a&e features
Mary Wilson shares Motown memories
Legendary Supremes singer in D.C. for Blues Alley engagement

Mary Wilson says her Blues Alley engagement will feature standards, jazz and Motown hits. (Photo courtesy Blues Alley)
Now that we’re 50 years removed from the 1960s, there’s enormous interest in all things Motown.
Of course the label’s popularity never really went away but a flurry of recent events, from Broadway’s “Motown: the Musical” to exhibits of the Supremes’ legendary stage gowns to deluxe reissues of many of the label’s classic albums, point to a Motown fever burning as hot as ever.
Supremes founding member Mary Wilson — the only singer to stay in the group for its entire run — is in the midst of a four-night engagement at Washington’s Blues Alley. She spoke with the Blade by phone this week from her home in Las Vegas on a wide spate of topics from her recent dance hit, her stint on “RuPaul’s Drag Race,” her oft-misunderstood relationship with Diana Ross and more.
WASHINGTON BLADE: Tell us a little of what you have planned for your Blues Alley engagement, please.
MARY WILSON: It’s a combination. Last time I was there I believe I did my straight sort-of jazz show, so this time I will probably do some of the American songbook and some Supremes songs as well because I know a lot of people would like to hear that. So it will be a combination of all of that. I love doing ballads, you know, love songs. Also it’s Valentine’s week, so I have to honor that because I believe in love.
BLADE: Is it taxing to do two shows each night?
WILSON: I don’t normally do two shows so yeah, it really is. It’s a little harder now that I’m 72, almost 73. I’ll be 73 in March so it can be a little taxing because I’m used to doing one. But I love being on stage. I don’t have a problem performing it’s just, you know, the traveling and all that other stuff that makes it a little more difficult.
BLADE: On average, how much of the year do you spend on the road?
WILSON: I usually do about three to four gigs a month.
BLADE: It must have been gratifying to have a dance hit a little over a year ago when “Time to Move On” hit no. 23 on the Billboard dance chart.
WILSON: It was great. I mean, I didn’t even realize that was going to happen. We recorded that song years ago with a young man out of the Imagination group, Leee John. I think it was in 2002. Some beautiful people out in the San Francisco area, Sweet Feet Music, decided they wanted to release it. I was like, “Oh my God, OK.” So then we went in and did the video and they put it out and it charted. I was so surprised and elated that it charted. It was beautiful and wonderful.
BLADE: How did Sweet Feet even know about it?
WILSON: Well the Supremes fans are just everywhere. I don’t know. I think they knew Leee John. The Imagination may not have been as big here in the states, but they were big in the UK so they knew them.
BLADE: There was such a nice stash of Supremes album reissues and deluxe sets from Hip-O Select over several years but they seem to have suddenly stopped about two years ago. Do you know if any more are planned?
WILSON: I’m not sure. … I know Universal — I feel funny saying Universal instead of Motown — but I know they’re re-releasing our “Go-Go” album. I was just at Universal when I was in New York at the B.B. King club and I went and did some interviews there and they played me a lot of songs.

From left are Florence Ballard, Mary Wilson and Diana Ross. Wilson says tales of tension between the three original Supremes have been exaggerated over the years. (Photo courtesy Wilson)
BLADE: The bonus disc for the “I Hear a Symphony” expanded edition in 2012 had an entire 1966 Supremes concert recorded at the Roostertail in Detroit. Do you know how commonly Supremes concerts were recorded?
WILSON: I really don’t know. Things are showing up now that I didn’t even know had been recorded because this was before everyone had their cell phones and this and that.
BLADE: So you had the Supremes gowns in your possession all these years? It must have cost a fortune to store them all this time.
WILSON: This is true. Well yeah, I just had them in storage. I have a pretty large home here in Las Vegas so some I had in the basement but then it got to be too much so I had them in storage areas here. My daughter says I’m a hoarder but I say what I’m hoarding is worth a fortune. She never really understood it. … Some were in boxes. One of the famous ones I’m having restored. It was beaded on chiffon and just got so worn that the beads were falling off, so I’m having them repaired.
BLADE: Did you keep all the wigs too?
WILSON: Wigs not as much. They tend to get really old and then they’re no good. Pretty much everyone kept their own wigs throughout the years so I never really had a lot of those, but the gowns, yes. I do have everyone’s gowns except the ones that were stolen. … There was a lot of stuff stored at Motown where we originally stored them and when the building in Detroit was torn down, a lot of people just started taking stuff — pictures, masters, gowns. Some have landed elsewhere. There are a couple here in the Hard Rock Cafe casino in Vegas, so they’ve been all over the place. I don’t know how else they ended up here and there other than people just took them when the building was torn down. I even got a few of them back on eBay.
BLADE: There wasn’t as much Motown stuff in the National Museum of African-American History here in Washington as I would have thought. Were you ever in touch with its staff about having some Supremes items there?
WILSON: You know what, I’m a little disappointed because I offered them my gown exhibit to be displayed there and I never heard back from them. I made a presentation and everything. I guess they had so many things, so many artifacts, they couldn’t take everything so I understood, but I was disappointed. When I’m in D.C., I’m going to try and go see it. I’m very thrilled it’s there. I’m just not happy the Supremes gowns aren’t part of it.
BLADE: It seems insane to me that the Supremes never won a Grammy in the ‘60s. Was there some anti-Motown sentiment in the industry at the time or what?
WILSON: I really don’t know. It’s kind of hurtful when I hear of so many people having Grammys. We had 12 number one records but did not ever receive a Grammy. Three of our singles, much later, were inducted into the Grammy Hall of Fame, but that was all done after the fact. So yeah, I’m a little pissed on it.
BLADE: There are some Supremes B-sides like “Going Down for the Third Time” that sound to me like they could have been hits. Or some minor hits like “Some Things You Never Get Used To” seem like they should have charted higher. Are there any Supremes tracks you think could have been hits but weren’t released as singles or had the potential to chart higher than they did?
WILSON: I’ve never been one to know much about what’s a hit and what’s not a hit. I do think some of the songs were really quite good but for them to have been hits, I don’t really know. There were certainly a lot I really liked.
BLADE: So many elaborate sculptures and paintings have been done of the Supremes over the years. Which are your favorites?
WILSON: I receive so many beautiful pieces of art that people have done on us. One person who’s passed now, his name was Ted LeMaster did quite a few lovely paintings. I think I have four of them and they’re just absolutely gorgeous. I’m working on a coffee table book of the Supremes gowns so I should include some of those as well. There’s another guy and, oh gee, I may have to get you his name later because it’s not coming to me off the top of my head, but he does these Supremes dolls and they are just beautiful. There are lots of artists out there and they send things to me all the time. I have them all over my place here.
BLADE: How did you enjoy being a guest judge on “RuPaul’s Drag Race”?
WILSON: It was great. He was just wonderful. You know, gorgeous. He’s a big Diana Ross fan so it was almost like seeing Diane in a way because he kind of does her thing. He looks great and all that stuff and it was loads of fun. I met so many wonderful, or I should say gorgeous, so many gorgeous people.
BLADE: The Frontier shows, the last with Miss Ross, that became the “Farewell” album in 1970 — was that set list pretty much the Supremes show in 1969 or was some of the stuff you did there, like the “Aquarius” medley with all the audience sing-alongs, was that maybe just worked up for that engagement knowing so many celebrities would be present?
WILSON: No, that was pretty much our normal show we toured with that year. Everything we did there, we’d pretty much been touring with, yes.
BLADE: Do you keep in touch often with (former Supremes) Cindy Birdsong and/or (Ross replacement) Jean Terrell?
WILSON: Yes. Last year we had the gown exhibit at the Grammy museum and I invited all the ladies there for that. Jean Terrell came, Scherrie Payne was there and Susaye Greene. I keep up with Cindy but I don’t see her as often as I want since she’s in L.A. and I’m in Vegas but I spend a lot of time in L.A. so I see her when I’m there.
BLADE: Is she well?
WILSON: I don’t want to get too much into her personal things. She’s a little older and she’s had some health issues.
BLADE: Do you ever hear from (founding Supreme) Florence Ballard’s three daughters? (Ballard left the group in 1967 and died in 1976.)
WILSON: Yes, whenever I’m in Detroit, they always come out and we talk on the phone a lot actually. So yeah, I do keep up — well, I should say they keep up with me, let’s put it that way.
BLADE: Did you enjoy “Motown: the Musical”?
WILSON: I loved it. I thought it was wonderful. Obviously it was Berry Gordy’s perception of what was going on and everybody, you know, there’ve been all these books, everybody has their own way of looking at it, but it’s all true. It’s just different perceptions from different people. The musical is more Berry’s perspective so he’s obviously looking from the top down. We were looking from down to up, but it’s just the way different people perceived it. But I absolutely loved it. In fact just a week or so ago it opened in L.A. and I flew out there and attended the opening. I was also at the London opening and, of course, the New York opening was also great.
BLADE: It looked like there was a lot of warmth between you and Berry and Diana at the opening. Would you say feelings have mellowed over the years?
WILSON: There always was. Some things that are brought out further tend to be the more negative things. Things that were really great are not broadcast as much so people tend to think there was a lot more dislike there but that’s just not true. We were all very, very close. There were always things going on like maybe you didn’t like this … that didn’t mean that the love was not there. It always was. But we were all different, we all had our own opinions so a lot of times when you speak out, people say, “Oh my God, they’re having a fight, they hate each other,” and that’s just not true. It’s just different likes and dislikes.
BLADE: I’ve read a lot of the books — your books, Randy Taraborrelli’s books. It always seems like a handful of incidents get told and retold. When you think of all the hours you and Florence and Diana obviously spent together rehearsing, traveling and recording, there had to have been more peace than tension or you’d never have gotten anything done.
WILSON: Well that’s what I’m saying. Some of the things that were brought out and broadcast as if they were major, major things, it’s just not true. People think there’s some big feud between Diane and I and there really is not. It’s just that she’s gone her way and I’ve done my thing so no, we’re not close, but that’s just because over the last 50-some years, our lives have gone in several different directions. I love her as much as I love Flo. People tend to think I love Flo more because they view it as we worked together more on the choreography, on the harmony. We were always together. And now Florence is not here to protect herself, so I don’t talk about her a lot because of that. But I don’t love Flo anymore than I love Diane. I love them both as much as I love my own sister.
BLADE: Did you see Mary Wells much in her later years? Do you think she regretted leaving Motown so early?
WILSON: I saw Mary up to the very end of her life. I actually worked with her trying to do whatever we could in terms of her cancer bout. I don’t know — I never talked to her about that so I really don’t know.
BLADE: It’s staggering to me the amount of material the Supremes recorded in the ‘60s. You must have been in the studio constantly.
WILSON: Well, we were also on the road a lot, too. But yes, what happened sometimes is we would fly into Detroit, record a few songs and then fly right out. So yes, we did record a lot of songs.
BLADE: Now that so many have been released on these expanded editions, I’m sure there are some you have no memory of, right?
WILSON: Not just songs. Sometimes I see pictures that I can’t remember and yet there I am in the picture. It’s just because there were so, so many. There really were.
BLADE: So much has been made of (Motown session singers) the Andantes singing with Diana on Supremes studio material the last few years she was in the group. But you and Cindy obviously still had to learn the parts for TV and concerts. If that was seen as some sort of time-saving device, what was the rationale?
WILSON: There was a lot going on then. Diane was already starting to record songs for her departure, so a lot of times, it was for that reason. But then they’d decide to use some of the recordings on Supremes albums even though we hadn’t been there. That happened a lot. Other times we were out rehearsing with Jean Terrell for the new group, so it was almost like being in two groups there for a while. Cindy was also still fairly new in the group so there wasn’t a lot of cohesiveness those last couple years. And the producers, you know, it’s like this with a lot of my friends who are actors and actresses, a lot of times it’s the producers and writers who make these kinds of decisions and you’re not even in on the decision making in the group. And then of course, Motown was moving to L.A. so there was a lot of stuff going an and we were not really looked upon as a group anymore because obviously Diane was leaving and all. It had to do with a lot of that stuff.
BLADE: You and Florence always had such great harmony and obviously it was before the days of Auto-Tune and all the studio bells and whistles they have now. Did you have to learn to sing harmony or was it something you were able to do naturally?
WILSON: Well it wasn’t just me and Flo, it was me, Flo and Diane and we all sang harmony together a lot. That was really our style naturally. That’s what you did back in those days, you sang. You didn’t have anything else to rely on. We didn’t even need music. We did shows in the early years without music or maybe just with a guitarist, Marvin Tarplin. So no, it was very natural and we didn’t have any help in that department. Actually the Supremes were a very harmonic group in terms of our style, that’s what we did. I kind of hated later on when we lost that because it was something we’d been very good at. It’s hard to harmonize with just two people. Before when we had Diane and (early members) Betty (McGlown) and Barbara (Martin), with four people, you know, you could do great harmony. We kind of lost that style when we found the hits. They were great, of course, but we lost something we were good at.
BLADE: I feel like (Four Tops lead singer) Levi Stubbs is one of the unsung heroes of Motown in a way. He was so committed to the group and had no apparent interest in solo fame like David Ruffin or Diana Ross. Was that just his personality?
WILSON: Yeah, that was his personality and, you know, it was great for the group. But some things like who’s around you and how you feel about it, those are very individual things but that’s one thing about Levi — he was very dedicated to his group.
BLADE: Whenever I see the (1968 TV special) “TCB,” that elevated glass stage looks so precarious. I assume it was taped on a soundstage somewhere. Part of me is always thinking you or the Temptations are going to fall off the edge of it or it will topple over or something silly.
WILSON: There was no danger of that. It was this very huge, Plexiglass stage and there was no way of us falling off. It was as large as any stage, probably larger than most stages. I think it was taped at NBC Studios but I’m not totally sure.
BLADE: What would Florence think of all this endless interest in the Supremes all these years?
WILSON: I think she’d feel the same as I — amazed that it’s lasted this long and that people are still interested. I wish she were here to see that people are still in love with Flo, Diane and Mary. As Flo said, “Honey, we is terrific.” And it’s true. Everywhere I go, people ask me more about Flo than they do about me or Diane. I think she would be very, very happy to know that she is so well remembered. When I sing “I Am Changing” (from “Dreamgirls”) in the show, and of course I dedicate it to Flo, the audience almost always gives me a standing ovation just when I’m saying that. She would be elated. I wish fate had been different for her. She was not like me. I got a chance to fight back and show the world who I am. Everybody can’t be, you know, the star of the show but you can certainly be a star in the show and that’s the way I look at it.
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,” and “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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Visible and unapologetic: MAL brings the kink this weekend
Busy lineup includes dances, pups, super heroes, and more
MLK Weekend in D.C. brings the annual Mid-Atlantic Leather (MAL) Weekend. Just a short walk from where Congress has been attacking queer Americans this year, MAL takes place at the Hyatt Regency Washington for several days of intrigue, excitement, leather, and kink.
The Centaur Motorcycle Club — one of several similar groups dedicated to leather in the country — has been hosting MAL in its current form for more than 40 years. Originally a small gathering of like-minded people interested in the leather lifestyle, MAL has grown to include a full four days of events, taking place onsite at the Hyatt Regency Washington (400 New Jersey Ave., N.W.). Select partner happenings take place each night, and many more non-affiliated events are scattered across the DMV in honor of and inspired by MAL.
MAL Weekend has become an internationally renowned event that celebrates fetish culture, yet it also raises funds for LGBTQ organizations, “reinforcing its legacy as both a cultural and philanthropic cornerstone of the global leather community,” according to MAL organizers.
During the day, MAL events at the Hyatt include workshops, social gatherings, shopping, and other in-person engagements for the community.
“The Hyatt underwent an extensive top to bottom renovation after last year’s event,” says Jeffrey LeGrand-Douglass, the event chair. The lobby, meeting spaces, guest rooms, and other areas have been updated, he notes, “so I am very excited for our guests to experience the new design and layout for the first time. And of course as with every year, we look forward to the contest on Sunday afternoon and seeing who will become our new Mr. MAL.”
In the evening, MAL hands the reins to partner KINETIC Presents, the D.C.-based nightlife production company. KINETIC will host four consecutive nights of high-production events that fuse cutting-edge music, immersive environments, and performance. This year, KINETIC is popping open doors to new-to-MAL venues, international collabs, play zones, and a diverse lineup.
According to KINETIC managing partner Zach Renovátes, 2026 is the most extensive MAL production to date. “The talent lineup is unreal: an all-star roster of international DJs, plus drag superstar performances at the Saturday main event,” he says.
Renovátes added that he’s “most excited about the collaborations happening all weekend — from bringing in MACHO from WE Party Madrid, to teaming up with local leather groups, to nonprofit partners, and Masc Diva [a queer nightlife collective].”
Official MAL events begin on Thursday with the Full Package/Three Day Pass Pick-Up from 5:30-8:30 p.m. at the Hyatt.
Thursday night is also the KINETIC kickoff party, called LUST. Running 10 p.m. – 3 a.m., it’s being held at District Eagle. DJ Jay Garcia holds it down on the first floor, while DJ Mitch Ferrino spins in the expansive upstairs. LUST features special performances from the performers including Serg Shepard, Arrow, Chase, and Masterpiece.
Renovátes notes that the LUST opening party at District Eagle coincides with the bar’s grand re-opening weekend. The bar will unveil its new permanent home on the renovated second floor. “it felt like the perfect place to start Mid-Atlantic Leather weekend — right in D.C.’s only dedicated home for kink communities,” he says.
After Thursday night, Friday is when daytime events begin at the Hyatt. The Exhibit Hall, on the ballroom level below the lobby, hosts upwards of 30 vendors, exhibitors, and booths with leather goods, fetish wear, clothes, toys, other accessories, providing hours of time to shop and connect with attendees and business owners. The Exhibit Hall will be open on Friday from 4-10 p.m., as well as on Saturday and Sunday afternoons.
DC Health is once again back at MAL, to provide preventative health services. In the past, DC Health has provided MPox vaccines, Doxy PEP, HIV testing, Narcan kits, and fentanyl test strips. This booth will be open on Friday 4-10 p.m.
Later, at 6 p.m., the Centaur MC is holding its welcome reception on the ballroom floor. After the Centaur’s Welcome Reception, the MIR Rubber Social is 8-11 p.m. A Recovery Meeting is scheduled at 10 p.m.
Many attendees enjoy visiting the guest room levels of the hotel. Note that to get in an elevator up to a hotel room, a staff member will check for a hotel room wristband. Non-registered guests can only access host hotel rooms if they are escorted by a registered guest with a valid wristband. Registered guests are permitted to escort only one non-registered guest at a time. Non-registered guests with a wristband who are already in the hotel before 10 p.m. may remain until midnight. However, non-registered guests without a wristband will not be admitted after registration closes.
Friday night, for the first time, KINETIC Presents is joining forces with WE Party to bring MACHO to Washington, D.C. This official MAL Friday event delivers two stages and two genres. On the UNCUT XXL stage, international Brazilian circuit superstars Erik Vilar and Anne Louise bring their signature high-energy sound. On the MACHO stage, Madrid’s Charly is joined by Chicago’s tech-house force, Karsten Sollors, for a blend of techno and tech house. UNCUT also features the XL Play Zone, a massive, immersive space exclusive to this event. The party takes place at the Berhta space from 10 p.m.-4 a.m..
“This year we’re bringing back the two-room format we debuted at WorldPride for both Friday and Saturday, so attendees can really tailor their experience — whether they’re in the mood for circuit or tech house.” says Renovátes.
Directly after Friday’s UNCUT XXL, UNDERWORLD Afters takes over District Eagle, from 3:30-8 a.m. International DJ Eliad Cohen commands the music.
Saturday, the Exhibit Hall opens earlier, at 11 a.m.. DC Health will also be back from 11 a.m. to 6 p.m.
Saturday is also time for one of the most anticipated events, the Puppy Mosh, running from 11 a.m. to 1 p.m. During the event, pup culture comes to life, when pups, handlers, and friends can enjoy an inclusive, safe pup zone. There is also a Recovery Meeting at 11 a.m., and the IML Judges Announcement takes place at noon.
The popular Super Hero Meet Up will be held 1:30 p.m. – 3 p.m., sponsored by One Magical Weekend, for cosplayers, comic enthusiasts, and their friends.
From 2-6 p.m., the Onyx Fashion Show will take place to showcase and highlight people of color in leather.
Finally, the Leather Cocktail Party – the original event of MAL – will be held 7-9 p.m. in the Ballroom. While this requires special tickets to attend, at 9 p.m. is the MAL cocktail party, which is open to wider attendees.
The last event of Saturday leaves the hotel, again a partnership with KINETIC. Kicking off at 10 p.m. and running until 4 a.m., it’s just the second time that KINETIC’s Saturday night party is an official MAL event and serves as the main weekend engagement.
Saturday night’s centerpiece is called KINK: Double Trouble. The night will feature a first-ever back-to-back set from international electronic music icons Nina Flowers and Alex Acosta on the Circuit/Tribal Stage. The other room – the Tech House Stage – curated by The Carry Nation and Rose, provides a darker, underground counterpoint, reinforcing the event’s musical depth and edge.
Beyond the DJs, KINETIC has called in the big shots for this party: “RuPaul’s Drag Race” legends Nymphia Wind and Plastique Tiara are set to headline. The party also takes place at Berhta.
Sunday, back at the hotel, there will be another Recovery Meeting at 10 a.m., and the Exhibit Hall opens again from 11 a.m.-5 p.m.
At 1 p.m., the anticipated and prestigious Mr. MAL Contest that celebrates the achievements of the leather community will be held in the Ballroom. This highly sought after title gives one man the power to become the Mid-Atlantic Leather man of the year. Sash and title winners must be (1) male, (2), a resident of North America, (3) At least 21 years of age; and (4) self-identify as gay. The first Mr. MAL was crowned in 1985. The Winner of Mr. MAL has the privilege of later competing in International Mr. Leather (IML) in Chicago on Memorial Day Weekend 2025.
From 4 p.m. to 12 a.m., MAL will hold its Game Night for the gaymers in attendance. There will also be a special screening of A24’s new film, “Pillion,” about a man who is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.
Sunday closes with a community partner event produced by Masc Diva, featuring Horse Meat Disco with support from Coach Chris, at A.I. Warehouse in the Union Market district. It’s the same team that produced HMD during WorldPride at A.I. Warehouse.
Note that there are several types of passes for attendance to the hotel and parties. KINK VIP Weekend Passes include express entry, VIP areas, and enhanced amenities throughout the weekend, while MAL Full Weekend Package holders receive access to the official Sunday closing event.
At last year’s MAL events, KINETIC Presents raised more $150,000 for LGBTQ charities, and expects to match or exceed that impact in 2026.
Renovátes stated that “now more than ever, it’s important to create safe, affirming spaces for our community — but it’s just as important to be visible and unapologetic. We want to make it clear that the LGBTQ+ and leather communities aren’t going anywhere. We’ve fought too long and too hard to ever feel like we have to shrink ourselves again, no matter what the political climate looks like.”
In addition to the KINETIC events, various LGBTQ bars will hold parties celebrating the theme of the weekend. For example, Kiki, located on U Street NW, is hosting a party called KINKI, hosted by DJ Dez, on Saturday night. Sister bar Shakiki, on 9th Street NW, is hosting a party called Railed Out, a fetish-inspired party that features a play zone, on Thursday night. Flash, on U Street NW, will hold its infamous Flashy Sunday party to close out the weekend.
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