Israel says the graves were dug by people in Gaza a few months ago but the corpses had been examined by IDF soldiers

Pictures coming in overnight from the news wires show Palestinians mourning those killed by the latest round of Israeli airstrikes on Rafah , in the south of the Gaza Strip, an area where Israel’s military has repeatedly ordered civilians to evacuate to.

A memorial at the National Cathedral in Washington on Thursday will honour the seven World Central Kitchen aid workers killed by Israeli airstrikes in Gaza earlier this month.

José Andrés , the chef and philanthropist behind the Washington-based World Central Kitchen disaster relief group, is expected to speak at the celebration of life service, Associated Press reports.

Rolling coverage of the latest economic and financial news

• Full story: BHP moves to buy Anglo American mining group

IF BHP was to take control of Anglo , the combined company would produce around 10% of global output of copper, Reuters points out.

BHP’s proposal to Anglo could potentially flush out other rival suiters, who are also keen to own its copper mines.

“If BHP does indeed continue to pursue this deal, we would be surprised if other bidders do not emerge,” analysts from Jefferies LLC led by Christopher Lafemina said in an emailed note.

A bid that values Anglo at $42.6 billion — a 28% premium based on its latest share price — might get a deal “across the finish line,” they said.

Nothing had changed for contents insurance on my London flat but it raised the renewal from £78 to £251

I am 92 and live in a fifth-floor flat. The block is very secure, with a concierge and fobs for access to each floor. Last year I insured the contents of my home against fire and flood only, with Saga, for £78 (the building is insured by Islington council for £10 a month). Nothing has changed; but this year my renewal quote is £251.

I’m trying to get to the bottom of this huge rise. I thought Saga was an organisation that cared for elderly people. Apparently not.

The Clash are the touchstone for a story that stretches back to the 50s, told in interviews with many campaigning rockers

There’s no better time than now for a documentary on popular music’s role in the fight against racism and fascism. And in true punk spirit, this lo-fi indie packs in a lot of history and righteous passion for not much budget – even if, to be brutally honest, its core narrative is a very minor part of that history, centred on a bunch of ageing Clash fans.

The Clash are very much the touchstone here. Motivated by musicians such as Eric Clapton echoing the National Front’s racist and anti-immigrant sentiments, Joe Strummer and co became key players in the Rock Against Racism movement in the late 70s, alongside acts including Steel Pulse, Tom Robinson and Aswad. (The 2020 doc White Riot lays out the story in more detail.) While some punk bands, such as the Sex Pistols, flirted with Nazi imagery, the Clash drew a line in the sand and stood against fascism and racism, as various musicians, writers and commentators from back in the day point out.

Magdalena Wosinska spent the 1990s hanging out with bands, skateboarders and whoever else crossed her path. These photos capture blissful free spirits

It is perverse that adults are legally protected from violence, yet striking a child can be defended. Calls for a ban are getting louder

When a child is scared of their parents, they can spend a long time plucking up the courage to talk. I learned this during a decade of volunteering as a Childline counsellor. There is a 20-second period, in between saying your name and waiting for them to share theirs, that is the most silent the air can ever be. You could hear a pin drop or just a caller’s breath echoing on the receiver. In that moment, a young girl who has been slapped by her father is deciding whether to ask for help or to hang up and try again to form the words in a week or two.

I thought of this silence as I read calls from leading doctors to ban parents from smacking their children in England and Northern Ireland. Unlike in Scotland and Wales – where over the past four years the Victorian-era law that allows it has been overturned – it is still legal for a parent or carer to hit, smack or slap their child if it is a “reasonable” punishment.

Frances Ryan is a Guardian columnist and author of Crippled: Austerity and the Demonisation of Disabled People

Denounced as giving a ‘veneer of legality to slaveholding’ and despite claims of reform, kafala laws persist, allowing bosses to abuse women, who vanish from society. This is their testimony, gathered over two years in a Guardian investigation

Condemned as dangerous and abusive, the kafala labour system not only disregards migrant workers’ rights but depends on exploitation. But 10 years after Qatar was advised by the UN to abolish kafala (“ sponsorship”) entirely and replace it with a regulated labour network , the system is thriving across Lebanon, Jordan and the Gulf states – with the region’s most vulnerable migrants hidden behind closed doors.

Over two years, the Guardian spoke to 50 women who are or were domestic workers in the United Arab Emirates, Saudi Arabia, Kuwait, Oman, Qatar or Jordan. Their testimony reveals asection of society operating under appalling conditionsfacilitated by the state’s employment apparatus.

Aleema Gray used British Library’s collection to assemble Beyond the Bassline exhibition about Black British music

Young cultural researchers need greater access to the UK’s rich archival resources so untold stories can be brought to light, according to the curator of an exhibition that documents five centuries of Black British music, from the Tudor court to grime.

Dr Aleema Gray has assembled Beyond the Bassline, an expansive tour through the past 500 years of Black British musical history, which is being hosted by the British Library – the exhibition pulls from its collection – and seeks to redefine the limits of what we consider Black British music.

After the disruptions of Covid, director David Pickard has managed to balance innovation with tradition in his final year of programming the festival

David Pickard’s nine years in charge of the BBC Proms , one of the most enviable jobs classical music has to offer, have certainly not always gone as smoothly as he might have hoped. If the consequences of Brexit and the difficulties it has created for musicians wanting to perform and tour in Britain were not enough to work around, then the havoc that Covid restrictions inflicted on the 2020 and 2021 seasons made nonsense of many carefully laid plans.

Pickard’s programming has sometimes seemed shaped more by a concern to ensure that every politically correct box was ticked than by determination to come up with a summer season that was as adventurous and attractive as an organisation with BBC’s resources should have no problems in assembling. But first impressions of the new season, his last in charge, suggest that Pickard might finally have got close to achieving a decent balance between all the elements and the different genres that are now expected in a full Proms season.