a&e features
‘In between the lines’
Longtime out rocker on major change, new music and industry sexism

Melissa Etheridge combined a rootsy yet tech-savvy approach to her first independent album ‘I am M.E.,’ her 13th studio album. (Photos by John Tsiavis)
This is M.E. Tour
With Alexander Cardinale
Tuesday, 8 p.m. (doors 6:30)
$77.25-99.75
Lincoln Theatre
1215 U St., N.W.
On a rare night home in Los Angeles just a week into her fall tour, long-time out rocker Melissa Etheridge caught up with Washington Blade by phone. Her current “This is M.E. Tour,” which kicked off Nov. 2 in Mashantucket, Conn., comes to Washington next week.
Touring behind her Sept. 30 album of the same name, Etheridge, on the eve of a Sunday night performance at the National Radio Hall of Fame Induction Ceremony, was candid on a wide spate of topics. Her comments have been slightly edited for length.
WASHINGTON BLADE: The new album feels very textured — more loops, some big, crunchy sounds. Is it hard to discern how far to go with that in the studio?
MELISSA ETHERIDGE: No. I have a rule with all the producers. I tell them right up front, I say, “Look, I’m a live artist, so I need to be able to do whatever they hear on the record live.” Now, not every little huge 10-guitar part or something but my voice, the song, the beat, they have to be able to enjoy that live and I have to be able to do it. Jon Levine (Nelly Furtado, Selena Gomez) was really great at keeping it there and Jerry Wonda (the Fugees, Mary J. Blige, Akon) was so amazing because we created it from the ground up live. … And now he’s performing it with me, so it’s really fun.
BLADE: Are those sounds difficult to replicate on stage?
ETHERIDGE: I told my drummer he can use triggers so it sounds like the record, but he has to hit it. It can’t be a loop because if I want to stop and do anything live, I have to be able to stop. You can do that with stems and take those sounds and put them in the pads so he’s playing live drums but he’s adding the sounds from the pads.
BLADE: I loved the vintage footage in the new video for “Take My Number.” Was that your idea?
ETHERIDGE: That was mine and the director, Dale. When I was making this record, I had just gone through about six months of thinking I was going to put out a box set of old stuff that no one had ever seen or heard, so I went into my attic — actually a storage space like we all have out here in California — and started going through boxes and finding all these old pictures and things. … I wanted to share some of that with my fans and I wanted them to have the feeling I had looking at it of, “Oh my God, it really has been 30 years since I’ve been doing it here in California, wow.” It fit because there’s also a lot of reminiscing in the song.
BLADE: So is the box set on ice for now?
ETHERIDGE: Yes, because right when I was about to finish it I went through this — well it was akin to the emotional and personal change that I went through about 10 years ago, I went through that again last year with my business self so last year I changed management, my record company and everything. … So when I realized I wasn’t going to make any money on the box set, Universal would make it all because they own all the masters, I started thinking, “How can I not make money on the things that I did?” So we put that away for now. Sometime I will present it when I’m not looking at it as a way to make money but just as a thing that I can release to people and share.
BLADE: Sounds like some drastic changes. Were you afraid of burning bridges?
ETHERIDGE: I have worked with some of these people for 25-30 years and I’d had relationships with them my whole career. There are some wonderful, hard-working, amazing people who obviously got me to an amazing place in my life and career and I’m so grateful and thankful for them. But it’s a different industry out there enow. The artist has more control and more power and if you can do it live, if you can bring it, if you can be real and consistently bring it, that’s worth something and you can own your own music and cultivate your social media and career, so I’m very excited about what I’m doing right now.
BLADE: You said in one recent interview that you flatlined after the last album, “4th Street Feeling” (2012). What did you mean?
ETHERIDGE: Well, I had done two or three or four tours in a row where I kind of played to the same number of people. They were wonderful shows and there are people, whether I’m on the radio station or not, there are people who if you put a show for sale in a certain town, those people are going to come see me because they have a great time. Those are my fans that I love and I couldn’t be me without them. But I also think there’s a lot of people out there in the world who, if given the chance, I’d like to think would also enjoy the music and I felt I wasn’t reaching those people. I didn’t want to be comfortable. I wanted to challenge myself and see if I could reach more people and see if I could get more people interested in this crazy thing called rock and roll.
BLADE: It irks the shit out of me in Rolling Stone when they review albums by women rockers and even when it’s a fairly positive review overall, they’ll get in these little digs and say stuff like, “She’s better when she reins in her over-the-top tendencies.” They never say shit like that about Springsteen or Steven Tyler (Aerosmith) or the male rockers. Are you kidding me? Rein it in? It’s fucking rock and roll. They can only stomach women rockers if they keep it safe and “rein it in.” Do you feel it’s sexist?
ETHERIDGE: You know Joey, sometimes I think you are the little devil on my shoulder. You know, like there’s an angel over here and a devil over here because it’s like you know the little funny things in my life that are kind of buttons for me. You have that sense of justice that I have that sometimes gets me in trouble like we did last time (comments Etheridge made in a 2013 Blade interview about Angelina Jolie went viral). But I made an oath to myself a long time ago, like 20 years ago, that I would always answer truthfully what was asked of me. I answered truthfully and I do not regret that at all. It opened up some amazing conversations, not just with me but across the nation, so it’s all good. But yes, back to Rolling Stone. My wife so gently just sort of, you know, pats me on the head and says, “Oh honey, don’t let …” because, yeah, I think those things. Why do they call it histrionic on me yet I’m singing the exact same type of thing Steven Tyler sings and you said it exactly. My rock heroes were people like Robert Plant, and he was up there singing like Janis Joplin who stood up there and sang like a black woman. It’s soul. And I mean “Dude (Looks Like a Lady),” Steven Tyler presents like the male androgyny yet when I showed up on this end of androgyny it was like, “Whoah, wait a minute, there’s something uncomfortable about it” and it’s taken them a long time. But I’m being patient now. I believe that they will all understand that part of themselves and that a stronger older female is not strange. It’s actually a very ancient part of culture that we sort of let go.
BLADE: The coverage of women rockers often feels so grudging. There’s the old boys club like U2, the Stones, Bob Dylan — and I’m certainly not suggesting these acts aren’t deserving — but they fart and Rolling Stone gives them a four- or five-star review. When you or Sheryl Crow or people like that are profiled, they want to talk about your family, your kids, who you’re dating, this whole domestic thing. The male rockers get a little of that but it’s so out of proportion. Does this bother you?
ETHERIDGE: Well, it doesn’t bother me but it is one of the reasons I made the album that I made. There’s a song on it called “All the Way Home” that was banned from being played in Barnes & Noble, right? So Barnes & Noble, bless their hearts, wanted to play the album in their stores but they said they wouldn’t play that song. It’s too lusty, it’s too “I got lightening in my eyes and a fire down below.” I just get all naughty on this album because I think that’s so much of what rock and roll is. Rock and roll comes from that black woman who’s singing naughty songs that we’re not supposed to hear. But we’re under our sheets listening to her sing. That’s rock and roll and it’s easy for me to represent that. That’s why I have the band I have now, it’s a more soulful band. That’s where I was with making this album. Even though it’s more technical, it’s like the roots of rock and roll but with technology, with purpose.
BLADE: So many veteran acts just keeping milking the hits on endless tour and maybe they put out an album six or eight years ago, maybe not. You’ve kept them coming every two years or so. Are you just the kind of songwriter who would go crazy without some outlet? How do you keep that drive when the money is all in touring?
ETHERIDGE: Oh yeah, people have told me it might be better if I went away for awhile. And I went like, “I don’t want to go away. What do you mean go away? This is what I am, this is what I do.” Even my mother a few years ago, she said, “Don’t let people think this comes too easily for you.” I’m like, “Why not? This is what I do, what I love.” I love to write songs about the human experience that I’m having and I love to get on stage and say, “Oh my God, did you feel this? Can you relate to this? Can we exchange this energy?” … It’s just amazing. I love doing it.
BLADE: You often put six or eight cuts from the new album in your show. Do you sense your fans are OK with that as long as you hit the staples like “Come to My Window” and “Bring Me Some Water”?
ETHERIDGE: Right. This tour was sort of a gamble for me but one I really, really believed in because I see my fan base, the ones who come out and yes, of course, they love “Come to My Window,” they love “I’m the Only One,” and thank goodness there’s those six or seven songs that they know I’m going to play. We have a great time and I love those songs, I’m so grateful for those songs. And then the rest is my choice. It might be the kind of tour where I dig a little deeper in my catalogue and pull out deeper album cuts and they’re like, “Oh, she did this song, this night,” that’s great. I love doing that. But every now and then an album comes along — and actually I haven’t really felt this strongly about one since the mid-‘90s — but I feel so strongly about the music that I play so much of the new album because I really do believe the audience will enjoy it. I believe there will be enough people who have listened to the album that they’re going to lose their minds and the other people are gonna want to go home and buy it. I’m rolling the dice on that, but I feel really confident.
BLADE: Covers albums are all the rage this season — Bryan Adams, Bette Midler, Aretha Franklin. What song would you love to cover someday?
ETHERIDGE: My whole childhood like from 13 to 27, I sang other people’s songs all the time. Something crazy rock and roll like “Mississippi Queen” (Mountain) or Springsteen “Darkness on the Edge of Town.”
BLADE: You’re not one of these artists whose stuff has been anthologized to death with these ICON CDs you see at Target and all that. Is Island going to start that now that you’re gone?
ETHERIDGE: It will be something that’s not much in my control, yeah. I haven’t ever pushed for that kind of thing because I love the feeling of being sort of a little bit underground. Even though I’m successful, always being a bit on the outside. The box gets full and falls over and I’m still there outside the box so then I’m on the beginning of the next thing. I stay in between the lines and I like it there. I love it.

Melissa Etheridge says singing live is ‘just amazing. I love doing it.’ (Photo by John Tsiavis)
a&e features
D.C. LGBTQ sports bar Pitchers listed for sale
Move follows months of challenges for local businesses in wake of Trump actions
A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.
The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.
He said the sale price will be disclosed to “those who are interested.”
“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.
“Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”
It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”
“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says.
Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price.
News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets
In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.
The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.
The sales brochure can be accessed here.
a&e features
Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather
Highly anticipated film a refreshingly loving look at Dom-sub life
Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in.
Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on.
That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones.
“This was a small film by a first time filmmaker and it wasn’t financed when I read it,” Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”
Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”
For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film.
“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.”
Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”
He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”
One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.
“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”
For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present.
“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”
Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”
This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series, Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”
a&e features
MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
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