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Romantic Images Of Kissing Biography

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Love is about hurting... love is about overcoming yourself to find your sulfate, which might not be uniquely defined, but once you find him no one else matters. I think the allusion to voodoo and magic is very poetic. Because this is how love works. In a mysterious way, above all conventions and compromises we are taught growing to commit to. Love doesn't abide by fidelity, loyalty, commitment, beautiful words, or romantic gestures. But it does require you to be there for the one you love or the pain you will feel will be so excruciating that will squeeze yourself to complete oblivion. Love doesn't kill but it does make you stronger. You have to look for it genuinely you have to let it mold your character solidify your foundations. Even if you lose it or it doesn't converge to being together with someone at least you will cherish the knowledge of what it means to love.

I sincerely apologize if my lack of comic history/knowledge offends anyone. I recently read about Superman and Wonder Woman's relationship and that had me wondering about what happen to Batman and Wonder Woman. I remember watching the cartoons when I was younger and them kind of being a thing, or at least liking each other. So I guess, what kind of happened their. Again, sorry if my lack of comic knowledge leaves this question unanswerable, thanks anyway.

There's always been a little bit of tension between them, but nothing ever came of it. You have to remember that not everything in the cartoons necessarily matches up with the comics, either.

You might not know this, but recently, DC rebooted their entire universe with the New 52. Basically, all of their series were cancelled and they launched 52 new number 1 issues, making the heroes younger, changing/erasing some history, etc. Basically, it was an attempt to attract new readers by "modernizing" the characters, making some tweaks to give them a fresher, updated feel. In the New 52, there hasn't been any note of tension between Batman and Wonder Woman. The Superman/Wonder Woman relationship is new, and it appears that's how its going to be in the New 52 (although we'll see how long the relationship actually lasts)
Also, thank you to everyone else for all the responses, it's nice to see that I'm not the only one alone in their interest in the romantic aspect of a super heroes' life, haha. Most of my knowledge of super heroes has indeed come from watching the cartoons, mainly the superman and batman animated series' so I apologize again for not knowing too much about the actual comic background.

Yep. They've been flirting around since the 70's KungFu Wonder Woman era. They've also been featured prominently in several Elseworlds and alt-reality tales as being together.

My favorite though will always be Matt Wagner's Trinity. I love how Bruce is just frozen when he first see how beautiful Diana is when he gets to paradise island.

Lol, he just walks up to her and she thoroughly hand him his ass,(shes never seen him before at this point) but he's still immediately in love.

I'd much rather WW be with Bat's than Kal.
There have been just as many Superman/Wonder Woman Elseworld stories as there have been Batman/Wonder Woman.

However, in the main timeline of the Modern Age (so basically anything past 1986 including the revamp of the new 52) there has never been an official romance however we did have a few issue of Wonder Woman during Blackest Night imagine herself with Batman. Nothing ever came of it though.

As for the Justice League animated series, nothing really came of that either. Everyone focuses on the five minutes of a single episode where the two talk about the possibility of a relationship but that's it. The only other time Batman's feelings come up is when WW is transformed into a pig and he asks for Zatanna's help in finding her.

On the Superman side of the house there was an two issue story arc a few years back where Clark and Lois attend an event WW is hosting and Supes gets mind controlled by a sorceress (I don't think it was Circe but can't remember). Lois and WW team-up to save him and in talking WW admits that she has personal feelings for Superman but has never acted on them as she knows Supes was only interested in Lois (this is before Blackest Night so in a way the events of Blackest Night make a bit more sense as WW changed her affection from Superman to Batman due to Superman being unavailable). In the Justice League/Justice Society cross-over featuring the Legion of Super-Heroes Liberty Belle tries to convince Wonder Woman of hooking up with someone and she says no to everyone LB mentions except for Superman; simply saying "he's unavailable".

So where am I going with this? DC has intentionally teased the fact that Wonder Woman could end up with either Batman or Superman for years. However, most readers have focused on the Batman/Wonder Woman possibility because its been more pronounced and shown in the cartoon series or actual panels like in Blackest Night.....whereas a fling with Superman has always been regulated to hidden comments and hints because DC had Superman marry Lois Lane. At the same time, writers have been clear to showcase just why a Batman/Wonder Woman relationship would never happen by Bruce's own admission.

Also, Bruce is a bit to crazy for someone like Wonder Woman. His entire existence is based on obsession and drive and Wonder Woman has never been characterized that way......but is a reason the Bruce and Selina relationship is so strong and the highlight of alternate universe Batmen's like Earth-2.

Four musicians with painted faces and platform shoes rose from the streets of New York to create one of rock & roll's biggest bands - and brands.

At the dawn of the 70s, when both the Nike swoosh and Apple insignia were still on the drawing board, four determind young men – guitarist/vocalist Paul Stanley, vocalist/bassist Gene Simmons, guitarist Ace Frehley and drummer/vocalist Peter Criss – were buissy designing a monolithic logo of their own. Consisting of four strong capital letters colored in shades of metallic silver or combustible orange, the powerful, instantly recognizable KISS emblem would eventually become ubiquitous worldwide. But unlike the Nike and Apple logos, carefully designed to appeal to jocks and nerds respectively, the KISS logo was created for anyone who wanted to rock and roll all night and party every day – meaning every single freaking person on the planet.

The KISS product itself was pretty great: a variation on the music developed by heroes like Chuck Berry, the Beatles, Brian Wilson and Led Zeppelin. A typical KISS song – "Strutter" or "Shout It Out Loud" – consisted of three or four minutes of deliciously chunky rock and roll, piled high with short catch phrases about being young and having fun, and usually topped off by an electrifying guitar solo. It was a tried-and-true formula, for sure, but the way the band delivered it was a different story altogether.

KISS looked like nothing else in pop music history. Each member adopted a different persona: Starchild! Demon! Spaceman! Cat! Paul Stanley (b. Stanley Eisen, January 20, 1952); Gene Simmons (b. Chaim Witz, August 25, 1949); Ace Frehley (b. Paul Frehley, April 27, 1951); and Peter Criss (b. Peter Criscuola, December 20, 1945) were four perfect rock pitchmen dressed in platform boots, black leather and white Kabuki makeup, playing groundbreaking shows that set a startlingly high new standard for concert entertainment. Iggy Pop would brag that he killed the 60s, but KISS actually drove the final stake through the heart of the anti-capitalist hippie era.

Fueled by ambition, an unrelenting will, a prodigious work ethic and innate musical gifts, the members of KISS made no bones about their goals. They wanted to play music, have a good time and make lots of money. They were perhaps the first bandmates to see themselves as a brand, marketing their image in often funny and outrageous ways, licensing products as weird as KISS bowling balls, KISS condoms, KISS caskets and thousands of other products that sold worldwide and made them millionaires. It would be tempting to think that the band was all show and no substance, but there was a clear artistic point of view, with music and lyrics that were upbeat, direct, populist and unambiguous. And even romantic given the success of "Beth," from Destroyer (1976), Criss' paean to his long-suffering then-wife, who was actually not named Beth, but Lydia. The song was their highest charting single ever, rocketing to Number Seven on Billboard's Hot 100 in August of that year.

Kiss 1974 album cover artKISS may have looked exotic, but underneath the face paint and razzmatazz they were men of the people – and the people could tell, forming a KISS fan club so devoted that they would be known as the KISS Army. KISS embraced the masses, unapologetically rejecting the hipper-than-thou attitude of artists like David Bowie and Lou Reed, or the intellectual obscurities of prog-rock like King Crimson, Yes and Pink Floyd. The members of KISS were bright, but not too hip for the heartlands. While growing up in New York, they were a little unfinished – outcasts, if you will. They weren't captains of the football team with blonde cheerleaders on their arms. They weren't pretentious art students. They were more like the guy who sat next to you in advanced biology class. They were smart enough to know their history, and sensitive enough to understand when it was time for a sea change. They figured out exactly what kids wanted in the 70s and responded brilliantly. How? Just a year before the release of their self-titled debut album in 1974, they were still in the audience, still paying for their rock and roll. They were the ones standing next to you at the Fillmore East, hanging onto Robert Plant's every note when Led Zeppelin opened up for Iron Butterfly, or elbowing you as you watched Pete Townshend execute his precise windmill moves, or trying to figure out how Mountain's Leslie West got that guitar tone. They were the ones rushing the stage st Madison Square Garden to get a closer look at Alice Cooper in his night-blinding white satin suit, top hat and ghoulish makeup. All of it was grist for the mill. "Alice was a huge influence on us," explained Frehley. "We stole from Alice and we stole from Led Zeppelin and we stole from the Who. Just like every band after us copied us. But that's rock and roll."

Mostly, though, their organizing totem was the Beatles. There was a failed effort to copy the campy New York Dolls: "We were just too husky to wear women's clothes and makeup...we looked more like drag queens," confided Criss. The boys wisely changed tactics, deciding to use makeup in a more dramatic, theatrical and masculine way. Each member was assigned the task of coming up with a mask that reflected who he was on the inside, yet conveyed a persona that kids could identify with or fantasize about. Like John Lennon, Paul McCartney, George Harrison and Ringo Starr had done a decade earlier, KISS was determined that each of its members be a superstar. But it's one thing to conceptualize such a grand idea, quite another to execute it.