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Billy Porter gives sixties classic a soulful twist for latest single

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Billy Porter speaks truth to power with his cover of the consciousness-raising “For What It’s Worth” (Photo Credit: Santiago Felipe)

Looking to freshen up your continuing stay-at-home time with some new music? The latest single from Emmy, Tony, and Grammy Award-winner Billy Porter, released on Friday, might be just what you need to get you out of the quarantine rut and focus your attention on something with more wide-reaching importance than choosing your next Netflix binge.

For What It’s Worth,” a soulful cover of the Stephen Stills-penned folk-rock classic originally recorded by Buffalo Springfield, is the “Kinky Boots” and “Pose” star’s latest effort to continue the legacy of using his art as a means to raise consciousness.

“I decided to record ‘For What It’s Worth’ because I wanted to have my art and my music matter, make a difference,” Porter says. “I’ve always been a political person. I come from the generation where the music reflected what was going on in the world, in the day. The song was written and performed sort of during the Civil Rights Era, the Vietnam War, it was protest music and I wanted to have a hand in bringing that back and speaking truth directly to power.”

The song’s original composer, who after working with Buffalo Springfield went on to become part of the iconic folk-rock group Crosby, Stills and Nash (and sometimes Young), said of the new recording, “I am both proud and delighted that Billy Porter is covering my song… For many years no one tried to ‘make it theirs’ as covers are supposed to do. That an artist of Billy’s caliber has chosen to add his flourish to my song from so many years ago is totally in keeping with what I intended.”

Stills adds, “I have never been asked to ‘update’ ‘For What It’s Worth’ to accommodate Modern Times by anyone, ever. Modern Times seem to circle back and find it yet again an appropriate reflection of uncertainty and suspicion. We always do the same thing. Any form of eccentricity, or failure to conform, or difference in race, ethnicity, sexual orientation, religion or political dissent results in your being cast as one of the ‘Other.’ An ‘Outsider.’ A term that leaves you open to being shunned, bullied, demeaned or suspect, ‘Less than’ American. Billy Porter gets all of that and has done a masterful job of capturing the essence of the original Buffalo Springfield rendition, recorded the day after it was written, and made it his own. Pure genius.”

As for why Porter chose this particular tune to cover at this particular time, he says:

“One of the heartening things that I’ve seen during the Coronavirus outbreak is how we’ve all banded together. Everyone doing their part, checking on each other, using technology to connect with one another. I think the messages in ‘For What It’s Worth’ are so relevant now. It’s a song about unifying and coming together to make a change.”

To that end, Porter is making sure to remind his fans that, although they need to stay focused on the present and do their part to help battle COVID-19, they should also be keeping an eye on November, when U.S. citizens will be voting for a new president. 

“While we’re all stuck at home, now is a great time to make sure you’re registered to vote,” he said. “The election is comin,’ y’all. Let’s get ready and stay ready.”

As he uses his musical voice to lean into this all-important election cycle, the outspoken Porter also wants to remind his listeners to embrace their own power to make a difference, too.

“I hope people are inspired to not give up,” he concludes. “To continue to have hope, and to understand that the only way change comes is for the people to come together and demand it.”

Watch the official video below.

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Madonna announces release date for new album

‘Confessions II’ marks return to the dance floor

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Pop icon Madonna on Wednesday announced that her 15th studio album will be released on July 3.

Titled “Confessions II,” the new album is a sequel to 2005’s “Confessions on a Dance Floor,” an Abba and disco-infused hit. 

The new album reunites Madonna with producer Stuart Price, who also helmed the original “Confessions” album. It’s her first album of new material since 2019’s “Madame X.”

“We must dance, celebrate, and pray with our bodies,” Madonna said in a press release. “These are things that we’ve been doing for thousands of years — they really are spiritual practices. After all, the dance floor is a ritualistic space. It’s a place where you connect — with your wounds, with your fragility. To rave is an art. It’s about pushing your limits and connecting to a community of like-minded people,” continued the statement. “Sound, light, and vibration reshape our perceptions. Pulling us into a trance-like state. The repetition of the bass, we don’t just hear it but we feel it. Altering our consciousness and dissolving ego and time.”

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PHOTOS: Denali at Pitchers

‘Drag Race’ alum performs at Thirst Trap

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Denali performs at the Thirst Trap Thursday drag show at Pitchers DC on April 9. (Washington Blade photo by Michael Key)

Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.

(Washington Blade photos by Michael Key)

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In an act of artistic defiance, Baltimore Center Stage stays focused on DEI

‘Maybe it’s a triple-down’

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Last year, Baltimore Center Stage refused to give up its DEI focus in the face of losing federal funding. They've tripled down. (Photo by Ulysses Muñoz of the Baltimore Banner)

By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.

Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.

“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.

The rest of this article can be found on the Baltimore Banner’s website.

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