A Volkswagen Beetle ("Bug") owner in response to fag graffiti spray-painted on her car christened it "The Fagbug" and embarked on a trans-American road trip to raise awareness of homophobia and LGBT rights that was documented in a film of the same name.^[1][2]

Faggot, often shortened to fag, is a pejorative term and common slur used chiefly in North America against homosexual males.^[3] Its pejorative use, broadly meaning a "repellent male", has spread from the United States to varying extents elsewhere in the English-speaking world through mass culture, including movies, music, and the Internet.^[4]

Etymology[link]

The word meaning "bundle of sticks" is ultimately derived, via Old French, Italian and Vulgar Latin, from Latin fascis (also the origin of the word fascism).^[5] The origins of the word as an offensive epithet for homosexuals are rather obscure, although the word has been used in English since the late 16th century as an abusive term for women, particularly old women,^[6] and reference to homosexuality may derive from this,^[5][7] as female terms are often used with reference to homosexual or effeminate men (cf. nancy, sissy, queen). The application of the term to old women is possibly a shortening of the term "faggot-gatherer", applied in the 19th century to people, especially older widows, who made a meagre living by gathering and selling firewood.^[7] It may also derive from the sense of "something awkward to be carried" (compare the use of the word "baggage" as a pejorative term for old people in general).^[5] Use of the word as a general insult, not necessarily implying homosexuality, is either a continuation or extension of this older usage^[6] or of the homosexual usage.

Unsubstantiated associations[link]

It is sometimes claimed that the modern slang meaning developed from the standard meaning of "faggot" as "bundle of sticks for burning," presumably with reference to burning at the stake.^[5] It is true that supposed witches and heretics were burnt to death in some parts of Europe, and were often accused of deviant sexual behaviour.^[8] However, any association of faggots with executions had long become a historical curiosity by the time the slang sense of the word arose in twentieth-century America.^[5] Moreover, burning was never prescribed as a punishment for homosexuality in either Britain or America.^[7][5] This explanation is therefore considered to be an urban legend.^[5]

An alternative possibility is that the word is connected with the practice of fagging in British private schools, in which younger boys performed (potentially sexual) duties for older boys,^[5] although the word faggot was never used in this context, only fag. There is a reference to the word faggot being used in 17th century Britain to refer to a "man hired into military service simply to fill out the ranks at muster", but there is no known connection with the word's modern pejorative usage.^[5]

The Yiddish word faygele, lit. "little bird", has been claimed by some to be related to the American usage. The similarity between the two words makes it possible that it might at least have had a reinforcing effect.^[7][5]

Use in Britain[link]

Originally confined to the United States,^[5] the use of the words "fag" and "faggot" as epithets for gay men has spread elsewhere in the English-speaking world, but the extent to which they are used in this sense has varied outside the context of imported US popular culture. The words "queer", "homo", and "poof" are all still in common use in the UK, and some other countries, as pejorative terms for gay men. The words "fag" and "faggot", moreover, still have other meanings in the British Isles and other Commonwealth societies. In particular, "faggot" is still used to refer to a kind of meatball, and "fag" is common as a slang word for "cigarette".

Use of fag and faggot as the term for an effeminate man has become understood as an Americanism in British English, primarily due to entertainment media use in films and television series imported from the United States. When Labour MP Bob Marshall-Andrews was overheard supposedly using the word in a bad-tempered informal exchange with a straight colleague in the House of Commons lobby in November 2005, it was considered to be homophobic abuse.^[9][10]

Early printed use[link]

The word with reference to homosexuality was used as early as in the 1914 Jackson and Hellyer A Vocabulary of Criminal Slang, with Some Examples of Common Usages which listed the following example under the word, drag:^[11]

"All the fagots (sissies) will be dressed in drag at the ball tonight."

The word was also used by a character in Claude McKay’s 1928 novel Home to Harlem, indicating that it was used during the Harlem Renaissance. Specifically, one character says that he cannot understand:

"a bulldyking woman and a faggoty man"

Masculinity and high school[link]

Through ethnographic research in a high school setting, CJ Pascoe examines how high school boys use the term 'fag.' Pascoe's work shows that boys in high school use the fag epithet as a way to assert their own masculinity by claiming that another boy is less masculine, making him a fag. The way the word fag is used in this context shows that it is less about sexual orientation and more about gender. In fact, one-third of the boys in Pascoe's study claimed that they would not call a homosexual peer a fag. Fag is used in this setting as a form of gender policing, in which boys point out and ridicule others who fail at masculinity, heterosexual prowess, or strength. Because boys do not want to be labeled a fag, they hurl the insult at another person to deflect their temporary position as the fag. The fag identity does not constitute a static identity attached to the boy receiving the insult. Rather, fag is a fluid identity that boys strive to avoid, often by naming another as the fag. As Pascoe asserts, "[the fag identity] is fluid enough that boys police their behaviors out of fear of having the fag identity permanently adhere and definitive enough so that boys recognize a fag behavior and strive to avoid it." Gender policing is most common among white boys, while black boys are more concerned with "acting" appropriately black. The black youth in Pascoe's study often ridiculed one another for "acting white," and did not express homophobia to the same degree as white boys. ^[12]

Usage in popular culture[link]

Benjamin Phelps, Fred Phelps' grandson and creator of the first "GodHatesFags" webpage, is also from the Westboro Baptist Church which regularly employs picket signs such as these using fag as epithet.^[13]

There is a long history of using both fag and faggot in popular culture, usually to denigrate lesbian, gay, bisexual, and transgender (LGBT) people. Rob Epstein and Jeffrey Friedman's 1995 documentary The Celluloid Closet, based on Vito Russo's book of the same name notes the use of fag and faggot throughout Hollywood film history.^[14] The Think Before You Speak (campaign) has sought to stop fag and gay being used as generic insults.^[15]

Theater[link]

In 1973 a broadway musical called "The Faggot" was praised by critics but condemned by gay liberation proponents.^[16]

Books and magazines[link]

Larry Kramer's 1978 novel, Faggots, discusses the gay community including the use of the word within and towards the community.^[17] In its November 2002 issue, the New Oxford Review, a Catholic magazine, caused controversy by its use and defense of the word in an editorial. During the correspondence between the editors and a gay reader, the editors clarified that they would only use the word to describe a "practicing homosexual". They defended the use of the word, saying that it was important to preserve the social stigma of gays and lesbians.^[18]

Music[link]

The Dire Straits 1985 song "Money for Nothing" makes notable use of the epithet "faggot",^[19] although the lines containing it are often excised for radio play, and in live performances by singer/songwriter Mark Knopfler. In 1989, Sebastian Bach, lead singer of the band Skid Row, created a controversy when he wore a t-shirt with the parody slogan "Aids: Kills Fags Dead".^[20] The 2001 song "American Triangle" by Elton John and Bernie Taupin uses the phrase God hates fags where we come from.. The song is about Matthew Shephard, a Wyoming man who was killed because he was gay.^[21] The 2007 song The Bible Says, which includes the line "God Hates Fags" (sometimes used as an alternate title) caused considerable controversy when it was published on various websites. Apparently an anti-gay song written and performed by an ex-gay pastor "Donnie Davies", it was accompanied by the realistic Love God's Way website about his "ministry". Debate ensued about whether Donnie Davies and the outrageous song, which included a few double-entendres, were for real, and whether the lyrics could ever be considered acceptable even in satire. Donnie Davies was revealed in 2007 to be a character played by actor and entertainer. Some gay rights advocates acknowledge that as a spoof it is humorous, but claim the message behind it is still as malicious as someone who seriously possessed the opinion.^[22][23][24] In December 2007, BBC Radio 1 caused controversy by editing the word "faggot" from their broadcasts of the Kirsty MacColl & The Pogues song "Fairytale of New York," deeming it potentially homophobic; however, the edit did not extend to other BBC stations, such as BBC Radio 2. Following widespread criticism and pressure from listeners, the decision was reversed and the original unedited version of the song was reinstated, with clarification from Andy Parfitt, the station controller, that in the context of the song the lyrics had no "negative intent."^[25][26] Patty Griffin uses the word 'faggot' in her song Tony. The song is about a classmate of hers from high school who committed suicide.^[27]

Television and newsmedia[link]

In 1995, former House Majority Leader Dick Armey referred to openly gay congressman Barney Frank as "Barney Fag" in a press interview.^[28] Armey apologized and said it was "a slip of the tongue". Frank did not accept Armey's explanation, saying "I turned to my own expert, my mother, who reports that in 59 years of marriage, no one ever introduced her as Elsie Fag."^[29] In July 2006 conservative pundit Ann Coulter, while being interviewed by MSNBC's Chris Matthews, said that the former U.S. Vice President Al Gore was a "total fag", and suggested that former U.S. President Bill Clinton may be a "latent homosexual".^[30] Coulter caused a major controversy in the LGBT community; GLAAD and other gay rights organizations demanded to know the reason why such an offensive usage of the word was permitted by the network. In October 2006, Grey's Anatomy star Isaiah Washington called his co-star T.R. Knight a "faggot" on the set during an argument with Patrick Dempsey. According to Knight, the incident led to him publicly coming out of the closet.^[31] Washington made another outburst using the epithet, this time backstage at the Golden Globe Awards. In January 2007, Washington issued a public apology for using the word "faggot" and went into rehab to help him with what the show's creator Shonda Rimes referred to as "his behavioral issues."^[32] In March 2007 Coulter again created controversy when she made an off-color joke: "I was going to have a few comments on the other Democratic presidential candidate John Edwards, but it turns out you have to go into rehab if you use the word "faggot," so I'm kind of at an impasse, can't really talk about Edwards ..."^[33][34] Her comments triggered a campaign by a gay rights group and media watchdog to persuade mainstream media outlets to ban her shows and appearances.

South Park interpretation[link]

In November 2009, the South Park episode "The F Word" aired. It deals with the overuse of the word fag, along with its history and how it evolved from a 16th century slang meaning "old or unpleasant woman" to a homophobic slur into a general insult commonly used amongst American youth.^[35] The four lead characters, Eric Cartman, Stan Marsh, Kyle Broflovski and Kenny McCormick, assert that the meaning remains an insult but refers to Harley motorcyclists. The boys convince the town to officially change the meaning, which is kept despite criticism from the rest of the nation. However, the town then invites Emmanuel Lewis, who is in charge of the dictionary and the meaning of the word fag is officially changed to reference to Harley riders who's inconsiderately loud motorcycles ruin everyone else's nice time.^[36][37][38]

Bibliography[link]

• Pascoe, C. J. Dude, You're a Fag: Masculinity and Sexuality in High School, University of California Press, 2007.
• Kramer, Larry. Faggots, Grove Press, 2000.
• Ford, Michael Thomas. That's Mr. Faggot to You : Further Trials from My Queer Life, Alyson Books, 1999.

See also[link]

Look up faggot in Wiktionary, the free dictionary.

• Breeder
• Fag hag
• Fag stag
• Freedom of speech
• Hate mail
• Hate speech

References[link]

External links[link]

Look up faggot in Wiktionary, the free dictionary.

• How did "faggot" get to mean "male homosexual"? on The Straight Dope.

v t e Lesbian, gay, bisexual, transgender (LGBT) slang Bareback Banjee Batty boy Bear Beard Beat Breeder Bugchasing Bulldagger Butch and femme Boi Bottom Castro clone Chicken Chickenhawk Chub Cottaging Cruising Daddy Down-low Drag Dyke Dyke tyke En femme Fag (Faggot) Fag hag Fag stag Faux queen Flagging (hanky code) Friend of Dorothy Fruit Gay-for-pay Gaydar Gaymer Glory hole Lesbian until graduation Lipstick lesbian Party and play Queen Santorum Shemale Soft butch Swish Tea-room Top Trade Transfan Troll Twink U-Haul lesbian Versatile LGBT portal Polari Lavender linguistics Terminology of homosexuality

Look up faggot or fagot in Wiktionary, the free dictionary.

Faggot, fagot, faggots, or faggoting may refer to:

• faggot or fagot, branch or twig, or bundle of these
  • Fasces
  • Faggot (unit), archaic unit of measurement for bundles of sticks
  • Death by burning, metonymically referred to by the faggots which fuel the fire
  • Ashen faggot (or ashton fagot), Christmas wassail tradition in the West Country of England
• Faggot (slang), pejorative, now usually for a gay man, also having older and derived pejorative senses
• Faggot (food), British meatball commonly made of pork offal
• Faggots (novel), 1978 novel by Larry Kramer
• Faggoting (metalworking), forge welding a bundle of bars of iron and steel
• Faggoting (knitting), variation of lace knitting in which every stitch is a yarn over or a decrease
• Faggoting stitch, featherstitch, or Cretan stitch, embroidery stitch used to make decorative seams or to attach insertions
• Mikoyan-Gurevich MiG-15, USSR jet fighter with NATO reporting name "Fagot"
• 9K111 Fagot, an anti-tank guided missile
• Bassoon, variously called fagotto, faggot, fagott, fagot
• Faggot cell, blast cell type found in acute promyelocytic leukemia
• Eumeta crameri or faggot worm, from the bundles of twigs it binds to itself
• Jacob Faggot (1699–1777), Swedish scientist who miscalculated the pitches of the Strähle construction
• Faggot, a song by Mindless Self Indulgence:
  • a track from Frankenstein Girls Will Seem Strangely Sexy
  • a track from Our Pain, Your Gain
• Faggot, a track from the stand-up comedy album Deadbeat Hero by Doug Stanhope

See also[link]

• Fag (disambiguation)
• Faggot voter, hireling eligible to vote as nominal titleholder of part of a subdivided property

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.

Slang is the use of informal words and expressions that are not considered standard in the speaker's language or dialect but are considered more acceptable when used socially. Slang is often used as a euphemism and may use informal lexicon to identify with one's peers.

Defining slang[link]

Few linguists have endeavoured to clearly define what constitutes as slang.^[1] Attempting to remedy this, Bethany K. Dumas and Jonathan Lighter argue that an expression should be considered "true slang" if it meets at least two of the following criteria:

• It lowers, if temporarily, "the dignity of formal or serious speech or writing"; in other words, it's likely to be considered in those contexts a "glaring misuse of register."
• Its use implies that the user is familiar with whatever is referred to, or with a group of people who are familiar with it and use the term.
• "It's a taboo term in ordinary discourse with people of a higher social status or greater responsibility."
• It replaces "a well-known conventional synonym". This is done primarily to avoid discomfort caused by conventional phrases or by further elaboration.^[1]

Slang is different from jargon, which is the technical vocabulary of a particular profession, and which meets only the second of the criteria given above. Jargon, like many examples of slang, may be used to exclude non–group members from the conversation, but in general has the function of allowing its users to talk precisely about technical issues in any given field.^{[citation needed]}

Extent and origins of slang[link]

Slang can be regional (that is, used only in a particular territory), but slang terms are often particular instead to a certain subculture, such as music or video gaming. Nevertheless, slang expressions can spread outside their original areas to become commonly used, like "cool" and "jive." While some words eventually lose their status as slang (the word "mob", for example, began as a shortening of Latin mobile vulgus^[2]), others continue to be considered as such by most speakers. When slang spreads beyond the group or subculture that originally used it, its original users often replace it with other, less-recognised terms to maintain group identity.

One use of slang is to circumvent social taboos, as mainstream language tends to shy away from evoking certain realities. For this reason, slang vocabularies are particularly rich in certain domains, such as violence, crime, drugs, and sex. Alternatively, slang can grow out of mere familiarity with the things described. Among Californian wine connoisseurs (and other groups), for example, Cabernet Sauvignon is often known as "Cab Sav," Chardonnay as "Chard" and so on;^[3] this means that naming the different wines expends less superfluous effort; it also helps to indicate the user's familiarity with wine.

Even within a single language community, slang, and the extent to which it is used, tends to vary widely across social, ethnic, economic, and geographic strata. Slang may fall into disuse over time; sometimes, however, it grows more and more common until it becomes the dominant way of saying something, at which time it usually comes to be regarded as mainstream, acceptable language (e.g. the Spanish word caballo or the English word ain't), although in the case of taboo words there may not be an expression which is considered mainstream or acceptable. Numerous slang terms pass into informal mainstream speech, and sometimes into formal speech, though this may involve a change in meaning or usage.

Slang very often involves the creation of novel meanings for existing words. It is common for such novel meanings to diverge significantly from the standard meaning. Thus, "cool" and "hot" can both mean "very good," "impressive," or "good-looking".

Slang terms are often known only within a clique or ingroup. For example, Leet ("Leetspeak" or "1337") was originally popular only among certain Internet subcultures, such as crackers and online video gamers. During the 1990s, and into the early 21st century, however, Leet became increasingly more commonplace on the Internet, and it has spread outside Internet-based communication and into spoken languages.^[4] Other types of slang include SMS language used on mobile phones, and "chatspeak," (e.g., "LOL", an acronym meaning "laughing out loud" or "laugh out loud" or ROFL, "rolling on the floor laughing"), which is widely used in instant messaging on the Internet.

Distinction between slang and colloquialisms[link]

Some linguists make a distinction between slangisms (slang words) and colloquialisms. According to Ghil'ad Zuckermann, "slang refers to informal (and often transient) lexical items used by a specific social group, for instance teenagers, soldiers, prisoners and thieves. Slang is not the same as colloquial (speech), which is informal, relaxed speech used on occasion by any speaker; this might include contractions such as 'you’re,' as well as colloquialisms. A colloquialism is a lexical item used in informal speech; whilst the broadest sense of the term ‘colloquialism’ might include slangism, its narrow sense does not. Slangisms are often used in colloquial speech but not all colloquialisms are slangisms. One method of distinguishing between a slangism and a colloquialism is to ask whether most native speakers know the word (and use it); if they do, it is a colloquialism. However, the problem is that this is not a discrete, quantised system but a continuum. Although the majority of slangisms are ephemeral and often supplanted by new ones, some gain non-slang colloquial status (e.g. English silly – cf. German selig ‘blessed’, Middle High German sælde ‘bliss, luck’ and Zelda, a Jewish female first name) and even formal status (e.g. English mob)."^[5]

Etymology[link]

The origin of the word slang is uncertain. It has a connection with Thieves' cant, and the earliest attested use (1756) refers to the vocabulary of "low or disreputable" people. Beyond that, however, its origin is unclear. A Scandinavian origin has been proposed (compare, for example, Norwegian slengenamn, which means "nickname"), but is discounted by the Oxford English Dictionary based on "date and early associations".^[6]

See also[link]

• A New Dictionary of the Terms Ancient and Modern of the Canting Crew
• Register
• Diner lingo
• Urban Dictionary

People

• G. Vernon Bennett, Pomona, California, school superintendent, orders "anti-slang week," 1915

References[link]

External links[link]

Look up slang in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Slang

• The Online Slang Dictionary - American and English terms, features other statistical information
• SlangSite.com - Non-explicit American terms
• Urban Dictionary - Contributions by users
• American slang - with part of speech and sample sentences
• British slang - with definition, part of speech and usage examples

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

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

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

History[link]

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

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

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

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

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

Early Gothic Phase (1980–1982)[link]

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

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

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

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

Increasing commercial success (1983–1986)[link]

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

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

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

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

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

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

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

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

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

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

Period of transition (1994–1998)[link]

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

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

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

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

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

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

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

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

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

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

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

Musical style[link]

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

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

Music videos[link]

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

Legacy[link]

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

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

Discography[link]