ גרױסער טײל פֿון מײַן לעבן.
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