For obsessed pop fans, though, the Cure did something so few bands manage to: they wrote beautiful, strange pop music that was also completely basic, and I mean rudimentary in its musical simplicity. The music is rendered irrelevant by the singer’s coy, sometimes even effeminate un-seriousness, which isn’t important to them, just as, more than likely, music isn’t that important to them. For them, the Cure are a smudge of lipstick and a can of hairspray and they’ll go no deeper.
But I’ve reached out to a lot of friends over the last week, to get those perspectives, to push and prod them, and understand how life works for a person who doesn’t enjoy and hasn’t staked their emotional development to the Cure’s music.Ī lot of people, of course, could never get past the makeup, and their level of indifference is probably the highest.
Robert smith without mackup singer skin#
It’s brutal, I know, it makes my skin crawl, honestly, as I type it, I’m just shaking with rage over here. For many people, they are indistinguishable from… Because from one perspective-from a much more common perspective, actually-the Cure aren’t very important.
You should not do this to Simon Reynolds. There is no insult to Robert Smith or the Cure small enough that devoted fans won’t pounce on its issuer and claw out their eyes. “…aligning themselves with commercial dance pop (ABBA, Euro-disco, Chic), they sneered at middlebrow studenty notions of deep ‘n’ meaningful (the Pink Floyd/Cure/Radiohead continuum).” It was a passing remark about the Human League: In his post-punk survey Rip it Up and Start Again, Simon Reynolds penned a throwaway barb that has stuck with me for ten years.
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