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Analysis: Why is Israel’s Military Killing So Many of its Own?

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This photo combo shows three hostages who had been abducted from Israeli communities near the Gaza border, from left, Alon Shamriz, Samer Al-Talalka and Yotam Haim. Israeli troops mistakenly shot the three hostages to death Friday, Dec. 15, 2023 in the Gaza City area of Shijaiyah, where troops have been engaged in fierce fighting with Hamas militants. (Courtesy of the Shamriz, Al-Talalka and Haim families via AP)

This photo combination shows from left, Alon Shamriz, Samer Al-Talalka and Yotam Haim — three Israelis who were taken captive by Hamas on October 7, and mistakenly shot dead by Israeli troops on December 15, 2023 in the Gaza City area of Shujayea, where troops have been engaged in fierce fighting with Hamas fighters

The perils of urban warfare, coupled with operational issues within the army, appear to be hobbling Israel’s advance.

The Israeli army’s reaction to the Hamas attacks of October 7 has so far gone through four distinct phases.

The first, which started within hours of the incursion into the territory of Israel, was mostly aerial bombardment as revenge and preparation for next steps. The second phase saw the infantry and artillery enter the northern areas of the Gaza Strip from three directions, advancing towards Gaza City to cut it off from the remainder of the Palestinian territory.

In the third phase, Israel’s army completed the encirclement at the fringes of the city, making some limited advances, probes towards the centre. In the current, fourth phase, Israeli soldiers are making slow progress towards the centre of Gaza City, engaging in proper urban fighting.

Having accomplished the blockade of the largest city in the north, Israel has repeated the same staged approach in the centre, and fighting in Khan Younis is now also in phase four.

So far, fighting has been limited to conventional ground combat, with both sides operating as analysts had expected. The threat of tunnel warfare has not yet materialised.

To confirm my assessments of the fighting so far — especially as I observe it from a distance — I spoke to a retired United States general with whom I spent time on the ground during intense urban fighting in Fallujah in Iraq in 2004. He shared my view of the dangers and difficulties of full-scale MOUT, the US abbreviation for “military operations in urban terrain” that Israel is pursuing.

He made two very interesting observations on casualties.

First, the learning curve for the attackers is very steep, as expected. No training can prepare soldiers for the real conditions of fighting in narrow streets, being attacked from all sides including from above, and having to worry about tunnels as well.

The general noted that “most efficient weapon in urban warfare is experience”, explaining that every ordnance is designed for a certain imagined and ideal situation that never exists on the ground. “In training a soldier learns what, say a hand grenade, is supposed to do and what its lethal range is. But till he has thrown a few from one room to another, he cannot imagine the force of the blast or the distance that the shrapnel goes bouncing off concrete walls”. Until each fighter and each unit engaged gain that crucial experience, they will take higher casualties.

The death of nine Israeli soldiers in a single incident in Shujayea on December 12 is a textbook example illustrating the general’s warning. Two officers and two soldiers from the Golani Brigade, one of the Israeli army’s most experienced units, were ambushed by Qassam Brigade fighters as they entered a building. An improvised explosive device (IED) blocked their exit route and Hamas fighters finished them off with hand grenades and machine-gun fire. As a second Israeli team tried to rescue their comrades, they too triggered IEDs and were then killed by crossfire from the building they were in and from the higher floors of the neighbouring one.

The American general’s second poignant warning regards the numbers. While attackers in modern warfare can expect between three and five wounded for each soldier killed, the ratio in MOUT is probably twice as high.

Extreme dangers of urban combat do not affect only soldiers. Civilians who are caught in the areas of house-to-house fighting also get killed — some by bombs from the air, others by soldiers on the ground.

The Israeli air force has not shown much thought for sparing civilian lives when bombing Gaza; Most of the Palestinians killed, now more than 20,000, fell victim to aerial bombardment.

Israel admitted that 50 percent of the bombs used were “dumb” ones. They can only be aimed by pointing the aircraft before release and can stray 50-to-100 metres (164-328 feet) from their aiming point. For Israel, it might be acceptable to kill Palestinian civilians with imprecise bombing, but not Israeli soldiers.

But Israel has already killed one of every eight of its combat casualties through imprecise bombing. On December 12 the military command admitted that of the 105 troops killed by that point — the current figure being 137 — 20 were killed by “friendly fire” and other incidents involving Israeli soldiers killing each other. Of those 20 soldiers, 13 died from Israeli air force bombs, either through mistaken identification and location of the troops or by bombs falling far away from the aiming point.

The majority of those bomb casualties occurred in the earlier phases of the war when distances between troops and their enemy were still considerable. But in urban fighting foes are often 10 or 20 metres (33-66 feet) away, so the only acceptable way to support them is to use precisely guided smart bombs.

The current Israeli rate of advance seems to be slow. Such a modest rate of movement might be deliberate, to minimise casualties. But if days ahead demonstrate an ease in the bombardment of the centres of Gaza City and Khan Younis, that might be a first sign that the Israeli air force is running out of smart bombs.

Another incident also demonstrated the extreme perils of urban warfare: On December 15 Israeli soldiers killed three Israeli captives who managed to escape and were trying to cross over to the very unit that machine-gunned them to death.

Israel was shocked, as the civilians, for a change, were Israeli civilians, not Palestinians who are regularly killed by armed Israeli soldiers and police. But how could soldiers shoot people who were so non-soldierlike?  Shirtless, to show they had no weapons; in civilian trousers; carrying a makeshift white flag, a symbol of surrender and peace; and speaking in Hebrew?

Under pressure of its stunned citizens, the Israeli military will certainly investigate all circumstances in detail, but some things are clear.

Even in the heat of battle killing of civilians, especially ones displaying intent to give themselves up may indicate several unwanted issues that mar the operational performance of any army. These include a lack of proper training to distinguish between combatants and non-combatants; blatant disregard for the lives of the purported enemy showing intent to surrender; and extreme battle stress without psychological support for war-weary soldiers.

Other possible factors include disregard by the higher command of the conditions on the battlefield and a failure to rotate out of combat the units that may have been engaged in heavy fighting, especially if the unit suffered casualties; and failure of the chain of command or the appointment of commanders of a character unfit to follow orders and take decisions.

Aside from Hamas, the Israeli military clearly has issues within its ranks to deal with. At the same time, it seems unsure how much it can count on support from their Prime Minister. There are signs that many higher officers distrust Benyamin Netanyahu and would rather have in his place someone who would show more respect for the military than for his own political goals.

They won’t admit it, but another ceasefire might be the respite that Israel’s military needs.

SOURCE: AL JAZEERA

Audio

YTJ Announces New Single “JO,”

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Rising Afro-fusion artist builds on the momentum of “Closer” with an energetic new release made for dance floors worldwide
Recoup Records announces the forthcoming release of “JO,” the new single from rising Afro-fusion artist YTJ, arriving on all major digital streaming platforms September 10, 2026.
The release follows the growing international success of YTJ’s previous single, “Closer,” which has generated more than 4 million combined YouTube views and surpassed 3 million audio streams within two months of release. The record has also received airplay across more than 70 radio stations and 30 television channels worldwide, while reaching No. 63 on YouTube Music in Nairobi, Kenya.
With “JO,” YTJ enters the next phase of his sound and creative direction.
Driven by infectious rhythm, vibrant production and an unmistakable celebratory energy, “JO” is an Afro-fusion record built for movement. The single pairs YTJ’s melodic approach with a polished, high-energy production designed to connect across clubs, parties, festivals and playlists globally.
The visual world surrounding the release reflects that same energy. Built around a striking red-lit aesthetic, the “JO” campaign presents a confident and elevated side of YTJ as he continues to expand his presence beyond his home market and reach new audiences internationally.
“My intention with ‘Closer’ was simply to make something that would connect with people, and the response went beyond what I imagined,” says YTJ. “With ‘JO,’ I wanted to take that energy somewhere new. This record is a celebration — and we’re just getting started.”»
“JO” arrives at a pivotal moment for YTJ. Following the momentum established by “Closer,” the new single signals an artist increasingly focused on creating music that bridges cultures while remaining rooted in the rhythm, melody and energy of contemporary African music.
For Recoup Records, the release represents another step in the label’s commitment to developing YTJ’s international profile and introducing his music to a broader global audience.
“JO” by YTJ is available across all major digital streaming platforms HERE

ABOUT YTJ
YTJ is an emerging Afro-fusion artist whose music blends contemporary African rhythms, melody and global influences. With a growing international audience and millions of streams and views across digital platforms, YTJ is building a sound and identity designed to travel beyond borders.
Following the international response to “Closer,” YTJ continues his next chapter with “JO,” expanding his creative vision while establishing himself as an emerging voice in the new generation of African music.
ABOUT RECOUP RECORDS
Recoup Records is an independent music company focused on artist development, music distribution and building globally competitive African talent. Through strategic releases, media partnerships and international promotion, the label works to connect its artists and music with audiences around the world.
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Entertainment Gists

Josh2Funny’s Album Has Fans Talking — But Should He Stick To Music Or Skits?

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Josh2Funny’s Album Has Fans Talking — But Should He Stick To Music Or Skits? 😂🎶

 

 

Nigerian comedian and content creator Josh2Funny has taken his comedy game into music, and Nigerians are definitely having something to say about it.

The comedian released his 15-track album, “On Behalf of Josh,” on July 10, 2026, but instead of fading away after release, the project has continued to generate conversations on X.

And the big question now is:

Should Josh2Funny continue with music or go back to skits? 😂

Fans have been divided. While some listeners openly criticized the album and told him to return to comedy, others found songs they genuinely enjoyed.

One X user joked:

“Josh2Funny stopped doing skits and started music, Everybody wan chop this music money 😂”

Another simply said:

“This Josh2Funny Album no enter make he just go back skit abeg 😂”

But then came “Lembe.” 🔥

The track caught fire on X and eventually became a trending topic in Nigeria. The #LembeChallenge also gained momentum as creators began jumping on the song.

Josh2Funny later announced ₦1 million for winners of the challenge, giving the song another major push.

And it didn’t stop there.

‘INTERNATIONAL’ FT. ICE PRINCE ALSO TRENDED

On another day, “International” featuring Ice Prince generated its own buzz on X.

One fan even called it their favourite song from the album, while praising the collaboration. The post itself pulled thousands of views, showing that people weren’t only talking about Lembe.

From album criticism to trending songs and challenges, “On Behalf of Josh” has kept Josh2Funny’s name in the conversation.

Whether you love the album or think he should return to skits, one thing is clear:

Josh2Funny has succeeded in getting Nigerians talking. 😂🔥

So, let’s settle this once and for all:

Should Josh2Funny continue with MUSIC 🎶 or return to SKITS 😂?

Music or Skits? Drop your answer! 👇

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Obeena Delivers Show-Stopping Performance at Igbotic Game Night in East London

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East Ham, East London — 8 August 2026: The vibrant Igbo community in the UK came together for an unforgettable evening of entertainment, culture and social connection at Igbotic Game Night, one of the biggest social gatherings celebrating the Igbo community in the United Kingdom.

Among the night’s standout moments was an electrifying performance by Afrobeats artist Obeena, who took the stage and immediately captured the attention of the crowd.

Obeena delivered performances of two of his hit songs, “Wara Wara” and “Banging,” bringing his energetic sound and distinctive stage presence to the event. From the opening moments of his set, fans responded with excitement, singing along, dancing and enthusiastically supporting the artist.

His performance of “Wara Wara” created an instant connection with the audience, while “Banging” took the energy to another level. Obeena’s ability to engage the crowd transformed his set into one of the most memorable entertainment moments of the evening.

Held in East Ham, East London, on 8 August 2026, Igbotic Game Night provided a unique platform for members of the Igbo community to celebrate their heritage while enjoying music, games and social interaction. Events such as this continue to play an important role in bringing together Nigerians and the wider African diaspora in the UK.

For Obeena, the performance was another opportunity to showcase his growing artistry and connect directly with fans. His energetic delivery, stage confidence and ability to command the audience demonstrated why his live performances continue to attract attention.

By the end of his set, Obeena had left the crowd amazed and added another memorable chapter to his journey as an Afrobeats artist. His appearance at Igbotic Game Night was not simply a performance—it was a celebration of Nigerian music, culture and community.

 

With performances like this, Obeena continues to demonstrate his ambition to take his sound beyond the studio and onto major stages, connecting with audiences through music, energy and an unmistakable African identity.

Igbotic Game Night brought the Igbo community together. Obeena gave them a performance to remember.

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