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Pointer Sisters 2.0 to headline festival main stage on Sunday

Ruth Pointer says sisterly harmonics came naturally

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Pointer Sisters, gay news, Washington Blade

The Pointer Sisters today are Ruth Pointer, center, with daughter Issa, left, and granddaughter Sadako. (Photo courtesy Left of Center Productions)

There’s a lot more to the Pointer Sisters than their most well-known hits.

Originally, sisters June and Bonnie Pointer started singing as a duo in 1969. By 1972, they were a quartet with sisters Anita and Ruth having joined them. Their eponymous debut album came out the following year and they worked as a quartet until 1978 and were known for highly eclectic musical experimentation. They even won a 1975 Grammy in a country category for their song “Fairytale.”

Their biggest songs came in the ‘80s with June, Ruth and Anita releasing monster chart hits like “Slow Hand,” “Jump (for My Love)” and “I’m So Excited.”

For about the last eight years, the group has continued with Ruth singing with her daughter Issa Pointer and granddaughter Sadako Pointer. June died in 2006. Anita occasionally sang with them until the last few years.

The Pointer Sisters will headline at the Capital Pride concert on the Capitol Concert Stage at 3rd & Pennsylvania Ave. on Sunday, June 11 at 4 p.m. Ruth Pointer, 71, took a few minutes last week from her home in Massachusetts where she was helping her granddaughter move into a new apartment to talk with the Washington Blade.

WASHINGTON BLADE: Your memoir “Still So Excited!” last year was noted for being unusually candid. What kind of reception did you get to it overall?

RUTH POINTER: You know, it was very positive. I think that I’m just among a group of people that are writing these types of memoirs most recently just about a life of recovery and redemption and experience, especially in this business. I really, really appreciate the response I got. I’m sure there were some negative ones as well from what I’m told but I don’t read that stuff.

BLADE: You were up front with your drug and alcohol use in the ‘80s. Do you agree that male rock stars seem to get more of a free pass on this kind of thing than women? With somebody like, say, Keith Richards, it’s treated as just part of his renegade persona whereas with Stevie Nicks, everybody acts so forlorn like, “Oh, she had a serious problem,” and she’s asked about it ad nauseam. 

POINTER: In a way I think I do, but that’s sort of what I think is a gender bias in almost everything. You know, it’s just the way of the world.

BLADE: You’ve said how strict your parents were when you were growing up. Did they sort of gradually accept the kind of music the group was doing? Did it take them a long time to come around?

POINTER: Yes, they did loosen up. I think it comes from getting to a place where you’re just exhausted from fighting and disagreeing and being rigid and I know I find that in my own life with my own children. You know, after a while I just try to figure out how I can love them for who they are as opposed to how I want them to be and I think my parents came to that realization and just decided to just love us as opposed to trying to mold us and make us into these starch Christians that they were. It just wasn’t going to work (laughs). I mean you know, I consider myself a Christian today but I think a lot of religions and practices have changed over the years. You just want to kind of fit in a little bit with the world. So things are a little different now.

BLADE:  I imagine gay issues were thought of as the ultimate sin, right?

POINTER: I didn’t even know anything about that when I was a kid. I had no clue.

BLADE: Do you recall when you first realized that was a thing?

POINTER: You know, I really don’t know a specific time. I’ve always had, you know, friends that were a little different in different ways, but I never thought it was anything wrong with them. They were just different.

BLADE: I’m sure your views evolved on that over the years like most other folks, right?

POINTER: Yeah, oh absolutely.

BLADE: Have the Pointer Sisters played many Pride events? Do you remember the first?

POINTER: I don’t remember the first one but we’ve always had a huge, you know, audience, gay audience, being from the Bay Area, San Francisco, you know, Haight-Ashbury. Sylvester, the Cockettes, Pristine Condition, you know, it was always just a good time. Just fun, which is what we always set out to do, just have a good time.

BLADE: What do you have planned for your D.C. performance?

POINTER: Well, we just want to have a really good time at any event. Where we’re playing determines what we’re going to have, what we’re going to wear. It’s just things that we want to be appropriate for the engagement we’re doing. We’re just excited about it. It’s always an exciting time to play for a gay audience. It’s always just so much fun.

BLADE: Mary Wilson has had several exhibits of the Supremes’ gowns in recent years. I know the Pointer Sisters were a whole different kind of act but do you have all your stage clothes from over the years and would you ever exhibit any of that stuff anywhere? 

POINTER: No, we haven’t kept everything. I know my sister Anita keeps most everything. She has things that I don’t have. But we still have some things, we don’t have everything. I don’t know what she has because we were given a lot of things. Especially, like when we did “The Carol Burnett Show” and Bob Mackie was making all of our wardrobe for those shows. Carol was so gracious and just let us keep the costumes that were made for us.

BLADE: Wow.

POINTER: Yes, I know, I know!

BLADE: How is Anita. Do you see her often?

POINTER: I don’t see her that often because I’m on the East Coast and she’s on the West Coast. You know, when I’m in L.A. we try to get together and see each other so that’s when I can see her. We talk occasionally. My sister Bonnie and I text and talk on a regular basis and that’s just kind of the way we live our lives. I have two older brothers and we talk all the time. So we stay in touch pretty much like most families would. Nothing exceptional.

BLADE: Are you still friendly with (former Temptations lead singer) Dennis Edwards? (ex-husband and father of Pointer’s daughter, Issa.) Do you ever see him?

POINTER: I don’t see him. He’s in Saint Louis, I believe, and we have a daughter together who’s singing with me now and she’s in touch with him and his current wife, Brenda. But he’s in the hospital, you know, trying to recover from meningitis and now pneumonia. So we’re sort of praying every day that he makes a full recovery but we just don’t know. It’s really quite serious.

BLADE: What’s it like singing and traveling with your daughter and granddaughter? Did that just sort of come about organically?

POINTER: It was kind of a natural thing only because they were pretty much born into this business with me. I was pregnant with Issa on stage for eight months before she was born and my granddaughter has just always been around our music all her life. We had to make some adjustments in the music because unlike my sisters, they didn’t grow up singing together so that instinct that me and Anita and Bonnie and June had didn’t exist between Issa and Sadako. We had to teach them the notes and the moves whereas it was so easy for me and my sisters because we just kind of automatically moved together and automatically knew what we were going to do. It was a little bit of a challenge but they got it down.

BLADE: How long have they each been in the group?

POINTER: Issa has been with us since 2002. Sadako came in about eight years ago when Issa got pregnant with my first grandson. … They know what they’re doing by now.

BLADE: Back in the ‘70s and ‘80s, if a group won a Grammy, did you each get one or was it just one trophy for the group?

POINTER: We each got one, yeah.

BLADE: What memory stands out most in your mind from “We Are the World”?

POINTER: The fact that I realized that there would never, ever be that group of people together in one room ever again. My God, when I look back and think of all the people that were in that room. People I admired before I even got in the business and people that I will forever admire — Michael Jackson, Quincy Jones, Lionel Richie, Diana Ross, Stevie Wonder, Al Jarreau, Janet, no wait, LaToya, Bette Midler, Tina Turner, Dionne (Warwick), oh, I could go on and on. It’s just like, wow. I was in awe of everybody.

BLADE: So even though you all were huge stars, you were still starstruck?

POINTER: Absolutely, oh yeah. I’m a fan of everybody’s.

BLADE: Were there a lot of egos on display?

POINTER: There was a banner placed across the top of the studio as we came in that said, “Leave your ego at the door.”

BLADE: Did it work?

POINTER: I think everybody did that except maybe Waylon Jennings (laughs).

BLADE: Of all people.

POINTER: It was like all of a sudden Stevie Wonder wanted to try to put in some kind of African lyric in the song and Waylon went off and he said, “I’m outta here.” Came down out of the bleachers where we were all standing and said, “I ain’t singing no Kumbaya bullshit, I’m outta here.” We all just laughed, you know?

BLADE: Do you think Bonnie felt left out when you all went through the roof after she left?

POINTER: We weren’t even in touch with her during those years. Bonnie was estranged and away from us for almost 30 years. We didn’t talk, we didn’t speak, there was nothing, no communication. And I really think that it had a lot to do with the man that she was with. So I don’t know what she was feeling but I’m sure she might have felt that way.

BLADE: How did it come about that “I’m So Excited” was remixed and became a much bigger hit than it had been before?

POINTER: We had an album called “I’m So Excited” and the song was kind of overlooked and we had put so much love and effort into writing that song, so when the album “Breakout” came up, we told Richard Perry, our producer, we said, “Look, we need to re-release this song.” We said, “It’s just a shame that it’s been so overlooked and we know it’s a hit.” And that’s kind of how it happened.

BLADE: Labels can be funny about stuff like that. Did it take any arm twisting?

POINTER: No, they really didn’t, you know, argue with us on that issue. They accepted it and were willing to put it on the next album. And the rest is history.

BLADE: How did you decide who would sing lead?

POINTER: We knew that Anita had a lot to do with initiating that song, the writing with Trevor Lawrence and we all felt equally agreeable that her voice was well suited for that song so it wasn’t really a big issue or argument.

BLADE: But in general how would you divvy up lead vocal duties?

POINTER: We would go through a series of trying out different voices. Richard would take each of us to sing a certain song and then we would all decide which one we liked the best. So that’s just how we did it.

BLADE: The Pointer Sisters are heavily known for dabbling in many genres. Did you ever get label pushback from that?

POINTER: We never really got much pushback. We always knew we didn’t want to be pigeonholed. We liked singing everything and I just think we just were lucky and blest enough that the producers we worked with liked that kind of variety. We were willing to try things and they were willing to try things with us.

BLADE: Do you think much about the Rock & Roll Hall of Fame? I know it’s not just based on fame or chart stats, but there are many acts inducted that had a lot fewer hits than you guys did. 

POINTER: Of course I think about that. Are you kidding me? Yes, yes indeed! But you know the other thing is that there are a lot of groups that I admire that aren’t in there either, you know? That when I hear the names come up on a yearly basis of the people going in, a lot of times I’m thinking, ‘God, I thought they were already in there.” So, you know, it is what it is.

BLADE: Is it political? Maybe because your biggest hits were ’80’s pop hits, that era isn’t taken as seriously perhaps? 

POINTER: I really don’t know.

BLADE: Do you miss recording?

POINTER: I do, I do.

BLADE: Do you think you would ever do any recording with your daughter and granddaughter?

POINTER: I hope we can but right now, you know, it’s interesting. I’ve heard people talk about wanting to try out new material but the audience really loves the old stuff. You know, I remember even years ago, we’d try out new material and they just sit there looking at you like a deer in headlights so then you pull out something old and they go crazy. So we just stick with what we love and what they love.

BLADE: About what percentage of the year do you spend traveling these days?

POINTER: Hmmmm, I don’t know. I never tried to figure that out but I know it’s a lot. More than I ever expected it to be at this age, at this time in my life. But it’s OK because I appreciate it so much and I enjoy it so much. I think I enjoy it now more than I did then.

BLADE: What would you say to someone struggling with addiction?

POINTER: First of all just admit that you have a problem. People just don’t want to admit there’s a problem or they think they can handle it on their own. I’m so saddened with the deaths of Prince, Michael Jackson and I was just noticing this thing even with Tiger Woods the other day and I was saying, “God, they just don’t get it.” These opioids are gonna kill them and they’ve got to get a handle on it and realize they can’t beat the drug, you know? You gotta get help and you gotta admit that it’s an issue that you can’t just play around with and think, “Oh well, this won’t hurt me.” You gotta get help.

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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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