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One man and his ski company

Peter dyer, the new owner of specialist ski operator esprit, spent two happy years as a sheep-farmer after selling his previous firm to thomson., article bookmarked.

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Peter Dyer is a sheep farmer. He has a flock of about 200, raised according to the "farm-assured" standard, which is one level below organic; and it has been keeping him busy over the last couple of winters. The sheep graze on his fields in Sussex and on those of his neighbours when their grass needs trimming. Unfortunately, the block on the movement of farm animals in the wake of the foot-and-mouth emergency meant that his neighbours' grass remains unchewed, and some of his older ewes have had to be culled for lack of feed. But, fortunately, there was no outbreak of the disease on his farm.

Now, however, Dyer has hired somebody to look after his sheep. He is going to be busy with a new project, particularly during the winters and through to the lambing season. Because, this year, he has bought one of the UK's best specialist ski operators, Esprit, based in the Hampshire town of Fleet.

This does not represent a dramatic change for Dyer, who is 50 years old. Rather, it was the two-year interlude on the farm that temporarily interrupted a career which began when he was 18, and which made him the most respected figure in the UK ski business. After working for other companies, notably Swans and Inghams, he created Crystal Holidays with a partner in 1980 and built it up to the point where it became the market leader – it is currently selling 130,000 holidays per year. Now he is starting again, with a small company, albeit one which has established its reputation in a life almost as long as Crystal's. The number of holidays Esprit sold last season did not exceed four figures – for competitive reasons, Dyer will not be more specific than that. But he hopes to see a 100 per cent growth this season. Unsurprisingly, Peter Dyer is, once again, the talk of the ski business.

One reason for his ambitious target is Dyer's belief that "there is a sea-change going on: the big ski operators are not listening to their customers any more, and they are going to suffer a lot of fall-out as a result". Recent events certainly suggest that all is not well among the big companies, with the strong growth of small independents such as Erna Low and Le Ski and the departure of senior staff from Crystal (now owned by Thomson) including, earlier this month, managing director Debbie Marshall. And Dyer, of course, has direct experience of the way big ski companies work. After 11 years with Crystal, Dyer's partner wanted to leave; as a result the company was sold, to a US conglomerate called Dial, for £4m. "It was run by a guy who looked as if he'd played the lead in Dynasty," says Dyer. "Just like Blake Carrington he looked as if he'd had his teeth done, his face done. He was very straightforward, and absolutely brilliant: we learned so much from him. He used to say: 'Peter, we think you're a great guy, as long as you make the money. If you don't make the money, you're not a great guy.'" Left to its own devices – and without any investment from Dial – Crystal flourished.

But when Dial appointed a new boss, the relationship deteriorated, and Dyer organised a management buyout of Crystal, backed by Barclays. By this time, in 1997, Crystal was worth $20m [at the time, £12.5m]. "We did the deal, and literally the next day – when it was announced – we had Thomson, Airtours and First Choice ringing up and saying 'Do you want to sell?' We said no; so they went to Barclays." The bank, with a controlling interest thanks to its investment in the buyout, was excited by the prospect of a quick return, and eventually a deal was done. Crystal was sold to Thomson in 1998 for £66m.

"I wanted to stay on," says Dyer, "and Paul Brett, the chief executive said 'we want you to run Thomson ski as well'. But I didn't want to be on the main board and get involved in a committee of golf-club people; so it was agreed that I would report to a main-board member.

"On day one we had a meeting. He came in and got out his briefcase, his calculator and his notepad. I didn't have any of those things. And he said: 'Right, this is how we're going to run the company now.'" Dyer, who had been led to believe that he was to continue to run Crystal his way, suggested a call to Paul Brett. But the Thomson boss's support was not forthcoming. "What he said to me was: 'Well, best leave it as it is, Peter.'" Dyer left Thomson and, prevented by a 'block-out' from working in the ski business until September 2000, devoted himself to his sheep.

Ask Dyer how he can bring his knowledge of the ski market to bear on Esprit, a family-skiing specialist, and his answer is simple and self-effacing. "It's not what I think that counts; it's what the customer wants. You have to listen. I was talking to a guy who runs a ski-hire shop in Austria recently; he said that 10 years ago he used to tell clients which skis and boots they needed, but that now they tell him. Skiers are becoming ever more aware, always looking for something new. So, at Crystal, 20 of us used to sit down every year and ask ourselves: 'What are we going to do that's new?' We brought back the overseas people, because they talk most to the customers. All the ground-breaking ideas came from those meetings."

After Dyer acquired Esprit in January, a questionnaire was sent to the entire customer base asking them what they would like the company to offer. Dyer's assertion that "it's a good company, with a managing director who's been here for 12 years, that has got potential" is borne out by the amazing response rate of 82 per cent. What the customers wanted was more destinations, chalets and departure airports, plus hotels; and that is what Esprit's 2001/2 brochure offers.

Dyer says he has no "master plan" for Esprit. But you would get short odds from most people in the ski business – where praise for Dyer's managerial skills is unstinting – on Esprit remaining a small ski operator for long. Of course, big operators do tend to treat their customers like sheep. Lucky, then, that Dyer is good with sheep.

Esprit Ski, 01252 618300; [email protected] ; www.esprit-holidays.co.uk

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Peter Dyer is a keyboardist, musical director, sound designer, and producer who has toured and recorded with Aloe Blacc, Adam Lambert, St. Vincent, Mariah Carey, Van Hunt, Crystal Lewis, and Cam, among many others. Other recording credits include Avicii’s “True” album and global hit “Wake Me Up,” Flo Rida, Nile Rodgers, Vancouver Sleep Clinic, and tours with AlunaGeorge and Quadron. A devoted DSI user and fan, Peter has contributed factory presets for the Prophet 12, Pro 2, Prophet-6, OB-6, and Tempest.

Most recently, he’s done programming for Miguel, Hayley Kiyoko, and Tegan and Sara’s fall tours, as well as sound design for BMW’s coming action short-film, “The Escape.” Peter’s band, Rafferty , has had placements with Apple and the CW’s Supergirl ads. Peter is also part of synth-pop act Monogem. You can hear Peter’s Prophet 12 on Monogem’s songs “Take It Slow” and “Gone,” linked below.

We chatted with Peter about how he’s using the Prophet 12.

Peter, what made you choose the Prophet 12?

“I’ve been lucky to participate in several DSI projects, beginning with the Mopho x4, but my discipleship is completely genuine! You guys make stuff that not only sounds great but stands up on the road and consistently delivers, which is important to me. The other virtual analog boards available were driving me nuts, with bad oscillators that you had to drench in effects to tolerate. Essentially, I wanted analog sound and UI, with modern digital amenities.

I’d been hoping for a synth that could excel on a wide range of productions and tours, especially commercially-minded pop and EDM, but with the speed of an analog control interface I was used to. Different things are important when you’re a touring keyboardist compared to when you’re using a synth in a controlled studio environment. I can dial something in on a DSI synth a thousand times faster than digging through a workstation. In a big budget rehearsal setting, there is zero patience for common analog synth problems and limits.

Other things I like about the Prophet 12 are its voice count, which I don’t have to worry about hitting the ceiling on, its huge softsynth-like mod matrix, its splits and stacks, the highpass filter, extra touch controllers for momentary changes, and the delays and Character effects. I even like the boring stuff like its preset management and MIDI specs, its solid chassis, and its different mod wheel up and down ranges. It’s my favorite board, hands down. I’ve got both the Prophet 12 keyboard (serial #002) and a P12 module.”

How are you using it?

“The P12 has gone with me on practically every session since I got it, due to its tonal flexibility. It’s also the first board I turn to at home. The breadth of sound design it covers makes it fit in so many different genres. For example, I tour with it as my top board for Aloe Blacc, since it can cover his older Bill Wither’s-esque soul catalog, but also Aloe’s pop stuff, like “Wake Me Up” and “The Man.” I recorded with St. Vincent earlier this summer and the Prophet 12 fit this space between the Prophet-6 and Moog bass core we had, providing lush width and shimmer. It created the perfect bed. I’ve programmed some fun Vox, Farfisa, and string machines for Aloe’s shows, which on a Prophet 12, have the bonus of filter tone control and envelopes compared to a stock workstation Farfisa emulation. My Prophet 12 module usually comes on the road with me. I’ll use it to have a familiar hardware synth for recording on the go. I’ll dump my Prophet 12 keyboard patches on it and throw it in a backpack for fly dates. I’ve made a couple Prophet 12 samples that I dump into the Nord Stage 2 sampler to lay under pianos as well. “

What’s one of your favorite things about it?

“I like that the Prophet 12 oscillators are made to be warped and messed with. Because I was raised on a Juno-60, I have an extreme weakness for pulse width modulation, so conceptually, the fact that you can do it independently to all four oscillators with their own LFOs is the kind of ridiculous flexibility I swoon for in a hardware synth. I also like the ribbons for precise live changes, since I can affect several parameters (using the mod matrix) and reach over with a pinkie while still holding a chord — then you let go and jump back into a chorus with your base patch since you haven’t futzed with the knob positions .”

What does it give you that other synths might not?

“The Prophet 12 takes the best of analog and digital. It does both extremely well. Having one synth that’s so versatile is what makes it my go-to. Warm analog pads and leads in spades, or sharp wavetable transients, wave reset punch and digital spitshine when I need it — which despite the analog purists throwing a fit over it, is a good thing in many of my situations. The speed and inspiration of a knobby interface with a great sound source is worth it. It’s second nature. By comparison, click-and-drag editing sucks. It kills inspiration and other people’s patience. Also, analog stereo distortion… come on! I’ve had producer’s walk over to that knob while I’m playing and devilishly smile as they turn it up. Lest anyone think it’s just a gimmicky add-on, it sounds damn good .”

Any interesting Prophet 12 tricks or techniques you’d like to share?

“So many! I need a blog. Here are a few:

Fit in the mix: Use the highpass filter with no resonance and cut up to 35 and up. A typical FOH guy is going to highpass the keys in the PA anyway, but doing it ahead of their chain will make for a cleaner mix and more informed decisions on your part.

Or don’t: If you want a meaty bump in the low mids, put the highpass to 22-28 and resonance at 80-90.

Pitch wheel trick

Gone Girl bendys: Set 4 oscillators to sawtooth, each with varying levels of fine tune (ex: +2, -2, +8, -8). Set Osc 3 to C3, and the rest to C2. Set the low-pass filter to 4-pole at 85, resonance 26, with no envelope amount. Slam the Distortion and Drive both to max. Turn on Unison, set to 12 voices, and detune to 8. Set the pitch wheel range to one octave up and 2 octaves down. In the mod matrix, assign pitchbend to 3 slots. Pitchbend to Osc 2 Freq, amount 5. Pitchbend to Osc3 Freq, amount 13, and Pitchbend to LPF cutoff amount 83. Now hold a note, and rip on the pitch wheel. Going up it will scream bloody murder, and going down it will filter out and murder poor NPH.

Delay tricks

Chorus pedal: Turn one of the delay lines into an analogy chorus pedal. Set a delay’s, amount to 100, its delay time to 34, and lower the utility low-pass filter on the delay to 85. Use zero feedback. Now assign a free LFO to delay time, with a triangle wave at a slow frequency like 6, and set the LFO’s amount to 1-6, very small. If you need less chorus “mix,” turn down the amount. Tweak to taste.

Flanger: Same concept as the chorus. Delay amount at 127, feedback at 96, delay time at 20, and the delay’s utility low-pass filter to 85. Then modulate the delay time with a free-running triangle LFO with the frequency at 44 and amount at 2. If you want to change the rate of your flanger, change the LFO’s rate. If it’s too resonant, turn down the delay’s feedback.

Spring verb: In simple terms, a reverb is a network of a bunch of different delays. For a start, set the 4 delays with 4 different times – 76, 86, 91, 96. Set all 4 delay amounts to 34, and all 4 delay feedback amounts to 80. Set all 4 delay’s lowpass filters to 45. Set each delay’s pan differently. For example: 80, 45, 88, 50. This is a good place to start for a boxy guitar amp spring. Mess with different mix, low-pass filters, and feedback amounts for each. Or set an LFO to modulate the panning of all 4 delays to their other sides respectively, using the mod matrix.

String Machine: Our favorite string machines are one-oscillator types with an ensemble circuit that is a few delay taps. Start a basic patch using only Osc 1 set to sawtooth with the filter open and LFO 1 set to Osc 1 Freq. Set LFO 1’s frequency to 152, amount 3, and slew rate 40. Set all 4 delays to zero feedback, amount 127, and each delay’s utility low-pass to 115. Set each delay’s time to 17, 19, 21, and 23 respectively. Set LFO 2’s destination to Delay Time 1, frequency 80, amount 2. Set LFO 3 to Delay Time 2, frequency 90, amount 2. In a mod matrix slot, set LFO 2 to also send to Delay Time 3 with amount -2, and LFO 3 to also send to Delay Time 4 with amount -2. This is just one oscillator! “

Keep up with Peter at:

peterdyer.net

soundcloud.com/peterkeys88

www.instagram.com/peterkeys88/

Check out some of Peter’s music here:

Monogem’s “Take It Slow” on spotify

Monogem’s “Gone” on spotify

Sneak Peek BMW Films: The Escape

https://www.youtube.com/watch?v=hNDgwzpIE6c

Supergirl Season 2 trailer:

https://www.youtube.com/watch?v=9jszqOX0Q4c

Crystal Lewis and Peter Dyer “Please Don’t Go” live jam

MORE ABOUT THE PROPHET 12

For more information, check out the Prophet 12 product page   here .

Find your local dealer for Prophet 12 pricing  here .

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Artist Feature: Peter Dyer and Greg Suran at American Idol

• July 18, 2018

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Recently we sat down with Greg Suran (guitar, American Idol house band, also lead guitarist with the B-52’s since 2012, and touring with Alanis Morisette this summer), and Peter Dyer (keys, American Idol house band and has toured or performed with Adam Lambert, St. Vincent, Mariah Carey, Aloe Blacc, and so many more) to talk about what is is like to work on American Idol .

But first let’s start off with a little Journey “Don’t Stop Believin” covered by American Idol contestant Gabby Barrett and the American Idol band.

How did you both get your gig on American Idol ?

P: We were brought on by Idol ’s musical director Kris Pooley. I’ve worked for and with Kris quite a bit over the last few years: Adam Lambert, Niall Horan, Miguel, Katy Perry, Tegan & Sara, D.N.C.E., Lea Michele, and scoring several Chevy commercials, and a BMW short film,  The Escape . He’s a fantastic leader, musician, and person, so I’m glad he had me on for this one.

G: Kris Pooley, the MD for Idol , is a friend of mine. Kris was the MD for the TV show Glee , and for a live tour featuring the actors/singers. He got me on that gig and we did a few tours together. That tour was also cover songs so I guess we have a pretty rich history of only playing cover songs together, lol.

Is it different playing live on tour versus playing on television? And if so, how is it different?

Yes and no.

P: The entire band has played TV before many times for various artists, but they’re usually one to two songs for an album’s promotional tour on one of the morning or late-night TV shows. Or, working with a single artist on a tour you play ten to twenty songs that are in a similar vein since it’s one artist, and then you play those all tour with maybe some mild changes. Idol is so varied, with the different contestants, genres, and set productions so each week was a new hurdle. Also, the arrangements are short (one and a half to two minutes max), so you don’t have time to settle into a song. You have to hit that thing right out the gate, in front of the 5–10+ million viewers. Each episode was such a unique and varied set of challenges, and you never have time to get comfy, since it’s over in a flash and on to the next setlist. I found that energy and demanding precision very refreshing.

G: I’ve been touring pretty heavily since ’95 at all different levels, from the big stuff to the excruciatingly small and squalid. Touring at any level is usually the same, in that you spend some time rehearsing a specific set and then play that same set of songs for months. The hard part becomes the travel, and the musical challenge can be keeping the music fresh, challenging yourself to be creative, and always bringing enthusiasm to songs you may have been playing for years. In other words, you get into a routine on tour. Idol is a completely different animal. For Idol we had a list of 50 songs to learn for the first week. ( P: Our total song count for the season was 225!) We primarily read charts, as it would be pretty tough to memorize that many songs a week. I feel it’s really important to get all of the nuances in tone, phrasing, style, etc., of a song as opposed to just cold sight-reading it. We’re trying to play this music authentically, so it requires a lot of homework before we even begin rehearsing for an episode. Then, we wait for the charts to arrive and see what actual key we are playing the song in. On guitar this can really change the approach. For example, “Rhiannon” by Fleetwood Mac is totally different in Gb minor instead of the original A minor. I would have to change my approach entirely in a case like that. The hours can be very long in rehearsal. Also, we play many styles of music each week (Rock, R&B, Pop, Country, Jazz, showtunes, Folk, Soul, Reggae, etc.). So you have to be versatile and quick at both the music and finding the right tone/sound. I enjoy the challenge and it’s very rewarding being constantly engaged and invested. It’s a great way to grow as a player and see what you’re made of, so to speak.

This seems like a nice place to enjoy another clip from American Idol . Here is Michael J. Woodard covering “I Would Die 4 U” with the American Idol band.

How did you and Greg use Strymon pedals in your performances?

P: I have a TimeLine and a BigSky on my Prophet 12 (later a Prophet X). The show is fast-paced, and we have to cover a lot of ground. There’s no time for futzing with knobs, so I’m very keen on preset management on my boards and pedals. I’d save a preset for each song on my boards, so I can see the name, and recall the tone with no doubt.

G: For my Idol pedalboard I use the TimeLine delay and Mobius modulation modeler. Because of the extremely diverse types of music we play I need to be able to access and reproduce sounds and effects authentically and quickly. For the TimeLine it’s a huge advantage to have all of the presets available to assign to any number of the 50 or so songs we play every week. In an episode I often need to go from a slapback delay for country chicken pickin’ and the next song I need a long delay with modulation for Eno-esque ambient volume swells. The TimeLine’s extremely high quality sound and its programmability make it invaluable on this gig. The Mobius is probably the one pedal I could not do this gig without, for the same reasons as the TimeLine. It’s common to need a rotary effect, ’80s chorus, ’70s phaser, ’50s tremolo, heavy flanger (e.g., Heart’s “Barracuda!”), and pitch vibrato all in one episode. I rely on the Mobius for all of those effects. Frankly, I think they sound as good or better than the large, analog original pedals. The programmability is key.

How does the pressure of this being a competition for the singers change the way you perform?

P: I tried to be very precise in my choices, because if I didn’t play something clearly and confidently, then the contestant could be affected, and that in turn could blow their performance. The contestants have only heard the band play the song a handful of times (and we’ve only played it a handful of times together as a band), so there’s no room for irregularity or doubt.

G: I think the unpredictability of the contestants and how they perform can be a challenge. You don’t know their instincts, or phrasing or tendencies so you always have to be on your toes. And you want to be at your best and make them feel inspired to sing their best.

What tip do you have for someone wanting to pursue a career playing on a show like American Idol ? And what do you think is the best asset to have as a performer for a show like this?

P: With a show like this, the MD needs to know you are dependable, can nail sounds of the record, execute them precisely and consistently, and make good musical choices when audibles are called. There isn’t time for everyone to be told exactly what to play – the pace is too fast. There are countless departments moving to execute a live show, and the band is just one piece. Apart from being in the right place at the right time with the right musical skills – trust and dependability, consistency, precision, and being easy to work with. I’m but a cog in the wheel of this massive live show’s machine, and need to show up and do my part without issue. Working in pop-world over the last several years with lots of artists in lots of situations with various problems to solves (big gigs, small gigs, crappy gigs, festivals, recording sessions, writing sessions, production at home, etc.), has equipped me for this kind of work, and I loved doing the season.

G: Skill set-wise, one needs to be a good sight reader and play pretty much every style with a good level of competency if not mastery of all. I think that can take a lifetime of always trying to play in any kind of band or musical situation that you can. Don’t be closed-minded or afraid of new musical styles and experiences. Jump in and try to learn on the fly, even if deep down you may fear you don’t have your chops together on a certain kind of music. Sometimes you get your butt kicked and have to go back to the woodshed, but that’s the process that helps you grow. That, and make sure you have a capo! 😉

Thanks to Greg and Peter for taking the time out to share all this great info. Here is one more clip from American Idol with contestant Caleb Lee Hutchinson covering “Folsom Prison Blues” with the American Idol band.

Peter’s current projects:

Rafferty’ s “White Flower” (writer & producer)

Check out Greg’s solo music at: https://gregsuran.bandcamp.com

Check out more of Peter’s projects at: https://peterdyer.net

Keep up with Greg and Peter: https://www.instagram.com/gsuranwrap/

https://www.instagram.com/peterkeys88/

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Peter Dyer is a keyboardist and programmer in Los Angeles, Ca. Peter has toured worldwide with pop-legend Mariah Carey, Aloe Blacc, Anjulie, and Van Hunt.  His synth work can be heard on albums by UNI, Outasight, Van Hunt, Aloe Blacc, and Scott Ryan as well.  Peter also works as a composer/arranger, having arranged and orchestrated for Mariah Carey’s live shows, scored for Dirt Poor Films, and recently had a song featured on WWE’s “Once In A Lifetime: Rock vs. Cena”

http://peterdyer.net/

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phuket: Tom and Kevin Whitcraft's THA72 were declared the winners in the IRC0 class, even though Windsikher took yesterday's race at the Phuket King's Cup Regatta.

The Thai team's early indomitability ensured they were safe despite their rivals' late surge.

Australian team Alive, skippered by Duncan Hine and Phil Turner, were second fastest on the day while THA72 were third but had done enough to be declared the 2017 champions.

Racing started late due to wind conditions dropping off on the last day of competition. Fortunately many classes had only one race left to run due to busy triple-header days earlier in the week.

In IRC1, Japanese team Karusu took the win yesterday ahead of Estonian entry Loco.

Yasuo Nanamori's team had suffered from a disqualification and two DNS (did not start), leaving Otonomos Mandrake to take the IRC1 crown.

Peter Dyer and Kata Rocks topped a great week with another win in IRC2 and claim the top honours. Thai entry Pine Pacific won another race in the Premier class, which was more than enough to seal victory for the week.

Japanese team Mil Grace, skippered by Natsuki Motoyoshi, took the Firefly 850 win, but the week belonged to John Newnham's Twin Sharks.

In other results, Andy Pape and his Multihull Solutions H3O were declared the winners in the one-make Pulse 600 class.

British team Thor of Henry Kaye and Fergus Wilmer claimed the Multihull class, with a definite schism between them and a chasing pack headed by Asia Catamarans Java, who finished second overall.

In the Cruising Multihull class, Mojo Multihull Solutions, skippered by Australian Rick Fielding, were named the winners ahead of Da Vinci skippered by Chinese Zhang Yong Dong.

Kevin Whitcraft, president of the organising committee said: "I'm really pleased to congratulate the winners in all classes. The Phuket King's Cup is known as Asia's most prestigious regatta, and we appreciate that the programme has such powerful international magnetism, drawing sailing teams internationally which return year after year to race here."

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• Published: 15 December 2017

Peter Dyer: 'There is a big challenge in deciding how we fund clinical care'

• Ruth Doherty  

British Dental Journal volume  223 ,  pages 810–812 ( 2017 ) Cite this article

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Ruth Doherty , Senior Managing Editor of the BDJ , interviews BDA President, Peter Dyer. Peter graduated in dentistry from the Royal Dental Hospital in 1979 and then qualified in medicine from University College Hospital, London in 1988. He was appointed consultant in oral and maxillofacial surgery to the University Hospitals of Morecambe Bay NHS Foundation Trust in 1998 with a special interest in trauma and orthognathics. As Chair of the Central Committee for Hospital Dental Services Peter was highly involved in the industrial action taken by trainee hospital dentists in 2016.

Why did you become a dentist?

I grew up in Lancaster where I used to go to the community dentist, called Keith Woods and he really got me interested in dentistry in the first instance. Throughout my fifth and sixth form, I used to go and sit with Keith and he gave me the chance to drill and fill extracted teeth. He was super.

Keith introduced me to Eric Cooper, a consultant in oral surgery, and it was really Eric who made me think I want to take this further. He was a giant in the dental world.

My dad was a doctor and he often said that he wished he had been a dentist because he'd finish work at 5 o' clock and when you're a doctor that doesn't happen. As it happened I ended up doing a career that never finished at 5 o' clock but that was my choice. The other thing my dad used to say to me was that the dentists have more fun than the doctors!

What led you to oral maxillofacial surgery?

I was working in Great Ormond Street Hospital as a resident oral surgeon because at that stage I wanted to be a children's dentist, that was my great love. But when I was there we were doing a lot of cleft lip and palate work and I got interested in the surgery side of things. So with some encouragement from a consultant I worked with at UCH, Mr James, I decided to apply for medicine and worked my way through the surgical training, mostly in London but also in Bristol and Birmingham. I wasn't the 'great academic' – I had my ups and downs. For example, I missed my medical finals and had to do another six months, and had some episodes of not passing postgrad exams.

I've never encouraged anyone to do maxfax. And that's not because I didn't enjoy it! The reality is that it's a slog and you're working long hours when eventually you do get there. I often say to undergrads who want to do it, 'you do realise that throughout your twenties your friends will be going off on holidays, buying nice cars and socialising and you will be at a desk working, not making any money.' Your whole life seems to shift by ten years.

There are more opportunities for young dentists nowadays that also allow you to have a life outside of dentistry and that is really important. I don't regret what I did for a minute but I think that it's really important that those interested in maxfax as a career are aware of the implications.

Do you think the GDC should be more like the GMC?

I really worry about 'blame culture'. Neither the medical nor dental professions have got away from that properly. I do think that the GMC is getting better at tackling this problem but the dental profession has some way to go.

Look at the airline industry, it's now absolutely open. Very few pilots get prosecuted or taken to court. If you make a mistake in that industry you tell people, because the next time that mistake is made by you, or somebody else, it's your life and the lives of the 300 people sitting behind you that are at stake. In the medical and dental professions we are still frightened to report mistakes.

'This idea that you can't say sorry to somebody as a clinician is a real problem.'

This idea that you can't say sorry to somebody is a real problem. Thank goodness it is now a general directive from the GMC that saying sorry is not an admission of guilt because by talking to relatives and patients you start to diffuse most of the problems.

I don't think we'll ever solve completely the problem of defensiveness, but we need to get to a point where clinicians can be confident that they are not going to get hauled over the coals for small mistakes. The GMC has at last recognised that it is distressing for people going through this – some lose their livelihoods, families break down under the strain.

Now I think the GMC would be the first to admit they have not got there yet. But the current President's aim is to go from 3,000 investigations to 300 because he knows that actually there are a very small percentage of doctors who need investigating. And this is where I think the GDC could learn from the GMC.

Another area from which the GDC could learn from the GMC is keeping the annual retention fee at a modest amount. The GMC has somehow managed its finances in such a way that the ARF remains unchanged or only goes up very slightly.

Another thing we could take from the GMC is their success in keeping a doctor as their President; we've obviously lost that as a dental profession. I think dentists ought to be leading the profession.

How do you feel about leading the BDA's first ever strike?

My natural position is negotiation and I see myself as a peacemaker. However, when faced with this decision to take the strike to the BDA Principal Executive Committee as a proposal, it was an easy decision for me because it was the right decision. I was in no doubt about that whatsoever. I felt that we were up against an intransigent secretary of state, who on public record is someone who would see other alternatives to the NHS and I think that was coming across in his high handed attitude. Trainee doctors and dentists were recognising that this was the NHS which was under threat. This wasn't just about their working conditions; it was a much wider issue about a Government that was possibly destined to introduce privatisation at many different levels.

'What I am criticising is the stealth factor with regard to the creeping privatisation of the NHS'

Sadly this is happening already – there is a lot of creeping privatisation in the hospitals and out in community healthcare. I am obviously aware that dentists do a lot of private work as well and I'm not criticising that at all. But what I am criticising is the stealth factor with regard to the privatisation of the NHS. I think we are losing something which is very precious. The whole thing around there not being enough money isn't true. We are a wealthy nation – it's about how we distribute it. It's a choice issue and the current administration is not choosing the NHS. And my worry is it won't matter which party is in power, there will be a slow erosion of the health service.

Is the BDA uncomfortably close to the BMA?

We need to have that debate with the membership and now is the right time to have it. The question that needs to be asked is 'can we now pull back some services from the BMA?' The BDA, because it knows dentists and dentistry, has the expertise to answer questions as well as the BMA, if not better, on some subjects.

I don't see it as an 'us and them' situation. There are areas where we will always work with the BMA; for example, for the DDRB (Review Body on Doctors' and Dentists' Remuneration), a joint response is the right thing. But now it's time for a debate by the membership of the BDA, particularly in my committee – the Central Committee for Hospital Dental Services – about how we work together in the future.

There is a lot of concern that you need to have the BMA behind you, but actually we have the BDA behind us and they can do the job well!

Will oral surgery ever be free from OMFS?

The maxfax specialty (OFMS) has now made itself very much a medical, surgical specialty so the debate has to be had in the BDA about where that puts us in terms of oral surgery? It's very clear in my mind that oral surgeons are dentists who have medical training but don't have a medical degree, and are competent to do a whole range of oral surgery. For me the key thing is the talent not the title. It doesn't matter whether they are called a maxfax consultant or an oral surgeon or whatever, as long as they are right person for that specification then they should be part of the team.

When I was medical director I was aware of what could only be described as clinical hypocrisy. From 9 am to 5 pm a specialty and associate specialist (SAS) doctor might only work as an assistant to a consultant.

Then at 5 pm, a bit like Cinderella, something magical happened, the consultants went home and the SAS doctors were left responsible until 9 am the next morning. Why was it that the SAS doctors could suddenly run the hospital by themselves when in waking hours they couldn't? The key point is that the SAS doctors are a highly skilled, highly qualified, hard-working group and in oral surgery, we have to recognise that and the BDA ought to be standing up for them.

How is a restorative consultant 'better' than a restorative specialist in a practice?

They are absolutely not better. This is about doing a different type of work. The hospital consultant probably sees a different range of work. They might deal with cleft patients, hypodontia cases or patients with cancer rehabilitation where they have to work with both the surgeon and the orthodontist. The environment in the hospital is set up for that multi-disciplinary approach. But that doesn't make them better, it's just different.

I think one of the great opportunities for young dentists now is the chance to subspecialise in practice and hopefully under the auspices of the NHS, if the Department of Health can organise it. If I was starting out now I'd be looking to specialise, eg in perio or oral surgery, and finding some like-minded colleagues to set up in a building where I'm in one surgery and the endodontist is in the next, the restorative in the next and so on. We could then work as a team under one roof delivering a really good multidisciplinary service to patients via the NHS. That to me would be ideal.

When dental students say to me what is their future in dentistry? I say, get a degree under your belt, then do your DF year, maybe get a bit of DCT experience in a hospital and then during that time decide what you want to do. Perhaps do an MSc, and consider going overseas for this, and then, with that qualification, set up in practice somewhere with your colleagues. Opportunities for this are going to increase.

Name three things being member of the BDA has done for you...

1. It was so useful just to know that I could go and meet some colleagues via the BDA, for example, at a lecture or other event. In particular during my medical training, the BDA helped me to keep in touch with dentistry. This was a great support

2. The advice provided by the BDA has always been useful. For example, just after I qualified in dentistry in the early eighties, I worked for a year as a dentist. Very quickly I hit a problem because the chap I was working with, I now realise, had issues and the practice was falling apart. I was sometimes left by myself as a fairly newly qualified dentist for days on end and there were complaints, suppliers weren't being paid etc. Understandably, I got quite distressed about all this and I called the BDA for advice. They ascertained I didn't have a contract holding me there and so suggested I leave, which is what I did!

3. The BDA instilled this idea of being in a profession for me. I remember the day that we qualified, a few of us who had been on the BDA Student Committee, just came up and had a chat at 64 Wimpole St. It was almost like we needed to identify with the profession. I think that the BDA should and does symbolise the profession.

How do you ensure the BDA works as an institution for new graduates?

The millennial generation are transactional; I see that with my own kids. And that is not selfish, they just want to know what they get for an outlay. So maybe we need to slightly alter the membership structure so they can buy into something when they need it. We also always have to be a voice and be out there speaking up about and proactive in issues that are affecting young dentists.

I think that new graduates are part of a kinder generation – the way they are taught at school makes them much more self-aware. I see that with the UCLAN students now; they are self-aware, self-motivated and kind. I'm very optimistic about the dental profession because the people coming through are so talented.

What one thing would you regret not doing during your year as BDA President?

My regret would be if I don't make the most of the opportunity I have to speak to people about the importance of a profession and how we are better together. I want to go around and meet as many people as possible. I want to see students, I want to see old dentists, I want to see young dentists, I want to see practising dentists, to see specialist groups, people who are disaffected with the BDA... I want to hear any criticism people have because we have to face up to that.

The message I want to put out is that the professions are under threat now like they have never been before. Some may see professions as outdated and irrelevant today. However, I do think there is merit in the support network a profession can give and if you lose that it doesn't matter how many retweets you have or how many friends in your friendship circle online, if you are not meeting people face to face and you don't have that support, then you are missing something important.

What is your advice to those who might be feeling a bit fed up with dentistry?

During a long career everyone is going to get dejected at some time. Nobody can keep up that momentum. I've had times where I've realised I've dipped a little. I think belonging to a professional organisation, such as the BDA, is really important to combat this. The BDA has a big part to play via its networks.

Isolation, whether social or professional, is damaging to your health and also to your career. Sometimes you can become isolated without even knowing about it and that happened during my training. I was locked away, studying and it wasn't good for my health. I realised the balance was completely wrong. I was rushing home, putting something in the microwave to eat, taking two minutes to eat it and rushing upstairs to study. I failed twice in a row and I realised something had to change.

The BDA discusses social isolation and mental health issues quite a lot. Back in the nineties you all had to be macho surgeons together. I think that macho culture is damaging to health. And it's only now that we, as a medical and dental profession, are starting to talk about these things. And I think that the Royals' initiative to raise attention around mental health is probably quite healthy because we have to talk about this more.

What do you advise dentists to do if they do start to feel stressed or low?

Being self-aware means you can better identify times when you need help. If you are aware that it's happening seek professional help quickly, absolutely. Don't be ashamed. My generation tended to go down the pub on a Friday night and that created its own viscous cycle, but in some ways maybe it was a bit better than being isolated at home.

I know a local GP and practice nurse in Lancaster and they both tell me they see a high instance of anxiety amongst students and they've noticed it going up and up. They put a lot of it down to mobile phones and the fact that students don't go out socialising quite as much now, so they don't build up resilience strategies.

In your practice, it's good to encourage your colleagues to be open. Sit down every month with your nurses and your receptionists so there is no hierarchy. Treat everyone as an equal, because quite often it's one of your colleagues who might be the one to point out that you're not yourself or pick up on patterns that may signify mental health issues.

What are you most proud of?

When I became a consultant in Morecambe Bay, I was building up a department and I interviewed quite a few potential staff to whom I asked that question. The answer I got from every single one of them was that they were proud of bringing up their children. I remember thinking that's an interesting answer but I thought they were going to say something else. I do actually understand that answer now, twenty years down the line having just retired with my kids heading off to university. I can absolutely understand that answer.

But from the professional side of things, I'm proud of the department we built up over the years. We were always recognised as a friendly team that gave patients a lot of time. None of the clinicians did any private work but were committed to the NHS. We used to have a hierarchical structure but now there is a flat structure with the chair of our regular departmental meeting rotating each month – with dental nurses, secretaries, receptionists, consultants, lab technician, all equal. We worked as a genuine team and that was recognised by dentists and doctors out in practice.

I think I'm most proud that I was a) able to go back to my home area, but b) that I was able to work in a team that had the same values in the NHS as I stood for. I am well aware that one's legacy disappears quite rapidly and I'm not bothered about that now that I've retired. The point is that over 20 years we built up a good team and it was a good service.

What do you feel are the biggest challenges in dentistry for the future?

I believe there is a big challenge in deciding how we as a society want to fund clinical care. We have to recognise that there are forces at work that aren't necessarily operating in our best interest. Much of this is covered up in 'safety' and giving 'ownership' to clinicians and patients. It's a lot of words but the reality is there is a lot of dismantling by stealth of the NHS and it will be a big challenge to combat that.

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Doherty, R. Peter Dyer: 'There is a big challenge in deciding how we fund clinical care'. Br Dent J 223 , 810–812 (2017). https://doi.org/10.1038/sj.bdj.2017.1059

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Tunbridge Wells man found dead in flat after 'telling neighbour he'd taken too many pills'

Peter Dyer was also heavily impacted by the loss of his former girlfriend who died from cancer 25 years ago

• 11:50, 16 JUL 2021

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A man from Tunbridge Wells died due to drinking alcohol with an overdose of prescribed drugs, an inquest has heard.

Peter Dyer, 55, lived on Somerset Road and was single before his death on February 3.

He suffered with his mental health from 1993 after an assault - when an off-licence shop he worked in was robbed.

READ MORE: Tonbridge man, 25, died after 'pandemic took away everything he had lived for'

Mr Dyer was also heavily affected by the loss of his former girlfriend who died from cancer 25 years ago.

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He had only discovered she was suffering with the condition when he asked her to marry him.

The medical report from Mr Dyer's GP revealed that he claimed songs he heard on the radio were targeting him and he thought people were looking at him.

He also reported having hallucinations and hearing voices in his head, but still had no intention of suicide.

The 55-year-old had a history of alcohol dependence, and Malcolm Norman, who lived in the same block of flats in Tunbridge Wells, wrote a statement describing how the events unfolded.

"I'd known Peter for about nine years, I could see he was a nervous person but I welcomed him," he said.

"When he came to visit I noticed after hearing him cough that his breath smelt of alcohol, so I asked him if he had been drinking.

"He replied and said yes, but it's cheap, and then described how he had taken too many pills, far more than he should."

"We then had a casual conversation talking about television and future plans, before he headed back to his flat."

The man who lived opposite Mr Dyer knocked on Mr Norman's door later that night asking if he had the key to his room because he had heard some shouting.

"I was stunned that he was not already dead," Mr Norman said.

"The pills had killed him because he had taken so many."

A light blue coloured bag was found at the scene, where nine empty packets of prescribed drugs were also discovered.

There was also a large two litre cider bottle which was empty.

Where to get help if you're struggling

You don't have to suffer in silence if you're struggling with your mental health. Here are some groups you can contact when you need help:

Samaritans: Phone 116 123, 24 hours a day, or email [email protected] , in confidence

Childline: Phone 0800 1111. Calls are free and won't show up on your bill

PAPYRUS: A voluntary organisation supporting suicidal teens and young adults. Phone 0800 068 4141

Depression Alliance: A charity for people with depression. No helpline but offers useful resources and links to other information on its website

Students Against Depression: A website for students who are depressed, have low mood, or are suicidal. Click here to visit

Bullying UK: A website for both children and adults affected by bullying. Click here

Campaign Against Living Miserably (CALM): For young men who are feeling unhappy. Has a website here and a helpline: 0800 58 58 58

It was raised, however, that the casual conversation had between Mr Dyer and Mr Norman regarding future plans shows that there was perhaps no suicidal intention.

The pair were in discussion for over half-an-hour, and the 'too many pills' remark was almost said as a throw-away comment.

For that reason, assistant coroner Alan Blunsdon came to a narrative conclusion.

"It is clear that Peter had taken a fatal overdose but it is not possible to establish his motives," he said.

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In May, All Eyes (and Wallets) in the Art World Turn to New York

Other cities have game, but springtime in the Big Apple brings a concentration of fairs, auctions and shows without parallel.

By Ted Loos

Sometimes it seems as though the collectors, dealers, curators and advisers who power the art world will fly anywhere on the map to see a show or buy an artwork. Even a deadly pandemic could only delay the proliferation of events of a truly global market.

In March, the art fair buffet included Frieze Los Angeles , Art Dubai and Art Basel Hong Kong , but there also were major auctions in London. This month, the opening of the legendary Venice Biennale was the noncommercial center of gravity, though buyers had opportunities at art fairs in Brussels, Chicago and Dallas.

But in May, that diffusion turns to concentration, and all eyes turn to New York for what may be the busiest single art month of the year anywhere, including hubs like Los Angeles and Miami.

“Our business is cyclical, and May is a peak,” said David Zwirner, one of the world’s most powerful dealers, who runs multiple spaces in New York and in other art capitals like Paris, London and Hong Kong.

“There’s a psychology that’s been grandfathered in for collectors,” Zwirner said. “This is the time they are forced into making decisions. A couple times a year, they are ready to step up. If I’m honest, I don’t have that in January.”

It all started with auctions.

Since the late 1970s, Sotheby’s and Christie’s , the two auction behemoths, have staged some of their most important Impressionist, modern and contemporary art sales in New York in May (November is the other prestige season).

The same is true this year, with the big sales scheduled for the week of May 13. At Sotheby’s, the 1966 “Portrait of George Dyer Crouching” by Francis Bacon goes on the block, and at Christie’s one major offering is the Brice Marden abstraction “Event” (2004-7); both paintings are estimated at $30 million to $50 million.

Since 2012, when Frieze New York was established, art fairs have also clustered in the city in spring, syncing their schedules to take place close to the auctions and their attendant previews.

Now, Frieze New York (Thursday through May 5) is closely followed by the New York edition of the European Fine Art Fair, TEFAF New York (May 10-14) and the Independent (May 9-12), plus at least a half-dozen more around the city.

The primary reason for the activity, Zwirner said, is a deep bench of buyers. “There are some buildings on the Upper East Side with more collectors than in some midsize European towns,” he said.

Pamela Joyner, a philanthropist and collector known for her focus on abstract art by African Americans and members of the global African diaspora, said she thought that recent power shifts in other places reinforced New York’s primacy.

Those shifts include the emergence of Seoul as an Asian art market capital to rival Hong Kong, and the complicated post-Brexit status of London — where the modern art market arguably started in the 18th century, when Sotheby’s and Christie’s were founded.

“New York is the safe haven,” said Joyner, who splits her time between the city and the Lake Tahoe area in Nevada. She serves as a trustee for four museums, including the Museum of Modern Art.

“I think New York is more the center of the art world now than it has been the last decade,” she said. “With all of this movement, there’s a default or consolidation to what is known.”

The season’s familiar rhythms are a bonus, she said. “The predictability of the schedule is a safety blanket,” Joyner added.

J. Tomilson Hill, a managing director of the hedge fund Two Sigma, is a prolific New York collector who, in 2019, established the Hill Art Foundation , which has an exhibition space in the Chelsea neighborhood. His varied specialties include Renaissance and Baroque bronzes, as well as modern and contemporary works.

Hill is making his own addition to the busy May mix. Beginning May 3, the Hill Art Foundation will feature a solo presentation by the artist Mika Tajima, known for her paintings, sculptures and installations that incorporate data and science.

Having one’s own public exhibition space affords a lot of latitude, but nonetheless Hill times his spring exhibition to sync up with the fairs and auctions — the gravitational power of the schedule is strong.

“We want traffic from collectors who may be traveling from out of town,” said Hill, who also serves on the board of directors of Gagosian gallery and on the advisory board of Christie’s. “We want people to see the show.”

In Hill’s opinion, collectors have become more sophisticated. “The market has gotten really good at discerning what’s a 10 and what’s an 8,” he said.

Although such fine distinctions may be the realm of top collectors, Hill added that he thought that art fairs also serve an educational role in New York, where large numbers of casual visitors have a chance to stroll the aisles. “You get a greater incidence of first-time fair goers,” Hill said, compared with events in other places, like, say, the small Dutch city of Maastricht, which draws loyal TEFAF devotees.

The abundance of options is illustrated by the fact that Frieze takes place at the Shed in Hudson Yards, just a few blocks from the gallery-packed blocks of Chelsea.

Instead of being superfluous, Frieze organizers say the location is synergistic.

“People come to the fair and then they look for the next activity they’re doing,” said Christine Messineo, director of Americas. “The conversation starts and then it leads them to a gallery an hour later. You can’t recreate that anywhere but in New York City.”

Frieze is now owned by the sports and entertainment conglomerate Endeavor, which last year bought the Armory Show , a fair that takes place in New York in September. The purchase was proof that organizers believe that collectors have an appetite for multiple events in the city throughout the year.

Kristell Chadé , the executive director of fairs at Frieze, said that there was a “relatively limited overlap between the two fairs — less than 10 galleries.”

Moreover, Chadé said that Frieze and the Armory Show were complementary, given that “the price points are more varied” at the Armory Show, which last year had 225 dealers, while Frieze had 68.

Messineo noted that “Frieze New York is an international fair welcoming global visitors,” and that this year, there will also be dealers from Guatemala, the Philippines, Colombia, Brazil, Mexico and South Africa participating in the event.

Some visiting collectors will also attend the auctions, or the auction previews, which are free and open to the public.

“Increasingly, we think people are designing their calendar around these events,” said Brooke Lampley, head of global fine art for Sotheby’s, speaking of both fairs and auctions.

Lampley said that Sotheby’s wanted to “capitalize on and align with” other events as much as possible.

“Friends of mine who want to start collecting art, I always tell them to go to an art fair,” she said. “They get to see so much at once. It’s a great way to start orienting your eye and your taste.”

New York’s hugely dense and varied museum scene — which this season features, among other big shows, a new edition of the Biennial at the Whitney Museum of American Art — is a major attraction for collectors, and the auction houses see a market opportunity.

“Trust me, my sales team is actively canvassing owners of works by artists in the Biennial,” Lampley said, of stocking her sales with artists who are in the public eye. “It’s a message of validation and recognition, and the meeting point of the curatorial and commercial.”

You probably will not see Joyner raising a paddle — she watches the auctions online and then bids on the phone. “I never attend auctions in person,” she said. “I don’t want to broadcast what my parameters are.”

But she goes to the previews and attends the larger art fairs, as does Hill. “People sometimes buy a work without seeing it in person, and to me, that’s nuts,” Hill said.

That interest in being in the same room with art is what keeps the gallery scene humming along, playing its part in the larger ecosystem — and not all of it is at Zwirner’s high-flying level. The dealers who eventually end up at Frieze New York have to start somewhere. (Fairs are expensive for galleries, and organizers are choosy about who they include.)

David Pagliarulo, 28, started the gallery David Peter Francis in March with a group show, in a third-floor space in Chinatown. “The show was about beginning, what it means to jump off the cliff,” Pagliarulo said of the opening exhibition, which featured works by Peter Hujar, Matt Keegan and Kathryn Kerr.

Pagliarulo formerly worked at other galleries, including Marinaro, before opening his own, and the solo show in his new gallery, opening Friday, features work by the photographer Gonzalo Reyes Rodriguez, including the image “Kyle/David” (2024).

Perhaps Hill and Joyner will not make it down to Chinatown, but, based on the gallery’s jam-packed opening night in March and the number of motivated collectors on hand in the city in May, someone likely will.

As Pagliarulo put it, “The density here is to everyone’s advantage.”

More From Forbes

American sportsmen discover new zealand’s hunting and fishing paradise.

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The world's largest red deer stags are the prized attraction for international hunters visiting New ... [+] Zealand.

Long before Peter Jackson’s Lord of the Rings trilogy put New Zealand on everyone’s travel list, hunters and anglers long coveted the island nation’s riches of fish and game. It is a sportsman’s Jurassic Park, where beasts grow to near-mythic dimensions and the stunning landscape inspired the fictitious land of Middle-earth.

New Zealand’s temperate climate, rich volcanic soils, lack of apex predators, and lush pasturelands proved the perfect habitat on which to introduce all manner of the Old World’s famous game—especially red deer.

New Zealand's many mountain-framed lakes provide stunning backdrops for many adventures.

In the early 1900s, the red deer, chamois from the Alps, fallow deer, the large-bodied sambar deer, reclusive rusa stags, Himalayan tahr (a mountain goat-like animal), elk from North America, and wild boar were all brought to New Zealand, a country that originally had but one species of mammal—a bat.

Essentially, game keepers and biologists saw New Zealand as a blank canvas on which to create a wild game masterpiece, so they did. Without natural predators nor severe winters to slow the population growth of the country’s new cast of horned and antlered creatures populations of many of the introduced species exploded. So prolific were the red deer, for instance, that a few decades ago game managers were forced to conduct extensive culling operations to bring the deer numbers back to levels the habitat could support.

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Sixers justified in fury toward officiating after game 2 meltdown vs. knicks, litter robot 4 review the best self cleaning litter box on the market.

John Scurr poses with a pair of pukeko or swamphens, one of several indigenous game birds found in ... [+] New Zealand.

Today, these same red deer have become a popular draw for hunters from across the world—especially Americans. Thousands of U.S. hunters travel to New Zealand annually to partake in big game hunting.

“Most hunters know of New Zealand as the home of the world’s biggest stags,” says John Scurr , a Kiwi native and veteran hunting operator who specializes in arranging custom hunting and fishing experiences for all manner of the nation’s fish and game. “But we have many game species that are thriving here on both the North and South islands.”

Wine tours are just one of many diversions available to visiting sportsmen.

For Scurr, however, it’s about customizing diverse New Zealand tour packages that allow visiting hunters and anglers to immerse themselves in a wide range of attractions and activities that complement rod and gun adventures.

“New Zealand is a his and her (and family) destination, so if a hunter wants to bring a non-hunting spouse or friend here,” says Scurr, “we can arrange a wide assortment of activities from helicopter junkets to volcanos and glaciers, lake excursions, wine tours, glacier climbing, jet boating, hiking and biking, bungy jumping, parasailing, or drives through the countryside to explore any number of our inviting communities.”

New Zealand's wealth of breathtaking scenery is reason enough to visit.

Sportsmen’s dollars, then, are helping support the entire tourism economy, the nation’s second largest industry behind agriculture. In addition, hunting provides the financial incentive to keep lands wild, supporting myriad non-game species that depend on the same cover as deer and other game.

“Rather than sitting in a lodge for a week and then returning home,” says Scurr, “many of our sporting clients want to experience more of New Zealand before they go. And most of our hunting areas are conveniently located near other great attractions.”

The bustling and beautiful town of Wanaka with a population of some 12,000 is located on the shores of stunning Lake Wanaka, a 74-square-mile body of water, and is home base for Scurr’s South Island adventures.

Scurr poses with accomplished Oklahoma hunter Suzie Brewster and her giant stag.

“We put some of our hunters up in well-appointed lakeside condos,” he says, “and we dine in restaurants that are all within easy walking distance. And our hunting areas are located just a ten-minute drive from town. This has been a very popular package for us as non-hunting spouses can enjoy a wide range of amenities offered in Wanaka (spas, shops, restaurants, tours, art, and cultural opportunities) and then come together with their husbands after the hunt to share an evening on the town.”

Nearly as famous as its stag hunting, New Zealand is a celebrated fly-fishing destination for outsized rainbow and brown trout. The plethora of gin-clear rivers and lakes along with a handful of famous lodges, put the country high on most trout anglers’ must-visit list.

The inviting and bustling community of Wanaka is home base for Scurr's South Island offerings.

Adding some bird hunting to the menu is a simple proposition as well, for New Zealand has a mix of endemic and introduced game bird species including the highly prized (and striking) paradise duck.

For hunters who don’t want the hassle of flying with their own firearms, Scurr has a wide assortment of rifles and shotguns for rent. “We find that most hunters choose to use our guns because it saves a lot of headaches dealing with gun licensing and customs. But if a hunter would rather bring his favorite rifle, we’ll assist with the permit process as well.”

For Scurr, sharing the best of New Zealand is his life's passion.

For Scurr, it’s about sharing the wealth of sporting and recreational opportunities that his native New Zealand has to offer. “We have a unique landscape and with that comes special opportunities for visiting sportsmen and others,” he says. “And when someone books with us we want them to go home and share the experience with their friends as they plan their next adventure to New Zealand.”

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40 facts about elektrostal.

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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Elektrostal, visit elektrostal, check elektrostal hotel availability, popular places to visit.

• Electrostal History and Art Museum

You can spend time exploring the galleries in Electrostal History and Art Museum in Elektrostal. Take in the museums while you're in the area.

• Cities near Elektrostal

• Places of interest
• Yuri Gagarin Cosmonaut Training Center
• Peter the Great Military Academy
• Central Museum of the Air Forces at Monino
• History of Russian Scarfs and Shawls Museum
• Balashikha Arena
• Balashikha Museum of History and Local Lore
• Bykovo Manor
• Pekhorka Park
• Ramenskii History and Art Museum
• Malenky Puppet Theater
• Drama Theatre BOOM
• Likino Dulevo Museum of Local Lore
• Noginsk Museum and Exhibition Center
• Pavlovsky Posad Museum of Art and History
• Saturn Stadium
• Fairy Tale Children's Model Puppet Theater
• Fifth House Gallery
• Church of Vladimir
• Malakhovka Museum of History and Culture
• Orekhovo Zuevsky City Exhibition Hall

Radiators fail once more: Moscow suburbs residents appeal to Putin

R esidents across the Moscow suburbs are besieged by a heating problem, for which they plead direct intervention from President Vladimir Putin. These individuals have yet to experience any semblance of home heating since winter started due to a dwindling supply of heating oil. The issue, one largely avoided by local authority communication, has left residents desperate to the point of directly appealing to the president.

While plots have been uncovered to disrupt Ukraine's infrastructure for a second consecutive winter, thus depriving civilians of heating, it seems Russians are now mired in their crisis. Irony drips from the fact that those under Putin's leadership are looking to cause turmoil in Ukraine, yet at home, they face a similar predicament.

Many dwellings within the Moscow agglomeration are presently without heat. The capital's residents are desperate, directly appealing to President Putin due to a perceived lack of alternate avenues for assistance. The absence of suitable heating functionality since winter commenced pushes them towards desperation with no relief in sight.

This seems improbable, but in Russia, it appears that anything can happen.

It remains uncertain if Vladimir Putin is actively addressing the heating crisis. Some experts suggest that Russia's heating oil reserves are depleting, which negatively affects residents' quality of life. Plagued by cold radiators and plummeting winter temperatures, these citizens have directly addressed their pleas to their head of state.

This heating crisis is happening in Elektrostal, a town approximately 71 miles from Moscow.

Ironically, Russia has constantly aimed to destroy the Ukrainian infrastructure since war broke out, deliberately trying to leave Ukrainians without heating during the harsh winters, aiming to break their strong will. It's an irony they now struggle with a domestic heating crisis, particularly near Moscow, their largest and most pivotal city.

Desperate individuals are reaching out to Vladimir Putin. They question his knowledge of the heating infrastructure conditions in the Moscow suburbs and the dire situations residents face there. Sundown brings no relief from the harsh Russian winter and without heating, their houses turn cold. With elections nearing, more and more residents find themselves reaching out directly to their president.

"Since winter's start, we've been without heating. This has been a yearly occurrence for the past three years. Despite paying for heating, we don't have enough. We implore you, help us!" - these are the desperate pleas from the heavily dressed populace dealing with the Russian winter conditions.

Experts attribute the heating oil shortage to international sanctions and surging demands for diesel fuel, pivotal to military operations. Russia now grapples with a dearth of raw materials essential for boiler and heating plant operation. As supplies dwindle, houses grow cold with little hope of any immediate corrective intervention.

It would be adequate if the war ceased, residents were prioritized, and attention accorded to their welfare.

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