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A conifer forest in the Swiss Alps (National Park)

Mixed deciduous forest in Stara Planina, Serbia

A forest, also referred to as a wood or the woods, is an area with a high density of trees. As with cities, depending on various cultural definitions, what is considered a forest may vary significantly in size and have different classifications according to how and what of the forest is composed.^[1][vague] These plant communities cover approximately 9.4 percent of the Earth's surface (or 30 percent of total land area), though they once covered much more (about 50 percent of total land area), in many different regions and function as habitats for organisms, hydrologic flow modulators, and soil conservers, constituting one of the most important aspects of the biosphere. Although forests are classified primarily by trees, the concept of a forest ecosystem includes additional species (such as smaller plants, fungi,^[2] bacteria, and animals) as well as physical and chemical processes such as energy flow and nutrient cycling.

A typical forest is composed of the overstory (canopy or upper tree layer) and the understory. The understory is further subdivided into the shrub layer, herb layer, and also the moss layer and soil microbes. In some complex forests, there is also a well-defined lower tree layer. Forests are central to all human life because they provide a diverse range of resources: they store carbon, aid in regulating the planetary climate, purify water and mitigate natural hazards such as floods. Forests also contain roughly 90 percent of the world's terrestrial biodiversity.^[3]

Etymology[link]

The word "forest" comes from Middle English forest, from Old French forest (also forès) "forest, vast expanse covered by trees"; first introduced in English as the word for wild land set aside for hunting^[4] without the necessity in definition for the existence of trees (James 1981;Muir 2000,2008).^[5] Possibly a borrowing (probably via Frankish or Old High German) of the Medieval Latin word foresta "open wood", foresta was first used by Carolingian scribes in the Capitularies of Charlemagne to refer specifically to the king's royal hunting grounds. The term was not endemic to Romance languages (e.g. native words for "forest" in the Romance languages evolved out of the Latin word silva "forest, wood" (English sylvan); cf. Italian, Spanish, Portuguese selva; Romanian silvă; Old French selve); and cognates in Romance languages, such as Italian foresta, Spanish and Portuguese floresta, etc. are all ultimately borrowings of the French word.

The exact origin of Medieval Latin foresta is obscure. Some authorities claim the word derives from the Late Latin phrase forestam silvam, meaning "the outer wood"; others claim the term is a latinisation of the Frankish word *forhist "forest, wooded country", assimilated to forestam silvam (a common practise among Frankish scribes). Frankish *forhist is attested by Old High German forst "forest", Middle Low German vorst "forest", Old English fyrhþ "forest, woodland, game preserve, hunting ground", and Old Norse fýri "coniferous forest", all of which derive from Proto-Germanic *furχísa-, *furχíþja- "a fir-wood, coniferous forest", from Proto-Indo-European *perk^wu- "a coniferous or mountain forest, wooded height".

Uses of the word "forest" in English to denote any uninhabited area of non-enclosure are now considered archaic.^[6] The word was introduced by the Norman rulers of England as a legal term (appearing in Latin texts like the Magna Carta) denoting an uncultivated area legally set aside for hunting by feudal nobility (see Royal Forest).^[6][7] These hunting forests were not necessarily wooded much, if at all. However, as hunting forests did often include considerable areas of woodland, the word "forest" eventually came to mean wooded land more generally.^{[citation needed]} By the start of the fourteenth century the word appeared in English texts, indicating all three senses: the most common one, the legal term and the archaic usage.^[6]

Forest near Rajgir, Bihar, India

Other terms used to mean "an area with a high density of trees" are wood, woodland, wold, weald, holt, frith and firth. Unlike forest, these are all derived from Old English and were not borrowed from another language. Some classifications now reserve the term woodland for an area with more open space between trees and distinguish among woodlands, open forests, and closed forests based on crown cover.^[8]

Distribution[link]

Amazon Rainforest in Brazil

Temperate rainforest in Tasmania's Hellyer Gorge

Forests can be found in all regions capable of sustaining tree growth, at altitudes up to the tree line, except where natural fire frequency or other disturbance is too high, or where the environment has been altered by human activity.

The latitudes 10° north and south of the Equator are mostly covered in tropical rainforest, and the latitudes between 53°N and 67°N have boreal forest. As a general rule, forests dominated by angiosperms (broadleaf forests) are more species-rich than those dominated by gymnosperms (conifer, montane, or needleleaf forests), although exceptions exist.

Forests sometimes contain many tree species only within a small area (as in tropical rain and temperate deciduous forests), or relatively few species over large areas (e.g., taiga and arid montane coniferous forests). Forests are often home to many animal and plant species, and biomass per unit area is high compared to other vegetation communities. Much of this biomass occurs below ground in the root systems and as partially decomposed plant detritus. The woody component of a forest contains lignin, which is relatively slow to decompose compared with other organic materials such as cellulose or carbohydrate.

Forests are differentiated from woodlands by the extent of canopy coverage: in a forest, the branches and the foliage of separate trees often meet or interlock, although there can be gaps of varying sizes within an area referred to as forest. A woodland has a more continuously open canopy, with trees spaced farther apart, which allows more sunlight to penetrate to the ground between them (also see: savanna).

Among the major forested biomes are:

• rain forest (tropical and temperate)
• taiga
• temperate hardwood forest
• tropical dry forest

Classification[link]

Biogradska forest in Montenegro

Spiny forest at Ifaty, Madagascar, featuring various Adansonia (baobab) species, Alluaudia procera (Madagascar ocotillo) and other vegetation

Even, dense old-growth stand of beech trees (Fagus sylvatica) prepared to be regenerated by their saplings in the understory, in the Brussels part of the Sonian Forest.

Trees on a mountain in northern Utah during early autumn.

Forests can be classified in different ways and to different degrees of specificity. One such way is in terms of the "biome" in which they exist, combined with leaf longevity of the dominant species (whether they are evergreen or deciduous). Another distinction is whether the forests are composed predominantly of broadleaf trees, coniferous (needle-leaved) trees, or mixed.

• Boreal forests occupy the subarctic zone and are generally evergreen and coniferous.
• Temperate zones support both broadleaf deciduous forests (e.g., temperate deciduous forest) and evergreen coniferous forests (e.g., temperate coniferous forests and temperate rainforests). Warm temperate zones support broadleaf evergreen forests, including laurel forests.
• Tropical and subtropical forests include tropical and subtropical moist forests, tropical and subtropical dry forests, and tropical and subtropical coniferous forests.
• Physiognomy classifies forests based on their overall physical structure or developmental stage (e.g. old growth vs. second growth).
• Forests can also be classified more specifically based on the climate and the dominant tree species present, resulting in numerous different forest types (e.g., ponderosa pine/Douglas-fir forest).

A number of global forest classification systems have been proposed, but none has gained universal acceptance.^[9] UNEP-WCMC's forest category classification system is a simplification of other more complex systems (e.g. UNESCO's forest and woodland 'subformations'). This system divides the world's forests into 26 major types, which reflect climatic zones as well as the principal types of trees. These 26 major types can be reclassified into 6 broader categories: temperate needleleaf; temperate broadleaf and mixed; tropical moist; tropical dry; sparse trees and parkland; and forest plantations. Each category is described as a separate section below.

Temperate needleleaf[link]

Temperate needleleaf forests mostly occupy the higher latitude regions of the northern hemisphere, as well as high altitude zones and some warm temperate areas, especially on nutrient-poor or otherwise unfavourable soils. These forests are composed entirely, or nearly so, of coniferous species (Coniferophyta). In the Northern Hemisphere pines Pinus, spruces Picea, larches Larix, silver firs Abies, Douglas firs Pseudotsuga and hemlocks Tsuga, make up the canopy, but other taxa are also important. In the Southern Hemisphere, most coniferous trees (members of the Araucariaceae and Podocarpaceae) occur in mixtures with broadleaf species that are classed as broadleaf and mixed forests.

Temperate broadleaf and mixed[link]

Temperate broadleaf and mixed forests include a substantial component of trees in the Anthophyta. They are generally characteristic of the warmer temperate latitudes, but extend to cool temperate ones, particularly in the southern hemisphere. They include such forest types as the mixed deciduous forests of the United States and their counterparts in China and Japan, the broadleaf evergreen rainforests of Japan, Chile and Tasmania, the sclerophyllous forests of Australia, central Chile, the Mediterranean and California, and the southern beech Nothofagus forests of Chile and New Zealand.

Tropical moist[link]

There are many different types of tropical moist forests,although most extensive are the lowland evergreen broadleaf rainforests, for example várzea and igapó forests and the terra firma forests of the Amazon Basin; the peat swamp forests, dipterocarp forests of Southeast Asia; and the high forests of the Congo Basin. Forests located on mountains are also included in this category, divided largely into upper and lower montane formations on the basis of the variation of physiognomy corresponding to changes in altitude. ^[10]

Tropical dry[link]

Tropical dry forests are characteristic of areas in the tropics affected by seasonal drought. The seasonality of rainfall is usually reflected in the deciduousness of the forest canopy, with most trees being leafless for several months of the year. However, under some conditions, e.g. less fertile soils or less predictable drought regimes, the proportion of evergreen species increases and the forests are characterised as "sclerophyllous". Thorn forest, a dense forest of low stature with a high frequency of thorny or spiny species, is found where drought is prolonged, and especially where grazing animals are plentiful. On very poor soils, and especially where fire is a recurrent phenomenon, woody savannas develop (see 'sparse trees and parkland').

Sparse trees and parkland[link]

Taiga forest near Saranpaul in the northeast Ural Mountains, Khanty–Mansia, Russia. Trees include Picea obovata (dominant on right bank), Larix sibirica, Pinus sibirica, and Betula pendula.

Sparse trees and parkland are forests with open canopies of 10–30% crown cover. They occur principally in areas of transition from forested to non-forested landscapes. The two major zones in which these ecosystems occur are in the boreal region and in the seasonally dry tropics. At high latitudes, north of the main zone of boreal forest or taiga, growing conditions are not adequate to maintain a continuous closed forest cover, so tree cover is both sparse and discontinuous. This vegetation is variously called open taiga, open lichen woodland, and forest tundra. It is species-poor, has high bryophyte cover, and is frequently affected by fire.

Forest plantations[link]

Forest plantations, generally intended for the production of timber and pulpwood increase the total area of forest worldwide. Commonly mono-specific and/or composed of introduced tree species, these ecosystems are not generally important as habitat for native biodiversity. However, they can be managed in ways that enhance their biodiversity protection functions and they are important providers of ecosystem services such as maintaining nutrient capital, protecting watersheds and soil structure as well as storing carbon. They may also play an important role in alleviating pressure on natural forests for timber and fuelwood production.^{[citation needed]}

Forest categories [link]

Redwoods in old growth forest in Muir Woods National Monument, Marin County, California

28 forest categories are used to enable the translation of forest types from national and regional classification systems to a harmonised global one:

Temperate and boreal forest types [link]

1. Evergreen needleleaf forest – Natural forest with > 30% canopy cover, in which the canopy is predominantly (> 75%) needleleaf and evergreen.
2. Deciduous needleleaf forests – Natural forests with > 30% canopy cover, in which the canopy is predominantly (> 75%) needleleaf and deciduous.
3. Mixed broadleaf/needleleaf forest – Natural forest with > 30% canopy cover, in which the canopy is composed of a more or less even mixture of needleleaf and broadleaf crowns (between 50:50% and 25:75%).
4. Broadleaf evergreen forest – Natural forests with > 30% canopy cover, the canopy being > 75% evergreen and broadleaf.
5. Deciduous broadleaf forest – Natural forests with > 30% canopy cover, in which > 75% of the canopy is deciduous and broadleaves predominate (> 75% of canopy cover).
6. Freshwater swamp forest – Natural forests with > 30% canopy cover, composed of trees with any mixture of leaf type and seasonality, but in which the predominant environmental characteristic is a waterlogged soil.
7. Sclerophyllous dry forest – Natural forest with > 30% canopy cover, in which the canopy is mainly composed of sclerophyllous broadleaves and is > 75% evergreen.
8. Disturbed natural forest – Any forest type above that has in its interior significant areas of disturbance by people, including clearing, felling for wood extraction, anthropogenic fires, road construction, etc.
9. Sparse trees and parkland – Natural forests in which the tree canopy cover is between 10–30%, such as in the steppe regions of the world. Trees of any type (e.g., needleleaf, broadleaf, palms).
10. Exotic species plantation – Intensively managed forests with > 30% canopy cover, which have been planted by people with species not naturally occurring in that country.
11. Native species plantation – Intensively managed forests with > 30% canopy cover, which have been planted by people with species that occur naturally in that country.
12. *Unspecified forest plantation – Forest plantations showing extent only with no further information about their type, This data currently only refers to the Ukraine.
13. *Unclassified forest data – Forest data showing forest extent only with no further information about their type.

Those marked * have been created as a result of data holdings which do not specify the forest type, hence 26 categories are quoted, not 28 shown here.^[11]

Tropical forest types [link]

The Fatu Hiva rainforest in Polynesia.

1. Lowland evergreen broadleaf rain forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude that display little or no seasonality, the canopy being >75% evergreen broadleaf.
2. Lower montane forest – Natural forests with > 30% canopy cover, between 1200–1800 m altitude, with any seasonality regime and leaf type mixture.
3. Upper montane forest – Natural forests with > 30% canopy cover, above 1,800 m (5,906 ft) altitude, with any seasonality regime and leaf type mixture.
4. Freshwater swamp forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude, composed of trees with any mixture of leaf type and seasonality, but in which the predominant environmental characteristic is a waterlogged soil.
5. Semi-evergreen moist broadleaf forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude in which between 50–75% of the canopy is evergreen, > 75% are broadleaves, and the trees display seasonality of flowering and fruiting.
6. Mixed broadleaf/needleleaf forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude, in which the canopy is composed of a more or less even mixture of needleleaf and broadleaf crowns (between 50:50% and 25:75%).
7. Needleleaf forest – Natural forest with > 30% canopy cover, below 1,200 m (3,937 ft) altitude, in which the canopy is predominantly (> 75%) needleleaf.
8. Mangroves – Natural forests with > 30% canopy cover, composed of species of mangrove tree, generally along coasts in or near brackish or seawater.
9. Disturbed natural forest – Any forest type above that has in its interior significant areas of disturbance by people, including clearing, felling for wood extraction, anthropogenic fires, road construction, etc.
10. Deciduous/semi-deciduous broadleaf forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude in which between 50–100% of the canopy is deciduous and broadleaves predominate (> 75% of canopy cover).
11. Sclerophyllous dry forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude, in which the canopy is mainly composed of sclerophyllous broadleaves and is > 75% evergreen.
12. Thorn forest – Natural forests with > 30% canopy cover, below 1,200 m (3,937 ft) altitude, in which the canopy is mainly composed of deciduous trees with thorns and succulent phanerophytes with thorns may be frequent.
13. Sparse trees and parkland – Natural forests in which the tree canopy cover is between 10–30%, such as in the savannah regions of the world. Trees of any type (e.g., needleleaf, broadleaf, palms).
14. Exotic species plantation – Intensively managed forests with > 30% canopy cover, which have been planted by people with species not naturally occurring in that country.
15. Native species plantation – Intensively managed forests with > 30% canopy cover, which have been planted by people with species that occur naturally in that country.

Forest loss and management[link]

Main articles: Forestry, Logging and Deforestation

Coastal Douglas fir woodland in northwest Oregon

Redwood tree in northern California redwood forest, where many redwood trees are managed for preservation and longevity, rather than being harvested for wood production

The scientific study of forest species and their interaction with the environment is referred to as forest ecology, while the management of forests is often referred to as forestry. Forest management has changed considerably over the last few centuries, with rapid changes from the 1980s onwards culminating in a practice now referred to as sustainable forest management. Forest ecologists concentrate on forest patterns and processes, usually with the aim of elucidating cause and effect relationships. Foresters who practice sustainable forest management focus on the integration of ecological, social and economic values, often in consultation with local communities and other stakeholders.

Anthropogenic factors that can affect forests include logging, urban sprawl, human-caused forest fires, acid rain, invasive species, and the slash and burn practices of swidden agriculture or shifting cultivation. The loss and re-growth of forest leads to a distinction between two broad types of forest, primary or old-growth forest and secondary forest. There are also many natural factors that can cause changes in forests over time including forest fires, insects, diseases, weather, competition between species, etc. In 1997, the World Resources Institute recorded that only 20% of the world's original forests remained in large intact tracts of undisturbed forest.^[12] More than 75% of these intact forests lie in three countries – the Boreal forests of Russia and Canada and the rainforest of Brazil. In 2006 this information on intact forests was updated using latest available satellite imagery.

Canada has about 4,020,000 square kilometres (1,550,000 sq mi) of forest land. More than 90% of forest land is publicly owned and about 50% of the total forest area is allocated for harvesting. These allocated areas are managed using the principles of sustainable forest management, which includes extensive consultation with local stakeholders. About eight percent of Canada’s forest is legally protected from resource development (Global Forest Watch Canada)(Natural Resources Canada). Much more forest land – about 40 percent of the total forest land base – is subject to varying degrees of protection through processes such as integrated land use planning or defined management areas such as certified forests (Natural Resources Canada).

These maps represent only virgin forest lost. Some regrowth has occurred but not to the age, size or extent of 1620 due to population increases and food cultivation. From William B. Greeley's, The Relation of Geography to Timber Supply, Economic Geography, 1925, vol. 1, p. 1–11. Source of "Today" map: compiled by George Draffan from roadless area map in The Big Outside: A Descriptive Inventory of the Big Wilderness Areas of the United States, by Dave Foreman and Howie Wolke (Harmony Books, 1992).'

By December 2006, over 1,237,000 square kilometers of forest land in Canada (about half the global total) had been certified as being sustainably managed (Canadian Sustainable Forestry Certification Coalition). Clearcutting, first used in the latter half of the 20th century, is less expensive, but devastating to the environment and companies are required by law to ensure that harvested areas are adequately regenerated. Most Canadian provinces have regulations limiting the size of clearcuts, although some older clearcuts can range upwards of 110 square kilometres (27,000 acres) in size which were cut over several years. China instituted a ban on logging, beginning in 1998, due to the destruction caused by clearcutting. Selective cutting avoids the erosion, and flooding, that result from clearcutting.^[13]

In the United States, most forests have historically been affected by humans to some degree, though in recent years improved forestry practices has helped regulate or moderate large scale or severe impacts. However, the United States Forest Service estimates a net loss of about 2 million hectares (4,942,000 acres) between 1997 and 2020; this estimate includes conversion of forest land to other uses, including urban and suburban development, as well as afforestation and natural reversion of abandoned crop and pasture land to forest. However, in many areas of the United States, the area of forest is stable or increasing, particularly in many northern states. The opposite problem from flooding has plagued national forests, with loggers complaining that a lack of thinning and proper forest management has resulted in large forest fires.^[14]

Old-growth forest contains mainly natural patterns of biodiversity in established seral patterns, and they contain mainly species native to the region and habitat. The natural formations and processes have not been affected by humans with a frequency or intensity to change the natural structure and components of the habitat. Secondary forest contains significant elements of species which were originally from other regions or habitats.

Smaller areas of woodland in cities may be managed as Urban forestry, sometimes within public parks. These are often created for human benefits; Attention Restoration Theory argues that spending time in nature reduces stress and improves health, while forest schools and kindergartens help young people to develop social as well as scientific skills in forests. These typically need to be close to where the children live, for practical logistics.

See also[link]

Trees portal

	Environment portal
	Ecology portal
	Earth sciences portal
	Sustainable development portal

References[link]

External links[link]

Look up forest in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Forest

• Forests in danger
• Roadmap to Recovery: The World's Last Intact Forest Landscapes
• Global Forest Resources Assessment 2005 by the FAO
• CoolForests.org – Conservation Cools the Planet
• Google – public data "Forest area (sq. km)"
• Luck Baker, Andrew (18 November 2008). "The first forests – Discovery 2008". BBC Online. http://www.bbc.co.uk/worldservice/specials/948_discovery_2008/page12.shtml. 
• "The World's 10 Most Threatened Forest Hotspots". Conservation International. 2 February 2011. http://www.conservation.org/newsroom/pressreleases/Pages/The-Worlds-10-Most-Threatened-Forest-Hotspots.aspx. 

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The Cure
The Cure performing in Singapore in 2007. Left to right: Porl Thompson, Jason Cooper (back), Robert Smith, Simon Gallup.
Background information
Origin	Crawley, England
Genres	Gothic rock,[1][2] alternative rock, New Wave, post-punk
Years active	1976–present
Labels	Fiction, Suretone, Geffen, Polydor, Elektra, Asylum, Sire
Associated acts	Malice, Easy Cure, The Glove, Siouxsie and the Banshees
Website	www.thecure.com
Members
Robert Smith Simon Gallup Roger O'Donnell Jason Cooper Reeves Gabrels
Past members
Lol Tolhurst Michael Dempsey Matthieu Hartley Andy Anderson Phil Thornalley Boris Williams Porl Thompson Perry Bamonte

The Cure are an English alternative rock band formed in Crawley, West Sussex in 1976. The band has experienced several line-up changes, with frontman, vocalist, guitarist and principal songwriter Robert Smith being the only constant member. The Cure first began releasing music in the late 1970s with its debut album Three Imaginary Boys (1979); this, along with several early singles, placed the band as part of the post-punk and New Wave movements that had sprung up in the wake of the punk rock revolution in the United Kingdom. During the early 1980s, the band's increasingly dark and tormented music helped form the gothic rock genre.^[1][2][3]

After the release of Pornography (1982), the band's future was uncertain and Smith was keen to move past the gloomy reputation his band had acquired. With the 1982 single "Let's Go to Bed" Smith began to place a pop sensibility into the band's music (as well as a unique stage look). The Cure's popularity increased as the decade wore on, especially in the United States where the songs "Just Like Heaven", "Lovesong" and "Friday I'm in Love" entered the Billboard Hot 100 chart. By the start of the 1990s, The Cure were one of the most popular alternative rock bands in the world. The band is estimated to have sold 27 million albums as of 2004.^[4] The Cure have released thirteen studio albums, 10 EPs and over thirty singles during the course of their career. Since 2010, they have been working on a fourteenth studio album.^[5]

History[link]

Formation and early years (1973–1979)[link]

The first incarnation of what became The Cure was The Obelisk, a band formed by students at Notre Dame Middle School in Crawley, Sussex. The band made their public debut in a one-off performance in April 1973, and featured Robert Smith (piano), Michael "Mick" Dempsey (guitar), Laurence "Lol" Tolhurst (percussion), Marc Ceccagno (lead guitar) and Alan Hill (bass guitar).^[6] In January 1976 the band took a more substantial form of what would be when Ceccagno formed Malice with Smith and Dempsey along with two other classmates from St. Wilfrid's Catholic Comprehensive School, with Ceccagno on lead, Smith on guitar, and Dempsey switching to bass. Ceccagno soon left, however, to form a jazz-rock fusion band called Amulet. Increasingly influenced by the emergence of punk rock, Malice's remaining members became known as Easy Cure in January 1977.^[7] By this time, Smith and Dempsey had been joined by Lol Tolhurst from The Obelisk on drums, and new lead guitarist Porl Thompson. Both Malice and Easy Cure auditioned several vocalists before Smith finally assumed the role of Easy Cure's frontman in September 1977.^[8]

That year, Easy Cure won a talent competition with German label Hansa Records, and received a recording contract. Although the band recorded tracks for the company, none were ever released.^[9] Following disagreements in March 1978 over the direction the band should take, the contract with Hansa was dissolved. Smith later recalled, "We were very young. They just thought they could turn us into a teen group. They actually wanted us to do cover versions and we always refused."^[9] Thompson was dropped from the band in May, and the remaining trio (Smith/Tolhurst/Dempsey) were soon renamed The Cure by Smith.^[10] Later that month the band recorded their first sessions as a trio at Chestnut Studios in Sussex, which were distributed as a demo tape to a dozen major record labels.^[11] The demo found its way to Polydor Records scout Chris Parry, who signed The Cure to his newly formed Fiction label—distributed by Polydor—in September 1978.^[12] The Cure released their debut single "Killing an Arab" in December 1978 on the Small Wonder label as a stopgap until Fiction finalised distribution arrangements with Polydor. "Killing an Arab" garnered both acclaim and controversy: while the single's provocative title led to accusations of racism, the song is actually based on French existentialist Albert Camus's novel The Stranger.^[13] The band placed a sticker label that denied the racist connotations on the single's 1979 reissue on Fiction. An early NME article on the band wrote that The Cure "are like a breath of fresh suburban air on the capital's smog-ridden pub-and-club circuit" and noted "With a John Peel session and more extensive London gigging on their immediate agenda, it remains to be seen whether or not The Cure can retain their refreshing joie de vivre."^[14]

The Cure released their debut album Three Imaginary Boys in May 1979. Because of the band's inexperience in the studio, Parry and engineer Mike Hedges took control of the recording.^[15] The band, particularly Smith, were unhappy with their debut; in a 1987 interview, he admitted, "a lot of it was very superficial – I didn't even like it at the time. There were criticisms made that it was very lightweight, and I thought they were justified. Even when we'd made it, I wanted to do something that I thought had more substance to it".^[16] The band's second single "Boys Don't Cry" was released in June. The Cure then embarked as the support band for Siouxsie and the Banshees' Join Hands promotional tour of England, Northern Ireland, and Wales between August and October. The tour saw Smith pull double duty each night by performing with The Cure and as the guitarist with The Banshees when John McKay quit the group.^[17] That musical experience had a strong impact on him: "On stage that first night with the Banshees, I was blown away by how powerful I felt playing that kind of music. It was so different to what we were doing with The Cure. Before that, I'd wanted us to be like The Buzzcocks or Elvis Costello, the punk Beatles. Being a Banshee really changed my attitude to what I was doing."^[18]

The Cure's third single "Jumping Someone Else's Train" was released in early October 1979. Soon afterwards, Dempsey was dropped from the band because of his cold reception to material Smith had written for the upcoming album.^[19] Dempsey joined the Associates, while Simon Gallup (bass) and Matthieu Hartley (keyboards) from The Magspies joined The Cure. The Associates toured as support band for The Cure and The Passions on the Future Pastimes Tour of England between November and December—all three bands were on the Fiction Records roster—with the new Cure line-up already performing a number of new songs for the projected second album.^[20] Meanwhile, a spin-off band comprising Smith, Tolhurst, Dempsey, Gallup, Hartley and Thompson, with backing vocals from assorted family and friends, and lead vocals provided by their local postman Frankie Bell released a 7-inch single in December under the assumed name of Cult Hero.^[21]

Early Gothic Phase (1980–1982)[link]

	"One Hundred Years" (1982) noicon Sample of "One Hundred Years" from Pornography.
Problems listening to this file? See media help.

Due to the band's lack of creative control on the first album, Smith exerted a greater influence on the recording of The Cure's second album Seventeen Seconds, which he co-produced with Mike Hedges.^[22] The album was released in 1980 and reached number 20 on the UK charts. A single from the album, "A Forest", became the band's first UK hit single, reaching number 31 on the singles chart.^[23] The album was a departure from The Cure's sound up to that point, with Hedges describing it as "morose, atmospheric, very different to Three Imaginary Boys."^[24] In its review of Seventeen Seconds the NME said, "For a group as young as The Cure, it seems amazing that they have covered so much territory in such a brief time."^[25] At the same time, Smith was pressed concerning the concept of an alleged "anti-image".^[26] Smith told the press he was fed up with the anti-image association that some considered to be "elaborately disguising their plainness", stating, "We had to get away from that anti-image thing, which we didn't even create in the first place. And it seemed like we were trying to be more obscure. We just didn't like the standard rock thing. The whole thing really got out of hand."^[27] That same year Three Imaginary Boys was repackaged for the American market as Boys Don't Cry, with new artwork and a modified tracklist. The Cure set out on their first world tour to promote both releases. At the end of the tour, Matthieu Hartley left the band. Hartley said, "I realised that the group was heading towards suicidal, sombre music—the sort of thing that didn't interest me at all."^[28]

The band reconvened with Hedges to produce their third album Faith (1981), which furthered the mood of misery present on Seventeen Seconds.^[29] The album peaked at number 14 on the UK charts.^[23] Included with cassette copies of Faith was an instrumental soundtrack for Carnage Visors, an animated film shown in place of an opening act for the band's 1981 Picture Tour.^[30] In late 1981, The Cure released the non-album single "Charlotte Sometimes". By this point, the sombre mood of the music had a profound effect on the attitude of the band. The band would refuse requests for older songs in concert, and sometimes Smith would be so absorbed by the persona he projected onstage he would leave at the end in tears.^[31]

In 1982, The Cure recorded and released Pornography, the third and final album of an "oppressively dispirited" trio that cemented the Cure's stature as purveyors of the emerging gothic rock genre.^[32] Smith has said that during the recording of Pornography he was "undergoing a lot of mental stress. But it had nothing to do with the group, it just had to do with what I was like, my age and things. I think I got to my worst round about Pornography. Looking back and getting other people's opinions of what went on, I was a pretty monstrous sort of person at that time".^[16] Gallup described the album by saying, "Nihilism took over [. . .] We sang 'It doesn't matter if we all die' and that is exactly what we thought at the time."^[33] Parry was concerned that the album did not have a hit song for radio play and instructed Smith and producer Phil Thornalley to polish the track "The Hanging Garden" for release as a single.^[34] Despite the concerns about the album's uncommercial sound, Pornography became the band's first UK Top 10 album, charting at number eight.^[23] The release of Pornography was followed by the Fourteen Explicit Moments tour, where the band finally dropped the anti-image angle and first adopted their signature look of big, towering hair and smeared lipstick on their faces.^[35] The tour also saw a series of incidents that prompted Simon Gallup to leave The Cure at the tour's conclusion. Gallup and Smith did not talk to each other for eighteen months following his departure.^[36]

Increasing commercial success (1983–1986)[link]

	"Just Like Heaven" (1987) noicon Sample of "Just like Heaven" from Kiss Me, Kiss Me, Kiss Me.
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With Gallup's departure from The Cure and with Smith's work with Siouxsie and the Banshees, rumours spread that The Cure had broken up. In December 1982, Smith remarked to Melody Maker, "Do The Cure really exist any more? I've been pondering that question myself [. . .] it has got to a point where I don't fancy working in that format again." He added, "Whatever happens, it won't be me, Laurence, and Simon together any more. I know that."^[37]

Parry was concerned at the state of his label's top band, and became convinced that the solution was for The Cure to reinvent its musical style. Parry managed to convince Smith and Tolhurst of the idea; Parry said, "It appealed to Robert because he wanted to destroy The Cure anyway."^[38] With Tolhurst now playing keyboards instead of drums, the duo released the single "Let's Go to Bed" in late 1982. While Smith wrote the single from as a throwaway, "stupid" pop song to the press,^[39] it became a minor hit in the UK, reaching number 44 on the singles chart.^[23] It was followed in 1983 by two more successful songs: the synthesiser-based "The Walk" (number 12), and "The Love Cats", which became the band's first British Top 10 hit, reaching number seven.^[23] The group released these studio singles and their B-sides as the compilation album Japanese Whispers, designed by Smith for the Japanese market only, but released worldwide on the decision of the record company. The same year, Smith also recorded and toured with Siouxsie and the Banshees, contributing as guitarist on their Nocturne live video and their Hyaena studio album. Meanwhile, he recorded the Blue Sunshine album with Banshees bassist Steven Severin as The Glove, while Lol Tolhurst produced the first two singles and debut album of the English band And Also The Trees.

In 1984, The Cure released The Top, a generally psychedelic album on which Smith played all the instruments except the drums—played by Andy Anderson—and the saxophone—played by returnee Porl Thompson. The album was a Top 10 hit in the UK, and was their first studio album to break the Billboard 200 in the U.S., reaching number 180.^[23][40] Melody Maker praised the album as "psychedelia that can't be dated", while pondering, "I've yet to meet anyone who can tell me why The Cure are having hits now of all times."^[41] The Cure then embarked on their worldwide "Top Tour" with Thompson, Anderson, and producer-turned-bassist Phil Thornalley on board. Released in late 1984, The Cure's first live album, Concert consisted of performances from this tour. Near the tour's end, Anderson was fired for destroying a hotel room and was replaced by Boris Williams.^[42] Thornalley also left because of the stress of touring.^[43] However, the bassist slot was not vacant long, for a Cure roadie named Gary Biddles had brokered a reunion between Smith and former bassist Simon Gallup, who had been playing in the band Fools Dance. Soon after reconciling, Smith asked Gallup to rejoin the band.^[44] Smith was ecstatic about Gallup's return and declared to Melody Maker, "It's a group again."^[45]

In 1985, the new line-up of Smith, Tolhurst, Gallup, Thompson, and Williams released The Head on the Door, an album that managed to bind together the optimistic and pessimistic aspects of the band's music between which they had previously shifted.^[46] The Head on the Door reached number seven in the UK and was the band's first entry into American Top 75 at number 59,^[23][40] a success partly due to the international impact of the LP's two singles, "In Between Days" and "Close to Me". Following the album and world tour, the band released the singles compilation Standing on a Beach in three formats (each with a different track listing and a specific name) in 1986. This compilation made the US Top 50,^[40] and saw the re-issue of three previous singles: "Boys Don't Cry" (in a new form), "Let's Go To Bed" and later "Charlotte Sometimes". This release was accompanied by a VHS or LaserDisc called Staring at the Sea, which featured videos for each track on the compilation. The Cure toured to support the compilation and released a live concert VHS of the show, filmed in the south of France called The Cure in Orange. During this time, The Cure became a very popular band in Europe (particularly in France, Germany and the Benelux countries) and increasingly popular in the U.S.^[47]

[edit] Kiss Me, Kiss Me, Kiss Me and worldwide success (1987–1993)

In 1987, The Cure released the double LP Kiss Me, Kiss Me, Kiss Me, which reached number six in the UK, the Top 10 in several countries^[48] and was the band's first entry into the U.S. Top 40 at number 35 (where it was certified platinum),^[23][40][49] due to the combination of the band's rising popularity and the success of lead single, "Why Can't I Be You?".^[50] The album's third single, "Just Like Heaven" was the band's most successful single to date in the US, being their first to enter the Billboard Top 40.^[51] After the album's release, the band embarked on the successful Kissing Tour. During the European leg of the tour, Lol Tolhurst's alcohol consumption was interfering with his ability to perform so The Psychedelic Furs keyboardist Roger O'Donnell was frequently called upon to stand in for him.^[52]

	"Lovesong" (1989) noicon Sample of "Lovesong" from Disintegration. "Lullaby" (1989) noicon Sample of "Lullaby" from Disintegration.
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In 1989, The Cure released the album Disintegration, which saw a return to the gothic atmospheres of earlier releases like Faith and Pornography.^[53] It became their highest charting album in the UK to date, entering at number three and featuring three Top 30 singles in the UK and Germany ("Lullaby", "Lovesong" and "Pictures of You").^[23][54] Disintegration also reached number twelve on the US charts.^[40] The first single stateside, "Fascination Street", reached number one on the American Modern Rock chart, but was quickly overshadowed when its third US single, "Lovesong", reached number two on the American pop charts (the only Cure single to reach the US Top 10).^[51] By 1992, Disintegration had sold over three million copies worldwide.^[55]

During the Disintegration sessions, the band gave Smith an ultimatum that either Tolhurst would have to leave the band or they would.^[56] In February 1989, Tolhurst's exit was made official and announced to the press;^[57] this resulted in Roger O'Donnell becoming a full-fledged member of the band and left Smith as The Cure's only remaining founder member. Smith attributed Tolhurst's dismissal to an inability to exert himself and issues with alcohol, concluding, "He was out of step with everything. It had just become detrimental to everything we'd do."^[58] Because Tolhurst was still on the payroll during the recording of Disintegration, he was credited in the album's liner notes as playing "other instruments", however it has since been revealed that he contributed nothing to the album in either performance or song writing. The Cure then embarked on the Prayer Tour, which saw the band playing stadiums in the US. On 6 September 1989, The Cure performed "Just Like Heaven" at the 1989 MTV Video Music Awards at the Universal Amphitheatre in Los Angeles.^[59] In February 1990, the song won the Brit Award for Best British Video.^[60]

In May 1990, Roger O'Donnell quit and was replaced with the band's guitar technician Perry Bamonte. That November, The Cure released a collection of remixes called Mixed Up. The album was not well received and quickly slid down the charts.^[61] The one new song on the collection, "Never Enough", was released as a single. In 1991 The Cure were awarded the Brit Award for Best British Group.^[62] That same year Tolhurst filed a lawsuit against Smith and Fiction Records in 1991 over royalties payments, and claimed joint ownership of the name "The Cure" with Smith; the verdict was handed out in September 1994 in favour of Smith. In respite from the lawsuit, the band returned to the studio to record their next album.^[63] Wish reached number one in the UK and number two in the US and yielded the international hits "High" and "Friday I'm in Love".^[23][40] The Cure also embarked on the "Wish Tour" with Cranes, and released the live albums Show (September 1993) and Paris (October 1993). As a promotional exercise with the Our Price music chain in the UK, a limited edition EP was released consisting of instrumental outtakes from the Wish sessions. Entitled Lost Wishes, the proceeds from the four-track cassette tape went to charity. In 1993, the band were nominated for a Grammy Award for Best Alternative Music Album for Wish.^[64]

In the years between the release of Wish and the start of sessions for The Cure's next album, the band's line-up shifted again. Thompson left the band once more during 1993 to play with Robert Plant and Jimmy Page of Led Zeppelin, and Bamonte took over as lead guitarist. Boris Williams also left the band, and was replaced by Jason Cooper (formerly of My Life Story).

Period of transition (1994–1998)[link]

The album sessions began in 1994 with only Smith and Bamonte present; the pair were later joined by Gallup (who was recovering from physical problems) and Roger O'Donnell, who had been asked to rejoin the band at the end of 1994.^[65] The Cure performed "Burn" in the movie The Crow and "Dredd Song", the theme song of the 1995 movie Judge Dredd starring Sylvester Stallone (The former song despite never being released as a single nor ever played live, is regarded a fan favourite of Cure fans and fans of 'The Crow'). It was not released on a Cure album until 2004 on Join the Dots: B-Sides & Rarities 1978–2001 (The Fiction Years).

Wild Mood Swings, finally released in 1996, was poorly received compared with previous albums and marked the end of the band's commercial peak.^[66] Early in 1996, the Cure played festivals in South America, followed by a world tour in support of the album Galore. Galore contained all of the Cure's singles released between 1987 and 1997, as well as the new single "Wrong Number", which featured longtime David Bowie guitarist Reeves Gabrels. Gabrels also accompanied The Cure on a brief American radio festival tour as an onstage guest guitarist for "Wrong Number". In 1998 The Cure contributed to the soundtrack album for The X Files feature film as well as the Depeche Mode tribute album For the Masses, with their cover of "World in My Eyes".

	"Out of This World" (2000) noicon Sample of "Out of This World" from Bloodflowers.
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Later years (1999–2009)[link]

With only one album left in their record contract and with commercial response to Wild Mood Swings and the Galore compilation lacklustre, Smith once again considered that the end of The Cure might be near and thus wanted to make an album that reflected the more serious side of the band.^[67] The Grammy-nominated album Bloodflowers was released in 2000 after being delayed since 1998.^[68] According to Smith, the album was the third of a trilogy along with Pornography and Disintegration.^[69] The band also embarked on the nine-month Dream Tour, attended by over one million people worldwide. In 2001, The Cure left Fiction and released their Greatest Hits album and DVD, which featured the music videos for a number of classic Cure songs. In 2002, the band headlined twelve major summer music festivals, and played three extended concerts (one in Brussels, two in Berlin) in which they performed the albums Pornography, Disintegration and Bloodflowers in their respective entireties each night. The Berlin performances were released on DVD as The Cure: Trilogy in 2003.

In 2003, The Cure signed with Geffen Records. In 2004, they released a new four-disc boxed set on Fiction Records titled Join the Dots: B-Sides and Rarities, 1978-2001 (The Fiction Years). The compilation includes seventy Cure songs, some previously unreleased, and a 76-page full-colour book of photographs, history and quotes, packaged in a hard cover. The album peaked at number 106 on the Billboard 200 album charts.^[40] The band released their twelfth album The Cure on Geffen in 2004, which was produced by Ross Robinson. It made a top ten debut on both sides of the Atlantic in July 2004.^[23][40] To promote the album, the band headlined the Coachella Valley Music and Arts Festival that May. From 24 July to 29 August, The Cure headlined the Curiosa concert tour of North America. While attendances were lower than expected, Curiosa was still one of the more successful American summer festivals of 2004.^[70] The same year the band was honoured with an MTV Icon award in a television special presented by Marilyn Manson.^[71]

The Cure in concert in 2004. From left to right: Robert Smith, Jason Cooper, and Simon Gallup

In May 2005, Roger O'Donnell and Perry Bamonte were fired from the band. O'Donnell claims Smith informed him he was reducing the band to a three-piece. Previously O'Donnell said he had only found out about the band's upcoming tour dates via a fan site and added, "It was sad to find out after nearly 20 years the way I did but then I should have expected no less or more."^[72] The remaining members of the band—Smith, Gallup and Cooper—made several appearances as a trio before it was announced in June that Porl Thompson would be returning for the band's 2005 Festival summer shows, as well as their set at Live 8 in Paris on 2 July. Later that year, the band recorded a cover of John Lennon's "Love" for Amnesty International's charity album Make Some Noise. It is available for download on the Amnesty website, while the album was released on CD in 2006. On 1 April 2006, The Cure appeared at the Royal Albert Hall on behalf of the Teenage Cancer Trust. It was their only show through to the end the year. In December a live DVD, entitled The Cure: Festival 2005 including 30 songs of their 2005 Festival tour was released.

The Cure began writing and recording material for their thirteenth album in 2006. Smith initially stated it would be a double album.^[73] The Cure announced a last-minute postponement of their autumn 2007 North American 4Tour in August in order to continue working on the album, rescheduling the dates for spring 2008.^[74] Titled 4:13 Dream, the album was released in October 2008. The group released four singles and an EP—"The Only One", "Freakshow", "Sleep When I'm Dead", "The Perfect Boy" and Hypnagogic States respectively—on or near to the 13th of each month, in the months leading up to the album's release. In February 2009, The Cure received the 2009 Shockwaves NME Award for Godlike Genius.^[75]

Reunion with former members and next album (2010–present)[link]

On January 13, 2010, Smith announced on The Cure's website that they were working on the follow-up to 4:13 Dream and an iTunes exclusive release. He explained, "There is an 'exclusive' iTunes Cure album still in the works... and part two of the Dream sessions is slowly taking shape."^[5] In August 2011, Smith told Hot Press that The Cure may not be interested in wrapping up the leftover material that was recorded during the 4:13 Dream sessions. He explained, "It's one of those things that it's been left so long now I expect it will come out as a half-finished sort of thing. I'm not sure if the band wants to complete it, which is sort of the elephant in the room. What happened to the second half of the album? No one mentions it! We're aware that it's there. Nobody really wants to talk about it. Maybe it will come up after a few post-festival beers!". Smith later added, "I think between now and this time next year, The Cure will take precedence over anything else. Until I get the second half of this album out, I won't do another collaboration."^[76]

In 2011, the band played their first three studio albums in their entirety during two shows in Sydney, Australia. These "Reflections" shows notably featured Roger O'Donnell and Laurence Tolhurst, both in a keyboard and percussion role. Porl Thompson was absent from the performances. The shows are due to be released on DVD in 2012.^[77] The band later headlined Bestival. Roger O'Donnell again joined the band on stage. On 11 September 2011, Roger O'Donnell announced on his Facebook page that he had officially rejoined the band. The band announced seven more Reflections shows, one in London, three in New York City and three in Los Angeles.^[78] On Tuesday 27 September, The Cure was announced as a nominee for 2012 induction into the Rock and Roll Hall of Fame.^[79] The Cure have been announced as one of the three headliners of the 2012 Reading and Leeds Festivals.

Musical style[link]

The Cure are often identified with the gothic rock subgenre of alternative rock, and are viewed as one of the form's definitive bands. However, the band has routinely rejected classification, particularly as a gothic rock band. Robert Smith said in 2006, "It's so pitiful when 'goth' is still tagged onto the name The Cure", and added, "We're not categorisable. I suppose we were post-punk when we came out, but in total it's impossible [...] I just play Cure music, whatever that is."^[80] Smith has also expressed his distaste for gothic rock, describing it as "incredibly dull and monotonous. A dirge really."^[81] While typically viewed as producers of dark and gloomy music, The Cure have also yielded a number of upbeat songs. Spin has said "The Cure have always been an either/or sort of band: either [...] Robert Smith is wallowing in gothic sadness or he's licking sticky-sweet cotton-candy pop off his lipstick-stained fingers."^[82]

The Cure's primary musical traits have been listed as "dominant, melodic bass lines; whiny, strangulated vocals; and a lyric obsession with existential, almost literary despair."^[83] Most Cure songs start with Smith and Gallup writing the drum parts and bass lines. Both record demos at home and then bring them into the studio for fine-tuning.^[84] Smith said in 1992, "I think when people talk about the 'Cure sound,' they mean songs based on 6-string bass, acoustic guitar, and my voice, plus the string sound from the Solina."^[84] On top of this foundation is laid "towering layers of guitars and synthesisers".^[85] Keyboards have been a component of the band's sound since Seventeen Seconds, and their importance increased with the instrument's extensive use on Disintegration.^[86] With the Departure of Roger O'Donnell in 2005, keyboards have not been as prominent in the band's album 4:13 Dream and their live shows.

Music videos[link]

The band's early music videos have been described as "dreadful affairs" and have been maligned for their poor quality, particularly by the band itself. Lol Tolhurst said, "Those videos were unmitigated disasters; we weren't actors and our personalities weren't coming across."^[87] It was with the video for "Let's Go to Bed", their first collaboration with director Tim Pope, that The Cure would become noted for their videos. Pope added a playful element to the band's videos; the director insisted in a 1987 Spin interview, "I think that side of them was always there, but was never brought out."^[16] Pope would go on to direct the majority of The Cure's videos, and his videos, which became synonymous with the band, helped expand The Cure's audience during the 1980s.^[88] Pope explained the appeal of working with The Cure by saying, "The Cure is the ultimate band for a filmmaker to work with because Robert Smith really understands the camera. His songs are so cinematic. I mean on one level there's this stupidity and humour, right, but beneath that there are all [Smith's] psychological obsessions and claustrophobia."^[81]

Legacy[link]

The Cure were one of the first alternative bands to have chart and commercial success in an era before alternative rock had broken into the mainstream. In 1992 the NME declared The Cure had during the 1980s become "a goth hit machine (19 to date), an international phenomenon and, yep, the most successful alternative band that ever shuffled disconsolately about the earth".^[55] Smith has noted he looks at Cure-influenced bands like Interpol and My Chemical Romance with affection, adding, "I also think [Interpol bassist] Carlos D.'s obsession with Simon Gallup is sweet."^[89] Interpol lead singer, Paul Banks was quoted as saying "The Cure is the band that all of us in Interpol can say influenced us. When I was younger I listened to them a lot. Carlos as well. Actually, he took a straight influence from this band on the way he played the bass and the keys. To me, Robert Smith is also one of these examples: you can't be Robert Smith if you're not Robert Smith. It's one of the bands with the deepest influence on Interpol, because we all like them. They're legendary."^[90]

Several references to The Cure and their music have been made in popular culture. A number of films have used the title of a Cure song as the film's title, including Boys Don't Cry (1999) and Just Like Heaven (2005). The Cure's gloomy image has been the subject of parody at times. In series two of The Mighty Boosh, The Moon sings 'The Love Cats' over the credits. In the same episode, a powerful gothic hairspray, Goth Juice, is said to be "The most powerful hairspray known to man. Made from the tears of Robert Smith." The Mary Whitehouse Experience often featured brief clips of the stars of the show performing comical songs and nursery rhymes as The Cure in a morose style. Robert Smith appeared in the final episode of the first series of The Mary Whitehouse Experience singing "The sun has got his hat on" before punching the character Ray (played by Robert Newman) whilst uttering Ray's catchphrase "Oh no what a personal disaster". Robert Smith was also portrayed on an episode of South Park (Season 1, Episode 12) where he transforms into the form of Mothra and battles Mecha-Streisand to save the day and Kyle shouts "Disintegration is the best album ever!" In Craig Thompson's graphic novel Blankets the chapter seven is called "Just Like Heaven". The same chapter shows Raina singing some lyrics from this song to Craig.

Discography[link]

• Three Imaginary Boys (1979)
• Boys Don't Cry (1980)
• Seventeen Seconds (1980)
• Faith (1981)
• Pornography (1982)
• Japanese Whispers (1983)
• The Top (1984)
• The Head on the Door (1985)
• Kiss Me, Kiss Me, Kiss Me (1987)
• Disintegration (1989)
• Wish (1992)
• Wild Mood Swings (1996)
• Bloodflowers (2000)
• The Cure (2004)
• 4:13 Dream (2008)

Members[link]

Current line-up

• Robert Smith – lead vocals, guitars, keyboards (1976–present)
• Simon Gallup – bass guitar, keyboards (1979–1982, 1985–present)
• Roger O'Donnell – keyboards (1987–1990, 1995–2005, 2011–present)
• Jason Cooper – drums, percussion (1995–present)
• Reeves Gabrels – guitars (2012–present)

See also[link]

• Wikipedia books: The Cure

References[link]

Sources[link]

• Apter, Jeff. (2006). Never Enough: The Story of the Cure. Omnibus Press. ISBN 1-84449-827-1

Further reading[link]

• Ten Imaginary Years, by L. Barbarian, Steve Sutherland and Robert Smith (1988) Zomba Books ISBN 0-946391-87-4
• The Cure: A Visual Documentary, by Dave Thompson and Jo-Ann Greene(1988) Omnibus Press ISBN 0-7119-1387-0
• The Cure: Songwords 1978–1989 S. Hopkins, Robert Smith and T. Foo (1989) Omnibus Press ISBN 0-7119-1951-8
• In Between Days: An Armchair Guide To The Cure by Dave Thompson, Helter Skelter Publishing (October 2005) ISBN 1-905139-00-4
• The Cure – Greatest Hits (songbook containing 20 of their best, transcribed note-for-note with tab, chord symbols and complete lyrics), Hal Leonard Corporation (May 2002) ISBN 0-634-04667-5
• Robert Smith: "The Cure" and Wishful Thinking by Richard Carman (2005) Independent Music Press (UK) ISBN 978-0-9549704-1-3
• Jeremy Wulc : My dream comes true : Carnet de route avec The Cure. (2009) Editions : Camion Blanc

External links[link]

Wikimedia Commons has media related to: The Cure

• Official website
• The Cure Records – the most complete discography on the Internet
• The Cure discography at Discogs

David Arkenstone is an American New Age musician. His music is primarily instrumental, with occasional vocalizations. He was born in Chicago, Illinois on July 1, 1952. He has three children—Quillon, Dashiell and Valinor—with his first wife, Julie.^[1][2] His second wife was Diane Arkenstone, also a musician.^[3]

Biography[link]

After moving from Chicago to California at the age of ten,^[4] he was involved in various high school bands playing guitars and keyboards, playing baseball in his spare time. He studied music in college and started a progressive rock band named after himself, but he soon discovered the music of Kitaro and was heavily influenced by it. Arkenstone was influenced by writers such as J. R. R. Tolkien and Ian Fleming, and grew up listening to bands like Emerson, Lake & Palmer, Deep Purple and Yes, as well as listening to classical music.^[1]

Arkenstone went solo and found his own sound in New Age music. Arkenstone says that has been greatly aided by technology: "Technology has produced some wonderful tools for making music. The computer allows me to fully orchestrate my pieces and really fine tune them."^[5] His music is primarily instrumental. His albums, often fantasy themed, often come packaged with literature and art. He worked with fantasy novel writer Mercedes Lackey on a few of his albums.^[6] Arkenstone and his ex-wife, Diane, created their own record label called Neo Pacifica. In addition to releasing their own music on the label, they have included other bands such as Earth Trybe, Enaid, and the Marquis Ensemble.^[1]

He has also composed music for television; channels such as the History Channel, the Discovery Channel and NBC Sports include his music. He has also written music for trailers and film soundtracks, including the independent film PRISM,^[7] as well as computer game soundtracks such as World of Warcraft, Lands of Lore 2 and 3, Blade Runner, Earth and Beyond, and Emperor: Battle for Dune; he also features on 20 Years of Narada Piano.

Arkenstone earned three Grammy nominations for his work: In the Wake of the Wind in 1992,^[8] Citizen of the World in 2000,^[9] and Atlantis in 2004.^[10]

Arkenstone has learned to play a large variety of musical instruments including the bouzouki, mandolin, guitar, bass guitar, harp, cello, flute, electronic keyboards, piano, Turkish saz, pennywhistle, melodica and pan pipes. He also plays drums and percussion and has performed some vocalizations on his albums.^[1]

Arkenstone is also involved in the band Troika; their sound is similar to his solo work. The band members like to remain anonymous, although the compositions are credited to Arkenstone.

His theme "The Journey Begins / Kyla's Ride" was used for the FIFA World Cup France '98 broadcastings intro by the Mexican television network TV Azteca.

He signed with Domo Records and re-released the album Echoes of Light and Shadow in 2010.

Arkenstone was a member of the composing team who developed the music for Blizzard Activision's World of Warcraft videogame'sCataclysm expansion. Along with Arkenstone, the team consists of Derek Duke, Glenn Stafford, and Neal Acree.^[11]

Discography[link]

References[link]

External links[link]

• Official website
• Official Page on Domo Records
• Domo Records
• Narada