Coordinates: 36°21′34″N 43°09′10″E / 36.35944°N 43.15278°E / 36.35944; 43.15278

Nineveh (English pronunciation: /ˈnɪn.ɪv.ə/; Akkadian: Ninwe; Classical Syriac: ܢܸܢܘܵܐ‎; Hebrew: נינוה‎ Nīnewē; Greek: Νινευη Nineuē; Latin: Nineve; Arabic: نينوى‎ Naynuwa; Persian: نینوا‎ Nainavā) was an ancient Assyrian city on the eastern bank of the Tigris River, and capital of the Neo Assyrian Empire. Its ruins are across the river from the modern-day major city of Mosul, in the Ninawa Governorate of Iraq.

Nineveh
Nineveh Location in Iraq
Coordinates: 36°21′34″N 43°09′10″E / 36.35944°N 43.15278°E / 36.35944; 43.15278

Etymology[link]

The origin of the name Nineveh is obscure. Possibly it meant originally the seat of Ishtar, since Nina was one of the Babylonian names of that goddess. The ideogram means "house or place of fish," and was perhaps due to popular etymology (comp. Aramaic "nuna," denoting "fish").^[1]

Geography[link]

Ancient Nineveh's mound-ruins of Kouyunjik and Nabī Yūnus are located on a level part of the plain near the junction of the Tigris and the Khosr Rivers within a 7 km² (1732 acres) area circumscribed by a 12-kilometre (7.5 mi) brick rampart. This whole extensive space is now one immense area of ruins overlaid in parts by new suburbs of the city of Mosul. ^[2]

Nineveh was an important junction for commercial routes crossing the Tigris. Occupying a central position on the great highway between the Mediterranean Sea and the Indian Ocean, thus uniting the East and the West, wealth flowed into it from many sources, so that it became one of the greatest of all the region's ancient cities,^[3]and the capital of the Neo Assyrian Empire.

History[link]

Nineveh was one of the oldest and greatest cities in antiquity. The area was settled as early as 6000 BC and, by 3000 BC, had become an important religious center for worship of the goddess Ishtar. The early city (and subsequent buildings) were constructed on a fault line and, consequently, suffered damage from a number of earthquakes. One such event destroyed the first temple of Ishtar which was then rebuilt in 2260 BC by the Akkadian king Manishtusu.

Texts from the Hellenistic period and later offered an eponymous Ninus as the founder of Nineveh, although there is no historical basis for this. The historic Nineveh is mentioned about 1800 BC as a centre of worship of Ishtar, whose cult was responsible for the city's early importance. The goddess's statue was sent to Pharaoh Amenhotep III of Egypt in the 14th century BC, by orders of the king of Mitanni. The Assyrian city of Nineveh became one of Mitanni's vassals for nearly a century until the mid 14th century BC, when the Assyrian king Ashur-uballit I reclaimed it in 1365 BC while overthrowing the Mitanni Empire.^[4]

There is no large body of evidence to show that Assyrian monarchs built at all extensively in Nineveh during the 2nd millennium BC; it appears to have been originally an "Assyrian provincial town". Later monarchs whose inscriptions have appeared on the high city include Shalmaneser I and Tiglath-Pileser I, both of whom were active builders in Assur (Ashur); the former had founded Calah (Nimrud). Nineveh had to wait for the Neo Assyrian Empire, particularly from the time of Ashurnasirpal II (ruled 883–859 BC) onward, for a considerable architectural expansion. Thereafter successive monarchs such as Sargon II, Esarhaddon, Sennacherib and Ashurbanipal kept in repair and founded new palaces, temples to Sîn, Ashur, Nergal, Šamaš, Ishtar, and Nabiu of Borsippa.

Refined low-relief section of a bull-hunt frieze from Nineveh, alabaster, c. 695 BC (Pergamon Museum), Berlin.

The king hunting lion from the North Palace, Nineveh seen at the British Museum

It was Sennacherib who made Nineveh a truly magnificent city (c. 700 BC). He laid out new streets and squares and built within it the famous "palace without a rival", the plan of which has been mostly recovered and has overall dimensions of about 503 by 242 metres (1,650 × 794 ft). It comprised at least 80 rooms, many of which were lined with sculpture. A large number of cuneiform tablets were found in the palace. The solid foundation was made out of limestone blocks and mud bricks; it was 22 metres (72 ft) tall. In total, the foundation is made of roughly 2,680,000 cubic metres (3,505,308 cu yd) of brick (approximately 160 million bricks). The walls on top, made out of mud brick, were an additional 20 metres (66 ft) tall. Some of the principal doorways were flanked by colossal stone door figures weighing up to 30,000 kilograms (30 t); they included many winged lions or bulls with a man's head. These were transported 50 kilometres (31 mi) from quarries at Balatai and they had to be lifted up 20 metres (66 ft) once they arrived at the site, presumably by a ramp. There are also 3,000 metres (9,843 ft) of stone panels carved in bas-relief, that include pictorial records documenting every construction step including carving the statues and transporting them on a barge. One picture shows 44 men towing a colossal statue. The carving shows three men directing the operation while standing on the Colossus. Once the statues arrived at their destination the final carving was done. Most of the statues weigh between 9,000 and 27,000 kilograms (19,842 and 59,525 lb).^[5][6]

The stone carvings in the walls include many battle scenes, impalings and scenes showing Sennacherib's men parading the spoils of war before him. He also bragged about his conquests: he wrote of Babylon "Its inhabitants, young and old, I did not spare, and with their corpses I filled the streets of the city." He later wrote about a battle in Lachish "And Hezekiah of Judah who had not submitted to my yoke...him I shut up in Jeruselum his royal city like a caged bird. Earthworks I threw up against him, and anyone coming out of his city gate I made pay for his crime. His cities which I had plundered I had cut off from his land." ^[7]

At this time the total area of Nineveh comprised about 7 square kilometres (1,730 acres), and fifteen great gates penetrated its walls. An elaborate system of eighteen canals brought water from the hills to Nineveh, and several sections of a magnificently constructed aqueduct erected by Sennacherib were discovered at Jerwan, about 65 kilometres (40 mi) distant.^[8] The enclosed area had more than 100,000 inhabitants (maybe closer to 150,000), about twice as many as Babylon at the time, placing it among the largest settlements worldwide.

Nineveh's greatness was short-lived. In around 627 BC after the death of its last great king Ashurbanipal, the Neo-Assyrian empire began to unravel due to a series of bitter civil wars, and Assyria was attacked by its former vassals, the Babylonians and Medes. From about 616 BC, in a coalition with the Scythians and Cimmerians, they besieged Nineveh, sacking the town in 612 BC, after which it was razed to the ground. Most of the people in the city who could not escape to the last Assyrian strongholds in the north and west were either massacred or deported out of the city. Many unburied skeletons were found by the archaeologists at the site. The Assyrian empire then came to an end by 605 BC, the Medes and Babylonians dividing its colonies between them.

Following the defeat in 612 BC, the site remained largely unoccupied for centuries with only a scattering of Assyrians living amid the ruins until the Sassanian period, although Assyrians continue to live in the surrounding area to this day. The city is mentioned again in the Battle of Nineveh in 627 AD, which was fought between the Eastern Roman Empire and the Sassanian Empire of Persia near the ancient city. From the Arab conquest 637 CE until modern time the city of Mosul on the opposite bank of the river Tigris became the successor of ancient Nineveh.

Biblical Nineveh[link]

In the Bible, Nineveh is first mentioned in Genesis 10:11: "Ashur left that land, and built Nineveh". Some modern translations interpret "Ashur" in the Hebrew of this verse as the country "Assyria" rather than a person, thus making Nimrod the builder of Nineveh.

Though the Books of Kings and Books of Chronicles talk a great deal about the Assyrian empire, Nineveh itself is not again noticed till the days of Jonah, when it is described (Jonah 3:3ff; 4:11) as an "exceedingly great city of three days journey in breadth". But it is also possible that it took three days to cover all its neighborhoods by walking, which would match the size of ancient Nineveh. The ruins of Kouyunjik, Nimrud, Karamles and Khorsabad form the four corners of an irregular quadrangle. The ruins of Nineveh, with the whole area included within the parallelogram they form by lines drawn from the one to the other, are generally regarded as consisting of these four sites. The book of Jonah depicts Nineveh as a wicked city worthy of destruction. God sent Jonah to preach, and the Ninevites fasted and repented. As a result, God spared the city; when Jonah protests against this, God states He is showing pity for the population who are ignorant of the difference between right and wrong ("who cannot discern between their right hand and their left hand" ^[9]) and the animals in the city.

Nineveh was the flourishing capital of the Assyrian empire (2 Kings 19:36); and ostensibly was the home of King Sennacherib, King of Assyria, during the Biblical reign of King Hezekiah and the prophetic career of Isaiah. According to scripture, Nineveh was also the place where Sennacherib died at the hands of his two sons, who then fled to the land of `rrt Urartu. (Isa. 37:37-38). The book of the prophet Nahum is almost exclusively taken up with prophetic denunciations against this city. Its ruin and utter desolation are foretold (Nahum 1:14; 3:19, etc.). Its end was strange, sudden, tragic. (Nahum 2:6–11) According to the Bible, it was God's doing, his judgment on Assyria's pride (Jonah Nah). In fulfillment of prophecy, God made "an utter end of the place". It became a "desolation". Zephaniah also (2:13–15) predicts its destruction along with the fall of the empire of which it was the capital. Nineveh is also the setting in the Book of Tobit.

Nineveh's repentance and salvation from evil is noted in the Gospel of Matthew (12:41) and the Gospel of Luke (11:32). To this day, oriental churches of the Middle East commemorate the three days Jonah spent inside the fish during the Fast of Nineveh. The faithful fast by refraining from food and drinks. Churches encourage followers to refrain from meat, fish and dairy products.^[10]

Classical history[link]

Before the great archaeological excavations in the 19th century, historical knowledge of the great Assyrian empire and of its magnificent capital was almost wholly a blank. Other cities that had perished, such as Palmyra, Persepolis, and Thebes, had left ruins to mark their sites and tell of their former greatness; but of this city, imperial Nineveh, not a single vestige seemed to remain, and the very place on which it had stood became only matter of conjecture.

In the days of the Greek historians Ctesias and Herodotus, 400 BC, Nineveh had become a thing of the past; and when Xenophon the historian passed the place in the Retreat of the Ten Thousand the very memory of its name had been lost. It was buried out of sight. ^[11]

In his History of the World (written c. 1616) Sir Walter Raleigh erroneously asserted (attributing the information to Johannes Nauclerus c. 1425-1510), that Nineveh had originally had the name Campsor before Ninus supposedly rebuilt it. This was still regarded as correct information when news of Layard's discoveries (see below) reached the west.^[12]

Archaeology[link]

Excavation history[link]

In 1842, French Consul General at Mosul, Paul-Émile Botta began to search the vast mounds that lay along the opposite bank of the river. The Arabs whom he employed in these excavations, to their great surprise, came upon the ruins of a building at the mound of Khorsabad, which, on further exploration, turned out to be the royal palace of Sargon II, which was largely explored for sculptures and other precious relics.

Bronze lion from Nineveh.

In 1847 the young British adventurer Sir Austen Henry Layard explored the ruins. ^{[13] [14] [15] [16]} In the Kuyunjik mound Layard rediscovered in 1849 the lost palace of Sennacherib with its 71 rooms and colossal bas-reliefs. He also unearthed the palace and famous library of Ashurbanipal with 22,000 cuneiform clay tablets. Most of Layard's material was sent to the British Museum, but two large pieces were given to Lady Charlotte Guest and eventually found their way to the Metropolitan Museum. ^[17] The study of the archaeology of Nineveh reveals the wealth and glory of ancient Assyria under kings such as Esarhaddon (681–669 BC) and Ashurbanipal (669–626 BC).

The work of exploration was carried on by George Smith, Hormuzd Rassam, and others, and a vast treasury of specimens of Assyria was incrementally exhumed for European museums. Palace after palace was discovered, with their decorations and their sculptured slabs, revealing the life and manners of this ancient people, their arts of war and peace, the forms of their religion, the style of their architecture, and the magnificence of their monarchs. ^{[18] [19]}

The mound of Kouyunjik were excavated again by the archaeologists of the British Museum, led by Leonard William King, at the beginning of the twentieth century. Their efforts concentrated on the site of the Temple of Nabu, the god of writing, where another cuneiform library was supposed to exist. However, no such library was ever found: most likely, it had been destroyed by the activities of later residents.

The excavations started again in 1927, under the direction of Campbell Thompson, who had already taken part in King's expeditions. ^{[20][21] [22][23]} Some works were carried out outside Kouyunjik, for instance on the mound of Nebi Yunus, which was the ancient arsenal of Nineveh, or along the outside walls. Here, near the northwestern corner of the walls, beyond the pavement of a later building, the archaeologists found almost 300 fragments of prisms recording the royal annals of Sennacherib, Esarhaddon, and Ashurbanipal, beside a prism of Esarhaddon which was almost perfect.

After the Second World War, several excavations were carried out by Iraqi archaeologists. From 1951 to 1958 Mohammed Ali Mustafa worked the site.^[24][25] The work was continued from 1967 through 1971 by Tariq Madhloom.^[26][27][28] Some additional excavation occurred by Manhal Jabur in 1980, and Manhal Jabur in 1987. For the most part, these digs focused on Nebi Yunus.

Most recently, British archaeologist and Assyriologist Professor David Stronach of the University of California, Berkeley conducted a series of surveys and digs at the site from 1987–1990, focusing his attentions to the several gates and the existent mudbrick walls, as well as the system that supplied water to the city in times of siege. The excavation reports are in progress. ^[29]

Archaeological remains[link]

Today, Nineveh's location is marked by two large mounds, Kouyunjik and Nabī Yūnus "Prophet Jonah", and the remains of the city walls (about 12 kilometres (7 mi) in circumference). The Neo-Assyrian levels of Kouyunjik have been extensively explored. The other mound, Nabī Yūnus, has not been as extensively explored because there is an Arab Muslim shrine dedicated to that prophet on the site.

• Kuyunjik - The ruin mound rises about 20 metres (66 ft) above the surrounding plain of the ancient city. It is quite broad, measuring about 800 by 500 metres (2,625 × 1,640 ft). Its upper layers have been extensively excavated and several Neo-Assyrian palaces and temples have been found there. A deep sounding by Max Mallowan revealed evidence of habitation as early as the 6th millennium BC. Today, there is little evidence of these old excavations other than weathered pits and earth piles. In 1990, the only Assyrian remains visible were those of the entry court and the first few chambers of the Palace of Sennacherib. Since that time, the palace chambers have received significant damage by looters due to the turmoil in the area. Portions of relief sculptures that were in the palace chambers in 1990 were seen on the antiquities market by 1996. Photographs of the chambers made in 2003 show that many of the fine relief sculptures there have been reduced to piles of rubble.

Bull man excavated at Nebi Yunus by Iraqi archaeologists

• Nebi Yunus - located about 1 kilometre (0.6 mi) south of Kuyunjik, is the secondary ruin mound at Nineveh. On the basis of texts of Sennacherib, the site has traditionally been identified as the "armory" of Nineveh, and a gate and pavements excavated by Iraqis in 1954 have been considered to be part of the "armory" complex. Excavations in 1990 revealed a monumental entryway consisting of a number of large inscribed orthostats and "bull-man" sculptures, some apparently unfinished.

City wall and gates[link]

Simplified plan of ancient Nineveh showing city wall and location of gateways.

The ruins of Nineveh are surrounded by the remains of a massive stone and mudbrick wall dating from about 700 BC. About 12 km in length, the wall system consisted of an ashlar stone retaining wall about 6 metres (20 ft) high surmounted by a mudbrick wall about 10 metres (33 ft) high and 15 metres (49 ft) thick. The stone retaining wall had a'foresticking stone towers spaced about every 18 metres (59 ft). The stone wall and towers were topped by three-step merlons.

Mashki Gate. Reconstructed.

The city wall was fitted with fifteen monumental gateways. In addition to serving as checkpoints on entering and exiting the city, these structures were probably used as barracks and armories. With the inner and outer doors shut, the gateways were virtual fortresses. The bases of the walls of the vaulted passages and interior chambers of the gateway were lined with finely cut stone orthostats about 1 metre (3 ft) high. A stairway led from one of the interior chambers to the top of the mudbrick wall.

Five of the gateways have been explored to some extent by archaeologists:

Mashki Gate[link]

Translated "Gate of the Watering Places", it was perhaps used to take livestock to water from the River Tigris which currently flows about 1.5 kilometres (0.9 mi) to the west. It has been reconstructed in fortified mudbrick to the height of the top of the vaulted passageway. The Assyrian original may have been plastered and ornamented.

Nergal Gate[link]

Named for the god Nergal, it may have been used for some ceremonial purpose, as it is the only known gate flanked by stone sculptures of winged bull-men (lamassu). The reconstruction is conjectural, as the gate was excavated by Layard in the mid 19th century, and reconstructed in the mid 20th century.

Adad Gate[link]

Restored Adad Gate

Named for the god Adad. A reconstruction was begun in the 1960s by Iraqis, but was not completed. The result is an uneasy mixture of concrete and eroding mudbrick, which nonetheless does give one some idea of the original structure. Fortunately, the excavator left some features unexcavated, allowing a view of the original Assyrian construction. The original brickwork of the outer vaulted passageway is well exposed, as is the entrance of the vaulted stairway to the upper levels. The actions of Nineveh's last defenders can be seen in the hastily built mudbrick construction which narrows the passageway from 4 to 2 metres (13 to 7 ft).

Shamash Gate[link]

Named for the Sun god Shamash, it opens to the road to Arbil. It was excavated by Layard in the 19th century. The stone retaining wall and part of the mudbrick structure were reconstructed in the 1960s. The mudbrick reconstruction has deteriorated significantly. The stone wall sticks outward about 20 metres (66 ft) from the line of main wall for a width of about 70 metres (230 ft). It is the only gate with such a significant projection. The mound of its remains towers above the surrounding terrain. Its size and design suggest it was the most important gate in Neo-Assyrian times.

Halzi Gate[link]

Near the south end of the eastern city wall. Exploratory excavations were undertaken here by the University of California expedition of 1989–90. There is an outward projection of the city wall, though not as pronounced as at the Shamash Gate. The entry passage had been narrowed with mudbrick to about 2 metres (7 ft) as at the Adad Gate. Human remains from the final battle of Nineveh were found in the passageway. ^[30]

Threats to Nineveh[link]

The site of Nineveh is exposed to decay of its reliefs by a lack of proper protective roofing, vandalism and looting holes dug into chamber floors.^[31] Future preservation is further compromised by the site's proximity to constantly expanding suburbs.

In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund named Nineveh one of 12 sites most "on the verge" of irreparable destruction and loss, citing insufficient management, development pressures and looting as primary causes.^[32]

Rogation of the Ninevites (Nineveh's Wish)[link]

Assyrians of the Ancient Church of the East, Chaldean Catholic Church, Syriac Catholic Church, and Assyrian Church of the East observe a fast called Ba'uta d-Ninwe or Bo'utho d-Ninwe (ܒܥܘܬܐ ܕܢܝܢܘܐ) which means Nineveh's Wish. Copts and Ethiopian Orthodox also maintain this fast.^[33]

See also[link]

• Cities of the ancient Near East
• Isaac of Nineveh
• Historical urban community sizes
• List of megalithic sites
• Short chronology timeline
• Tel Keppe

Notes[link]

• This article incorporates text from Easton's Bible Dictionary (1897), a publication now in the public domain.

References[link]

• John Malcolm Russell, Sennacherib's "Palace without Rival" at Nineveh, University Of Chicago Press, 1992, ISBN 0-226-73175-8
• Richard David Barnett, Sculptures from the north palace of Ashurbanipal at Nineveh (668-627 B.C.), British Museum Publications Ltd, 1976, ISBN 0-7141-1046-9
• R. Campbell Thompson and R. W. Hutchinson, A century of exploration at Nineveh, Luzac, 1929
• Carl Bezold, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Volume I, British Museum, 1889
• Carl Bezold, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Volume II, British Museum, 1891
• Carl Bezold, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Volume III, British Museum, 1893
• Carl Bezold, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Volume IV, British Museum, 1896
• Carl Bezold, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Volume V, British Museum, 1899
• W. L. King, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Supplement I, British Museum, 1914
• W. G. Lambert, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Supplement II, British Museum, 1968
• W. G. Lambert, Catalogue of the Cuneiform Tablets in the Kouyunjik Collection of the British Museum: Supplement III, British Museum, 1992, ISBN 0-7141-1131-7
• M. Louise Scott and John MacGinnis, Notes on Nineveh, Iraq, vol. 52, pp. 63–73, 1990

External links[link]

Look up Nineveh in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Nineveh

• Joanne Farchakh-Bajjaly photos of Nineveh taken in May 2003 showing damage from looters.
• John Malcolm Russell, "Stolen stones: the modern sack of Nineveh" in Archaeology; looting of sculptures in the 1990s.
• Nineveh page at the British Museum's website. Includes photographs of items from their collection.
• University of California Digital Nineveh Archives A teaching and research tool presenting a comprehensive picture of Nineveh within the history of archaeology in the Near East, including a searchable data repository for meaningful analysis of currently unlinked sets of data from different areas of the site and different episodes in the 160-year history of excavations.
• CyArk Digital Nineveh Archives, publicly accessible, free depository of the data from the previously-linked UC Berkeley Nineveh Archives project, fully linked and georeferenced in a UC Berkeley/CyArk research partnership to develop the archive for open web use. Includes creative commons-licensed media items.
• Photos of Nineveh, 1989-1990

• ABC 3: Babylonian Chronicle Concerning the Fall of Nineveh
• Layard's Nineveh and its Remains- full text
• A history
• Austen Henry Layard - Nineveh and Its Remains full book readable

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.
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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