a&e features
Former Madonna dancer Slam recalls ‘Blond Ambition Tour,’ ‘Truth or Dare’
Salim Gauwloos revisits landmark film on its 25th anniversary
Salim Gauwloos today at work teaching dance in New York. (Photo courtesy Gauwloos)
“Truth or Dare”
Monday, Sept. 12
9 p.m.
AFI Silver
$13
8633 Colesville Rd.
Silver Spring, Md.
“Madonna: Truth or Dare,” the landmark 1991 documentary (aka “In Bed With Madonna”) is widely remembered not only as an eye-popping memento of the singer’s legendary “Blond Ambition Tour,” but also as a gay cultural touchstone.
In some ways, it’s the gay equivalent of classic rockumentaries like “Gimme Shelter” or “The Last Waltz” but it’s more than that, too. Not only because it captures Our Lady at the peak of the zeitgeist, but also because its depiction of Madonna’s back-up dancers (of the seven, only Oliver Crumes was straight) being so matter-of-factly out that it felt almost otherworldly to the gay boys who lapped it up in Peoria and everywhere else.
In honor of its anniversary — it screens twice in the coming days at the AFI Silver — we caught up with Salim “Slam” Gauwloos, one of the “Blond Ambition” dancers whose onscreen kiss with the late Gabriel Trupin is one of the film’s most memorable moments. His comments have been slightly edited for length.
Madonna’s ‘Blond Ambition Tour’ dancers, made famous in the film ‘Truth or Dare,’ reunited for ‘Strike a Pose.’ Clockwise from left are Luis Camacho, Oliver Crumes, Carlton Wilborn, Kevin Stea, Jose Gutierez and Salim Gauwloos. (Photo by Robin De Puy)
WASHINGTON BLADE: Before we get to “Truth or Dare,” tell us a little about “Strike a Pose,” the reunion documentary you’re in with the other “Blond Ambition Tour” dancers. When will we get to see it in Washington?
GAUWLOOS: It’s a great movie, you’ll enjoy it. They’re working on a U.S. theatrical release early next year. Before everybody downloads it. You’ll see it soon. It’s a beautiful movie. They did a great job.
BLADE: But it has already been on the festival circuit, right?
GAUWLOOS: Yes. We mostly go out in twos, only in Berlin and Amsterdam they flew everybody over, but mostly just two of us to wherever. I went to Colombia, to Tel Aviv. It takes a lot of time always, but it’s fun. Almost like being on tour again.
BLADE: How did they pitch you on “Strike a Pose”?
GAUWLOOS: They approached me in 2013. I was doing a job, this big dance festival in Vienna and they contacted me. I said, “OK, I’ll meet with Reijer Zwaan,” one of the directors. He came to meet me in Vienna and we must have talked for about eight hours. It just felt right, I don’t know. I think the directors, Ester Gould and Reijer Zwaan, these directors from Holland, they’re amazing storytellers. I did kind of think, “Do I really want to throw myself out there again to be judged really in some kind of way, I want to be careful about that,” but I had a really good feeling about it.
BLADE: Did you talk to the other dancers before agreeing to it?
GAUWLOOS: No. I think the last one to jump on board was Jose (Gutierez). I felt it really should be all the dancers. Of course Gabriel (Trupin), he passed away a long time ago, but his mother represents him in the movie and that’s really beautiful. It wouldn’t have been the same without all the dancers so in the end, we all agreed and started shooting in 2014.
BLADE: Had you seen the other five any since the “Truth or Dare” premiere or kept in touch with them at all?
GAUWLOOS: No. For example, Carlton (Wilborn), Oliver (Crumes) and Kevin (Stea), I hadn’t seen for probably close to 25 years. Maybe 24 years. And Luis (Camacho) I’d seen a little bit here and there but that was probably like 12 years. Jose (Gutierez) and I both live in New York so I saw him a little bit here and there but with most of them, I’d had literally no contact at all. It was so amazing to see them all again after 25 years.
BLADE: What was different about this project?
GAUWLOOS: We’ve been approached so many times but in the end, it’s just mostly about Madonna but these guys really wanted to know what happened with us during the tour and what was happening with us right now, 25 years later, what we were up to, so that was really nice.
BLADE: You said recently that Reijer Zwaan was almost like your psychiatrist. How so?
GAUWLOOS: You probably know I was diagnosed in 1987 as being HIV-positive and I wanted to be out with that for a long time. It just felt silly to not be. So then along came Reijer and we talked for eight hours and it just all came out you know, crying and it was really the first time I sat with somebody I didn’t really know and told them, “Yes, I’ve been HIV for 29 years,” 27 at the time. I was like, “Oh my God, I feel like I’ve just been to a psychiatrist.” I’ve never been to a real one. Maybe I should (laughs).
BLADE: Madonna made a surprise appearance at a “Truth or Dare” anniversary screening a couple weeks ago in New York. What did it feel like when she walked in the room unannounced?
GAUWLOOS: It was surreal. We were just sitting there and we’re thinking, “OK, why isn’t the movie playing?” and boom, she walks in. It was like the whole room just gasped for air. You couldn’t believe it was real. She just sat down, watched the movie and left. But it was amazing.
BLADE: Had you seen her at all in the last 25 years?
GAUWLOOS: I hadn’t seen her in a long, long, long time. People on social media were like, “Oh my God, did she talk to you guys?” but we were in the front row and she was more in the back. Jose and I should have gone up to her but it wasn’t really the right moment. When she walked in it was just like, “Whoah, I’ve never felt that kind of energy in one room.” It was interesting watching the movie with her. It’s a good film. Very funny.
BLADE: How does it strike you seeing it now?
GAUWLOOS: I watched it a few years ago before we did “Strike a Pose.” When I see it I’m like, “Oh my God, my hair.” Me and my hair, it’s the only thing I can look at. I can’t stop flipping it, you know. It’s like I was so busy with my hair always. I’m just happy to have been part of such a big, iconic moment. If you look at the concert footage, it doesn’t look dated. The whole thing is just amazing. The least annoying thing for me is the kiss, the most important gay kiss in history. That I don’t have a problem watching but some of it I’m like, “Oh my God, no I did not just say that.” It’s like going back in time. It was a good experience.
BLADE: Wasn’t your hair sort of annoying at that length always falling in your face?
GAUWLOOS: Well when you dance, your hair flies around so it has more of an effect. I liked having longer hair and swinging it around.
BLADE: Speaking of hair, why did Madonna change her hair halfway through the tour? That ponytail look was so iconic for her but then she did the curls, which became kind of a trademark look too. It feels odd to me watching “Truth or Dare” because she’s always backstage and it’s supposed to make you feel like she’s walking out into the concert footage but it doesn’t match because she has the different hair.
GAUWLOOS: It was just like one day she had the ponytail and then she just went to the Shirley Temple curls. I don’t think there was any specific reason for it. With the ponytail sometimes it would fly around in your face so I think the curls were easier. Personally I liked the curls more.
BLADE: I’m sure you got wacked in the face with that ponytail a few times.
GAUWLOOS: Yeah and as a girl dancing with a ponytail, it’s like a delayed slap and it must have been difficult for her too.
BLADE: But it wasn’t that her hair was falling out from too much bleaching or pulling up or anything?
GAUWLOOS: No. She had strong hair.
BLADE: Do you feel she’s a bit aloof with you guys or do you think that’s just the way any major star would pretty much be?
GAUWLOOS: I don’t know. After 25 years, you know, it’s a long time. People go on with their life and deal with things in different ways. I mean I just knew sitting there she wasn’t going to run up to us and be like, “Oh my God,” you know? I knew that was not going to happen. It’s not really in her character to be like that. But who am I to judge? You know how you don’t see other people for many years and people react all different ways, so I don’t really judge that.
BLADE: Is it true (“Truth or Dare” director) Alek Keshishian said all the hundreds of hours of outtakes got accidentally deleted?
GAUWLOOS: Not deleted, but nobody knows where it is.
BLADE: I thought it was lame when the Blu-ray release came out a few years ago they didn’t put like 20 minutes or a half-hour of outtakes on it as bonus material. That would have been fun to see.
GAUWLOOS: Supposedly all these people claim not to know where it is. It’s lost.
BLADE: I’m sure it will surface maybe for the 50th anniversary or something.
GAUWLOOS: I know, right? Of course it will. It always does.
BLADE: Was there any dance move or routine that was especially tricky to learn for the tour?
GAUWLOOS: Well I had to learn to vogue, but it wasn’t particularly difficult. The only people who knew what that even was before were Luis, Jose and Madonna, who hired them. Being a classically trained dancer, it wasn’t really a challenge but it was one thing I had to learn. I think it came pretty naturally for everybody. The rest was just hard work. A lot of rehearsals. That’s how we got a really tight show together like that.
BLADE: Is it true you did like two weeks of twice-a-day run throughs before it premiered?
GAUWLOOS: Oh definitely. We were in the studio like 10-12 hours then at the end there were tech rehearsals at night too. It was a crazy, crazy schedule but you know, we were so young, talented and hungry so we didn’t care. We were all in it 100 percent.
BLADE: By the end, were you drenched in sweat and exhausted or were you in such great shape that you weren’t?
GAUWLOOS: People always think the numbers I was featured in like “Express Yourself” or the Dick Tracy part would be the most exhausting but those were the ones you could enjoy more. The most exhausting number to do was “Like a Prayer” because we had this whole big number while she’s changing for the next number. That you were like, “OK, now I can’t breathe.” (laughs)
BLADE: Do you have any mementos from the tour? Any costumes or anything?
GAUWLOOS: I did but I lost all of them, just having moved so many times. When we started shooting “Strike a Pose,” they were like, “Show us some pictures” and I was like, “I don’t have anything.” It’s kind of sad. Only in my head.
BLADE: So you don’t have the rosary Madonna gave you?
GAUWLOOS: No, I definitely don’t have it. I should just buy one and say it’s the one she gave me. (laughs)
BLADE: Some of the choreography was so gay but you were kind of the straight hunk too in some passages. Did that strike you as ironic?
GAUWLOOS: No, it’s like being an actor. Some passages I was acting as a straight dance partner for Madonna so I was acting straight. Not every dancer could do it. But it mostly came natural and from just doing it over and over.
BLADE: Did you bulk up for the tour or were you always kind of built like that?
GAUWLOOS: Starting out in Antwerp, Belgium as a dancer I was really skinny. Then I came to America, I got a little bit bigger. For the tour we were supposed to go to the gym but of course we never went. It was just the cruel rehearsal schedule that kind of got everybody in shape. It’s like 10 hours of dancing, how can you not be in shape from that? That’s how I got bigger and more muscular. I definitely didn’t look like that when we started, definitely not.
BLADE: Did you see “I’m Going to Tell You a Secret,” the “Truth or Dare” sequel?
GAUWLOOS: I saw a little part of it, not the whole thing. I heard the dancers did not get as much of a part. No kissing, in other words. Not X-rated. (laughs)
BLADE: Did you grow up Catholic?
GAUWLOOS: No, not really. My mom would say she was Catholic but we never went to church. It was just kind of like, “Well, we walk by the church.” But definitely not. My father was Muslim. I’m half Moroccan. He was from Morocco but he passed away and was only in my life a couple years and then he disappeared. I’m a little bit of everything but I don’t go to church or practice.
BLADE: So did all the religious imagery in the show resonate with you at all?
GAUWLOOS: No, it was more of a theatrical thing for me with the crosses and the lights. I never felt like, “Oh my God, this is sacrilegious” or anything. I just saw it as a show. I was probably the least knowledgeable about how controversial and taboo it was for the time.
BLADE: The “Vogue” VMA performance with the Marie Antoinette costumes, was that after the tour?
GAUWLOOS: Yes. That was nice because we were all sad when the tour ended but we knew we’d be going back in a few weeks to do that and we’d get to see each other and dance together again. We worked like a week and a half or two weeks getting ready for that just with the costumes and the girls had the fans and everything and just to make sure it was really tight. I think it was like a month or two months after the tour finished.
BLADE: Carlton was on “The Girlie Show,” Madonna’s next tour. What were you doing by ’93 and was there any discussion or possibility of any of the rest of you touring with Madonna again?
GAUWLOOS: No. The ride was over after everything was done with Madonna and I realized I had my own reality to deal with being HIV. I was just going through life really. I really partied so I didn’t have to deal with being HIV and it was like a really dark period for me for like six-seven years.
BLADE: How did you get through it?
GAUWLOOS: When I really got my shit together was in 2000. I met my husband and fell in love, that was it. That changed my whole life around. But before that, I’d been diagnosed in 1987 and then I ended up in the hospital in 1997 with a really bad pneumonia. I didn’t do any treatment for 10 years, I just couldn’t deal with it. So I ended up in the hospital and that was really a reality check and a wakeup call. I don’t know, this is awfully personal, but I also had some issues with my working papers too. I was HIV-positive so I didn’t want to go to the hospital and get deported. That’s one of the reasons I never went. That’s also why coming out with my story, I’m sure there are a lot of people in my situation. They’re HIV and illegal aliens and afraid to get help. I ended up in the hospital almost dead before I realized there are so many organizations out there that can help you get free medication and they don’t deport you and all that stuff.
BLADE: Tell me about your husband.
GAUWLOOS: He got my heart, you know? His name is Facundo Gabba. He’s from Argentina. He just came into my life and blew me away. When I was diagnosed it was still the ‘80s and people were dropping like flies. You can’t imagine what it was like to have some guy come in and telling you this with your mother sitting there. They said, “You have the HIV virus and you’ve probably got about five years.” So the first thing was like, “Oh my God, I’m 18, what did I do wrong?” It was a really dark, dark, dark thing. Thank God the whole Madonna experience happened because I needed something to hold onto. … You think, “Who’s going to love me?,” but you can be HIV and find love. That was the biggest thing for me to learn.
BLADE: What do you do now?
GAUWLOOS: I teach at Broadway Dance Center, a very nice school here in New York City, on a regular basis. I also do fashion shoots. When they approached me for “Strike a Pose” in 2013, I had just finished working on Longchamp. I did that for two seasons so mostly teaching but also doing a lot of fashion productions.
BLADE: Did you go to Gabriel’s funeral?
GAUWLOOS: No. I didn’t know right away that he’d died. But since “Strike a Pose,” I’ve been in contact with his mother, Sue, who is really nice. It’s almost like being in touch with Gabriel. She’s such a sweet woman. We talk and it’s been a great experience going to her house in San Francisco. I get to find out more about Gabriel. It’s really beautiful.
BLADE: Have you followed Madonna’s career? Did you ever go see her other tours?
GAUWLOOS: I never went to her shows, but I’d watch her on YouTube here and there if she had new stuff. I liked “The Girlie Show” and I thought “The Confessions Tour” where she came out of the disco ball and had all the Steven Klein stuff with the horses and everything was beautiful.
BLADE: You have to get tired of being asked about Madonna, no?
GAUWLOOS: Yeah, it gets a little tiring here and there but at the same time, it’s OK. Especially with this new movie, they do ask Madonna questions but there are also questions related to us, so it’s really nice. I’m happy it happened. Especially now, we’re all in the spotlight again so it’s OK. I’ll take that with it. I don’t mind.
BLADE: You said once you were also really into Janet Jackson back in the early ‘90s too, right?
GAUWLOOS: I was really into Janet Jackson and also Paula Abdul a lot, too. I know a lot of people didn’t really like Paula Abdul, but I liked her because here was another singer giving a lot of dancers work and it was real dance. You had to be a real dancer. So I think that’s where that comes from. Did I like their music more than Madonna’s? No, I don’t think so, but I liked the whole moving thing, the whole “Rhythm Nation” thing, I was into that too.
BLADE: One thing that came up when Oliver, Kevin and Gabriel sued Madonna over “Truth or Dare” was a claim that they didn’t know it was going to be made into this big thing and so on. But you guys saw Alek and his team around constantly. Wasn’t that claim somewhat naive?
GAUWLOOS: Yeah, yeah, yeah. I don’t know what all they sued for. They all sued for different things. What wasn’t clear was that we were not going to make any money from “Truth or Dare” and we didn’t. At the end of the day, that’s what it came down to. To this day, we’ve never made a penny from “Truth or Dare.” I’m not saying that to be shady or mean, it’s just a fact. Did I sue? No, no. If it’s that important to somebody, I don’t know. I’m just not a suing person I think, especially for something like that.
BLADE: Did they ask you if you wanted to be part of it?
GAUWLOOS: No, no, no. That last time I saw them was in L.A. I saw them on some talk shows talking about the lawsuit but we all knew they were taping. I just think we didn’t know we weren’t going to make any money, which would have been nice. A lot of us could have used the money.
BLADE: Niki (Haris) and Donna (DeLory) toured with Madonna a lot in subsequent years but with a few exceptions, she mostly gets all new dancers for each tour. Why do you think that is?
GAUWLOOS: Probably just so she always had a new look, a fresh look, you know? I think with backup singers, Niki and Donna were the perfect backup singers for Madonna. They could move, they could sing, they looked nice, they had all the qualities. It’s probably a lot harder to find all that, so they were like a perfect match. With the dancers, I just think it’s her thing. Aside from Carlton and maybe a few others, it’s just like her schtick to hire new dancers each tour.
BLADE: Have you ever met any of her other dancers? Any of them ever come up and say hi?
GAUWLOOS: No. I won’t speak to dancers of other tours. No, I’m joking. (laughs)
BLADE: Aside from your work with Madonna, what are you most proud of?
GAUWLOOS: Ugh, that’s a tough question. I don’t know. I think the most proud thing would be being a dancer and still to this day, always having a voice and not really changing my belief system of dancing and everything. As an artist, I’ve always believed in myself. I may ask other people for advice, but at the end of the day, I’ve always listened to myself first.
Salim Gauwloos, right, with Madonna on the Blond Ambition Tour. (Screen capture via YouTube)
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.
Unconventional homes becoming more popular
Out dancer on Alvin Ailey’s stint at Warner Theatre
This queer comedy show will warm you up
Catherine O’Hara, ‘Schitt’s Creek’ star and celebrated queer ally, dies at 71
AIDS Healthcare Foundation sues Fla. over ‘illegal’ HIV drug program cuts
Two gay men face deportation to Iran
Defunding LGBTQ groups is a warning sign for democracy
Blade welcomes spring intern
Van Sant returns with gripping ‘Dead Man’s Wire’
