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Ronald Brand and CILE Team Joined by Ambassador Richard J. Schmierer at 2d Annual Vis Middle East International Commercial Arbitration Pre-Moot in Muscat, Oman
On February 27 - March 1, 2012, Professor Ronald Brand, along with 3Ls Sarah Miley, Kimberly Stains, and Kaitlin Young, provided oral argument training and helped administer the Second Annual Willem C. Vis Middle East International Commercial Arbitration Pre-Moot in Muscat, Oman. The event was organized in coordination with the U.S. Department of Commerce Commercial Law Development Program (CLDP) and the Bahrain Chamber for Dispute Resolution (BCDR). Katerina Ossenova, J.D. '08, coordinated the pre-moot on behalf of CLDP. Vis Moot teams from seven Middle East law schools participated in the training and argued in the Pre-Moot: University of Baghdad (Iraq), University of Bahrain, University of Jordan, Qatar University, Sultan Qaboos University (Oman), UAE University, and the Faculty of Legal, Political and Social Sciences of Tunis. Pitt Law's Center for International Legal Education (CILE) has for five years trained Middle East teams for the Vis Arbitration Moot under a contract with CLDP.
Brand and his colleagues were joined by U.S. Ambassador to Oman, the Honorable Dr. Richard J. Schmierer, at the award ceremony and banquet for the Middle East Pre-Moot on March 1.
Further information on the Pre-Moot and photos can be found here.


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>Runner's World - My Event Ratings>
In short: Hard as nails but absolutely fantasticIn full: Can't really add anything to what has already been said. Runners and supporters quite literally take over the whole town for a weekend with events. Shops, pubs, etc. all welcome people who are in a state they would usually be turned away and are interested in how you got on!!! The organisation is incredible. Every single marshall was smiling and encouraging. The course changes every year so it really keeps you guessing where next - but its never easy. This is my absolutely favourite race - thank you Gary and AVR, please please keep up the good work.Date of review: March 14, 2012
In short: Organisation second to none!!In full: I wish Steyning AC could control the weather as well as they do the organisation of this great race!! Weather horrendous so not possible to see the views although having done this before I know they were out there somewhere!! The marshalls were absolutely fantastic - standing out there on what were some of the most bleak spots on the course but they still smiled and encouraged everyone. You were all absolutely wonderful. The brekkie afterwards was brilliant and again so well organised - even to the great children waitressing and clearing the tables who were giving the strong impression they were actually enjoying doing it! Very many thanks to each and every one of those who made it such a friendly and enjoyable (?!!) dayDate of review: March 5, 2012
In short: Fantastic - as good as everIn full: Even taking into account the mad cows, the slippery rocky track, the headwind gale along the cliffs and the Steps from Hell, this is such a brilliant race. Great organisation with lovely friendly marshalls (special thanks to the one in the mad cow field) and there was even a Small size t-shirt left for a back-marker like me! What more can you ask?!!Date of review: September 5, 2011
In short: Great well organised friendly trail raceIn full: No mud this year but those downhills were probably even more slippery in the dust! Hard but lovely course, friendly encouraging marshalls, good water stations - overall fantastic race. Credit to Liss Runners for superb organisationDate of review: August 2, 2010
In short: Great run. Fantastic organisationIn full: Brilliant for mara preparation. Just wish I had done the 17 miler too. Incredibly well organised, lovely supportive marshalls and still loads of tea and cakes left for the slowbies - and all for a fiver. This has got to be the best value ever. Thank you GadeDate of review: March 29, 2010
In short: Hardest but THE BestIn full: This year's course hardest yet but absolutely fantastic. It just gets better and better. Marshalls are incredible, so friendly and encouraging. Organisation is second to none.Date of review: March 9, 2010
In short: Brilliant - organisation, course, everythingIn full: As always with Endurancelife's races, the organisation is faultless. Not cheap but worth it. Weather was kinder than expected though the mud was deeper. Great raceDate of review: March 4, 2010
In short: Brilliant organisationIn full: The regular email updates from the RO in view of the weather were great - many thanks. Friendly encouraging marshalls and good course. Congested Start could do with improvement - chipped? althouth realise would increase cost. Shame some people ignored the "No mp3s" request especially when using some of the more major roads.Date of review: January 19, 2010
In short: Difficult to believe they have not learned after 49 other years In full: I found it hard to believe that this club has organised the race 49 other times. The issues were SO basic. Eight portaloos for 1000+ runners in an area where it was virtually impossible to "go behind a bush". I missed the start (as did probably 50 or so others) by two or three minutes and had to throw my bag onto the pile as I went past. We all thought as chipped wouldn't matter but it was one of those systems which only records the finish so the times are all out. No water at the promised location although I wasn't particularly bothered for 8 miles in December but not point, it was advertised and many behind me may have needed it. Excellent refreshment van hidden behind a hedge in the smallest car park so hardly anyone knew they were there. Would suggest ipods be banned in future - it was very dangerous going up the hill beside constant fast moving traffic with runners obviously oblivious to what was going on around them. Some were walking two or more abreast so impossible to pass them unless you had a strong death wish. Date of review: December 14, 2009
In short: Great for first-time multi-day ultra runnersIn full: My first foray into the world of multi-day events and was excellent. Everyone very friendly and the accommodation etc. were more than adequate. Slow enough at the back. Organisation good but needs a few tweaks - understandable for an inaugural event of this undertaking. Many thanks to the brave marshalls, particularly on Day 3.Date of review: November 17, 2009
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The Millennium High baseball team clinched the Central California Athletic Alliance title Monday with a 14-3 win at home over the Brookside Christian Knights of Stockton.
Millennium (17-1, 9-0 CCAA) followed it up Tuesday with a 13-3 win over Stone Ridge Christian at home and will play Stone Ridge again Friday in Merced to conclude the league season.
Monday's game was the last chance for second-place Brookside (12-11, 5-3 CCAA) to catch up to the Falcons.
Millennium coach Drew Reyes said that the end of the season is going better than even the Millennium players and coaches expected.
"We were all thinking that Brookside was going to be really good. I think all of the guys, even the captains, underestimated the (Millennium) team," Reyes said, adding that his team's goal at the start of the season was to make playoffs, but now the team has a chance to go 10-0 in league play.
Monday's game started as an even matchup. The teams were tied 2-2 at the end of the first inning, and Brookside took a 3-2 lead in the second. The Falcons went ahead 5-3 in the third and then ran away with the game with a six-run fourth inning. Junior Matthew DeWitt sparked the rally with a two-RBI single to right field.
Senior Manjot Atwal was the overall leader at the plate with four base hits, including a two-RBI double in the first and five RBIs in all. The Falcons had a total of eight hits for the game.
Atwal, who pitched five innings, gave up six hits and struck out five batters for the win.
"It's always good to beat Brookside," Atwal said, adding that he, too, had expected Brookside to be the other contender for the league title. He added that the Falcons are looking to carry their momentum into the postseason.
"We want to go into playoffs at our peak, playing our best baseball," Atwal said.
Millennium 13, Stone Ridge Christian 3
The Falcons bashed out 14 base hits — including a triple, a double and a single by senior Manjot Atwal and a double and single by senior Spencer Blackwell — in their victory at home over Stone Ridge Christian of Merced. Starting pitcher R.J. McKee, a senior, got the win after he went three innings and gave up one hit and three runs. Junior Isidro Cota finished the game and gave up one hit and no runs.
Contact Bob Brownne at email@example.com or 830-4227.


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Flowing then slowing: Bucks 102 – Blazers 95
Category: Recaps
It looked for a moment, a number of moments actually, like the Milwaukee Bucks would cruise to their first substantial win since a drubbing of the Detroit Pistons on January 29. A 27 point halftime lead like the Bucks had over the Portland Trail Blazers Tuesday night will usually give fans and players that feeling.
Perhaps it let the Bucks get a little too comfortable.
From the outset of the second half, Portland played more physical and determined than the Bucks. It resulted in a 20 point second half advantage.
Good thing that halftime lead was 27.
Outside of one quarter, Milwaukee didn't do much to restore its defensive reputation. After the game, Jim Boylan talked about some of their issues, specifically about how well they contested shots in Portland's eight point second quarter and how poorly they did that the rest of the game:
"A big key to having a successful defense is to contest shots," Boylan said after the game. "That's been what we've been preaching over the last couple of days, to try to get that number back up. We chart it every game, we like to be above 75 percent. Recently we've been down in the sixties and, on occasion, even in the fifties."
Boylan went on to talk about the difficulties of keeping motivated up 27 points and how it may have affected the Bucks in the second half, where the Blazers put up a 38 point fourth quarter. He said it was on him to make sure the guys were prepared, but I think that's just a coach taking the fall for his guys. If players can't be motivated enough to even CONTEST threes, that's a pretty big problem. It says that defense isn't really a priority for them.
|Samuel Dalembert, C 20 MIN | 8-14 FG | 0-0 FT | 7 REB | 1 AST | 0 STL | 0 BLK | 1 TO | 16 PTS | +2
His soft touch was working well early, as he scored 10 points in the first quarter, mostly off jumpers. But after nine first quarter minutes, Dalembert played just 11 the rest of the game. Jim Boylan noted after the same that he did look to get his backup, and occasionally starting, center some rest with another game against the Hawks Wednesday.
|Larry Sanders, C 40 MIN | 4-9 FG | 0-0 FT | 13 REB | 3 AST | 2 STL | 2 BLK | 0 TO | 8 PTS | -5
LaMarcus Aldrdige is a handful and Larry struggled with him in the pick and roll game. Bucks guards have got to get better at fighting through screens so forwards or centers can't get quite as much free space when Sanders has to step up against ball-handlers in pick and rolls. He had some success shooting short, open jumpers in those scenarios and was able to roll to the hoop for some easy pick and roll looks that Larry had little help on.
|Monta Ellis, PG 44 MIN | 8-18 FG | 3-6 FT | 9 REB | 8 AST | 3 STL | 3 BLK | 2 TO | 21 PTS | +7
Before an injury to his left hand stifled him, Monta was putting together another fine offensive fourth quarter. He hit both threes he attempted and a two point jumper to go along with the pair. Of course, he had nothing for Wesley Matthews, so that was a problem.
|Brandon Jennings, PG 39 MIN | 9-20 FG | 2-2 FT | 4 REB | 7 AST | 0 STL | 1 BLK | 6 TO | 24 PTS | -3
Once Ellis hurt his hand, Jennings took the scoring load, dropping in seven fourth quarter points for Milwaukee. He did have two turnovers within the final two minutes that could have been very costly though. But he defended Damian Lillard very well all game, applying plenty of pressure all the way down the court.
|Gustavo Ayon, PF 6 MIN | 1-1 FG | 0-0 FT | 2 REB | 2 AST | 1 STL | 0 BLK | 0 TO | 2 PTS | +12
When Ayon plays, he doesn't do much wrong. He's a fantastic passer for a big man. He demonstrated his passing prowess when Monta drove to the hoop and laid it off to him. Instead of tossing up what would have been a moderately difficult short shot, he immediately kicked out to a wide open JJ Redick for three. Really fun to watch.
|J.J. Redick, SG 26 MIN | 4-8 FG | 4-5 FT | 0 REB | 3 AST | 0 STL | 0 BLK | 1 TO | 14 PTS | +12
14 points on eight shots is everything the Bucks ask of Redick. He shot the ball well and gave them another threat on offense late. But it would be foolish to overlook the correlation between Milwaukee's BRUTAL fourth quarter defense and the presence of Jennings/Ellis/Redick on the court for much of that time.
Three Things We Saw
- Portland made 13-of-26 threes, 10-of-17 in the second half, when Wes Matthews and Luke Babbit bombed away with no defender near them time after time.
- Milwaukee moved the ball well again. They've done this enough on offense lately that their willingness to share the ball isn't even really a thought anymore. They have a very good rhythm on offense and it's predicated on moving the ball and making shots. They have players who can do both and are doing both on most nights.
- Ellis injured the fleshy part of his left hand, between his thumb and index finger. X-rays were negative and they'll look at it again today.
About the Author (Author Profile)Jeremy Schmidt writes the Milwaukee Bucks blog Bucksketball. He founded it in January of 2009 because he hated his job. It's like basketball, but with Bucks instead of basket. I know ... I'm sorry. He might come off as a bit negative, but I'm really not so bad. He just wants the Bucks to succeed, so he points out areas where they are coming up short. Someone has got to do it and he's ornery and opinionated enough to take on that task. He isn't sure if this should be in third person or not. Contact him at email@example.com if you must use e-mail.
Comments (9)
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My brother just turned me on to your blog. This is exactly what a good fan wants. Nice work.
Got to hand it to this team, they keep everyone in their seats until the bitter end. Never too late to blow a good game and never too late to save a $hitty game!
Was fun watching them play well. Hope we can get enough of that going tonight against Atlanta. Getting nice help from out bench, but I will feel more confident when Ersan, Ellis and LRMBM are all playing.
Go Bucks! Go Marquette! Bucky says Go Red!
ellis needs to stay aggresive the whole game for the team to be successful good things happen when he attacks the basket
A fun game to watch….almost a disaster too. Bucks allow a big 2nd half to cut lead from 27 down to 7. That was as close as it got in 4th-toooooooo close. Pleased that Bucks were able to pull this one out. anothern 3 mins. on game clock-the Bucks probably lose
Challenge tonite…improvre chances for better seed against Atlanta. Hope to see a STRONG effort from Bucks
GO Bucks GO !!!!!!!!
Last year I was the only Larry Sanders fan on the planet. No doubt in my mind he and I were on an island. When the Bucks acquired Redick, I was barking about how the Bucks got a hell of a player in Goose Ayon. It feels really good to have these guys back up what I've been saying all along.
I'm not real familiar with Ish Smith, however I feel like the Bucks are in good hands if one of these guards goes down. I look at him as a poor man's Patrick Beverly.
I didn't comment intending to review the trade. However looking at this team after the smoke cleared, I like what I see. The same could be said about the Bogut/Ellis trade.
@Patti#2 lol quit being such a groupie. chances are you weren't the only larry sanders fan on the planet last year and let's not get carried away w/ Gus. He's doing some nice things but he's still the low man in our bigs rotation as far as im concerned maybe trumping henson alone b/c of his body.
I'm sorry, did you support Larry last year? Did you defend him in the forums? That's what I thought. Would you REALLY rather see Udoh than Ayon?? Idiot.
Larry is real good. I don't remember him last year, except that folk were saying our bigs were a problem. He likes to dribble, might have a few moves. He competes, so it means something to him. He's his own man, so I don't think he is inconsistent. He is so good that the four guards could play with him against Atlanta, and Dunleavy didn't look weak (he always could rebound late in games).
Udoh. I'm past feeling for him. That I feel bad about. He's tall and in the wrong profession. Unfortunately for him, he thinks this too.
Wow, Patti is optimistic. I wonder if you think Teague is better than Jennings. Does that change the complexion of the team? You are wanting to do more with Ellis and Reddick?
Udoh was a lottery pick when he was drafted. It was the John Wall draft, which isn't saying much, but still, you don't get drafted in the lottery if you're in the wrong profession.
Also, you spelled Redick wrong – one 'd', not red-dick.


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Stories Tagged with "banner"
2009 - 1 story
NJIT Launches Banner Finance
August 11, 2009
Project ORBIT (Organizational Reengineering using Banner Information Technology), a multi-year, campus-wide effort to implement a new Enterprise Resource Planning (ERP) system to replace current systems that are nearing obsolescence, reached its first major milestone last month with the launch of Banner Finance. "In keeping with the university's strategic plan, a major emphasis—while implementing new systems—was to reengineer administrative and academic processes to improve customer and student satisfaction," said Ed Bishof, associate vice president for University Budgeting. "To support this plan, Project ORBIT was initiated last summer. Well-deserved congratulations to the entire finance functional and technical teams for the dedication and perseverance they displayed in meeting their project deadlines," he added. "Our upgrade to Banner replaces a technology platform that has been used at NJIT since 1985," said David Ullman, associate provost for Information Services and Technology. "In making this transition, NJIT joins well over 1,100 institutions across the US and around the world that manage higher education operations and processes with Banner." "We look forward to using Banner to improve the productivity of our recruiting, admissions and enrollment operations," said Kathy Kelly, associate vice president for Enrollment Services. Project ORBIT will be fully implemented over the next 18 months. >>


text: Amarillo, TX - A Capital Murder indictment has been handed down for an area man accused in the death of a 10 month-old child. The Hansford County grand jury returned the indictment Tuesday, charging former Pampa resident Andrew Johnson with Capital Murder. The indictment claims Johnson was responsible for the beating death of Jax Covalt, who died at the Hansford County Hospital in April from blunt force trauma. Johnson is being held in the Hutchinson County jail on one million dollars bond. If convicted, he faces up to life in prison or the death penalty.


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The Looking Glass Wars
Frank Beddor
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What other readers are saying about this title:
KaliO said:
Lewis Carroll got it wrong. Alice was NOT a silly little girl who fell down a rabbit hole. Wonderland is a real place, and Alyss Heart is its rightful Queen. The problem is, she's trapped in Victorian England while her band of rebels tries to hold off the armies of her murderous Aunt Redd. This is no mere fantasy adventure; this is the true story of Alice in Wonderland, and a fractured fable that parallels our own real world.
posted May 18, 2009 at 1:10PM
monkeymonk20 said:
It IS the real of story of Alyss( not Alice) in Wonderland. I've read it twice, going on thrice. Very great. =D
posted Nov 8, 2009 at 4:31PM
pizza said:
If you can imagine it, it's there! And if you're of royal blood. And if you get a moment to try imagining which could be hard since your aunt is currently trying to murder you.
posted May 25, 2010 at 6:31PM
pizza said:
Alrighty. Time to roll up my sleeves and give my blunt opinion. But then, am I ever known not to give blunt opinions? And if it's a real opinion, wouldn't it be blunt? nvm ANYHOW, even though it's an NYT best seller and confetti and yay for that, I found the style REALLY hard to get through and the characters weren't realistic. Seven-year-olds don't act like that. I should know, having a bazillion seven-year-olds in my house who are at this moment all clamoring for me to give them mack-and-cheese with BBQ sauce.
posted Jun 9, 2010 at 1:15PM
amoeba said:
A take on Alice in Wonderland, terrific concept, great twists on characters
posted Aug 23, 2010 at 11:38PM
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Alyss Heart
Heir to the throne of Wonderland; her vicious aunt murdes her parents; escapes through the looking glass to Victorian England; ends up in an orphanage; adopted and has her name changed to Alice Liddell; gets Charles to write her story; represses her memories of Wonderland as she grows to adulthood; hopes to return home.
Hatter Madigan
Alyss's bodyguard; searching for Alyss to bring her back to her kingdom.
Alyss's aunt; murders Alyss's parents and steals the crown.
Charles Dodgson
Takes Alyss's tales of Wonderland and writes the novel Alice's Adventures in Wonderland.


text:
The Cherry Red Story
Somewhat nervously we awaited the day of our first promotion, the 3rd July 1971. Hawkwind + Skin Alley + Sidewinder disco, all for only 12 old shillings. What a bargain! We celebrated as over 600 people turned up, and we were able to share a small profit between the three of us. And so it went on, in fact for the next ten years, every three weeks or so I would drive to Malvern and help to promote a concert with my partners Will and Richard.
We decided to call our company Cherry Red Promotions. Where did the name Cherry Red come from? We pondered for weeks over what to call our new venture, and eventually it was Will who came up with the name - it was the title of a track from the Groundhogs 'Split' album - we liked the Groundhogs, we liked the name, so that was that. Tony Macphee, it's all down to you!
In 1977 Punk music was happening, and the three of us loved it. We promoted all the punk bands we could at Malvern; The Damned, The Stranglers, The Jam, Generation X to name a few. And then there were The Tights, Malvern's own answer to the punk explosion. It was Richard again who persuaded me in the Malvern wine bar, on New Year's Eve 1977, that we should start a record label to release a Tights record. On 2nd June 1978 The Tights first single was released. The following week it was record of the week in the now defunct Record Mirror, the week after that John Peel played it, and before we knew where we were we had sold our initial pressing of 2,000 records. Meanwhile I had secured proper distribution for the single as a friend, David Thomas, had just started the first proper distribution service for independent records; Spartan Records.
Now, however I had an important decision to make - I had to decide whether to leave the relative security of my day job so that I could devote all my time and energies to Cherry Red. While I made up my mind The Tights went back into the studio with Malvern based produced John Acock to record their second single, 'Howard Hughes'. After I heard it, I decided, 'that was it', I would leave my job and try my best to turn Cherry Red into a self sufficient independent record label. I had the advantage of having had experience of working at record companies. I had spent the previous year at Magnet records, and the three preceding years at Bell/Arista records. I knew how record companies worked, but could I do it myself?
The second Tights single ended up selling over 4,000 copies, but the band broke up soon after. They were all young and somehow not really prepared to commit themselves to gigging regularly. If I was going to make the company work, I knew I had to find albums to release, and quickly, because the profit from singles was minimal. I had meantime met Morgan-Fisher, quite famous for his previous involvement in Love Affair, The Third Ear Band and Mott The Hoople. He was to provide Cherry Red with many album releases over the next few years. The first though, 'The Sleeper Wakes' never really woke up and didn't sell more than 700 copies.
The next single was from Detroit band Destroy All Monsters. I had read about their single 'Bored' in Sounds, it was out on a small American label. The band consisted of ex members of The Stooges and The MC5, and singer Niagara looked great in a photograph. I hadn't actually heard the record, but had a strong feeling that it must be good. I wrote to Detroit, offering $500 to license the record, and received the master tape in the post a few weeks later. Fortunately I liked it, and so did many others as it sold over 7,000.
However, I still had to sell albums to make it all viable. I had an idea. There were many compilation albums available consisting of chart hits from the major companies, but no-one yet had compiled one from the many independent records now being released. By this time there was a whole range of small independent companies issuing singles just like I was. Rough Trade, Mute, City, Industrial and Factory, had all started up in business and there was a strong camaraderie spirit between the labels.
We were beginning to support and build an alternative to the whole music business structure. Independent distribution, promotion, marketing and pressing services were starting to emerge. I called a few labels suggesting the idea and within a few days had 14 tracks promised, including of course, The Tights. The album featured the diverse sounds of Thomas Leer, Throbbing Gristle, The UK Subs, Robert Rental, Cabaret Voltaire and 9 others. The title 'Business Unusual' was thought up by Genesis P-Orridge from Throbbing Gristle as he and I sat together in a tea room in Oxford Street. Within a few weeks of release it had sold 10,000 copies.
January 1979 saw my first visit to MIDEM, the annual music business extravagance in Cannes. Along with a few other indie labels, I valiantly tried to convince a decidedly uninterested international scene that British independent music was about to explode internationally. Disco music was at a height. Dreadful, boring, uneventful music came out of booth after booth, as I walked around the convention centre. The only oasis was the occasional inspirational sound of The UK SUBS or another English punk band, and then I knew that Phil Scott from City, or Caruso Fuller from The Label were around. I licensed 'Business Unusual' to a couple of overseas companies though, and that was a start.
The vision I always had for Cherry Red was one of diversity. There was the Rough Trade sound, the Factory image, the distinctive music of Mute. But I wanted Cherry Red to be as versatile as possible. I knew that would never bring us 'hip credibility,' but I didn't mind about that.
Next was another single and a Cherry Red supported UK tour by Destroy all Monsters. Singer Niagara, who had looked so brilliant in photographs looked completely lost on stage, and couldn't sing really. The NME headline over the review of the first gig at Dingwalls just about summed it up; 'Niagara Fails' it had jestfully exclaimed.
I'd seen the then controversial all girl group, The Runaways play the previous year at The Roundhouse. They were great! When I heard that Phonogram in England didn't want to release their new album, I tracked down their manager in New York and offered him a small advance for the record. One Friday evening a month later I arrived at Chappels recording studio to meet singer Joan Jett and her manager Toby Mamis. Joan was there recording some new tracks with Paul Cook and Steve Jones from The Sex Pistols. I was a little nervous at first. Were a band who were used to the financial benefits of a major record company going to be happy with the minimal resources of Cherry Red? I needn't have worried. Toby Mamis already knew the game I was playing and was just pleased to get the album out. When The Runaways album was released we were viewed in a different way. It was little like being promoted from the Vauxhall Conference to the Third Division. We were now in the league!
By this time I had became close friends with Morgan-Fisher. Locked away in his somewhat minimal Cherry Red financed studio in a corner of his small Notting Hill apartment he produced a 'compilation' album containing performances by unknown bands he had 'found' on his travels. Morgan did a series of interviews, including Radio 1, and convinced everyone of the validity of the Hybrid Kids album. But they were never more than a creation of his very fertile imagination. He also had a publishing contract that he didn't like very much. Years previously he had signed to DJM music and still owed them 42 songs. 'No problem' we decided one night in his local wine bar after drinking several bottles of Riesling. He would record, and I would release a 42 track instrumental single. He promptly recorded 42 'songs' the next day and, a month later, when the single was released, he was out of his contract. He briefly had his own label, Pipe records, through Cherry Red, which released the notable 'Miniatures' album - 50 tracks of no more than one minute in length by 50 different artists.
Bill Gilliam was in partnership with Chris Gilbert. I had met Chris in my dealings with the Hollywoods Brats, for whom Cherry Red had released an album. (Incidentally we have just reissued the Brats albums on CD - what a great album!) He explained that he managed an American band called the Dead Kennedys and wanted to know if I would be interested in releasing an album by the band. The Kennedy's already had their classic 'California Uber Alles' single out on Fast Product, and I knew the album would do really well. The only problem was that they wanted $10,000 to record the album, a sum that I didn't have. I mused over the situation for a few days and talked about my frustration to Richard Bishop, the buyer at Caroline exports, the Virgin records owned export company. Richard immediately offered 'Why don't Caroline lend you the money and you give us the export exclusive for 3 months?' And it was that easy. I flew to San Francisco, met the band, came back with the master tapes of 'Fresh Fruit For Rotting Vegetables' and a few weeks later Cherry Red had an album in the National Top 40. Now people were taking the label really seriously, and best of all, I had some money in the Bank account to help expand the company. Offers for overseas licensing were flooding in on the back of the Dead Kennedys success, and Cherry Red was clearly ready for a new stage.
I was still working from my flat in Wimbledon at this stage, but it was clear I needed help now. For the previous three years I had done everything myself. I took on two people to help me, Mike Alway with the creative side of the record company, and Theo Chalmers with the publishing. I'd always had a strong feeling to take the music publishing side seriously. I didn't know much about it, except that publishers seemed to make a lot of money through doing very little. I thought to myself, 'If I can make money on the publishing, I can sign lots more bands to the record label.' So far I'd signed all the available publishing on acts that I had signed for the record label, and I knew it was time to develop it further. Theo's brief was to go out and sign the publishing of interesting bands, even if we didn't have the recording. The first band he signed was Blancmange, who later went on to have 8 Top 40 records. We quickly built up a large catalogue covering the whole spectrum of independent music. If a band had only one song, we would still publish it and meticulously account to them their royalties. Matt Johnson (The The), Ben Watt, Tracey Thorn and The Go-Betweens were all signed on long term publishing contracts at this early stage.
It was at this point that the Cherry Red label really started to take off. The choice of Mike Alway as A and R man was a wise one. Within 18 months he had signed Eyeless in Gaza, Felt, The Monochrome Set, The Marine Girls, Tracey Thorn, Ben Watt, Thomas Leer and The Passage. It was a magical period. Virtually every release we put out entered the Independent charts. When we put out the 'Pillows and Prayers' compilation album, (unheard of value with 17 tracks for 99p) in December 1982 it went on to sell 120,000 copies. But one day the following Summer, when I returned from an extended American trip, Mike's Alway's resignation was on my desk. The lure of Warners Bros backing, and dreams of fame and fortune, had been too great. He was to leave Cherry Red and intended to take with him all the important acts. Blanco y Negro was born, and Cherry Red was losing its star players. It was a massive blow, both business wise and personally, as Mike and I had become good friends.
But life went on. We launched Anagram Records as a home for many of the bands that we published that didn't really fit on the Cherry Red label. One Way System, Alien Sex Fiend, The Vibrators, The Angelic Upstarts and Vice Squad and many others helped make Anagram a success. A compilation of hits from seventies glam rock band The Sweet found its way into the pop charts, as did the 'Punk and Disorderly' compilation albums.
Adrian Sherwood was ahead of his time, and he intrigued me. His ON-U Sound label was delivering some of the most original music I had ever heard. Adrian didn't have much money, and wanted to make as many records as he could. We financed seven albums over the next two years which have all found renewed life as CD reissues. Felt and Eyeless in Gaza meantime both decided to stay with Cherry Red and John Hollingsworth succeeded Mike Alway at the helm of the A @ R department. John's two most significant signings were Yugoslavian political and musical extremists Laibach, and Red Box. I had to read Laibach's political manifesto in candle light in their squat in Belsize Park before they would sign the contract. Red Box just walked into the office with the finished master of 'Chenko', and nearly had a hit with us, before going on to top ten success with Warner Bros.
Late one extremely wet and cold Monday evening I was driving home from having dinner with our German licensee, when I suddenly found I had two flat tyres. I called the AA rescue service and sat somewhat dejectedly as I waited for them to come. I switched on the John Peel show and the first record I heard was the haunting song by Jane, 'It's a fine day.' I loved the record, and even more,loved the song. Next morning I rang Peel's producer to find out more about the record. I tracked down Edward Barton the owner, bought the rights to the record and the song, and three weeks later 'It's a fine day' was out on Cherry Red and sitting in the lower reaches of the National charts. It wasn't until nearly 10 years later that the true significance of my flat tyres became apparent. In January 1992 I was having dinner at MIDEM in Cannes again when Pete Waterman from PWL came over to me enthusiastically pronouncing, "Iain, we're going to have a No 1 hit with your song.' I didn't even know which song he was referring to until he explained that he was putting out a new version of 'Fine Day' by a group called OPUS 3. It didn't actually get to No 1 but was a big hit all over the Continent and has now become one of Complete Music's biggest copyrights. [Cherry Red Music changed it's name to Complete Music in 1984]
In 1985, two years after leaving for bigger oceans, Mike Alway's ship came upon stormy seas and he and Warner Bros parted company. Together we formed El Records under the Cherry Red umbrella. El achieved widespread critical acclaim. Everybody loved the sleeves, the image, and many people seemed to like the records. But alas very few bought them, and after three years El records died a natural death. However its spirit lives on in Japan with many successful bands there, especially Flippers Guitar, acknowledging the influence that El had on them.
In 1987 I decided to leave my own business, and for 4 years I didn't come into the office. I travelled from Country to Country on an extended adventure exploring the World and myself. I would make the occasional phone call to the office to see how things were going and eventually returned to London in May 1991.
When I returned, both the music and the structure of the music industry was rapidly changing. It seemed that the huge multi-national corporations had decided that the way to now break new acts in the UK was through the 'indie' network. The Independent charts, which I had helped initiate way back in 1980, had become invaded by records released by labels that were either financed by, or even worse, owned by the multi-national corporations. The word 'indie' had become a marketing word that was banded around and had absolutely nothing to do with either the original intention of the chart, or even the meaning of the word.
The attitude of the acts was also fast changing. No longer were they willing to build their career over time, over two or three albums; success, both creative and financial was wanted fast.
We did sign a couple of new bands; Prolapse and Tse Tse Fly. We did all the 'right' things. We achieved the rock show evening plays, the good reviews in the music papers and the credible gigs. But we didn't any more have the right resources that were now needed to sustain a bands career. It took money, a lot of money to help make a band successful.
I wondered for a time what to do with the company, which direction to take it in. There were certain acts that we had previously worked with who still sold a fair amount of records around the World, who understood the way we worked. So we still put out records by Alien Sex Fiend, The Monochrome Set, Momus and others. But I could see a huge gap in the independent market. There were a few labels specialising in re-issues but no-one was really concentrating on the music of the late '70 and early to mid 1980's. And that was the area I knew best of all.
So, we rapidly began to find another niche for ourselves. We methodically began to acquire the rights to as many of the important independent labels of the late '70's and early '80's as we could. Flicknife, No Future, Rondelet, Midnight, Temple and In Tape were some of the many labels we acquired rights to.
So, we rapidly began to find another niche for ourselves. We methodically began to acquire the rights to as many of the important independent labels of the late 1970s and early 1980s as we could. Flicknife, No Future, Rondelet, Midnight, Temple and In Tape were some of those labels. We started a new series called 'The Punk Collectors Series' in 1993 which was an immediate success. More recently we have launched a 'Psychobilly Collectors Series,' a 'British Steel' metal collectors series, and a 'Goth Collectors Series.' All have been very popular.
Probably, the project closest to our hearts in the office, being an office full of avid football, fans is 'The Football Collectors Series.' We started this in 1995 and are now up to 50 releases. We have collections of songs of most of the Premier League clubs, over half the 1st Division clubs, as well as some of the bigger Scottish clubs. Add to this, the songs of the National squads of England, Scotland, Jamaica and Ireland and you really do have a diverse selections of football songs. We have inevitably slowed down with our football releases of late. We would still love to complete the set of all 92 league clubs but we have to balance the work involved with possible sales which excludes many clubs for the time being.
1999 saw us take over the day to day running of the much respected RPM label. The last three years has seen the label's output grow considerably under the guidance of Mark Stratford and we now aim to increase the RPM catalogue by 30 or so releases per year. The amount of time Mark puts into the research of every release is considerable and the feedback we get on the quality of the releases, especially the packaging is excellent.
We have started several new labels the last couple of years or so. The 7Ts imprint is now up to 15 releases. This has been covering the area of many forgotten artists of the 1970s such as Showaddywaddy, The Glitter Band, Hello and Barry Blue. We have again gone to a lot of trouble with the packaging and all the other details to try and make the releases as definitive as possible.
Nick Currie's Analog Baroque label has definitely been keeping its finger on the pulse. Apart from his own excellent output as Momus, Nick has also given us two Stereo Total albums which have done very well, both critically and sales wise. Exposure of the second album was very much helped by the band's support slots on The Strokes European tour.
Gina Harp has now had three releases on her Arrivederci Baby! imprint. The second, the extraordinary Japanese girl duo, Seagull Screaming Kiss Her Kiss Her, scored well with the media, and look destined for great things in the future.
The main label addition for the Cherry Red family of labels in 2002 was the re-launch of Joe Foster's Rev-Ola label. I am sure that many of you will remember Joe from his days as a member of the TV Personalities. He went on to become a co-founder of the Creation label with Alan McGhee where he originally launched Rev-Ola as their catalogue division. Creation was eventually bought out by Sony and Joe moved on with Alan to start Poptones. However Rev-Ola became dormant at this time and late last year Joe approached us about reviving a much loved and admired label. We are already up to about 20 releases as we cover the diverse worlds of artists such as Ivor Cutler, Randy Meisner and Sandy Salisbury.
Another project we are particularly enthusiastic about is the Sidewinder Sounds label. This label is for new bands and artists, mainly non-British, that we feel deserve exposure in the UK. Our first releases, 'Masters Of The Hemisphere' and 'Busy Signals' have received complimentary press exposure and we look forward to developing this label further.
Our relatively new book division continues to expand with a further six more books planned for 2003. Our policy is still very much about fans writing in depth books for other fans, and we were happy to see at the beginning of 2002 that David Parker received the Record Collector magazine's 'Book Of The Year' award for his detailed work on Syd Barrett's recordings. We now have a long term agreement with Garry Sharpe-Young to publish his 'Rockdetector A to Z series', six are already out with more to come. This past year has also seen books published about Apple Records, Ozzy Osbourne and The Rolling Stones.
We have also continued to grow on the DVD front. Two Marc Almond releases have been very well received, as have DVDs featuring William S. Burroughs and The Chameleons. Many more are lined up for 2003 and beyond.
The Cherry Red Story 1991 to 2010
That was to prove the turning point with Cherry Red, giving them a much more focused identity for releases. Next came the Psychobilly Collectors Series, a British Steel (metal) Series and a Goth Collectors Series. Cherry Red was becoming an umbrella for a collection of labels covering different niches.
The Football Collectors Series started in 1995, the brainchild of an office full of avid football fans. There had been many releases by clubs, players or supporters when their team got to the Cup Final, but no-one had come up with the idea of putting all these tracks on a CD. The series started with Arsenal and Tottenham, then Newcastle, Liverpool and Everton, and found the combination of obvious and obscure tracks appealed to the fans of the respective clubs. When record shops didn't understand what to do with them, Cherry Red began selling directly by mail-order to the fans, getting local press and radio involved – and, after a decade, the Football Collectors series is well established. "It is still something very close to our hearts in the office," says McNay, "because we are genuine fans."
As well as having an active office football team under production manager Jon Roberts (as long as results continue positive), Cherry Red have published the Non League News Annual for several seasons and have produced the definitive AFC Wimbledon book. A volume on Tommy Docherty's controversial, character-filled Manchester United team of the 1970s is also planned.
1999 saw Cherry Red bring the much respected RPM label into the fold. This specialist collectors label concentrating on the music of the 1960s and 1970s was seeking a partner to look after marketing, promotion, distribution and production, leaving founder Mark Stratford to concentrate on the A&R. "This was a good fit for us," comments McNay, "as we had the infrastructure he needed, and he was giving us another unique catalogue as well as his ability to find interesting releases in areas we weren't covering."
The RPM Records catalogue continues to focus on the 1960s and early 1970s period, with a particular fondness for the UK music industry's archives. Successful series have included Brit Girl collections called 'Dream Babes' and the Junkshop Glam collections spearheaded by 'Velvet Tinmine'. DVDs were added from Glen Campbell, Andy Williams and War, and a Classic Soul & R&B label offshoot, Shout Records, is now approaching its 50th title.
When Mark Brennan came up with the idea of the 7Ts (1970s) Collectors label, it was a subject close to Iain McNay's heart. "I'd worked at Bell Records in the 1970s when it was a mainly singles label and had great success with artists such as Showaddywaddy, Glitter Band, Hello and Barry Blue. Although at the time they were considered teenybop acts, they are now collectable."
Cherry Red started to license the rights to these and put them out with deluxe packaging to make the releases as definitive as possible. The response from the collectors' market was unanimously favourable.
Brennan believes 'The secret is in the presentation,' and the packaging of 2008 releases by Alvin Stardust (his first three albums), complete with sleeve notes and picture sleeves, showed the label's attention to detail continued. Suzi Quatro, Mud and Donny and Marie Osmond were also added to the catalogue as its collection of titles approached three figures
Cherry Red continues into the current millennium with Adam Velasco at the helm. The current Managing Director joined in 1992 "as office junior, packing orders and making cups of tea. Now the one a month release schedule is around 40, we're a lot more prolific and obviously instead of vinyl it's CD, DVD, downloads and books – we're a true multi-media company."
The Cherry Red label itself remains as active as ever. The Passions and the Photos were two 2008 arrivals, the latter great favourites in Malvern where the label had its roots. "We are always on the lookout for albums we feel fit on the label," says Velasco. Eyeless In Gaza also returned to the label via a series of remastered albums. Continuing the links theme, 'The Monochrome Set Singles Collection' celebrated a band with special links to the label and one that headlined the 30th anniversary party in October 2008.
Cherry Red's link with the Dandelion label, co-founded in 1969 by Clive Selwood and the late John Peel, resulted in the label's first CD box set, 'Life Too Has Surface Noise'. Another followed featuring Kevin Coyne, while the likes of Beau, Mike Hart and Medicine Head have returned to the racks in digital form.
2002 brought a significant addition to the Cherry Red family in the re-launch of Joe Foster's Rev-Ola label. The former TV Personalities member had co-founded the Creation label, where Rev-Ola was their catalogue division.
"When Creation was bought out by Sony," McNay explains, "Rev-Ola was discontinued and Joe was keen to restart this label. As with RPM, we had the basis of an interesting catalogue to re-acquire the rights to and Joe had lots of ideas for new releases. That gave us another area which hadn't been covered before – a lot of American material." This has led to the addition of such legendary names as Laura Nyro and Fred Neil, while the 'New Folk Routes' album – "the C86 of its day", according to Joe – has once again been acclaimed.
Says Foster: "I've thoroughly enjoyed working with Cherry Red. The opportunity to relaunch Rev-Ola as part of a general expansion, and not only reissue some fabulous albums but present a few new artists, has been very exciting. Also, being part of the ongoing story of 'The Last Of The Indie Labels' (and one of the first) appeals somewhat to the romantic Jacobite in me!" He also says he has "no shortage of ideas," which bodes well for the future.
When Analog Baroque mainman Nick Currie got involved with Cherry Red, the fit wasn't immediately obvious. "The idea of artists with their own labels was always something to be careful of," says Iain McNay. "But Nick understood the way we worked and was okay bringing them in on an economical budget, so the deal has been very smooth. He brought us Stereo Total, a half German-half French act, and had two very successful albums with them as well as other interesting releases."
A major loss to the label came in October 2007 with the death of Gina Harp, founder of the Arrivederci Baby! imprint which successfully licensed in overseas acts from America and Japan. Her enthusiasm for music is much missed.
The Lemon Recordings label was formed in 2003 to release hard to find and/or unreleased albums by classic rock acts from the 1970s to the present. Lemon releases combine original artwork with comprehensive sleevenotes – and, with artists ranging from Graham Parker via Robert Palmer's Vinegar Joe to Peter Frampton, the variety of talent on display is indubitable. The catalogue is now beyond 100 releases with Canadian axe hero Pat Travers, Geordie pop-rocker John Miles and US-based British singer-songwriter Graham Parker providing multiple titles. All are still very much around, suggesting Lemon has located artists with lasting appeal.
While it's well established compared with the newcomers, the groundbreaking, highly stylised él records label remains an important member of the Cherry Red stable. Mike Alway, the man who discovered The The and Everything But The Girl during his spell in A&R in 1980-83, continues in his aim "to transcend popular music to affect design and fashion and the cultural attitudes of a generation."
The label has enjoyed a resurgence in the mid-2000s, with a number of interesting releases in different genres. A deal with Italy's renowned Bella Casa soundtrack label accessed two of the biggest Italian soundtrack catalogues, while Alway has released music from Brazil and India, as well as guitar music.
"I'm trying to make the new él different from any other reissue label by bringing people like Varese, and people from the jazz field. I'm no back catalogue dustman – I'm releasing records that mean something to me."
Alway has also started another jazz label, FiveFour, one of two now on Cherry Red's roster, alongside Giant Steps Recordings run by legendary NME journalist Roy Carr and John Pearson. This concentrates on jazz from the 1940s and 1950s. "We aim to produce the kind of albums that so many discerning music fans would like to own but often encounter great difficulty in locating," says Carr, while engineer Andrew Thompson uses "modern technology…to noticeably improve the original sound without losing any detail." CherryPop, an imprint formed to reissue pop from the 1980s, started with LaToya Jackson, Sheena Easton and Haysi Fantayzee and swiftly moved into electro-pop courtesy of Visage, Red Box and A Flock of Seagulls. "This is another aspect of music we've never really looked into," explains Adam Velasco, 'but we think there's a space in the market." Iain McNay sees the label's catalogue and reputation building over time in a similar way to the 7Ts label.
NowSounds was introduced in 2008, and was the brainchild of producer Steve Stanley. The label began with releases by the Parade and Tina Mason, both prominent on the mid-1960s US West Coast scene, and much more was anticipated from this label. In a very different musical mould, 2006 saw the legendary Mortarhate label, which includes the whole Conflict back catalogue, join the fold.
Edward Ball's unique back catalogue has returned to CD via ArTpOp!. This got off to a dream start through Cherry Red with a brace of early-1980s Times albums, 'This Is London' and 'I Helped Patrick McGoohan Escape', which have been joined by four more titles. All feature extra/previously unreleased tracks, extensive liner notes and rare/unseen pics. Ball says: "It has been important to find a host label who responds well to the digital download buyer of today but also cares for the 'physical' aspect of re-issues, as I do intensely."
Esoteric Recordings joined the stable in 2007, adding a progressive music string to Cherry Red's bow. Run by respected catalogue consultant Mark Powell, they hit the ground running with multiple reissues from the likes of Barclay James Harvest and Man. Highlight of the first year was 'Can You Follow', a six-CD box set from Cream bass icon Jack Bruce. "Working with Jack was an absolute joy', said Powell, who like all CR label bosses believes that 'to do what is essentially your hobby as a job is wonderful."
A new sub-label, Atomhenge, has been created to handle Hawkwind's extensive post-United Artists back catalogue that was acquired in 2008. This will result in some 30 albums, all with bonus tracks and often as limited edition vinyl, being made available. Cherry Red managing director Adam Velasco added; "Most of this material has been unavailable officially on CD for a number of years and it is our intention to make the forthcoming releases definitive editions.'" Two newly remastered 3CD anthologies preceded the reissuing of the Hawkwind catalogue from the beginning of 2009.
Radio and television promotion of Cherry Red products has been expertly handled for the past 18 months by industry veteran Ron McCreight. His successes to date include Toyah, promotion of whose CDs and DVD included an appearance on TV's 'Never Mind The Buzzcocks', the reissue of the Dead Kennedys' 'Fresh Fruit…' which was a mainstay of 6 Music's Anniversary of Punk and the soul of Oscar Toney Jr for Shout/RPM which attracted the attention of Jonathan Ross.
"Cherry Red releases fit many different broadcasting niches," says McCreight, "and we've already seen the exposure Cherry Red gets in the media reflected in sales." That exposure has includedStuart Maconie's 6 Music 'Freak Zone' featuring material from Django Reinhardt to Turquoise, while in 2008 Alvin Stardust promoted his 7Ts releases on Radio 2 shows hosted by Ken Bruce, Mark Lamarr and Janey Lee Grace.
Cherry Red's book division, which opened in 1997 with Indie Hits 1980-1989, continues to go from strength to strength. It has, in past years, covered such subjects as Syd Barrett, Apple Records, Mott the Hoople, Jeff Beck and the Rolling Stones in super-detailed fashion, as well as definitive books on anarcho punk (No More Heroes and The Day The Country Died) and the punk-new wave period of 1976-1980 (No More Heroes). Cherry Red Books has now moved into Goth with Mick Mercer's Music To Die For, Tamla Motown (a history of its UK releases) and John Robb's entertaining account of the fanzine scene.
Cherry Red's involvement with the DVD format stems from when they co-founded Visionary with John Bentham in the early 1990s. This new company acquired the Jettisounds catalogue of concert film footage which Bentham and his wife, Karen, had built up over the previous decade and a half, and the value of this catalogue multiplied when DVD became a viable format, and more catalogues, such as the Barn End video archive, have been acquired. There are now over 150 titles in the catalogue.
The Cherry Red Health DVD label was launched in late 2006 with Beat Fatigue With Yoga, a visual companion to Fiona Agombar's book of the same name also published by Cherry Red. Similarly Ian Glasper's two anarcho-punk books have been complemented by DVD releases. Cherry Red is keen to develop more music-related documentaries in coming months and actively welcomes proposals.
Cherry Red recently teamed up with Pearson Productions Ltd to release a new and exciting batch of DVD titles including releases by the Jam, the Style Council, Traffic, Squeeze, the Beautiful South and Julian Cope and many others. The venture is set to continue into 2009 with several more high quality releases planned along with more from the Cherry Red archive.
Cherry Red is very receptive to new ideas, and will use any method to make sure people can get hold of their records. Their website, updated daily, is a very important part of the business and its download shop now has nearly 23,000 songs, from Felt to Frank Sidebottom, to choose from. Cherry Red downloads are also available through all recognised sites such as Napster, iTunes, eMusic, Wippit and Rhapsody. Matt Bristow, the label's Business Affairs/Licensing Director, is active in making deals to put the catalogue up around the world. "We'll be adding rare download only releases to the site that are not available on CD,"he says.
The latest addition to the Cherry Red digital offering is the label's very own online television station - cherryred.tv. The station began broadcasting in late 2007 and now offers selections from concert material featuring over 70 artists from many different genres. The station also boasts an exclusive interview section featuring in-depth histories of many interesting artists and independent labels. 2009 will continue to see the station develop both in content and style. Cherry Red's collection of football ringtones continue to be available through new outlets, including all UK mobile networks and the label is busy adding more football and general sport offerings to its portfolio.
The sale of Cherry Red affiliated music publishing company Complete Music in July 2006 saw some 7,000 of the smaller songs assigned to the label's new publishing arm, Cherry Red Songs. "This unique catalogue is ready to grow again," says McNay, the songs retained ranging from Alien Sex Fiend through the Meteors and Momus to Felt.
The publishing arm also acquired nearly 1800 songs when Cherry Red bought the Link Music publishing catalogue in 2007, including classic offerings from the likes of the Exploited and Anti-Nowhere League. It should be noted that Matt Bristow has been signing songs to the company for the last five and a half years, with upwards of 1500 to add to the Complete windfall. "And we are actively looking to sign further repertoire," he stresses.
As other record companies cut back and retrench, Cherry Red continues to increase both their staff and output levels. Adam Velasco: "In an industry that's experiencing changing times, Cherry Red is very much committed to putting out as many interesting records as possible. With all the emerging new media we are always looking forward, aiming to grow the company and keep the fun going." A total of 377 releases in 2007 is testament to that.
The Cherry Red that celebrated its 30th anniversary in 2008 was recognised at that year's Mojo awards, when the expanded box-set reissue of 1983's iconic 'Pillows & Prayers' label sampler won the catalogue release of the year award. Mojo editor Phil Alexander hailed "a package which remains a shining beacon of British independent music" – an accolade that could equally be applied to the label both for the "groundbreaking work they did first time around" and the catalogue-based operation that continues so successfully today.
Michael Heatley December 2009


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Breastfeeding in Public 2010-05-16 05:00:12
Breastfeeding in Public, Do You Defend Fellow Mothers?
by POPSUGAR Moms 34 Reactions 0 Shares Print
LadyAngel89 4 years
Anon - some of us have mentioned that in almost all states there is legal verbiage enabling mothers to breastfeed in any place public or private they are otherwise allowed to be. I don't necessarily believe that it's a duty for others to step in and defend a mother, as not everyone believes the same. But at the same time I believe this should not happen, and that anyone should step in when someone is being verbally abused like in the video shown above. No one deserves to be singled-out and berated like that.
4 years
why has no one yet mentioned that in the US it is ILLEGAL to discriminate against a nursing mother by forcing her to leave a restaurant or anywhere else? the law is often ignored, but nursing moms have the legal right to nurse wherever they need to. defending a woman nursing in public is not a personal preference issue, it is a legal one. it's the same as defending someone who is told to leave a restaurant because of the color of their skin or their religion or gender. i don't know anyone who nurses in public because they are an exhibitionist or want the attention...it is because they have a hungry child and that child is more important than some stranger feeling squeemish. why should a hungry infant have to wait to eat until it is convenient for a stranger? why should it have a hot blanket thrown over its head because someone somewhere might not be able to act like an adult? in most of the world it is common to see a nursing mom, and even see full on exposed breasts, and it is not seen as an issue because the public is educated enough and mature enough about biology to understand that breasts are just a body part like any other. there is nothing shameful about a breast, especially one that is being used for its biological purpose. forcing women to nurse behind closed doors was long part of the patriarchal idea that a woman should stay in the home and that things that women did were somehow shameful or low. nursing is a natural and necessary act, not something to be hidden. and, once again, forcing a woman to stop nursing in public is against the law.
4 years
As a dual citizen of 2 English-speaking (non-US) countries I am astonished to read that this is even a debate in America. It's obscene to suggest that breastfeeding in public is somehow indecent or part of some attention-seeking plan and the comments of phatE are some of the most ludicrously ignorant I've ever read! Breastfeeding is about giving your child the best nourishment you can and if someone is unable to eat a meal in a restaurant or go to a public place where someone is breastfeeding her child without being able to control where they look, it's clearly their problem.
MominHim 4 years
What is truly sad is if this many women will not support public breastfeeding on a simple forum, how many in the real world are responding the same way. It is beyond ignorance to continue to argue the indecent exposure point. It IS clearly obvious that this video is NOT portraying a mother who was exposed in ANY way whatsoever and it is arguments like this that are instilling so much fear into moms to even consider breastfeeding to begin with. With as many other degrading images in society to argue about, and twice as many ways in which women are objectified, why can we not support one another in the very simple and beautiful act of breastfeeding our children? When will women learn to unify and stand together? It's not a matter of whether you WANT to see "that" as if it were something gross to look at, it's a matter of what's morally right. It is not morally right to ask a mother to leave her meal and/or company to seek out a place to simply feed her child just because she chose the absolute BEST nourishment for him/her. I'm also amazed at the people who think that many stores or restaurants have a sitting room in their bathroom. Let me assure you that they do not. Even if they did however, it is still the mothers right on whether she chose to leave her table, meal, and company to sit in the secluded room to breastfeed and be ogled there by the same ignorant women who didn't want her in the dining area. Can we really say that supporting a womans right to expose her body on billboards or xrated magazines is more morally correct than a womans right to feed their child the way God created them to? Reality check ladies, there are enough people in this world who are going to try and knock you down for so many reasons, including simply being a woman, we need to learn to support one another instead of jumping on the bandwagon of intolerance.
4 years
Breastfeeding in public will always be controversial. It is natural and the best way to feed your baby. The problem is not with feeding the baby but with exposing the breast. Since it is such a sexual item in our society, it should be done discreetly. Not in a germy bathroom like you have to hide! But certainly not in a mainstream flow of traffic either! And why wouldn't you want a quieter place to feed your baby? In a resturant, however, you need to be aware of who is near you. Sad to say, but it just grosses out some people. And if you have a couple by you, chances are the female doesn't want to deal with her man trying to 'sneak a peak'. If you are next to a family, it is uncomfortable for children and parents if they are not familiar with breastfeeding. Until we live in a society where it is not such a sexual item there will always be problems with breastfeeding in public. I think mothers just need to be aware of this and not just thrust their 'its ok' opinion onto everyone around them. It's an area where common sense should be used.
4 years
have some class? you need a clue. women don't breastfeed to try to show off their breasts. that's the most ridiculous thing I've ever read. i actually laughed out loud that someone could be so ignorant.
LadyAngel89 4 years
Maybe they're not telling me to not feed my child. They just don't want me to feed them "there" or "while they're watching" because it disturbs them. They shouldn't be looking. The point is, regardless of my opinion of children eating or a baby drinking from a bottle, that's a parents decisions and I have no right to say anything and it would be absurd for me to do so, and no one certainly has a right to say anything to me for my choice to breastfeed in public. "This is not the same as a child eating" --- it IS a child eating. Where is the distinction? "Have some class, please" --- I have class, which is why I don't feed my child in the same room where someone may be taking a dump (to put it politely). Breasts are not sexual toys designed for pleasure, that kind of taboo is why many women never breastfeed, and so many lives and so much government money could be saved if we just helped some of these moms feel comfortable and supported anywhere they choose to be.
phatE 4 years
"Case and point, if my baby is hungry. I don't care where I am, she's going to be fed. Maybe I should just put a blanket over your child's head while they're eating... or tell you that it disturbs me to watch you feed a child formula. " no one is telling you not to feed your child, people are asking that you remain covered up because not everyone wants to see your breasts while they are trying to eat.. have some class, please. this is not the same as a child eating, or a baby drinking from a bottle.. if you think it is, you need a reality check.
LadyAngel89 4 years
I have to say that I would defend any woman that was being treated this way for feeding their child in public. I have to clarify that it's not a "right" for a restaurant owner to do such things. As a matter of fact, in most cases it's downright unlawful and most states exempt breastfeeding mothers from any kind of indecent exposure related to the act of breastfeeding. While you can have any opinion you desire, lets face the fact... breastfeeding mothers by way of law have the "right" to breastfeed in any public or private place they are otherwise allowed to be. Case and point, if my baby is hungry. I don't care where I am, she's going to be fed. Maybe I should just put a blanket over your child's head while they're eating... or tell you that it disturbs me to watch you feed a child formula.
ladysonoma 4 years
lol...all the posts about the bathroom comment. Commonly, the nursing/changing station is in the restaurant, it has couches for women to sit and handle their babies. A majority of places have them, at least where I live they do. If it's just a little bathroom, I am sure there are a million other appropriate places to go as well as garment designs to make breast feeding a bit more discreet. It's funny to think how women complained to get rooms like that made especially for them, now there is a huge controversy because women don't want to use them.
ladysonoma 4 years
Anonymous, You actually did ask me, if you go back up to your post, you said "you." Like I said, I don't have a problem with women nursing in public, but I have seen women who are extremely open about it. I, simply, think it's polite cover up. If a woman was decent, or at least trying, yeah I'd defend her... when it's time to nurse, it's time to nurse. But if she's squirting milk across the table, and both her boobs are hanging out, her shirt's barely on her body, and all the guys are gawking, then I think that it is rude. Sure, accidents, or tough situations occur, naturally. I can understand that, and it's at that time when I sympathetic. Unfortunately, you can't avoid fecal matter and public restrooms. We, humans, eat tons of it every year; statistically speaking, anyway. Whatever you do, try to avoid the left water taps and the door handle, and use paper towels to touch everything, that's what I do.
phatE 4 years
To the Anonymous who said: " I am so blessed to live in a very progressive and highly-educated area where public breastfeeding is the norm" - your ignorance and entitlement is mind-boggling.. While I agree that mother's need to be treated with respect, I also agree that a manager has the right to ask a mother to excuse herself while she breastfeeds. This is a restaurant, and people do not want to see someone breastfeeding while they are eating. Sorry if you don't agree, but if you demand respect you need to offer the same in return. since when did being a mother exempt you from caring about /respecting the people around you.
Bettye-Wayne 4 years
I mean *farther* off in a corner.
Bettye-Wayne 4 years
Oh yeah and I wish this video didn't end so soon, I was curious if people reacted differently to a black woman breastfeeding.
Bettye-Wayne 4 years
I have no problem with it, but I know that it makes a lot of people uncomfortable and I always did it with as much privacy as possible. In that restaurant scenario, I would have sat with my back turned to everyone father off in a corner, not facing the front door. Feeding in a bathroom though? Disgusting.
4 years
"I find things like people talking with a full mouth upsetting or showing their butt crack when they sit down, but I don't ask management to have them escorted out of the restaurant." Exactly. Talking with your mouth full and swearing in public is not acceptable where I grew up, so does that give me the right to demand all others abide by those rules? Not at all. Thinking it's rude is one thing. I think it's rude to check out a woman nursing to see how much boob she's showing. We're entitled to those opinions. When they turn into insisting others do it our way, it's closeminded.
commonsense102 4 years
Lets not "let the exception be the rule" Most of us breastfeeding mom's are discreet about nursing. I highly doubt that you see a huge boob being suckled everytime you leave your house. If there is a little too much boob for you and your loved ones to see in public... look the other way. You know it doesn't happen that much for people to be so up-in-arms about it. I find things like people talking with a full mouth upsetting or showing their butt crack when they sit down, but I don't ask management to have them escorted out of the restaurant. I have a laugh and look the other way... it gives me something to talk about with friends.
4 years
Nursing in a bathroom is disgusting. I wouldn't eat my meal in a restroom and I will not nurse my baby in one. Every time someone flushes a toilet tons of bacteria get thrust into the air and then settles on all surfaces. To even suggest this as an option is rude to all nursing mothers. I do prefer to use a coverup when nursing but I would not care if another woman doesn't. People can look away if it makes them uncomfortable.
4 years
And how do you know if they've tried? I wasn't asking what you would do, I was asking about your judgment of other women and how they handle it. If you want to hide or feed your baby in a germy restroom, that's your choice. I'm not going to tell you to be a lady and not make your baby eat the airborne feces that it blown out every time air moves in a restroom.
ladysonoma 4 years
Well, anonymous, if it were me, I would take it to the restroom or to my car. Nudity in public is not acceptable where I grew up. Breastfeeding is okay, but it's polite to cover up with a blanket, or wear a shirt for nursing. It's not close minded to feel people should cover up, but it is rude to not be a lady about it. At the very least try...
4 years
I didn't breast feed my son, but I don't see how it's a problem to breast feed in public! The blanket has always confused me. It's not the act of breast feeding that bonds a baby to its mother, it's the eye and skin contact and the feeling of love and support. How can you give your baby the eye contact that it needs if there's a blanket on it's head? I don't want to eat under a blanket, so I don't see why a baby has to. I actually lectured a patient in my office because he tried to say something about a woman breastfeeding in the waiting area.
lawchick 4 years
I don't object to it, but I don't feel strongly enough to say anything. This would be a SHOCKING thing to see in my deep south community, though - I've never seen a woman breastfeeding outside of the home. I can only imagine the general public would freak out, especially since breastfeeding isn't all that popular here.
4 years
"9 times out of 10 there's gotta be a way to avoid nursing in public. Why go out of your way to make an exhibition out of yourself? If you can cover up, that's fine, but if not--find a nursing/changing station somewhere." Eh, that's your problem, not mine. And the law is on my side.
4 years
I would absolutely defend another mother for nursing in public! Breastfeeing a child is not dirty and should not be treated that way! No one should ever feel like they have to hide to feed their baby! There are plenty of ways to be descrete without having to hide or cover 1/2 your body and the baby. Covering with a blanket or nursing cover is a more obvious give-a-way that you're nursing than turning off to the side slightly and lifting a shirt to just above the nipple and feeding! Anyone who takes offence to someone feeding their baby needs to give their head a serious shake!
starbucks2 4 years
Another reason why I love living in Germany...nobody ever minded me nursing my child in public. As soon as you get the hang of it, it's pretty discreet. I mean, the baby's head covers most of the breast anyway. And common sense put it best when she said breasts are intented for nursing children. It's really not my fault men have sexualized them! Oh and Jereldan. Yes, it can be avoided, but why should it be? I really never went out of my way to nurse in public because I felt like exposing my boobs! With a newborn you can't really predict when their hungry and since I knew how to do it without my nipples showing to everyone I really didn't see the point in hiding in an ugly and dirty bathroom!
4 years
I am so blessed to live in a very progressive and highly-educated area where public breastfeeding is the norm. In fact, you feel weird if you bottle feed in public. Our state, CO, has the highest rate of breastfed babies in the country and the lowest obesity rate. Hmmm, wonder if there is a correlation? Nobody lets it hang out. Most moms are discreet, using cover-ups or nursing tanks (which are one of the greatest inventions for moms). I can't imagine living in a place where people hyperventilate over a mother feeding a baby the way nature intended. Ironically, I'm sure the same people who can't handle seeing a nursing mom don't think twice about magazine covers, Victoria's Secret ads, or bikinis at the beach---which show more breast than the majority of moms in the act of nursing. To say it's an "intimate" act is laughable. Sex is intimate. Going to the bathroom is intimate. You can't equate the natural nourishment of a child with these acts. If a baby drinking milk is "intimate" then all eating is intimate. Restaurants should close immediately. I insist. It's far more gross to be sitting next to some honking, sneezing, coughing old guy in a restaurant than a dainty baby nursing from his or her mama. Maybe I should insist the person chewing with his mouth open or yapping on her cell phone go to the bathroom? It deeply saddens me when people's priorities are so skewed that they'll shame a mom who is doing the best for her baby.
4 years
9 times out of 10 there's gotta be a way to avoid nursing in public. Why go out of your way to make an exhibition out of yourself? If you can cover up, that's fine, but if not--find a nursing/changing station somewhere.
jenni5 4 years
I just watched the video and both women were pretty discrete compared to others I have seen in public pulling down their whole top. This wouldn't bother me. When I went to the aquarium one time (during peak time full of adults and kids) some woman was sitting right inside the entrance, facing everyone as they walked in, with her top fully pulled down. And their was a restroom with a nursing/changing area 20 feet away. This bothered me.
jenni5 4 years
I'm all for breastfeeding but I'm with ladysonoma...cover up or at least be somewhat discrete. No it's not dirty or bad in anyway but it does make people uncomfortable and not everyone needs to see your tits. I don't think I would get involved in this situation either, she's an adult and can handle it on her own without the whole restaurant being involved.
commonsense102 4 years
Breasts were intended for nursing... not just selling fancy bras, sex, etc... I don't care if the boob is showing or under a blanket... nursing isn't naughty or offensive, it's natural and the best thing for mom and baby. Anyone who has a problem with it, is probably harboring deep psychological issues that they aren't willing to deal with...
4 years
ladysonoma, what do you do when the baby won't nurse covered up? It created a huge spectacle to keep trying to cover my son, he'd rip it off and scream at me, which exposed far more breast than if I simply lift my shirt and latch him on. The whole "use a blanket" is just as closeminded as telling people not to nurse in public at all. If the woman was handling it herself, I wouldn't step in. If she was having trouble, I'd be ok saying something. If she left out of embarrassment or anger, I'd follow her out, being sure to tell the management why I was leaving and would never return.
pixiedusk 4 years
in our place its aq common site to see breastfeeding in public... hehe.... so i dont need to depend them
ladysonoma 4 years
I definitely don't have a problem with breast feeding in public; however, I have a BIG problem with women who don't use a blanket to partly cover up. It's just rude, rude, rude!
LaurenG22 4 years
Saying no nursing in public is just another way to marginalize women. If someone has a problem with it, don't watch!
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text:
25 U.S. Code § 2704 - National Indian Gaming Commission
(a) Establishment
There is established within the Department of the Interior a Commission to be known as the National Indian Gaming Commission.
(b) Composition; investigation; term of office; removal
(1) The Commission shall be composed of three full-time members who shall be appointed as follows:
(A) a Chairman, who shall be appointed by the President with the advice and consent of the Senate; and
(A) The Attorney General shall conduct a background investigation on any person considered for appointment to the Commission.
(3) Not more than two members of the Commission shall be of the same political party. At least two members of the Commission shall be enrolled members of any Indian tribe.
(A) Except as provided in subparagraph (B), the term of office of the members of the Commission shall be three years.
(5) No individual shall be eligible for any appointment to, or to continue service on, the Commission, who—
(C) has a financial interest in, or management responsibility for, any management contract approved pursuant to section 2711 of this title.
(c) Vacancies
Vacancies occurring on the Commission shall be filled in the same manner as the original appointment. A member may serve after the expiration of his term of office until his successor has been appointed, unless the member has been removed for cause under subsection (b)(6) of this section.
(d) Quorum
Two members of the Commission, at least one of which is the Chairman or Vice Chairman, shall constitute a quorum.
(e) Vice Chairman
The Commission shall select, by majority vote, one of the members of the Commission to serve as Vice Chairman. The Vice Chairman shall serve as Chairman during meetings of the Commission in the absence of the Chairman.
(f) Meetings
The Commission shall meet at the call of the Chairman or a majority of its members, but shall meet at least once every 4 months.
(g) Compensation
(1) The Chairman of the Commission shall be paid at a rate equal to that of level IV of the Executive Schedule under section 5315 of title 5.
(2) The associate members of the Commission shall each be paid at a rate equal to that of level V of the Executive Schedule under section 5316 of title 5.
Source(Pub. L. 100–497, § 5,Oct. 17, 1988, 102 Stat. 2469.)
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text: SIOUX FALLS, S.D. (KELO AM) - A flaxseed mill, to be built in northwest Sioux Falls, should be operating by July with forty employees on the payroll. Dean Dzeidzec, with the Sioux Falls Development Foundation, says groundbreaking for the Glanbia plant was yesterday in northwest Sioux Falls. Dzeidzec says Glanbia has started hiring a handfull of workers including some from the Sioux Falls area. The flaxseed will come from the Dakotas and Canada for milling in Sioux Falls and then sent on to be in a variety of products