The Strokes are more than just a band

I will see Casablancas nearly every day for the next week: His clothes and bracelets will not Cheap Rosetta Stone change, though he claims his underwear and socks do. He will end every night in the company of a girl he does not sleep with. And he will talk about everything from strip clubs to night terrors to his hatred of Pringles potato chips. But when it comes time for a formal sit-down, he will give me the worst interview I have ever experienced. It will last seven minutes. The Strokes are more than just a band. Whether they like it or not, they stand for something. Just as Nirvana became the face of grunge in the early Nineties, the Strokes have become the face of the so-called new garage-rock scene. And, like Nirvana, the Strokes have been embraced by the designers of runway fashion, the death knell of anything sincere. Of course, the Strokes dont technically belong to a scene, because they were never even acquaintances with their Rosetta Stone Spanish V3 compatriots. According to Fabrizio Moretti, the bands drummer, artist and deep thinker, the Strokes originally tried to form a scene of New York bands that would hang out, drink and go to one anothers shows, but "at the time in New York, it was so competitive that bands were not open to it." As far as garage rock goes, the Strokes dont once mention bands like the Stooges or the Troggs when discussing their second CD, Room On Fire. Instead, Hammond credits the reggae-sounding guitars in "Automatic Stop" to Cyndi Laupers "Girls Just Want to Have Fun"; Casablancas blames the high-pitched guitar tone of "The End Has No End" on Guns n Roses "Sweet Child amine"; and guitarist Nick Valensi pledges allegiance to goth. "There are some bass lines on our first album that were I competent ripped off from the Cure," he says. Rosetta Stone Protuguese "We were worried about putting out the album, because we thought wed get busted."

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