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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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VIDEO: Memories of the Workmen’s Circle in Montreal
מער ווי הונדערט יאָר לאַנג האָט דער אַרבעטער־רינג געשפּילט אַ וויכטיקע ראָלע אין דעם ייִדישן לעבן פֿון מאָנטרעאָל. די אָרגאַניזאַציע איז געווען איינע פֿון די וויכטיקסטע וועלטלעכע ייִדישע כּוחות אין דער שטאָט און האָט אין משך פֿון לאַנגע יאָרן אַנטוויקלט אַ רײַך קולטור־ און געזעלשאַפֿטלעך לעבן.
אין דער רעקאָרדירונג וועט איר זיך באַקענען מיט שלום (סאָל) עדלשטיין, וואָס האָט אָנגעפֿירט דעם אַרבעטער־רינג אין מאָנטרעאָל אין אירע לעצטע יאָרן. מיטן שמועס פֿירט אָן אלי בענעדיקט פֿון דער ייִדיש־ליגע.
אין די ערשטע יאָרן פֿונעם 20סטן יאָרהונדערט זענען געווען אַ ריי אַרבעטער־רינג-„ברענטשעס“ איבער קאַנאַדע, וואָס האָבן געפֿירט אַ רײַכע קולטור־אַרבעט, אַרײַנגערעכנט שולן, טעאַטער־טרופּעס און כאָרן. במשך פֿון די יאָרן האָבן זיך די „ברענטשעס“ צו ביסלעך פֿאַרמאַכט, און די פֿאַרבליבענע אַקטיוויטעטן האָבן זיך צונויפֿגעקליבן אין איין הויז אין מאָנטרעאָל. אין דעם לעצטן יאָר האָט זיך אויך דאָס הויז פֿאַרמאַכט. אין דעם שמועס וועט שלום עדלשטיין דערציילן וועגן די „ברענטשעס“, וועגן דעם לעבן און די אויפֿטוען אין דעם הויז, און וועגן זײַנע אייגענע איבערלעבונגען דאָרט.
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Facebook suspends radio broadcaster’s account over video of Holocaust survivor
Facebook has abruptly banned a Jewish broadcasting executive in Minnesota after he posted a link to a video of a 104 year-old Holocaust survivor in Texas sharing his story, prompting the Minnesota Attorney General to intervene.
Joel Glaser, CEO of AMPERS, a group of community radio stations across Minnesota, received an email from Facebook last month informing him that his personal account had been suspended because it violated the platform’s “child sexual exploitation” policies.
Because Glaser also administers the account for an AMPERS radio series titled MN90: Minnesota History in 90 Seconds, Facebook also took down that account, which has more than 10,000 followers.
The video produced by an NBC affiliate in Dallas and shared by an ABC affiliate in the Twin Cities, featured a talk by Walter Levy, a survivor who fled Germany in the late 1930s and still tells his story about how his family survived Kristallnacht and struggled with whether to flee to then-British mandated Palestine or America. His family eventually joined relatives in Arkansas.
“How it got flagged as being child sexual exploitation is absolutely beyond me,” said Glaser, who unsuccessfully appealed.. “It did not give me the opportunity to explain anything, ask any questions, provide any screenshots, do anything at all.”
Facebook has said the case has been “flagged for the team” and is “looking into this.”
Glaser initially speculated that an antisemite, Holocaust-denier, or a bot operating on their behalf had flagged his post. But then he started leaning toward the notion that it was probably just artificial intelligence run amok.
“I guess Meta’s AI isn’t smart enough to differentiate between child sexual exploitation and a legitimate news story,” he said.
Because Glaser also oversees AMPERS’ news coverage, losing access to Facebook has made his job more difficult.
“I’m being hindered from doing that,” Glaser said. “They need to fix it.”
Experts say Glaser’s experience is not unusual, underscoring a need for significant work on content moderation systems, as well as transparent correction mechanisms. Without seeing Meta’s internal enforcement signals, it’s impossible to know why the system acted to suspend Glaser’s accounts.
On the morning of June 25 Glaser received an email from Facebook saying that his personal account was being suspended and he had 180 days to appeal. While the platform attributed the suspension to a violation of child sexual exploitation standards, it did not specify what content of Glaser’s had violated those standards. The video of Levy just happened to be his most recent post.
Glaser appealed right away, taking the required nine photographs of his face to prove it was him. Facebook denied the appeal that afternoon and permanently banned him with no opportunity for additional appeals.
Glaser contacted Minnesota’s Attorney General, a standard recourse for Facebook subscribers in a number of states who have
unfairly had their accounts suspended. Brian Evans, press secretary for Minnesota Attorney General Keith Ellison, told Glaser that the office has interceded with Meta previously regarding their “heavy-handed approach to account deactivation.”
The Attorney General’s Consumer Action team will work to get Glaser’s two accounts reactivated, he wrote.
“The Minnesota Attorney General’s Office has received numerous complaints from consumers about moderation decisions that appear to have been made in error by Facebook,” Evans said.
Minnesota State Rep. Ginny Klevorn, a Democrat who represents the suburbs northwest of Minneapolis, has also asked that the state party’s liaison to Meta look into the matter, noting that AMPERS is partially funded by the state of Minnesota.
“Why is a public service network that deals with factual historic events being banned?” she said. “I think they owe Joel some sort of explanation.”
The post Facebook suspends radio broadcaster’s account over video of Holocaust survivor appeared first on The Forward.
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Artists are boycotting a show about Israel. The run’s already sold out
In the third act of Jonathan Spector’s Birthright, the character Izzy delivers the closest thing the play has to a thesis.
“I can go up on the bimah at my parents’ shul and I can say I am married to a woman, I can say I don’t keep kosher, I can say I don’t believe in God,” the character, a former J Street employee played by Molly Bernard, says. “The one thing that would get me kicked off the bimah, kicked out of the shul, kicked out of my family is if I say I am an anti-Zionist.”
There is an unspoken flipside to this equation: Just as Jewish communal life has instituted litmus tests, the pro-Palestine movement also has its dogma.
Jewish organizations once accepted all comers — gay, bacon-eating, atheist — Spector told me in an interview the day the show, tracking six members of a Birthright group over 18 years, opened at MCC Theatre. Recently, though, when it comes to the Jewish state, “there’s been a similar kind of shift away from tolerance from people on both sides of that divide.”
As if one needed more proof of Spector’s assertion, the group Theater Workers for a Ceasefire announced on Tuesday a call to boycott the production for “normalization,” even though the show is, at press time, sold out.
In an open letter, the organization outlines its concerns. “Normalization includes any plays, festivals, and other kinds of cultural activities that are based on the false premise of symmetry between oppressors and oppressed or which assume colonizers and colonized are equally responsible for the ‘Israel/Palestine conflict.’”
Birthright, they argue, meets this definition in its third act, when Izzy and Chaya (Zoë Winters), a former Obama staffer, debate the Gaza War in the aftermath of Oct. 7. “Chaya and Izzy perpetuate the fallacy that genocide has two equally legitimate sides,” the Theater Workers wrote. “The play does not challenge Chaya’s beliefs — it privileges them.”
But does it? We learn Chaya resigns from her job at the domestic nonprofit she founded over a pressure campaign by her staffers, who share an offensive text she sent via Instagram. The text: “Maybe they should spend a week in Gaza, and then come back and tell us if the rapes are real or not.”
In an Instagram carousel, Artists For Ceasefire describes this as “a text accusing Palestinians of being rapists.” This is a distortion, but reveals a familiar taboo in certain pro-Palestinian activism: the acknowledgment that Hamas and Palestinian Islamic Jihad committed sexual violence.
“Birthright emphasizes Chaya’s victimhood, whereby her own personal and professional losses in the wake of October 7th are greater than that of any Palestinian,” the letter continues. “Izzy is depicted as immoral for caring more about Palestinian strangers than her friend.”
This smacks of a bad faith reading. Once again we are in the realm of depiction not equalling endorsement. Cherries are being picked. That the play doesn’t “challenge” every argument, or “encourag[es] audiences to empathize with” an Israeli character’s “subjectivity” is seen as morally deleterious, rather than what it is: a play, with characters, not a debate, op-ed or struggle session.
As Spector told me, “plays contain ideas, but plays are about people.”
We needn’t wonder what Theater Workers for a Ceasefire would recommend as counter-programming: on Instagram they argued for an example in Seven Jewish Children by Caryl Churchill, a non-Jewish playwright. That play is more polemic than drama and runs on an engine of Holocaust inversion, which makes sense when you look at their Instagram post.
“Conventional drama demands we present contrasting viewpoints in the name of conflict,” the group concedes, “But how we write the conflict is not an ideological [sic] benign matter.”
The overriding interest is not art, but ideology. Not the mirror up to life, but of the funhouse variety that warps reality to an endless, echo chamber tunnel.
Eli Gelb, an actor in the show, acknowledged the boycott in an Instagram story, wrote “I’ve been outspoken as an antizionist Jew and I remain so. I believe in the show and will be continuing to perform in the production.” Molly Bernard’s Instagram stories Wednesday are of devastation in Gaza.
The letter makes clear “this would not be a boycott of MCC, nor of Jonathan Spector, but of this specific cultural product.” How can you boycott a run that, at press time, has no seats left to buy? Yield your tickets while ye may, someone will gladly snap them up.
In the play, a character, whose identity I won’t reveal due to spoilers, discusses an episode recounted in the Talmud, where a Super Bowl-sized crowd witnesses one priest stab another for the privilege of cleaning up ashes from a ritual sacrifice.
Rabbi Tzadok says all present were responsible for creating the conditions for the attack. But then the father of the stabbed priest retrieves the knife from his son’s back, and tells the crowd that, as he is not yet dead, the knife is still ritually pure. The onlookers cheer.
In the show, the story is cryptic, but speaks to Israel, where the ideal of the state has given way — perhaps irreversibly — to a culture of violence.
“This is how far they had fallen in this period,” the character says, “how far they had strayed, that they valued the laws of ritual purity over human life.” It’s an argument that would seem to align with Artists for Ceasefire, for whom the suffering in Gaza supersedes any gestures at complexity.
In their demands for a purity test, they may have missed it.
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