Kiss News

BY Eric Spitznagel

There've been more than enough KISS biographies to satiate even the most die-hard fan. Gene Simmons wrote his memoir, KISS and Make-Up, back in 2002. KISS: Behind the Mask, the band's official biography, came out not long after. Former members Ace Frehley and Peter Criss put out their respective memoirs last year. There's also been KISStory (1995), Kisstory II: Toys, Games and Girls (2000), Kiss: The Early Years (2002), Kiss Kompendium (2009), and Monster (2012), which cost just $4200. The latest tell-all, Nothin' to Lose: The Making of KISS, co-written by Simmons and Paul Stanley, is a not-so-slim 560 pages chronicling the band's genesis between 1972 and 1975.

It's been a busy few years for the KISS franchise. But then again, it's always a busy year for the KISS franchise. Simmons and his KISS bandmates still churn out original music, like last year's Monster, and go on pyrotechnic-heavy tours - they have five upcoming live shows planned in Japan. But Simmons is most newsworthy these days for his increasingly weird side projects. Like recording a song with Engelbert Humperdinck for the crooner's upcoming Duets album. Or executive-producing an animated TV show about Hello Kitty characters based on KISS. Or that Arena Football League team he co-owns, the Los Angeles KISS, which offered quarterback Tim Tebow a three-year contract which nobody, even Simmons, seemed to take seriously. "It doesn't matter," he said about the Tebow offer. "As long as the media takes notice."

Rolling Stone spoke with Simmons earlier this week about his new book, Miley Cyrus' tongue, working with Lou Reed, and more.

Why write another book? Are there any KISS stories we haven't heard yet?
Imagine yourself on a boat and we're always on top. We're on stage, so we can see it all. I can see the iceberg miles away. But I only see 10% of it, cause I can only see the top. Everyone else sees 90% of it because they're on the bottom. You really don't want to just talk about 10% of the iceberg. You want to see how big it actually is.
BY Eric Spitznagel

There've been more than enough KISS biographies to satiate even the most die-hard fan. Gene Simmons wrote his memoir, KISS and Make-Up, back in 2002. KISS: Behind the Mask, the band's official biography, came out not long after. Former members Ace Frehley and Peter Criss put out their respective memoirs last year. There's also been KISStory (1995), Kisstory II: Toys, Games and Girls (2000), Kiss: The Early Years (2002), Kiss Kompendium (2009), and Monster (2012), which cost just $4200. The latest tell-all, Nothin' to Lose: The Making of KISS, co-written by Simmons and Paul Stanley, is a not-so-slim 560 pages chronicling the band's genesis between 1972 and 1975.

It's been a busy few years for the KISS franchise. But then again, it's always a busy year for the KISS franchise. Simmons and his KISS bandmates still churn out original music, like last year's Monster, and go on pyrotechnic-heavy tours - they have five upcoming live shows planned in Japan. But Simmons is most newsworthy these days for his increasingly weird side projects. Like recording a song with Engelbert Humperdinck for the crooner's upcoming Duets album. Or executive-producing an animated TV show about Hello Kitty characters based on KISS. Or that Arena Football League team he co-owns, the Los Angeles KISS, which offered quarterback Tim Tebow a three-year contract which nobody, even Simmons, seemed to take seriously. "It doesn't matter," he said about the Tebow offer. "As long as the media takes notice."

Rolling Stone spoke with Simmons earlier this week about his new book, Miley Cyrus' tongue, working with Lou Reed, and more.

Why write another book? Are there any KISS stories we haven't heard yet?
Imagine yourself on a boat and we're always on top. We're on stage, so we can see it all. I can see the iceberg miles away. But I only see 10% of it, cause I can only see the top. Everyone else sees 90% of it because they're on the bottom. You really don't want to just talk about 10% of the iceberg. You want to see how big it actually is.

This metaphor is getting a little confusing.
This book doesn't just have our stories. There are stories and anecdotes from other rock stars and journalists, talking about their experiences with KISS. They write about what they saw, what they heard, and what it was like.

Ace Frehley and Peter Criss recently published memoirs, and they both made you out to be the bad guy. Do you feel like the bad guy?
I am the bad guy. I won't stand for drunks and alcoholics, who get up on stage and consider it their birthright. I consider it a privilege to get up there and arrive on time and be sober, and I'll be an asshole to anybody who thinks otherwise. You know who else is an asshole? Your teacher was an asshole. Your parents are assholes. Your drill sergeant was an asshole. Because they wouldn't let you get away with shit. Ace and Peter have had a lifetime of being losers. And not just with drugs and alcohol. They're losers because of wrong decisions. You sleep in the bed you make. How many chances in life do you get? They were in and out of the band three different times. Why should they get another chance?

They also both claimed in their books that you never shower.
Okay, so what? What's your point?

Were they telling the truth?
What does showering have to do with being a responsible human being? What else? That's what makes you an asshole, because you don't shower? Okay. You win. You win.

Did you see Miley Cyrus perform at the VMAs?
Oh sure, of course.

She got widely criticized for sticking out her tongue, among other things. Are you surprised by the backlash?
I don't understand why people got so upset. Whether you stick out your tongue or shake your tushy, all the other girls are doing the same thing. Any girl whose name ends with an A�Madonna, Shakira, Rihanna, Lady Gaga, all these girls who sing pop songs through backing tracks like it's karaoke and gyrate all over the stage�if they can do it, why can't Miley? Either condemn the whole lot of them or leave her alone.

As somebody who built a career around sticking out his tongue, how would you rate her tongue-wagging performance?
It was okay. But that's a girl's version. It's like girls basketball. It's as good as girls can get at basketball. But you can't play with the guys.

You've collaborated with Lou Reed, right? On the Music from "The Elder" album?
That's right. He helped out on "World Without Heroes" and "Mr. Blackwell."

You're both artists with a reputation for strong egos, and you've both been accused of being pricks.
That's right.

When two famous pricks are in the same recording studio, trying to collaborate, does it cancel out their individual prickishness?
When you have a shared passion about something, and it's something you both care about deeply, egos don't get in the way. It's sort of a meeting of the minds.

You really don't care if people think you're a prick?
It's like screaming up at Godzilla who's 50 stories tall. I don't think it will care. "What's that you say? You think I'm arrogant? Sorry, don't have time to discuss it, I'm busy destroying Tokyo. See ya!"

Does any criticism bother you?
Anybody who's got something to say to you, the response shouldn't be "I agree, I disagree." It should be "And what have you done with your life?" Everybody's got an opinion, but there's such a thing as qualified opinion. If Richard Branson's got something to say to me, I'm going to listen. He's accomplished something. If somebody farts through their mouth, you have to consider the source.

When you were coming up with your Demon character, did you have a plan B? Was there a second choice?
I reject the word "character," because that implies acting. There's a Jekyll and Hyde personality switch that happens. I wear more makeup and high heels than your mommy, but she's in control of who she is. When I get up on stage, it's a different headspace.

Are there ever moments when you're not in the mood? When you're a sad Demon, or an introspective Demon, or a middle-aged Demon who just wants to stay in his boxers all day?
Sure. Before a show, you might have aches or pains, or it's a bad rainy day, or it's too humid. We all complain about stuff. But ... how do I put this poetically? Once it's the roar of the crowd and the smell of the greasepaint, forget it. Once the adrenaline kicks in and your chest expands, you forget about all that. You just go onstage and kick some royal ass. That's our job description.

How much longer can you keep doing this?
This interview?

KISS.
As long as it takes. I have miles to go before we sleep. We're approaching our 40th year. We've completely ignored the critics, and in fact we've buried them in our back yard. We are the kings of the nighttime world. We outsell the Beatles and Elvis. We have literally 5000 licensed and merchandized products. We have a co-brand with Hello Kitty, which has resulted in 1500 new licenses. I don't care that some of my favorite bands, U2 or Radiohead or whatever, wouldn't do that. The truth is, they couldn't do that. We will do anything we damn well please, whether it makes sense to somebody or not. In essence, that's the real rock n' roll spirit.

Doesn't it get exhausting to always be selling some new product with your face on it?
Never. We want to be our own culture. KISS Kulture, spelled with a K. We're taking over football next. Go to lakissfootball.com and learn about the only football team in Los Angeles of any kind. You can buy season tickets for $99, and you get a free KISS concert. What's wrong with that? Your choices are mortgaging your home to get a ticket for the NFL, or you can come to our air-conditioned arena facilities and you'll have the time of your life.

You're like one of those salesman from Glengarry Glen Ross. You always have to be closing.
Well, I think Shakespeare said it first, and then I guess Alec Baldwin. "The world's a stage. Either close or go home." Anybody who gets angry at us are just small people with small dreams who never achieved anything and will always be angry. But they're mostly angry with themselves for being losers.

Have you ever turned down a merchandizing idea?
Not all ideas work. KISS crack is probably not a good idea. But we'll try anything else.

How much KISS merchandize do you personally own? Is there a KISS condom in your wallet right now?
No, no, no. I don't have any of it. What chef eats everything that's on his menu?

Will you be buried in a KISS Kaskat?
I might. But I would rather do it KISS style and go up in a pyre.

By Daniel D'Addario

KISS � somehow � isn�t done.

The foursome of makeup-loving heavy metal rockers, whose last album, �Monster,� came out last year, have released a book, �Nothin� to Lose,� on the occasion of their 40th year. Written by music journalist Ken Sharp with band members Paul Stanley and Gene Simmons, the book chronicles the band�s formation and rise to prominence; what it does not contain at any length is a list of critical hosannas and Grammys the band�s received. Though their fortunes have evolved over time (the band ultimately received a special �Heroes� award from the recording academy), Kiss has always been the bastard child of the recording industry � able to sell out arenas and produce hit records on the strength of a sound and a look (black-and-white face paint, tongues fully extended as often as possible), but far from the sort of acclaim that its contemporaries enjoyed.

Not that the band members are troubled. In separate conversations, Stanley and Simmons � who�s carved out a second career for himself as a reality TV personality on shows including �The Celebrity Apprentice� and �Gene Simmons Family Jewels� � expressed general disregard for the critical establishment and a belief in their continued ability to draw young fans. In particular, Simmons sees some of a new, rebel spirit in Miley Cyrus, the star best known for sticking out her tongue at the current moment. �Self-empowerment,� he says. �Fashion be damned, just wear what you want.�

Tell me a little bit about what it means to you to �sell out.� Kiss � and Simmons in particular � has done any number of commercials, reality shows, sports investment projects that don�t necessarily fit a rebellious message. Or do they?

Stanley: The premise of Kiss has always been to not live within the confinements and boundaries other people set for themselves. We set our own limitations, and those are no limitations. To be shackled by other bands� and other artists� sense of what they can and usually cannot do � no, that philosophy has never changed. At this point, we can be involved with taking on an arena football league franchise. The idea is always to branch out with what we�ve done before. At the heart of it, we remain a rock �n� roll band. We have no apologies � people who think we shouldn�t are people who can�t.By Daniel D'Addario

KISS � somehow � isn�t done.

The foursome of makeup-loving heavy metal rockers, whose last album, �Monster,� came out last year, have released a book, �Nothin� to Lose,� on the occasion of their 40th year. Written by music journalist Ken Sharp with band members Paul Stanley and Gene Simmons, the book chronicles the band�s formation and rise to prominence; what it does not contain at any length is a list of critical hosannas and Grammys the band�s received. Though their fortunes have evolved over time (the band ultimately received a special �Heroes� award from the recording academy), Kiss has always been the bastard child of the recording industry � able to sell out arenas and produce hit records on the strength of a sound and a look (black-and-white face paint, tongues fully extended as often as possible), but far from the sort of acclaim that its contemporaries enjoyed.

Not that the band members are troubled. In separate conversations, Stanley and Simmons � who�s carved out a second career for himself as a reality TV personality on shows including �The Celebrity Apprentice� and �Gene Simmons Family Jewels� � expressed general disregard for the critical establishment and a belief in their continued ability to draw young fans. In particular, Simmons sees some of a new, rebel spirit in Miley Cyrus, the star best known for sticking out her tongue at the current moment. �Self-empowerment,� he says. �Fashion be damned, just wear what you want.�

Tell me a little bit about what it means to you to �sell out.� Kiss � and Simmons in particular � has done any number of commercials, reality shows, sports investment projects that don�t necessarily fit a rebellious message. Or do they?

Stanley: The premise of Kiss has always been to not live within the confinements and boundaries other people set for themselves. We set our own limitations, and those are no limitations. To be shackled by other bands� and other artists� sense of what they can and usually cannot do � no, that philosophy has never changed. At this point, we can be involved with taking on an arena football league franchise. The idea is always to branch out with what we�ve done before. At the heart of it, we remain a rock �n� roll band. We have no apologies � people who think we shouldn�t are people who can�t.

Some might say that bands ought to focus on the music.

Stanley: That�s really � I would have to say that�s their own doing. If you don�t know why you succeeded in the first place, you�re doomed to extinction. We never wanted to be a �Whatever happened to �� on VH1.

Talk to me a little about nostalgia, and the degree to which that plays into your act. I know you are releasing new records, but �

Stanley: If you came to a show, you would see the majority of the demographic is in their early 20s. There�s something maudlin about being a nostalgia act. Well, I tip my hat to any band that can sell a ticket. But I don�t want to see a band that looks like my science teacher in high school. Our audience is young and vibrant; we retain our previous following; we are three generations into it. Unlike other bands that are very demographically specific, who they appeal to and who their fans are, we�re the antithesis of that. If you see your younger brother or a parent of yours or a neighbor at most rock concerts, that�s not cool but with us and kids, it�s a tribal gathering. Whether it�s kids or neighbors � they�re all part of a secret society.

You think kids can relate to your style of music?

Stanley: The things we sing about are timeless. Political affairs and social situations come and go. But if you�re singing about empowerment and not playing by the rules, you can sing about them until you can�t sing anymore. The idea of not listening to people who tell you what you can�t accomplish is timeless, while someone else may be singing about saving the whales.

Do you think you�re rebellious? You�ve been able to make a lot of money in the music game while cultivating that image.

Stanley: Rebellion is a state of mind. What I�ve done with the band is � we won by not playing the game. The best way to win is by not engaging in the battle. You work around it. We are products of rebellion. It doesn�t mean we shouldn�t be handsomely rewarded. But we did that our own way.

A lot of critics might not agree.

Stanley: Music critics are, for the most part, bitter people who are intent at dragging people down for being successful at what they want to do, which is probably music. The oddity of being a critic is: You don�t get a diploma, you just decide you�re a critic. If someone listens to your opinion rather than their own, it�s their mistake. Any critic�s top 10, any year, it�s something controversial or something that will make them look hipper-than-thou. The whole critic game, we�ve never played.

That�s frustrating to them. We outlived them. Most critics have to come to grips and resign themselves to the fact we�re 40 years into an incredible worldwide career. And most critics have fallen by the wayside. How can you expect any credibility if someone didn�t pay for a ticket. Ask people who paid for a ticket, who worked and paid for a show, ask them if it lived up to expectations.

But you can�t deny you have no pretensions to a higher purpose, which other bands aspire toward.

Stanley: We�re not hiding anything. And we�re adding to what we do. We�re a first-rate, kick-ass rock band who can duke it out with anyone out there at the moment. We choose to be more than that. We want to be a spectacle. We want to give people their money�s worth. That�s not hiding anything. That�s embellishing and enhancing. We�re dead serious about what we do. Other bands, you�d have to talk about how serious they are. Some might be delusional about how important they are.

Tell me a little bit about the endeavors that have made you take off the makeup. Do you feel it takes away from your allure to appear on reality TV?

Simmons: No, because if the core of it is solid, it doesn�t matter what you wear on the outside. We toured without makeup for 15 years, and filled the arenas of America, with or without makeup. We prefer with makeup. At the heart of it, these are songs people like.

I more meant your endeavors offstage.

Simmons: I�m fascinating with or without makeup.

Do you think you�re still edgy?

Simmons: Edgy is a relative term. I saw the Stones celebrating 50 or 60 years this year. Past a certain point, when you become iconic, it�s beyond edgy. When you don�t have history on your side, you aim for edgy. When you are a kid, you just shit on the lawn.

Do you think you�re iconic, then?

Simmons: I don�t. Millions of people around the world do. They tattoo their bodies with our faces, name kids after our songs. There are conventions celebrating the culture of Kiss, a superliner on the high seas full of Kiss fans.

I asked your bandmate this: What do you make of claims of selling out?

Simmons: We sell out every night.

The people who make assessments about our career � If you like it, come, if you don�t, goodbye. We do what we do, and if you like it, come.

What do you make of the contemporary music scene?

Simmons: The only star in the past 20 years is Lady Gaga. Everyone else is a pop singer. Name 100 iconic, legendary stars from 1958 to 1983. There are so many. Now do the same from 1983 to today � you can�t name one.

I guess Madonna and Michael Jackson both predate 1983 � but �

Simmons: There aren�t any! Kinda pathetic! You�re answering my question. From 1958 on, you had Motown, rock, events that created legendary stars.

Alternative fans came in, grunge came in � nothing! Out of metal, only one band, Metallica. The rest? Thank you and goodbye.

Given your yen for extending your tongue, what do you make of the sexualized critique of Miley Cyrus?

Simmons: She�s being treated unfairly � Madonna, Rihanna and the single-named girls with the A�s in their names � uh, Shakira � if they can do the same stuff, why isn�t anyone picking on them? Justice for all. If the rest of the girls can kiss each other, why can�t she do what she wants?

Do you think you contributed to that?

Simmons: We should all be free onstage. The old days before the pill, we were all slaves. Self-empowerment � fashion be damned, just wear what you want.

Do you admire other bands in your peer group, whatever that means to you?

Simmons: Love the Stones, love U2 � and we�d play together whenever they want.

Why do you think they haven�t played with you, then?

Simmons: Why do you think? I love the Stones. But friendship starts at the door, just like boxers. You get in the ring, my job is to knock you out.