Peter Preston’s Death Sends Shock Waves across British Press

Peter Preston, when editor of the Guardian, watches an archive
copy of the paper come off an ancient press. Photograph: The Guardian
Peter Preston, when editor of the Guardian, watches an archive copy of the paper come off an ancient press. Photograph: The Guardian
TT

Peter Preston’s Death Sends Shock Waves across British Press

Peter Preston, when editor of the Guardian, watches an archive
copy of the paper come off an ancient press. Photograph: The Guardian
Peter Preston, when editor of the Guardian, watches an archive copy of the paper come off an ancient press. Photograph: The Guardian

Peter Preston, a journalist who was born on May 23, 1938, died early last week. His death news disturbed the British press community.

Journalists recalled the brilliant career of Preston and his prints in creating the Guardian’s identity during Margaret Thatcher's presidency.

Preston headed the editorial office for the longest period in the Guardian’s history. He managed to turn the paper into a more modern publication with financial assets for a period of time, paving the way for building a fortress of progressive journalism that is recognized and appreciated by the world.

Preston passed away at the age of 79 after suffering from a malignant tumor for the past ten years. The British press had always respected him, and the Daily Mail allocated its fourth page to honor and appreciate him through a special material.

“Preston's 79-year-old death deprives the British press of one of the most inspirational figures of the 20th century,” said the Tabloid City’s editor-in-chief.

Preston joined the “Manchester Guardian” in 1963, and saw its progress turning into a national newspaper editor from 1975 to 1995. At that time, he ran the revolutionary redesign of the paper, the change of its name, and the inauguration of the daily G2 department, which was copied by other newspapers, along with the purchase of the Observer; he struggled to maintain the stability and success of the work after the inauguration of the Independent.

Apart from these tasks, Preston was particularly proud of making a financial shift for The Guardian, where revenues’ decline was prevented for at least a period of time, with the circulation of the newspaper surpassing half a million in the mid-1980s. However, Preston, who was at times a target of constant criticism because of his leadership of the newspaper, was not a flawless myth. Any editor who stays in office for more than 15 years sometimes strikes and sometimes makes mistakes, the late once said.

In 1975, Preston broke the expectations saying that an older journalist would replace Heatherington. At the age of 36, he managed to capture the post after journalists voted for him, against his main rival. "I am a reporter, a journalist and a facts-researcher first," he wrote in an article in the Guardian newspaper."

He was more loyal to the news material than the doctrine.

Preston opened the editorial room, and allowed everyone to attend the morning editorial meetings. He worked hard and diligently as any of the other journalists; he rarely asked for leave, and used to distribute expressions of encouragement when they were due.

The Guardian’s acquisition of the Observer in 1993, the world's leading weekly Sunday newspaper, did not help him win friends. He was initially enthusiastic about the process, but the editorial team of the weekly newspaper opposed him when he told them that they would have to adhere to austerity policy if they wanted to keep their jobs.

The Observer’s editorial team had been used to extravagance and luxury, and they did not realize that those days were over. An editorial executive likened the process to Tesco's takeover of the Fortnum & Mason shop.

In 1964, Preston moved with the Guardian to London, where he worked in several jobs, including a reporter for education, a daily editor, a foreign correspondent, an editor of varied light topics, and a production editor. In 1975, at the age of 37, Scott Trust appointed him editor-in-chief of the Guardian, and he remained in this position until he resigned in 1995.

As editor-in-chief, Preston oversaw major changes to the paper, including its relocation in London headquarters at the 119 Farringdon Road, and the introduction of specialist areas in the newspaper, including the inauguration of the educational journal “Education Guardian”, and “Society” for Community News, as well as the redesign of the newspaper in 1988, and the launching of the G2 division in 1992.

He also managed some of the most important issues of the Guardian, including the autobiography " Spycatcher », and the bribery scandal of two conservative members of parliament in the nineties.

He handed over his beloved newspaper to his deputy in 1995, but he did not leave. He continued to work as a collaborator, by writing columns on politics and media, and as a member of the board of directors and one of the trustees.

Despite his cautious character, people from his close circle said he was a good and intelligent man. The pipe-smoking journalist, who was obsessed with football, was too far from going to fancy restaurants and clubs, which were often visited by most of editors-in-chief.

After his death, his deputy wrote: "His companionship and friendship were good, but he was not social at all.”

In his last column, published on Christmas Eve, Preston hoped that the press would be able to regain its respect to some degree, while it is being condemned by politicians and the public alike.



Coffee Regions Hit by Extra Days of Extreme Heat, Say Scientists 

17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
TT

Coffee Regions Hit by Extra Days of Extreme Heat, Say Scientists 

17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)
17 April 2012, North Rhine-Westphalia, Vluyn: A general view of Arabica Coffee beans. (dpa)

The world's main coffee-growing regions are roasting under additional days of climate change-driven heat every year, threatening harvests and contributing to higher prices, researchers said Wednesday.

An analysis found that there were 47 extra days of harmful heat per year on average in 25 countries representing nearly all global coffee production between 2021 and 2025, according to independent research group Climate Central.

Brazil, Vietnam, Colombia, Ethiopia and Indonesia -- which supply 75 percent of the world's coffee -- experienced on average 57 additional days of temperatures exceeding the threshold of 30C.

"Climate change is coming for our coffee. Nearly every major coffee-producing country is now experiencing more days of extreme heat that can harm coffee plants, reduce yields, and affect quality," said Kristina Dahl, Climate Central's vice president for science.

"In time, these impacts may ripple outward from farms to consumers, right into the quality and cost of your daily brew," Dahl said in a statement.

US tariffs on imports from Brazil, which supplies a third of coffee consumed in the United States, contributed to higher prices this past year, Climate Central said.

But extreme weather in the world's coffee-growing regions is "at least partly to blame" for the recent surge in prices, it added.

Coffee cultivation needs optimal temperatures and rainfall to thrive.

Temperatures above 30C are "extremely harmful" to arabica coffee plants and "suboptimal" for the robusta variety, Climate Central said. Those two plant species produce the majority of the global coffee supply.

For its analysis, Climate Central estimated how many days each year would have stayed below 30C in a world without carbon pollution but instead exceeded that level in reality -- revealing the number of hot days added by climate change.

The last three years have been the hottest on record, according to climate monitors.


Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
TT

Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)

A dog decided he would bid for an unlikely Olympic medal on Wednesday as he joined the women's cross country team free sprint in the Milan-Cortina Games.

The dog ran onto the piste in Tesero in northern Italy and gamely, even without skis, ran behind two of the competitors, Greece's Konstantina Charalampidou and Tena Hadzic of Croatia.

He crossed the finishing line, his moment of glory curtailed as he was collared by the organizers and led away -- his owner no doubt will have a bone to pick with him when they are reunited.


Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
TT

Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 

Long known for its olives and seaside charm, the southern Greek city of Kalamata has found itself in the spotlight thanks to a towering mural that reimagines legendary soprano Maria Callas as an allegory for the city itself.

The massive artwork on the side of a prominent building in the city center has been named 2025’s “Best Mural of the World” by Street Art Cities, a global platform celebrating street art.

Residents of Kalamata, approximately 240 kilometers (150 miles) southwest of Athens, cultivate the world-renowned olives, figs and grapes that feature prominently on the mural.

That was precisely the point.

Vassilis Papaefstathiou, deputy mayor of strategic planning and climate neutrality, explained Kalamata is one of the few Greek cities with the ambitious goal of becoming climate-neutral by 2030. He and other city leaders wanted a way to make abstract concepts, including sustainable development, agri-food initiatives, and local economic growth, more tangible for the city’s nearly 73,000 residents.

That’s how the idea of a massive mural in a public space was born.

“We wanted it to reflect a very clear and distinct message of what sustainable development means for a regional city such as Kalamata,” Papaefstathiou said. “We wanted to create an image that combines the humble products of the land, such as olives and olive oil — which, let’s be honest, are famous all over the world and have put Kalamata on the map — with the high-level art.”

“By bringing together what is very elevated with ... the humbleness of the land, our aim was to empower the people and, in doing so, strengthen their identity. We want them to be proud to be Kalamatians.”

Southern Greece has faced heatwaves, droughts and wildfires in recent years, all of which affect the olive groves on which the region’s economy is hugely dependent.

The image chosen to represent the city was Maria Callas, widely hailed as one of the greatest opera singers of the 20th century and revered in Greece as a national cultural symbol. She may have been born in New York to Greek immigrant parents, but her father came from a village south of Kalamata. For locals, she is one of their own.

This connection is also reflected in practice: the alumni association at Kalamata’s music school is named for Callas, and the cultural center houses an exhibition dedicated to her, which includes letters from her personal archive.

Artist Kleomenis Kostopoulos, 52, said the mural “is not actually called ‘Maria Callas,’ but ‘Kalamata’ and my attempt was to paint Kalamata (the city) allegorically.”

Rather than portraying a stylized image of the diva, Kostopoulos said he aimed for a more grounded and human depiction. He incorporated elements that connect the people to their land: tree branches — which he considers the above-ground extension of roots — birds native to the area, and the well-known agricultural products.

“The dress I create on Maria Callas in ‘Kalamata’ is essentially all of this, all of this bloom, all of this fruition,” he said. “The blessed land that Kalamata itself has ... is where all of these elements of nature come from.”

Creating the mural was no small feat. Kostopoulos said it took around two weeks of actual work spread over a month due to bad weather. He primarily used brushes but also incorporated spray paint and a cherry-picker to reach all edges of the massive wall.

Papaefstathiou, the deputy mayor, said the mural has become a focal point.

“We believe this mural has helped us significantly in many ways, including in strengthening the city’s promotion as a tourist destination,” he said.

Beyond tourism, the mural has sparked conversations about art in public spaces. More building owners in Kalamata have already expressed interest in hosting murals.

“All of us — residents, and I personally — feel immense pride,” said tourism educator Dimitra Kourmouli.

Kostopoulos said he hopes the award will have a wider impact on the art community and make public art more visible in Greece.

“We see that such modern interventions in public space bring tremendous cultural, social, educational and economic benefits to a place,” he said. “These are good springboards to start nice conversations that I hope someday will happen in our country, as well.”