News Archive - March 2007



March 28th
.

  • Final update on the "Cure playing Bestival" rumor. No surprise after Rob Da Bank's comments a few weeks ago, but RS makes it 100% official -   no Cure at Bestival 2007. 


  • Here's the translation of that article in La Nacion a few days ago: 

    • LA NACION article [translated]
    http://www.lanacion.com.ar/entretenimientos/nota.asp?nota_id=894295&origen=acumulado&acumulado_id=120-2

    "I hate to write something on this site that isn't 100% confirmed...but well, I’m having one of those days where I can tell you that I’d be very surprised if The Cure didn't return to South America by the end of this year to play a show." Robert Smith wrote these words on the band's official site (thecure.com), from Miami, soon after he was consulted by LA NACION regarding his future actions, and lit the wick. The leader of The Cure reunited his group of all his life and, this year, he will embark in something similar to a world tour [there are already confirmed shows in Japan, Australia, and New Zealand, to begin in July], that could lead to Buenos Aires 20 years after his chaotic and only visit to the country [see photo].

    Since then, rumors regarding a return of the group to Argentina have been happening with every new world tour. The producer Daniel Grinbank [who brought them last time] assures that he's tried to convince them to come back many times: "Last year they went to Mexico and other Central American countries (Obviously false, as the band only played one show last year and that was in England. - Craig) , but they didn't accept our proposal to play here - says the impresario -. Now, we have once more offered them a tour through Chile, Brazil, and Argentina, but everything is stopped until they determine the release date of the new album. They know they have a carpet full of proposals from our industry, CAA".

    The return of the band on the scene [yesterday they had their first concert of 2007, at the Ultra Music Festival that occurs annually in Miami] comes at a time when the work of The Cure seems to reevaluate itself, with tributes, homages, and notifications. Three buttons very different serve as examples:

    1. Korn, the most popular New Metal group in the past years, finished work on a Unplugged CD and invited Mr. Smith to participate one of the songs. Jonathan Davis and Robert Smith sing a duet in which they fuse Korn's "Make Me Bad", with The Cure's "In Between Days".

    2. The latest work from the electronic duo Faithless, To All New Arrivals, includes “Spiders, Crocodiles, & Kryptonite”, of which refrain will remix the charming verses of “Lullaby”, of The Cure, rerecorded especially by Robert Smith.

    3. Thousands of kilometers south, the new album of Pequeña Orquesta Reincidentes, Capricho, was presented this past weekend in Buenos Aires. Along with other covers on this disc, it includes a melancholic track, “A Night Like This”, of The Cure.

    As if to confirm that The Cure’s return was “the 80’s return that was missing”, it could be mentioned that the official trailer to the film Marie Antoinette, of Sofia Coppola, was sound tracked with the song “Plainsong”, recorded by the band in 1989, for their album Disintegration; that in the past months Robert Smith recorded vocals in the solo productions of Steve Hewitt [drummer of the group Placebo] and Paul Hartnoll [of Orbital]; that The Cure will participate on the John Lennon tribute album, Instant Karma, that will be edited the following month and in which R.E.M., U2, Black Eyed Peas and Green Day, among other artists participated. And last, that Smith offered some clues in two recent interviews regarding how the group’s new album will be, successor of The Cure [2004], that will possibly be released before the end of the year.

    “We began to record the middle of last year and we finished 33 songs – the composer, singer, and guitarist told RAG magazine -. At one point, I even thought it could be a double album with some instrumentals. But when I told the rest of the band and the record company, they didn’t appear to be too enthusiastic with the idea. That’s why I’m thinking that it could be an album with two phases: an album that is released normally and the other, possibly, could be downloaded on the Internet. I don’t know, that’s the idea I have at this moment.”

    With the definitive return of the guitarist Porl Thompson [the band consists of Simon Gallup on bass, and Jason Cooper on drums], Smith assured that the album will be not be based on keyboards [fundamental instrument in the discography of The Cure] as in other times. “The return of Prol makes me remember the period of Kiss Me, Kiss Me, Kiss Me [1987], Disintegration [1989], and Wish [1992]. We have included a keyboardist in the study, but he was used very few times, in a case prompt but nothing more”, he remarked.

    And back to the official site of the group, Robert Smith concludes his message for his South American fans this way: “With things being that way…you will have more new when it happens of course. RSX”.

    - Sebastián Ramos

    (Thanks to Andy for the translation)


  • New Zealand wants The Cure: 

    • "I know as always its likely a long shot with these petitions but I was wondering if you could give us a mention on your site! We have just started the petition up and hope to draw Robert and Co's attention to their lovely deprived NZ fans...
    the address is http://www.ipetitions.com/petition/CureTourNZ07/"

    (Thanks Alastair)


  • Curespotting: 

    • "Just wanted to let you know that Blake Lewis did a cover of The Cure's Lovesong on tonight's episode of American Idol on the FOX network in the US."

    (Thanks DSC, Beachy and CureChicago)


    "I am a french fan, sorry if I make mistakes in English language.
     
    I talk about my passion for The Cure on french TV channel M6 in a television report of the TV show "Nouvelle Star" ( french Pop Idol / American Idol ) and I explained why I like the kazoo ;-)
     
    The report was broadcasted on March 14, 2007.
     
    Here the link of the TV capture : http://www.youtube.com/watch?v=COO0rAoRyUE
    (and also you can download the file here : http://jeromekazoo.free.fr )"
     
    (Thanks Bernie)


    "I was just looking at some Cure music videos, and suddenly saw a link to this => http://www.veoh.com/videos/e168141GH86az2T?searchId=6683837400754054450&rank=6 <= little movie... It's called "The Cure Cocktail", and apparently was a submission for some kind of cocktail contest. I've honestly got no clue if it's named so after the band we all love, but it sure would be good fun! I'm running out, gonna buy myself all the needed ingredients... :) "

    (Thanks Laurent)
    March 25th


  • Cure article in La Nacion: 

    • "Today, in the newspaper La Nacion, There is a special note about, again, a possible visit of The Cure to Southamerica....
    Include a little interview with Daniel Grinbank (the guy behind the 1987 visit of The Cure to Argentina and Southamerica, and possibly of the "this
    year" visit). Here is a link to LaNacion.com; I hope someone could translate something.... You know, I can't do it.........

    Also in the note of the La Nacion newspaper says: Robert Smith will collaborate with vocals in the new solo album of Steve Hewitt (Placebo)..."

    (Thanks Beto)


  • Guys, come on, I've been doing this for almost 11 years now (pretty sad huh?). I never post the setlist, reviews, etc. on the news page. Each show gets it's own page, and that's where stuff like that gets posted. The Miami show info is here. You can always find out what sections have been updated by checking the front page. 


  • If you missed Roger's appearance at the Apple Store in London on March 20th, you can watch a couple of clips here and here. Also, check out Roger's interview with FXpansion and the new Apple version of 'Treasure' at Roger's Myspace page. 


  • Curespotting: 

    • "I found this record store on Collins Avenue/5th Street in Miami Beach advertizing the Cure at the Ultra Festival with the 'Join The Dots' and the
    Head on the Door/The Top Deluxe covers. I admit the pics aren't the best but I've never seen a record store in my region advertizing that nicely with a whole shop window both for a gig and new cds.

    What's was even more teasing was a plane pulling an ad with the message 'Ultra Festival ... CURE' along the beach the wohle day (seen on 17th
    March)."

    (Thanks Christian)
    March 23rd


  • For those of you heading to the Ultra fest tonight, please note that the official site says The Cure will be playing from 7:30-9:30pm. So get there early and have a great time! And please don't forget to send in your reviews, photos and the setlist. Thanks! 


  • New interview with RS in the Miami Herald: 

    • The Cure plays tonight at Ultra
    BY MICHAEL HAMERSLY
    mhamersly@MiamiHerald.com

    * Winter Music Conference best bets

    Judging from his all-black get-ups, gloom-and-doom lyrics and songs with titles such as The Hanging Garden, Torture and Disintegration, fans might expect Robert Smith to come off as surly and withdrawn.

    But the iconic lead singer of The Cure -- the hugely influential British band that evolved from the post-punk Gothic-rock scene of the early '80s into creating poetic pop-rock soundscapes with swirling layers of guitar and keyboards -- is downright jovial, at times almost bubbling over in a pleasingly self-deprecating stream-of-consciousness, muttering and stammering along like Hugh Grant in a romantic comedy.

    Smith says The Cure might have some surprises in store when it headlines the dance music-heavy Ultra Music Festival tonight at Bayfront Park in downtown Miami. He talked to The Miami Herald about his life and the band.

    Q: How do you feel your music fits in with a festival that's so heavily dominated by dance music and DJs?

    A: I've been thinking about this on and off since we agreed to do it. There's been a connection between The Cure and dance as a genre in its various forms throughout the years, probably starting with Let's Go To Bed in 1983, and that was kind of the advent of the 12'' single.

    This connection between us and the more modern dance movement probably stemmed, I think, from Paul Oakenfold's remix of Lullaby in 1989 and it got massive play on Ibiza. And at that time, very few people even knew what Ibiza was -- you know, it was an island somewhere. It didn't really have the cultural significance it does now.

    And the reason why we did the Mixed Up album is because we got this idea that there were lots of people playing Cure music at raves, and this whole kind of movement was kicking up -- and I just really loved what I was hearing.

    We did the Mixed Up album on the back of that, using a lot of remixes that we'd done and sending stuff out to be remixed. We were completely hammered for it -- we were slayed by the press, and a lot of fans were a bit disturbed by that release. They wondered what we were doing: Was this the start of something horrible?

    But I loved it. At the time, I said in interviews, ''This is the only Cure album I can listen to,'' and I was being truthful, because it was like someone else had made a Cure album. I could kick back and listen to The Cure and it had nothing to do with me. It just appealed to me.

    Q: What can we expect from The Cure's show at Ultra?

    A: We want this Miami thing to be special, that won't be like anything else we've done, and probably won't be like anything we will do. So we're trying to create a two-hour show that reflects the fact that we're in Miami playing a dance festival. And we've hit kind of a wall, because we're unsure within the band whether we should try to reflect what [DJs] do onstage -- a dance set.

    Or should we play a Cure set comprised of songs such as Pictures Of You and Lullaby in their Cure form, to have some kind of musical relief from what's going on in the other 48 hours? It's a tricky one.

    I like the idea of perhaps putting some songs back in the set that we haven't done for awhile, some of the more upbeat, immediate stuff.

    Q: So many of your songs are about romantic relationships -- some sweet, some dysfunctional. How much of that is based on your own experiences?

    A: A lot of the songs I've written -- in fact, most of them -- are written from experience. Some of them are more honest than others. Some of them -- I take situations and I kind of do a ''what-if'' in my head.

    Q: You have a reputation as this mopey, rainy day persona, but you seem just the opposite. What's the story?

    A: I've led a charmed life, pretty much. I can't believe that I've been able to do pretty much everything I've ever wanted to do. But when I was younger, looking back, I think perhaps unknowingly I engineered situations where I would endure pain [laughs]. I think that's what young people do sometimes -- just to see what it feels like. I tend to do things now that I hope I'd enjoy.

    There are places inside my head that are still quite dark. I'm really lucky in the life that I'm able to lead, but I still have huge unresolved dilemmas about life and what goes on in the world.

    As a personality, I think I'm a bit fractured: I've got two very distinct sides to me and one of them is unpleasant, which I try to keep in check. But it works for the band.

    Q: Do you have a preference between the lighter or darker side of The Cure?

    A: I am drawn, much more so, to the more emotional, darker stuff. I think the really bright poppy stuff, when it works, is really good and it makes the band more interesting. But there's another part of The Cure, which is a more wistful or slightly melancholic or happy/sad kind of thing, which I like and has drawn a lot fo people into The Cure -- like Pictures Of You. It's not a terribly sad song on first listen -- it's not obviously end-of-the-world stuff -- but at that time in my life I was kind of laying bare things that were probably better left unsaid. It caused an awful lot of upset in my own life; it's the price you pay for writing songs that are genuinely emotional.

    Q: Do you consider yourself a romantic ?

    A: I would like to be. I don't really know whether I am or not. I find myself at times, you know, howling at the moon; other times I can't believe how untouched I am and how disconnected I feel.

    But I haven't really closed down as I've gotten older. If anything, I've gotten worse, I suppose. I've become more tearful [laughs], but I think that's just old age creeping in. I'll find myself in tears watching a cat food commercial -- it's madness, really.

    Q: It took a few albums for The Cure to have much commercial success. How important was it for you to finally have ``hits''?

    A: With hindsight, it was crucial to the band. The first album, [1979's] Three Imaginary Boys, was a weird collection of stuff we were doing out of school, and it was quirky and I wasn't really convinced by it, so I didn't expect anyone else to be.

    [Later], when I was being pushed as kind of this idiot lead character doing The Walk and Lovecats and stuff, I went along with it.

    But it was much more important to me to make albums that contained songs that had genuine emotion in them. The singles almost used to trick people into listening -- they were the lure.

    Q: How long will The Cure keep it up?

    A: I don't ever think about it anymore. I used to make these pronouncements -- you know, ''That's it!'' But we're just at the point now I'm finishing vocals and mixing on a new record. [And] we are scheduling shows starting in late summer that will run through to Christmas, so this year we are gonna be quite active. Beyond that, it really depends on what my physical and mental health is like come Christmas.

    (Thanks Creighton)


  • 'Da Hype', Blink 182, Korn and now Ashlee Simpson?!?! Here's the (hopefully inaccurate) story from Entertainment Weekly: 

    • JUST LIKE HEAVEN?
    The Cure's Smith and Simpson will try to make some beautiful music together, according to her dad, Joe

    By Leah Greenblatt

    What happens in Austin, stays in Austin? Not when it's new-album news about Ashlee Simpson, straight from the horse's mouth! (Or, more accurately, the mouth of the horse's dad-slash-manager). At a late-night SXSW showcase by Ethiopian-born alt-pop artist Kenna, two of EW's intrepid reporters spotted Simpson père Joe, who filled us in on his daughter's plans for her upcoming 2007 release. The album involves Kenna (whose own album is due this June) and his buddy and producer Chad Hugo — a.k.a., the member of production über-duo the Neptunes who is not Pharrell Williams.

    Mr. Simpson tells us Ashlee, Chad, and Kenna were in the studio writing songs earlier this month, and that she's also working with Timbaland, John Legend, and Tim Rice-Oxley of Brit sensations Keane, who teamed up with Gwen Stefani on ''Lonely Winter,'' one of the strongest, most reflective tracks on her recent Sweet Escape album.

    The bigger shocker? Ashlee's also reportedly collaborating with Robert Smith. Yes, as in the legendary frontman of Alternative Nation icons the Cure. Could their mutual buddy, Fall Out Boy's Pete Wentz, be the connection? When asked by our west-coast counterpart Shirley Halperin, Wentz demurred. ''I doubt I had anything to do with it, 'cause they were friends since she was performing in Chicago [in London last year]. But I definitely only have good things to say about Ash — I think the collaboration could be great!'' Indeed; whatever these two Lovecats come up with, it's bound to be interesting!

    (Thanks Kevin and K)


  • Cure party in Mexico: 

    • "We have a Cure Night in Mexico City,
     
    A MEASURE OF LIFE
    Date: April 21th, 2007
    Tribute Band: Escarlata
    In the music: DJ. Robas Marca Diablo from (www.theendoftheworld.fr.st)
    Place: Saccro Centro Cultural - Rep. de Uruguay No. 52, Col. Centro
     
    Here is the link for the flyer:
    http://img163.imageshack.us/img163/2262/precureqv9.jpg"
     
    (Thanks Jose)
    March 20th


  • Amnesty International will release 'Instant Karma: The Campain To Save Darfur' on June 12th. The cd will include more than 20 John Lennon covers, including The Cure's version of 'Love' (recorded back in 2005 and still available for download). For more info, check out the AI website.   


  • Side-Line has an article about the RS/Paul Hartnoll collaboration. 

    • (Thanks Peter)


  • Cure Drink in Brasil: 

    • "The Brasilian town of Porto Alegre will have its first CURE DRINK next Friday, March 23 at the Joy Division Bar. The happening will celebrate
    the 20th anniversary of the Cure shows in this city. ( 21 / 22 of March, 1987 ).
    It's being produced by Alfio Martini and Luciano Dias, and will feature the TRILOGY and FESTIVAL DVDs on the big screen, a pocket show of the
    band Substance, and lots and lots of Cure songs all night long."
     
    (Thanks Antonio)
    March 19th


  • An update on that "Cure playing Bestival" rumor - on the festival message board, Rob Da Bank (festival producer) says The Cure ARE NOT the headliner on sunday. Everyone is now saying it will be Madness.  I'll still keep an eye on it and let you know what happens.


  • Cure featured in Glastonbury film (or maybe not): 

    • "There's a new movie out called "Glastonbury" that (from the looks of it) is a concert film of various Glastonbury performances.  The Cure are featured in it.  (I don't know what performance they're showing for them.) It's playing at select theaters...

    Here's the link to the website: http://www.thinkfilmcompany.com/"

    Update -     "I went to see this documentary at the outdoor cinema in Sydney specifically to see the Cure. After 2 1/2 + hours, I saw short clips from every other artist listed in the description except for the Cure. The film was pretty weak, little to no interviews with artists and way too much footage of drugged up hippies dancing around. Not sure if Australia got some odd edit but there was no Cure in the version I watched. Beware!"

    (Thanks Matt and Jeff)
    March 18th


  • The Cure finally return to Japan!!! Hong Kong, Singapore and Australia too! Looks like it really will be a WORLD tour this year. Here are the tentative dates from the official site: 

    • July 27th, 2007 - Japan (Fuji Rock Festival) Tickets are already on sale.
    July 30th, 2007 - Hong Kong
    Aug. 1st, 2007 - Singapore
    Aug. 2007 - Australia

    Update - The Fuji Rock Festival website has also confirmed that The Cure will be playing there.
     
    March 17th


  • Junkie XL to join The Cure at Ultra? 

    • "The following link is in Dutch, but according to the article, Dutch dj Junkie XL will join The Cure on stage in Miami.
     http://www.nu.nl/news/1010899/2101/Junkie_XL_treedt_op_met_The_Cure.html"
     
    (Thanks Jamal and Trea)


  • RS on the cover of DJ Mag: 

    • "Robert Smith is on the cover of the DJ Mag from the UK..its a decent article which traces back The Cure's beginnings through to their respect from the dance community to now headlining Ultrafest in Miami.  I briefly skimmed the article and can't recall how much direct RS info there is.  The issue is out now in the UK/Europe and should make it to North America within a couple of weeks."

    (Thanks Midnight Blue)


  • Jeanette Landry (of The Glove) interview:: 

    • "I have interviewed Ginette Landray in the upcoming issue of Deathrock Magazine.  She talks about Robert, Steve Severin, the impact of The Glove, and whether she would ever perform with The Glove again. Also, interesting tidbit, she lives near Miami. . .and may be going to Ultra Music Fest to say hello to an old friend."

    (Thanks Alex)
    March 15th


  • Cure article in Jukebox magazine: 

    • "Robert is on the cover of the french "Jukebox Magazine"( April). 4 pages about the Seventeen Seconds, Faith and Pornography albums and
    some photos."
      
    (Thanks Hélène)


  • Miami New Times asked RS what he thought about Miami: 

    • Fascination Street
    The Cure’s Robert Smith on Miami
    Published: March 15, 2007

    "Over the years, we've always had a great time in Miami. The Cure has a really strong following there. When we first started coming to America, we didn't play there for years, because certain promoters told us that no one would like us in the city. But when we did, the fans were really rabid and intense. It was overwhelming and we were amazed by the reaction. Now we make sure to play there on every American tour. A few years back, I spent a few days in an achingly hip hotel right on the beach, a quite famous one. I think it was the Tides. There was a jazz band and people rollerblading outside. Everyone was beautiful and it really upset me [laughs]. The combination of pretty people and sunshine really does something bad to my self-esteem. I imagine the Cure would be a very different kind of band if we'd originated in Miami."


  • Roger will be at the Apple Store in London on March 20th: 

    • "Hello everyone and my apologies for not sending out a newsletter in such a long time ! This isnt going to be much either I just wanted to let anyone know who might be in London next week, March 20th to be precise that I will be doing one of my Apple store performances. Its at the Apple store in the west end of London on Regents Street and will be at 7pm, you don't need a ticket just turn up. I will be performing two songs and describing the way I use software to make music and videos and I will also do a question and answer at the end. Look forward to seeing anyone who can make it , love Roger

    if you need directions there is a link to the Apple store page on my website in the news section...."


  • Cure party in Germany: 



    • 5th April 2007

    Tanzbar Palette
    Große Nikolaistr. 9-11
    D-06108 Halle/Saale
    Germany

    Floor 1: Depeche Mode
    Floor 2: Electro
    Floor 3: The Cure (plus Joy Division Special)
    Floor 4: 80s

    (Thanks eboa)
    March 11th
  • RAG magazine has a new interview with RS in their March 2007 issue: 

    • RAG Magazine's complete, exclusive interview with Robert Smith
    Read the Cure cover story in the March 2007 issue of RAG Magazine.
    Interview by Monica Cady

    RAG: What are you most excited about right now regarding the Cure?

    Robert Smith: It's been a strange period, really.  This is the first interview I've done in ages.  I was thinking that as I was dialing the number.  Normally, you kind of get into a groove with these sort of things, and sort of field questions.  I've been doing it long enough that I know how to do it.  But I haven't really thought about what we do in terms of summing it up in an interview sense.  It's quite weird to do it on the fly.

    We started recording a new album last summer.  We played a one-off show – similar to the one we are doing in Miami – at Royal Albert Hall, last
    April, for the Teenage Cancer Trust in London.  It was just before we were going into the studio because I wanted to remind everyone, you know, part of the reason for doing it was to remind ourselves of why we do it – the main reason was because it was a good cause and it was a great opportunity to play Albert Hall.

    We started recording, which kind of went on and off through the summer.  We ended up with 33 songs, I think, by August.  But interspersed with that were all the re-released stuff.  I've been putting together deluxe double packages for all the Cure albums. I had to listen to everything – all the old tapes and get all the extras together, and do the booklets and stuff.  It was kind of time consuming.

    Alongside that, I started writing a book, kind of like the official history of the Cure book.  And then, it was about August, a couple of people approached me, who had been on the crew with us the previous year, when we had been playing festival shows in 2005.  They showed me some of the edits they had done on some of the footage they got together, and played me some of the live recordings and I thought, "Oh it would be okay.  Why not?  Let's go for it and try to get a DVD done by Christmas."

    But that was like a huge project.  I didn't realize.  I thought I would kind of knock it over in a couple of weeks, but we struggled to get it out before Christmas.  That went through November and took up pretty much every waking minute for about two months.  That knocked me back, because the rest of the band were kind of waiting around for me to do vocals so we could finish the album, because I had only done, sort of, guide vocals.

    We're now in the position where Christmas came and went, and we're back in the studio.  I'm finishing the vocals and mixing the album, which should really have been done last October.  So everything has been sort of pushed back.  I think we're on the third push back now from when the album's going to get released.  I think people have generally sort of given up putting a date on it.  They are just waiting for me to say, "Okay, it's done."  And then we'll kind of fix a date.

    The Miami show … we get lots of offers all the time, and the others were very surprised that I accepted this, but it's seemed like such an unusual thing to do.  Because the one-off at the Albert Hall last year worked really well. It kind of kick-started everyone. I thought that if we set our sights on playing Miami in March, it would give me kind of an [album release] deadline that I had to stick to because we have to be ready to play.  We have to finish the new songs.  If there is no deadline, I could see myself going into this summer and picking up a couple of projects along the way, and never really quite finishing [the album].

    Just the idea of playing specifically a dance festival is something that we've never done before, and I like the band to experience new things – they are few and far between.  It's a great lineup.  We're all now looking forward to it.

    We just started, in fact, this week, thinking about what set list we are going to put together because it's going to be a one-off, it's not going to be a precursor to what we do.  Because we will be playing this year, but we won't be starting until kind of late summer, and we'll be playing through until Christmas, but that will be on the back of the new release.  And it will be our own show, and it will be something different.  This is much more to do with like the Cure's dance side, I suppose. There's been a bit of conflict – actually, just within the last 48 hours – in the band as to how dancey we should go.

    There's a view that we've been – it's hard to kind of put into words really – that there are quit a lot of people in the dance community – producers and DJs – who really like the Cure, but who like the Cure because of what we do, and they make us dancey. We have become part of that [dance] culture because of what we do, and I suspect if we try too hard to do what they (DJs, dance music producers) do, then we'll kind of miss the point.  It's almost like we're approaching it, in that we're choosing a set list of songs that we think sums up why the Cure appeals to the dance community.  But we're not really gonna go all out and try and put on a dance show.  So, it's a fine balance.  It's nice that we're focusing on something that's this odd.  I suppose, in a way, because it's quite a bit of work, just to do a one-off show, it makes the show that much more special, which is the whole point of doing it.

    I was really excited to see that you were coming to Miami.  The last time I saw you was at Curiosa, which was amazing.

    Yeah, that's like a totally different thing.  For me, personally, that was probably the best touring experience I've ever had actually, because I loved what went on behind the scenes.  I just loved the camaraderie that developed on that tour and the general sort of mayhem.  I thought that as a band we sometimes didn't rise to the occasion.  I think a couple members of the band were kind of tired of playing at that point.  But I, personally, really loved every second of it.

    I saw your first show of the tour in West Palm Beach.

    I remember it like it was yesterday. (laughs)

    Do you think you'll ever do another Curiosa?  That must have been a huge project.

    Um, we were approached to do one.  I said I wouldn't do one the following year in 2005.  We were approached to do it last year, but I wanted to do a new record, so we turned it down.  It was suggested to us that we could kind of almost continue it as a band kind of thing and get someone else to take the lead slot.  I figured that was sort of missing the point really.  I mean I wanted to be part of it. (laughs) The idea wasn't to make money.  It was for me to have an experience that I would never otherwise have.  It was a very selfish reason why it was put together in the first place.  It worked really well, you know, commercially people were surprised by how well it did.  But that wasn't really the point.  And to put another one together, we've toyed with the idea for this year – over Christmas we kind of talked to a few people – but at the end of the day, there's a very strong sort of sense from
    hardcore Cure fans around the world for us to play our own shows, to play for longer.  The one drawback of doing something like Curiosa is
    that the more bands you put on, the more interesting it becomes generally, but the less time we have specifically [to play].  And so therefore, it's almost like we have a cameo performance, you know like 90 minutes or so, but never more than two hours.  For example, at Albert Hall last year we played just over three hours.  And it just flashes by because we really enjoyed it.  And I would like to do that this year.  I would like to play Cure shows, rather than … you know, I think we'll still take a couple of bands with us when we come to America, but it won't be the same thing with the two stages and the whole razzmatazz.  But I don't know, I never say, I mean maybe we would do it again.  Maybe we'll do it again next year.  It's one of those things where, I think if the right bands, sort of are there, the right feeling, I suppose it's one of those things that probably could happen again.

    What can you tell me about the new music?  What's gotten harder and what's gotten easier with regard to writing songs over the years?

    Well, it's always the words [that] are the hardest part for me.  The music, we could probably record 100 songs a year, I should think; if we put our minds to it.  The music isn't really a problem.  It is a lot harder for me to focus this album, or has been, because of the return of Porl on guitar.  He's contributing such a different kind of musicality to the group.  And because we are all putting songs in the pot and saying, you know, "What does this sound like?"  We're trying lots of different things.   We've actually got such a breadth of different stuff.  I mean, stylistically it's kind of reminiscent of the Kiss Me album, because there are so many different things going on.

    At one point, I was thinking maybe [this could be] a double album with some instrumentals, and being really, really artsy.  But after I talked it through with the rest of the band, and primarily the record company (laughs), they weren't very thrilled about a double album.  [The label] think[s] it's conceptually sound, but in the current climate, probably not commercially viable.  So, I'm thinking we'll probably do the album in two stages.  We'll have one [released], which is, in and of itself, a thing.  Then we'll probably have like another kind of album, which will be a download album, and will complement the main album.  That's my thinking at the moment.

    So I think the [songs on the] main album will probably be more connected.  It's really, really difficult talking about new music.  Because it does sound like us, but it doesn't sound like us at any particular time.  You can definitely tell that Porl is back in the band, so it kind of reminds me of the period of Kiss Me, Disintegration and Wish – just because the mood within the band [shows that] Porl's character has come back.

    We have got a keyboard in the studio, but it's been used very, very sparingly.  There are little touches of piano, and little bits of noise here and there.  But generally, it's just a four-piece band.  It's bass, two guitars and drums.  And it's quite stripped down.  There's a lot more space in what we're doing, but it's really a lot more powerful, in a funny way.  Because we've only been back in the studio for two weeks, it seems like a long time ago that we played these songs.  It's almost as though they're old songs because I've been listening to them since last July.  It's amazing that they haven't leaked. It's scary isn't it?

    Yeah.

    That's because I'm the only person in the world that's got a set.  (laughs)

    Do you write lyrics every day?

    Since we released the last album, which was mid-2004, I've got – I don't know how many pages – a box full of words.  I write just as a matter of course.  I just write thoughts.  But I've never made myself kind of think, "Now I'm writing.  This could be something."  Because I think that would take away [from it].  It's almost like trying too hard to remember your dreams.  It becomes somehow a little bit too intellectualized.  I'll often read back on what I wrote and just think, "Rubbish!" and tear it up and throw it away.  But at the time I'm writing, I know it doesn't have to be good, and so therefore, it's a release.  It's like playing guitar when you're drunk.  It always sounds bad the next day. (laughs)

    But when we start doing a project, I look through this box of words, and I start trying to match up words to music, and sometimes it's very easy.  Other times, it's not so easy – particularly after all this time.  I'm kind of 300 songs in [at this point in my career].  It's difficult to try and be genuinely excited about what I'm trying to say.  I don't see any point, really, in writing words so that we can make a record.  It's never made any sense.  It was much easier when I was in my 20s, and I had only done like three or four albums.  This is like the 13th album along.  But I'm not worried about it.

    I think I did do an interview in the last six months, and the interviewer took what I was saying [and made it seem like] I was suffering from writer's block.  And I thought, "This is so wide off the mark."  I've never understood the concept of writer's block because if you haven't got anything to say, then you haven't got anything to say.  It has absolutely nothing to do with trying to write.

    I've got so many words.  But it's one thing to have sheets and sheets of words in front of you, and it's quite another thing putting it together in a song.  Unless you try it, I don't think writers – that's basically journalists – struggle to see the difference in just like writing a few words and actually imagining yourself in front of a microphone, performing those words and singing them.  It's a totally different thing.

    I've got an ongoing book, that's been going on for years, of things that I think are quite good that I've written, but I would never sing.  I couldn't dream of singing [them] because the words are wrong.  They would sound ridiculous if I sang them.  But on paper, and when I read them to myself in my head, I think they work quite well.  So at some point, I'll make that into a thing that will be totally separate.  It'll probably be about 600 pages long. (laughs) The stories of writer's block will be knocked firmly on the head.

    When you write lyrics do you always write as yourself, or do you ever write through the eyes of other characters?

    No, well, if I was really honest, I think the best songs that I've written are me singing, because I feel better.  They feel right.  Probably some of the bigger songs, or the most popular songs, aren't really me singing.  I don't limit myself to my own experiences.  I try to write from other people's point of view.  I try to write from an imaginary point of view.  But often, I'll just come back to something much simpler, and something I've written in that particular time when I was feeling strongly about something.  And they're usually the songs that mean something to me.

    I think it's the difference between writing a song that has a lot of emotional content and writing a song that's just a good song. The trick, I suppose, is making that good song connect with people, and that's really hard. I think any singer who kind of means what they sing – who doesn't just read the words off a piece of paper – is trying to get inside the character.  Writing it is one thing; but actually trying to inhabit the character when you perform it, is another.  There are things that we do, where I'm singing things that in my real life I wouldn't dream of saying or singing about; but they're more, kind of, performance things.  They sometimes are the songs – when I listen back at our albums, which isn't that often, but when we do the remasters – I think, that I meant, and I can think, that one I don't think I was too sure about.

    On the Kiss Me album, that was kind the first time I tried to write from another perspective.  I think before then, everything I had written was from my point of view.  I think the Kiss Me album, in a lot of ways, was me trying out different things and the band tried different styles.   I tried different ways of singing and different ways of writing.  But with Disintegration, I went back to my own point of view.  And then I tried a different thing again with the Wish album.  So, I sometimes incorporate it, but I would prefer it if I could write all the songs from a kind of more heartfelt position because I just think they work there – or they last longer, I think.

    To what do you attribute your longevity, and even your influence on so many new, younger bands?

    It's partly what we were just talking about.  I mean, I've met and gotten to know a few of the younger generations of bands.  I think that the one thing they all had in common with regard to the Cure was that they enjoy the fact that we've kind of hung around, and we've done what we wanted to do, and we've been successful but we haven't courted that success.  We've kind of just forced our own path, and we've meant it.  I think it's that the perception is that we have done what we wanted to do, and even if it had gone wrong, we wouldn't have changed what we did.  I think it's that any young band that's any good has to aspire to that – anything else is just worthless.  If you succeed on someone else's turns, it might be great at that moment, but I suspect it's pretty short lived.  I mean the idea of being proud of what you do – whatever you do – is far more important than the end result.  The experience of doing it is worth more than the end result, to be honest.  [It's] all of those things.

    It is difficult to resist the temptation just to become rubbish.  So many bands as they grow a bit older, they just get worse.  It's a struggle, and, you know, life has a tendency to take over.  It's a terrible thing to resist [regular life] entirely.  You can't just like keep being in a band.  I mean there are a couple of older bands who sort of think all we need to do is be in a band, whereas I like the idea of sort of balancing playing music with other people and integrating into a more kind of rounded life as you get older.  I mean it would be awful for me to feel as alienated and disturbed as I did when I was in my 20s, at this stage in my life.  I mean, I would be dead if I felt like that.  So, at the same time, when the Cure does do something, I get so immersed in it, I feel like I felt when we did the very first album.  So nothing's really changed.

    What do you do when you are not focusing on music?

    I've got a huge extended family, there are almost 40 of them.  It's like uncles, aunts, nephews and nieces, and brothers and sisters and stuff.  I spend a lot of time doing normal stuff but without the incumbents of a normal job basically.  I have the ideal life that people would like, in that my work is probably the thing that I enjoy the most, and I do it when I feel like it.  I kind of go for walks, and I am trying to take up astronomy in a more serious way over the last few years.  I am trying to catch up on a lot of things that I've missed on film and television over the last few years when I've been on the road.  I've been reading books actually.  That's been my biggest chore.  I think I read about 15 books in the last two months.  And [I do] things that seem really dull, but actually just sitting down and thinking, "I can read until I finish this book and no one can interrupt me."  It's that kind of luxury that I really value still.  It's something that when I was in school I used to dream about – not being interrupted.  It's that part of what I do that I
    enjoy the most.   

    Do you think people have this misconception that you are sad and gloomy all the time because some of your songs are melancholy?

    Um, I think there was a misconception for a long time.  I don't think it's probably as bad now because when we're (pauses) – that's a tricky one. (laughs)  The Cure still makes some pretty dark music.  I mean there are songs on this [next] album, which are among the darkest that we've ever done.  They reflect a part of my character that's still there, that will never go away.  I still am subject to incredible bouts of depression, I suppose.  But it's in the same way as pretty much everyone I know who thinks about what's going on, is subject to those kind of dark thoughts and dark moments.

    I've always tried to work [my emotions] out and into songs as music. Sometimes they work so well that other people kind of feel that they're about themselves.  It's great when that happens because I think that's the reason why I'm doing it.  You know, if I was doing it for just myself, I wouldn't bother recording the vocals.  So, it's a wonderful thing when that happens.

    But, I suppose if there ever is a downside, it's that then this perception starts to grow that that's who I am.  But I've always maintained that I'm just not very good at writing happy songs. (laughs) It's really honestly as simple as that.  Occasionally I come up with a really good happy song like "Mint Car" or something, and then I shock myself.  I think, "I'm genuinely happy in this song."  But most of the time when [the band is chatting, they] will say, "Let's do something a little more upbeat," and I try it, and it just sounds awful.  (laughs)  It sounds really insincere.

    Last summer, when we recorded, it was the best time that I've ever had in the studio - ever - like my whole life.  It was just such good fun.  And yet, at the end of the day, we would listen back to what we had done, and it would be incredibly doom-laden.  So it's a weird sort of dichotomy.  The happier we get as a band, kind of the gloomier the music gets.  I think it's one of those things where if we were really unhappy with what we were doing, we would try and (pauses) – it's kind of what they say about comedians being really tragic, you know, I suppose we must be pretty happy.  That's why we make miserable music.

    But, all jokes aside, I think the reason that perception has sort of dissolved a little bit or gone away is because the Cure's work is now seen in a slightly different way.  [Especially with the remasters] it's kind of saying, "Well hang on.  We do songs like 'Mint Car' and all those pop singles."  It's kind of like the Miami show.  We're being asked to do that primarily because of the singles, not because of the permanent epics, but that's a side of the band that I really enjoy.

    There are so many different sides to the Cure that it's very hard for us to think that everyone thinks, "Ah there's that miserable bloke."  There
    are too many instances where I'm not that miserable bloke.  It doesn't really work.  I think without that really dark side, I don't think the Cure would be a very interesting group.

    Pete Wentz said that he was too intimidated by you to say hello when you two rode an elevator together.  You're such an icon and I would imagine a lot of fans might be too intimidated to talk to you.  Do fans approach you often?

    Um, yeah, I think we've really been accessible.  Well, I haven't seen a lot of bands being in close proximity to other bigger bands.  I think we're pretty accessible.  I mean, certainly as people we are.  It's sometimes hard to be as accessible as fans want you to be because fans see you from their point-of-view, whereas I see 500 people.  One of those 500 people just sees me.  Sometimes you can't probably be as accessible as you would like to be because it's physically impossible.  You often see people sort of hanging back, and you're thinking, "Go on, go on, take the step, I'm not going to bite you."  The more outgoing people are obviously the ones at the front of the cue, kind of thing.  But um, I mean we've always had really good rapport with our fans.  I mean, I hate talking about the fans because we've gotten to know so many of them over the years that there are actually a lot of them who are friends really, on first-name terms and I have numbers in my phone of people who I first met backstage or outside.  So, you know, whenever I look at people, I don't look at them as fans.  I just look at them as people who enjoy the show.  I know it seems like a foolish distinction,
    but it's kind of important.  I would hate to kind of take it for granted that people like the Cure just because we're the Cure, you know, that
    would be in a bad mistake. 

    So, you know, people being kind of worried about what's going to happen if they say anything [to me] – actually, they should be.  (laughs) Be frightened to speak.

    Tell me about your experience with South Park.  Do you keep in touch with Matt Stone and Trey Parker?

    Yeah, I saw them on the Curiosa tour.  We don't hang out. (laughs)  It's kind of hard living on the other side of the world.  I still watch South Park.  I still think it's one of the best things on television actually.  It's excellent how they keeping pushing.  I mean I think they've been trying to get themselves taken off the air for the last three years.  They just haven't managed it yet. (laughs)  It's refreshing.  They deal with subjects in their own way, which a lot of people are kind of reluctant to touch.  I think underlying South Park, amidst all the idiot humor, there's always the part where they say, "What have we learned? I've learned something today."  I share my enjoyment of it with my nephews and nieces.  It's one of those bonding
    things.  Everyone kind of sits around and rolls with laughter.  When I was in [the South Park episode], it was a career high for me.

    Do you still wear MAC Ruby Woo?

    You know, that's a good question.  I have no idea.  I still wear MAC because they gave me a huge box of stuff.  (laughs) I have no reason to change.  It doesn't run on stage, which is what I really care about.  I'm not wearing make-up at the moment.

    You do your own makeup before you go onstage, right? You don't have someone do it for you.

    No, I always do it.  I hate people touching my face.  It drives me mad.

    A lot of fans probably wonder whether you check your own MySpace page, or if it's a record-label thing.

    Ooooh, it's not a record label thing.  The thing about MySpace, last year, when we were in the studio, we had a Cure MySpace page and then Geffen was doing it.  It was last spring.  And I realized, I had been told by a couple of people, that someone in particular was pretending to be me, and people were being taken in by it.  And they were getting e-mails and stuff, and it was all getting a little bit unpleasant.  And so I went on to MySpace and created a site.  And I said to the other [band members], we should all start our own pages, if for no other reason than to kind of run our own MySpace pages and link them to the Cure, and at the same time take over control of the Cure MySpace site.

    So, the Cure MySpace site is run by us, in much the same way as the content of the Cure – the www.thecure.com is run by us.  It's really weird because I post on there and my name comes up, and I'm posting in big capital letters and people still think it's the record company.  With the Cure MySpace page; that's run by us.  With the individual ones, I think Porl's page is quite active, and Simon's as well.  I don't think Jason even knows he's got one.  And mine, I think I've got five friends at the moment because the Cure page, I think, is much more important. The friends' request is run in a proper way.  Mine is just to stop anyone else from pretending they're me.

    I suppose I've got a lot of younger nieces and nephews who are on MySpace.  I've always been very loathed to go on because I fear that there's something slightly uncomfortable about their Uncle Robert going on MySpace.  So I like the idea of me having a page so that no one can pretend to be me, but I don't really think that I should get too heavily involved as an individual.  I think the band benefits from being on there.  I think it's kind of a good networking thing.  But I think it's weird how many people who are kind of my age are on there.  It feels a little bit kind of odd, I don't know.  But if I say that, people will look at me and say, "What do you mean odd?!" (laughs)  It's like a young person's community.  That's what we got from it when we were investigating it last spring.  It's a great idea.  It's a fantastic idea.  But it's not really for us.  I mean our network takes place in the real world, and we go to Japan and America and meet people.  You know, it seems rather strange for us to inhabit this place where people haven't got the means or aren't old enough basically to kind of be out there doing it for real, but hopefully … I think the best thing about it is that it engenders this idea of a global community in a very real sense.  In that way, it's a good thing.  You know, the marketing side and the advertising side will eventually make it uncool, and people will probably migrate to something else.  But the actual concept of it is such a great concept.  We have to be involved in it because we are a global band.

    I know you said the label wasn't really supportive of the double-album concept for your next release.  Considering the challenges in the record industry lately, do you think the label tries to have more control over what you do than they did in earlier years?

    No, they don't really.  If I wanted a double disc; I would have it. They wouldn't stop it, but they just are advising me that they don't think it's a good idea in commercial terms, which is what they're there for.  I mean they're not questioning what I do artistically.  They wouldn't dare.  Well, actually, they wouldn't want to because we are on the label because they like what we do.  There's no point in them trying to second-guess what I do.  That's why they signed us.  No, I think, I mean it's obvious to me, as well, that the trend is away from albums.  [The trend is in] the single downloads.

    We're probably on the cusp of a complete paradigm shift with regards to how people listen to music.  I realize that we are at the end of a particular era.  We grew up with punk and we've kind of gone through to the end of this album-based era.  I think it is changing, which is kind of sad in a way because I like the idea of like an hour's worth of music by an artist, but then, maybe that's just because that's what I'm used to.  Many people now just like listening to songs rather than albums.  I think we don't suffer as much as a lot of people because there's very little filler on a Cure album.  That's why it takes so long to do.  (laughs)  People, generally, with our downloads on the stuff that we've got, it's our albums that are downloaded.  It's very, very rare that people download single Cure tracks, when I've looked at the [reports] that comes my way.

    With the Festival DVD, we gave it to the label and said, "We want this sold around the world at the lowest possible price.  We actually don't want to have any money from this at all.  We just want you to sell this double disc for nothing."  And they went with that.  They were happy.  Well, they weren't actually that happy with it.  But they understood the concept of it.

    It's always difficult to get the balance right when you're dealing with people who essentially, at heart, want to be commercially successful.  That's what record companies are.  There are people at record companies who are really good people, and who care greatly about the artists, and essentially the music, and understand that is the reason they exist.  There are other people at the record companies who find the artists irritating and the music kind of an annoying product, and wish that they were selling something easier so they could make more money.

    I've always thought that we control our own destiny, but I've never been too involved with kind of the lacerations of the record industry.  It's kind of trite, really, and a lot of the people are so stupid and it's just not worth it.

    I guess one of the benefits of getting older – there are a few, but not many (laughs) – is I find myself being older than most of the people now who are telling me what would be best, and kind of dry out my senses because they probably realize that I've seen that and done it.  It gives me a certain amount of clout, I suppose.

    Definitely.  What are your plans while you're in Miami?

    We're staying for a week actually.  It will give us a nice break in the sun, and will do us good.

    (Thanks Ed and Truls)
    March 8th


  • Another Robert "guest vocal" track: 



    • "Robert collaborated with Paul Hartnoll (from Orbital) for his new single "Please" due out may 7th on Kids Records, cd & vinyl, album to follow later. You can listen to the "Culprit 1 mix" on his myspace page. http://www.myspace.com/paulhartnollmusic
    http://www.paulhartnoll.com/
    Here's the full blog entry.

    Guess what? Another dance track... !"

    Also, Uncut has a story about it, and Pure Groove Records and Kids have the singles up for sale.

    (Thanks Pietro, Andreas, Marky, Star Star and Olga)


  • Seems I'm not the only one who thought the Cure/Korn thing was hideous. Stereogum has this summation of the show - "Robert Smith needs a new agent". Fair warning for you fans in Italy, MTV Brand New will be airing this thing tonight (March 8th) at 22:00.

    • (Thanks Pietro)
    March 5th


  • Spin (March 2007) has a semi-new interview with Robert. 

    • (Thanks MickelCure)


  • Roger's album, 'The Truth In Me', will get a Japanese release on March 24th via Hostess. Also, check Roger's website for news about his latest remixes (including one for DNTEL!), and a video for the piano version of 'This Grey Morning'. 


  • New Porl collaboration:

    • "I don't remember how I got to know it, but the music project "Black Eyeliner Tears" (not a band because there only seems to be someone called Stacy Paul Rugely behind it) lists Porl as an Additional Musician/Session Member. From what I can read from the myspace profile (http://www.myspace.com/hesdeadnow) there have been no releases yet."

    (Thanks Pietro)


  • HispaCure wants your questions for an interview with Lol:

    • "In April 2007, hispaCure will have its 3rd anniversary as the official The Cure Spanish fanclub, and we are going to celebrate it with an exclusive interview with Lol Tolhurst!!

    Lol was a co-founder member of The Cure, back in 1976, and played drums in the debut album Three Imaginary Boys (1979), as well as in the
    masterpieces 17 Seconds (1980), Faith (1981) and Pornography (1982). His drumming style was undoubtely a watermark of the "Cure sound" in their
    first era. After 1982, Lol moved to keyboards, until he stopped being a cure member in 1989. Despite the polemic that surrounded his departure
    from The Cure and the legal battle that followed in 1994 for the rights on the name of the band, Lol is still on speaking terms with Robert Smith and lives as a proud ex-member of The Cure, keeping in contact with Cure fans all over the world. Since 1990, Lol has played in the band "Presence" and is now involved with his actual project "Levinhurst", toghether with his wife Cindy Levinson. He has kindly agreed to be interviewed by hispaCure about his past and present, so now you have the chance to send him questions:

    Please send your questions to Lol Tolhurst from now to March 15th (we accept questions in either English or Spanish).

    The questions must be send by e-mail to the following address:

    hispacure@yahoo.es (subject: Interview with Lol)

    We wil make a selection of the questions received and a reasonable number of them will be sent to Lol. The interview wil be published in the hispaCure Forum and Blog during april 2007, to celebrate our 3rd anniversary.
     
    www.hispacure.com"

    (Thanks B.)
    March 3rd


  • Pollstar has removed their listing for the April 29th show in Bogota, Colombia. 


  • A few updates to the photo gallery - Rolling Stone (Russia) reviews the last set of remastered cds, the Universal France sell sheet for Festival 2005, an Italian Kissing Tour poster and a "close encounter" in Houston from 1992. 

    • (Thanks Wish-man, Romuald, Nicola and Luigi)
    March 2nd


  • Update on the Cure playing Bestival rumor - The website has revealed that the Chemical Brothers and Beastie Boys ARE headlining friday and saturday, as predicted by our source. Still no announcement about the sunday headliner yet, but Rob Da Bank had this to say: 

    • " As for the Sunday headliner, well you'll just have to wait but it'll be worth it (and yes I do know who it is!)"

    So I guess we'll have to wait a bit longer for confirmation or denial. But it IS encouraging that 2/3rds of the rumor has proven to be true. Check the Bestival website for more info on tickets and other acts that have been announced.


  • Keep forgetting to post this - Mark Saunders has posted 2 unreleased Cure tracks on his website. One is a 'Pictures of You' remix from 2003, and the other is 'Ching Chang Chong' from 1997. 'Ching' eventually evolved into 'Spilt Milk', one of the bonus tracks from Bloodflowers.  To hear them (and other tracks), go to Mark's website, click on works and scroll to the track you want to hear. And what's with that "To Be Released" 5.1 mix of 'Pictures' that is listed? Is there a plan to release a 5.1 mix of the 'Disintegration' album? Please, please, please... 

    • (Thanks Andreas)
    March 1st

  • Darrell Ives died of an apparent heart attack on Feb. 16th in Hong Kong, while doing security for Roger Waters. For those who don't know, Darrell was head of security for The Cure on the Bloodflowers promo shows and the Dream Tour. He also worked security for many Depeche Mode tours, and for other artists as well. But above all, Darrell was one hell of a nice guy. Sincerest condolences to his family and friends. 


  • The Jason Cooper forum has a short interview with Jason. 

    • (Thanks Arnalchris)



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