40 Years Later: The Story Of KISS & Makeup
While the group's characters--Paul Stanley's Starchild, Peter Criss's Catman, Ace Frehley's Spaceman, and Gene Simmons's Demon--weren't yet fully formed when KISS took the stage that fateful night in Queens (their legendary platform-footed characters would make their true debut 10 days later, at the Daisy club in Amityville, New York), the KISS guys already knew that they wanted to put their own, much more macho spin on the early 1970s' prevailing glam-rock style.
"At the same time that we were forming in New York, there was a very big glitter scene, where boys were basically acting like girls and putting on makeup," Gene Simmons recalled during an interview with '90s fanzine Porkchops & Applesauce, conducted shortly before the original KISS lineup kissed and made up in 1996. "Y'know, all the skinny little guys, hairless boys. Well, we were more like football players; all of us were over 6 feet tall, and it just wasn't convincing! The very first pictures we took when the band first got together, we looked like drag queens. But we knew we wanted to get outlandish. We weren't a Grateful Dead kind of band that would get onstage and look worse than the roadie delivering our stuff. Which doesn't negate what the Dead and other bands were doing; it just wasn't us. Getting up onstage was almost a holy place for us, like church, so being onstage looking like a bum wasn't my idea of respect. That's where the makeup and dressing up came in. It would have obviously been a lot easier to get up onstage in jeans and T-shirts and go, 'Okay, here we are--we're the Ramones!' And that would have been just as valid, but it would not have been honest." Considering how iconic the KISS characters have become--inspiring lucrative lines of action figures, lunchboxes, Halloween costumes, even Hello Kitty fashions and coffins--it's amazing that there was no real master plan, marketing team, or celebrity stylist behind the band members' character designs. "Nobody else was involved," Gene recalled to P&A. "I just remember being in a loft in downtown New York, and looking in the mirror and just starting to draw. It was very stream-of-consciousness. What you see is really what just happened."
Even back in those early club days, these creatures of the night were dreaming of stadiums filled with dry-ice smoke and screaming girls, and none of the band members--especially Gene, always the crafty entrepreneur of the group--have ever apologized for harboring such lofty, mass-market ambitions. "There is a credibility line that we completely ignored, and still do," said Gene, proudly. "That credibility line of 'We don't want to be big, we want to be small and play in small, smoky places, and we don't care if anybody like us.' Um, no! We never adhered to that point of view. It seems very self-destructive to me. Anything that prevents a band from becoming as mega as possible is complete idiocy to me. If you think highly enough about the stuff you're doing, you want as many people as possible to listen to it--it has always been about that for us."
"New members had come into the band, and then new characters were happening [Vinnie Vincent, aka the Ankh Warrior, and Eric Carr, aka the Fox, had replaced Ace and Peter]. And it just wasn't convincing to us anymore. We had always adhered to the philosophy that if Peter and Ace ever left, then KISS, at least in that form, would cease to be. And I think, instinctively, we did that. Without killing ourselves, without taking the Cobain way out, we simply killed off that version of KISS and did a different version."
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