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My Bloody Valentine started the revival of the shoegaze bands doing reunion tours. I have seen my favorite bands - MBV, Slowdive, Ride, and now finally Lush.

Lush was great fun. My favorite show of the bunch. The crowd had great anticipation - the band piled through over 20 awesome songs. And at the end of the first encore - no one really wanted to leave the Showbox even after the lights were turned on. You could tell that the band was truly touched and rewarded us with an extra encore.

Glad you are back Lush - now give a full length album! Good Luck on the rest of the tour, hopefully I will see you again in NYC and maybe PDX.

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This was the most enjoyable concert I've ever experienced in my life!!! I am SOOOOOOOO happy they got back together and toured again, but I really hope they don't wait another 20 yeara before recording and touring again!!! Much love to Miki, Emma, Phil, and Justin!!!

And many thanks to them for hanging out afterwards for autographs!!!

the band and the crowd were a bit stiff but it was great! they sounded fantastiv and the vocalist was funny too.

the venue was a bit of a walk from the train and i think I'll be avoiding terminal 5 next time around

Killer sold out show. It's amazing it's been 20 years, but they were fantastic. Played everything you wanted to hear, plus an encore. If you're a fan get a ticket. It will sell out.

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Lush reunited: ‘We were seen as a band who’d turn up to the opening of a packet of crisps’

Ethereal, angelic shoegazers or boozy scenesters? Seventeen years after they split up, Lush talk about their legacy – and why they have reformed

O fficially, Lush broke up in February 1998, when they issued a statement as a courtesy to their fans. In reality, they were done the minute they heard that their drummer, Chris Acland, had killed himself on 17 October 1996. “I didn’t even want the publicity of splitting up,” singer and guitarist Miki Berenyi says. “I thought: isn’t it fucking obvious? We knew it was over. Fuck the rest of the world. I just retreated completely.”

It was a shocking conclusion for an intensely likable band who always looked as if they were having fun even when they weren’t. Though they were bracketed with the shoegazing scene, they had their own distinct charisma. Neither experimental like Slowdive nor besotted with classic rock like Ride, they wrote fantastic pop songs. Their name suggested the luxuriant swirl of their records, while actually repurposing a disparaging term for a heavy drinker.

Drinking red wine on a couch in a London hotel library for their first joint interview in 19 years, Lush are still excellent company. Berenyi, instantly recognisable even though her distinctive shocking-pink 90s hair is now ink-black, gets told off for vaping indoors. Co-frontman Emma Anderson wages a war of nerves with a passive-aggressive desk clerk who keeps silently opening the library door. Silver-haired bassist Phil King regularly interjects with wry, elegant anecdotes, like an indie Peter Ustinov.

Lush toyed with reuniting as far back as 2007 but it didn’t seem like the right time. “To be honest, I thought we were a bit forgotten,” Berenyi says. “There were books coming out about [90s music] and we barely got a bloody whisper.”

“I always felt we were seen as followers,” Anderson says, disgruntled. “My Bloody Valentine, Cocteau Twins and the Jesus and Mary Chain were the sonic geniuses and the other bands were copying. Now, nicely, it feels like we’re seen as influential ourselves.”

When Lush saw Slowdive and Ride reform to great acclaim, they figured it was now or never. Hence a gorgeous new soup-to-nuts boxset, a brand-new EP next year, and live shows in the spring with Acland’s old friend Justin Welch, formerly of Elastica, on drums. Berenyi was inspired to take the plunge by reading the section in Viv Albertine’s memoir about “the Year of Saying Yes”. “That did resonate with me,” she says. “I thought this is the last chance I’ve got to do anything like that again. It’s an open door and I should walk through it.”

It’s dismaying to learn that Berenyi and Anderson fell out for several years after Acland’s death because much of Lush’s appeal stemmed from their tight, if sometimes tense, friendship and simpatico songwriting. They met at Queen’s College in Westminster when they were 14, both misfits in an environment of privilege. Berenyi’s mother, a Japanese actor who appeared in You Only Live Twice and Space: 1999, had recently moved to the US, leaving Miki with her father, a womanising Hungarian journalist, and her misanthropic, alcoholic grandmother. Anderson had been adopted (a fact she only discovered when she was 34) by a retired army officer and his wife who lived in a veterans’ club. “I think we were both quite isolated in our homes,” Berenyi says. “It was like: ‘You’re weird, and I’m weird, too.’ We could trust each other.”

The two girls wrote a fanzine specialising in gothic rock and rude jokes and played bass in other people’s bands. After leaving school and meeting Acland at North London Polytechnic, they decided to start their own group, originally called the Baby Machines. “If you went to the [Camden] Falcon, half the people there were in bands,” Berenyi says. “Whether you wanted to write a fanzine or sell your own clothes in Camden or start up a club, all those artistic things were possible on a shoestring and lots of people would join in. We just wanted to be part of it.”

Their early shows, Anderson says, were “pretty rough”, and their first singer, Meriel Barham, left to join the Leeds band Pale Saints, also on 4AD, with whom they often shared bills early on. However, a glowing write-up in Melody Maker caught the eye of the 4AD label’s enigmatic founder Ivo Watts-Russell, who saw in Lush the potential that other A&R men missed. He dispatched them to famous singing teacher Tona de Brett and invited them to record a mini-album, 1989’s Scar. Show by show, they improved, until they were one of the hottest young bands. “We didn’t start off as proficient musicians,” Berenyi says. “I became a singer by default. We could literally only play the songs we wrote. We went on tour with Ride and at the soundcheck they started jamming.” She shudders. “Not us.”

In the restless, gossipy music weeklies, Lush were saddled with two conflicting images. Thanks to glittering, sensuous records, such as their 1992 album Spooky, produced by Cocteau Twins’ Robin Guthrie, they were ethereal shoegazers with voices like angels’ sighs. At the same time, they were boozy scenesters who, King jokes, would “turn up to the opening of a packet of crisps”. Neither stereotype was accurate.

Berenyi recently appeared in the BBC Four documentary Girl in a Band, talking about being being asked to strike provocative poses for photographers and getting bitten on the rear by Blur’s Alex James. “It just felt like, oh fucking hell, we’re doing it again,” she says. “Hasn’t it moved on? There was always back-biting: ‘Oh, it’s because you’re girls that you get the attention.’ A lot of people wrote us off.”

Still, the attention accelerated their rise. They acquired a manager called Howard Gough, a notorious loose cannon prone to extravagant acts of largesse with Lush’s credit card. “When I read Kill Your Friends , I thought: ‘That’s Howard!’” says King, who joined Lush in 1991. “If we did a good gig, he’d say: ‘We were brilliant!’ If we did a shit gig, he’d say: ‘You were shit.’”

Gough did, however, wangle Lush the opening slot on Perry Farrell’s 1992 Lollapalooza tour of the US. Anderson and Berenyi were the only women to appear on the main stage, unless you count the industrial rock group Ministry’s dancers, which you probably shouldn’t. Among their touring companions, Ministry were fun, Pearl Jam gracious, the Red Hot Chili Peppers obnoxious and Ice Cube standoffish. “We wrote on his mirror: ‘Hey Cube, say hi to Lush,’ in lipstick,” Anderson remembers. “He came in and said: ‘Some people got no respect.’ We were quite drunk.”

Making their 1994 album, Split, with producer Mike Hedges was much less enjoyable. By the time they were mixing the record in Hedges’ gloomy French residential studio in the middle of winter, Berenyi says: “The madness had set in. We were isolated. Mike lost interest, our manager went Awol, our A&R man went Awol, Ivo had had enough of 4AD. It was mixed and remixed. It was fucking endless, actually.”

With songs about death, infidelity and neglect, Split was a dark, introspective album that jarred with the beginning of the Britpop party. It fared badly and the music press soured on Lush. “We weren’t getting in the charts so we were called underachievers,” Anderson says. “Maybe they felt they’d given us a lot of attention but we weren’t reaching the dizzy heights of the Top 10. So when Split came out it was like: ‘Well, we can give up on this band.’” With 1996’s Lovelife, however, Lush wrote their sharpest, most emphatic songs, including three Top 40 hits and a duet with man-of-the-moment Jarvis Cocker. “It was a really good record for enjoying ourselves,” Berenyi says. “We got our confident moment.” One music magazine photographed Lush in gladrags, grasping a bottle of Moet. Good times, only not really. Watts-Russell had experienced a nervous breakdown and Gough’s replacement as manager was a bad fit. “We had no one to rely on,” Anderson says. “It all started unravelling.”

During the 1990s, the music industry was in the throes of delirium. Cash-drunk major labels wasted millions on bidding wars and marketing ploys for anyone who looked remotely like the Next Big Thing, thus burdening bands with unnecessary debt and unrealistic expectations. For every alternative band that crossed over, a dozen were driven to distraction.

In Britain, Lush were pitched into the world of “comedy Friday night bullshit”, which was grating if not without its surreal pleasures. “It was quite fun going from the rarefied world of 4AD to the Radio 1 roadshow in Hunstanton with Simon Mayo in a fatsuit dancing at the side of the stage,” King says drily. In the US, they toured relentlessly in pursuit of a pop breakthrough that never happened, and that they didn’t really want anyway. Anderson agrees with a comment from their A&R man at Warner Brothers, the late Tim Carr, who said Lush were a great indie band, but they weren’t the Cranberries or the Sundays. “Warner Brothers thought they would turn us into a mainstream act who would sell a million, and actually it wasn’t fair. We still wouldn’t have made any money, our debts were so large,” Anderson says.

After yet another US tour, Anderson called a meeting to tell Berenyi she’d had enough. “I said I’m quite happy to record an album of Gregorian chants if that’s what you want to do but I think it’s really important that we stay together,” Berenyi remembers. “We left the meeting like: ‘OK, let’s see.’ Two days later we got the phone call.”

Acland had hanged himself at his parents’ house in Cumbria. Nobody had seen it coming. His bandmates knew he was taking Prozac, anxious about turning 30 and unhappy about a recent breakup, but he gave no indication that he was suicidal. During Lush’s last US tour, they had spent a night in a New York bar with the singer-songwriter Mark Eitzel. Acland was ebullient while King got miserably drunk. After Acland’s death, Eitzel wrote a touching account of the night, Lower Eastside Tourist, but when King heard it he realised that Eitzel had got the wrong man: he’d assumed the bassist was the suicidal one.

“I know it’s a cliche but [Chris] was the last person in the world you’d think would do something like this,” King says. “That’s the thing with suicide. You can’t make sense of it. You keep going back to look for the clues, and there aren’t any.”

Berenyi, who had dated Acland, was shattered by his death. “Chris’s suicide was the worst thing that had ever happened to me,” she says. “I was completely floored by it. I remember going to Sainsburys and running after some bloke who looked like Chris. I had a meltdown at some gig. Steve Lamacq came up, being very sweet, and I completely lost it, crying. I thought, there are all these people that I know and I don’t want to talk to any of them, I just want to talk to Chris. I needed to change everything.”

Anderson is now a bookkeeper but had another band, Sing-Sing, for 10 years. King juggles journalism with playing in the Jesus and Mary Chain. Only Berenyi, who also became a journalist, gave up music all together, bar three sporadic, low-key guest vocals. King teasingly calls her “the Greta Garbo of indie”, but Berenyi wasn’t trying to be enigmatic; she just wanted to be normal.

“To be honest, in the last year or two of the band I started to turn into a bit of an arsehole,” Berenyi says. “Being in a band does that to you. You just lose yourself, and you’re constantly tempted to lose yourself. There are all sorts of people preying on you and wanting you to be a certain kind of person and it’s hard to stand against that. ‘Miki from Lush’ was a different person to what I really am and it wasn’t a nice person to be.”

For the next few months, at least, she will be “Miki from Lush” once more, but not in the same way. This time they have more control and less pressure, which is what they wanted all along. At one point Anderson is complaining about some long-ago argument with the record label when she stops herself with a self-mocking: “I’m not bitter.” Everyone laughs.

“No, really!” she says. “Why is it working now? Because that shit doesn’t matter any more.”

The Chorus box set is released on 11 December on 4AD. Lush play Manchester Academy on 30 April 2016 and the Roundhouse in London on 6 and 7 May. They release the Blind Spot EP to coincide with the shows.

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Rank your records: emma anderson ranks lush’s five albums.

5. Lovelife (1996)

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By Julianne Escobedo Shepherd

July 2, 2023

For a too-brief moment, Lush were the platonic ideal of an underground college band turning their dreams into a career. Emma Anderson and Miki Berenyi had channeled their careers as teen fanzine publishers and avid showgoers into singing and guitar-playing frontwomen, recruiting bassist Steve Rippon and drummer Chris Acland after meeting them at North London Polytechnic University. Anderson and Berenyi wrote all the songs, mostly individually but sometimes together, drawing on influences as wide as ABBA , the Shangri-La’s, and Siouxsie Sioux . They spent their early gigs opening for bands like My Bloody Valentine and the Pastels and, according to Berenyi’s crucial 2022 memoir, Fingers Crossed: How Music Saved Me From Success , fending off snide dismissals from asshole band guys.

On their first two releases, the six-track EP Scar and compilation album Gala , Lush drew on their love of post-punk and riot grrrl, sometimes spangled and ramshackle on songs like “Bitter” and “Sweetness and Light.” The latter song, an early fan favorite, exemplified their sense of elegance, laying down a bed of flange for Berenyi and Anderson’s high-pitched harmonies to float through, a blueprint for the sound they’d carry through their 1992 debut, Spooky . In retrospect, it was probably not the most auspicious time for an opaque British rock band known for beautiful harmonies to release their first proper album. Grunge was exploding around the world, and disaffected men from San Diego to Australia were being stalked by besuited label thirst-buckets looking to hit post- Nirvana paydirt. A band fronted by two women from the London underground whose guitar sound conveyed sangfroid rather than ennui was decidedly not that, and the UK was going in a more man-heavy direction, too, with the massive success of Primal Scream ’s house-oriented psychedelia and the louche Britpop lads priming for a takeover.

As signees of the eclectic 4AD, Lush initially fit better alongside the label’s arty, college-radio roster—like Throwing Muses and the Pixies —and by 1989, Lush were near-instant heroes of the British press. “We are racking up write-ups on a weekly basis and score a full-page Melody Maker interview barely after our first rehearsals with Steve,” Berenyi writes in Fingers Crossed . “While the plaudits are flattering, they were worryingly premature and punters expecting to witness the Next Big Thing are disappointed to find that Lush are a stumbling band fronted by a painfully shy and barely audible vocalist.”

By the time Lush started recording Spooky , they had already been through the British press’s love-hate wringer a couple of times, and they’d also already been categorized into a scene that would become known as shoegaze—as in self-absorbed guitar nerds all staring at their shoes—a derisive term in the UK that, incidentally, scanned as “cool as hell” in the U.S. They’d recorded a few songs for Scar and Gala with Robin Guthrie , co-founder of the Cocteau Twins , and Berenyi and Anderson were directing their music in a more textural direction, with massive, staticky guitars acting as a scrim before their angel harmonies.

While Guthrie was alternately credited and blamed for Spooky ’s ethereality, Berenyi writes that he was often not even in the studio, off nursing his “notorious cocaine habit.” Besides, a lot of the ethereality came from Berenyi’s voice itself, which was high and throaty, the kind of head voice that a voice teacher might scold for not coming from the diaphragm. Anderson’s higher register was much clearer, but her harmonies often floated in minor keys and weird thirds that made their songs sound as though the band was high upon a cliff, majestic but at risk of teetering off.

The album that resulted was deceptively hazy, its guitar effects coalescing into the women’s voices, giving the iridescent effect of oil circling in a whirlpool. “Stray” opens with Berenyi taking the high notes and Anderson providing the lower harmonies, in a statement about troubled wandering that sounds almost Gregorian in tone: hymnal, somehow above the earth. It bleeds into “Nothing Natural,” an Anderson-written track that follows the ascent and disappointment of a relationship, Rippon’s bass rolling like the wheel rod on a steam engine to ground the women’s rotor of guitars. Berenyi and Anderson’s writing styles were complementary: The latter’s hooks were stormy and heavier on the low end, while the former’s had a dreamier quality, letting each idea unfurl at its own pace. By drenching their songs in reverb and flange, their poppiness was almost subliminal. “Tiny Smiles” is practically a lullaby, their voices hinged in harmony and “mmm-mmms” wafting down like celestial detritus, while “Superblast!” roils at a speedy punk pace, a thrash song that confuses the prospect with the bait and switch of Anderson and Berenyi belting patiently about abandonment. The shoegaze label had missed the point: Lush were not their effects pedals, but a pop-punk band with a heightened sense of aesthetics.

”Untogether” and “For Love,” two Berenyi-written tracks, are as Beatlesian in spirit as any of the Britpop boys who came before or after, two bop-along songs telling vivid stories about other peoples’ relationships and one complicated breakup. The latter track got a video , too, which focused primarily on Berenyi’s soft-lit visage with a handful of pink roses and white daffodils, intercut with scenes of the band playing. The “Nothing Natural” video was also mostly close-ups of Berenyi singing next to Anderson, a quiet angel with bangs. Lush’s visuals were clean, high-contrast, and full of color, with the women making deliberate eye contact with the camera more frequently than looking down at their feet. They may have sounded impressionistic—their words weren’t super easy to discern without a lyric sheet—but their approach was unflinching and direct. Lush, at heart, had more in common with Nirvana: the way they could sneak pop melodies into the messy overdrive of guitar pedals, the way Berenyi’s voice, in particular, had a sort of eely characteristic, like it would disappear just as you were about to get your arms around it.

Spooky came at a precocious time, when Berenyi and Anderson were approaching their mid-twenties, and beginning to molt into their more adult selves. It was partly a vessel for building something powerful and beautiful atop the painful memories Berenyi writes about in her memoir, coming to terms with her grandmother’s horrific abuse and her divorced parents’ messiness in general. Where Anderson could be more pointed in her lyricism, Berenyi tended towards the dreaminess (”Stray,” “Ocean”) of organisms, using the blue tide and green fields as imagery. “For Love,” one of Lush’s most popular songs, is not about a whirlwind romance as its enthusiastic tempo might imply, but about her relationship to her parents in light of their broken marriage.

The titans of shoegaze were always presented—whether via their conceptually far-flung, wall-of-sound guitars or the diaphanous photographs that depicted the band members—as serious bands purveying serious music. (Perhaps it was the correct term after all.) “There’s some heavy class snobbery. Middle-class is a dirty word at the moment,” Berenyi told the Glasgow Herald ’s Peter Easton upon the release of Spooky . “They think that bands like us and Ride and Slowdive are rich kids whose parents bought all their instruments. Just spoilt brats. A bit of a misconception.” And apart from the occasional key figures— My Bloody Valentine ’s Bilinda Butcher and Debbie Googe, Cocteau Twins’ Elizabeth Fraser , Slowdive ’s Rachel Goswell, all of whom defined their bands’ sound—there were few women to take the mantle in a scene where genius was measured by the overdrive of a guitar pedal.

After Spooky ’s release and constant stateside touring, Lush were truly welcome figures in the U.S. Not only were they a pair of women leading a band, Berenyi was the rare woman of color in the alt-rock scene of any subgenre—her mother was Japanese—and she became a de facto frontwoman thanks mostly to her fire-engine-red dye job, which translated into a kind of charisma. (She also wore really cute minidresses with rugby stripes and black tights with cutoff jorts, a true 1990s style idol.) This wasn’t the easiest position in an era overrun with male shitheads—Berenyi’s former boyfriend, the ’80s punk figure Billy Childish, once wrote a poem about her entitled “Someone Else’s Little Jap,” for one, plus Berenyi and Anderson were constantly asked to wear sexualized outfits in photo shoots, which they refused. They were feminist and plucky despite certain condescending perceptions of women who harmonize in high keys. “People suggest we don’t say anything with our music, that we’re apolitical, but some of the subjects we deal with are really quite disturbing. Because we’re not shouting and screaming, people don’t register that,” Anderson told The Observer ’s Simon Reynolds, in February 1992. Their love songs could pine, but mostly they were about female desire and willful rejection of their own lovers; “Laura,” a bass-driven rollicker, was about a general world-weariness and finding comfort in the music of Laura Nyro .

Still, Spooky got a slight drubbing here and there, the British press’ fickleness haunting Lush again, even as the album hit No. 7 on the UK charts. The U.S. wasn’t always kind, either. “British band gets sidetracked by its avant-garde leanings. As a result, baby-voiced singing drowns in a midtempo wash of atmospheric guitar noise,” went Billboard ’s review, which was not bylined but it’s giving Man. Perry Farrell liked them, though, and Lush (with new bassist Phil King) were booked for 1992’s Lollapalooza festival. They were the only women playing on the main stage, which Berenyi says in her memoir could be pretty dreadful, be it their tour manager taking bets on which of the men could fuck her and Anderson or truly gross sexual harassment from, Berenyi writes, Red Hot Chili Peppers ’ Anthony Kiedis and Butthole Surfers ’ Gibby Haynes.

But their opening slot helped Lush’s popularity in the U.S., and soon they’d be touring the states constantly, albeit on some weird bills. After the release of their second album, Split , I saw them headline Denver’s Ogden Theater on August 4, 1994, when they played with this new rock band from L.A. called Weezer . That lineup wasn’t nearly as ill-fitting as their tour a couple of years later with the Goo Goo Dolls and the Gin Blossoms, those post-grunge, alt-adult-contemporary superstars that cursed mainstream rock in 1996. Lush released one final album, Lovelife , that same year, but as Britpop took over and management and label situations in both the U.S. and the UK soured, their fate was in question. When Chris Acland, Lush’s drummer and close friend, died of suicide in the fall of ’96, the band was done for 20 years, up until one brief reunion and EP in 2016.

Thirty years later, Spooky stands out more for what it wasn’t than what it was: it wasn’t a by-the-numbers shoegaze album, nor was it comfortably situated in shoegaze’s sister genre, dream pop. The album is an example of how labels tend to pigeonhole a sound and cloud it for what it was; easy consumption is not close listening. Lush were first and foremost a DIY punk band who were witness to and part of the mainstreaming of the underground, a pop band with a love of loud-ass guitars, and an important band that made alternative rock music massively more interesting in a time of recovering male metalheads. Mostly, though, they left a lasting document of determination and beauty, two teen fanzine publishers made good.

Additional research by Deirdre McCabe Nolan.

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Shoegaze ist die Kunst des Dröhnens, doch „Everything Is Alive“ setzt diese Elemente nur sparsam ein. Statt Hall- und Zerr-Sounds aufzutürmen, schäumt die Musik in feinen Bläschen über. https://tortue.substack.com/i/140348114/slowdive-everything-is-alive-dead-oceans Daniel Welsch

Slowdive by Slowdive

supported by 42 fans who also own “Split (2023 Remaster)”

listening to this album is a calming experience eswaesserli

Last Splash (30th Anniversary Edition) by The Breeders

supported by 39 fans who also own “Split (2023 Remaster)”

still rocking so hard! just saw them open for Olivia Rodrigo and it was absolutely 1994 again in the Garden paul b

Have Some Shame by don't get lemon

Gutsy New Romantic synthpop from Austin, Texas with hooks and heartache galore. Bandcamp New & Notable Apr 24, 2024

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Plush is a rock band with a mission to bring rock back to the forefront of the music industry. The band is composed of talented young women, ranging from 18-22, whose accomplishments and talent eclipse their age.

Plush is fronted by singer, songwriter and guitarist Moriah Formica, lead guitarist Bella Perron, bassist Ashley Suppa and drummer Faith Powell.

Plush's debut album featured the Billboard Top 40 charting singles "Hate" and "Better Off Alone." Plush has been electrifying audiences during recent live performances across the United States supporting Kiss, Alice In Chains, Evanescence, Daughtry, Slash featuring Myles Kennedy and The Conspirators, among others, as well as the big festival stages of Welcome to Rockville, Louder Than Life, Rocklahoma, and more.

After building so much momentum, Plush will embark on the next chapter of its musical journey. The new release, Find The Beautiful, is an EP that features six songs, five original and one classic cover that rock fans know and love. Plush pays homage to Heart by releasing "Barracuda" as an instant grat track. This rendition merges the past with the present, proving rock 'n' roll will never die. The EP also has the hit single "Left Behind," which placed on Billboard's Top 40 Active Rock chart. In support of Find The Beautiful, Plush will tour with Disturbed and Falling In Reverse across the United States.

The new album (Plush)

PLUSH – BUNDLE

PLUSH 'Find The Beautiful' Bundle Package! Includes autographed CD-Single & T-Shirt.

PRE-ORDER NOW.

WATCH THE PROMO VIDEO

Rock band Plush releases its latest video for the song "Left Behind."

LISTEN TO THE NEW SINGLE 'BETTER OFF ALONE'

Listen to PLUSH's latest single, 'BETTER OFF ALONE' from their upcoming self-titled debut album!

"The mission of PLUSH is to bring the heart of rock back to the mainstream with a new fresh spin on the sounds you already love. PLUSH hopes to inspire young women everywhere to follow their dreams, regardless of whatever challenges may lie in the way."

Moriah Formica

Bella perron, ashley suppa, faith powell.

Take back your life tour

Falling in Reverse

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Geographic coordinates of Elektrostal, Moscow Oblast, Russia

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Coordinates of elektrostal in degrees and decimal minutes, utm coordinates of elektrostal, geographic coordinate systems.

WGS 84 coordinate reference system is the latest revision of the World Geodetic System, which is used in mapping and navigation, including GPS satellite navigation system (the Global Positioning System).

Geographic coordinates (latitude and longitude) define a position on the Earth’s surface. Coordinates are angular units. The canonical form of latitude and longitude representation uses degrees (°), minutes (′), and seconds (″). GPS systems widely use coordinates in degrees and decimal minutes, or in decimal degrees.

Latitude varies from −90° to 90°. The latitude of the Equator is 0°; the latitude of the South Pole is −90°; the latitude of the North Pole is 90°. Positive latitude values correspond to the geographic locations north of the Equator (abbrev. N). Negative latitude values correspond to the geographic locations south of the Equator (abbrev. S).

Longitude is counted from the prime meridian ( IERS Reference Meridian for WGS 84) and varies from −180° to 180°. Positive longitude values correspond to the geographic locations east of the prime meridian (abbrev. E). Negative longitude values correspond to the geographic locations west of the prime meridian (abbrev. W).

UTM or Universal Transverse Mercator coordinate system divides the Earth’s surface into 60 longitudinal zones. The coordinates of a location within each zone are defined as a planar coordinate pair related to the intersection of the equator and the zone’s central meridian, and measured in meters.

Elevation above sea level is a measure of a geographic location’s height. We are using the global digital elevation model GTOPO30 .

Elektrostal , Moscow Oblast, Russia

OUR MINISTER

Dr. Joseph Lozovyy was born into a Christian family in Elektrostal, Moscow Region, and was raised in a pastor’s home. From the age of fifteen, he began actively participating in the music ministry of the Baptist Church in Mytishchi, where his father served as a pastor, and also played in the orchestra of the Central Moscow Baptist Church. From 1989, he participated in various evangelistic events in different cities of Moscow Region and beyond. From 1989 to 1992, as a member of the choir and orchestra “LOGOS,” he participated in evangelistic and charitable concerts, repeatedly performing on the stages of the Moscow State Conservatory, the Bolshoi Theatre, and other concert halls in Russia and abroad. In 1992, his family moved to the United States. In 2007, after completing a full course of spiritual and academic preparation, Joseph moved to Dallas, Texas, to engage in church ministry. In 2008, he founded the Russian Bible Church to preach to the Russian-speaking population living in Dallas, Texas.

– Bachelor of Arts in Music (viola) from the Third Moscow Music School named after Scriabin, Russia (1987-1991)

– Master of Theology (Th.M); Dallas Theological Seminary, Texas (1999-2003);

– Doctor of Philosophy (Ph.D) Hebrew Bible (Books of Samuel): University of Edinburgh, Scotland, United Kingdom (2007).

– Doctoral research (2004-2005) Tübingen, Germany.

– Author of a theological work published in English: Saul, Doeg, Nabal and the “Son of Jesse: Readings in 1 Samuel 16-25, LHBOTS 497 [T&T Clark/Continuum: Bloomsbury Publishing]).

https://www.bloomsbury.com/us/saul-doeg-nabal-and-the-son-of-jesse-9780567027535/

Joseph and his wife Violetta and their son Nathanael live in the northern part of Dallas.

Saul, Doeg, Nabal, and the “Son of Jesse”: Readings in 1 Samuel 16-25: The Library of Hebrew Bible/Old Testament Studies Joseph Lozovyy T&T Clark (bloomsbury.com)

Joseph, his wife Violetta and their son Nathaniel live in North Dallas, Texas where he continues ministering to Russian-speaking Christians and his independent accademic research.

Published Work

1. bloomsbury:, 2. buy at christian book distributors:, 3. buy on amazon:.

With Guests From Jill Biden to Wynonna to Pat Benatar, Nashville Goes Crazy for Patsy Cline at Ryman Tribute Concert

By Holly Gleason

Holly Gleason

• Mojo Nixon’s Annual SXSW Party Goes on Without Him, as a Last Testimonial to the Rocker-DJ’s Wild Mayhem 1 month ago
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There used to be a joke in old-school country music: How many girl singers does it take to sing Patsy Cline ’s “Crazy”?

The punchline was always an eye-rolling “ All of them.” It spoke to the ubiquity of Cline’s influence, as well as the tired renditions of Willie Nelson’s torch lament every “chick singer” clung to.

Popular on Variety

Biden’s opening remarks gave the evening gravitas. Invoking the way music dissolves differences, Biden explained, “Her music gives voice to the feelings we can’t always define, tracing the contours of our joys and sorrows. It reminds us we aren’t alone … Here in America, our differences are precious and our similarities are infinite. And when those familiar harmonies swell, the distances between us shrink, the barriers fall away, and we find ourselves singing along with strangers and friends alike.”

As an opening performance, it broke all expectations of what country should be — and reminded people that Cline’s countrypolitan stylings were as much cocktail jazz as massive emotions laid bare. Those massive emotions marked the night, displaying the lingua franca of a genre built for working class adults.

Blue-collar ethos grounds McBryde, who bathed “Leavin’ On Your Mind” with stoic resignation that showed the mettle to face what’s going on. Having to follow Wynonna, the queen of country soul, on the delicious agony of “Sweet Dreams,” McBryde’s raw tenor offered the splintered conviction of pride against the Country Music Hall of Famer’s cavernous pool of tender yearning.

Those juxtapositions occurred throughout the three-hour celebration. Two women who played Cline — Beverly D’Angelo from the film “Coal Miner’s Daughter,” and Mandy Barnett, who did it on the Ryman stage for years with the long-running stage production “Always, Patsy” — offered the guts and gusto of the at times bawdy entertainer. D’Angelo talked of being 27, in a role that changed her life, then delivered a zesty turn on the wry “Too Many Secrets,” stopping the band to regroup for the final section. Barnett, who played the role as a teenager, applied her velvety alto to the disappointment of “Why Can’t He Be You” with the nuance of knowing it’s good, but not what you need.

Cline, the uber-Everywoman, owned all the messy emotions. For anyone going through anything, her songs were an emotional compass to not feel so alone as you navigated your way back to whole.

Performances were offset with video clips of her peers. Seeing long-deceased Country Music Hall of Fame inductees Harlan Howard, Ferlin Huskey, Roy Clark, producer Owen Bradley, Dottie West and Loretta Lynn talking about their friend, her songs, ethics, talent and approach to life added dimension to Cline’s humanity. Mel Tillis appeared briefly, talking about a song he’d had a hand in writing, explaining, “not only could she sing the songs, she could pick the hits.”

As the steel-drenched “So Wrong” began, Pam Tillis, the 1994 Country Music Association Female Vocalist of the Year, emerged in black, gold and bronze sequins to a standing ovation. As she found the space between regret and devastation, opening up on the bridge and final choruses; it was those final notes where Tillis’ gifts shone.

Benatar was on the other end of the spectrum. She declared “We’re glad to be here to celebrate the original bad ass,” as she and Neil Giraldo gave “Imagine That” a definite stomp. With a taste for vintage pop, the Rock and Roll Hall of Fame inductees delivered the lamenting irony with a richness that belied the aching.

Grace Potter, dressed in metallic red leather bolero and miniskirt, hippie-danced onstage and inquired, “Are you ready to get strange with me?” A Western-leaning tumbleweed of a song with a vocal that surges up and recedes, “Strange” philosophically acknowledges not being able to let go of a love that’s long gone – and Potter delivered with a wink.

The night’s surprise was Tami Neilson, whose bravura “Three Cigarettes in an Ashtray” was a molten pool of watching the end go down. In a form-fitting black cocktail dress covered with sequined third eye appliques and a net mermaid flounce from the knees to the floor and a jet-black, high-rise bouffant, her reserve crumbled into a massive wave of emotion that even dwarfed her sartorial drama.

That drama, properly contained, made Cline an artist whose songs connected long after the burgeoning superstar died in a plane crash at the age of 30. Brash, worldly and consumed by songs, the West Virginian who could bring a song to its knees forged a modern country style that was as home at Carnegie Hall and the Hollywood Bowl as it was during her myriad appearances at the Grand Ole Opry.

With her daughter Julie in attendance, showing the diversity of Cline’s impact was a priority for the producers. Keeping the music true to Owen Bradley’s original recordings, the performances transcended the idea of time. Regardless of the decade, her suffering heart and caressing vocals united artists unafraid of the rawest emotions.

As for “Crazy,” it only took one woman to get the job done. Wynonna returned for the night’s final song, exhaling the anguish and absolving herself of the self-recriminations that loving someone who will never do you right incurs. A prodigious vocalist who has lived life with the same wide open embrace, her performance suggested a loving acceptance of the status quo that was neither tormented nor defeated by grief.

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Electrostal History and Art Museum

Most Recent: Reviews ordered by most recent publish date in descending order.

Detailed Reviews: Reviews ordered by recency and descriptiveness of user-identified themes such as wait time, length of visit, general tips, and location information.

Electrostal History and Art Museum - All You Need to Know BEFORE You Go (2024)

• (0.19 mi) Elektrostal Hotel
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• (1.27 mi) Mini Hotel Banifatsiy
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• (0.07 mi) Prima Bolshogo
• (0.13 mi) Makecoffee
• (0.25 mi) Amsterdam Moments
• (0.25 mi) Pechka
• (0.26 mi) Mazhor