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For a while, at least, they helped make New York the world’s sexy-rock capital in a way that echoed the glory days of punk and new-wave bands like the Ramones and Talking Heads, who emerged from CBGBs in the late ’70s.As Goodman explores in the book, while the Strokes sparked a cultural change, it was their successors who used their blueprint to achieve greater commercial success.During the ’90s, even as the hip-hop scene flourished, the city’s rock options were limited mostly to underground bands.But the Strokes inspired a new generation to pick up guitars.
During the course of the rest of that year, they were featured on the cover of revered British music weekly NME four times and won Spin magazine’s Band of the Year for 2002, an award inherited from U2.
As DJ and Tiswas founder Nick Marc recalls, a member of the Strokes’ entourage “took a photograph of his spotty ass and used it as their next flyer.” The critical reaction to the debut album, “Is This It,” released in September 2001, was almost uniformly positive.
It was tight, lean, catchy and buzzing with energy.
It was then that they got their first taste of Hollywood. The “Charlie’s Angels” star was a fan, and personally requested to meet the band before its set.
The group’s manager, Ryan Gentles, did his best to be hospitable by introducing her to drummer Fabrizio Moretti: “Fab, this is your friend Drew Barrymore,” he recalls saying in the new book “Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City, 2001-2011,” by journalist Lizzy Goodman.
Perhaps the New York vibe was exactly what Casablancas needed.