GWAR bassist Beefcake recently shared his thoughts on authenticity in rock music. He made pointed comments about KISS during an interview with The Metal Voice.
The musician discussed his views on various bands in the rock scene. He distinguished between what he considers authentic and manufactured acts.
“There are bands, you know, like go like I enjoy Ghost. I think they’re very talented. He’s a very talented young man. And I like I like that band. I like a lot of bands and there’s a lot more bands that I don’t like,” Beefcake said.
He then drew a sharp contrast between GWAR and other theatrical rock acts.
“But it’s all rock and roll, right? It’s all showbiz. Except we’re real and they’re fake. Like KISS gets more and more fake every decade,” he continued.
Beefcake’s comments about authenticity carry particular weight given GWAR’s unique position in the theatrical rock landscape. Their decades-long commitment to their original artistic vision also supports his perspective.
Encyclopedia.com reported that GWAR was created in 1985 with a distinct concept involving sci-fi horror and satirical elements. The band combined heavy metal with elaborate costumes, special effects, and theatricality to create a new genre of musical entertainment that is part rock, part cartoon, and part social satire. This theatrical authenticity, tied to a rich creative mythos, contrasts with Beefcake’s critique of other theatrical acts like KISS.
The band’s origins further support their claims of authenticity. Commonwealth Times documented that GWAR’s roots trace back to Richmond, Virginia. The band emerged from a collaboration between punk band Death Piggy and Virginia Commonwealth University students engaged in a sci-fi movie project. This origin melded music and performance art organically. It gave GWAR a cult status grounded in creativity and community.
GWAR’s theatrical approach has remained consistent throughout their career. They have maintained the same core concept and visual identity for nearly four decades. Wikipedia noted that the band’s elaborate stage shows feature mock violence, fake blood, and interactive performances that have become their trademark. These elements established them as pioneers in shock rock theater.
This history underscores Beefcake’s insistence that GWAR’s theatricality is genuine and integral to their artistic identity. He perceives this as different from the increasingly manufactured nature of other theatrical rock acts over time.