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Ain’t life Grand

‘All American Boy’ on funneling fame into something sustainable

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Steve Grand, gay news, Washington Blade
Steve Grand, gay news, Washington Blade

Singer Steve Grand says he is not driven by financial payoff when making music. (Photo by Christopher Free)

Steve Grand says it’s become trendy for gay celebs to come out in an “oh-by-the-way”-type manner. The 25-year-old singer/songwriter says that was never his style.

“People say this is no big deal anymore, who cares,” he says. “You know who cares? The kids who are still really struggling with this. The kids who feel like they would still rather be dead than live life as a gay person. I’m thinking about them all the time when I’m doing these things because deep down, we all just want to be loved. … We want to feel valued and understood.”

In 2013, the Chicago native took $7,000 of his own money to make a music video for his song “All-American Boy.” The now-famous clip — nearly 4 million YouTube hits logged — found him jamming roots-rock style (many called it country) and pining for a straight friend. Now having raised $325,000 from 5,000 fans through a Kickstarter campaign, Grand is releasing a 13-track album of the same name. The Aaron-Johnson-produced project is slated for a March 24 release. We caught up with Grand from his Chicago home by phone. His comments have been slightly edited for length.

WASHINGTON BLADE: Nobody sets out to be a one-hit wonder. You seem like you’re on a logical path to spinning the attention from the video into a sustainable career. How easy or hard has that been so far?

STEVE GRAND: I think I did a good job of keeping my feet on the ground. I went through the whole viral Internet star thing and that was big for a short time. I fumbled a bit in interviews and was trying to figure out if I was going to do shows right away, work on an album. There really was no plan and looking back it seems almost like a hindrance that the video and song came together so beautifully because I don’t think people realized it was really just me doing all that. People suddenly had all these really high expectations right away and I didn’t have a team, no manager, label, it was just something I did all myself with my own money made from playing bars on weekends. … It gave me a good jumpstart and exposed my music to a lot of people right off the bat and connected with a lot of people. I have to be grateful for that but it has a dark side too, for sure.

BLADE: Obviously the video wasn’t just something you did off the cuff. How calculated was it?

GRAND: I really wanted to start a grassroots kind of thing and I thought if I put it out there and people responded, that would be a good start to establishing myself as an artist so I just started asking around, finding people who did videos and eventually I met up with (director) Jason Knade. … I think I really stretched everyone and got a lot for my money. I was very passionate about it and I really cared about getting that song and video out to the world … but no, it wasn’t calculated in terms of anything after. I’ve said this a few times and it doesn’t seem to really stick, but I really did just upload it to YouTube and put it on Facebook and then the Internet did its thing. I wasn’t even sure who to reach out to. I remember thinking, “Oh, maybe I should e-mail Davy Wavey or something,” but it just did its own thing. Buzzfeed got it the next day and said I was the first openly gay country singer and I was like, “What?” I never really stood by that title but I was glad people were seeing it.

BLADE: When was it filmed and how long did it take?

GRAND: We filmed it in June of 2013 and shot it over three days. It was really hard trying to find a yard that we could bring all my friends as extras and have a place that looked like open roads and a campfire and light off fireworks and not get in trouble. I had so much trouble getting a place. No one wants to lend their place to a bunch of 23 year olds with cameras, fireworks and alcohol, but we did end up finding a place in Wisconsin through a friend of a friend. I invited like 200 people knowing maybe 30 would show up and I was right. We shot two days back to back, then a week later shot the stuff in a friend’s yard where it looks like the morning after with the fire and the garbage. Then we edited it right away.

BLADE: I guess people were skeptical because it looked so professionally done. So many essentially homemade videos end up looking so cheesy. How did you avoid that?

GRAND:  Well, I insisted on looking at all the footage we shot even though nobody wants to do that because it’s so crazy, but I insisted. I was like, “Give me the footage.” I wanted to be sure we had absolutely the best shot of everything so I spent hours and hours going through it. I also really needed it to be up by the Fourth of July, that was my plan, me being calculating I guess. I thought that was the best time to release it so we had a very limited amount of time. The editor had his first edit, then we spent eight hours going over everything making tweaks. … I really just knew exactly how I wanted it to look and I knew the feeling I wanted people to have and how to achieve that. I was very inspired and very determined and also lucky to have some very talented people to help. … I drove myself nuts, though. My parents were starting to get really worried. They were like, “It’s a little scary how you’re so intense about this.” I wasn’t sleeping or eating, which honestly is why I look so ripped in the video. It was really going over every last detail right up until the last minute.

BLADE: When hip-hop made its mark on pop, country started sounding a lot like where pop/rock was in the ‘90s. Do you think that’s why you got the country sticker?

GRAND: Yeah, live drums, acoustic guitar now, people think country. And also the storytelling style and a lot of the visuals with American flags, old cars, friends by the fire, whisky — those are very country images I guess. I just think of them as Americana. I’ve never gotten too hung up on what it’s called. … If it sounds country to you, that’s fine. … I’m just all about making the song really shine and bringing out the beautiful raw elements of the song.

BLADE: There’s a lot of industry hand wringing about whether albums are obsolete. Why was it important to you to make one?

GRAND: It was something I always wanted to do. After “All American Boy” came out people were like, “You made it, you made it.” I’m like, “I haven’t done anything yet.” Until I have an album out and have played all over the country and the world, then I’ll feel I’ve done what I’ve wanted to do since I was 12. Right after “All American Boy,” all these offers came in, all this stupid shit like reality TV and you know, people saying you have to decide today what you want your career to be like. … My thinking all along was if I’m a good songwriter and a good performer and I think there’s an audience out there for me, if that is all true, then there should still be something left when this moment fades away.

BLADE: Will you tour?

GRAND: Yeah, later in the spring. We’re doing this thing in Europe for two weeks in June and the rest is being put together now.

BLADE: How did you feel watching Sam Smith at the Grammys?

GRAND: It was amazing and a testament to where we are today, which is a beautiful thing. I thought about what it would have meant to me as a young person to have seen something like that — Sam Smith just owning the Grammys, that was amazing. He’s obviously just so, so good and the industry has really embraced him. People everywhere just seem to really like him.

BLADE: What album did you wear out when you were 12-13-14?

GRAND: Fall Out Boy, “Take This to Your Grave.” I listened to that like crazy. That’s when that whole pop-funk-emo thing was happening.

BLADE: You played a lot in clubs and churches. What did you learn?

GRAND: How to be in front of people and give them an experience even when I wasn’t feeling it. You learn to perform and be on whether you’re having a bad day, hung over, sometimes sick, whatever. I learned it was my job to still play and make people happy.

BLADE: There’s no money in having a huge YouTube hit and not that I sense you’re doing all this for the money but surely in time you want to be able to sustain yourself doing this. You put a lot of money into the video. Was it worth it?

GRAND: Anytime somebody thinks I’m doing this for the money, I just laugh forever. I actually moved out of my apartment and back into my parents’ basement because I wanted to keep investing in myself and not throwing hundreds of dollars away for an apartment I was barely at anyway because I was spending so much time traveling to L.A. and recording. People have all sorts of priorities and so far, mine has been putting out something beautiful in the world, something people will connect to and giving people an experience. … I don’t care about living a glamorous life.

Steve Grand, gay news, Washington Blade

Steve Grand says he knew his ‘All American Boy’ video would be successful. (Photo by Joem Bayawa)

BLADE: You’ve done a lot of scantily clad photo shoots. Do all the underwear shots risk undermining a serious career?

GRAND: Those were all done when I was 19, so like six years ago. I didn’t do drugs or anything. My way of rebelling was taking off my clothes. I don’t own them and don’t choose my Google search so there’s nothing I can do about it. I’m not ashamed of them and I don’t feel like they’re any big deal … but most of the time now I don’t care how I look. Sometimes I’ll do a show now and people say, “Take off your shirt.” The only time I did that was for the ALS Ice Bucket Challenge in Lake Superior. But now, I don’t really care about showing off my body.

BLADE: Whatever ingredients are needed to launch a successful pop career in 2015 — whatever combination of looks, talent, and so on, to say nothing of drive, it would seem you were dealt a pretty good hand in life. Would you concur?

GRAND: Oh yeah, I’m never one to downplay that, absolutely. We’re not all dealt the same hand. I think I’m lucky to a certain extent but also lucky to have work ethic and passion and to care about what I do. … You really have to be in this for the right reasons because if you’re not, it’s just not worth it.

BLADE: You’ve said before in interviews you were not dating but focusing on career development. Is that still the case?

GRAND: Absolutely. And even if I was, I wouldn’t say. I like to keep some things to myself. I love life and sex and all that, but that’s for me.

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D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

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Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

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.

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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

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Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

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.”

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MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

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Tristan Schukraft (Photo courtesy of Schukraft)

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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