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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

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Kim Petras & Sam Smith accept the GRAMMY for their duo “Unholy.” (Screenshot/YouTube GRAMMYs)

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.

Harry Styles accepts the GRAMMY for Album of the Year (Screenshot/YouTube GRAMMYs)

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] .

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Annapolis Pride arrives this weekend

Sixth annual LGBTQ celebration held in Maryland capital

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Annapolis Pride is set for Saturday. (Washington Blade file photo by Michael Key)

The Sixth Annual Annapolis Pride Parade and Festival will be held on Saturday, Oct. 3 at 11 a.m. on the streets adjacent to St. John’s College. 

The theme of this year’s Annapolis Pride Parade and Festival celebration is “United in Pride, Together We Thrive!” Saturday’s parade will begin on St. John’s Street adjacent to St. John’s College, continue along Calvert Street to Northwest Street, to Church Circle, and onto West Street. The parade route then turns onto Amos Garrett Boulevard and eventually ends on Constitution Avenue near Maryland Hall.

Those with disabilities will be able to watch the parade from a special viewing porch at the Graduate Hotel at 126 West St. An Annapolis Pride volunteer will be there and available to assist.

For more details, visit the festival’s website. 

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Calendar: October 2-8

LGBTQ events in the days to come

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Friday, October 2

Go Gay DC will host “First Friday LGBTQ+ Community Happy Hour” at 7 p.m. at Freddie’s Beach Bar and Restaurant. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite. 

Saturday, October 3

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation.  Attendance is free and more details are available on Eventbrite.

“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets cost $58.51 and are available on Eventbrite.

Sunday, October 4

Spark Coffee Club will be at 12 p.m. at Spark Social. This is a laid-back daytime hangout built entirely around making new connections. Whether you’re new to the city, new to the community, or just looking to expand your social circle, this is an easy, low-pressure way to spark up a conversation with the person next to you. Come solo or with a friend — you never know who you might meet. For more details, visit Eventbrite. 

Monday, October 5

“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

Tuesday, October 6

DC SAFE and the Mayor’s Office of LGBTQ+ Affairs will host “The Relationship Lab” at 6 p.m. This is a four-week series for LGBTQ+ communities exploring love, boundaries, communication, and connection. Through real conversations and engaging discussions, participants will explore what makes relationships healthy and how to recognize the signs when they’re not. For more details, visit Eventbrite. 

Wednesday, October 7

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.

Center Aging Women’s Social & Discussion Group will be at 6 p.m. on Zoom. This group is a place where older LGBTQ+ women can meet and socialize with one another. To register, visit the DC Center’s website.

Thursday, October 8

The DC Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

South Asian LGBTQ+ Support Group will be at 7 p.m. on Zoom. KHUSHDC provides a safe, confidential space for South Asian LGBTQ community members to come together and share experiences. The peer support group is an outlet for South Asian-identified LGBTQ individuals to come and talk about anything affecting them. It’s a secure, judgement-free environment to discuss relationships, sexuality, health, well-being, identity, culture, religion, or anything that is on your mind. Please feel free to join, and share stories, learn about available resources, and join our community. For more details, email [email protected]. 

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Ryan Murphy’s ‘Monster’ vilifies the lesbian

Netflix show promotes stereotype that queer women are dangerous

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Ella Beatty stars in ‘Lizzie Borden.’ (Photo courtesy of Netflix)

Ryan Murphy’s “Monster: The Lizzie Borden Story” just premiered on Netflix and became the most watched show on the platform. Murphy and his series are deeply controversial. The past three seasons have focused on convicted killers Jeffrey Dahmer, Lyle and Erik Menendez, and Ed Gein, and have garnered considerable criticism for sensationalizing real-life trauma, exploiting victims for entertainment, and glorifying the perpetrators.

But his newest season centers on Lizzie Borden, the white, affluent Massachusetts woman still referenced today in nursery rhymes who was never convicted of killing her parents Andrew and Abby Borden. As with Murphy’s other seasons, the show plays fast-and-loose with real-life history, instead turning a real-life crime into a psychosexual spectacle. 

In real life, Lizzie was found not guilty by an all-male jury in the highly publicized 1892 trial, largely due to a lack of evidence including blood on her clothing and a murder weapon. Her initial statement contradicted her later testimony but her defense team argued that the morphine a doctor repeatedly gave her likely caused her confusion. But despite the fact that Lizzie was acquitted in court, she was ostracized by her community during her life and has been branded a murderer ever since.

Murphy’s highly fictionalized retelling of Lizzie’s story leans into this accusation not only that Lizzie murdered her father and stepmother with an axe but that she was successful in covering it up with the help of the maid Bridget Sullivan. Murphy not only concocts a sapphic relationship between Lizzie and Bridget, pinning the idea of killing Lizzie’s parents on the widely traveled woman who dyes her hair and is repeatedly called a lesbophobic slur by Lizzie’s stepmother, but also portrays Lizzie as an inspiration to Aileen Carol Wuornos, a woman who killed seven men who solicited sex and was also in a relationship with a woman. 

Further, Murphy’s retelling creates a false ending to Lizzie’s story. While in real life, Lizzie and her sister Emma buy a house called “Maplecroft” and live there for the rest of their lives, Murphy instead imagines Bridget returning sporadically for romantic rendezvous with Lizzie and eventually moving back in with her and marching together for women’s right to vote. In real life, Bridget left town immediately after providing testimony and lived in Montana until she died. 

Lesbophobia is at the heart of this retelling of Borden’s story. Despite the fact that Murphy depicts Lizzie and Bridget having sex and possibly getting married or at least promising themselves to one another wearing flower crowns, there is no evidence that Lizzie and Bridget had any romantic or sexual relationship. If they did have a relationship, it would likely have been hidden and any evidence destroyed, but records show that Lizzie herself refused to call Bridget by her real name, instead referring to her as “Maggie,” the name of their previous maid. It was only Lizzie’s stepmother Abby who called Bridget her real name. In Murphy’s retelling, it’s Lizzie’s stepmother Abby who refuses to learn or use Bridget’s actual name and treats her with disdain along with her stepdaughter.

Some people online argue that we are witnessing Lizzie’s story retold through Wuornos’s perspective, so adding in elements of child abuse and sapphic relationships would make sense, but there is no record that Wuornos ever visited Lizzie Borden’s home, or that she was inspired by Borden throughout her life. Instead, Murphy and his co-creator Ian Brennan use (or I would say exploit) Wuornos as a thematic device to make broad stereotypes about female rage across generations. In doing so, they conflate two real-life examples of violence to sapphic individuals.

Depicting a lesbian relationship in this way is not progress, nor is it fruitful representation today. As sapphic shows are increasingly cut and cancelled, Murphy’s inclusion just reinforces the lesbophobic and sexist stereotype that lesbians and queer women are “dangerous” to straight women and abet or incite violence against men and a family unit. At a time when anti-LGBTQ+ legislation and real-world violence and murder of LGBTQ+ people, especially queer and trans people of color, is exploding, stories that frame murder of a family unit as germinating from a sapphic relationship feed into far right narratives.

They further the myth popularized by far right leaders (including those in the highest echelons of government) that LGBTQ+ people are dangerous, a threat to heterosexual norms and family life, despite the data showing that children of same-sex parents have above average health and well-being according to research by the University of Melbourne.

Today, many LGBTQ+ people feel they have to be (or are forced to be) idealized versions of themselves in order to stave off anti-LGBTQ+ stigma, policing and violence. These “acceptable” behaviors and appearances are rooted not only in cisgender, heterosexual norms but also white supremacy, colonialism, xenophobia, and ableism. It is respectability politics that tell us how we can and should behave (including those perpetuating in the wider LGBTQ+ community) and push LGBTQ+ people to assimilate into a society governed by queerphobic normativity. 

I hope it’s clear that I’m not trying to argue that we cannot and should not have shows that depict queer women who kill, or at the very least queer women who are unethical or morally complex. We need these depictions because they ask difficult questions and they reference how some LGBTQ+ people can be and are unethical. In fact, several public LGBTQ+ figures are associated with employee abuse and exploitation, ableism, and fat phobia. 

But when Lizzie’s sapphic identity is invented to drive the story along, arguably to generate interest (especially straight men’s interest) in this spectacle of historical slop, it’s not a story that invites discourse and dimensionality, it’s one that collapses Lizzie, Wuornos, and queer women’s identities and relationships to plot devices. It objectifies and fetishizes queer women, arguably committing violence against not only Lizzie but also Wuornos.

And when there is so little representation of sapphic relationships on mainstream television or streaming platforms, it makes this the vast majority of representation that queer girls and women will see of themselves first, and that the straight public will see. Historians will know that Murphy’s depiction of Lizzie’s life is wrong, but many viewers will not and may not go digging for the truth.

Why not focus on the stories of bisexual, lesbian, and queer women who really existed, shared their identities (sometimes covertly, sometimes not), and had long-term partners? In fact, “Boston marriages” were common in this time period and referred to women living together when sexual and romantic relationships between women were illegal, partially because penal systems didn’t know how women could have sex with one another and didn’t want to put the idea in “impressionable” women’s minds. Why not focus on these stories instead of creating a fictionalized account? We have always existed; we do not need to invent relationships.

Murphy’s depiction of Lizzie Borden is deeply problematic. Lesbophobia is not the only issue at the heart of Murphy’s drama, but it merits a broader discussion about how mainstream media routinely hurt queer women and is part of perpetuating queerphobic violence, and what we all lose in the process. 

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