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Jake Shears on his book, tour, album and gay life in the Big Easy

Glam gender-bender plays 9:30 Club on Halloween

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Jake Shears, gay news, Washington Blade

Jake Shears says an announcement is coming soon about his Halloween D.C. show. (Photo by Raphael Chatelain)

Jake Shears needed some time to find his footing.

“After more than a decade as one of pop music’s most cocksure and buoyant frontmen,” his press bio says, “Shears suddenly found himself alone and adrift a few years ago, nursing a broken heart and staring down an uncertain future.”

Since the early 2000s, Shears had anchored Scissor Sisters, the glam-pop band known for hits like “Filthy/Gorgeous,” “I Don’t Feel Like Dancin,’” “Fire with Fire” and “Let’s Have a Kiki.” They went on indefinite hiatus after the 2012 album “Magic Hour” but it took some time for Shears, who found himself single in 2015 after the demise of a decade-plus relationship, to figure out what was next.

After relocating to New Orleans in search of inspiration, he’s come roaring back in 2018 with a January stint as Charlie in “Kinky Boots” on Broadway, the February release of his memoir “Boys Keep Swinging” and his eponymous debut solo album, which came out last month to solid reviews. He kicks off a North American solo tour next month and plays Washington’s 9:30 Club on Halloween.

He spoke to the Blade by phone Sept. 7 from his apartment in New Orleans. His comments have been slightly edited for length.

WASHINGTON BLADE: Was it hard adjusting to the humidity?

JAKE SHEARS: No, I love it. I’m heading to London tonight and I’m just thinking like, “Oh God, I can’t just walk outside in a tank top and gym shorts 24 hours a day there.” I love it down here so much. It’s a pretty good life.

BLADE: So you live in New Orleans pretty much all the time now when you’re not touring?

SHEARS: Yeah, I’m walking into my apartment right now. I split my time. I end up all over the place but it’s where I am for long stretches of the year. … I spend about a third of the year here.

BLADE: Do you get recognized much there when you’re just out doing your normal routine?

SHEARS: Well it’s like a small town here so you kind of get to know everybody anyway and then on weekends, like Decadence was last weekend and there were lots of gays in town so yeah. But other than that, not really. It’s just a really small town here so everybody already kind of knows one another.

BLADE: What’s gay life like in the South? Just with friends, dating, sex — all that.

SHEARS: Well down here you don’t necessarily want to date other locals. … If you do sleep with somebody down here, you’re gonna see them for the rest of your life so you have to really think about whether you want that or not. But it’s just a funny little thing. It’s a sexy place to be. There’s always a huge influx of tourists so there’s always fresh faces and not only that, it’s people who are happy to be here and it’s a good vibe overall. It’s a very romantic city. You don’t have to wear a lot of clothes. It kind of fosters romance and flirtiness.

BLADE: You said in another interview you went there seeking inspiration. How long were you there before that really hit and the songwriting started?

SHEARS: About a week, maybe two weeks. It was pretty early on. I think it was more about the decisions I’d made in my life. I was making some big decisions just for myself that I needed to make. I really needed to change my life and once I made the decision to do that, moving to New Orleans was kind of symbolic and was part of that. And, you know, when that happens, when I’m happy and on the right path, I start writing songs. It didn’t take very long.

BLADE: I read that you recorded the album in live takes straight through and said that was nerve wracking. Now that it’s all done, was it worth it?

SHEARS: Oh my God, yeah. I couldn’t be happier with this thing. It’s been a big project and it’s nerve wracking in a way because just over the whole thing, I put a lot on the line. I hope I get to make a record like this again someday — just making a record exactly the way I want to. As far as the cost/benefit analysis, it cost me a lot. Just financially and time wise and all that stuff, but the benefit on the other side is that I’ve made something I’m just incredibly happy with and proud of.

BLADE: Was it hard to keep it fresh doing take after take in the studio?

SHEARS: No, no, no, no. When you’re recording like that, everybody was so rehearsed. It was really exciting. It never got boring, that’s for sure.

BLADE: When you were writing and/or recording “Creep City,” did you have a hunch it would be the first single or did that come later?

SHEARS: You know, it was really a toss up. I don’t think there was a really obvious first single on this record. I think it could have been a whole bunch of songs. I chose that song because I felt it was really good overall and I felt it really represented the whole album just sonically and I just felt like it was a great liftoff for the record. … I could also visualize a video for it. It’s one of my favorites on the record. It just sort of represented the whole thing in a way.

BLADE: Would you say this is your breakup album? That’s such a thing, were you conscious of wanting to avoid any clichés?

SHEARS: I don’t know if I can answer that. I don’t think it feels like a breakup album. I mean, this isn’t Beck’s “Sea Change.” It’s a pretty fun record. I don’t think it’s really about a breakup, I think it’s more about reassessing myself and sort of rediscovering who I am in this moment in time and I think it has less to do with a breakup necessarily, although that’s in there. Would you say that?

BLADE: Well, listening to it, I felt it was very bombastic and joyous so I was surprised when I read the lyrics and saw how dark some of it is.

SHEARS: Yeah, I love that and that’s one of my favorite things to do. I have like a real big dark streak in me and I love making happy, really fun music that has heavier themes to it. I just love that juxtaposition. That’s absolutely there, but it was really important to me to make, you know, a fun record with different colors to it. I love making my ballads too. That’s definitely part of what I do.

BLADE: Why did you feel now was the time for a memoir?

SHEARS: I wrote the book at the same time I was making the album and I thought it was really good as I was sort of reassessing where I am and who I am now, I had to go back and reassess where I’ve been and what I’ve done and I think they both kind of informed each other and it was sort of a good way to put certain things to bed in a way and make peace with certain things. It’s kind of a cliché to say it was good therapy but in a way it was good to reevaluate parts of my life while I was making this new thing and it was awesome to get to do both of them together.

BLADE: Would you like to do more Broadway or was “Kinky Boots” a one-off?

SHEARS: No, I do, I do. I love it so much. I mean, theater is a world I love being in. I love writing theater and making musicals. Now I love being in them. I definitely am going to continue. Now that’s part of my DNA and I absolutely would love to be in another show and I’m going to be writing more shows.

BLADE: How vocally taxing was it compared to your regular stuff?

SHEARS: I gotta say, it was really hard. Those Cyndi Lauper songs are no joke. They’re really tough and I worked and worked really hard at it. You know, your voice gets stronger and everything but doing eight shows a week like that, it’s also cumulatively exhausting and so by the end — I did about a hundred performances — I was really having to crank up the engine to get that final high note and the big punch at the end of the song. So it was super challenging, yeah.

BLADE: When you’ve been off the grid for a while, do you have to get back in shape or do you always stay pretty trim?

SHEARS: Goodness (laughs). I’ve got my moments. I’m a Libra so I have a lot of balance in my life. I work really, really hard and I play really, really hard. I really try to keep a balanced existence. I’m constantly just trying to take care of myself in the midst of the chaos of what I do.

BLADE: But you never just put on 20 pounds when you’re off the road for a year or something like that?

SHEARS: Oh, I’ve had moments of not being as in shape as I wanna be but I’m doing the best to take care of myself when I’m eating well or whether that’s just getting enough sleep and not drinking too much. I just do my best to try to feel as good as I can because otherwise life just isn’t much fun.

BLADE: Where did that cool vintage car in the “Big Bushy Mustache” video come from?

SHEARS: It’s my neighbor’s, LeRoy. I’m looking out right now at his back yard. He’s in the video too. The videos you see from this album are basically community productions. I made those videos out of my pocket on a shoestring and everybody from the locations to the costumes — everything that you see, people pitched in, everybody got together and it was so much fun. It took over a hundred people to make those videos and that’s one of the things that really warms my heart. It was a whole bunch of people banding together. The “Creep City” video — that’s just a snapshot of the New Orleans community.

BLADE: Is it going to be hard sequencing in Scissor Sisters material with the new stuff on tour?

SHEARS: No. I’ve just done a bunch of shows in the U.K. and it’s a really good pace I’ve got with the Scissors stuff. I’ve chosen certain songs very strategically and it’s fun mixing them up. I went out of my way to make sure this new stuff is part of the same body of work. I wanted it to feel that way and I wanted to be able to present it all as my body of work. In the show, it definitely goes together.

BLADE: You’re playing our market on Halloween. Do you have a costume planned or will your show be much different that night?

SHEARS: Oh, we have a big announcement to make about it that we’re saving but yeah, it’s gonna be really special. I’m just saying for now — nobody plan your costume just yet. There will be an announcement coming that I’m really excited about. You’ll find out soon.

BLADE: Are you touring with people who played on the album?

SHEARS: Oh yeah. Mr Hudson is on bass, Craig Pfunder is on guitar who does all the music director stuff, he plays guitar on my record. Mr Hudson, I wrote a bunch of songs with. Right now I’ve got Patrick Hallahan from My Morning Jacket on drums and I’ve got this amazing saxophonist, this awesome guy named Stephen J. Gladney on sax. So this is a pretty crackerjack band. It’s a great band.

BLADE: Was it an easier transition to the stage than usual since you recorded these songs live in the studio?

SHEARS: In a way because a lot of these songs were originally written with either guitar or piano. When you start small with a song then make it bigger, it just makes it easier. It was written in a very different way from the way I normally always wrote stuff. It’s been fun to play it from the top. It hasn’t been a huge challenge.

BLADE: I know it’s a much different style of music, but do you feel much kinship with Rufus Wainwright? For so many years, you two were about the gayest thing we had pretty much.

SHEARS: Oh my God, absolutely. I think you can hear, he’s a huge influence on my music and we’ve always been friends and I think he’s amazing, just a one-of-a-kind person. I think he’s brilliant and hilarious and I just love him a lot and I’m proud — if he’s my peer and part of my generation of music or if we’re viewed on any kind of level together, then I’m really proud of that.

BLADE: Lots of male pop singers today are doing the falsetto thing like you. Who has the best male falsetto voice?

SHEARS: You mean right now?

BLADE: Any era.

SHEARS: I would just have to say the Gibbs. You know, I was just listening to “Nights on Broadway” last week and it’s just so good. There are moments where they could do it perfect, then they could also do it ragged and imperfect as well and it just sounded so good. So I mean, I feel like they’re kind of the kings of that.

BLADE: Have you heard Troye Sivan’s new record?

SHEARS: Just the singles. I gotta sit down and listen to the whole thing. I’m really excited about it. What do you think?

BLADE: I like it. It’s so nice to see someone singing about gay life so unabashedly.

SHEARS: Seriously. I’m so happy about it. I love the singles and it seems like people are absolutely loving the album. I’m glad you reminded me of it. I’m gonna give the whole thing a listen today. But yeah, I want to see that really go through the roof. He deserves it and it’s just time. I just think we’ve waited long enough. It’s time for a big, queer just pop star and yeah, I just think it’s time so I’m very excited.

BLADE: Do you have any pet peeves about celebrity culture of the way it’s covered in media?

SHEARS: There’s nothing I hate more than a headline that says somebody is “clapping back” at so and so. Or so and so, “claps back.” Basically just news stories about people fighting on Twitter. That’s a pet peeve of mine. It’s just the snake eating itself.

BLADE: Why do you think the Scissors were bigger in the U.K. than the U.S.? Does the Hot 100 here just reflect more of the hetero, rednecky parts of the country?

SHEARS: Well I think it was just a narrative that took hold and I can pinpoint the top of that narrative. I talk about it in my book. We were over there working for like six months before we broke over there and at that time, album releases were staggered so we released in the U.K. in February and we didn’t come out in the U.S. until July so we broke in the U.K. in June. So when we put out our record, we were just getting started again and the New York Times wrote a little sidebar with the headline that said, “Scissor Sisters hot over there, cool over here” and I credit that one thing in the New York Times, that really snarky little piece to starting that narrative. I think that’s why I still get that question. I don’t think we entirely got a fighting chance over here but over the years, it kind of leveled out. By the time we put our our fourth record, we were at the Palladium two nights, we were at Terminal 5 two nights, so the whole thing leveled out. We had extraordinary success over there, the kind of success that barely anybody has anywhere, so I don’t necessarily — I just think it was an extraordinary moment and I’ve never ever felt we were less successful over here at all. … It doesn’t really bother me. But I think that’s the origins of it, this tale of the Scissor Sisters on both sides of the Atlantic.

BLADE: Any birthday plans? (Shears turns 40 Oct. 3)

SHEARS: I was going to Mexico City with a bunch of my friends and now they’re going but I had to cancel. Some work stuff came up so I’m heading to London tonight. I’m really excited about the work I’m doing, don’t get me wrong, but I’m kind of missing my own 40th birthday which is kind of sad. So no, I don’t really have any plans. Believe it or not, I think it might just be kind of a quiet, reflective one.

BLADE: Did you ever think about doing a solo album when the Scissors were together or was there just not really time? It’s not unheard of.

SHEARS: It never really crossed my mind as something I really wanted to do. I always thought a solo record would feel really sort of narcissistic. I never really thought of myself as a solo performer. I was always kind of shy about that. Even when I would do appearances without the band, I would always feel very much like, “Why am I here, I don’t really belong here.” I’ve always kind of had that self doubt thing when I was by myself. So no, I don’t really. But it’s been a little bit of a personal — I hate the word journey — but it’s been like a little bit of a road to get to the spot where I can, you know, feel like there’s a reason for me to be singing on my own.

BLADE: You’ve played a lot with genderfuck in photos and magazine shoots. Do you like to wear dresses or paint your nails in your regular life?

SHEARS: Oh, I love wearing big frilly dresses (laughs). Especially in New Orleans. Like for Decadence, I have a naughty nurse uniform. Everybody was in harnesses and I have my little candy striper outfit. So, I don’t know, it’s just that I have a good time wearing a dress sometimes. I don’t even really think about it. I’m just kind of drawn to what feels good.

BLADE: Do you think there will be deluxe reissues of the Scissor Sisters albums eventually? Are there many outtakes from those sessions? B-sides and alternate takes and stuff like that.

SHEARS: My dream for the 10th anniversary of “Night Work” is to do — there’s a whole album that’s attached to that that was scrapped. There’s this whole lost record to that that I would love to put out in 2020. I’m hoping Babydaddy and I can get together to do that. I would love for people to hear that stuff. Just great songs.

BLADE: This is all just sitting on a hard drive somewhere?

SHEARS: Yeah, yeah, yeah. Totally. And there’s a lot of it. There’s hundreds of songs.

BLADE: What was the longest or most arduous video shoot you ever did?

SHEARS: The “Comfortably Numb” video. It was two days in a big water tank in Devon, England and …. it was a very, very, very tough video to shoot. I got very sick afterwards.

BLADE: You’ve talked about enjoying the freedom the solo record has afforded you but it also seemed like you held an enormous amount of influence in Scissors. I know you dug in your heels about the controversial Mapplethorpe butt photo for “Night Work,” for example. So how strong was that itch really?

SHEARS: Well the thing about being a band is you just want everybody, yeah, you’ve got your vision and what not but also you want everybody to be happy and you want everybody to feel like they’re represented. I definitely had my own vision for the band that was implemented in many ways, but at the same time, the thing that’s nice about doing stuff by myself is that I don’t have to worry about making everybody happy. … All I have to worry about is making myself happy and that’s an amazing feeling creatively and it’s made me feel very liberated in a lot of ways.

BLADE: Are you seeing anybody now?

SHEARS: No, I’m not. I wish I could but I’m not physically in the same place enough now to really be able to spend enough time with anybody that it would really make sense. I don’t know if it’s gonna be possible for me for awhile because (of that) which is kind of a bummer. I’d love to be in a relationship. I’m definitely romantic and I get lonely and I would definitely love to have that connection with somebody. But it wouldn’t be fair to somebody else to not be around.

BLADE: Do you have a type?

SHEARS: I used to think I did but now I’m really only truly attracted to somebody when I spend a lot of time with someone and get to know them. Maybe it’s just a thing about getting older but it’s a lot more about personality to me now and I can get surprised by somebody. I’ll always realize that somebody can be right in front of you and you don’t even know it yet. So my thing is just about getting to know somebody and that’s what I’m into. It could be any kind of type, but it’s just more about who somebody is.

BLADE: Are you and your ex on speaking terms? Were you able to salvage any friendship out of that?

SHEARS: Oh yeah, absolutely. I love him very much and I’m proud of him and he’s an amazing person. He was actually just calling my phone a few minutes ago when we were talking. But yeah, absolutely. And we co-parent a little border terrier so we’re very much still connected.

BLADE: Were there any epiphanies about yourself that surprised you writing the book and album?

SHEARS: I think the main thing that I learned from all of it is I used to kind of think that there was always some kind of a deadline all the time and I think I just really learned, just as far as the work itself, I just want to make good stuff that I love and that’s totally satisfying to me. So whether it takes another five years for me to write another record now, I really don’t care just as long as it’s something that I love and that means something to me. That’s the most important thing about putting stuff out in the world. And by the way, that’s a lesson I keep learning over and over and over again since day one. It’s always something I keep realizing.

Jake Shears, gay news, Washington Blade

Jake Shears says it took time to find his creative footing after the Scissor Sisters parted ways six years ago. (Photo by Greg Gorman)

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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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Visible and unapologetic: MAL brings the kink this weekend

Busy lineup includes dances, pups, super heroes, and more

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A scene from the 2025 Mr. Mid-Atlantic Leather competition. (Washington Blade file photo by Michael Key)

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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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more

Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’

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From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.

Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”

The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.

“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”

Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.

Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.

As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.

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