Last night, the 65th Annual GRAMMY Awards celebrated the rebel. The three-hour televised ceremony compromised on the industry’s long-standing resistance to open its arms to the subversive artists, the non-white and non-heteronormative trailblazers who lived their truths despite being presented with every obstacle to sitting at the table when thousands are chanting their name and screaming their lyrics. Finally, someone let Bad Bunny’s vibrant genius take over the stage. As the most streamed artist in the world for the third year, the Puerto Rican rapper opened the show with a gloriously extravagant showcase of his homeland with “El Apagón” and “Después de la Playa.” It was a fitting introduction to the night—not only because of the exuberant energy, but also because it set the stage for the Academy and its winners to emphasize the importance of a vast spectrum of artistic authenticity throughout the night.
Cheesiness aside, ceremony host Trevor Noah had a point when he preached about harmony being able to resonate because of differences between people rather than in spite of them. And those differences that made music history were given their due: Motown’s legacy, specifically a nod to Berry Gordy and Smokey Robinson, was celebrated with a performance by Robinson, Stevie Wonder, WanMor, and Chris Stapleton. Sam Smith and Kim Petras won for Best Pop Duo with their scandalous single “Unholy.” Petras made history as the first trans woman to win the award and shouted out the late, legendary trans artist SOPHIE. (It’s still unbelievable that we’ve soldiered on two years since her passing.)
The ceremony’s true peak was the star-studded celebration of hip-hop’s influential 50 years of existence. After decades of insufficient respect for the genre’s artists with nary a nomination, the performance almost felt like a truce from the Academy—as well as a true celebration of music slotted into proceedings oftentimes too focused on the spectacle. The joy was palpable every time the camera panned to the crowd of music’s elite rapping along with Scarface for “My Mind’s Playing Tricks on Me,” or Queen Latifah with “U.N.I.T.Y.” The awe of Busta Rhymes was electric. It was a reminder that outside of their thousand dollar fits and luxury lives, these are people passionate and appreciative for the serotonin-boost that music gives to keep us carrying on.
“I’m here to give thanks to all the rebels out there forging a new path and taking the heat for all of it,” Madonna said before introducing Petras and Smith for their performance of their now award-winning single. “Your fearlessness does not go unnoticed.” This felt like the thesis of the night, with performances and celebrations of genres spearheaded by Black or Latina or queer artists that didn’t get mainstream recognition for decades because of systemic bigotry. And still, these minds create the culture. Last night, the GRAMMYs showed how that happened from the ’60s with Motown, the following decade with hip-hop, and how popular music is still being revolutionized by marginalized voices.
Maybe what’s most surprising, after having been through the last five-plus years, was how simply good-spirited the night felt. As Lizzo pointed out in her acceptance speech for Record of the Year, positivity in itself can be a rebellion. “When we lost Prince, I decided to dedicate my life to making positive music,” she said. “In a world where there’s a lot of darkness and scary shit, not only can people do good, but people are good,” she beamed. Although the end-goal of authenticity might be elusive, it’s the path toward it which is significant. “Stay true to yourself,” she added for the ones watching who may feel left on the outside looking in. “You will attract people in your life who believe in you and support you.”
I can’t help but return to something Kendrick Lamar said after receiving his golden gramophone for Best Rap Album. “We all entertainers stupid, we say things to provoke thoughts and feelings and emotions,” he said, referring to his latest album Mr. Morale and the Big Steppers, his most polarizing yet. Adjacent to authenticity is perfection. In a way, they’re both a mirage—something that morphs once we get close enough to it. After thinking about his evolution into one of the most lauded musicians of our time, he expressed an unexpected gratitude: “I finally found imperfection with this album, so I appreciate y’all.”
Similar to the GRAMMYs, Lamar’s speech expresses thanks for the journey. Like the 28-year-old holding up Puerto Rico, or the singer that went from working in a small-town bakery to winning Album of the Year, or the reigning Queen of GRAMMY wins who’s wowed the world time and time again, or the music that went from a Bronx house party to taking over the world, time eventually pushes the rebels to the front. It’s a blessing to witness their journey. FL
