Two bus stops in two neighboring towns capture how war can unify, and how it can divide.

The end song is Autobus Mispar Echad ("Bus Number One") by Shlomo Artzi.

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Seeking love. Called to war.

For our Tu B'Av special, we wanted to get a bird's eye view of the local, post-October 7th dating scene. So we went to visit Rebetzin Toby Einhorn, who runs a one-stop-shop for all matters of the heart.

Image courtesy of Jenny Peperman.

The end song is Shir HaShadchanit ("Matchmaker, Matchmaker") from the Hebrew adaptation of Fiddler on the Roof.

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Next week, millions of Jews around the world will sit down at their Passover tables, for what will invariably be a very different kind of seder. The timeless question of how this night, or this Pesach, is different from all other nights, and all other Pesachs, has gained an entirely new - and tragic - dimension since October 7th. And few, if any, have thought about this matter more than forty-three year old Mishael Zion, a liberal Orthodox rabbi and Jewish educator from Jerusalem. 

In 1997, Mishael’s father - Noam Zion - together with his friend David Dishon - published a popular English-language Haggadah called “A Different Night.” Seven years later, Mishael joined forces with his dad in creating an Israeli version - HaLayla HaZeh: Haggadah Israelit. And this year, two decades after that Israeli Haggadah came out, Mishael and his father decided to update it, for the first post-October 7th seder.

The end song is Chad Gadya ("One Little Goat") by Chava Alberstein.

To purchase a digital copy of the Israeli Haggadah in Hebrew, click here.

To download the Zion Haggadah supplement in English, Hebrew, Spanish, Portuguese, German and French, click here.

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On Christmas Eve 2014, Erwin Prabhu and Tali Aronsky met in a wine shop in Jerusalem. This was the start of an unusually close bond. In our most recent episode - “Soul Food” - we heard Tali’s side of the story. Now, all the way from Bangalore, we hear Erwin’s.

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While we (sadly!) won't be sampling fried okra, collard greens or macaroni and cheese, our seventieth episode introduces us to two women for whom soul and food are completely intertwined. Yochai Maital and Zev Levi scored and sound-designed the episode with original music and music from Blue Dot Sessions. Sela Waisblum created the mix. The end song, ABCD, is sung by Shaizee, Abie and Sol Harman. Stay connected with us on Facebook, Twitter, Instagram and by signing up for our newsletter at israelstory.org/newsletter/. For more, head to our site or Tablet Magazine.

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You probably never thought an innocent story about the history of the pig industry in Israel would be upended by a massive exposé revealing decades of pedophilia and abuse. Think again. 

While working on our most recent episode, a seemingly unrelated news article had massive implications for a nearly-completed story. 

Naomi Schneider edited and scored this special with music from Blue Dot Sessions. Sela Waisblum created the mix. 

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BLTs and pork chops are not the first things that come to mind when you think about Israel. But, as it turns out, the Holy Land and swines go way back. In today’s episode, we go down a piggish path to encounter this most unlikely of Israeli animals. 

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Sukkot is the Jewish holiday of temporary homes. And in our episode today we hear two very different stories - the first about one of Israel's most popular children's books and the second about a South Sudanese asylum seeker. But both of them are, deep down, about the same thing - making a home. 

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In our season opener - 'A Day at the Y' - we heard from forty-nine people hailing from eleven different countries. But we actually spoke to hundreds and hundreds of folks, whose stories you didn't get to hear. One of them was Estee Rose, the sport center's customer experience manager and a local Zumba icon. And we didn't tell her story because our friend Shaina Shealy had already done so, beautifully, on the wonderful podcast "Snap Judgment." So as a special bonus, we are re-airing it just for you! Want to receive more *bonus* content and hear episodes ad-free? Head to 'Israel Story' on Apple Podcasts and click on the banner.

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What many of us missed most during the pandemic was a sense of community. So, for our Season Six opener, we went to a place which is all about community - in fact, it's even called a community center - to find out what it feels like when a diverse community tries to regroup. 

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At the end of a sweltering summer, and just in time for the New Year, we are coming back! Season Six Starts next week. Join us for yet another wonderful Israel Story journey. Here's a little taste of what's coming your way. Stay connected with us on Facebook, Twitter, Instagram and by signing up for our newsletter at israelstory.org/newsletter/. For more, head to our site or Tablet Magazine.

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This is the time of year when all our producers are out and about, travelling around the country, interviewing people, and preparing the stories we’ll hear next season. But since we never like to be out of touch for too long, we wanted to share a little treat - Amichai Chasson’s poem, “America,” translated from Hebrew by Vivian Eden, and read by Mishael Zion.

Also, please fill out our listener survey and help shape the future of our show! We want to hear from you!

Simply head to israelstory.org/survey.

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On Friday morning, Rut Dayan passed away, a month and a day shy of her 104th birthday. And in celebration of her long, meaningful and impactful life, we replay R&R - a story of an improbable friendship from our 2016 episode Besties.

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The horrific events of October 7th reminded many people of the darkest chapter in Jewish history - the Holocaust. And indeed, for the past six months, there have been as many comparisons to the Shoah as there have been critiques of those comparisons. 

Of the roughly 130,000 Holocaust survivors living in Israel today, just under 10,000 reside in Jerusalem. Many of them participate in the Jerusalem Foundation’s Café Europa, which offers a physical meeting place, a wide range of social and cultural activities - concerts, lectures, memorials, workshops - and professional help in navigating the thickets of Israeli bureaucracy. We recently spent a morning at the Café Europa branch in Jerusalem’s German Colony neighborhood, where we heard all kinds of opinions about the Holocaust comparison. But the person with the strongest feelings on the matter just so happened to also be Café Europa’s oldest member - 100-year-old Walter Bingham.

The end song is Tzair LaNetzach ("Forever Young") by Rami Kleinstein.

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With the fate of the 2020 - now 2021 - Tokyo Olympic Games still up in the air, our season finale tells the story of a dream to introduce a sport to a nation, and a nation to a sport. But it is a dream made up of as many tears of pain and disappointment as it is of joy and triumph.

Joel Shupack scored and sound-designed the episode with music from Blue Dot Sessions. Sela Waisblum created the mix.

The episode’s end song is Lifney She’Yigamer (“Before it Ends”) by Idan Raichel. 

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Like everything else in life, stories die. And, more often than not, we are the killers. Today we give you a behind-the-scenes peek into some of the stories you didn't get to hear this year.

Skyler Inman produced this episode, and Zev Levi scored it with music from Blue Dot Sessions. Alicia Vergara created the artwork for the episode. The end song, Chalom Kehe (‘Dark Dream’), is by Assaf Amdursky. 

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We conclude our two-part Tell Saki story by returning to the soldiers after the battle and following their respective journeys - full of pain and regret, but also full of longing and camaraderie - in the years since the Yom Kippur War.

Yochai Maital produced, scored and sound-designed the episode. Mishy Harman edited it. Sela Waisblum created the mix. Thanks to our dubbers - Shlomo Maital, Boaz Dekel, Suri Krieger, Shai Avivi and Dror Keren. Thanks also to the Friendship and Heritage Foundation - an NGO set up by the survivors of Tell Saki to commemorate their fallen friends - and to Dan Almagor, Daniel Jankovich, Shai Satran and Sharon Rapaport. Some of the primary written sources for our Tell Saki project include Hallie Lerman’s Crying for Imma, Menachem Ansbacher’s memoir, Rsis MiMagash HaKesef, and Robby Rijkmans’ book of published correspondence between the Tell Saki survivors – ‘Knights Without Armor.'

Much of the music in the episode is by cellist Leat Sabbah, with additional music by Doug Maxwell and Yochai Maital. The end song is Nifgashnu Shuv ("We Met Again") is sung by Dudu Zakai, music and lyrics by Shaike Paikov.

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As a little respite from the intensity of war explored in our two-part Tell Saki series, we replay a short piece of fiction by our beloved Etgar Keret. And, as a special bonus, we include highlights of a conversation we held with Etgar during lockdown. 

The Facebook Live event was produced by Marie Röder and Yoshi Fields, with music from Blue Dot Sessions. Alicia Vergara created the artwork for the episode. Thanks to Julie Subrin and Or Matias. The end song, Atid Matok (‘Sweet Future’), is by Mashina.

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We embark on a two-episode journey back to the 1973 Yom Kippur War, and specifically to one small hill - a dormant volcanic tell - in the southern Golan Heights. There, we follow a group of young IDF soldiers who, trapped in a small bunker for thirty-six hours, went to hell and back. 

Yochai Maital produced, scored and sound-designed the episode. Mishy Harman edited it. Sela Waisblum created the mix. Thanks to the Friendship and Heritage Foundation, an NGO set up by the survivors of Tell Saki to commemorate their fallen friends. Thanks also to Aviram Barkai, Moshe Givati, Dan Carlin’s Hardcore History, Halli Lerman, Reuven Gal, Boaz Dekel, Suri Krieger, Sharon Rapaport and Ya’akov Seh Lavan for his help in fact-checking this story. Ya’akov also leads tours of Tell Saki and runs an escape room experience on the mound. Much of the music in the episode is by Leat Sabbah, with additional music by Jorge Mejia, Doug Maxwell and Yochai Maital. The end song, Adaber Itcha (I Shall Talk to You), is sung by Chava Alberstein. Its lyrics were written by Rachel Shapira, and its music by Alona Turel.

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On the very first day of 2021, when so many of us are busy making New Year’s resolutions and embarking on new and hopeful journeys, we re-air one of our favorite stories, all about a quixotic, improbable, yet inherently optimistic, search for love. 

Dana Ruttenberg read the story. Thanks to Mitra Kaboli, Paul Ruest and Julie Subrin. The end song, Ha’Hizayon Le’Francisco Goya (‘The Epiphany of Francisco Goya’) is by Ehud Banai, with lyrics by Pinchas Sadeh. 

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Many of us would normally be on the move around this time of year. But 2020 has, of course, been everything but normal. So in our episode today, we bring you two less-than-normal travel stories about people going back home - but doing so having gained a new understanding of the place from which they come.

Zev Levi and Yochai Maital scored and sound-designed the episode with music from Blue Dot Sessions and Shane Ivers.

Sela Waisblum created the mix. Thanks to Abby Neuschatz, Scarlett De Jean, Anna Correa, Niva Ashkenazi, Judah Kauffman, Dr. Hillel Rubenstein, Jackie Faye, Hadas Nevenzal and Alon Shikar. The full songs played in the episode are Yotze El Ha’Or - Ha’Shvil Ha’Zeh (“Going Out to the Light - This Path”) by Ehud Banai and Nag’aa Ba’Shamaim (“Touched the Heavens”) is by Mashina.

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As a special Hanukkah treat, and just before we enter the final stretch of the season, we travel back in time to revisit - and update - one of our all-time favorite episodes, “The Queen Rania Tree.”

The original story was reported, produced and scored by Shoshi Shmuluvitz, with music from Podington Bear. The update was produced by Skyler Inman, Yoshi Fields and Marie Röder. The end song, “Seen,” is by Tzachi Halevi and Lucy Aharish. It was written and composed by Diane Warren and produced by Tal Forer.

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In celebration of Hanukkah, we revisit - and update - one of our fan favorites. An episode that - much like the tale of Hanukkah itself - is all about a miraculous jug of liquid.

The original music in ‘The Pitcher’ was composed and performed by Ari Jacob. Sela Waisblum mixed the episode, and Zev Levi edited the re-release. The end song, Orot (“Lights”) is by Avrharam Tal.  

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Most Israelis remember the 2005 disengagement from Gaza as a dramatic moment of national upheaval. But for Hodaya Azulay of the Jewish settlement of Netzarim, the drama was of a different nature altogether - it marked a traumatic turning point in her relationship with her favorite mare, Sheleg.

Yochai Maital scored and sound-designed the episode, which was recorded by Tony Hernandez at the Seltzer Sounds Studio in Brooklyn. Sela Waisblum created the mix. Thanks to Ishay Ribo and Motty Steinmetz for giving us permission to use their song, “Nafshi,” and to Lior Carmeli, Aharon and Temira Feinsilver, Shlomo Maital, and Michael Vivier. The end song, “Sus” (“Horse”) is by Oded Gadir, with lyrics by Azriel Kaufman.

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In the immediate aftermath of October 7th, Shai Davidai - an Assistant Professor at Columbia University - became an unlikely public defender of Israel. And truthfully, even he was surprised by this turn of events: As a committed left-wing Israeli, he had spent years criticizing the government, and often took to the streets to demonstrate against its policies. But the atmosphere he witnessed on college campuses (and specifically on his own campus at Columbia), compelled him to speak up and speak out.

The end song is Yesh Lecha Chaver ("You've Got a Friend") originally by Carol King, performed by Tzila Dagan.

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Sandwiched between our two equine-centric episodes, we travel back in time to revisit - and update - one of our all-time favorite episodes, “Man, I Feel Like A Woman.” 

The original episode was reported by Molly Livingstone, and produced by Benny Becker with help from Raoul Wootliff and Rachel Fisher. Shoshi Shmuluvitz scored the episode with music from Blue Dot Sessions, Dana Boulé and Ben Sound. Mishy Harman, Yochai Maital and Julie Subrin edited the piece. The update was produced by Skyler Inman and Yoshi Fields. The end song is a rendition of Eshet Chayil (“Woman of Valor”) produced by Mami as part of their Shabbat Songs Project. It was arranged by Ben Zion Shenker and Israel Kasif.

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Cowgirls with oversized belt buckles and horse breeders fantasizing about producing world champions are not exactly what come to mind when you think of Israel. But today we take you into arenas, rings, and stables around the country to uncover a surprising subculture of equine enthusiasts.

Joel Shupack scored and sound-designed the episode with music by Blue Dot Sessions and William Ryan Fritch. Sela Waisblum created the mix. The end song is Zehava Ben’s cover version of Abdel Halim Hafez’s “Sawah”. 

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With all the excitement surrounding the U.S. elections, it’s perhaps easy to forget that this week also marks the twenty-fifth anniversary of the assasination of Israeli Prime Minister Yitzhak Rabin. And, as we work on our next new episode, we replay an episode we released exactly five years ago, on the occasion of the twentieth anniversary of the murder. 

This episode was produced by Shai Satran and Julie Subrin. Thanks to Davia Nelson, Niva Lanir, Uri Rosenwaks, Dani Zamir, David Harman, Matti Friedman, Guy Eckstein, Elad Stavi, Yonatan Glicksberg and Marie Röder.

Collin Oldham composed and performed the original music in “Rabin Is Dead.” The end song is “HaStav Biladav” (‘Autumn Without Him’) by Noa (Achinoam Nini); lyrics by Natan Yonatan, and music by Achonoam Nini and Gil Dor). 

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Forty years after Carl Sagan’s ‘Golden Records’ began their long voyage into the depths of outer space, Eyal Gever - an Israeli high-tech-wunderkind-turned-conceptual-artist - received an unusual call: NASA asked him to create the first artwork to be printed in space. What, he now had to decide, truly captured the essence of humanity? 

Joel Shupack scored and sound-designed the episode, with original music and additional music by Blue Dot Sessions, Broke for Free and Nehora & Hadas. Sela Waisblum created the mix. Yochai Maital and Mishy Harman edited the episode. The music and lyrics of the end song - “Leil Emesh” (“Last Night”) - are by Naomi Shemer. The song used in the episode is a cover version by Nehora Kakone and Hadas Fraenkel. 

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David Ben Shabat hates being called a prophet. As he sees it, he’s just a guy who stumbled upon a deep truth and wants to share it with the people. But, come to think of it, isn’t that precisely the definition of a prophet?

Joel Shupack scored and sound-designed the episode, with original music and additional music by Blue Dot Sessions. Sela Waisblum created the mix.

The end song, "Migdal Bavel" ('Tower of Babylon') is by System Ali. 

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Now that "Alone, Together" is over, and before we turn to stories that - gasp - have little to do with the virus, we revisit and update our most popular episode ever - "Love Syndrome."  

On March 22, 2020, as we were all just starting to fathom the new reality we were about to enter, hundreds of Israel Story fans went online to hear an update from an ultra-Orthodox woman from Tzfat. Six years ago, Chaya Ben Baruch’s inspiring story brought listeners around the world to tears. It was the story of a trailblazer who wouldn’t let life, and the many obstacles it presented her, dictate reality.

Chaya grew up as Enid, in a “Conservadox” Jewish family in Far Rockaway, N.Y. Like many women of her generation and from her background, Chaya’s life seemed to be preordained - she’d go to school, marry a nice Jewish boy, raise a family, and be active in the community. But Enid had different plans: midway through college, she left that structured world behind and ventured off to far-away Fairbanks, Alaska, to study the mothering patterns of sea otters. 

A decade, three children, and one failed marriage later, Enid met Stan - a tall, Catholic salmon fisherman from the Gold Stream Valley. Together they had three more kids, the last of whom - Angkor - was born with Down Syndrome. While many parents - especially at the time - might have viewed this as a devastating misfortune, Enid and Stan saw it as an opportunity. They were determined to find Angkor a partner; a soulmate. That wish of theirs kicked off an incredible journey that led the family from Alaska to Tzfat, in the north of Israel, and - on the way - precipitated a return to Judaism. Mishy Harman brings us a tale that unfolds in courtrooms, hospitals, Ultra-Orthodox yeshivas, immigration centers and wedding halls.  

In today’s episode we hear the original story that aired in 2014, followed by a short update from Chaya. Did her Angkor ever find his soulmate? What happened to the young couple? And what is it like to parent special needs children who leave the nest? All this and more in an edited conversation between Chaya and Mishy at the end of the episode.  

The original episode was scored by Pejk Malinovski with music composed and performed by Rob Burger. Julie Subrin, Yoshi Fields, and Zev Levi edited the episode, which was mixed by Sela Waisblum. Additional music by Broke for Free. The end song, “Nekuda Tova” (“Good Point”) is by Shuli Rand, and features vocals by Ehud Banai.

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Stories matter. They have the power of connecting us over time and space. And in the finale of our “Alone, Together” miniseries, we see how a podcast episode turned two strangers - a man from Migdal HaEmek, Israel, and a woman from Porto Alegre, Brazil - into soulmates.  

Porto Alegre is a large city in the south of Brazil, a five-hour drive from the border with Uruguay. Five rivers converge there, making it an important center of industry and commerce. Though its name means “joyful harbor,” in 2017, Porto Alegre ranked as the world’s 39th most violent city, with nearly 41 homicides per 100,000 residents. And while the city does have a sizable Jewish community, primarily Eastern Europeans who founded the local União Israelita association and settled in the Bom Fim neighborhood, there are no direct flights from Porto Alegre to Tel Aviv. So why, you might wonder, is Porto Alegre featured in the final episode of a series exploring life in Israel during the pandemic?

Porto Alegre is home to Isabel Christina de Oliveira, a 54-year-old public school teacher. Isabel isn’t Jewish and has never been to Israel. But through Israel Story, and over Zoom, she found an unlikely friend with whom she could share a terribly painful experience. 

Back in March, Isabel traveled to Italy. Unbeknownst to her, she contracted the virus in Bergamo, and brought it back to Brazil. She was the first COVID-19 patient in her region. And though she immediately went into quarantine, she was publicly shamed and blamed, especially on social media. Vicious posts accused her of infecting the country and made her feel incredibly guilty. 

If all that sounds familiar, you are not mistaken: In episode 52, “In The Beginning”, we told a similar story about Roni Bargill, Israel’s patient no. 7. Under normal circumstances, Isabel and Roni would have never met. But Isabel’s daughter’s friend, a Brazilian journalist by the name of Giovana Fleck, listened to the Israel Story episode, and translated it for Isabel. The emotional upheaval they had each experienced was uncannily similar. 

That’s where our team came in once again, arranging a Zoom call that left everyone in tears. 

Joel Shupack scored and sound-designed this episode with music from Blue Dot Sessions, and Sela Waisblum created the mix. The end song, “Kore Li Kol” (A Voice is Calling) is by Dotan Moshonov. 

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Israel's one thousandth COVID-19 casualty passed away this weekend. And for all of us, death has sadly been an ever-present part of life over the past six months. In the penultimate episode of our "Alone, Together" series, we bring you two stories about dying in times of Corona.  

Over the course of this series, we’ve shared many stories of Israelis dealing - in completely different ways - with COVID-19. We’ve heard people express fear, disappointment, shame, anger, hope and acceptance. We’ve told tales of coexistence and discrimination, nightmares and dreams, resilience and panic. But one thing shared by everyone we have encountered in the series thus far is that they have all - thankfully - survived the pandemic. Some got sick, others didn’t, but all lived to tell the tale. 

That, however, isn’t true of everyone. More than 1,000 Israelis have died of the disease as of early September 2020. In a country of roughly nine million, that’s about 0.0112% of the population. The mortality rate of infected patients is hovering around 0.6%. And while, both those figures are lower than most other countries, there is no doubt that COVID-19 has claimed many victims in Israel. And in our episode today we explore what it looks like to die of, or during, COVID-19. 

Yochai Maital and Joel Shupack scored and sound-designed this episode, with music from Blue Dot Sessions, Esther Abrami, and Papalin. The end song, “No More Corona,” is by Shai and Galit Dagan. 

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Around the world, the tourism industry essentially dried up during the pandemic. But in Israel there was one category of hotels - the so-called “Corona Hotels” - that actually thrived. And depending on whom you ask, they were either a post-apocalyptic heaven or an exit-less hell. 

In March 2020, Israel - like many other countries around the world - closed its borders. Since then, according to the country’s Central Bureau of Statistics, international tourism has dropped by some 99%. Hotel rooms emptied out, busy lobbies went silent, and those famous Israeli breakfast buffets remained uneaten. While you might assume this spelled the end for most hospitality establishments in Israel, there were actually some hotels that managed not only to stay open, but indeed to stay full. These were hotels leased by the government to serve as “Corona Hotels” and host two distinct populations: Israelis who had already contracted the virus and were waiting until they were no longer contagious and could safely return home, and Israelis returning from abroad who needed to make sure they weren’t bringing coronavirus into the country. 

Corona Hotels brought complete strangers into close, and prolonged, contact. Unsurprisingly, many of the “guests” were from segments of the population that don’t typically mix and mingle. At times this melting-pot-like experiment created friction, but it also allowed for unusual interactions to occur. Forced to cohabitate, people had to learn to get along, and—in some cases at least—even respect each other. 

Our episode today examines two different Corona Hotel experiences - one a heartwarming tale of coexistence, the other a dark account of agony.    

The episode was mixed by Sela Waisblum and scored by Joel Shupack with music from Blue Dot Sessions and sound-design help from Yochai Maital. The end song, “Bomba,” is by Hadag Nahash and Johnny Goldstein.

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The global pandemic has introduced us to many “lifesavers”—doctors, nurses, and medical staff who are on the frontlines day in and day out. But what happens when those ‘superheroes’ need to be saved themselves? And can saving a life end up saving your life, too?

If, God forbid, you find yourself in a medical emergency in Israel, you dial 101 for Magen David Adom. Yet more often than not, before an ambulance shows up, someone else—often riding a motorcycle and donning a bright orange vest—will appear on the scene. These are the volunteer medics of a national organization called United Hatzalah, or Ichud Hatzalah in Hebrew. And those extra moments? They can literally be the difference between life and death. 

Ichud Hatzalah responds to roughly 1,800 calls a day, and has—according to the Israeli Heart Society—reduced the rate of cardiac-arrest deaths in Israel by as much as 50%. Private emergency medical services exist around the world, of course. But Ichud Hatzalah is unique: While most focus on a specific neighborhood or community, they cover the entire country. Their volunteers are Jews, Muslims, Christians, Druze, religious, secular, you name it. And what’s more, their services are completely free. The organization is the brainchild of a Jerusalemite who—for more than three decades now—has been single-mindedly focused on one goal: saving as many lives as possible. 

But what happens when, in the midst of a global pandemic, this lifesaver needs to saved himself? Being saved, we learn, can often be harder than it seems.

The episode was mixed by Sela Waisblum and scored by Joel Shupack with music from Blue Dot Sessions and sound-design help from Yochai Maital. The end song, “Refa Tziri” is sung by Akiva Turgeman, Ariel Zilber, Berry Sakharof, Amir Benayoun, and Lior Elmaliach. The words are from a piyyut, or Jewish liturgical poem, written by Rabbi Raphael Antebi Tabbush of Aleppo, Syria (1853-1919), and the melody is attributed to a Judeo-Spanish song called “Triste Vida” (‘A Sad Life’). 

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Alon Ohel - a talented young jazz pianist - was kidnapped from the Nova party on October 7th, and has been held hostage in Gaza ever since. His family has spent the last five plus months sending him good vibes and good music. In today's episode, his mother - Idit Ohel - talks about the importance of energy, friendship and hope during these dire times.

The end song is Shuvi Elay ("Return to Me") by Avishai Cohen and friends.

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Israel’s ultra-orthodox community was hit twice during COVID-19: First, and in disproportionate numbers, by the virus itself, and then by a wave of anti-Haredi sentiment that pervaded the country. Here’s what it looked like from their perspective.

When COVID-19 first hit Israel, many of its epicenters were in Haredi, or Ultra-Orthodox, communities. More than one-third of coronavirus tests in Bnei Brak, for instance, came back positive. Some pointed a finger to the pervasive poverty and crowded dwellings, others to the packed yeshivas and mass prayers. And many pundits found an easy culprit in certain defiant rabbis who ordered their followers to ignore the public health guidelines and go on with life as normal. Before long, matters escalated, and with a climbing case count, the media reports became increasingly vicious, and a wave of anti-Haredi sentiment swept through the country. 

In an attempt to stop, or at least slow down, the spread of the virus, the government deployed soldiers to Haredi cities and neighborhoods. These uniformed men and women recited social-distancing guidelines, told people to wear masks, dished out fines, and enforced strict curfews and lockdowns. But if you imagine soldiers and policemen chatting away with Haredim on street corners and sharing humorous Yiddishisms, think again. Many clashes ensued, and some of them turned violent. 

In this unusual episode, we don’t tell the story of a central character with a clear plotline. Instead, we spent months collecting testimonies from everyday Haredi men and women who give us a glimpse into the sheltered world of Ultra-Orthodox Judaism. 

The episode was mixed by Sela Waisblum. “Gevalt” was scored and sound-designed by Yochai Maital, together with original music composed and performed by Ari Jacob. The rest of the episode was sound-designed and scored by Joel Shupack with music from Blue Dot Sessions. The end song, “Keter Melukha” (“Royal Crown”) is by Ishay Ribo, and was written and recorded during lockdown.

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Six months ago, very few people knew what ‘sheltering in place’ or ‘flattening the curve’ meant. Today, we live in a new world, and it’s often hard to remember what it was like at the beginning. 

On January 14, 2020 - exactly half a year ago - even Wuhan wasn’t yet under lockdown. There had been but a handful of reported cases outside of China, and for most of us “Corona” was - first and foremost - a refreshing beer. By February, COVID-19 was already starting to seem like a global threat. But while governments were desperately trying to piece together adequate responses, most ordinary people went on with their daily lives. Before long, however, everyone was checking the news incessantly, and looking for answers to a million menacing questions: How deadly is this disease? Is it just a bad flu or the end of times? Is COVID-19 going to affect my summer plans? Postpone the Olympics? Should we stop taking the kids to visit Grandma and Grandpa? Soon, masks and gloves were impossible to find. Hand sanitizer became the new gold standard. And sure enough, it didn’t take long before people all around the world started getting sick and dying in large numbers. 

With all that’s gone on over the past six months, it's easy to forget - or at least mis-remember - what it all felt like at the start. Our episode today takes us back to those early days of panic and confusion, and introduces us to two trailblazers - a nurse and a patient - who have no difficulty conjuring up the terror and uncertainty of that initial period.

The episode was mixed by Sela Waisblum and sound-designed and scored by Joel Shupack with music from Blue Dot Sessions. The end song, “Yamim Shel Kolnoa” (“Cinema Days”), is performed by ‘HaTov, HaRa VeHaNa’ara’ (Josie Katz, Benny Amdursky and Israel Gurion). The lyrics were written by Ehud Manor and the melody was composed by Shmulik Kraus.

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The wait, ladies and gentlemen, is finally over: Israel Story is back, and is kicking off Season Five with "Alone, Together" - a brand new miniseries about Israel in the time of corona.

The global pandemic has—to state the obvious—reshaped our lives, refocused our priorities, and forced us to reevaluate countless things we’ve long taken for granted. Israel was, of course, hit too, in ways that are at once unique and just like the rest of the world. We’ve had curfews and lockdowns, shifting social distancing guidelines, layoffs, isolation, discrimination, economic hardship, illness and death. We’ve also had births and bar mitzvahs, weddings and birthdays, and have witnessed unusual displays of solidarity, resilience and kindness.

Throughout the miniseries, we’ll look back at the last few months and share stories that are simultaneously utterly Israeli and completely universal.

COVID-19 has been a gloomy period, for different people and in different ways. But, perhaps counter-intuitively, we are going to start our miniseries with some cheer and brightness in an episode that is all about celebrations. Or, perhaps more accurately, corona celebrations.

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We're extremely excited to announce that Israel Story’s fifth season will begin next week, on June 30, 2020. We’ll kick off with our newest miniseries - "Alone, Together" - which is all about Israel (and Israelis) in the time of corona.

Like the rest of the world, Israel experienced curfews and lockdowns, shifting social distancing guidelines, layoffs, economic hardship, illness and death. We've also had births, Bar Mitzvahs and weddings, and have witnessed unusual displays of solidarity, bravery and kindness. Throughout the miniseries we will tell stories that are at once both utterly universal and uniquely Israeli. We hope you join us for yet another storytelling adventure during which we will laugh, cry and everything in between. For updates on Israel Story's new season, follow us on Facebook, Twitter, Instagram, or by signing up for our newsletter at israelstory.org/newsletter. For more info, join our members-only community, check out Tablet Magazine, or head to our site.

Original music performed and composed by Tal Kravitz, to words by poet Noam Horev.

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For Mother's Day, we replay one of the most touching and brave stories of motherhood we've ever aired.

In 2015, on the very last day of a month-long assignment in Nepal, Israeli journalist Danna Harman ran into three local street girls. She had just finished several unsuccessful rounds of IVF, and – back in Tel Aviv –

she began daydreaming of an instant family. When one of the girls contacted her following Nepal's devastating earthquake, these dreams took on an unexpected life of their own. In a story about motherhood and friendship, Danna explores the bittersweet need for adjusting expectations. 

Julie Subrin edited this story, Ari Jacob wrote and performed the original music, and Sela Waisblum mixed it all up. Additional music by Blue Dot Sessions. The end song, "Imma," was written and arranged by Shaike Paikov. The cover version used in the episode is by Ninet Tayeb and Yehuda Levi.

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Today is Yom HaZikaron - the day of remembrance for fallen soldiers and victims of terrorism. With everyone instructed to stay home, the typically-packed military cemeteries throughout Israel are largely empty. So we wanted to bring you one of our favorite stories.

In 2003, Susi Döring Preston was a Peace Corps volunteer in Thailand. That's where she met Tsiki Eyal, at a nightclub. Their passionate love affair would ultimately lead her to the sleepy Israeli town of Mazkeret Batya. There, surrounded by tears, this freckled Tulsan formed a raw, painful and hopeful bond with a woman who could, and should, have been her mother-in-law. Federica Sasso tells a story which – if the Bible were rewritten in today – might well replace the Book of Ruth. The original music was composed and performed by Ari Jacob. The episode was mixed by Sela Waisblum.

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Join us for a day filled with back-to-back interviews, concerts, workshops and classes in celebration of Israel's Independence Day!

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It's Yom HaShoah, Holocaust Remembrance Day. Over the years we’ve aired many stories and episodes that relate to the Holocaust in different ways. But today we wanted to replay one of our favorites.

Lizzie Doron was born in Tel Aviv in the early 1950s. Like many others of her generation, she grew up in the shadow of the Holocaust, and her childhood was filled with silence. Questions about her family’s past were left unanswered or ignored. So, in a neighborhood where traumatic memories were relived on a nightly basis, Lizzie had to use her imagination to fill in the blanks of her own story. And, in her mind at least, she wasn’t alone. There was always someone there, looking out for her, looking *at *her. Maya Kosover unfolds an unusual saga which ends – decades after Lizzie left her mother’s home – with a shocking discovery.

The music commissioned for this episode was composed and performed by The Hazelnuts – Shira Z. Carmel, Yifeat Ziv, Ronnie Wagner and Sapir Rosenblatt. It includes a cover of Yaakov Orland's "Mihu Ha'Meyalel Ba'Ruach" and "Ten Li," an original song by Yifeat Ziv.

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What does it mean to be 'in it for the long haul'? In our fiftieth episode, which is also our season finale, we explore this question in the context of both creating a podcast and forging a relationship.

Some people operate within the confines of reality. Others don't. Instead, they will things into existence. Today we'll meet one such determined woman who - faced with countless obstacles - decided to keep calm, put one foot in front of the other, and carry on in pursuit of love.

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One of very few positive outcomes of this war is that the ongoing debate surrounding the participation of female soldiers in combat has been decisively answered. Women are, as the IDF’s Chief of Staff - Herzi Halevi - has said on multiple occasions, an integral part of the military effort. They serve in tanks and in field intelligence posts, as pilots and naval officers, infantry soldiers, engineering specialists, canine handlers, medics and more. In fact, out of the 625 doctors and paramedics operating in Gaza in late December, 73 - more than ten percent - were women. In today's episode we talk to one of them, First Lieutenant Dr. Sharon Gutman Gilor.

The end song is Kol Sha'ah Neshika ("Every Hour, A Kiss") by Chava Alberstein.

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Back in 2014, we met Elik Fromchenko. During the day he works at an auto magazine, but - just like Clark Kent - he has a secret superpower: Elik is a world-class whistler. And, in an adventure that could only happen to an Israeli backpacker, he found himself in an ambassadorial role in Hebei Province, China.

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If you happen to associate Christmas Eve with egg rolls, hot-and-sour soup and sesame chicken, tune in to tomorrow's re-release of one of our Season One classics - our sole China-related story.

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Rachael Cerrotti was a college freshman when she first came to Israel on a Birthright trip. Shortly thereafter, back in Philadelphia, she and her grandmother - Hana Dubova - started sitting down for what they called "storytelling sessions." The result was a ten-year-long journey in which Rachael retraced her grandmother's steps during, and in the wake of, WWII.

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