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The mom supremacy

America’s “mama grizzlies” – homely, conservative women with their hearts set on power – are easy to

In Douglas County, Colorado, lives Lu Busse - mother, grandmother, activist and the original "mama grizzly". Long before Sarah Palin conjured up the image of a mother bear "that rises up on its hind legs when somebody's coming to attack their cubs", Busse had been calling herself "Grizzly Granny Lu" on her blog. "I always said that if we give up on the Republican Party and start a new party, we're going to be the Grizzly Bears," she tells me. "These donkeys and elephants, that's ridiculous. In America, if you're not a grizzly bear, you're not really American."

Busse founded her local 9.12 Project group in April last year, just a month after the Fox News presenter Glenn Beck launched the national project based on nine principles and 12 values (numbers one and two: "America is good" and "I believe in God and He is the centre of my life"). Busse now chairs the statewide coalition of 9.12 groups, and works closely with the Tea Party movement. Locally, female membership is dominant; Busse says that around 60 per cent of the activists she works with are women. It mirrors the national picture. A poll conducted by Quinnipiac University in March this year suggested that 55 per cent of Tea Party sup­porters are female. And they are growing in power. In the past few months, a string of ultra-conservative female candidates, such as Christine O'Donnell in Delaware and Kristi Noem in South Dakota, have won in the Republican primary elections.

Palin calls it a "mom awakening", a movement of newly empowered conservative women who are anti-government, anti-establishment and seeking to destabilise a political system they perceive as elitist and remote. The appeal of candidates such as O'Donnell is their lack of political experience: they are traditional, homely mothers. Yet the ambition of activists such as Busse is huge. She wants to change "the whole direction of the way the country's moving" - and believes she can.

When I ask her if she feels part of a women's movement, Busse reflects for a moment, and then says: "It's not a women's movement in a way that the movement that generated feminism is. This is a movement that wants our country to be the country we grew up in - we want that for our children and our grandchildren. So it gets to our motherly instincts. It's not about women's issues."

It is a telling distinction. For Busse and others like her, feminism is a word laden with alien liberal values, wedded to a time of sexual liberation and immorality. Instead, their bond is motherhood, as reflected in an expanding behind-the-scenes network of activist organisations: As a Mom; Concerned Women for America; Moms for Ohio; Homemakers for America; American Mothers.

Palin gave her "mama grizzly" speech at a breakfast meeting of the Susan B Anthony List in May this year. Founded in 1992 and named after the 19th-century civil rights leader who campaigned for women's suffrage, the List works like an engine room behind conservative female candidates, providing financial backing and mobilising supporters. With 280,000 members, it has funded and campaigned for O'Donnell, Noem and about 25 other candidates across the US. It also has one specific aim, says the group's chair, Marjorie Dannenfelser, which is to "help elect and involve pro-life women in the political project": to end the practice of abortion.

“What we're seeing," Dannenfelser tells me, "is a correction of the term feminist, an editing - women who feel very strongly about the talents and skills and power of women, but who don't feel that abortion is an avenue to that." For Kathleen Blee, a professor of sociology at Pittsburgh University, the idea that women such as Dannenfelser describe themselves as feminists is extraordinary. "It's a terrible distortion," she says. "It strips most of the meaning away from feminism . . . They don't support equal rights, they don't support abortion - you name the feminist issues, they are on the other side." Dannenfelser says that the election races she gets most excited about are those featuring "women running against women where there's a clear contrast between the type of feminism the two candidates represent"; as in, one is pro-life, the other pro-choice. It's
a strange kind of sisterhood.

Conservative feminism in the US is hardly new. One of its early incarnations was the Women's Christian Temperance Union, established in 1880 as part of the temperance movement campaigning for the prohibition of alcohol (a movement in which Susan B Anthony was heavily involved). According to Blee, early rightist women's activism often had a racist tendency. Those involved in the pro-suffrage movement, for example, were galvanised to ensure that white female voters could out­number black men. A number of those women, Blee says, became an influential presence in the Ku Klux Klan, whose membership included at least half a million women at its peak in the 1920s.

Women were also involved in the pro-fascist movements in the Second World War, and in anti-desegregation campaigning during the civil rights movement. But rightist women's movements "exploded", Blee says, with the emergence of an organised Christian right in 1979, the year the pastor Jerry Falwell founded the Moral Majority.

As an evangelical movement that coalesces around issues such as abortion and gay marriage, the Christian right has played a significant role in US politics ever since. The Republican strategist Karl Rove's direct appeal to its base was seen as a deciding factor in George W Bush's re-election in 2004.

The Tea Party has proved to be a magnet to the Christian right, and has been infused by the movement's socially conservative values, even though its original objectives were ex­clusively fiscal. (Busse is typical in citing the bailout of the banks after the 2008 financial crisis as the trigger for her activism.) For Tea Party purists, the infiltration by Christian groups is not necessarily welcome. One activist I spoke to felt their preoccupation with moral issues was potentially divisive, and diluted the Tea Party's central messages around tax and spending. But Dannenfelser sees it differently. "There is so much overlap in the Tea Party movement between economic and social issues that there is really no discontent," she says. "It is simply a matter of emphasis."

For activists such as Dannenfelser, who have been fighting abortion for decades, the events of the past two years have been a perfect storm: the financial crisis, the election of Barack Obama and the consequential birth of the Tea Party have given social and Christian conser­vatives a wave to ride and, in the form of Palin, a ready-made, pro-life, "hockey mom" leader with a direct line to Fox News and, some seem to think, God.

Mum's the word

There is, as yet, no Concerned Women for Britain, or Mums for Basingstoke. Perhaps the closest thing we have to a mass women's movement is Mumsnet. But while the social networking website has political influence - all three party leaders raced to interact with its 1.1 million users before the last election - it is resolutely non-partisan. Its co-founder Justine Roberts tells me she can't imagine the site ever aligning itself with a party or ideology, given the diverse political views held by the mothers who contribute to its discussion forums.

Yet Britain, like America, has a history of conservative women's activism. The British Women's Temperance Association was formed at almost exactly the same time as its US counterpart. With campaigns for sexual purity and chastity, it played a central role in the women's suffrage movement. And Margaret Thatcher (a "heroine" to Palin) is a role model of sorts for British conservative women - although the feminist writer Natasha Walter argues that Thatcher was an anomaly, and one of her own making: "She didn't put in place any policies to encourage equality or to encourage women."

Today, Theresa May is conspicuous as the only woman in a senior cabinet position in the new government. Lower down the ranks, however, there has been a shift. A raft of new female Tory MPs entered parliament at the last election - up from 17 to 49. One, Louise Bag­shawe, chick-lit author and MP for Corby, says this is partly a result of May's efforts to alter the gender balance of the party by starting the Women2Win campaign in 2005. Bagshawe defines herself as a feminist and describes May as the "godmother of a movement".

Like some of her American sisters, Bagshawe is also anti-abortion. "I've never had a problem with being pro-life and a feminist," she says.
“I don't consider them to be at all incompatible." She reveals that she is a member of a prominent US pro-life lobby group, Feminists For Life, and that she admires Sarah Palin. "I watched her acceptance speech at the Republican party conference and it seemed to me that it was a glorious moment, a birth of a new political star." Bagshawe acknowledges that the campaign exposed "various problems" (such as a glaring lack of policy knowledge), but is impressed by the comeback Palin has achieved since the 2008 election, and the power she now wields. "She's a remarkable figure."

Bagshawe's adulation is echoed by one of her colleagues in parliament, the MP for Mid Bedfordshire, Nadine Dorries (who is also pro-life and has campaigned vocally for a reduction in abortion term limits). "I think Sarah Palin is amazing," Dorries says. "I totally admire her." She particularly likes how Palin has spoken up for a certain type of woman - the same women, she believes, who are ignored in Britain today. "Do you know the people who have no voice in this country? Who are never written about, who journalists never talk about? The mums. Mums who decide that they will give up their careers and stay at home and look after their children."

She directs me to a blog post she has just written, "The Invisible Woman", which contains a link to a video of a motivational speech given by an American woman, Nicole Johnson. The central message is one from God to mothers: "You are not invisible to me. No sacrifice is too small for me to notice. I see every cupcake baked, every sequin sewn."

Dorries says she has been inspired by recent events in the US - the primary victories of O'Donnell and others. With a new government in place, she senses a "wind of change" in the political atmosphere in Britain. In the last parliament, she says, it was "very difficult to talk about the family unit, and to talk about mothers and children . . . as the foundation of society, because it was seen as a very unsexy, untrendy thing to do and the opposite of what a woman should be doing". Now, she feels these issues can be discussed.

Her assessment is borne out by Walter, who tells me of a recent meeting she attended with coalition ministers in which they discussed the sexualisation of children. The ministers said they felt it was their duty to provide moral leadership to the country. "That's something I am not comfortable with," Walter says. "But I can see that a Conservative government would think that's where they have to lead."

It is certainly what Dorries thinks. And not only that. Given the sympathetic political climate, she sees an opportunity to mobilise a perceived constituency of ignored, stay-at-home mothers. "I think it's time somebody started to represent those mums," she says.

Not to be dismissed

Since the Tea Party rose up across the US in 2009, a common response to its more extreme factions and candidates has been amusement. Conservative female politicians such as O'Donnell are routinely dismissed, even by leading figures within the Republican Party. Karl Rove recently described O'Donnell's rhetoric as "nutty". Yet the mass appeal of these women is already translating into votes and victories. To discount them is to underestimate their growing power, and also makes for ineffective opposition. As Blee says: "People here do not take women very seriously, they do not take the Tea Party as a whole very seriously, and I think it's clear that's a mistake."

The point on which all the women I spoke to agreed, whatever their shade of politics or feminism, was how often female politicians of all parties and ideologies are patronised. "I wouldn't want to claim Sarah Palin as a sister," Walter says, "but I don't like it when she is despised and trivialised simply for being a woman." And it's not just the Americans. Parliamentarians such as Dorries (nicknamed "Mad Nad") are derided and disregarded as a matter of course.

The "mama grizzlies" are undeterred as they gear up for the midterm elections in November. Dannenfelser is optimistic, pointing out that she has "four strong viable pro-life women who are running [for the Senate] and could win, and three governorships in the same situation". Blee, however, is doubtful about the Tea Party's political longevity. She suggests that the range of views and motivations within the wider movement will make it hard to sustain. Electoral success in the midterms, she believes, might precipitate a collapse by exposing factions and splits.

Nonetheless, uniting all these women and issues is one woman, a de facto leader who appears to be on her way to the very top. "The prospect of Sarah Palin as a presidential candidate is not worth discounting," Blee says.

But could she win the presidency? "Yes, as crazy as that is." As Lu Busse says, laughing, just before she hangs up the phone: "The folks in Washington ought to know that they're in real trouble . . . They've got the women after them now."

Sophie Elmhirst is assistant editor of the New Statesman.

Sophie Elmhirst is features editor of the New Statesman

This article first appeared in the 04 October 2010 issue of the New Statesman, Licence to cut

Matthias Seifarth for New Statesman
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What happened when Kiss went to Moscow: bullet-proof tents, rivalries and mating rituals

Gene Simmons: "If Putin is here, he will not make himself known to me."

When Gene Simmons decided he wanted to be a rock star, he made a deal with his mother: be in a band but show me how you’re going to pay the rent. He had a variety of marketable skills at his disposal. At Newtown High School in Queens, Chaim Witz, only son of Flóra, who’d brought him to New York from Israel, took stenography and typing classes. By 13 he could out-type his teacher. By 18 he was a “tele-girl” (a temp) and found himself in demand with powerful female executives in Manhattan. With his feet, he worked a Dictaphone machine to take their letters – one pedal for go, one for stop and one for rewind. The then managing editor of Vogue, Kate Rand Lloyd, heard about the only male temp on the floor at Glamour. He became her Man Friday and fixed her hectograph, rexograph and mimeograph machines.

On 29 April 1974, he made his first television appearance on The Mike Douglas Show as Gene Simmons, “The Demon”, of the rock band Kiss. He picked his way across the studio floor on 30lb silver platforms, his abnormally long, seven-inch tongue thrashing about in his mouth like a skinned snake. In a whisper he declared himself “evil incarnate”. On the sofa next to him was the comedian Totie Fields. “Is your mother watching?” she asked. “Wouldn’t it be funny if under all the make-up he’s just a nice Jewish boy?” Eighteen months later, Simmons got a cheque from his record company for $1.5m. He showed it to his mother and she said, “Now what are you going to do?”

Up on the roof garden of the Park Hyatt hotel in Moscow sits Simmons today, his wiry hair, like black loft insulation, pulled into a ponytail. I’ve been taken to see him briefly, before an interview scheduled for two days later. Despite looking, in his own words, “at best like a baby dog at birth”, Simmons claims to have slept with 4,600 women, taking a record of each with a Polaroid camera. At 67, his latest conquest is Siri, whom he has programmed to call him “My Lord and Redeemer” on a cellphone with a special Kiss case.

Simmons stands when a woman arrives; he analyses the size of your bag, wondering how you fit your make-up in it. He thumbs through photos of Kiss products on his phone: Kiss guitars, Kiss car wraps – and a Kiss Kasket, a limited-edition coffin, part of his funeral range. The murdered Pantera guitarist Dimebag Darrell was buried in one: affection runs deep for the cartoonish glam-metal compound, now in its 44th year of music and merchandising. Among the expressions Simmons claims to have trademarked are “rich and famous” and the Chinese word xi, meaning “the West”.

Rehearsals for Russia’s May Day celebrations float up from Red Square, operatic folk songs and the chug-chug of army boots being put through their paces. Over in the Kremlin, Vladimir Putin prepares a phone call to Donald Trump to talk about Syria. US-Russian relations have hit a new low. In recent months, Simmons has generated a steady flow of headlines from views that wouldn’t seem out of place in a hardline administration. Drug addicts should be sent to gulags, he said; paedophiles put to death. Islam is a “vile culture”, and don’t even get him started on immigration. On the night of the national festivities, Kiss will play the Moscow Olympic Stadium to 15,000 people who’d rather hear “Crazy Crazy Nights” than “The Song of the Volga Boatmen”.

Will Putin be at the gig?

“If he is, he will not make himself known to me,” he says, drifting off to his room.

Gene Simmons’s hoist, which enables him to float 30 foot above the stage, puts a great strain on his body because his costume gives him an extra 50lb in weight. He recently fell over on to his back and couldn’t get up again, like a turtle. At the show, he will be spitting fake blood. But today’s soundcheck is a sedate affair: a three-hour dissection of stage manoeuvres, the testing of winches and timing of feet. In plain clothes, the band’s frontmen, Simmons and Paul Stanley, step on hydraulic arms and sweep out over the empty arena like two tree surgeons. Simmons noodles on his bass – snatches of Peter and the Wolf and “The Pink Panther Theme” – but seems less interested in playing the well-oiled anthems of Kiss.

It’s like watching a group of men congregate around a car they’re refitting, or a hole they’re digging in the ground. They seem completely absorbed – but every so often, with a sting, a guitar pick hits my face, 30 feet away at the side of the stage. Throwing their personalised, painted guitar picks at people is part of Kiss’s mating ritual. Stanley greeted me remotely earlier by despatching a fistful of them via the tour manager, the way a man might order a drink for a lady across a hotel bar. Another pick hits my forehead. “Hey, Statesman.” And another. “Can someone lift her on to the stage?”

There are no women in the Kiss entourage, apart from one who carries the costumes and another who manoeuvres the large wheelie bins containing the make-up and cosmetic products the men administer themselves. Both employees are on the younger side. It was a different story in Moscow thirty years ago, as Jon Bon Jovi told the NS, when, at the first Western rock gigs in Russia, babushkas swept the stadiums with brooms made of twigs.

At the centre of the Kiss team is a man who will confirm this: Doc McGhee, the music mogul sacked by Jon Bon Jovi after McGhee was convicted for drug smuggling. In 1989, partly to get around his jail sentence in the US, McGhee collaborated with the Russian musician Stas Namin to bring Western bands to the country. Namin’s grandfather was a Bolshevik statesman who served under Lenin, Stalin and ­Khrushchev. The Moscow Music Peace Festival happened on Gorbachev’s watch. McGhee spent three days with the president at the Kremlin offering him $10m for the rights to a book and film of his life. You can’t blame him for trying.

It was different putting on gigs in those days. You had to allow 12 hours for an eight-hour drive to account for the number of times you’d have to stop and bribe border guards with records, or wake Alice Cooper up from the tour bus and get him to do an autograph in order to be allowed on your way. McGhee brought his own ice from Scandinavia. You couldn’t buy records in Russia but there was a feverish black-market trade on street corners in albums pressed on to old X-rays. A young interpreter joins the band one night and talks about her parents’ time with bright eyes. “It’s different now that you have access to everything,” she says.
“It doesn’t matter so much any more.”

Outside the hotel, the teenage boys keeping a three-day vigil for Simmons and Stanley might disagree. Kirill and Daniel have flown four hours from Tomsk, Siberia, for the concert. They are 14 and first saw the band’s white faces in a magazine. Dmitri, in his thirties, knew of Kiss only from some famous graffiti in Red Square: their double “lightning S”, banned in some countries for its proximity to Nazi insignia, appealed to his teenage brain. I bring Stanley’s guitar picks out of my pocket. Twenty boys scrum violently like pigeons on a loaf of bread.

Back at the soundcheck, Kiss leave the stage in strict formation, 20 feet apart, each flanked by a member of staff as though surrounded by great crowds. It’s a small hint of the invisible rules, the secret rivalries, covenants and compromises that allow opposing characters to exist side by side for decades in the classic rock bands. Simmons is the face of Kiss but Stanley’s limousine always arrives first, “because he’s the boss”, someone mutters. Stanley applies his make-up – a soft-faced, effeminate character known as The Starchild – in a private room, while Simmons packs into one dressing room with the rest of the band, playing the Kinks at loud volume.

Gene takes over two hours to complete the process “because he is talking all the time”, Stanley says. “It’s very hard to do it when your mouth is moving. Me, I can do it in half an hour.”

Stanley drifts down the corridor and, taking my chances, I slip into his dressing room behind him. It’s a triumph of interior decorating, the Soviet-style lime-green walls and strip lighting obscured by satin drapes like a black-and-white version of the purple “foo foo room” that Prince used to set up backstage. There is a black satin bed should he need a lie-down for any reason. There are weights of various sizes and a medicine ball – and in the corner, lit with old-fashioned make-up lights, his own cosmetics area.

“Here is my clown white,” he says softly, picking up a pot of the thick, sweat-resistant foundation they discovered in the Seventies. “And here are my puffs.” Why do they do their own make-up?

“Because it’s a ritual,” he says. “It’s a rite of passage. I can’t imagine sitting in a chair like a dummy and having somebody painting my face. It is putting on my uniform. It’s my colours. And it’s better for me in here than the chaos in the other room.”

Stanley takes a seat on a leather sofa, one leg crossed over the other, eyes on the floor. On his mirror, there is a photo of him playing the burned and disfigured lead in Phantom of the Opera, a Toronto production, in 1999. Above it is written “Star of the Show”.

He was born Stanley Eisen, “a little fat kid”, deaf in one ear as a result of microtia, a deformity of the ear canal. He was raised on opera and Broadway. As a young man he drove a taxi. He speaks in careful but lyrical sentences, and gets straight down to business.

“I always found it interesting that a lot of the critics were venomous in their dislike of us,” he says. “It’s something that perhaps they should work out on the psychiatrist’s couch. Because the dislike for the band was so out of whack, so out of proportion, you almost have to look at someone and go: who beat you as a child!”

In 1978 the NME ran an interview with Simmons under a headline it had also used for Freddie Mercury: “Is this man a prat?”

“The fact is that what we do has endured,” Stanley says. “What we are doing has no expiration date. Some of the critics who embraced us when we were struggling spurned us when we became successful. Once you gain acceptance you have ‘sold out’. Well, sold out means the place is full. I never felt the need to counter the vitriol because I was too busy succeeding.”

Stanley Eisen is the son of Austrian and Polish Jews who escaped to New York via Amsterdam. Simmons’s mother was born in Hungary and spent many months in a Nazi concentration camp in Austria, where she saw most of her family put to death. She fled to the new state of Israel, where her only son was born, and moved to New York in 1957 after her husband deserted the family. Stanley and Simmons have survived many line-up changes in their band: they once had a member called Vince Cusano, whom Simmons renamed Vinnie Vincent, because the old name sounded “like a fruit vendor”. Their tour manager, Steev Toth, has Hungarian and Jewish ancestry. The guitarist Tommy Thayer is the son of Brigadier General James Thayer, who liberated 15,000 Hungarian Jews from a concentration camp in Austria which, Simmons thinks, may have been his mother’s.

Paul Stanley: "I have said to Gene, I would shoot myself if I had your life."

“We are children of immigrants,” Stanley says. “We are children of the post-Holocaust; we have a certain mentality, and a mindset, and a work ethic. I was taught you don’t take anything that isn’t yours, don’t take anything that you don’t deserve and don’t take anything you didn’t work for.

“We are, more than ever, brothers. That doesn’t mean we want to spend all our time together. I have said to Gene before, ‘I’d shoot myself if I had your life.’”

Why?

“Because what is appealing to Gene in life is not my desire. And my life is boring to him.” He stretches along the whole length of the sofa, beginning to relax.

It is 4pm, and from behind a Superman curtain down the corridor, the muffled sound of Sixties British music signals the start of the transformation. “All right?” barks a cod London accent. I can make out Simmons’s silver platforms propped up on the top of a crate but I cannot see his face.

“He is the strangest guy,” their manager Doc McGhee told me the previous night in the hotel bar. “I mean, the strangest legitimate guy I know – I know bipolar guys, guys with mental problems. He has NO friends.”

Simmons’s family life played out in 2011 on a popular reality-TV show called Gene Simmons Family Jewels. For decades he had been “happily unmarried” to the erotic actress Shannon Tweed, the star of films including Meatballs III and Indecent Behaviour. The couple have two children, but they did not live together.

“The show made him behave differently towards his family,” McGhee told me. “It showed him from different angles and he didn’t like what he saw.” The idea inspired McGhee to conceive another programme called Extreme Combover: “You do this thing to your hair, and you think it looks good, but everyone else sees it from a different angle. My first two contestants would be Gene Simmons and Donald Trump.” Simmons appeared with Trump on The Apprentice (Trump fired him) but Combover has yet to be made.

The Superman curtain is ajar and I can see Simmons in profile, emerging from behind a wall. The next time I look up, he has pulled himself across the room on his wheelie chair and sits facing me with legs thrown apart, groin open, presenting a silver codpiece.

“All right?”

Nothing can prepare you for the Kiss make-up transformation in the flesh, and the psychological shift it occasions in both onlooker and band. One by one, a series of giant, seven-foot space clowns, taller than anything else in the building and whiter than the moon, emerges, each with a look of surprise on its face. High up the door frame of Stanley’s dressing room peers a face like a sad mime, one eye a black star, red lips pulled into a feminine pout. He takes to the corridor with the careful elegance of a giraffe – and there is something new in his manner; glorying in eye contact now, waving his platform boots in my face. Suddenly the biggest mystery of all – how Kiss can claim to have got so much sex – is a mystery no more. The white faces are frozen as men of 25. And the costumes, if you can call them that, directly facilitate inappropriate physical interplay: all rules of personal space are broken as, without thinking, you find yourself touching and poking them. A tail emerges from Paul Stanley’s satin backside and my hand closes around it.

“Is it real rabbit?”

“Will you call me a fraud if it’s not?”

He bears the sense of an older, more medieval conquest; of pillage and of poor women taken by force.

Simmons, hair pulled into a five-inch topknot and with giant leather bat wings under his arms, is a different beast. His entire body is plated in armour – part orc, part titanium warthog – and where Stanley is charming, he bears the sense of an older, more medieval conquest; of pillage and of poor women taken by force.

He talks little, but what he wants, he gets with his body. He pulls the make-up girl in for a hug – by the hair. I am told under no circumstances to get in his line of vision after the show, because if I do so he will “slime” me with fake blood and sweat. He pretends he hasn’t seen me – then backs me into the wall with a little too much force, his spikes digging into the back of my hands.

***

The next morning, up in the second-floor restaurant, Simmons has breakfast with Shannon Tweed. They finally married in 2011. Tweed, 60, is dressed in pink and flicking through Time magazine. Simmons’s thumbnails are short and wrecked, black with last night’s make-up. Silver hair curls on his chest: in his mirrored sunglasses and military-style shirt with gold adornments, he looks like Gaddafi at leisure. He moves my Dictaphone closer.

On the way home from school, he would go to the library and read the encyclopaedias. That’s where he learned that Edward VI used to torture animals. “When you’re king, who’s going to tell you not to skin a frog alive?” he reasons. I ask him about his childhood heroes. “I didn’t have heroes,” he says. “Not real people. My heroes were fantasy. My heroes didn’t have flaws – Superman and Einstein and ethereal, semi-godlike figures. Because whenever you have a real-life hero it’s f***ing pathetic how they wind up – like Elvis, naked and bloated on the bathroom floor.”

He picks up his phone and summons Siri to bring up a picture of the British dish of faggots in gravy. “Explain this to me – what the hell is that?” he asks. “The English were always a smaller people because of the food. After the war you had beans on toast and what the f*** else did you eat? In the States we had butter and pancakes – it was always a big supply. If Jagger got into my outfit on seven-inch heels spitting fire and flying through the air, he would be exhausted. Put Bono in my outfit? Good luck.”

It seems a good time to ask him how he feels on stage.

“I can glibly speak about it,” he says. “But in real terms I am aware that there is a transformation that takes place here –” he points at his ribs. “I am aware that my chest cavity expands, and my heart is pumping, and the only thing I can compare it to is when a boxer can be backstage toying with his little girl, then go into the ring and be oblivious to the audience, and have this kill thing.”

Tweed has looked up the root of the word “faggots” and reads from her phone in her slightly anaesthetised, Beverly Hills voice: “A bundle of pieces of iron or steel to be welded, rolled or hammered together at high temperature.”

“It’s a question of semantics,” Simmons replies. “Though I’m not anti-semantic . . .”

I ask him about the reality show that changed his life. “I didn’t like watching myself,” he says. “I mean, I love the way I look, other than these affectations [he gestures to his sunglasses]. They even filmed my facelift – I had my face thrown over my shoulder like a scarf. But in the course of the show I realised what an asshole I was.

“When I was a little kid, my mother would smack the shit out of me as soon as I went out of line. When I went off on my own, I was my own police in certain areas: I’ve never knowingly got high or drunk or smoked a cigarette, because I didn’t want to break my mother’s heart. But other than that, I was self-entitled. I’m an only child so I look to myself for everything. Part of that process is you get deluded with the sound of your own voice. And although I am fairly educated, that doesn’t mean I have wisdom.”

In the early 2000s Simmons launched a magazine called Tongue, which ran for five issues, with an emphasis on the celebration of the female form. There will be a new magazine called Mogul – “high-end pop culture, entrepreneurial” – and he shows me a mock-up of the cover with him on the front. He has published several books, including Ladies of the Night: a Historical and Personal Perspective on the Oldest Profession in the World and the business title Me, Inc: Build an Army of One, Unleash Your Inner Rock God, Win in Life and Business.

“I’m a curiosity to people in high finance,” he tells me, “because I haven’t been there and done that, but I have made a decent living. They can’t put a finger on how and why it has worked for me.” He adds, of music, “What other job would give you money in advance and you never have to pay it back?”

He has read Trump’s books. “All business books are lies,” he says. “Ten secrets of success? People want a short cut to life. You have a duty to educate yourself, and from there on it is f***ing hard, back-breaking work. Forget ‘inherent’ and ‘intrinsic’ and other big words like ‘gymnasium’. Nothing happens without hard work.”

In 2011 Simmons endorsed Mitt Romney, saying that America needed to be in the hands of a businessman. “Government is business,” he says today. “People don’t understand that. A lot of people hate Trump, I get it. I know the man –”

“Which is not to say you like him,” Tweed mutters.

“He doesn’t give a f*** what anyone thinks. You’re talking about a guy who does not care and will go to war against all media. I want a businessman in there. Not someone to dole out favours, raise your minimum wage, meantime countries get deeper and deeper into debt. I want someone who says: ‘You’re fat and bloated and you’re going on a strict diet.’ The dietician is not your friend.”

Excuse me,” his wife chips in.

“I’m sorry?”

“You’re burping while talking.”

“I was? At least I didn’t fart. To make a long story short,” Simmons says, “I don’t know why anyone gives a squat what somebody with a guitar round his neck thinks about politics. ’Cos I sure as f*** don’t care what your wonderful new Prime Minister thinks about Kiss.”

“Rock stars are morons,” Simmons says. “Pragmatism is much more my milieu.” And then: “Let me show you a short video.”

He raises his handkerchief, mops his brow, surveys a black patch and muses: “Hair dye.” He’s not the first reactionary American rock star I’ve met who gets flustered talking about Donald Trump despite sharing many of his views. They’re all businessmen, headline-chasers. Trump got to be president after forty years hanging around at the same galas as them.

“Rock stars are morons,” Simmons says. “Pragmatism is much more my milieu.” And then: “Let me show you a short video.” He takes his phone and fires up an interview with the American journalist Dan Rather, in which Simmons declares that immigrants in the US should learn goddam English.

“Yesterday their cousin would have wound up in a can of dog food,” he tells me. “But today you can literally sue the president for sexual harassment and win. You want to try that here in Russia? ”

“And you know what celebrities shouldn’t do?” Tweed cuts in. “Talk politics. Don’t do it. Eat your food.”

As Simmons scoops the last of his porridge I ask about his relationship with Paul Stanley. “It’s too easy to say that we’re both Jewish and the other guys weren’t, so they didn’t survive but we did,” he says. “With Paul and me, it’s like the marriage of different alloys making titanium. Likewise with dogs. Purebreds are retarded. It’s the mixture of bloods that makes them healthy.”

Surely another advert for immigration.

“Legal immigration, do you mean?” he whispers. “Because there is a profound difference. I want to know everybody’s fingerprint. I want to know everybody’s social security number. Instead of just ghosts. Twenty million in America! More than most other countries have men, women and children. Know wot I mean?”

In the days after my return from Russia, I get 16 emails from Simmons’s personal account (he has no assistant), each containing a separate business venture he wishes me to know about. There’s a cardboard cut-out of him advertising Dr Pepper, a reproduction of his MoneyBag clothing logo, a new Kiss sandwich toaster – and a photo of him ringing the bell at the New York Stock Exchange.

“You know why we were the number-one banned band in Russia?” he told me. “‘I wanna rock’n’roll all night’, ‘I Was Made for Lovin’ You’ – the most powerful word in the English language is ‘I’. There is no scarier word for an authoritarian regime.”

***

Simmons was once asked to describe the experience of performing and he put it like this.

“The only comparison I can make is with the films of Leni Riefenstahl. One word from Hitler and the masses would move in unison. It was an amazing feeling of power . . . I was King Kong, pounding his chest after chewing up some damsel in distress. Godzilla stomping through Tokyo’s streets. To say I felt like God up there is not an overstatement.”

On either side of the stage at the Olympic stadium are small bulletproof tents. Paul Stanley takes a zip wire over 15,000 Russian fans and lands with force, on unforgiving platforms, on his second hip replacement. He bursts into a perfect Christ-like arc, and keeps up an energetic but slightly banal stage patter: “Here is a song from 1988!”

Over to the left, in a pool of green light, stands a crazy lump – blank of face, rolling of eye, head jerking in time to the music with globules of viscous blood bubbling up from a black mouth. For a moment, there is something tragic about Simmons, like a mad, chained bear, a freakshow. Then he’s breathing fire. Ticker tape explodes on to the crowd from two big cannons; flames leap, and then it’s over.

In the hotel car park, the door of Simmons’s taxi falls open to reveal him etched in light, head back, encrusted with fake blood. His minders walk him through the back of the building, but, knowing his ­tendency to “slime” people, no one wants to share the lift with him. 

Kiss’s UK tour begins on 27 May. Gene Simmons addresses the Oxford Union on 29 May. Details: www.oxford-union.org

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 18 May 2017 issue of the New Statesman, Age of Lies

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