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Kiss' Gene Simmons Doesn't Care What You Think of Him

Kiss' Gene Simmons Doesn't Care What You Think of Him

Newsweek16-07-2025
Kiss' Gene Simmons is a man of many talents...and opinions. "I can't wait for the hate mail. Really, pardon my French, I don't give a f***," he tells Newsweek. And that's all part of the persona he's created through business ventures, films, TV, books and, of course, music. An immigrant to the U.S., he modeled his off-stage persona after TV newscasters—"the best dressed, the most respected people. I wanted to be that. I didn't want to talk or come off like the person next door. I dress like your boss." About work, he says, "almost everybody goes to work for one thing: to make money. The idea that you have to love your job is lunacy." And that take-it-or-leave-it attitude extends to his family. "First and foremost is to be kind. No drugs, no alcohol, no smoking. It's not allowed." Simmons credits his success and even his attitude to the power of the American dream. "I'm just thrilled, and I appreciate Americans allowing me to live in this country, because America has given me riches and rewards beyond anything I could or anyone could ever expect."
You've got a few films in the works for your production company, right?
We have the Simmons/Hamilton film venture. The first one is called Deep Water, and it's got [Madeleine] West, Aaron Eckhart, Sir Ben Kingsley, the director [Renny Harlin]—really well known who's done action films, including Die Hard [2]. There's another one with Mel Gibson and a very fine actress [Priya Jain]—you'll hear about her because most people know about her only through her modeling and all that—called The Canyon, coming out afterwards.
Gene Simmons photographed at his home, Beverly Hills, CA.
Gene Simmons photographed at his home, Beverly Hills, CA.
Robert Gallagher/Contour by Getty
You've done TV shows and films before, but this is a major step for you. This is a big deal.
No, I don't look at it as a big deal. I look at it as something I enjoy doing. I've always been a film fan. Fact: I learned how to speak English through movies and television.
What can people expect at a show for the Gene Simmons Band?
This is decidedly a more fun, more informal gathering than Kiss events, which are spectacles. There's no road manager. It's like rock and roll gypsies out there. I bring my guitar pick and that's it. No trucks, no roadies, no nothing. [We] do your favorite Kiss songs, but also do obscure stuff and even stuff that has never been recorded before, as well as doing covers of some of my favorite songs. The most fun is putting on the house lights and having the back and forth with the fans who show up.
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Almost 20 Years After Katrina, a Filmmaker Visited New Orleans. Everyone Told Her the Same Thing.
Almost 20 Years After Katrina, a Filmmaker Visited New Orleans. Everyone Told Her the Same Thing.

Newsweek

time4 minutes ago

  • Newsweek

Almost 20 Years After Katrina, a Filmmaker Visited New Orleans. Everyone Told Her the Same Thing.

Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A visitor in New Orleans might frolic around the French Quarter, revel in Mardi Gras culture or get lost in a blues performance. When trying to track down the tastiest jumbo, it is easy to forget the trauma that meanders the Mississippi. But for residents, there is no getting away from the impacts of Hurricane Katrina, which still haunts the city two decades on. Filmmaker Traci A. Curry visited Essence Festival in 2023, a behemoth of Black American culture hosted annually in the city. She soon uncovered a startling truth, uttered by pretty much everyone in New Orleans—from Uber drivers to bartenders. "What was interesting was that all of them said some version of the same thing, which was that for those of us who come to New Orleans as visitors, it looks and feels as the New Orleans we all know. The one of our imagination. It's the Mardi Gras, it's the drinking, it's the food, it's the music. "But for us, they describe this bifurcated experience of the city—of before Katrina and after Katrina, that continues to this day," Curry told Newsweek in an interview at the London pre-screening of the upcoming five-part documentary Hurricane Katrina: Race Against Time, premiering July 27 on National Geographic and streaming July 28 on Disney+ and Hulu. Anthony Andrews and Traci A. Curry during a Q&A event at the London pre-screening of "Hurricane Katrina: Race Against Time". Anthony Andrews and Traci A. Curry during a Q&A event at the London pre-screening of "Hurricane Katrina: Race Against Time". Lydia Patrick/Lydia Patrick It soon became clear to her that the city's recovery is somewhat surface-level. Curry's series—a five-part documentary—peels back the veneer of post‑Katrina New Orleans to reveal the lingering scars. A Man-Made Disaster Most Americans remember the mayhem when Katrina made landfall off Louisiana on August 29, 2005. Broadcasts aired stampedes of people trapped in the Superdome, overhead footage of submerged streets, and looted grocery stores. Now, the storm is memorialized as a "man‑made" disaster, noting the failure of the emergency response and the maintenance of the aging levee system that was supposed to protect the low‑lying neighborhoods from being utterly deluged. Curry told Newsweek: "So many of the things that happened during Katrina and the story that we tell were not things created by the storm. They were things that were revealed and exacerbated by the storm," noting how it disproportionately impacted poorer Black communities. A mandatory evacuation order was put in place; tens of thousands of the city's 480,000 residents fled, but more than 100,000 remained trapped. Many made their way to the Superdome, which descended into unbridled chaos as survivors were left without means to survive. Stranded New Orleans residents gather underneath the interstate following Hurricane Katrina in 2005. Stranded New Orleans residents gather underneath the interstate following Hurricane Katrina in 2005. KTVT - TV/KTVT - TV "When you're talking about class and race and, you know, all these things—so much of the reason that there were so many people left behind is because they could not afford to just because you are working class and don't have money, you are more likely to perish during Katrina," Curry added. A crowd of stranded New Orleans residents are gathered outside of the Superdome following Hurricane Katrina in 2005. A crowd of stranded New Orleans residents are gathered outside of the Superdome following Hurricane Katrina in 2005. ABC News/ABC News The Personal Stories Curry and her team sifted through hundreds of hours of footage to reframe the narrative of Katrina with humanity. Curry explained during a post‑screening Q&A hosted by Anthony Andrews, co-founder of arts company We Are Parable: "I used to be a news producer, and I understand how it goes. If you're on a deadline, you get your shot and go. If you run the same footage of one guy taking the TV over and over, that becomes the story." But she believes something more nefarious took place, too: dangerous stereotypes against Black people were perpetuated, dehumanizing victims of the unfolding tragedy. "There's a pre‑existing narrative about Black people in the U.S.—violence and pathology—that the media can easily lean into. News cycles don't incentivize a nuanced human story," she said. A military helicopter arrives to rescue stranded New Orleans residents in the aftermath of Hurricane Katrina in 2005. A military helicopter arrives to rescue stranded New Orleans residents in the aftermath of Hurricane Katrina in 2005. John Keller/John Keller The Oscar-nominated director counteracted this with personal and individualized footage. "You can either look at footage, look through hundreds of hours and see like shirtless Black men running crazy and say like, 'That's a criminal,' or you say 'that's a human being that's trying to survive' and allow that to inform the storytelling, which is what I and the team did," she explained. "You as the audience member must look into the eyes of the human being." Personal stories include that of Lucrece, a mother trapped in her attic with her children. Her daughter wrote their names on the walls, believing they were going to die. They were rescued by boat, but had to confront her haunting reality, a submerged city. Lucrece Phillips, resident of the 8th Ward at the time of Hurricane Katrina, who shared her harrowing rescue story in the documentary series. Lucrece Phillips, resident of the 8th Ward at the time of Hurricane Katrina, who shared her harrowing rescue story in the documentary series. Disney/National Geographic/Disney/National Geographic "There's a point at which she sees the body of a dead baby in the water. She says, 'Stop the boat, we have to get her.' The man goes, 'We have to focus on the living,'" Curry recalled. Lessons Learned? Fast‑forward 20 years and New Orleans is a city forever etched by disaster. The Lower Ninth Ward was completely decimated by Katrina, and today the area once populated by working‑class Black residents remains largely vacant. "It looks like it just happened," Curry said. "There's footage in the fifth episode we shot last year: block after block of concrete steps leading nowhere—houses that no longer exist. That neighborhood has never recovered." Meanwhile, gentrification has "turbo‑charged" the displacement of the original community, as rising housing costs transform shotgun doubles into Airbnbs with skyrocketing rents. Natural disasters are still having devastating effects. Before production wrapped, Hurricane Helene made landfall in September 2025, causing extreme flooding in Asheville, North Carolina. Crushed vehicles and storm debris sit along the Swannanoa River in a landscape scarred by Hurricane Helene on March 24, 2025, in Asheville, North Carolina. Crushed vehicles and storm debris sit along the Swannanoa River in a landscape scarred by Hurricane Helene on March 24, 2025, in Asheville, North Carolina. AFP/Getty Images "There were different weather events—the fires in Hawaii and Los Angeles. All very different. Katrina was singular in many ways, but we've seen the same contours: a weather event exacerbated by man‑made environmental impacts, an infrastructure unfit to sustain it, and harm that disproportionately affects the most vulnerable. As severe weather worsens with climate change, this will only continue unless we center the needs of the most vulnerable before the storm," Curry warned. Curry added that, while Katrina's impact is New Orleans‑centric, similar inequalities plague other communities—like the predominantly Black "Cancer Alley" upriver, where higher-than-average cancer rates have been blamed on factory pollution, or neighborhoods saddled with heat‑intensive data "server farms" and tainted water. "Katrina's story just has so much to teach us about related issues that are continuing to happen today. I hope people wake up," she added. Highlighting this point is footage of President George W. Bush flying over the apocalyptic scenes of New Orleans. The series cuts in near‑identical footage from 1965's Hurricane Betsy—when the Lower Ninth Ward was submerged similarly—yet that time President Lyndon Johnson came immediately, and emergency operations began at once. Curry notes that the Federal Emergency Management Agency (FEMA), whose response was heavily criticized, has since learned from Katrina and adjusted policies to better serve those most vulnerable before a storm. But today the agency faces significant financial cuts, and its survival hangs in the balance as political pressures threaten to dismantle the system altogether. Yet the bigger story Curry wants to tell—decades on from disaster—is one of community. "Even in the most inhumane conditions, when all of these systems had failed and civil society broke down, these people did not lose their humanity. They held onto it, expressed it through care for one another, and used whatever agency they had to maintain the tight bonds of kinship and community that characterize New Orleans."

Ozzy didn't corrupt America's youth. He exposed the hypocrisy of their elders.
Ozzy didn't corrupt America's youth. He exposed the hypocrisy of their elders.

Indianapolis Star

timean hour ago

  • Indianapolis Star

Ozzy didn't corrupt America's youth. He exposed the hypocrisy of their elders.

Ozzy Osbourne is dead, and some Christians may believe that the devil ushered him straight to the gates of hell. Few pop culture icons were as important, or as controversial, as Osbourne. The British-born rocker became the avatar of American culture wars more than a half-century ago by attempting to showcase the hypocrisy of modern religion. Osbourne launched his career in the late 1960s. Sensitive to cultural currents, he recognized what was happening not just in music, but also in religion and politics. He used it to build on the image of rock as subversive and countercultural. From the start, Osbourne understood how to bring attention to his art. Calling his band Black Sabbath sent a clear message. He aimed to subvert, not honor, Christianity. He integrated crosses, demonic imagery and symbols of the devil such as bats into his performances to highlight what he saw as the absurdity of organized religion. Osbourne sang lyrics in his first album about a 'figure in black' that directed him, and in another song, he took on the persona of Satan himself: 'My name is Lucifer, please take my hand.' In Black Sabbath's "Paranoid" album, released at the height of the Vietnam War, he sang 'War Pigs,' a song in which Satan laughed and spread his wings as political and military elites led the Western world to the doorstep of the apocalypse. Opinion: How faith becomes a weapon: 'If I can't understand it, it's not Christian' Such allusions to the demonic continued in album after album. Osbourne's career developed parallel to a new understanding of Satan. In the post-World War II era, the devil assumed a more prominent role in American life. Anton LaVey's founding of the Church of Satan in 1966 celebrated Satan as a symbol of rebellion, individualism and secular liberation. In other words, Satan was the opposite of everything anxious Cold War parents wanted to instill in their kids. Artists drew on this revamped Satan in their work. Films like "The Exorcist" (1973) and "The Omen" (1976) brought Satan − and fears of Satan's ability to inhabit human bodies − into the imaginations of millions of people. Osbourne made those themes central to his music. In the 1980s, while Osbourne was still releasing albums, fears of satanic ritual abuse swept across the United States. Christian conservatives fretted that Dungeons & Dragons, Ouija boards and horror films were gateways to demonic influence. High-profile cases like the McMartin preschool trial and the publication of memoirs about escaping satanic ritual abuse fueled widespread panic. Law enforcement agencies conducted seminars on occult crime, therapists uncovered repressed memories of ritual abuse and talk shows amplified claims of underground satanic cults. The panic revealed deep anxieties about child safety, cultural change and the perceived decline of Christian values in American society. Perhaps, parents and religious leaders wondered, was Osbourne driving kids into satanism? Perhaps his music was brainwashing the nation's youth? Conservative Christians − including evangelicals, Catholics and Latter-day Saints − believe in a cosmic battle between angels and demons that directly influences human affairs. They believe that unseen spiritual battles determine real-world outcomes, particularly in culture, politics and morality. Opinion: Kan-Kan Cinema is elevating Indy's cinema culture Many of them also believed they had to protect children from music like Osbourne's. This framework encouraged social conservatives to interpret issues like abortion, LGBTQ+ rights and the de-Christianizing of culture as evidence of demonic influence, necessitating counteraction through prayer, activism and political engagement. Osbourne and the genre of hard rock that he helped to promote contributed to their fears. In their minds, Osbourne was encouraging youth to rebel. And he was. Osbourne's fans understood what the rock star was doing. They loved it. The more angry Osbourne could make their parents, and the more he could rile up moral crusaders, the better. And he agreed. Playing with the devil became a hallmark of his long career. Briggs: Born into Jim Crow, she lived to witness DEI debates From witch hunts in Salem to conspiracy theories driving QAnon, Americans have used Satan to facilitate a politics of fear. They have used him to justify persecution, fuel moral panics, shape political and cultural battles, and assess global crises and war. But there has always been another side to Satan, the one Osbourne captured. His devil wasn't the horned villain of Christian nightmares but a trickster, a rebel, a symbol of freedom from sanctimony. In Osbourne's hands, Satan gave a theatrical middle finger to hypocrisy and lifted up a mirror to a society obsessed with sin, and he laughed. His life reminds us that sometimes, dancing with the devil is really just refusing to march in lockstep with the saints.

Christian MAGA Singer Vows To Continue Despite Canada Protests
Christian MAGA Singer Vows To Continue Despite Canada Protests

Newsweek

timean hour ago

  • Newsweek

Christian MAGA Singer Vows To Continue Despite Canada Protests

Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Sean Feucht, a prominent American Christian worship leader and vocal supporter of the MAGA movement, says he will press on with his tour of Canada, despite a wave of public protests, security concerns, and event cancellations in multiple cities. Newsweek contacted Feucht for comment via email on Sunday. Why It Matters Feucht's tour has become a flash point in Canada's ongoing debate over freedom of expression, public safety, and the role of religious and political ideologies in public spaces. As communities respond to his messaging—often framed around conservative Christian values and American right-wing politics—the backlash highlights tensions between freedom of speech and protecting marginalized groups from perceived harm. Despite the setbacks, Feucht remains determined to complete his tour. He is continuing to organize events at alternative venues and actively posting about it on social media. On Saturday, Feucht posted on his Facebook and Instagram accounts: "We've been canceled, banned, protested and smoke-bombed in Canada, but the MOVE OF GOD ONLY GROWS STRONGER! "The greater the resistance, the greater the breakthrough! See you today Ottawa and tomorrow Toronto!" Sean Feucht is seen at Wesley Bolin Memorial Plaza outside the Arizona State Capitol in Phoenix, Arizona, on October 19, 2024. Sean Feucht is seen at Wesley Bolin Memorial Plaza outside the Arizona State Capitol in Phoenix, Arizona, on October 19, 2024. Rebecca Noble/AFP/Getty Images What To Know As reported by Newsweek, Feucht is a pro-Trump American Christian singer-songwriter who unsuccessfully ran as a Republican candidate in California's 3rd congressional district in 2020. Feucht has previously been criticized over remarks he has made about the LGBTQ+ community and for his pro-life stance. He first rose to prominence with his "Let Us Worship" tour in the latter half of 2020, which protested COVID-19 lockdowns. In April of 2022, he helped to lead a protest against The Walt Disney Company for their opposition to anti-LGBTQ legislation. In early 2023, he announced a "Kingdom to the Capitol" tour co-sponsored by Turning Point USA, the nonprofit that advocates for conservative politics at high schools and university campuses. Several Canadian cities, including Halifax, Quebec City, Charlottetown, and Moncton, have canceled Feucht's scheduled events in recent days. Officials cited public safety concerns, protest activity and logistical complications. In Halifax, Parks Canada revoked a permit for a concert at the York Redoubt historic site after consulting with police and local residents. The event was moved to Shubenacadie, about an hour away, where hundreds of attendees gathered. Despite the relocations and cancellations, protests have continued to follow Feucht's appearances. In Montreal, demonstrators set off smoke bombs inside a venue, and at least one person was arrested. Critics of the tour, including advocacy groups and local officials, argue that Feucht's rhetoric is inflammatory and harmful to community cohesion. Some have also pointed to Feucht's political affiliations, which they believe are inconsistent with Canada's inclusive values. Feucht has accused Canadian authorities and media outlets of discriminating against his religious beliefs, claiming his events are being unfairly targeted for expressing traditional Christian values. He has maintained that his message is peaceful and spiritual in nature, not political. What People Are Saying Feucht posting on his X account on Saturday: "I've led worship and preached in Africa, the Middle East and all across the world in 2025. The most intense persecution was not in Iraq or Turkey - but CANADA! Didn't have that on my bingo card." The city of Vaughan, where Feucht was due to perform on Sunday, said in a statement, per CTV News: "The City of Vaughan has denied a Special Event Permit for a music event to be held at Dufferin District Park on July 27 on the basis of health and safety as well as community standards and well-being." What Happens Next City officials in other planned tour stops are assessing whether to grant permits, and national law enforcement agencies are monitoring developments closely. As protests persist, the debate over who gets access to public spaces—and under what terms—is likely to intensify in the days ahead.

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