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In comparison, this year’s inauguration, which was dedicated to “Saluting Those Who Serve” (in Iraq) didn’t include a Triangle Ball—not surprising given George W. Bush’s decidedly homophobic record on gay rights. The U.S. is currently embroiled in a bitter debate about the war in Iraq, and the inaugural parade was much less cheerful than Clinton’s back in 1993. This time, protestors gathered along the parade route chanted, “Racist, sexist, antigay. Bush and Cheney, go away.”

Melissa Etheridge’s coming-out in 1993 wasn’t widely covered in the press immediately after it happened—possibly because the press was so busy focusing on the divisive issue of gays in the military, possibly because she admitted it so casually at such a gay-friendly venue. But the months that followed showed that her openness hadn’t hurt her. She won a Grammy Award a couple of months later for her song “Ain’t It Heavy,” and has since sold over 25 million records. Her fourth album, Yes I Am, was a firm declaration of her sexual orientation, and it included her biggest hits ever, “Come to My Window” and “I’m the Only One.”

Since Etheridge came out, she has been a consistent supporter of gay and lesbian rights, and has participated in national advertising campaigns with her previous partner Julie Cypher for PETA, and with current partner Tammy Lynn Michaels, for Cartier.

When she was diagnosed with breast cancer last fall, the outpouring of support from her fans and the media was unprecedented, and she is currently developing a sitcom for ABC in which she’ll play a gay music teacher raising a child.

Although no other out lesbian musician has yet reached the level of success that Etheridge has, her openness about her sexual orientation has had an undeniably positive impact on queer musicians, many of whom no longer feel the need to be closeted. Up-and-coming musicians such as Kinnie Starr, L.P., and Jen Foster started their careers being open about their sexuality. As Foster told AfterEllen.com, “Being real is where it's at. If you can't be real as an artist, I see no point in doing this.”

But perhaps the greatest impact of Etheridge’s coming out lies in the fact that her music is mainstream, heartland-type rock-and-roll built by a midwestern girl (Etheridge is from Kansas) for a working-class audience of women and men. Although her songs have never been overtly lesbian—her lyrics tend toward the universal “you” rather than specifying gender—just knowing that she is gay while hearing her belt out the words to a song like “I’m the Only One” is enough.

Etheridge’s music isn’t limited to a few edgy urban markets on the coasts. Her music is heard on radio stations everywhere—even in those W-loving red states.

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