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DC TV Podcasts Black Lightning WonderCon ’18 Interview:

The first season of The CW’s new hit DC series Black Lightning is about to come to a conclusion with two remaining episodes. To get ready for that, Black Lightning Podcast joined fellow reporters at WonderCon this year to chat with the writers of the series as they break down the process of writing the Pierce family and more.

Black Lightning Podcast spoke with showrunner/executive producer Salim Akil as well as staff writers Lamont Magee and Pat Charles as they discussed the following:

-Whether or not DC heroes who have been namedropped on Black Lightning exists in the world of Freeland

-Which of the characters that Lamont connects with when writing the episodes

-The process of writing for Marvin “Krondon” Jones’ Tobias Whale

-The calm before the storm in the remaining episodes of Season 1

-Whether or not the A.S.A. will be concluded in Season 1 or if it will carry into Season 2

-What goes into the song selection that the show has, from Salim’s perspective.

-The father-son-like relationship between Gambi and Jefferson.

-How much of Salim’s own family life that is used as inspiration to build the Pierce family’s dynamic on screen.

-What is coming up for Lynn in terms of how she feels about her family all having superpowers.

-The ultimate question: does Salim believe in the resurrection?

-Which character’s voice Pat has in his head when writing the characters on the show and who speaks to him the most.

-How they have setup Lala’s arc and where that character is going in coming episodes.

-What Pat’s experience has been like in this writers room compared to others that he has been part of.

-What sort of influence Arvin Pierce’s (Jefferson’s father) work will continue to have in Black Lightning’s life.

-Will certain DC Comics characters appear on the show in the near future.

“The Resurrection and the Light: The Book of Pain” — (9:00-10:00 p.m. ET) (Content Rating TBD) (HDTV)

RETURN OF THE WHALE – Tobias (Marvin Jones III) returns to Freeland. He is tasked to capture – not kill – Black Lightning (Cress Williams) with the help of an unexpected source. After a battle of epic proportions, Anissa (Nafessa Williams) and Jennifer (China Anne McClain) provide surprising aid. Christine Adams, Damon Gupton and James Remar also star. The episode was written by Jan Nash & Adam Giaudrone and directed by Oz Scott (#112). Original airdate 4/10/2018.

Black Lightning Season 1 airs Tuesday nights at 9/8c on The CW! Make sure to follow Pat on Twitter @PatCharles1!

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DC TV Podcasts SDCC ’17: iZombie Interviews

iZombieWhile iZombie won’t kick off its fourth season until mid-season 2018 on The CW, the show still had a presence at this year’s San Diego Comic-Con.  iZombie Radio/DC TV Podcasts participated in the press room for the show this year where Snarky Shawn chatted with the cast and producers at the round tables to get some new details on Season 4, including Rose McIver (Live Moore), Aly Michalka (Peyton Charles), Rahul Kohli (Dr. Ravi Chakrabarti), Robert Buckley (Major Lilywhite), David Andres (Blaine), Malcolm Goodwin (Clive Babineaux) and Diane Ruggiero-Wright (Executive Producer).

“Olivia “Liv” Moore (Rose McIver) was a rosy-cheeked, disciplined, over-achieving medical resident who had her life path completely mapped out…until the night she attended a party that unexpectedly turned into a zombie feeding frenzy. As one of the newly undead, Liv is doing her best to blend in and look as human as possible. Based upon characters created by Chris Roberson and Michael Allred, and published by DC Entertainment’s Vertigo, iZOMBIE is from Bonanza Productions Inc. in association with Spondoolie Productions and Warner Bros. Television, with executive producers Rob Thomas (“Veronica Mars,” “Party Down,” “Cupid”), Diane Ruggiero-Wright (“Veronica Mars,” “The Ex List,” “That’s Life”), Danielle Stokdyk (“Veronica Mars,” “Party Down,” “Cupid”) and Dan Etheridge (“The Carrie Diaries,” “Veronica Mars,” “Party Down”).”

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DC TV Podcasts SDCC ’17: Supergirl Interviews

Supergirl had a big presence at this year’s San Diego Comic-Con where cast and producers revealed what we can expect in the third season of the series. Supergirl Radio/DC TV Podcasts participated in the press room for Supergirl this year where Amy Marie Hypnarowski (of The Flash Podcast and Legends of Tomorrow Podcast) chatted with the cast at the round tables to get some new details on Season 3, including Melissa Benoist (Kara Zor-El), Katie McGrath (Lena Luthor), and Jeremy Jordan (Winn Schott).

“SUPERGIRL is an action-adventure drama based on the DC character Kara Zor-El, (Melissa Benoist) Superman’s (Kal-El) cousin who, after 12 years of keeping her powers a secret on Earth, decides to finally embrace her superhuman abilities and be the hero she was always meant to be. Twelve-year-old Kara escaped the doomed planet Krypton with her parents’ help at the same time as the infant Kal-El. Protected and raised on Earth by her foster family, the Danvers, Kara grew up in the shadow of her foster sister, Alex (Chyler Leigh), and learned to conceal the phenomenal powers she shares with her famous cousin in order to keep her identity a secret. Years later, Kara was living in National City and still concealing her powers, when a plane crash threatened Alex’s life and Kara took to the sky to save her. Now, Kara balances her work as a reporter for CatCo Worldwide Media with her work for the Department of Extra-Normal Operations (DEO), a super-secret government organization whose mission is to keep National City – and the Earth – safe from sinister threats. At the DEO, Kara works for J’onn J’onzz (David Harewood), the Martian Manhunter, and alongside her sister, Alex, and best friend, Winn Schott (Jeremy Jordan). Also in Kara’s life are media mogul Cat Grant (Calista Flockhart), James Olsen (Mehcad Brooks), a photo journalist who moonlights as Guardian, a masked vigilante, Lena Luthor (Katie McGrath), and Mon-El of Daxam (Chris Wood), whose planet was ravaged by Krypton’s destruction. As Kara struggles to navigate her relationships and her burgeoning life as a reporter, her heart soars as she takes to the skies as Supergirl to fight crime.”

Supergirl Season 3 premieres on Monday, October 9 at 8/7c on The CW!

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DC TV Podcasts SDCC ’17: Legends Of Tomorrow Interviews

LegendsLegends Of Tomorrow had a big presence at this year’s San Diego Comic-Con where cast and producers revealed what we can expect in the third season of the series. Legends Of Tomorrow Podcast/DC TV Podcasts participated in the press room for the show this year where Amy Marie Hypnarowski (of The Flash Podcast and Legends of Tomorrow Podcast) chatted with the cast and producers at the round tables to get some new details on Season 3, including Caity Lotz (Sara Lance/White Canary), Nick Zano (Nate Heywood/Citizen Steel), Brandon Routh (Ray Palmer/The Atom), Tala Ashe (Zari Adrianna Tomaz), Maisie Richardson-Sellers (Amaya Jiwe/Vixen), Victor Garber (Martin Stein/Firestorm), Franz Drameh (Jax Jackson/Firestorm), and Phil Klemmer (Executive Producer).

“After the defeat of Eobard Thawne and his equally nefarious Legion of Doom, the Legends face a new threat created by their actions at the end of last season. In revisiting a moment in time that they had already participated in, they have essentially fractured the timeline and created anachronisms – a scattering of people, animals, and objects all across time! Our team must find a way to return all the anachronisms to their original timelines before the time stream falls apart. But before our Legends can jump back into action, Rip Hunter (Arthur Darvill) and his newly established Time Bureau call their methods into question. With the Time Bureau effectively the new sheriffs in town, the Legends disband – until Mick Rory (Dominic Purcell) discovers one of them in the middle of his well-deserved vacation in Aruba. Seeing this as an opportunity to continue their time travelling heroics, Sara (Caity Lotz) wastes no time in getting the Legends back together. We reunite with billionaire inventor Ray Palmer (Brandon Routh), the unconventional historian-turned-superhero Nick Heywood (Nick Zano), and Professor Martin Stein (Victor Garber) and Jefferson “Jax” Jackson (Franz Drameh), who together form the meta-human Firestorm. Once reunited, the Legends will challenge the Time Bureau’s authority over the timeline and insist that however messy their methods may be, some problems are beyond the Bureau’s capabilities. Some problems can only be fixed by Legends.”

Legends Of Tomorrow Season 3 premieres on Tuesday, October 10 at 9/8c on The CW!

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DC TV Podcasts SDCC ’17: Black Lightning Interviews

Black LightningBlack Lightning will be coming to The CW next year as Jefferson Pierce joins the network as the latest superhero for Warner Bros. TV. Black Lightning had a big presence at this year’s San Diego Comic-Con where cast and producers revealed what we can expect in the first season of the series. Black Lightning Podcast/DC TV Podcasts participated in the press room for Black Lightning this year where Chris Barnes (of The Flash Podcast) chatted with the cast at the round tables to get some new details about Season 1, including Cress Williams (Jefferson Pierce), Christine Adams (Lynn Pierce), Nafessa Williams (Anissa Pierce), and China Anne McClain (Jennifer Pierce).


“Jefferson Pierce (Cress Williams) is a man wrestling with a secret. As the father of two daughters and principal of a charter high school that also serves as a safe haven for young people in a New Orleans neighborhood overrun by gang violence, he is a hero to his community. Nine years ago, Pierce was a hero of a different sort. Gifted with the superhuman power to harness and control electricity, he used those powers to keep his hometown streets safe as the masked vigilante Black Lightning. However, after too many nights with his life on the line, and seeing the effects of the damage and loss that his alter ego was inflicting on his family, he left his Super Hero days behind and settled into being a principal and a dad. Choosing to help his city without using his superpowers, he watched his daughters Anissa (Nafessa Williams) and Jennifer (China Anne McClain) grow into strong young women, even though his marriage to their mother, Lynn (Christine Adams), suffered. Almost a decade later, Pierce’s crime-fighting days are long behind him…or so he thought. But with crime and corruption spreading like wildfire, and those he cares about in the crosshairs of the menacing local gang The One Hundred, Black Lightning returns — to save not only his family, but also the soul of his community. Based on the characters from DC, BLACK LIGHTNING is from Berlanti Productions and Akil Productions in association with Warner Bros. Television, with executive producers Greg Berlanti (“Arrow,” “The Flash”), Salim Akil & Mara Brock Akil (“Being Mary Jane,” “The Game,” “Girlfriends”), and Sarah Schechter (“Arrow,” “The Flash”). The Black Lightning character was created by Tony Isabella with Trevor Von Eeden.”

Black Lightning Season 1 premieres in mid-season 2018 on The CW!

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Justin Bieber Cancels Rest of ‘Purpose’ World Tour

UPDATE: Justin Bieber apologized to fans Monday after canceling the remainder of his Purpose World Tour, telling TMZ that “everything’s fine” and that he’s looking forward to “just resting and getting some relaxation.” “I’m sorry for anyone who feels, like, disappointed or betrayed, it’s not in my heart,” Bieber added. People reports the Bieber was “super exhausted” after 18 months on the road.

Justin Bieber canceled the remaining dates of his Purpose World Tour. The singer announced the decision in a statement on his website, though he didn’t elaborate on his reasoning for axing the final promotional dates behind his 2015 LP.

“Due to unforeseen circumstances, Justin Bieber will cancel the remainder of the Purpose World Tour concerts,” the statement reads. “Justin loves his fans and hates to disappoint them. He thanks his fans for the incredible experience of the Purpose World Tour over last 18 months. He is grateful and honored to have shared that experience with his cast and crew for over 150 successful shows across six continents during this run. However, after careful consideration, he has decided he will not be performing any further dates. Tickets will be refunded at point of purchase.”

Last week, the singer was banned from performing in China after the Beijing Municipal Bureau of Culture criticized the 23-year-old, stressing its aim to “purify” the Chinese performance market.

“Justin Bieber is a gifted singer, but he is also a controversial young foreign singer,” the Bureau wrote on its website. “As far as we are concerned, he has engaged in a series of bad behaviors, both in his social life and during a previous performance in China, which caused discontent among the public.

Bieber’s world tour was set to conclude in September and October with a run of Asian dates, including Hong Kong, Tokyo, the Philippines and Singapore.

In June, the singer teamed with EDM powerhouse David Guetta for collaborative single “2U.”

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Meek Mill Talks About Regaining His Hunger for ‘Wins & Losses’

Few rappers today spit with as much passion and verve as Meek Mill. The Philadelphia MC raps as if his life depends on it, his voice frequently – and famously – ascending into a shout. When he talks about having run-ins with law enforcement, losing loved ones or celebrating his status as one of the best in the business, you can feel his joy and pain.

On his third studio album, Wins & Losses, he focuses on his penchant for vivid and incendiary raps, and mostly avoids the urban contemporary tracks that have sometimes muddied his past work. Yes, Wins & Losses is dropping amidst a spate of fresh controversies: a bizarre dustup with reality TV star Safaree Samuels, the continuing fallout from his highly publicized breakup with former girlfriend Nicki Minaj and a high-profile beef with Drake. However, during a conversation with Rolling Stone, Meek focused on why he’s one of the most vital hip-hop talents of recent years, from his strategy for composing raps from memory to why he’s “catering to street rap” this time around.

One of the things you’re most known for is painting vivid pictures through your raps. What’s your writing process like?
I don’t actually write. I just go in the studio and rap, throw verses together. I just use visuals in my head, and I try to make them rhyme. As I go, I just try to remember it, keep a good memory and make them rhyme.

You’ve put out hundreds of songs at this point. How are you able to keep all those word schemes in your head?
I don’t know. I just think it’s a talent, a God-given talent that God gives us. But, you know, I try to work on my memory and when I’m in the studio, I just focus it up. I love to make music. I have fun doing it, spending hours and hours and relentless hours in the studio, and days putting things together. So I don’t really mind, like, being on one subject for an hour straight if I have to. Sometimes it can take several hours, sometimes it can take 10 minutes.

One of your new tracks from the Meekend Music EP is “Left Hollywood.” Did you literally leave Hollywood, or is that just a metaphor?
It’s more like a metaphor. I did move from L.A., but it’s more like a metaphor. I’m catering back towards the streets, like, the culture that helped build me up from day one. The street culture, the street rap. 

Where did you move to?
I moved back to Philly. I live in a few different places. I live in Philly, Delaware…but that’s all surrounding Philly or is close to the Philly area. Basically, back to the trenches.

Wins & Losses goes a lot harder than some of your previous albums. Was that a conscious decision on your part?
Yeah. I wanted to do more rapping, and I wanted to turn it into a rap album. You know, there’s a lot of music out, you’ve got different platforms like SoundCloud, iTunes, Spotify, Tidal. People can listen to what they want, and we’ve got so many different genres of rap now, like you’ve got trap music, mumble music, street rap, pop rap. I just wanted to cater to, like, my side, you know what I’m saying? One day I hope [the platforms] are going to give us official genres. This is my side. I’m catering to street rap. So I wanted to open the gate back up to Meek Milly rapping, what people know me for, actually spitting and, you know what I mean, touching the heart.

There doesn’t seem to be many dudes like yourself that spit a lot of bars and are successful on the charts as well. How are you able to maintain that?
I try to remain hungry no matter what position I get in. It was, like, a year ago, I was kinda laid-back. I wasn’t as hungry as I wanted to. Me being through a lot of trials and tribulations, seeing people talk about me, saying bad things and good things. The bad things inspired me more to want to go harder, and it helped me gain some of my hunger back. On this album, I’m coming from a more hungrier standpoint.

“Young Black America” from Wins & Losses is one of your most political songs to date.
The people I make music for [is the] environment I come from, and the images I’m rapping about I’ve seen about and lived it. It’s kinda, like, ignorant sometimes. I just wanted to dedicate one song to open the eyes to the people who don’t come from my culture, or the people who are caught up in this jungle and the things that are taking place in the video. It’s an eye-opener out to the culture, and to keep people woke.

How are you and Rick Ross doing? You two have been through a lot together at this point.
Rick Ross is the person that put me on in the game and gave me my shot. It’ll always be, like, a big brother/little brother relationship with him. Everything’s always been good. We never really had any, like, super-bad spots where we feel like things had gone wrong. It’s the music industry, so there’s always times we’ve got to buckle down and get down to business, and no fun, and just get straight to business. And, you know, we do that. That’s how we met, on business terms, getting money, and we built a family relationship in time. It’s always been great.

It was good to see Wale in the first installment of your Wins & Losses movie. You guys have crossed paths in the past.
Yeah, Wale’s in the video. You know, sometimes family, we cross paths at certain times. But, if anything, we came in the game together. We never let [our issues] get to a serious level. I just think sometimes we handled it the wrong way in the public eye, where we shouldn’t of did it that way. But yeah, everything’s good.

You’re known for your street raps, yet you’ve also scored your biggest chart hits with urban/R&B tracks like “All Eyes on You” and, now, “Whatever You Need.” How do you balance doing music for the clubs, and doing music for the streets?
I don’t really balance it. I just do what I feel. When I’m in the studio I do what I feel. I probably create about 100 songs and then, you know, I balance it through picking out my songs. I know some people want to dance in the club, and some people want to ride in the car and hear something that’ll make them think. Some people want to be touched and relate to the music. So I try to level it out in a way that I can touch a mass amount of people.

What’s up with your Dreamchasers label?
I signed a new artist out of Baltimore. He’s, like, flaming hot out of Baltimore. His name is YBS Skola. We’ve got Omelly coming out on Dreamchasers Records. He’s working on a mixtape. We’re just looking for up and coming, new, raw talent. Something nobody’s ever seen before, some young stars, like, in a way, Lil Snupe was. He was a fast-growing star. He set the tone for Dreamchasers. So I make sure I pick a star, somebody we can get behind and make some money with, and be legendary with.

It sounds like you pour so much emotion into songs like “Cold Hearted,” the closing track on 2015’s Dreams Worth More Than Money. Where does that come from?
Music from the heart is actually the most easiest kind of music to make, because it’s just coming and flowing. All you have to do is make the words rhyme for the thought. It’s not just having to come up with a bunch of random thoughts. It’s just coming straight from the heart. The heart inspired it. It’s written by the heart. You know, I’m just delivering it and making it rhyme.

Do you consider yourself a spiritual person?
Yeah, I believe in God. I pray. I put all faith in God. It helps keep me focused.

How do you maintain that focus in the rap industry?
It’s kinda hard when it comes down to politics and, like, the way the game is structured. I just continue to try to make good music, man. I’m talented, and I’ve been rapping for a long time. Music’s a big thing to me. … Sometimes it can get a little frustrating. But, you know, I come from the trenches, from the bottom. So it’s nothing new in facing adversity and facing new problems. So we can stand on our feet and we can go at it head on.

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Dead Cross Take Brutal Look at Cockfighting in ‘Obedience School’ Video

Hardcore supergroup Dead Cross take a grisly look at cockfighting in their new video for “Obedience School,” a cut off the band’s self-titled debut LP.

Dead Cross – featuring Faith No More’s Mike Patton, Slayer’s Dave Lombardo and Retox’s Michael Crain and Justin Pearson – teamed with director Dennis Bersales for the brutal black-and-white visual, which plants the viewer center-ring as roosters attempt to tear each other apart at a south-of-the-border arena.

“This band provokes my aggression,” Lombardi previously told Rolling Stone of Dead Cross. “We, Ross included, all have fearless musical mindsets. Our collective résumés definitely reflect that. I believe that when you have musicians in a room that share that particular attribute, it takes you to another level in every way. With this band, I play harder, I play faster, and I play with the fury that this music demands. Each member brings a great deal of intensity and skill to the table. It’s invigorating to work with them.”

Dead Cross will hit the road starting August 10th for a six-week North American tour in support of their debut album.

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Lilith Fair at 20: The Legacy of a Tour That Put Women First

Twenty years ago this month, Sarah McLachlan and a rotating cast of fellow artists embarked on the women-centric traveling fest known as Lilith Fair. While the nostalgic view of the Nineties paints it as a decade where not just female-fronted, but female-populated acts surged on the pop and rock charts, Lilith’s presence bucked music-industry norms that were still, quietly but firmly, directing radio playlists and tour routing. The venture was also a smashing success, becoming the top-grossing festival of 1997.

The musicians who appeared at Lilith – including Paula Cole, Lisa Loeb, Natalie Merchant and the Indigo Girls – were used to being in the minority. “I started at Berklee College of Music, where the ratio of men to women was about 13 to one,” recalls Cole. “And that was pretty much a fair indication of what it would be like going forward. … And then we noticed that the record company [was] primarily male, and then the more success we had, I started to notice that the playlists at radio were generally male and they wouldn’t place [women] back to back. I found that actually to be a hard and fast rule at radio at the time – [higher-ups] instructed their DJs not to play women back to back.”

“That was a definite thing where in radio programming – there was a quota on how many female artists could be played in any one-hour set,” recalls Susanna Hoffs, who played on Lilith’s second stage in 1997 as a solo act and returned with the Bangles for its 2010 revival. “Even in the Eighties, with the Bangles, journalists would tend to say, ‘How do you feel about the Go-Gos?’ There weren’t many female bands, unfortunately, at that time, but still it always struck us.”

The seeds of Lilith were planted in 1996, when McLachlan played a handful of shows with all-woman-fronted bills that included Cole, Loeb and Suzanne Vega. “I was a little surprised when she asked, at first, as it’s true that you almost never had two women on the bill at that point in time, and certainly not three,” recalls Vega. Traveling festivals, which had grown in popularity since the early-Nineties launch of Lollapalooza, were at the time dominated by male-fronted acts; in 1996 Lollapalooza shifted its aesthetic to a harder sound by having Metallica headline, and that year the metal-forward Ozzfest debuted as well.

“We sort of became the antithesis of that,” recalls McLachlan. “And I enjoyed that. I enjoyed the fact that we were doing something unique and different. It was like, ‘Well, if you’re not gonna have any female artists on your tours, we’re just gonna do it ourselves. We’re gonna go over here and we’re gonna do it ourselves. It’s gonna be really fun.’ And it was.”

“I guess it was a radical idea at the time, but I thought it was a good radical idea,” recalls Merchant, who co-headlined the 1998 tour. “I remember when I started in the early Eighties, I was always the only girl in the room. Not just the musicians, but all of the tech people every time I went in the studio, record companies. As the Nineties progressed, I found that there were more and more women sound engineers and there were more women musicians – in my band, I had a female guitar player. It just felt like the Nineties was a time when there was a shift. I finally had an A&R person who was a woman. My lawyer was a woman. My publicist was a woman. I was consciously moving in that direction.”

Lilith’s many acts, which for the most part rotated in and out over the course of the tour, were scattered over three stages, including a Village Stage that focused on up-and-coming and local artists. Having a woman-centric (but not woman-exclusive) space bucked music-business convention in a way that surprised observers. “It wasn’t about exclusion,” says McLachlan. “[Men would ask], ‘Why don’t you have men on the tour?’ And I said, ‘Well, honey, we do. The bands are full of men, there’s lots of males in the crew. And we’re all having a good time, too.’ It’s not exclusionary. It’s inclusive. We’re just celebrating women.

“The other really awful question that we got often was, ‘Why do you hate men?’ And I said, ‘What does celebrating women have to do with hating men? That says way more about you and your ego than anything else.’ But it was a question that got asked all the time, and it wasn’t about that. Our mission is great music being made by women. It’s not being represented, so we’re filling that gap – and we’re having a great time doing it.”

“What does celebrating women have to do with hating men?” –Sarah McLachlan

“I know as an artist, initially, I was hesitant to be a part of an all-women festival, because I don’t like to separate myself out as a woman musician,” says Lisa Loeb, who appeared on every year of Lilith’s Nineties incarnation. “But then I found out who the other bands were on the bill that she was inviting, and I just wanted to be a part of [something with] those other musicians – and they happened to be women. “

While the first year skewed heavily toward folk-tinged artists who were also getting lots of pop radio airplay – McLachlan, Cole, Loeb, Jewel, Sheryl Crow – the genre scope expanded over the tour’s second and third years. “We were not a ‘white chick folk fest,’ which was what we were labeled the first year,” says McLachlan. “That was extremely frustrating – we asked all sorts of artists from all sorts of different genres, and we basically got people who said yes. I think [the rejections were] partly because they didn’t know who we were, they didn’t know what we were capable of. Nor did we, quite frankly. After the first year, it was much easier to get artists, because managers looked at us and would say, ‘This is a great bridge. My artist can play in front of a new audience and get a whole new audience.'” In the years that followed, Lilith’s main-stage roster included genre-defying musicians like Neneh Cherry and Erykah Badu, as well as R&B upstarts like Monica and Mya; then-nascent pop stars like Nelly Furtado and Christina Aguilera played the Village Stage, as did folk performers like Tegan and Sara and Lori McKennna.

Lilith’s 1997 edition brought in $16 million across its 37 North American dates, and it performed well in the two years that followed. “Back then everybody was really surprised about how successful [Lilith was], and how many tickets we could actually draw,” says Nettwerk Management president Dan Fraser, who organized Lilith Fair alongside McLachlan, Nettwerk Music Group CEO Terry McBride and McLachlan’s then-manager Marty Diamond. “Because we outdrew all of those festivals back in ’97, ’98 and ’99. The social side of the show was so much more forward-thinking than the angst and the aggression that was usually at the sheds – unless it was Jimmy Buffett coming through to have a party.”

“The success of it was a big surprise for me, because, like I said, I didn’t go into it with an agenda,” says McLachlan. “It just kind of happened. I hate to use the word ‘organic,’ but it did feel that way. It felt that it was a natural thing that we all got to participate in something that was way bigger than ourselves. And I think it’s the closest thing to church that I understand – getting to sing, to share my purpose, to live my purpose, and to connect with other people who are feeling the same way, doing a similar thing, and creating that great energy of creating positive special change. That’s what music does. It connects us, it brings us closer to ourselves and to each other.”

“There was word that initially an all-women tour wouldn’t sell tickets,” said Emily Saliers of folk duo Indigo Girls, who came up with the idea for the night-closing singalong, which would bring all the evening’s performers onstage. “The legacy of Lilith is kick-ass business, powerful music, a great example for girls to see women onstage, and the marriage of music and activism. The tours were legendary, as they should be.”

Lilith came to a close in 1999, and its attempted return in 2010 proved frustrating, with 10 canceled dates and performers like Kelly Clarkson dropping out. “Our intentions, in hindsight, weren’t really pure,” says McLachlan. “It’s like, ‘Oh, this would be great to do this again. I’ve got a new record out and it worked last time.’ We didn’t look at how all those women who came to the shows in the Nineties now have children and jobs and mortgages.”

McLachlan still has people asking her to bring Lilith back. Her response? “Someone of this generation needs to do it, if they choose.” Grassroots efforts like Ladyfest, which has outposts around the world, combine Lilith’s spirit with DIY mechanics and radical politics. But a larger-scale Lilith reboot, or a festival that operates in its image, would make a statement, especially since some of the prevailing attitudes that led to Lilith being such a watershed festival still dominate music in the 2010s. In 2015, radio consultant Keith Hill sparked “Tomatogate” when he made an awkward metaphor about women getting airplay at country radio: “I’ve got about 40 music databases in front of me and the percentage of females in the one with the most is 19 percent. Trust me, I play great female records and we’ve got some right now; they’re just not the lettuce in our salad,” he told Country Aircheck. “The lettuce is Luke Bryan and Blake Shelton, Keith Urban and artists like that. The tomatoes of our salad are the females.” Two years later, despite much-lauded releases by female solo artists like Miranda Lambert and Kelsea Ballerini, the country charts still skew heavily male.

The pop charts, meanwhile, have swung back to being male-dominated after the surge in the 2010s that led to artists like Lady Gaga, Katy Perry and Beyoncé dominating the conversation. While the Billboard 200 album chart recently had three back-to-back female solo artists – Halsey, Katy Perry and Lorde – at its summit, the Hot 100 singles chart, which factors airplay, streaming and sales, has been a boys’ club for much of the year. Right now, the only woman in its top 10 is Rihanna, who appears on DJ Khaled’s massive Santana-sampling hit “Wild Thoughts”; the highest-placing female solo artist is Julia Michaels, whose hazy “Issues” is at Number 20 and has been bobbing around the lower reaches of the Top 20 for a few weeks. The way streaming habits are tallied reverberates too; Ed Sheeran and Drake’s 2017 chart-topping LPs led to the Hot 100 being flooded with those collections’ album cuts, but none of the female artists who hit the Number One spot earlier this summer experienced a similar streaming-occasioned bump.

This summer’s crop of big tours skews heavily male, particularly on the double-bill front. While the Blondie/Garbage Rage and Rapture double bill (which features openers like sullen pop upstart Sky Ferreira and bash-happy duo Deap Vally) puts ladies first, the summer’s other shed offerings (Muse/30 Seconds to Mars, Stone Sour/Korn, Incubus/Jimmy Eat World) recall the Ozzfest and Lollapalooza lineups of the mid-to-late Nineties. Club and theater tours are more balanced, with a few lady-forward bills traveling the country – chugging indie rock act Waxahatchee is touring with Boston trio Palehound, while daughter of Lilith Michelle Branch is taking Brooklynites Haerts on the road – but the overall idea of women as some sort of musical other that should be taken in regimented doses still prevails.

While it’s tempting to view analyses like the above as simple score-tallying, thinking about how women are presented in the pop landscape remains a worthy exercise 20 years after Lilith made its first go-round. Back when it started, some observers took potshots at Lilith for creating a space that was focused on women; others critiqued the festival for being too focused on female-fronted acts and ignoring women who were playing instruments. Over the years, “women in rock” ideals have still largely focused on white cis-presenting singers, but female musicians, including female musicians of color as well as trans and non-binary artists, have released and been recognized for their vital music as well, from the bass-wielding funk explorer Esperanza Spalding to the thundering punk act Against Me! to the many instrumentalists who have backed up Beyoncé over the course of her career, including the 10-piece collective Suga Mama, who played with her in the late 2000s.

And Lilith Fair’s legacy of supporting charities devoted to helping women, which was commemorated at a daily press conference where McLachlan would present a local nonprofit with a check representing a percentage of ticket sales, reverberates today with artists who speak up, play benefit shows and raise money for causes they believe in – including McLachlan. “I took all the money that I made from Lilith and put it into a foundation,” she says. “I started a free music school for [at-risk] kids in Vancouver, which I’ve been running and funding for the last 16 years. That’s a beautiful legacy, and it was born out of, ‘What does music mean to me?’ Music is about connecting and community and creating joy and creating love for music. And I get to see that every day now. We’ve got 1,100 kids in the program. We’ve opened a school up in Edmonton. We’re going strong 16 years later. So that’s a pretty cool legacy.”

It’s one that reverberates far beyond music, too. “I was at the Juno Awards,” recalls McLachlan, “and this woman, she was probably close to 40, came up to me and said, ‘You know, I was at Lilith, all three of them, when I was a teenager. And you guys showed me that I could do anything. And I’m now running a company. You all inspired me to understand that I could actually do anything that I wanted to do.’ Lots of women would come up to me and say things like, ‘You showed us that you were living your dream and you were succeeding at that, and it kind of opened up my eyes, that we could do whatever we wanted to do.'”

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Hear Stephen Stills, Judy Collins Unite on Moody Leonard Cohen Tribute

Stephen Stills and Judy Collins intertwine their voices on a duet cover of Leonard Cohen‘s 1988 song “Everybody Knows.” The song will be featured on the duo’s upcoming collaborative LP of the same name.

Stills and Collins harmonize throughout the minor-key ballad, singing Cohen’s philosophical lyrics over purring organ chords and a jazzy drum groove. “Everybody knows that the boat is leaking/ Everybody knows that the captain lied,” they proclaim. “Everybody got this broken feeling/ Like their father or their dog just died.” The track is available to stream below, via NPR.

“Everybody Knows is particularly poignant for Collins, who collaborated with the late Cohen since the early 1960s and helped launch the songwriter-poet’s career by recording his material (like “Suzanne” and “Bird on a Wire”) and encouraging him to perform.

Everybody Knows, out September 22nd via Wildflower/Cleopatra, marks a reunion between Stills and Collins. The duo first met five decades ago, in 1967, and began a short-lived romantic relationship immortalized in Crosby, Stills & Nash’s 1969 classic “Suite: Judy Blue Eyes.” Their new LP will include a reworked version of the first song they ever wrote together, 1968’s “Who Knows Where the Time Goes,” and a duet version of “Judy,” a Stills demo recorded in the late Sixties.

The album also includes a revamped take on Crosby, Stills, Nash and Young’s 1970 track “Carry On” and a newly penned Collins original, “River of Gold.”

Stills and Collins will launch a U.S. tour on Wednesday, July 26th in Highland Park, Illinois. The trek runs throughout the fall and concludes November 4th in Brooks, California. 

 Everybody Knows Track List

1. “Handle With Care”
2. “So Begins The Task” 
3. “River Of Gold” 
4. “Judy” 
5. “Everybody Knows”
6. “Houses” 
7. “Reason To Believe” 
8. “Girl From The North Country” 
9. “Who Knows Where The Time Goes”
10. “Questions”

Stills & Collins Tour Dates

July 26 – Highland Park, IL @ Ravinia Pavilion
July 28 – Cleveland Heights, OH @ Cain Park
July 30 – Overland Park, KS @ JCCC Carlsen Center
August 1 – Denver, CO @ Denver Botanic Gardens at York Street
August 2 – Arvada, CO @ Arvada Center For The Arts & Humanities
August 3 – Steamboat Springs, CO @ Strings Music Festival
August 5 – Salina, KS @ Stiefel Theatre
August 7 – Meridian, MS @ Riley Center for the Performing Arts
August 9 – Atlanta, GA @ Atlanta Symphony Hall
August 11 – Alexandria, VA @ Birchmere
August 12 – Alexandria, VA @ Birchmere
August 14 – Ridgefield, CT @ Ridgefield Playhouse
August 16 – Red Bank, NJ @ Count Baise Theatre
August 17 – New Haven, CT @ College Street Music Hall
August 18 – Greensburg, PA @ Palace Theatre
August 20 – Lowell, MA @ Boarding House Park
August 21 – Great Barrington, MA @ Mahaiwe Performing Arts Center
August 23 – Morristown, NJ @ Mayo Performing Arts Center
August 25 – Glenside, PA @ Keswick Theatre
August 26 – Westbury, NY @ NYCB Theatre at Westbury
August 28 – Vestal, NY @ Anderson Center for the Performing Arts
September 1 – Beverly Hills, CA @ Saban Theatre
September 3 – Indio, CA @ Fantasy Springs Resort & Casino
September 6 – San Diego, CA @ Humphrey’s Concerts by the Bay
September 8 – Jacksonville, OR @ Britt Pavilion
September 9 – Stateline, NV @ MontBleu Resort Casino & Spa
September 27 – Wilkes Barre, PA @ Kirby Center For The Arts
September 28 – Lebanon, NH @ Lebanon Opera House
September 30 – Torrington, CT @ Warner Theater
October 1 – Newport News, VA @ Ferguson Performing Arts Center
October 2 – Huntington, WV @ Keith Albee Performing Arts Center
October 4 – Morgantown, WV @ West Virginia University
October 5 – Charlottesville, VA @ Sprint Pavilion
October 7 – Cranston, RI @ Rhode Island Center for the Performing Arts
October 8 – Albany, NY @ The Egg Center
October 11 – Lancaster, PA @ American Music Theater
October 12 – Tarrytown, NY @ Tarrytown Music Hall
October 13 – Englewood, NJ @ Bergen Performing Arts Center
October 15 – Youngstown, OH @ Powers Auditorium
October 17 – Godfrey, IL @ Olin Theater
October 21 – Las Vegas, NV @ Smith Center
October 22 – Tucson, AZ @ Fox Theater
October 25 – San Juan Capistrano, CA @ The Coach House
October 26 – San Juan Capistrano, CA @ The Coach House
October 28 – Santa Barbara, CA @ Arlington Theater
November 2 – Visalia, CA @ Fox Theater
November 4 – Brooks, CA @ Cacher Creek Casino

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