I still suspected that part of the real reason why The Cure’s more popular than Bauhaus might have something to do with being either better able or more willing to take advantage of its popularity. Even if The Cure isn’t that popular anymore, the fact that it lasted for this long suggests that they bothered to seize taking advantage of it more. The latter makes much more sense really.
It also helps that it makes them some of the more mainstream Goth bands in the world. Not necessarily any more wholesome or brighter. But in the sense of being much more opportunistic and possibly more willing to compromise than Bauhaus ever was. Not that Bauhaus didn’t compromise and take advantage of its popularity, just not to the same extent the Cure did.
But that’s realising that you need to be this informed in business to know which brands are likelier to take off and go mainstream (Hot Topic and Fairy Gothmother to an extent) and which remain niche. It wouldn’t matter if Robert Smith doesn’t like being called Goth, what matters is that he and his mates were more willing to capitalise on their popularity. Much more willing that Bauhaus did.
(Love and Rockets, being Bauhaus’s offspring, nearly came close to The Cure’s degree of mainstream popularity and influence as well as longevity.)
So it comes down to which brand’s willing to take advantage of its popularity but to the point of having to sell out and that’s also the same difference between Green Day and Deathcharge to a similar extent.