'The Tube' took its name from the plastic-roofed structure that linked Tyne Tees Studio 5 to the street. This has now been demolished.

The Tube was an innovative United Kingdom pop/rock music television programme, which ran for five seasons, from 5 November 1982 until 1987. It was produced in Newcastle upon Tyne for Channel 4 by Tyne Tees Television, which had previously produced the similar music show Alright Now and the music-oriented youth show Check it Out for ITV; production of the latter ended in favour of The Tube.

The Tube was presented live by hosts including Jools Holland, Paula Yates, Leslie Ash, Muriel Gray, Gary James, Michel Cremona, Nick Laird-Clowes and Mike Everitt. The brand name was relaunched by Channel 4 as an online radio station in November 2006. The show was directed by Gavin Taylor; Geoff Wonfor directed some of the insert videos along with other staff programme director of Tyne Tees Television Martin Cairns. Many other specials were made, including one for the eve of the millennium.

Showcase for contemporary bands[link]

The Tube was a showcase for many emerging 1980s bands. Artists who played on The Tube included: Alison Moyet (Alf), The Art of Noise, The Assembly, The Associates, Aztec Camera, Big Country, Bon Jovi, The Boomtown Rats, Cardiacs, Cliff Richard, Cocteau Twins, The Cramps, Culture Club, Cyndi Lauper, The Damned, Dennis Brown with Sly & Robbie, Depeche Mode, Dexys Midnight Runners, Dire Straits, Divine, Stephen Duffy, Duran Duran, Echo & the Bunnymen, Vow Wow, Elvis Costello, The Fall, Fatal Charm, Frankie Goes to Hollywood, Charged G.B.H., Gregory Isaacs & The Roots Radics, Gun Club, Hanoi Rocks, Heaven 17, Howard Jones, The Human League, Icicle Works, Iggy Pop, INXS, Judas Priest, Killing Joke, Level 42, Lloyd Cole & the Commotions, Madness, Madonna, Magnum, Meat Loaf, Motörhead, Ofra Haza, Paul Young, Pet Shop Boys, The Pretenders, The Proclaimers, Propaganda, The Psychedelic Furs, The Rainmakers, Robert Palmer, R.E.M., Scraping Foetus off the Wheel, Silent Running, Simple Minds, Simply Red, Siouxsie and the Banshees, Soft Cell, Spear of Destiny, SPK, Squeeze, The Style Council, Tears for Fears, Terence Trent D'Arby, Terry & Gerry, The Smiths, The Cult, The Cure, The Dream Academy, The Jam, The Mission, The Pogues, The Pretenders, The Stranglers, The Toy Dolls, Then Jericho, Thin Lizzy, Thomas Dolby, Tina Turner, Twisted Sister, U2, Ultravox, Voice of the Beehive, Tom Waits, Wall of Voodoo, Wham!, Whitney Houston, XTC, Yazoo, ZZ Top.

The Tube was a very important outlet for the performers, and provided a turning point in the careers of many of them. For The Proclaimers, performing "Letter from America" on The Tube was instrumental in helping the Scottish duo to their first top ten UK hit; it was also responsible for introducing Frankie Goes to Hollywood to their record label.

In addition to being the launchpad for new and upcoming performers, The Tube became known for its high profile music performance 'scoops' from established world class bands such as U2 live at Red Rocks, Robert Plant, Bo Diddley and ZZ Top. The show was also fortunate to persuade Ringo Starr to give one of the first post-Beatles interviews in an extended article on his work with Marc Bolan and T.Rex, filmed at his then (and previously John Lennon's) house, Tittenhurst Park.

The Jam performed on the first edition of the show in 1982, it was their last live TV appearance together before they split up at the end of the year.

Format[link]

The cornerstone of the shows was the live performances from three or four bands each week. In an era where most music TV shows featured non-stop miming, the fully live sets by the guest artists were innovative (but the sound mix was often very poor, with a curious quality that made it sound like everything had been 'phased'). The programme would start with a 45 minute magazine section consisting of interviews, fashion items and comedy appearances by a wide range of alternative artistes such as Mark Miwurdz, Frank Sidebottom, Vic Reeves (before his association with Bob Mortimer ), Foffo Spearjig and even French & Saunders. During this section Yates would become known for conducting rather flirtatious interviews: in 1985, for example, she prompted Sting to remove his trousers.

The main presenters were supported, for the first two series, by five newcomers who were picked following a nationally advertised competition: these were Muriel Gray, Gary James, Nick Laird-Clowes, Michel Cremona and Mike Everitt. The supporting presenters took turns to co-present. The show usually featured four or five band appearances per week, with one main extended session to close. The format of the show was extended following Series 1 with a number of special events - most notably the 'Midsummer Night's Tube', a 5 hour version broadcast live from the Tyne Tees studios, the pub across the road from the studios and The Hoppings annual fair in Newcastle. This ground breaking broadcast was, at the time, the longest continuous live music show in television history and received much critical and technical acclaim.

Studio 5 was also used to produce a spin off show called TX45. This show ran for two series hosted by Chris Cowey and produced by Jeff Brown and featured local bands like, The Kane Gang, Secret Sam, She and President. The programme's theme music, the instrumental "TX45", was by Sophie and Peter Johnston, based on the song of theirs,"Some Sunny Day" - a video clip of them performing it on TX45.

Many stars drank in the neighbouring pub The Egypt Cottage, using it as a green room. Jools Holland said "A legendary amount of things happened in the Egypt Cottage, and the Rose and Crown when it was on the other side of the road. Everyone – the likes of Miles Davis, Paul McCartney – who came up for The Tube will have sat in that pub."^[1]

Demise[link]

In January 1987, during the fifth series, Jools Holland used the phrase "be there or be ungroovy fuckers" during a live trailer for the show. The incident caused a national scandal, as the trailer was transmitted at a peak children's viewing time and the show was taken off air for three weeks as a result. Holland was reprimanded by Channel 4, as this was not the first time he had accidentally sworn on the live show. The show's producer, Malcolm Gerrie, and Tyne Tees' Director of Programmes, Andrea Wonfor, announced their resignations in March. They cited as reasons for doing so a mixture of internal bickering, political pressure and "stifling bureaucracy and heavy handed moralism". A further series was never commissioned. In truth, the viewing figures for the series had dropped significantly, and the original format had been watered down. Some people close to the show had said that Holland's swearing was seen as a convenient way of ending the show. The show had always suffered from having such an early 'tea-time'/children's spot that was highly incompatible with the edgy and hip style that it encapsulated. The presenters' live interviews and filmed magazine items were nervously watched by the show's producers and editors as well as Channel 4 executives, especially when certain pop stars and celebrities not known for their shy and retiring nature were being featured. It was this that gave the show the curious feeling of 'anything might happen' that actually made it the success it was.

[1]

For Holland, Yates and Gray it was the launchpad for successful careers in television.

In 2000, The Tube was brought back for a one-off live special on Sky1 entitled "The Apocalypse Tube". Hosted by BBC Radio 1's Chris Moyles and Donna Air, the show came live again from Studio 5 at Tyne Tees and the bar of the Egypt Cottage next door.

In 2005 Tyne Tees Television moved from its City Road complex on Newcastle Quayside.

In July 2006 Studio 5 of the TTTV City Road site was leased by an evangelical money church. The famous Tube neon sign was bought at auction by Tyne And Wear Museums for a future display at the Discovery museum in Newcastle's Blandford Square. It made its debut at a recent^[when?] display.

In December 2009 work started to demolish Tyne Tees' entire City Road studios, including Studio 5, to make way for a housing development. As of March 2010, the iconic tube structure at City Road is no more.

Radio revival[link]

In November 2006, the brand was revived as a radio show by UKOne Productions for Channel 4 Radio [2]. Presenters Konnie Huq, Alex James and Tony Wilson hosted the main show (The Tube) and filler show (Mind The Gap) and has been heavily promoted on the TV channel.

Available on the Internet[link]

In July 2008 ITN (rights holder for The Tube) signed a deal with MUZU TV to make The Tube available online.^[2][3]

See also[link]

Wikimedia Commons has media related to: The Tube

• Revolver
• The Old Grey Whistle Test
• Later with Jools Holland
• Stage One (TV Series)
• Jools Holland's Hootenanny

References[link]

• The Very Best of The Tube Various Artists, Universal Records, 4 November 2002 [3]

External links[link]

• Interview with Alex James, presenter of the New 2006 Tube
• current details for Gary James, co-presenter of first three series and first two specials of The Tube
• TV Cream listing — Scroll down to see The Tube entry
• British Film Institute Screen Online
• [4]
• ITN Video Channel on MUZU TV which includes The Tube content

The Tube may refer to:

• The London Underground
• "The Tube", slang for Television, from the term cathode ray tube
• The Tube (2003 TV series), an ITV/Sky programme featuring the work of staff on the London Underground
• The Tube (2012 TV series), a BBC documentary about those who work and travel on the London Underground
• The Tube (TV series), a former Channel 4 (UK) music programme
• The Tube (radio series), a Channel 4 Radio series
• The Tube Music Network, a US defunct music video channel
• The Port Authority Trans-Hudson railroad linking New Jersey and New York, USA
• The series of tubes analogy, by Ted Stevens
• "The Tube", a 1996 song by Tiësto
• Cardiff Bay Visitor Centre ('The Tube'), known as The Tube because of its distinctive shape
• KTBU, known as "55 The Tube"

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

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

Steven Michael "Steve" Burns (born October 9, 1973) is an American entertainer.^[1] He is best known as the original host of the long-running children's television program Blue's Clues.

Early career[link]

Steven Burns was born in rural Pennsylvania, in a small town named Boyertown. He played in bands called Sudden Impact US, Nine Pound Truck, and the Ivys (which he has called a "Morrissey rip-off band") while in high school and college.^[2] He studied theatre under an acting scholarship at DeSales University in Center Valley, Pennsylvania, in the Lehigh Valley.^[3] He quit school and moved to New York City to become a professional actor.^[4] He lived in a basement apartment near Times Square, finding his first success as a voice-over artist for ads and making appearances on Homicide: Life on the Street and Law & Order.^[3]

[edit] Blue's Clues

Also in 1995, Burns auditioned for Blue's Clues, thinking it was another voice-over role.^[4] He showed up with long hair and an earring; "I was a bit of a skate rat", he said.^[3] Initially, the Nickelodeon executives were not supportive of Burns hosting their new show; in subsequent auditions the show's creators requested that he dress more conservatively. (Burns reported that the creators, in a call-back phone conversation, asked him, "Could you not look like you tomorrow morning?")^[5] It became apparent, however, that he was the favorite with preschool test audiences. Executive producer and co-creator Traci Paige Johnson reported that of the 100 people they auditioned, Burns was "the realest".^[4] As Dr. Alice Wilder, Nickelodeon's Director of Research and Development said, "[T]here was just something about this kid, who was fresh out of Pennsylvania, who just knew where to look in the camera to really talk to kids. He was just right."^[5]

From its premiere, Blue's Clues was an instant hit, due to Steve Burns' performances as much as the show's format. He became "a superstar" among his audience and their parents, but unknown to everyone else,^[4] and enjoyed what he called being a "micro-celebrity, about as small a celebrity as you can be."^[3] As the New York Times reported, he "developed an avid following among both preteen girls and mothers. The former send torrents of e-mail; the latter scrutinize the show with an intensity that might make even Elmo, the red Muppet, blush."^[3] In 2000, People magazine included Burns in their annual list of America's most eligible bachelors.^[6] According to writer Diane Tracy, Burns was "destined for the part".^[7] Also according to Tracy, Burns was not the typical children's television host: "There is nothing syrupy about him—his humor is sometimes borderline offbeat, but never inappropriate for preschoolers".^[7]

Burns became "very involved" with the production of Blue's Clues from the beginning.^[6] One of the most challenging aspects of being the host of the show was performing in front of the "blue screen" before the animation was added.^[8] Burns called it "maddening"^[6] and likened it to "acting at the bottom of a swimming pool."^[9]

Departure[link]

After six years and over 100 shows,^[10] Burns departed Blue's Clues in 2002.^[5] His role in the show "was beginning to chafe" after five years and he left to pursue a music career. Johnson said that "what made Burns a great children's host was that 'he didn't want to be a children's host ... He loved kids, but he didn't want to make a career out of it.'"^[4] Burns himself stated, tongue-in-cheek, "I knew I wasn't gonna be doing children's television all my life, mostly because I refused to lose my hair on a kid's TV show, and it was happenin' — fast."^[5] The day after he finished filming his final episode of the show, he shaved his head, something he wanted to do for many years, but the show's producers would not let him.^[11][12]

Burns' departure caused a resurface of the rumors that had circulated about him since 1998. As Burns said, "The rumor mill surrounding me has always been really strange."^[5] These "specious claims" included dying from a heroin overdose, being run over by a car, and being replaced, like Paul McCartney of The Beatles was rumored to have been, by a look-alike. Some viewers claimed that "clues" regarding Burns' demise were placed within the show.^[13] Burns made an appearance on The Rosie O'Donnell Show to dispute these rumors,^[5] and he and co-creator Angela Santomero appeared on Today to help parents assuage the fears of children who might have heard the rumors.^[13]

Music career[link]

Burns worked on material for his first album, Songs for Dustmites, for two and a half years at a small studio in his home in Brooklyn before it was produced by PIAS Records in late 2002. He started work on the album after he left Blue's Clues in 2002, and it was later released in 2003.^[4] He posted eleven songs on his webpage, and then realizing he needed help with drums and arrangements, went to Steven Drozd of the Flaming Lips for advice. Drozd assisted Burns with six tracks, Lips bassist Michael Ivins engineered the album, and longtime Lips producer David Fridmann produced it. (Wayne Coyne, also of the Flaming Lips, did not work on the album, but cast Burns in his film Christmas on Mars, released in 2008.)^[11]

Burns started a band, Steve Burns and the Struggle, and completed his second album, Deep Sea Recovery Efforts, which was released in 2009. Members of the Struggle include Drozd and Ryan Smith of A Million Billion. He acted in a horror-comedy film in 2006 called Netherbeast Incorporated, with Darrell Hammond and Dave Foley, in which he played a vampire.^[14]

Discography[link]

• Songs for Dustmites (2003)
• Deep Sea Recovery Efforts (2009)

References[link]

External links[link]

• Steve Burns at the Internet Movie Database
• Steve Burns (and The Struggle) at MySpace
• Burns discusses his Blue's Clue experience and why he departed for an episode of "The Moth Presents"