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How an Israeli TikToker’s little-known song became the soundtrack to emotional wartime reunions
(JTA) — An Israeli reservist on leave from the war in Gaza sneaks back into his house in the middle of the night to surprise his wife and sons. Another opens the door of his daughter’s preschool classroom and steps inside. Another stands behind his mother’s desk at work, waiting for her to turn and see him.
In each video, and hundreds of others just like them, a Hebrew song with the lyrics “Good days will come…” builds to its crescendo as the soldier’s family falls upon him.
The song seems tailor-made as an anthem for the emotional reunions that are providing Israelis a rare spark of hope at a grim time. “Even in the darkest hours of the night, there will always be a small star that will shine for you, for yourself and the way home,” the singer croons. “It’s always darkest before the sunrise.”
Yet the singer, Yagel Oshri, didn’t write the song for the war that the soldiers have been called to fight, which began Oct. 7 when Hamas attacked southern Israel, killing 1,200 and taking hundreds of hostages. “Two years ago I wrote the first version — not even from my personal perspective,” says Oshri, 23. His friend was depressed because her boyfriend dumped her, so he was trying to tell her, “Just smile, it’s all OK.”
היה געגוע
Few people heard the song since, even as Oshri became one of Israel’s rising stars on TikTok. As the driving force behind the Oshri Family account, Oshri accumulated followers with his made-for-social-media humor, often involving his two younger brothers and mother in videos made in the family home in Moshav Elikhin in central Israel. But behind the scenes, he was struggling in a way that changed the way he thought about his song.
“When I went through a depression, I realized you can’t just smile and get over it,” he said. So six months ago, he went to hit-making musician Offir Cohen’s studio and played him the first four lines of the revised song: “The family, friends, maybe going out/deep profound conversations late at night/dealing with change, old habits/the soul is at war with karma…”
Cohen told him to drop everything and the two went to the studio with a guitar and within “seven minutes” finished the song — lyrics, melody and all. “It flowed like a river,” Oshri recalls. They released the song on Aug. 15.
Galgalatz, the premier pop radio station in Israel, rejected it for their weekly playlist. “Maybe they just didn’t get it, they didn’t understand the heaviness,” Oshri says, with no bitterness. He uploaded the song to Apple Music, Spotify and, of course, TikTok instead.
There, “Getting over Depression” gained a small following. In late August, a clip Oshri posted on TikTok of himself playing on a keyboard with his brother at his side garnered dozens of supportive comments. By the end of September, he posted a duet in tribute to what he said was being tagged 1,000 times on the platform.
But nothing could have prepared him for what happened after Oct. 7. Like so many other Israelis, he was personally affected by the attack when his brother’s partner, 22-year-old Kim Dukarker, was killed along with hundreds of others at the Nova music festival. And like so many others, he sprang into action, giving back however he could — by performing for families evacuated from danger zones and soldiers called up as part of the biggest mobilization in Israel’s history.
Between the live shows and the ability of users on Instagram and TikTok to add favorite songs as soundtracks to their clips, “Getting over Depression” soon became ubiquitous — particularly when soldiers used it as a soundtrack to their surprise visits home.
Now, Israelis can’t get away from the song. It’s looping endlessly on the radio, including on Galgalatz — “I’m happy they get it now,” Oshri said — and in countless social media videos. Entire army units have sung along to the song. There’s even a spoof of a reservist trying to escape it, and TikTok videos of American Jewish musicians, like Orthodox singer Aryeh Kuntzler, performing it.
מקדישים לכם את השיר בתוך לב עזה! צה״ל חזק #צהל #עזה #israel
The song has streamed more than 3.5 million times on Spotify, making Oshri the second-most listened-to Israeli artist, and has been used on 17,000 TikTok videos, mostly of reunions. A prominent TV presenter shared the music set against clips of just-freed hostages, including 9-year-old Ohad Munder running through a hospital corridor to hug his family. That video got over 1 million views.
“I feel like God gave me a mission, to make people happy with this song,” Oshri says. “It’s a happy song. I think that Israel, in its DNA, is a happy nation. We like to say ‘Am Yisrael Chai,’” or the Jewish people live, a traditional phrase that itself has been renewed in a wartime song released Oct. 19, by Eyal Golan. “We like to say, ‘There will be good days to come.’”
Oshri’s song joins in a long tradition of Israeli songs giving hope at tenuous moments, including the classic “Yihiye Tov,” or “Things Will Get Better,” which a 22-year-old David Broza wrote with poet Yonatan Geffen in 1977 on the eve of peace negotiations with Egypt.
With every war, a few songs capture the public’s imagination. In 1967, “We Shall Pass,” by Yehiel Mohar and Moshe Wilensky, was written to raise the morale of the country. Even more iconic was Naomi Shemer’s “Jerusalem of Gold,” written only three weeks before the war — and to which she added a new verse when Israel took control of East Jerusalem.
Sometimes singers become synonymous with wars. Yehoram Gaon, who sang “The Last War” in 1973 for the troops during the Yom Kippur War (“I promise you little girl, this will be the last war…”) is now back with a new version of his 1984 patriotic battle cry, “You Won’t Beat Us,” whose video features flag-waving soldiers and rumbling tanks.
“Music can produce shared allegiances and feelings of unity. In times of extreme crisis, people turn to the music that they most need as an attempt to stabilize their emotions [so they can] continue and persist,” says Murray Forman, professor of Media & Screen Studies at Northeastern University in Boston. After 9/11 he wrote the analysis “Soundtrack to a Crisis: Music Context, Discourse,” in the journal Television and New Media.
“Music has acquired new significance in relation to the atrocities of the terrorist actions,” he wrote then. But what he didn’t consider 20 years ago was that “along with the music of peace and healing and mourning and patriotically infused anger and nationalistic chauvinism (which each proliferated in the U.S. after 9-11 and probably does in other such circumstances), there might also be music of fear and dread and even celebration, depending on what communities we’re talking about,” he said.
Yagel Oshri meets and sings with the family of Raz Ben Ami, bottom right, who was released the day before as part of deal between Hamas and Israel. Her husband Husband Ohad remains captive in Gaza. (Courtesy Yagel Oshri)
“Maybe one thing is for all sides to try to listen closely to the music each other is creating and listening to.”
A number of English-language songs have also been adopted to epitomize the war. Skylar Grey’s “I’m Coming Home,” which has been used as a soundtrack for many American soldiers’ homecomings, was recently adapted in honor of the hostages still held in Gaza. Shiri Maimon sings it in a video featuring a display in Jerusalem of 240 beams of light, each representing a hostage. On Nov. 6, hundreds of the hostages’ family members gathered at Tel Aviv’s Cameri Theatre to record a version of Madonna’s “Like a Prayer,” in an event produced by Ben Yefet, who conducts Israel’s popular Koolulam singalongs.
Yet for many American Jews, Israeli anthems are a way for them to connect to the country. Yael Weinman, a lawyer from Washington, D.C., started creating shareable Spotify playlists that she called “Do Not Despair” when the war started. It included pop songs like “Out of the Depths” by Idan Reichl, “Chai” by Ofra Haza and “Hurts but Less” by Yehuda Poliker.
“For me, being in America and being so far away physically from Israel right now, it’s a way to feel closer to Israel at a time when being so disconnected is so painful,” said Weinman. She said it’s hard for many people like her not to be there. “Listening to the music is a way to feel more connected,” she says. “It’s comforting for me to listen to songs in Hebrew — it’s a way to feel comforted and not to despair.”
Oshri has been busy since the war pushed his song into the spotlight. In addition to working on new music that he hopes will bring comfort to his nation at war, he has played over 90 performances since the war started — at army bases, for wounded soldiers, for evacuated families, at funerals.
“I just sang for a kidnapped woman that was released,” Oshri says in the car from Israel, referring to Raz Ben Ami, who was released by Hamas on Nov. 29. Her husband Ohad remains captive in Gaza.
On Sunday, Oshri announced that he would begin selling jewelry with lines from his now-iconic song etched in his handwriting, with the proceeds to benefit the Israeli army.
Oshroi told JTA that every time he sings the song, in his heart he dedicates it to Dukarker. But he says he knows “Getting Over Depression” doesn’t belong to him any more. “It’s Israel’s song,” he said. “It’s the song our nation has chosen to listen to.”
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The post How an Israeli TikToker’s little-known song became the soundtrack to emotional wartime reunions appeared first on Jewish Telegraphic Agency.
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Israeli-Organized Music Festival in Portugal Canceled Amid BDS Threats
Supporters of the Boycott, Divestment, and Sanctions campaign. Photo: Alex Chis.
An Israeli-organized music festival set to open in Portugal today was canceled after one of the latest anti-Israel campaigns by the Boycott, Divestment and Sanctions (BDS) movement pressured local authorities to intervene.
“It is with the heaviest of hearts that we announce the cancellation of Anta Gathering,” the organizers of the five-day music festival wrote in a social media post on Instagram. “You came to celebrate life, music, and connection — and instead we find ourselves forced to cancel. This is heartbreaking for us, and we are still processing the shock.”
On Wednesday, organizers said they were expecting final approval for the event, but the local municipality informed them that additional regulations still needed to be met. According to a festival spokesperson, organizers tried to postpone the festival to secure the necessary permits after encountering unexpected regulatory hurdles.
“The reason is clear: in the last days we faced a well-funded and orchestrated BDS campaign built on lies and hatred,” the organizers, brothers Shahar and Dean Bickel, wrote.
“For months, they worked to sabotage our vision, spreading disinformation fueled by money and nationalism. Their goal was never about music or community, but only to divide, intimidate, and cause pain,” the statement reads.
“The damage has been devastating and made it impossible to move forward,” it continued.
The organizers have launched a GoFundMe campaign to help cover the losses.
According to local media, pro-Palestinian organizations, notably BDS Portugal, have made threats against the local municipality, with activists pressuring officials to block the festival’s permits and warning artists from attending.
However, even with all permits in place — including police and safety approvals, cleared health inspections, booked artists, and waiting audiences — the local municipality informed organizers just 24 hours before opening that the festival could not proceed.
“Not because of safety. Not because of logistics. But because of hate based on nationality,” the organizers said in a statement.
“This is not just about a festival. This is about the right to create without fear. It is about protecting culture from being destroyed by prejudice,” the statement reads.
In a post on social media, BDS Portugal admitted to threatening several of the participating artists, prompting some to cancel their appearances. The group also claimed the festival is being organized by Israeli soldiers who “took part in the genocide.”
Given the unexpected cancellation, the festival is facing significant financial challenges — from supplier payments and booked artist flights to legal costs and ticket refunds — with losses already exceeding €50,000.
“Every contribution, small or big, makes a difference — helping us cover debts, refunds, and keep the dream alive,” the organizers said.
“This is not the end. Anta is about love, freedom, and community — and no campaign of hate will ever destroy that. With your support, we will heal, rebuild, and dance together again,” the statement reads.
This five-day electronic music festival is organized by two Israeli brothers, Shahar and Dean Bickel, and brings together 100 artists from around the world and more than 800 participants.
According to a festival’s spokesperson, Shahar Bickel served two weeks of reserve duty in the Israeli Defense Forces (IDF) at the start of the war in Gaza but never left Israel’s borders, while his brother Dean did not serve in the army.
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Iran and Terrorism: Empty Gestures or Genuine Change?
Iranian Foreign Minister Abbas Araqchi speaks during a meeting with foreign ambassadors in Tehran, Iran, July 12, 2025. Photo: Hamid Forootan/Iranian Foreign Ministry/WANA (West Asia News Agency)/Handout via REUTERS
In a world grappling with persistent threats of terrorism and financial crimes, the international community must not be swayed by superficial gestures.
While Tehran’s recent ratification of the Palermo Convention against transnational organized crime may seem like a step in the right direction on the surface, it is likely a calculated move designed to distract from the regime’s continued and unwavering support for global terrorism.
The Financial Action Task Force (FATF) reportedly plans to meet with Tehran’s bureaucrats to review whether the Islamic Republic of Iran has complied with its action plan to be removed from its blacklist.
However, the global financial watchdog must resist the temptation to remove Tehran from the list, because the Islamic Republic fundamentally remains committed to funding terrorism and engaging in illicit financing. To remove Tehran would be to ignore a mountain of evidence that supports this unequivocal fact.
In fact, removing Iran would endanger the integrity of the international financial system.
For years, the Islamic Republic has been a leading state sponsor of terrorism. No single treaty that Iran may ratify can disguise this fact.
The regime’s Islamic Revolutionary Guard Corps (IRGC) has a long and bloody history of plotting assassinations on American soil and overseas, targeting high-profile figures like President Donald Trump, journalists, dissidents, and ordinary citizens. This is not the conduct of a state genuinely committed to combating organized crime. It is the action of a rogue regime that uses terror as a primary tool of its foreign policy.
The recent move by Iran’s Expediency Discernment Council to ratify the United Nations’ Palermo Convention — after years of refusing to do so — is a classic example of Tehran’s diplomatic gamesmanship.
Tehran understands its presence on the FATF blacklist has crippled its economy, It is desperate for a reprieve. However, the regime has refused to ratify the most crucial of the FATF-required treaties: the International Convention for the Suppression of the Financing of Terrorism (CFT).
By refusing to do so, Tehran is signaling its intention to continue funding terrorist proxies including Hamas, Hezbollah, and the Houthis. Nor has Iran abandoned the facilitation network it has provided to Al-Qaeda. While Tehran may one day feel compelled to ratify the CFT for economic reasons, removing it from the blacklist should take place only if commensurate conduct changes on the terrorism front — and that change is sustained.
The international community has already witnessed the devastating consequences of Iran’s terror financing. The Hamas attack on Israel on October 7, 2023, was inspired, funded, and enabled by Tehran. The regime’s support for the Houthis in Yemen has destabilized the region and disrupted global trade, costing the United States and its allies billions of dollars. Tehran’s backing of Hezbollah in Lebanon threatens the security of Israel and the stability of the entire Middle East. Iran should not be welcomed back into the global financial fold until it changes its conduct, not merely purports to agree to an item on a technical checklist.
The FATF has a clear mandate: to protect the global financial system from money laundering and terrorist financing. To fulfill this mandate, it must hold Iran to the same standard as every other nation. This means insisting on full and unconditional compliance with all FATF requirements, including the ratification of the CFT and demonstrable adherence to its principles. There can be no exceptions, carve-outs, or special treatment for a regime that has blatantly and repeatedly violated international law and circumvented sanctions.
Tehran’s diplomatic overtures are nothing but a smokescreen. As long as the regime continues to fund terrorism, plot assassinations, and destabilize the Middle East, it must remain on the FATF blacklist. The security of the United States and its allies, and the integrity of the global financial system, depend on it. The message to Tehran must be clear: words are not enough. Its actions and malign conduct must change.
Saeed Ghasseminejad is a senior advisor at the Foundation for Defense of Democracies (FDD). Toby Dershowitz is managing director at FDD Action, FDD is a Washington, DC-based, nonpartisan research institute focused on national security and foreign policy. FDD Action is a non-partisan 501(c)(4) organization established to advocate for effective policies to promote US national security and defend free nations. Follow the authors on X @SGhasseminejad and @tobydersh.
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From Sacred to Strategic: Hamas Turns Civilian Infrastructure Into Targets
Palestinian Hamas terrorists stand guard on the day of the handover of hostages held in Gaza since the deadly Oct. 7, 2023, attack, as part of a ceasefire and a hostages-prisoners swap deal between Hamas and Israel, in Rafah in the southern Gaza Strip, Feb. 22, 2025. Photo: REUTERS/Hatem Khaled
Two weeks ago, the IDF revealed a chilling incident: Hamas operatives posed as World Central Kitchen aid workers, wearing yellow vests and using WCK-branded vehicles. WCK swiftly confirmed that the imposters had no affiliation — that this was terrorism hiding in humanitarian garb.
Then, earlier this week, Israel struck Nasser Hospital in Southern Gaza — not randomly, cruelly or without reason, but because Hamas was using the hospital to operate surveillance cameras to track IDF movements.
A tragic battlefield misstep occurred when tank fire was used to disable those cameras instead of drones, killing 6 Hamas terrorists who were either operating or near the targeted cameras, but also resulting in unintended civilian casualties. This outcome was tragic — but sadly predictable.
This is the logic of Hamas’ strategy: weaponize Gaza’s hospitals, schools, mosques, and aid centers, force civilian casualties and damage to civilian infrastructure, and then broadcast them as evidence of Israeli atrocity.
Hospitals: Protected — Until Abused
International Humanitarian Law (IHL) stands firm: during a war, hospitals may not be targeted — unless they are being used for military purposes. Hamas’ use of these sites as command or surveillance posts nullifies their protection.
Mosques and Schools: Sacred — Until Militarized
Houses of worship and schools are also granted special status under IHL. But that protection dissolves once they are used for military advantage — a tactic Hamas consistently employs, turning places of worship into weapons depots and schools into hideouts.
Humanitarian Aid: Safe — Until Exploited
Under IHL, even aid workers can become legitimate targets when Hamas impersonates them. The WCK incident not only endangered genuine aid efforts, but it also weaponized the trust people place in humanitarian organizations, and eroding that trust endangers aid workers everywhere in Gaza.
This Is Calculated — Not Casual
These are not random errors — they are deliberate Hamas strategies: embed fighters and military and tactical equipment in civilian infrastructure, provoke strikes, and unleash graphic narratives. The recent hospital strike and the WCK impersonation reflect this grim choreography.
A Double Standard with Deadly Consequences
When US or UK forces faced civilian casualties in Mosul or Aleppo, the world understood the moral complexity caused by ISIS embedding itself among civilians and fighting in civilian clothes.
But when Israel confronts Hamas — whose tunnel networks under hospitals and all other civilian infrastructure in Gaza rival entire urban subway systems — the narrative is nearly monolithic: Israel is the villain.
This is the double standard defined in the IHRA working definition of antisemitism.
No Safe Haven for Gaza Civilians
Hamas’ cynical human shield strategy and its use of Gaza’s civilian infrastructure as cover is enhanced as a tactical tool by the actions of Gaza’s Arab neighbors.
In Syria and Ukraine, civilians fled across borders to safety in Jordan, Poland, Turkey.
In fact, in every war in modern history, civilians have left combat zones to go to neighboring non-hostile countries.
But after October 7, Egypt and Jordan closed their borders, citing political fears. That leaves Gaza civilians trapped — forced to rely on limited “humanitarian zones” Israel sets up — zones Hamas routinely targets and even tries to stop Gazans from entering.
The result: Israel is held to an impossible standard: avoid civilian casualties even when terrorists hide themselves and their military and tactical infrastructure next to, among, and beneath them, while Gaza’s Arab neighbors are held to no standard of refuge for their fellow Arabs whatsoever.
Casualty Figures — Propaganda Masquerading as Data
To make matters worse, most media outlets parrot casualty numbers from Hamas’ so-called “Health Ministry.”
The Gaza Health Ministry’s numbers lump together civilians, combatants, natural deaths, and even those killed by Hamas’ own misfired rockets. For years before October 7th, between 5,000 and 7,000 people in Gaza died from natural causes. Meanwhile, at least 15% to 25% of Hamas and Islamic Jihad’s rockets fall short, killing Gazans.
And Hamas routinely kills Gazans it decides are “collaborators” with Israel. All these deaths — along with the death of Hamas fighters — are aggregated in Hamas’s “death tolls” for the October 7th war it started.
Yet the narrative advanced by major media outlets and on social media paint every death as of a civilian killed by Israel. This is propaganda masquerading as data.
Conclusion: Accountability, Not Convenient Narratives
Hamas will continue to weaponize its own civilians — and civilian spaces — if excuses remain for its behavior. Only when the global dialogue refuses to blame Israel for the foreseeable results of Hamas’ human-shield warfare can moral clarity return.
The responsibility lies — with Hamas, not Israel — to stop turning Gaza’s hospitals, schools, and civilian infrastructure generally into strategic targets. Let’s call this what it is: terrorism hiding behind civilian facades. Until the world stops tolerating and even rewarding Hamas’ cynical human shield tactics, they will continue.
Micha Danzig is a current attorney, former IDF soldier & NYPD police officer. He currently writes for numerous publications on matters related to Israel, antisemitism & Jewish identity & is the immediate past President of StandWithUs in San Diego and a national board member of Herut.