#Morgan Walls and Clements

[filmap]

Cherry 2000 Steve De Jarnatt. 1987

Pharao’s 5675 Telegraph Rd suite 300, Commerce, CA 90040, USA See in map

See in imdb

[jadeseadragon]

"The LA citadel, one of the very few examples of Mesopotamian/Assyrian inspired architecture."

Along the Santa Ana Freeway, southeast of Downtown Los Angeles.

"In 1929, architects Morgan, Walls and Clements, who also designed Los Angeles’ Mayan Theater, built the Samson Tire and Rubber Co. factory; the factory closed in 1978 and the Commerce government bought the site for $14 million in 1983. In 1990, Trammell Crow Co. was hired for the site's $118 million redevelopment into an outlet center and adjacent 201-room Wyndham Garden Hotel (now a Doubletree)." [Wikipedia]

[artdecodude]

A photo I can only post on Tumbler since other Social Medias hate tall photos. Tower closeup of the Vision Theatre in Leimert Park, Los Angeles. Originally opened as the Leimert Theatre by Howard Hughes in 1931. Architects: Morgan, Walls, & Clements.

[xpuigc-bloc]

The Morgan Library & Museum

Crafting the Ballets Russes

The Robert Owen Lehman Collection

Crafting the Ballets Russes: The Robert Owen Lehman Collection

June 28 through September 22, 2024

Robert Owen Lehman’s extraordinary collection of music manuscripts has been an inspiration to scholars and visitors since it was placed on deposit at the Morgan Library & Museum. Among its many splendid works are deep holdings of early-twentieth-century ballet, including Igor Stravinsky’s Firebird (1910), Petrouchka (1911), and Les Noces (1923); Claude Debussy’s L’après-midi d’un Faune (1912); and Maurice Ravel’s Bolero (1928) and La Valse (1920).

The exhibition opens with the dramatic arrival of Serge Diaghilev’s Ballets Russes troupe in Paris in 1909 and goes on to trace its impact across the arts, highlighting the rise of women in leading creative roles. They include Bronislava Nijinska, who in 1921 became the Ballets Russes’ only female choreographer and whose groundbreaking choreography defined Les Noces, Bolero, and other ballets of the era; and Ida Rubinstein, whose riveting stage presence helped establish the Ballets Russes in its first seasons and who came to rival Diaghilev as a patron of music, commissioning Bolero in 1928.

At the core of the exhibition is the creative process that brought these ballets to life. The exhibition and accompanying catalogue address the sketches, drafts, and working copies of the composers, choreographers, and designers, capturing the ways in which they imagined, conceived, and collaborated to kindle works of astonishing originality and ongoing influence.

The exhibition is organized by Robinson McClellan, Assistant Curator of Music Manuscripts and Printed Music.

Crafting the Ballets Russes: The Robert Owen Lehman Collection is supported by the William Randolph Hearst Fund for Scholarly Research and Exhibitions, the Robert Lehman Foundation, Mr. and Mrs. Clement C. Moore II, the Lucy Ricciardi Family Exhibition Fund, Elizabeth and Jean-Marie Eveillard, Cynthia Hazen Polsky and Leon Polsky, and the Franklin Jasper Walls Lecture Fund. Assistance is provided by the Gladys Krieble Delmas Foundation and Hubert and Mireille Goldschmidt.

(L) Igor Stravinsky (1882–1971), Firebird, autograph manuscript, piano, extensive revisions, [1910]. The Morgan Library & Museum, New York, Robert Owen Lehman Collection, on deposit. Used by kind permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany, publisher and copyright owner.

(R) Léon Bakst (1866–1924), “Firebird and the Prince (Tsarevitch),” poster design for Firebird, 1915. Harvard Theatre Collection, Houghton Library, Howard D. Rothschild Collection.

#. The Morgan Library & Museum, New York #art #original art #xpuigc

[sparrowsfallingfromthesky]

by the way this is terrible picture quality but this is what I ended up doing with my wall last week. I still have to stick everything down more securely and I might make a few adjustments but I'm pretty satisfied.

I even made a shitty gallery guide:

1. Pictures of me with the 4 core members of Darlingside 2. Picture of me with Aaron Tveit 3.-4.   Carousel animal ornaments from the Smithsonian 5.-9.   Photo collages with my college friends 10.-12. Drawings of Les Amis de l'ABC as pigeons by me 13. Portrait of Victor Hugo by Alphonse Legros (Harvard Art Museums) 14.-15. Winnie-the-Pooh pencil drawings by E.H. Shepard (Victoria & Albert Museum) 16. Isabella Stewart Gardner museum, photo by Clements & Howcroft 17. Etching from Carceri d'invenzione (Imaginary Prisons) by Giovanni Battista Piranesi (British Library) 18. Cantica de Medicina by Avicenna (Boston Medical Library/Center for the History of Medicine) 19. Vanitas Still Life by Herman Henstenburgh (Morgan Library & Museum) 20. Mystique by Amy Brown 21. Art by Ulla Thynell 22. Medea by William Wetmore Story (MFA Boston) 23. Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water by JMW Turner (Clark Art Institute/MFA Boston) 24. Twilight by George Inness (Williams College Museum of Art) 25. Path to Shambhala by Nicholas Roerich (Nicholas Roerich Museum) 26. Star of the Hero by Nicholas Roerich 27. Palden Lhamo by Nicholas Roerich 28. First Touch (redraw of a still from Pride and Prejudice (2005)) by Kalogh on redbubble 29.-43. Art by @ullathynell (bought from artist's website, but she also has society6) 44. A Thousand Cranes (left screen) by Kayama Matazo (National Museum of Modern Art Tokyo) 45. Art of northern flicker by Sarah Martinez 46. Bird art by me 47. Cover design for Bury the Lede by Dora Lariat by me 48. "ex libris" book plates from my college English department 49. Ship with seven men, net and gull by Alfred Wallis (Kettle's Yard, Cambridge) 50. Farewell by @riisinaakka-draws 51. Piece of eight necklace 52. "Know no shame" inscription from Black Sails 53. Book of adventures by dandingeroz on redbubble 54. Farewell and Good Riddance to Skeleton Island by riisinaakka 55. The Walrus at Night by riisinaakka 56. The map from Treasure Island 57. Hush by @finngualart (SaskiaDeKorte) 58. Returned to the Sea by SaskiaDeKorte 59. Flint coloring page by SaskiaDeKorte, colored by me 60. Madi by riisinaakka 61. Longing by riisinaakka 62. Watercolour raven by SaskiaDeKorte

:)

And (doll tw) here's a "before" shot from a while back (I'd changed the curtain and taken down the mirror in between)

[wankerwatch]

Lords Vote

On: Agriculture (Delinked Payments) (Reductions) (England) Regulations 2025

Baroness Grender moved, as an amendment to the motion to approve the Regulations, to leave out from “that” to end and to insert “this House declines to approve the draft Regulations as they accelerate the reduction of delinked payments made to British farmers; regrets the failure to establish alternative funding schemes; and calls on the Government to reinstate applications to the Sustainable Farming Incentive scheme.” The House divided:

Ayes: 54 (88.9% LD, 7.4% DUP, 1.9% UUP, 1.9% Green) Noes: 124 (97.6% Lab, 1.6% XB, 0.8% ) Absent: ~676

Individual Votes:

Ayes

Liberal Democrat (48 votes)

Addington, L. Beith, L. Benjamin, B. Bonham-Carter of Yarnbury, B. Brinton, B. Bruce of Bennachie, L. Burnett, L. Campbell of Pittenweem, L. Clement-Jones, L. Dholakia, L. German, L. Goddard of Stockport, L. Grender, B. Hamwee, B. Harris of Richmond, B. Humphreys, B. Hussain, L. Kramer, B. Lee of Trafford, L. Ludford, B. Marks of Henley-on-Thames, L. Miller of Chilthorne Domer, B. Mohammed of Tinsley, L. Newby, L. Northover, B. Oates, L. Parminter, B. Pinnock, B. Purvis of Tweed, L. Razzall, L. Redesdale, L. Russell, E. Scriven, L. Sharkey, L. Smith of Newnham, B. Stoneham of Droxford, L. Storey, L. Strasburger, L. Suttie, B. Thomas of Gresford, L. Thomas of Winchester, B. Thornhill, B. Tope, L. Tyler of Enfield, B. Wallace of Saltaire, L. Wallace of Tankerness, L. Walmsley, B. Wrigglesworth, L.

Democratic Unionist Party (4 votes)

Browne of Belmont, L. McCrea of Magherafelt and Cookstown, L. Morrow, L. Weir of Ballyholme, L.

Ulster Unionist Party (1 vote)

Elliott of Ballinamallard, L.

Green Party (1 vote)

Bennett of Manor Castle, B.

Noes

Labour (121 votes)

Adams of Craigielea, B. Alexander of Cleveden, B. Anderson of Stoke-on-Trent, B. Anderson of Swansea, L. Andrews, B. Armstrong of Hill Top, B. Ashton of Upholland, B. Bach, L. Barber of Ainsdale, L. Bassam of Brighton, L. Beamish, L. Beckett, B. Berger, B. Blake of Leeds, B. Blower, B. Blunkett, L. Bousted, B. Bradley, L. Brennan of Canton, L. Brown of Silvertown, B. Browne of Ladyton, L. Campbell-Savours, L. Carberry of Muswell Hill, B. Chakrabarti, B. Chandos, V. Chapman of Darlington, B. Clark of Windermere, L. Coaker, L. Collins of Highbury, L. Crawley, B. Curran, B. Davies of Brixton, L. Debbonaire, B. Donaghy, B. Drake, B. Dubs, L. Elliott of Whitburn Bay, B. Falconer of Thoroton, L. Faulkner of Worcester, L. Foulkes of Cumnock, L. Glasman, L. Goudie, B. Grantchester, L. Gray of Tottenham, B. Griffin of Princethorpe, B. Grocott, L. Hannett of Everton, L. Harris of Haringey, L. Hayman of Ullock, B. Hazarika, B. Healy of Primrose Hill, B. Hendy of Richmond Hill, L. Hermer, L. Howarth of Newport, L. Hunt of Kings Heath, L. Hunter of Auchenreoch, B. Jones of Penybont, L. Jones of Whitchurch, B. Jones, L. Katz, L. Keeley, B. Kennedy of Cradley, B. Kennedy of Southwark, L. Khan of Burnley, L. Kinnock, L. Knight of Weymouth, L. Lawrence of Clarendon, B. Lemos, L. Leong, L. Levitt, B. Liddell of Coatdyke, B. Liddle, L. Lister of Burtersett, B. Livermore, L. Longfield, B. Mann, L. Mattinson, B. McCabe, L. Mendelsohn, L. Merron, B. Morgan of Drefelin, B. Murphy of Torfaen, L. Nye, B. O'Grady of Upper Holloway, B. Osamor, B. Pitkeathley of Camden Town, L. Pitkeathley, B. Ponsonby of Shulbrede, L. Rafferty, B. Ramsay of Cartvale, B. Ramsey of Wall Heath, B. Raval, L. Rees of Easton, L. Reid of Cardowan, L. Ritchie of Downpatrick, B. Rook, L. Royall of Blaisdon, B. Sahota, L. Sherlock, B. Smith of Basildon, B. Smith of Finsbury, L. Smith of Malvern, B. Spellar, L. Stansgate, V. Taylor of Bolton, B. Taylor of Stevenage, B. Timpson, L. Touhig, L. Tunnicliffe, L. Twycross, B. Vallance of Balham, L. Warwick of Undercliffe, B. Watson of Invergowrie, L. Watts, L. Wheeler, B. Whitaker, B. Wilcox of Newport, B. Wilson of Sedgefield, L. Winterton of Doncaster, B. Young of Norwood Green, L. Young of Old Scone, B.

Crossbench (2 votes)

Carlile of Berriew, L. Hardie, L.

Non-affiliated (1 vote)

Austin of Dudley, L.

[californiatheatreoftheperforming]

California Theatre of the Performing Arts

The California Theatre of the Performing Arts: A Historic Gem in San Bernardino, CA

Nestled in the heart of San Bernardino, California, the California Theatre of the Performing Arts stands as a symbol of the city’s rich cultural heritage and its ongoing commitment to the arts. Established as one of the most iconic landmarks in the region, this historic venue has been a cultural hub for nearly a century, hosting a wide range of performances, from Broadway shows and concerts to dance performances and community events. Whether you're a theater enthusiast, an art lover, or someone looking for an unforgettable night out, the California Theatre offers an unparalleled experience that showcases both its storied past and vibrant present.

A Rich History of the California Theatre of the Performing Arts

The California Theatre first opened its doors in 1928, and its history is closely intertwined with the early development of San Bernardino. Designed by the renowned architectural firm Morgan, Walls & Clements, the theater was built in the Spanish Colonial Revival style, characterized by its ornate decorative features and grandiose design. The theater was part of the larger movement in Southern California during the late 1920s to create monumental movie palaces, with the goal of offering audiences not just a film experience but a truly immersive entertainment environment.

Originally a movie theater, the California Theatre quickly became a popular venue for films, particularly during the golden age of Hollywood. As the years passed, however, the theater began to shift its focus, evolving into a performing arts venue that could accommodate a broader range of artistic performances.

In 1980, the California Theatre of the Performing Arts was listed on the National Register of Historic Places, cementing its place as a key piece of architectural and cultural history in San Bernardino. Over the decades, the venue has undergone several renovations and restorations to maintain its original beauty and to ensure it remains a vital part of the community. These efforts have allowed the theater to continue operating as a premier venue for the performing arts.

The Architecture of the California Theatre

One of the most striking features of the California Theatre of the Performing Arts is its stunning architecture. As a prime example of Spanish Colonial Revival design, the theater's exterior is adorned with intricate details, including decorative arches, wrought-iron elements, and sculpted figures that reflect the cultural influences of early California. The ornate façade welcomes visitors with an aura of elegance and grandeur, evoking the feeling of stepping into a bygone era of cinematic opulence.

Inside, the theater’s auditorium is equally impressive, with its luxurious design and intricate detailing. The proscenium arch and crystal chandeliers enhance the theater’s sense of intimacy, while the velvety seats and rich, warm colors make the space inviting and comfortable. The theater’s capacity is approximately 1,600 seats, allowing it to accommodate large performances while still maintaining a sense of closeness and connection with the audience. The acoustics in the auditorium are exceptional, ensuring that every note of music and every spoken word is heard clearly from every seat in the house.

The California Theatre's interior design features a mix of traditional and contemporary elements, creating an atmosphere where both history and modernity coexist seamlessly. The striking combination of classic Spanish architectural details and state-of-the-art lighting and sound systems ensures that visitors enjoy a truly immersive experience, whether attending a concert, play, or dance performance.

A Hub for Performing Arts in San Bernardino

Today, the California Theatre of the Performing Arts serves as one of the premier venues in San Bernardino for a wide range of cultural and artistic performances. It offers an eclectic mix of shows and events, catering to diverse tastes and interests. Whether you’re into classical music, musicals, comedy, or dance, you’ll find something that speaks to your interests at the California Theatre.

1. Broadway Shows and Theater Productions

One of the main attractions of the California Theatre is its ability to bring Broadway-caliber performances to San Bernardino. The theater has hosted a variety of professional touring productions, ranging from hit Broadway musicals to classic plays. For theatergoers, this is an incredible opportunity to experience high-quality performances without having to travel to Los Angeles or New York City. Past shows have included "The Phantom of the Opera," "Les Misérables," and "The Lion King," providing audiences with world-class entertainment in a setting rich with history.

2. Concerts and Live Music

Music lovers will appreciate the diverse range of concerts hosted at the California Theatre. From classical orchestras to jazz ensembles, the theater has become a sought-after venue for musicians of all genres. The theater’s exceptional acoustics and intimate setting provide an ideal environment for musicians to connect with their audiences in a meaningful way. Notable performances have included symphonic performances by the San Bernardino Symphony Orchestra and concerts by popular music acts, both local and national.

3. Community Events and Festivals

The California Theatre of the Performing Arts is also a central venue for community events and festivals in San Bernardino. Local organizations and schools frequently use the theater to showcase their work, with everything from dance recitals and choir performances to graduation ceremonies and cultural festivals. The theater’s role as a cultural institution is integral to the community, providing a space for people of all ages and backgrounds to come together and celebrate the arts.

4. Educational Outreach

The California Theatre is deeply committed to promoting the arts and supporting the next generation of artists. Through its educational outreach programs, the theater offers workshops, classes, and performances designed to inspire and educate young people in the arts. These programs are crucial for fostering creativity and giving students opportunities to explore theater, dance, music, and other art forms in a professional setting.

Why Visit the California Theatre of the Performing Arts?

Visiting the California Theatre of the Performing Arts offers a chance to experience the best of both history and modern entertainment. Whether you're a first-time visitor or a regular patron, there are several reasons why you should make the theater part of your next cultural outing.

Historic Significance: As a registered historical landmark, the California Theatre allows visitors to step back in time while enjoying a state-of-the-art entertainment experience.

Cultural Hub: The venue hosts a diverse range of performances, from Broadway shows and concerts to local community events, ensuring that there’s something for everyone.

Impressive Architecture: The theater's beautiful Spanish Colonial Revival architecture provides a stunning visual experience, both inside and out.

World-Class Entertainment: The California Theatre attracts top-tier performers, making it a prime destination for high-quality entertainment in the heart of San Bernardino.

How to Plan Your Visit

If you're planning to attend a performance at the California Theatre, tickets can be purchased through the venue’s official website or at the box office. The theater is conveniently located in downtown San Bernardino, with ample parking available nearby. Whether you’re visiting for a special event or enjoying a night out with friends, the California Theatre is a fantastic way to experience the best of the performing arts.

Conclusion

The California Theatre of the Performing Arts is a jewel of San Bernardino, blending historic elegance with modern entertainment. With its rich history, stunning architecture, and commitment to providing world-class performances, the theater continues to play a vital role in the cultural life of the region. Whether you’re a local resident or a visitor, a trip to the California Theatre promises to be an unforgettable experience, offering something for everyone who loves the arts. So, the next time you're in San Bernardino, don’t miss the chance to visit this iconic cultural landmark and enjoy a night of extraordinary performances.

Consider supporting one of our trusted partners.

562 W 4th St, San Bernardino, CA 92401, United States

See what's next to visit.

[chrisryanspeaks]

The Umbrellas share new music video for "Gone" ahead of US tour launching next week

https://youtu.be/_O6nH2f1B7M?si=mYHEsTvtzXYStovG Today San Francisco band The Umbrellas share a new music video for "Gone" from their most recent Slumberland LP Fairweather Friend ahead of their full North American tour which launches next week. Morgan Alice from the band made the video using Super 8 footage taken on various Umbrellas tours. For more info. and to buy tickets in advance, click HERE TOUR DATES: Fri 5/31 Los Angeles, CA Permanent Records * Sat 6/01 San Clemente, CA Knuckle Heads Sun 6/02 San Diego, CA Soda Bar Wed 6/05 Denton, TX Rubber Gloves + Thu 6/06 Austin, TX Mohwawk (Inside) # Fri 6/07 New Orleans, LA BJs Sun 6/09 Nashville, TN Soft Junk $ Mon 6/10 Atlanta, GA 529 Tue 6/11 Durham, NC The Pinhook Wed 6/12 Washington, DC Quarry House Tavern & Thu 6/13 Philadelphia, PA PhilaMOCA Fri 6/14 New York, NY The Broadway @ Sat 6/15 Boston, MA 4th Wall % Sun 6/16 Montreal, QB Quai des Brumes Mon 6/17 Toronto, ON Monarch Tavern Tue 6/18 Cleveland, OH Happy Dog Wed 6/19 Detroit, MI Outer Limits Lounge Thu 6/20 Chicago, IL Cole's Fri 6/21 Minneapolis, MN Cloudland ^ Mon 6/24 Vancouver, BC TBA Tue 6/25 Victoria, BC Lucky Bar Wed 6/26 Seattle, WA Sunset Tavern ** Thu 6/27 Portland, OR Swan Dive Sat 6/29 San Francisco, CA Kilowatt ! * = w/ Le Pain, Ted # = w/ On Being An Angel, Touch Girl Apple Blossom $ = w/ Ornament & = w/ Linda Smith + = w/ 2nd Grade, The Smashing Times @ = w/ The Smashing Times, Lightheaded % = w/ Mall Cops ^ = w/ Jim Ruiz, Real Numbers ! = w/ Pocket Full of Crumbs, Latitude ** = w/ Lisa Prank, The Nags The Umbrellas are four renegade romantics crafting irresistible indie pop hymns. The band’s self-titled 2021 debut album became a breakout moment, winning critical praise and sparking an international tour. Follow-up LP Fairweather Friend goes a step further – absorbing the sonic attack of their live shows, it balances this with studio finesse, allowing the San Francisco four-piece to become the band they’ve always aspired to be. The Umbrellas' self-titled 2021 debut album was a breakout moment in an otherwise grim year, winning critical praise and fueling tours with everyone from labelmates Papercuts to Fucked Up. Follow-up LP Fairweather Friend goes a step further – balancing the rambunctious sonic attack of their live shows with studio craft and finesse, allowing the San Francisco four-piece to become the band they’ve always aspired to be. It's a record overflowing with highlights. The addictive, upbeat melodies of introductory track ‘Three Cheers!’ are matched to an impactful percussive punch; ‘Say What You Mean’ finds The Umbrellas working with total confidence, letting the song ride out to its chiming conclusion, four voices working in precision. ‘When You Find Out’ offers rotating notes of guitar punctuated by a vocal that pushes past angst to accept a world full of hope. A lean 10 track affair, it grasps towards beatific pop while fuelled by a sense of risk-taking and the precision that comes from long months on the road. The Umbrellas coalesced in 2018 around a group of musicians with connections to the legendary San Francisco record emporium Amoeba Music. Singer and guitarist Matt Ferrera had previous links with bassist Nick Oka, as well as the powerhouse drummer Keith Frerichs. A chance encounter with Morgan Stanley singing karaoke at a Fourth of July party cemented the line-up around an avowed thirst for melody. “All of us love really earnest pop songs,” Nick points out. “I guess we got to a point in our lives where we wanted to be genuine.” Playing shows at San Francisco’s vital DIY redoubt Hit Gallery, The Umbrellas would share line-ups with local heroes such as April Magazine and Cindy. Recording their debut album across a two-day spell at Matt’s parents’ house, the results won a devoted cult following. The experience of frequent touring bonded them tightly and allowed the volume to tick up a little higher (and higher...) and and feeding a desire for their next record to more closely mirror the energy of their live shows. “I think we got tired of people saying, oh you’re so much louder than I thought you’d be!” laughs Matt. “Our early recordings are sweet and earnest… and we wanted it to be louder.” Kicking off sessions in November 2022, the band used an ad hoc space Matt created in his basement, which allowed the sessions to be a little more relaxed in terms of timescale than their debut. “We gave ourselves more space for this album,” says Keith. “We wanted time to sit on the songs, and really work on them.” Capturing their thrilling live dynamic on tape, The Umbrellas are at once more physical and yet also more controlled on their new album. Take opening track ‘Three Cheers!’ – the peppy, sun-soaked rush masks a barbed lyric, courtesy of Nick Oka. “It’s a pseudo-political song about power struggles that occur in a job situation, or a friend group. It’s an observational song.” ‘Toe The Line’ has an unkempt, rollicking sense of energy, the playful relationship analogy of the lyric pushed to the speed of light by Keith’s just-chaotic-enough punk drumming. ‘When You Find Out’ meanwhile epitomises their unified, egalitarian way of making music – with The Umbrellas, each voice counts. “It sounds different from any song we’ve ever written together,” says Morgan. “It shows how much we’ve grown. Trust helps us to build the songs. It’s definitely a team effort.” It's also a record of ambition. ‘Say What You Mean’ stretches past the four-minute mark, the viola performance informed by Estonian minimalist composer Arvo Pärt. ‘Gone’ was the first song attempted for the new album, and the last they actually finished, endless re-writes transforming it into a manifesto of control and release. Taken as a whole Fairweather Friend is a bold indiepop triumph, crafted with purpose and attention. Taking their time over each note, the four-piece have strengthened their songwriting, adding depth and assurance while unlocking their potential. Some bonds last a lifetime – The Umbrellas are ready to capture your heart. Read the full article

[audiofuzz]

The Umbrellas share new music video for "Gone" ahead of US tour launching next week

https://youtu.be/_O6nH2f1B7M?si=mYHEsTvtzXYStovG Today San Francisco band The Umbrellas share a new music video for "Gone" from their most recent Slumberland LP Fairweather Friend ahead of their full North American tour which launches next week. Morgan Alice from the band made the video using Super 8 footage taken on various Umbrellas tours. For more info. and to buy tickets in advance, click HERE TOUR DATES: Fri 5/31 Los Angeles, CA Permanent Records * Sat 6/01 San Clemente, CA Knuckle Heads Sun 6/02 San Diego, CA Soda Bar Wed 6/05 Denton, TX Rubber Gloves + Thu 6/06 Austin, TX Mohwawk (Inside) # Fri 6/07 New Orleans, LA BJs Sun 6/09 Nashville, TN Soft Junk $ Mon 6/10 Atlanta, GA 529 Tue 6/11 Durham, NC The Pinhook Wed 6/12 Washington, DC Quarry House Tavern & Thu 6/13 Philadelphia, PA PhilaMOCA Fri 6/14 New York, NY The Broadway @ Sat 6/15 Boston, MA 4th Wall % Sun 6/16 Montreal, QB Quai des Brumes Mon 6/17 Toronto, ON Monarch Tavern Tue 6/18 Cleveland, OH Happy Dog Wed 6/19 Detroit, MI Outer Limits Lounge Thu 6/20 Chicago, IL Cole's Fri 6/21 Minneapolis, MN Cloudland ^ Mon 6/24 Vancouver, BC TBA Tue 6/25 Victoria, BC Lucky Bar Wed 6/26 Seattle, WA Sunset Tavern ** Thu 6/27 Portland, OR Swan Dive Sat 6/29 San Francisco, CA Kilowatt ! * = w/ Le Pain, Ted # = w/ On Being An Angel, Touch Girl Apple Blossom $ = w/ Ornament & = w/ Linda Smith + = w/ 2nd Grade, The Smashing Times @ = w/ The Smashing Times, Lightheaded % = w/ Mall Cops ^ = w/ Jim Ruiz, Real Numbers ! = w/ Pocket Full of Crumbs, Latitude ** = w/ Lisa Prank, The Nags The Umbrellas are four renegade romantics crafting irresistible indie pop hymns. The band’s self-titled 2021 debut album became a breakout moment, winning critical praise and sparking an international tour. Follow-up LP Fairweather Friend goes a step further – absorbing the sonic attack of their live shows, it balances this with studio finesse, allowing the San Francisco four-piece to become the band they’ve always aspired to be. The Umbrellas' self-titled 2021 debut album was a breakout moment in an otherwise grim year, winning critical praise and fueling tours with everyone from labelmates Papercuts to Fucked Up. Follow-up LP Fairweather Friend goes a step further – balancing the rambunctious sonic attack of their live shows with studio craft and finesse, allowing the San Francisco four-piece to become the band they’ve always aspired to be. It's a record overflowing with highlights. The addictive, upbeat melodies of introductory track ‘Three Cheers!’ are matched to an impactful percussive punch; ‘Say What You Mean’ finds The Umbrellas working with total confidence, letting the song ride out to its chiming conclusion, four voices working in precision. ‘When You Find Out’ offers rotating notes of guitar punctuated by a vocal that pushes past angst to accept a world full of hope. A lean 10 track affair, it grasps towards beatific pop while fuelled by a sense of risk-taking and the precision that comes from long months on the road. The Umbrellas coalesced in 2018 around a group of musicians with connections to the legendary San Francisco record emporium Amoeba Music. Singer and guitarist Matt Ferrera had previous links with bassist Nick Oka, as well as the powerhouse drummer Keith Frerichs. A chance encounter with Morgan Stanley singing karaoke at a Fourth of July party cemented the line-up around an avowed thirst for melody. “All of us love really earnest pop songs,” Nick points out. “I guess we got to a point in our lives where we wanted to be genuine.” Playing shows at San Francisco’s vital DIY redoubt Hit Gallery, The Umbrellas would share line-ups with local heroes such as April Magazine and Cindy. Recording their debut album across a two-day spell at Matt’s parents’ house, the results won a devoted cult following. The experience of frequent touring bonded them tightly and allowed the volume to tick up a little higher (and higher...) and and feeding a desire for their next record to more closely mirror the energy of their live shows. “I think we got tired of people saying, oh you’re so much louder than I thought you’d be!” laughs Matt. “Our early recordings are sweet and earnest… and we wanted it to be louder.” Kicking off sessions in November 2022, the band used an ad hoc space Matt created in his basement, which allowed the sessions to be a little more relaxed in terms of timescale than their debut. “We gave ourselves more space for this album,” says Keith. “We wanted time to sit on the songs, and really work on them.” Capturing their thrilling live dynamic on tape, The Umbrellas are at once more physical and yet also more controlled on their new album. Take opening track ‘Three Cheers!’ – the peppy, sun-soaked rush masks a barbed lyric, courtesy of Nick Oka. “It’s a pseudo-political song about power struggles that occur in a job situation, or a friend group. It’s an observational song.” ‘Toe The Line’ has an unkempt, rollicking sense of energy, the playful relationship analogy of the lyric pushed to the speed of light by Keith’s just-chaotic-enough punk drumming. ‘When You Find Out’ meanwhile epitomises their unified, egalitarian way of making music – with The Umbrellas, each voice counts. “It sounds different from any song we’ve ever written together,” says Morgan. “It shows how much we’ve grown. Trust helps us to build the songs. It’s definitely a team effort.” It's also a record of ambition. ‘Say What You Mean’ stretches past the four-minute mark, the viola performance informed by Estonian minimalist composer Arvo Pärt. ‘Gone’ was the first song attempted for the new album, and the last they actually finished, endless re-writes transforming it into a manifesto of control and release. Taken as a whole Fairweather Friend is a bold indiepop triumph, crafted with purpose and attention. Taking their time over each note, the four-piece have strengthened their songwriting, adding depth and assurance while unlocking their potential. Some bonds last a lifetime – The Umbrellas are ready to capture your heart. Read the full article

[trb752]

Entrance to the garage for the W.P. Story Building, c1934; demolished in 1975

610 South Broadway, Los Angeles, California, USA

Architect: Morgan, Walls & Clements

Photos: Library of Congress

[unmaskthemagic]

2. The High Priestess

Left: The Wild Unknown deck Right: Rider-Waite deck

Element: Water

Planet: Moon

Numerology: 2 represents a balance of duality

Keywords: mystery, inuition, divine feminine, subconscious, stillness

Pop culture: Galadriel, Willow (Buffy the Vampire Slayer), Luna Lovegood, Raven (Teen Titans), Eve (Walle), Inej (Six of Crows)

Symbols: Two pillars represent duality. B stands for Boaz, the pillar of strength, J stands for Jachin, the pillar of establishment. The veil covered in pomegranates represents the divine feminine and the separation between conscious and subconscious. The scroll they are holding reads "TORA" and is partly covered, symbolizing spiritual law and the fullness of it is only revealed when looking beyond the physical world. The moon at their feet represents the divine feminine and intuition.

Quotes: "Mystery creates wonder and wonder is the basis of man's desire to understand." Neil Armstrong; "It is through science that we prove, but through intuition that we discover." Henri Poincare; "You affect your subconscious mind by verbal repetition." W. Clement Stone; "Learning how to be still, to really be still and let life happen- that stillness becomes radiance." Morgan Freeman

If the Magician is a call to action, the High Priestess is a call to be still. This card is all about the subconscious and the spiritual realm. When I first looked at the card, I thought the High Priestess looked kind of scary, but I think they are just serious and powerful. I love their flowing blue robe that looks like water. I learned the other day that water sometimes symbolizes healing and I connect the high priestess with spiritual healing. The card tells me it is time to be still for a moment and look inside myself. It's time to meditate and ponder spirituality and figure out how I can connect to my magick more.

As part of my study, I use the Tarot Card Meanings Workbook by Brigit Esselmont, biddytarotcard.com, brainyquotes.com (I use the card’s keywords to search for quotes that speak to me), Pinterest to look at other artistic interpretations, and Between the Worlds podcast.

[danismm]

Pig’n Whistle, Los Angeles 1927. Arch. Morgan, Walls & Clements. 

[spooky-luvur]

Could y'all write an Arthur fic with the reader being a fan and got sucked into the game and kinda mouthed off to colm and gets himself captured :O

This was really fun lol

———

“Well,”

You turn in circles, putting your hands on your hips. “At least I don’t have to worry about taxes.”

The people in town stare, obviously, and whisper, but they don’t point and they don’t yell or do something else mean someone from modern day Detroit would do. You’re not exactly blending in with your current clothes.

But really...what the fuck? Last thing you remember is turning the gaming console off, taking a shower, then you think you hit your head when you stumbled but it definitely wasn’t hard enough to send you through time???

You reach the edge of the dusty town and pause, looking over the vast land. Nice fields. No factories in sight. You try to remember every little detail...sat on the left side of the couch...used the controller to turn the console on...picked the game-

...

Oh shit.

Of course.

You were playing the second Red Dead Redemption.

Balls, how in the-!

It’s fine, it’s fine. This is cool, actually.

You don’t bother to hide your grin and unbelieving laugh, raking your hands through your hair. This is cool as shit! You were so interested in the 19-20th century anyway and to be *living* in it?! Damn. But we’re you just in the century, or was I in the game too?

You turn back to the small town and take a good look around, eyes falling onto a large white parlor house. It’s Rhodes! Incredible. Excited like a little kid on Christmas, you hurriedly make your way back into town, taking everything in and spinning in circles like some lunatic.

The general store, the gun shop with that guy locked in the basement- wait a minute.

When in the game was it? If you were magically set in Rhodes wouldn’t that mean the gang was at the camp by the lake? What’s it called, Clemens Point? Clement? But you didn’t really know how to get there from here, and even if you did somehow manage to find it, you’d likely be shot on sight. But you’re inside your favorite game. It only makes sense you’d want to meet and bond with the main characters.

With a stomach full of butterflies, you set off onto the road leading out of town, hoping to stumble upon something- or someone.

———

God, it was hot. Why was it so hot? Damn sun, making me all sweaty and gross. Don’t you have better things to do?

Pulling at your collar, you stop to rest for a few minutes, surrounded by the tall trees. Okay, there’s the water, the stones, old dilapidated church or whatever that is, the sound of a gun cocking, the nice breeze- wait.

“Put your hands up, boy.”

Great. Great. Great. You put your hands up by your head, mentally cursing yourself and everyone who’s ever existed. You didn’t know that voice and that voice didn’t know you.

“You got any cash? Jewelry? Guns?”

“No, I don’t. I got nothing.”

“Bullshit, turn around!”

Slowly turning, you’re met with the barrel of a gun and a very rowdy-looking man. Two other men with guns also pointed at you are a few feet behind him.

“I know you got somethin, your clothes are reeeeeal fancy mister.”

“You can check, but I ain’t got nothin, mister.” Yeah. That’s right. You tried to make yourself sound more cowboy-y, and by the looks of it, he bought it. He did look kinda dumb. No offense, cowboy. Or whatever you were.

The dirty man scoffs. “You ain’t-“

“Come on now boy, it wouldn’t be smart to hide things from us now would it?”

Another guy? Damn, was he hot at least- ohhhhhh. Ohhhhh shit. Oh shit oh shit.

Colm O’Driscoll stares you right in the face, a small, evil smirk on his own. Ugly fucker.

“We’ll ask you again, friend. Do you got anything?”

“I said no damnit! God do your looks match your brain?? Horrible?? Well that wasn’t a very good insult but damn you fugly!!”

The men glance at each other white you babble on.

“My grandpa looks finer than you and he’s dust! Ha! Musty motherfucker- you look like my foot!”

“Enough outta you!”

Colm O’Dick grabs you by the front of your collar and yanks you forward, pushing you onto the dirt.

“Tie him up and bring him back. Maybe we’ll cut out that dirty little tongue of his.”

Damn.

———

Ugh, shit.

The throbbing in your head blurs your vision for several moments. When you finally blink it away, you whine and hang your head from the numerous spots of pain blooming all over your body. Hanging from your bloodied worth’s in just your underwear, feet barley brushing the dirt-covered floor. You remember what happened last night. They beat you, burned you, poked and prodded, nearly poisoned you if Colm hadn’t stopped them, saying something like “it would kill him too quick.”

Damn, if this was how it was always gonna be, you wanted to go back home.

You didn’t know what time it was. Or if it was any more than just a day. You were in some kind of cracked stone walled, rat shit covered basement. A single candle is lit on the blood stained table with a variety of things that make you go ‘ouch.’

Using nearly all your strength to lift your head, you try to find a door or something else you could crawl through. There’s a moldy door in front of you. Seemingly unlocked.

“God, I can’t get down,” you mumble, nearly out of hope. This was supposed to be your story! Your special adventure! Filled with love and drama and literally anything but you getting tortured by men who stink like piss!

The door suddenly starts clicking, and you squeeze your eyes shut the best you can. Was it the dirty men? Or your hero? Heroine? A crazy hermit? The door swings aside, making you cautiously crack your heavy eyes open. Oh please be hot please be hot please be-

“Hey! They got someone!”

Hot.

Your jaw nearly embarrassingly falls open as a man in a pretty blue shirt puts his gun down and pulls out a knife. Hot murder man? Yes please-

“You a prisoner?”

“Sure,” is all you manage.

The man comes closer to cut the ropes suspending you and yes, like in the movies, you can’t really hold yourself up therefore fall forward again the chest of the wow you’re buff.

“You alright, boy?”

Call me that again please.

“Fine, fine.”

Hands gripping the sleeves of the pretty blue shirt, your lift your head to see your hunk of a hero, only to come face-to-face the Arthur fucking Morgan.

Of course, that’s when you pass out.

———

“Is he dead?”

“What? No Jack, he ain’t dead.”

“But he’s all bloody.”

“Damn O’Driscoll’s. He’s just a boy. Lenny’s age.”

You’re like, 23 thank you very much.

“What’re we supposed to do with him?”

“He’s nearly dead, we gotta keep him here for now. Now shoo! All you got chores! Get!”

Something warm and wet yet scratchy is dabbed onto your forehead and a few spots around your face, making you sigh lightly.

Your eyes felt like heavy weights, but you eventually got them open. You wanted to see what was going on really badly.

A Susan Grimshaw. In your face.

Your eyes widen only barely and a very unattractive noise sounding like a confused cat escaped your mouth. The old woman’s brow furrows.

“Hush, boy. I ain’t hurting you.”

Blinking, you look around without moving your head. You were in a tent, on a cot, in your underwear, a random shirt that went past your butt, I’m keeping this forever, and your body hurt very much.

“I’m alright, ma’am,” you look into Grimshaw’s pretty eyes.

She huffs. “Like hell. But fine, you can get up. Nothings broken.”

She leaves the tent, making you slowly swing your bare legs over the side and hoist yourself up, staggering out as well.

“Ugh,” shielding your eyes from the harsh sun, you take a deep breath that makes your chest ache. Welcome to the 19th century, (M/n).

“You’re awake, my boy. How are you feeling?”

It’s too early for this shi-

Never mind it’s never too early for Dutch Van der Linde.

You nod, blinking up at the raven-haired man.

“Just fine, sir. Thank you for saving me. I thought I was a goner.”

“No thanks needed, my boy. I got a sayin’: we shoot fellers as need shooting, save fellers as need saving, and feed ‘em as need feeding. I’m sure we all know, just what you need.”

You really just heard that.

“Oh, I have an idea.”

Dutch laughs, patting your shoulder. “Mr. Pearson! Get this fine boy some food! What’s your name, son?”

“(M/n). (M/n) (L/n).”

“Well Mr. (L/n), do you mind telling us what you were doing all bloody and bruised in Colm O’Driscoll’s basement?” He uses the hand on your shoulder to guide you further to the center of camp.

“I got captured once they realized I didn’t have any money. They beat me good.”

“Yes, well, let’s hope nothing of the sort ever happens again.”

Pearson comes over and places a hot bowl of stew in your shaky hands, nodding at you before heading off.

“Ladies! Would you please help (M/n) get some food in his belly, he’s not too good right now,”

Mary-Beth hurries over, cupping your hands around the bowl to keep it from falling. “Course, Dutch. Come along now...”

———

“Okay, you can do this, come on. You know everything about him! Everything...about...them...”

You shake your head to get rid of the negative thoughts, straightening your back. “Okay, let’s go.”

You keep your eyes locked on Arthur, your target, as you march over to where he’s sitting on his bed, nose buried in his journal. Wow this is really happening-

“Excuse me?”

Way to sound like a 14 year old girl (M/n). Your heart nearly stops once the burly man looks up, blue-green eyes meeting your own. He doesn’t say anything, only stares at you expectingly. You wrong to hands nervously.

“Um...I just wanted to say thank you. For helping me, you know.”

He nods. “You’re welcome.”

You panic, not wanting to lose his attention.

“Dutch said I could stay! With you...er, with the gang! Dutch said I could stay with the gang, they don’t really see me as a threat, so...” your voice trails off.

“Well, that’s great. They’re good people, don’t mess it up.”

“Of course! I’m very grateful, I just...was hoping I could see more of you...?”

No, you definitely weren’t asking him out. Yet.

Arthur looks at you weirdly, before quietly chuckling and turning back to his journal.

“Sure, kid.”

I’m in love.

———

That night, the gang is celebrating a new edition. You weren’t like Kieran. You weren’t nothing bad, neither. Most of them actually trust you already. Thankfully. Those who don’t, weren’t celebrating. Or it was all just an excuse to get blackout drunk

You believed it to be the latter when you left the log by the fire and no one noticed. Everyone kept singing and ‘celebrating.’ Pausing by one of the tents, you slightly duck back behind it. The radio in Dutch’s tent was quietly singing an opera song, and Dutch and Miss Molly O’Shea we’re gently dancing along, gazing into each other’s eyes with the look of the lovers. Good for them. They deserve it. It makes you smile sadly.

You retreat and continue looking around all the tents and everything. Where’s Arthur? He wasn’t at the fire. He’s not in his tent either. Or, wagon. Lean-to? Whatever, but you can’t find him. You circle around the edge of camp for a bit until you find him behind the big tree near the horses.

“Arthur?”

He looks away from the sky and at you.

“Hey, (M/n).”

“Hey Arthur,” you take a few steps closer. “Not a party person?”

He shrugs. “Not tonight, I guess.”

“That’s a shame. I was...hoping you’d might care to dance? With me?”

It takes him a few moments to realize just what you said but once he does, he open his mouth in surprise.

“What?”

You hold out a hand, giving him a mischievous grin.

He shakes his head, looking away for a moment before back at you, pushing himself off the tree.

“What the hell.”

When he takes your hand, it feels like it was meant to be. Where you were meant to be. When you were meant to be! Call you crazy, but with this? Dancing to nearly inaudible music with a fictional cowboy on the outskirts of the camp containing the people that saved you from other fictional outlaws? You never wanted anything more.

[anyskin]

Wiltern Theatre The Lobby. 3790 Wilshire Blvd , Los Angeles.

The Wiltern opened in 1931 and is a stunning example of Art Deco architecture. The exterior and surrounding office building was designed by Morgan Walls & Clements , while Albert Lansburgh designed the theatre interior.

[ladyreapermc]

Birthday Challenge Day 25 (2015)

Requested by: anon

Song: Take me to Church by Hozier

Wordcount: 678

Warnings: smut

Pairing: August Walker x Reader

You never met a man like August. He wasn’t a good man and you knew. The darkness on his eyes more often than not scared you, but they held a pull that you couldn’t fight. You wanted to uncover his mysteries, move past that wall that covered his heart because you’d like to think there might be some softness in there. Something that would make you feel a little less guilty for loving a monster.

And even if you wanted, you couldn’t get away from August. Not when he had you so captivated. Not when being with him felt almost like a religious experience like he was worshiping you with his lips and fingers, raising you to the highest clouds of pleasure. On his good days. When he was feeling generous and kind.

On the bad ones, which happened more often, his kisses were always biting. His touches always bruising and more often than not, August used you for his own pleasure, leaving you begging for his mercy.

Sometimes he would comply, like a clement God, he would grant you your wish, bringing your sex to his mouth and driving you to ecstasy until you couldn’t handle anymore and begged him to stop. But he rarely would.

August liked to see you completely undone for him, shaking and crying, your body convulsing as he forced another wrecking orgasm out of you. until you were tired and spent and unable to even keep your eyes open.

On those moments you would see a softer side as he brought you to the tub, washing away the evidence of your sins, rubbing the lavender oil on your skin, before tucking you into bed and disappearing into the night.

You never knew when he would come back or if he grew tired of you and left you forever. Sometimes days went by without you seeing him and your heart became tight and hollow with sorrow until the lock clicked and August stepped into the apartment, catching you by the neck and claiming your mouth with a ferocity that made your knees buck. Just a preview of what was to come for your night together.

Sometimes he stayed for days, using you in every way. Against the wall, bent over the table, on your hands and knees on the living room rug, pressed on the window, in display to however dared to look. For those blessed days, you were his and his alone, to chase away the demons on the dark corners of his mind.

When he couldn’t stay, August would take his time, bringing you to the bathroom, washing you clean for him. Putting you in his favorite lingerie, before laying you down on the bed, watching the rapid rise and fall of your chest as anticipation clawed inside your ribcage, desperate for his touch, his mouth, anything.

One those nights, August would drag it out, lavishing your with kisses, leaving his mark, before his fingers entered you so damn slowly, not even close to what you needed. His mouth sucking on your clit, driving mewling cries out of you as he drank your juices until you were spent.

Only then he would bring you to his lap, spearing you into his hardness, making you scream in need. His pace always vicious and violent as August held your hands behind your back, making you push your breasts to his waiting mouth so he could lick and suck and bite them, perpetuating the deep pleasure inside you as he chased his, spilling deep inside you, coating the silky walls of your womb with his seed, before he made you stand up, watching in expectation as the product of his climax slipped from your folds, running down you thighs, warm and sticky. The smirk August granted you would be possessive and feral. This was his claim of you. The sign you belonged to him body and soul.

And you submitted to him gladly because August was all the divinity you needed. The bedroom his church. The bed the altar and you were his sacrifice.

xxx

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[wankerwatch]

Lords Vote

On: Bus Services (No. 2) Bill [HL]

Baroness Pidgeon moved amendment 60, after clause 30, to insert the new clause £2 bus fare scheme. The House divided:

Ayes: 59 (88.1% LD, 3.4% XB, 3.4% Con, 3.4% , 1.7% Green) Noes: 148 (91.9% Lab, 6.1% XB, 2.0% ) Absent: ~647

Likely Referenced Bill: Bus Services (No. 2) Bill [HL]

Description: A bill to make provision about local and school bus services; and for connected purposes.

Originating house: Lords Current house: Lords Bill Stage: Report stage

Individual Votes:

Ayes

Liberal Democrat (52 votes)

Addington, L. Barker, B. Beith, L. Benjamin, B. Bonham-Carter of Yarnbury, B. Bowles of Berkhamsted, B. Brinton, B. Bruce of Bennachie, L. Clement-Jones, L. Dholakia, L. Doocey, B. Featherstone, B. Foster of Bath, L. Fox, L. Garden of Frognal, B. German, L. Grender, B. Hamwee, B. Harris of Richmond, B. Humphreys, B. Hussein-Ece, B. Janke, B. Kramer, B. Ludford, B. Mohammed of Tinsley, L. Newby, L. Northover, B. Oates, L. Pack, L. Parminter, B. Pidgeon, B. Pinnock, B. Purvis of Tweed, L. Rennard, L. Russell, E. Scott of Needham Market, B. Scriven, L. Sharkey, L. Sheehan, B. Shipley, L. Smith of Newnham, B. Stephen, L. Stoneham of Droxford, L. Suttie, B. Thomas of Gresford, L. Thomas of Winchester, B. Thornhill, B. Thurso, V. Tope, L. Tyler of Enfield, B. Wallace of Saltaire, L. Walmsley, B.

Crossbench (2 votes)

Alton of Liverpool, L. Falkner of Margravine, B.

Conservative (2 votes)

Marlesford, L. Strathcarron, L.

Non-affiliated (2 votes)

Fox of Buckley, B. Paddick, L.

Green Party (1 vote)

Bennett of Manor Castle, B.

Noes

Labour (136 votes)

Alexander of Cleveden, B. Anderson of Stoke-on-Trent, B. Anderson of Swansea, L. Bach, L. Beamish, L. Beckett, B. Berger, B. Berkeley, L. Blackstone, B. Blake of Leeds, B. Blower, B. Blunkett, L. Boateng, L. Bradley, L. Brennan of Canton, L. Brown of Silvertown, B. Browne of Ladyton, L. Caine of Kentish Town, B. Campbell-Savours, L. Carberry of Muswell Hill, B. Chakrabarti, B. Chandos, V. Chapman of Darlington, B. Clark of Windermere, L. Coaker, L. Cryer, L. Curran, B. Davies of Brixton, L. Debbonaire, B. Donaghy, B. Donoughue, L. Drake, B. Dubs, L. Eatwell, L. Elliott of Whitburn Bay, B. Evans of Sealand, L. Falconer of Thoroton, L. Faulkner of Worcester, L. Gale, B. Glasman, L. Golding, B. Goudie, B. Grantchester, L. Gray of Tottenham, B. Hacking, L. Hain, L. Hannett of Everton, L. Hanson of Flint, L. Hanworth, V. Harman, B. Harris of Haringey, L. Hayman of Ullock, B. Hayter of Kentish Town, B. Hazarika, B. Hendy of Richmond Hill, L. Hendy, L. Hermer, L. Hollick, L. Howarth of Newport, L. Hunt of Kings Heath, L. Jones of Penybont, L. Jones of Whitchurch, B. Katz, L. Keeley, B. Kennedy of Cradley, B. Kennedy of Southwark, L. Kingsmill, B. Kinnock, L. Knight of Weymouth, L. Lawrence of Clarendon, B. Layard, L. Lemos, L. Leong, L. Levitt, B. Liddell of Coatdyke, B. Liddle, L. Lister of Burtersett, B. Livermore, L. Longfield, B. Mallalieu, B. Mann, L. Mattinson, B. McCabe, L. McConnell of Glenscorrodale, L. McIntosh of Hudnall, B. McNicol of West Kilbride, L. Mendelsohn, L. Merron, B. Monks, L. Moraes, L. Morgan of Drefelin, B. Murphy of Torfaen, L. O'Grady of Upper Holloway, B. Osamor, B. Pitkeathley of Camden Town, L. Pitkeathley, B. Ponsonby of Shulbrede, L. Prentis of Leeds, L. Rafferty, B. Ramsay of Cartvale, B. Ramsey of Wall Heath, B. Rees of Easton, L. Reid of Cardowan, L. Robertson of Port Ellen, L. Rook, L. Rowlands, L. Royall of Blaisdon, B. Sahota, L. Scotland of Asthal, B. Sherlock, B. Smith of Basildon, B. Smith of Malvern, B. Snape, L. Spellar, L. Stansgate, V. Stevenson of Balmacara, L. Taylor of Bolton, B. Taylor of Stevenage, B. Timpson, L. Touhig, L. Tunnicliffe, L. Turnberg, L. Twycross, B. Warwick of Undercliffe, B. Watson of Invergowrie, L. Watson of Wyre Forest, L. Watts, L. Wheeler, B. Whitaker, B. Whitty, L. Wilcox of Newport, B. Wilson of Sedgefield, L. Winterton of Doncaster, B. Wood of Anfield, L. Young of Norwood Green, L. Young of Old Scone, B.

Crossbench (9 votes)

Aberdare, L. Carlile of Berriew, L. Erroll, E. Freeman of Steventon, B. Hampton, L. Kerr of Kinlochard, L. Meston, L. Powell of Bayswater, L. Vaux of Harrowden, L.

Non-affiliated (3 votes)

Altmann, B. Austin of Dudley, L. Livingston of Parkhead, L.