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For ill and for good, this ‘Wicked’ song has become ubiquitous
In the final minutes of the second act of the Broadway musical Wicked, Glinda and Elphaba sing together one last time. They have reached their ultimate, iconic forms: Glinda is the Good Witch, ringletted and resplendent. Elphaba is the Wicked Witch of the West, caped and glittering. They suspect they will never see each other again. And so the two women sing a duet that is part yearbook note, part deathbed confession.
“Because I knew you,” Glinda sings, “I have been changed for good.”
Jenna and her husband watched from their orchestra seats. It was 2005, Wicked was the toast of Broadway, and the tickets were a splurge. When the actress playing Elphaba sang, “It well may be that we will never meet again in this lifetime, so let me say before we part: so much of me is made of what I learned from you. You’ll be with me, like a handprint on my heart,” Jenna’s eyes filled with tears. Her husband reached over and took her hand.
Four months later, they separated. On her birthday that year, Jenna’s ex-husband sent her a card. “Because I knew you,” he wrote, “I have been changed for good.”
“I love the double meaning of that,” said Jenna, now 57 and a volunteer manager at a nonprofit in Maryland. “I have been changed to be a better person, but I have also been changed permanently, for good. There’s no going back.”
The second life of ‘For Good’
Amidst cheers and ballyhoo — to borrow a phrase from Glinda — a second Wicked movie is now hitting theaters. To mark the distinction between this movie and its predecessor, the 2025 edition is called Wicked: For Good.
“For Good,” the song, has attained an unusual second life outside of the musical. In Wicked, Jewish composer-lyricist Stephen Schwartz launched a number of forever entries into the musical theater book of standards — “Defying Gravity,” “Popular,” “The Wizard and I” — but “For Good” belongs to an exclusive category: songs that have become staples at graduations, retirement celebrations and funerals. If you see a cap and gown, you are not safe from a heartfelt rendition of “For Good.” If there is a casket on a table, these days you may be as likely to hear “For Good” as you are to hear “Wind Beneath My Wings” or “Candle in the Wind.”
“As a cantor, it’s impossible to hear ‘For Good’ from Wicked without sensing that the song is doing something deeply Jewish, whether or not its creators intended it,” said Neil Michaels of Temple Israel in West Bloomfield, Michigan. “It has become, in many sanctuaries and life-cycle moments, a kind of contemporary niggun, carrying emotional truth where spoken liturgy might fall short.”
“I’ve played it for a funeral,” said Joe Wicht, who has accompanied singers for 18 years at the San Francisco piano bar Martuni’s. “I’ve played it for singers at wedding receptions, too.” But most often, he said, the song is sung “by two best friends.” Duos who request “For Good” are often about to be separated by a move, or redefined by one person getting married, he said. Sometimes, the singers are a parent and a child.
“This isn’t the kind of song where people just willy-nilly decide to sing it in a bar, a la karaoke,” he said. “It’s always sung with intent.”
“It’s always the same scenario — best friends,” he added. “I’ve never heard this song performed between two people in love.”
An anthem of friendship for this generation
Few songs aim to articulate the way that two people can alter each other’s lives and edit each other’s characters, sans romantic love. Schwartz has said in interviews that he wrote the song after sitting down with his daughter and asking her about her best friend. “If you could never see Sarah again and you had one chance to tell her what she’s meant to you,” he asked, “what would you say?”
The song, which lifts some of Schwartz’s daughter’s words directly, literalizes the way two people can blend without losing their own specificity. It begins with a solo for each woman, then they sing in counterpoint, then harmony. “For Good” is sometimes derided as schmaltzy and overearnest. But its impact is indelible: it is a song people rely on to express a kind of love that often goes unsung.
“For those of us who have lost someone,” wrote vocal coach and therapist Petra Borzynski in a recent essay, ‘For Good’ is “the song that speaks the unspeakable: that the person who is gone still lives in every choice we make, every kindness we extend, every moment we choose differently because they existed (for better, for worse).”
Borzynski sang the song for years. Then her mother died, at 59, of ovarian cancer. When Borzynski attempted to sing the song, she recalled, “my voice literally broke.”
When 75-year-old Melbourne resident Des Flannery was in his late 60s, he got into a fight with his best friend, Max. They made up when Des sent Max a written apology, Des’ daughter, Breanna, told me. In his note, Des quoted the opening lyrics from “For Good.” When Max died several years later, Des eulogized him, reciting the lyrics that had helped bring him and his friend back together.
“He wasn’t confident he could get through it without becoming a wailing mess,” his daughter, Breanna Flannery, said. “So reading it seemed the best way to get it out.” (Afterwards, women mourners crowded around Des to praise his bold, emotional writing, unaware that he had been quoting Wicked.)
Drew Wutke, a pianist at Marie’s Crisis, the famed Broadway musical singalong bar in the West Village, is used to looking up from the piano during “For Good” and seeing drinkers crying into their tequila sodas.
“It is the friendship anthem of the last 25 years,” he said.
“I don’t know another way to say it other than: it is a heaven-blessed song,” he said. “The hope that soul-friendship exists, that chosen family exists — those are the wires that get tripped when that introduction starts,” he said, humming the song’s opening notes. “Even though it is lyrically nonsensical at times.” One lyric often maligned even by fans is, “Like a seed dropped by a sky bird, in a distant wood.”
“A skybird! Please!” said Wutke. “We could have workshopped that lyric.”
I’ve heard it said…but what does it mean?
As with the rest of the musical, the universality of “For Good” is both a strength and weakness. Wicked is a musical about a woman who faces cruelty and discrimination because of her skin color. It has been called a parable about fascism, and an allegory for racism and ableism. But no Black actress played Elphaba full-time on Broadway for the musical’s first 22 years. And though one character in Wicked uses a wheelchair, the first time a wheelchair user ever played Nessarose was in last year’s movie.
Though the Wicked movies have been released during a time of rising authoritarianism, the movie’s stars and creators have limited themselves to comments like the joint statement Cynthia Erivo and Ariana Grande made recently, which spoke of “times like these that feel so divided, as if we’re reading from different pages and different books.”
Though the song is deeply meaningful to listeners, the meaning those listeners derive is not consistent. “At its core, ‘For Good’ is about hineni — ‘here I am’: standing fully present in relationship,” said the cantor, Michaels. “It is the musical embodiment of the Jewish belief that who we become is inextricably shaped by the people who walk beside us.” The song, he argued, “echoes the teaching that every person you encounter teaches you something, that chevruta (sacred partnership) shapes the soul, and that human connection is one of Judaism’s most powerful agents of transformation.”
No one religion or perspective has a monopoly on interpreting Schwartz’s message. Ali, a friend of mine, and a 31-year-old interior designer from Los Angeles, grew up singing songs from Wicked with her friend Brittany. “She would always be Elphaba and I would always be Glinda, even though I secretly wanted to sing the Elphaba part,” Ali said.
Ali was active in the Catholic church, and the girls were often asked to perform at fundraisers and other events. They reserved “For Good” for the finale. “It’s about connection and sisterhood, and friendship,” Ali said. “It was a tearjerker.”
As 14 year olds, the two girls were summoned to perform in a hotel ballroom for a group of about “200 nuns and other women,” Ali remembered. After the song, the nuns thanked them profusely for lending their voices to their cause. The two girls exited the stage to wild applause, then sat down to eat lunch and when they looked back up, “they were literally showing fetuses on the screen and just spewing anti-abortion rhetoric,” Ali remembered. The shift was shocking, she said. “From sisterhood and friendship to hating other women for having abortions.”
Changed for good? Or just good at singing?
“For Good” is usually performed in the context of honoring another person. No matter how tragic or poignant an event is, though, for a theater kid it’s also an opportunity to perform “For Good.” If that sounds cynical, it comes from personal experience: Your author performed the Elphaba part at her high school graduation. I knew that it was my job to move the audience to tears, but my thoughts were largely about how to achieve vocal clarity and resonance. Also, my ankle was broken, and my secular high school had rented out a synagogue for graduation, so I sang the song on the steps of the bima, mindful of the fact that my cast was wider than the steps and if I gestured emotionally during the “like a comet pulled from orbit” harmony I could roll forward and crash to the ground.
But Victoria, 21, who sang the song just a few years ago at her high school graduation in Port Richey, Florida, begs to differ. “I think that vocally, it is not an extremely challenging song,” she said. The real challenge, she said, is allowing yourself to feel the meaning of the song, and conveying that depth of feeling to the audience. “I couldn’t help but really internalize the lyrics I was singing,” she said.
“I was reflecting on all of the relationships I had made with my fellow students, as well as my teachers,” Victoria said. “And I knew then that they had changed and helped create the person I am today, because I knew them.” Among masses who will see Wicked: For Good in the coming weeks, there will be many who weep throughout the title song, and many who call the song saccharine and sentimental. The second group is missing the point. “For Good” is meant to be saccharine. It takes on the most cringe-inducing, embarrassing topic in the world: human connection. If you love it, it probably came into your life for a reason.
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AIPAC couldn’t stop Michigan’s El-Sayed in the primary. Now it’s trying again.
AIPAC’s super PAC has re-entered Michigan’s closely watched U.S. Senate race less than a month before the general election, spending nearly $100,000 on mailers attacking Abdul El-Sayed, despite earlier concerns by allies of his Republican opponent, Mike Rogers, that it would boost the Democratic nominee.
The spending of $94,620 by United Democracy Project (UDP) on direct mailers was disclosed in a Friday campaign finance filing. It comes after Rogers publicly welcomed AIPAC’s support during a televised debate last week, reversing the position initially taken by people close to his campaign who worried the pro-Israel group’s involvement could hurt his chances.
A spokesperson for the group told Jewish Insider that the mailers target 130,000 identified Jewish voters in the swing state. It focuses on El-Sayed’s response to an attack on Temple Israel in West Bloomfield earlier this year. El-Sayed drew criticism for saying “hurt people hurt people” when discussing the attacker, whose brother was reportedly a Hezbollah commander killed in an airstrike on Lebanon. El-Sayed later apologized, saying he had been trying to provide broader context for the attack.
UDP spent more than $30 million trying to defeat El-Sayed in the Democratic primary this summer and in support of Rep. Haley Stevens, who lost by about one percentage point.
Following the primary, allies of the Republican nominee reportedly asked AIPAC not to run ads to boost him, fearing that the group’s involvement would give El-Sayed the same political foil that helped him overcome its massive spending in the primary. Axios reported that AIPAC officials didn’t take that rejection easily.
But Rogers appeared to change course last Thursday when asked whether he’d welcome AIPAC’s support.
“Anybody that wants to help my campaign stop a guy who can’t condemn terrorism in our own country because he’s so close to the people who are supporting the Muslim Brotherhood, again, I’ll take all of that help,” Rogers said at Thursday’s televised debate. El-Sayed interrupted to say he had condemned terrorism.
A new super PAC, Together for Michigan, aired an ad during the debate featuring Taylor Weintraub, whose child attends the Temple Israel preschool that was attacked in March.
Rogers went further on Friday at a campaign event with Sen. John Kennedy of Louisiana, accusing El-Sayed of being “so anti-Jewish” that a single mailer had upset him. Rogers said he welcomed help from Jewish supporters seeking to defeat his opponent. Kennedy also attacked El-Sayed, saying AIPAC would not be involved in the race if the Democrat did not “sleep in a Bin Laden jersey.”
El-Sayed, an Israel critic who has made opposition to AIPAC a central part of his campaign, responded by accusing Rogers of desperation. “You know Mike Rogers is in trouble when he begs AIPAC to start spending against me,” he wrote on X.
Some Jewish Democrats are publicly supporting Rogers, saying El-Sayed has failed to assuage concerns in his outreach to Jewish voters and in campaign appearances in recent months. If elected, El-Sayed would become the first Muslim member of the U.S. Senate.
Recent polls show El-Sayed with a narrow lead in the race to replace retiring Democratic Sen. Gary Peters. Recent elections in Michigan have been decided by narrow margins. Trump won the swing state in 2024 by about 80,000 votes, while Democratic incumbent Elissa Slotkin defeated Rogers in the Senate race that year by fewer than 20,000 votes. Four years earlier, Joe Biden won Michigan by about 2.8 percentage points.
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In Israel’s election, Netanyahu faces a reckoning over Oct. 7 failure
With barely two weeks remaining before Israel’s Oct. 27 election, the country has been consumed by an extraordinary confrontation between Prime Minister Benjamin Netanyahu and senior former aides over what he knew before the Hamas massacre of Oct. 7, 2023, what he did with that knowledge and whether his office subsequently sought to rewrite the historical record.
The immediate catalyst was a bombshell television interview in recent days with Maj. Gen. (res.) Avi Gil, Netanyahu’s former military secretary, who served alongside him before and during the attack that killed approximately 1,200 people and saw 251 taken hostage. Gil had remained largely silent for three years, expecting to present his evidence to a state commission of inquiry. But with Netanyahu blocking such an inquiry, amid transparent scheming to deflect blame, Gil decided to speak publicly.
What he described went considerably beyond the failures of intelligence and military preparedness that have already been extensively documented. Gil accused Netanyahu’s office of attempting to falsify an official record from the morning of the attack. He challenged the prime minister’s account of early warnings he received. He confirmed that Netanyahu rejected recommendations for preventive military operations against Hamas. And he described how political considerations influenced decisions over hostage negotiations, potentially prolonging the captivity of people who could have been brought home earlier – and alive.
His testimony is particularly consequential because it directly challenges a 55-page document Netanyahu released in February, presenting his version of the events preceding Oct. 7. Submitted to Israel’s state comptroller, the document portrayed Netanyahu as having repeatedly advocated tougher action against Hamas while security officials underestimated the threat. It has become central to his defense against accusations that his longstanding policy of containing Hamas helped create the conditions for the catastrophe.
Gil, who attended the relevant meetings and recorded his experiences in 16 notebooks, described the published document as a profoundly incomplete and misleading account, containing lies and half-truths. It failed to reflect even half of what he witnessed.
A separate investigation published Friday by Yedioth Ahronoth, comparing Netanyahu’s account with original records of security deliberations, reported significant omissions and distortions, including instances in which Netanyahu allegedly rejected proposals to target Hamas leaders that his February document presented as initiatives of his own.
Most explosive was Gil’s account of an alleged attempt by Netanyahu’s then-chief of staff, Tzachi Braverman, to change the official time of a telephone conversation on Oct. 7 from 6:40 a.m. to 6:29 a.m. Moving the time backward could create the impression that Netanyahu had been issuing instructions from the first moments of the assault. Gil said a stenographer told him she had been instructed to alter the record, prompting him to notify the attorney general.
Nitzan Alon, another retired general who headed the government’s hostage release operation, and took part in negotiations throughout much of the war, also told reporters that “it was possible to end the war a year earlier” and save the lives of numerous hostages who eventually died in captivity.
Another remarkable confrontation involves Ronen Bar, the former head of the Shin Bet domestic security agency, whom Netanyahu has repeatedly blamed for the failures of Oct. 7. In late September, Bar announced plans to sue Netanyahu for defamation, accusing him of conducting a campaign of false allegations about his conduct before the massacre. Bar said he had warned Netanyahu about a looming security disaster and demanded disclosure of the original records of security meetings, communications and warnings, including the prime minister’s contacts with foreign officials.
Those demands have acquired additional significance amid reports that senior officials from Egypt and the United Arab Emirates warned Netanyahu about Hamas preparations shortly before the attack. Netanyahu categorically denies receiving such warnings and has threatened legal action over the reporting.
Gil’s revelations arrived alongside another striking intervention from a former Netanyahu confidant. Yoav Horowitz, , once Netanyahu’s chief of staff and director-general of the Prime Minister’s Office, told Kan’s Reshet Bet radio last week that he had gradually come to understand that Netanyahu’s decisions were driven primarily by considerations of personal political survival rather than the national interest.
Now a senior aide to leading opposition figure Gadi Eisenkot, Horowitz attributed that transformation to the corrosive effects of prolonged power, observing that “too much time in power corrupts,” and framed the approaching election as being about saving the country.
Horowitz now heads the team preparing its first 100 days in government. His criticism therefore comes from a former trusted aide who has become an active political opponent, adding another dimension to the dispute over Netanyahu’s leadership.
The question of political survival also figured prominently in Gil’s account of the hostage negotiations. Asked whether coalition pressures had influenced decisions that delayed agreements to free hostages, Gil said some hostages could have returned earlier and that political calculations had played a role in the decisions that kept them in captivity.
Netanyahu has rejected Gil’s allegations, and his Likud party has characterized the latest revelations as politically motivated propaganda. Netanyahu and his supporters maintain that senior security officials failed to recognize the imminent danger.
The country is still struggling to establish a common factual account of its most traumatic day in decades, while the officials who participated in the crucial decisions offer sharply conflicting versions of what happened. Meanwhile, the families of those killed on Oct. 7, survivors of the massacre and former hostages continue demanding answers about the decisions that shaped their lives.
The public appetite for an inquiry into the disaster is overwhelming. A September 2025 survey by the Israel Democracy Institute found that 74 percent of Israelis supported establishing a state commission of inquiry, including 68 percent of Jewish respondents identifying with the political right. A subsequent survey conducted in February 2026 found that 92 percent of Israelis considered it important to investigate the events.
The absence of such an inquiry has left journalists, former officials, politicians and bereaved families conducting an increasingly contentious public investigation of their own. Documents appear selectively, witnesses offer competing recollections, and allegations that might otherwise be tested through sworn testimony and access to classified evidence become weapons in an election campaign. With spiraling suspicions being leveled at Netanyahu, the election will take place amid unresolved questions – and a rage that grows more toxic by the day.
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Archaeologists uncover a 300-meter section of ancient aqueduct in Jerusalem
(JTA) — JERUSALEM — Israeli archaeologists have uncovered a 300-meter (984-foot) section of Jerusalem’s ancient Lower Aqueduct, providing another window into how engineers about 2,000 years ago ensured that the city would have an adequate supply of water for residents and pilgrims.
The Israel Antiquities Authority (IAA) began the dig three months ago in advance of the planned construction of a new neighborhood in East Jerusalem, at the city’s edge. Such “salvage excavations” are often carried out prior to major construction projects in Israel to ensure that any ruins discovered at the site can be mapped and protected even if they aren’t excavated at the time.
Believed to have been built in the Hasmonean period in the second and first centuries B.C.E., this engineering system carried spring water from the Gush Etzion region of the West Bank, through Solomon’s Pools south of Bethlehem, to Jerusalem and the Temple Mount. It remained in intermittent use until the early 20th century.
Although parts of the aqueduct have been uncovered in previous excavations, this is the first time such a large section will be made permanently accessible to the public, Benyamin Storchan, an IAA archaeologist and the excavation’s co-director, told the Jewish Telegraphic Authority.
Based on earlier discoveries and a wide range of research, archaeologists had strongly suspected where the newly uncovered section was located.
“We were able to work with municipal urban planners to ensure that the shape of the new neighborhood will be determined not only by its natural topography, but based on the antiquities found there,” Storchan said.
The aqueduct, the discovery of which was made public on Sunday, will be preserved as a promenade/archaeological park at the entrance to the future neighborhood by the IAA and Israel Land Authority.
Bringing Water to Jerusalem
Before the aqueduct was built, the landlocked city of Jerusalem relied on the Gihon Spring and rainfall runoff for its entire water supply, Storchan said. Under Hasmonean rule, Jerusalem’s population grew and the need for water increased. That was especially true during Jewish festival times, when pilgrims doubled or even tripled the population.
The solution involved transporting water from springs in the Gush Etzion region, a hilly area more than 800 meters above sea level. Spring water had to be channeled to collection areas, and then toward Solomon’s Pools, an extensive water-storage complex built south of Bethlehem. From there, two major aqueducts, the Lower Aqueduct and the Upper Aqueduct, carried water toward Jerusalem – a distance of more than 20 kilometers (12 miles).
The Lower Aqueduct, which appears to predate the Upper Aqueduct, “is an engineering marvel,” Amit Re’em, the IAA’s Jerusalem district archaeologist, said in a press statement. “Even today, with all our modern technology, building such a system would require extensive planning and effort. The thought that, about 2,000 years ago, they managed to bring water to Jerusalem this way is astonishing.”
Its route had to follow the contours of the rugged topography while maintaining a gentle gradient for the water to flow by gravity alone, without mechanical pumps. Along most of its route, the water dropped just one meter in elevation per kilometer.
“The newly exposed section reveals the various stages in the history of the water system,” the IAA said. “Initially, the water flowed in a built, plastered channel. Then, about 500 years ago, during the Ottoman period, ceramic pipes were installed within the original channel, the outer face of the aqueduct wall was plastered and small stones were pressed into the plaster while still wet.”
Used for about 2,000 Years
One of the aqueduct’s most remarkable characteristics was its longevity. Believed to be constructed during the Hasmonean period, it was repaired and reused through successive eras, including the Roman, Byzantine, Umayyad, Crusader, Mamluk and Ottoman periods.
The fact that various kingdoms and rulers decided to repair and not replace the water system “is one of the most fascinating parts,” Storchan said of the waterway. Rather than repurposing an older structure for a different use, successive rulers retained the aqueduct’s original purpose.”, “here we see a single installation being reused again and again for its original function.”
The aqueduct was used until about a century ago, when modern water infrastructure, including electric pumping stations, proved more efficient. Its long history of repairs, however, complicates archaeological dating, Storchan said. Those who repaired it over the millennia added plaster, repaired collapsed sections and modified the channel, sometimes obscuring evidence of the original construction.
Utilizing modern technology
Still, the latest excavation gives researchers an opportunity to reexamine longstanding questions with advances in scientific dating methods.
“Today, technology is more advanced than it was then. We’re working with all kinds of specialists to pinpoint the dating of the original construction,” Storchan said.
One such method is optically stimulated luminescence (OSL), which can estimate when mineral grains in sediment were last exposed to sunlight. Combined with the analysis of mortar, plaster and archaeological layers, the technique may help narrow the dates associated with different stages of the system’s development.
For Storchan and his colleagues, every new insight is a cause for celebration.
“Our job as archaeologists,” he said, “is to fill in another piece of the puzzle.”
This article originally appeared on JTA.org.
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