Arts & Entertainment
Kim Petras and Beyoncé make history at the 65th annual Grammys
The 65th annual Grammys served up a night of LGBTQ significance as Beyoncé and Kim Petras both make history
The 65th annual GRAMMY Award Ceremonies held Sunday evening at the Crypto.com Arena saw a significant LGBTQ+ presence and wins in several categories including a GRAMMY for Best Solo Pop Duo/Group Performance awarded to Out Trans artist Kim Petras along side nonbinary artist Sam Smith for their song “Unholy.”
Madonna was on hand to introduce the duo, and in doing so, seemed to shout praise to the entire queer community. “Here’s what I have learned after four decades in music. If they call you shocking, scandalous, troublesome, problematic, provocative, or…dangerous. You are definitely on to something. So I am here to give thanks to all the rebels out there forging a new path, and taking the heat for all of it. You guys need to know, all you trouble makers out there, you need to know your fearlessness does not go unnoticed, you are seen, you are heard, and most of all you are appreciated.”
While online chatter seemed obsessed with Madonna’s physical appearance, there is hope her message reached queer teens, currently under the ire of current conservative politics, in the same way the singer elevated HIV positive people in the 1980s by not only accepting them, but calling them heroes.
Sam Smith insisted that Kim Petras give their acceptance speech so that she could experience the full effect of being the first transgender woman to receive the award in the Recording Academy’s 65 year history.
Petras acknowledged Madonna’s effect as an icon when she said in her acceptance speech, “I want to thank Madonna for always fighting for LGBTQ rights, I would not be here if not for Madonna.”
She also called out SOPHIE, the transgender Grammy-nominated DJ, producer and recording artist who died in Athens after a tragic accident. “I just want to thank all the incredible transgender legends before me who kicked these doors open for me so I could be here tonight. SOPHIE, especially, my friend who passed away two years ago, who told me this would happen and always believed in me. Thank you so much for your inspiration, SOPHIE. I adore you and your inspiration will always be in my music.”
“I grew up next to a highway in nowhere, Germany, and my mother believed me that I was a girl and I wouldn’t be here without her and her support,” Petras concluded her historic speech. “Sam, thank you, you’re a true angel and hero in my life and I love you. And everyone who made the song, too, I love you guys. Sorry, I didn’t write down the names. I love you.”
Longtime LGBTQ+ ally Harry Styles received a GRAMMY for Album of the Year for his Harry’s House. Styles also picked up a GRAMMY win Best Pop Vocal Album for Harry’s House. Earlier Styles received a GRAMMY trophy for Best Engineered Album, Non-Classical also for Harry’s House.
Beyoncé, who was the most nominated artist going into Sunday’s ceremonies, made GRAMMY history breaking the record for the most wins ever by an artist. In her acceptance speech where she mentioned her late uncle who died from HIV/AIDS she acknowledged the queer community for their support and “for inventing the genre” of dance music, which she honors in her album.
“I’m trying not to be too emotional. I’m trying to just receive this night. I want to thank God for protecting me. Thank you, God. I’d like to thank my uncle Johnny who’s not here, but he’s here in spirit.
I’d like to thank my parents, my father, my mother for loving me and pushing me. I’d like to thank my beautiful husband, my beautiful three Children who are at home watching.
I’d like to thank the queer community for your love, for inventing the genre. God bless you.
Thank you so much to the GRAMMYs. Thank you.”
She also posted a thank you note on Instagram celebrating the three awards she won earlier in the evening: Best Traditional R&B Performance (“Plastic Off the Sofa”), Best R&B Song (“Cuff It”), and Best Dance/Electronic Recording (“Break My Soul”).
First Lady Dr. Jill Biden walked on stage during the ceremonies to a standing ovation. GRAMMYs host Trevor Noah, who introduced her, described her as “the only person in the world who knows which of tonight’s songs the President sings in the shower.”
The First Lady presented two awards – the Song of the Year and the new award “Best Song for Social Change.”
Iranian singer Shervin Hajipour won the new social change award. His song Baraye has been described as the anthem of the Mahsa Amini protests in Iran. Biden described the song as a “powerful and poetic call for freedom and women’s rights.”
He was arrested on September 29, 2022 – two days after his song was released on social media – and was released two days later. He is not allowed to leave Iran.
Biden then presented Song of the Year to Just Like That by Bonnie Raitt. She kissed Raitt on the cheek.
Vanessa Valdivia, Press Secretary for Biden told the traveling press pool: “The First Lady was honored to be asked by the Recording Academy to announce the GRAMMYs’ first Social Change award to Shervin Hajipour for his song ‘Baraye’. As a steadfast champion for women and girls around the world, the First Lady was inspired by his song that served as an anthem for freedom and women’s rights.”
2023 GRAMMY Award Winners
* Winners in bold
Album of the Year:
Harry Styles – Harry’s House
ABBA – Voyage
Adele – 30
Bad Bunny – Un Verano Sin Ti
Beyoncé – Renaissance
Mary J. Blige – Good Morning Gorgeous (Deluxe)
Brandi Carlile – In These Silent Days
Coldplay – Music of the Spheres
Kendrick Lamar – Mr. Morale & the Big Steppers
Lizzo – Special
Song of the Year:
Bonnie Raitt – “Just Like That”
Gayle – “abcdefu”
Lizzo – “About Damn Time”
Taylor Swift – “All Too Well (10 Minute Version)”
Harry Styles – “As It Was”
Steve Lacy – “Bad Habit”
Beyoncé – “Break My Soul”
Adele – “Easy On Me”
DJ Khaled feat. Rick Ross, Lil Wayne, JAY-Z, John Legend, and Fridayy – “God Did”
Kendrick Lamar – “The Heart Part 5”
Record of the Year:
Lizzo – “About Damn Time”
ABBA – “Don’t Shut Me Down”
Adele – “Easy On Me”
Beyoncé – “Break My Soul”
Mary J. Blige – “Good Morning Gorgeous”
Brandi Carlile feat. Lucius – “You and Me on the Rock”
Doja Cat – “Woman”
Steve Lacy – “Bad Habit”
Kendrick Lamar – “The Heart Part 5”
Harry Styles – “As It Was”
Best New Artist:
Samara Joy
Anitta
Omar Apollo
Domi & JD Beck
Muni Long
Latto
Måneskin
Tobe Nwigwe
Molly Tuttle
Wet Leg
Best Alternative Music Album:
Wet Leg – Wet Leg
Arcade Fire – WE
Big Thief – Dragon New Warm Mountain I Believe in You
Björk – Fossora
Yeah Yeah Yeahs – Cool It Down
Best Alternative Music Performance:
Wet Leg – “Chaise Lounge”
Arctic Monkeys – “There’d Better Be a Mirrorball”
Big Thief – “Certainity”
Florence + The Machine – “King”
Yeah Yeah Yeahs feat. Perfume Genius – “Spitting Off the Edge of the World”
Best Rock Performance:
Brandi Carlile – “Broken Horses”
Bryan Adams – “So Happy It Hurts”
Beck – “Old Man”
The Black Keys – “Wild Child”
IDLES – “Crawl!”
Ozzy Osbourne feat. Jeff Beck – “Patient Number 9”
Turnstile – “Holiday”
Best Rock Song:
Brandi Carlile – “Broken Horses”
Red Hot Chili Peppers – “Black Summer”
Turnstile – “Blackout”
The War on Drugs – “Harmonia’s Dream”
Ozzy Osbourne feat. Jeff Beck – “Patient Number 9″
Best Rock Album:
Ozzy Osbourne – Patient Number 9
The Black Keys – Dropout Boogie
Elvis Costello & The Imposters – The Boy Named If
IDLES – Crawler
Machine Gun Kelly – Mainstream Sellout
Spoon – Lucifer on the Sofa
Best Metal Performance:
Ozzy Osbourne feat. Tony Iommi – “Degradation Rules”
Ghost – “Call me Little Sunshine”
Megadeth – “We’ll Be Back”
Muse – “Kill or Be Killed”
Turnstile – “Black Out”
Best Solo Pop Performance:
Adele – “Easy on Me”
Bad Bunny – “Moscow Mule”
Doja Cat – “Woman”
Steve Lacy – “Bad Habit”
Lizzo – “About Damn Time”
Harry Styles – “As It Was”
DJ Khaled feat. Rick Ross, Lil Wayne, JAY-Z, John Legend, and Fridayy – “God Did”
Best Solo Pop Duo/Group Performance:
Sam Smith & Kim Petras – “Unholy”
ABBA – “Don’t Shut Me Down”
Camila Cabello feat. Ed Sheeran – “Bam Bam”
Coldplay & BTS – “My Universe”
Post Malone & Doja Cat – “I Like You (A Happier Song)”
Best Pop Vocal Album:
Harry Styles – Harry’s House
ABBA – Voyage
Adele – 30
Coldplay – Music of the Sphere
Lizzo – Special
Best Dance/Electronic Recording:
Beyoncé – “Break My Soul”
Bonobo – “Rosewood”
Diplo & Miguel – “Don’t Forget My Love”
David Guetta & Bebe Rexha – “I’m Good (Blue)”
Kaytranada feat. H.E.R. – “Intimidated”
RÜFÜS DU SOL – “Intimidated”
Best Dance/Electronic Album:
Beyoncé – Renaissance
Bonobo – Fragments
Diplo – Diplo
Odesza – The Last Goodbye
RÜFÜS DU SOL – Surrender
Best Rap Album:
Kendrick Lamar – Mr. Morale & the Big Steppers
DJ Khaled – God Did
Future – I Never Liked You
Jack Harlow – Come Home the Kids Miss You
Pusha T – It’s Almost Dry
Best Rap Song:
Kendrick Lamar – “The Heart Part 5”
Future feat. Drake and Tems – “Wait for U”
Jack Harlow feat. Drake – “Churchill Downs”
DJ Khaled feat. Rick Ross, Lil Wayne, JAY-Z, John Legend, and Fridayy – “God Did”
Gunna and Future feat. Young Thug – “Pushin’ P”
Best Rap Performance:
Kendrick Lamar – “The Heart Part 5”
DJ Khaled feat. Rick Ross, Lil Wayne, JAY-Z, John Legend, and Fridayy – “God Did”
Doja Cat – “Vegas”
Gunna & Future feat. Young Thug – “Pushin P”
Hitkidd & GloRilla – “F.N.F. (Let’s Go)”
Best Melodic Rap Performance:
Future feat. Drake and Tems – “Wait for U”
DJ Khaled feat. Future and SZA – “Beautiful”
Jack Harlow – “First Class”
Kendrick Lamar feat. BLXST and Amanda Reifer – “Die Hard”
Latto – “Big Energy (Live)”
Best Música Urbana Album:
Bad Bunny – Un Verano Sin Ti
Rauw Alejandro – Trap Cake, Vol. 2
Daddy Yankee – Legendaddy
Farruko – LA 167
Maluma – The Love & Sex Tape
Best Americana Album:
Brandi Carlile – In These Silent Days
Dr. John – Things Happen That Way
Keb’ Mo’ – Good to Be…
Robert Plant & Alison Krauss – Raise the Roof
Bonnie Raitt – Just Like That…
Best Comedy Album:
Dave Chappelle – The Closer
Jim Gaffigan – Comedy Monster
Randy Rainbow – A Little Brains, a Little Talent
Louis CK – Sorry
Patton Oswalt – We All Scream
Best Music Video:
Taylor Swift – “All Too Well: The Short Film”
Adele – “Easy on Me”
BTS – “Yet to Come”
Doja Cat – “Woman”
Kendrick Lamar – “The Heart Part 5”
Harry Styles – “As It Was”
Best Music Film:
Various Artists – Jazz Fest: A New Orleans Story
Adele – Adele One Night Only
Justin Bieber – Our World
Billie Eilish – Billie Eilish Live at The O2
Rosalía – Motomami (Rosalía TikTok Live Performance)
Neil Young & Crazy Horse – A Band A Brotherhood A Barn
Best Score Soundtrack for Visual Media:
Germaine Franco – Encanto
Michael Giacchino – The Batman
Hans Zimmer – No Time to Die
Jonny Greenwood – The Power of the Dog
Nicholas Britell – Succession: Season 3
Best Compilation Soundtrack for Visual Media:
Encanto
Elvis
Stranger Things: Soundtrack from the Netflix Series, Season 4 (Vol 2)
Top Gun: Maverick
West Side Story
Best Remixed Recording:
Lizzo – “About Damn Time (Purple Disco Machine Remix)”
Beyoncé – “Break My Soul (Terry Hunter Remix)”
Ellie Goulding “Easy Lover (Four Tet Remix)”
The Knocks & Dragonette – “Slow Song (Paul Woolford Remix)”
Wet Leg -“Too Late Now (Soulwax Remix)”
Best Engineered Album, Non-Classical:
Harry Styles – Harry’s House
Bayn – Adolescence
Robert Glasper – Black Radio III
Father John Misty – Chloë and the Next 20th Century
Wet Leg – Wet Leg
Producer of the Year:
Jack Antonoff
Boi-1da
Dernst “D’Mile” Emile II
Dahi
Dan Auerbach
Additional reporting by Brody Levesque
****************************************************************************
Rob Watson is the host of the popular Hollywood-based radio/podcast show RATED LGBT RADIO.
He is an established LGBTQ columnist and blogger having written for many top online publications including Parents Magazine, the Huffington Post, LGBTQ Nation, Gay Star News, the New Civil Rights Movement, and more.
He served as Executive Editor for The Good Man Project, has appeared on MSNBC and been quoted in Business Week and Forbes Magazine.
He is CEO of Watson Writes, a marketing communications agency, and can be reached at [email protected] .
Arts & Entertainment
Sci-fi has long been at vanguard of LGBTQ representation
Story lines now criticized as ‘woke’ is weird
Since I was a teenager, I have liked sci-fi because of the depth with which it explores social issues. At the time, I didn’t know that I was autistic and queer, so I couldn’t see myself in other autistic and queer people. Instead, I saw myself in androids, mutants, telepaths, and sometimes aliens who were portrayed as minorities persecuted by the human majority. It was a universal language for talking about alienation, systemic discrimination, conversion therapy, segregation, and internalized self-hatred.
Now, when so many sci-fi stories are being criticized online as “woke,” it seems weird for me. This is especially true when we are talking about franchises, such as the British TV series “Doctor Who” and American franchise “Star Trek,” both of which have always been remarkably progressive by the standards of their own time.
Let’s take a closer look at “Doctor Who.”
In June 2026, the BBC cancelled the planned Christmas special, saying that viewers would have to wait longer for the next season after internal studio issues, and now the BBC is looking for new production partners. “Doctor Who” is the longest-running science fiction television series in the world, originally airing from 1963 to 1989 before returning in 2005. The future of the franchise is currently unclear, and many people online immediately began blaming “wokeness” for what had happened to their favorite show.
After all, the Doctor, an alien Time Lord who can regenerate and literally change faces, had traditionally been played by white men. But the last, Fifteenth Doctor was played by Ncuti Gatwa, a Black Scottish-Rwandan actor who has publicly identified as queer (and the doctor himself was first presented as queer character after a queer romantic episode where he kissed a man), while the Thirteenth Doctor was played for three seasons by Jodie Whittaker, the first woman to portray the Doctor. In 2023, the series also introduced Rose Noble, a trans feminine nonbinary teenager and supportive character played by transgender English actress Yasmin Finney.
But despite popular stereotypes online, “Doctor Who” did not suddenly “go woke.” The program has existed in two main eras: the classic series, which aired from 1963 to1989, and the modern revival, which has been broadcast on BBC One since 2005.
Even in the 1960s, one of the program’s earliest stories, “The Daleks” (1963–64), presented an obvious allegory for fascism, racial purity, bigotry and the horrors of war. Throughout the classic era, the Doctor frequently opposed militarism, authoritarian governments, and dictatorships. Many fans have also pointed to moments of queer coding and subtext throughout the classic series.
However, openly queer characters appeared as soon as the modern revival began.
The 2005 revival introduced Captain Jack Harkness, played by John Barrowman, one of the first openly queer recurring characters in the “Doctor Who” universe. He openly flirted with people regardless of their gender and later became the lead character of the spin-off series “Torchwood.” “Torchwood” went even further with LGBTQ representation, featuring multiple queer characters, including trans and nonbinary characters whose identities were treated as a normal part of the story.
“Doctor Who” has always been remarkably progressive for its time. The franchise doesn’t suddenly change its values, it’s always been “woke.”
The same happened with the American franchise “Star Trek.”
It is widely known as one of the most openly left-wing and progressive television franchises ever broadcast. The original series, which aired from 1966-1969, was created during the Cold War and featured the utopian United Federation of Planets, a society without poverty or money that can be characterised as socialist or even communist. It also featured Lt. Uhura, played by Nichelle Nichols, a Black woman serving as a highly respected bridge officer at a time when Black women weren’t portrayed in positions of authority on American television. The series also included one of the first interracial kisses in modern American television, between Capt. James T. Kirk (William Shatner) and Uhura in the 1968 episode “Plato’s Stepchildren,” a moment that had a significant cultural impact.
Gene Roddenberry, the creator of the franchise, said that he had wanted to include openly queer characters as well, but believed it would have been impossible to keep the show on the air because it had already pushed social boundaries in so many other ways.
Today, many viewers — including Elon Musk — claim that “Star Trek” has only recently become “woke.” In reality, I think it actually became less radical than the original series. Even queer characters are not a recent addition to the franchise. One of the earliest major queer characters appeared in “Star Trek: Deep Space Nine” (1993–1999): the Trill officer Jadzia Dax, played by Terry Farrell. In the 1995 episode “Rejoined,” she shared one of the first same-sex kisses in the history of the franchise.
However, for some reason, it was the openly gay couple Paul Stamets (Anthony Rapp) and Hugh Culber (Wilson Cruz) in “Star Trek: Discovery” (2017–2024), together with the trans Trill character Gray Tal, played by trans actor Ian Alexander, that triggered a major backlash among conservative parts of the fandom. That backlash reached another peak with “Star Trek: Starfleet Academy,” which features the canonically gay Klingon cadet Jay-Den Kraag. The actor has spoken about receiving abuse and threats because of the role, despite the fact that there was nothing especially ideological about his character. He was simply a gay character whose sexuality was only one aspect of who he was. In fact, considering the ideals of the original “Star Trek,” I was more surprised that the franchise still includes relatively few trans or polyamorous characters, and that they are not part of the lead cast. After all, the franchise was created to imagine a future that was ahead of its time.
So why do conservatives and anti-LGBTQ people continue to watch franchises that have always been deliberately progressive? And why do they keep claiming that these shows have only recently “gone woke”?
A more logical explanation is that parts of the audience have become less willing to accept the same kinds of progressive ideas that these franchises have embraced for decades. In other words, it is not the shows that fundamentally changed. Some long-time viewers have become more conservative than they were in their youth, while newer conservative audiences have joined them and begun criticizing franchises without knowing their real history.
In many ways, geeks have changed more than these shows have. Sci-fi hasn’t “gone woke.” Some of its fans have simply become less comfortable with the same progressive values these franchises have promoted for decades.
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