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‘Fun’ farewell: an interview with Cyndi Lauper

Pop icon reflects on career as final tour kicks off

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Cyndi Lauper plays D.C.’s Capital One Arena on Sunday, Oct. 27. (Washington Blade file photo by Michael Key)

When I did the tally, I realized that, including this one, I’ve had the pleasure of interviewing Cyndi Lauper nine times since 1997. Of course, that doesn’t match the number of times I’ve been fortunate to see her perform live – that would be 12, beginning in 1984. 

And now, as I prepare to see her for a 13th time, it’s with a touch of sadness as Lauper is embarking on her farewell tour. One of the best friends the LGBTQ community has ever had, Lauper’s multi-artist True Colors Tours, which ran from 2007-2010 and raised funds for the Matthew Shepard Foundation, PFLAG, and HRC, and the subsequent founding of True Colors United in 2008, which continues to help homeless LGBTQ youth, are just a couple of examples of her activism. Additionally, Lauper is a lifetime musical trendsetter. For instance, she recorded a duet with the late Tony Bennett, more than 10 years before Lady Gaga did, as well as released dance-oriented and country music albums, 14 and 8 years, respectively, before Beyoncé. When it comes to her legendary personal style, social media fashion critic Nicky Campbell recently declared Lauper an icon in his review of the 2024 VMA fashions. Now, as we prepare to say farewell to Lauper on the concert tour circuit, she was generous enough to make time for an interview before hitting the road. 

Lauper plays D.C.’s Capital One Arena on Sunday, Oct. 27.

BLADE: In preparing for this interview, in which we’re talking about your farewell tour, I pulled out my 12 ticket stubs from your concerts I’ve attended since 1984, beginning with two that year in Boston. Do you remember what that first, headlining tour as a solo artist felt like for you?

CYNDI LAUPER: I just wanted to make sure I had places to go. I wanted the sound to be really great. I don’t know if I accomplished that, but I did have those big speakers that I used to run up on. That’s me! I loved that. Because I saw all those wonderful English groups, the ska bands.

BLADE: You mean Madness and The English Beat and The Specials?

LAUPER: The Specials! I thought they were extraordinary. The singer (Neville Staple), I don’t know where his family was from, I guess he could have been Jamaican English. He was so fierce, singing so great, and he climbed up on top of the speaker and put up his fist and he’s singing his guts out. I’m thinking, “It’s Mighty Mouse!” When I was a kid that was kind of my favorite show, I don’t know why [laughs]. But it always influenced me, and I remember in ’84, ‘85 I was still free. When ‘86 came then I became a prisoner of the system.

BLADE : Being on a major record label, and all that.

LAUPER: I wasn’t allowed to touch anybody. I wasn’t allowed to go out to them (in the audience) or have them come to me. It was totally different, and I totally hated it.

BLADE: Did you ever imagine that 40 years later you would be embarking on a farewell tour?

LAUPER: Well, at some point, sure. I think that for me this is the perfect time. Because it’s a kind of bucket list of what I always wanted to do. In the beginning, it was roughneck style. Whatever I could jimmy-rig, I did. When I got to a certain point like we were doing the (live) “Money Changes Everything” video. I had fantasies of a cherry-picker. Because of our budget, everyone said, “Well, you can’t get a cherry-picker but we’ll give you a garbage pail and a pulley system. I thought to myself, “Oh no, like Oscar the Grouch?” I had a friend who was a great interviewer, and she used to interview everybody from a garbage pail. So, of course, that’s what my people gave me to go up in the crowd. I thought it was a pulley system. The pulley system was actually 10 men with rope holding it. When I started to shake (while singing), I started to slip out of their hands. They brought me right in. That could have been the reason that the lawyer made me sign my will before I left.

BLADE: Are you planning to sing songs from each of your albums?

LAUPER: I’m really trying. I didn’t get anything from the blues album (2010’s “Memphis Blues”) in there because there’s too many songs. I usually get to the point where (I say), “Hey, guys, if the visuals look good for this, can we switch the songs?” What I did was I wanted to do visuals (on the tour). I wanted to do performance art. That means you have to be on a click. Like when I went out on the (Rod) Stewart tour and we used the lyric video of “Sally’s Pigeons.” You can’t do that and not be on a click, because the guy running visual has to be on the click. If nobody’s together, it’s like, “Hey, what the hell now the words are there…no they’re not.”

BLADE: It’s like a badly dubbed movie.

LAUPER: Yeah. But this time I got this wonderful visual director, Brian Burke, who worked for years with the creative director of Cirque Du Soleil, and not having people flying through the air. In the beginning of all that, that was my fantasy! I wanted to fly through the air, and all I got was a cherry-picker — not a cherry-picker, but a garbage pail. It wasn’t going to happen for me. Now, I’m 71! I’m not gonna go flying through the air. It’s a mixture of collabs with artists and art. Art and music. The whole thing is an artist collective, any time you go out on tour. It’s not just you. You’re with other dance artists if you’re a dancer, or you’re with musicians. Or you’re with lighting designers, that’s art, too. We did these collabs and I’m excited to present a show like this because it’s something I always wanted to do. Fingers crossed that it all works out. I’m even going to do costume changes this time, which you know I never do because it’s so bothersome. But I can do it in a way now that I’m comfortable with. I just want to be able to do this as a gift to all the people that followed me through all my crazy twists and turns. I did all those twists and turns because I kept hitting brick walls. You keep hitting the gatekeeper, you gotta find your way around that gatekeeper.

BLADE: Earlier this year, “Let The Canary Sing,” Alison Ellwood’s documentary about you received a theatrical release. After having your memoir published in 2012, did it feel to you like the documentary was the next logical step, a continuation of sorts?

LAUPER: Well, not for me. I didn’t want to have a documentary. It was the pandemic, and everyone was saying, “Everybody’s doing documentaries now, Cyn! Come on, what are you doing?” I was like, “I’m not dead!” Then I started watching documentaries on the streaming services and I saw “Laurel Canyon.” I felt it was an extraordinarily captivating documentary for me because it was the history of music. All of the people and players in that story were very much influential for me as a growing artist, especially in the ‘70s. I looked and saw who directed it…

BLADE: Alison Ellwood!

LAUPER: When they came at me again, I said, “I want a film, not a TV special. So, how about Alison Ellwood? She makes films.” She wanted to do it! I think she did a good job. It’s not your typical story. I don’t think anybody’s story is typical. Right? We think we know people but I guess we don’t. You think, “It’s typical! You start a band.” Which is always my theory! If something’s wrong, start a band, start playing out, you’ll feel a lot better!” [Laughs] It doesn’t always go that way.

BLADE: With the end of touring in sight, is there a possibility that you might do more film work for a potential Oscar to complete your EGOT status?

LAUPER: Listen, I happen to love independent films. For that I would write. I wrote “Unhook The Stars” for —

BLADE: — the Gena Rowlands movie.

LAUPER: Right! Usually, I like an independent movie because then you get to talk to the director and then you have to understand what their vision is. That’s interesting, because each director is a different personality and a different kind of artist. You have to listen and see what story they’re trying to tell and then have a couple of different suggestions. When we first wrote “Who Let In the Rain,” I wrote it with Allee Willis.

BLADE: Oh, the late Allee Willis.

LAUPER: Allee Willis was a great songwriter.

BLADE: Did you see that documentary?

LAUPER: No, I wish I did because I miss her so much. I guess I was talking to the director, and we didn’t have a band, so I just sang (sings) “They fall like rain,” and, in between, her dog, Orbit would bark. I was like, “OK, the dog is musical,” and everyone laughed. Then, I described it to the director as “Chinese Motown.” That would scare most people. To me, I hear influences of every culture in American music. That’s how I make my music: with different influences. Like cooking, like spices. I feel grateful that I was brought up in New York City because I was exposed to so many different cultures.

BLADE: On a final serious note, when I saw you perform in Boca Raton in 2016 in support of your “Detour” album, you asked for a moment of silence to honor Christina Grimmie who had been shot and killed in Orlando the night before. The next morning, after your concert, many of us woke up to the news of the shooting at the Pulse nightclub in Orlando. With those tragedies in mind, and this upcoming election, which is so terribly important, especially for women and LGBTQ folks, is there anything you’d like to say to your fans?

LAUPER: Absolutely! There is an organization called Vote411.org. Taylor Swift recently, finally put that up. You go online and you find out all the questions and all the people that are running and what they voted for so that you can make an intelligent decision on who is going to represent you, not them. This war against women has been going on since the ‘60s, it’s just been going and going, and we need to stop it because we are half the population. 

As far as the LGBTQ people, you have to vote. You have to be informed. Every time you have to vote, you vote! Don’t say, “Oh, it doesn’t matter for this one.” It matters! Because they put laws in there. There are community people that represent you and you need to start on a community level, a grassroots level to ensure that there are people that are going to speak for you as a human being. We are all human beings here. 

As I said, women are half the population and LGBTQ, I venture to bet are a pretty large part, too. This country was founded on the separation of church and state. Separation! I don’t want anybody to have ownership over my body. They say they want local communities in charge but yet they have SCOTUS making federal laws about what you do in your bedroom and what you do with your body and who you are and nullifying families. Oh, I have a lot to say about that. You need to vote! You vote on every voting occasion. You can’t just lie down and get rolled over. This is our country, too. 

And always share your stories. Because people who work with you, that you’re friends with, sometimes they don’t understand. They don’t know. What’s really interesting now, from when we started with True Colors United, I think that people do not understand gender identity, which is a whole different thing. If you want people to listen to you, you’ve got to listen to them. Just because they’re different from you, doesn’t mean that you have to be like them. You have to learn on both sides of the fence. Knock the fence down, because we’re all human beings; just everybody’s different, that’s all.

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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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