Tunes Du Jour Presents 1997

Music in 1997 was a true reflection of the decade’s diversity and boundary-pushing spirit. From the era’s biggest mainstream pop acts to the underground scenes bubbling up, the hits of ’97 showcased an exciting range of styles and genres commingling.

On the one hand, you had the unstoppable rise of wildly popular all-female groups like the Spice Girls with their debut smash “Wannabe” and the soaring vocals of Whitney Houston on “Step by Step.” At the same time, 1997 was also the year that brought the world jarring yet brilliant alt-rock statements like Radiohead’s sci-fi epic “Paranoid Android” and the dark, literary narratives of acts like Nick Cave.

Hip-hop continued evolving in dozens of directions, from the stunning lyricism of Notorious B.I.G.’s “Hypnotize” to the early flashes of what would become the dominant sound of the 2000s with Missy Elliott’s groundbreaking “The Rain (Supa Dupa Fly).” The year’s electronic/dance highlights came in all tempos and styles, whether the gritty yet blissful big beat of The Prodigy’s “Firestarter” or the sleek Daft Punk groover “Around the World.”

While teenager pop captured the mainstream with acts like Hanson’s “MMMBop,” the alternative/indie realm gifted 1997 with timeless gems spanning rockist earnestness (Ben Folds Five), fuzz-pop dreaminess (The Cardigans’ “Lovefool”), and idiosyncratic lo-fi (Elliot Smith, Yo La Tengo). It was an era of strange but beautiful hybrids, like the trip-hop soul of Erykah Badu’s “On & On.”

Looking back at 1997’s musical landscape, you’re struck by not just the sheer quality of the output, but the vibrant plurality of styles. It was a moment when the underground and the overground were engaged in an intriguing conversation, shaping what came next.

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Your (Almost) Daily Playlist: 3-10-24

My Buffalo Stance is this:

  1. Buffaloes should have the right to choice. Their choice has no direct effect on you.
  2. Buffaloes can use the bathroom that corresponds with their identity. The bathroom they choose has no direct effect on you.
  3. Buffaloes should be free to marry who they choose, provided that other party consents. Who they marry has no direct effect on you.
  4. Buffaloes should be able to go to the mall or the multiplex to see Barbie-Q without fearing gun violence.
  5. Buffaloes should be free to move about where they choose and not be confined to one geographical location.
  6. There should be no restrictions placed on the book a buffalo may choose to read or eat. A buffalo learning about something has no direct effect on you.
  7. Buffaloes can dress and wear their hair as they choose, even at school. How a buffalo styles their hair has no direct effect on you.

Celebrating Neneh Cherry’s birthday today on the playlist.

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Tunes Du Jour Presents 2002


The year 2002 was a turbulent one for the world, marked by wars, terrorism, scandals, and natural disasters. But it was also a year of creativity, innovation, and diversity in music. From hip-hop to rock, from pop to indie, from dance to folk, the music of 2002 reflected the mood and spirit of the times, offering both escapism and commentary, both nostalgia and novelty, both challenge and comfort.

One of the most dominant genres of the year was hip-hop, which reached new heights of popularity and influence. Eminem’s Lose Yourself became an anthem of determination and resilience, while Missy Elliott’s Work It showcased her inventive and playful style. Nelly’s Hot in Herre was a summer smash, while Clipse’s Grindin’ introduced a minimalist and gritty sound. Tweet and Missy Elliott’s Oops (Oh My) was a sensual and empowering ode to self-love, while Truth Hurts and Rakim’s Addictive sampled a Bollywood song and sparked a controversy. Cam’ron’s Oh Boy featured a catchy sample of Rose Royce’s I’m Going Down, while Khia’s My Neck, My Back (Lick It) was a raunchy and explicit hit.

Rock music also had a strong presence in 2002, with a variety of styles and sounds. Elvis Presley’s A Little Less Conversation (JXL Edit) was a remix of a 1968 song that became a worldwide hit, thanks to its inclusion in a Nike commercial. Avril Lavigne’s Complicated was a pop-rock anthem for the rebellious and misunderstood youth, while Coldplay’s In My Place was a melancholic and soaring ballad. The Strokes’ Hard to Explain was a garage rock revival, while Wilco’s Jesus, Etc. was a country-rock masterpiece. Interpol’s Obstacle 1 was a post-punk gem, while Spoon’s The Way We Get By was a catchy and quirky indie rock tune. The Libertines’ What a Waster was a punk rock blast, while Bruce Springsteen’s The Rising was a tribute to the victims and heroes of 9/11.

Pop music also had its share of hits and surprises in 2002, with some old and new faces. Christina Aguilera’s Dirrty was a provocative and edgy reinvention, while Beyonce’s Work It Out was a funky and soulful solo debut. Brandy’s What About Us was a futuristic and sleek R&B track, while No Doubt’s Hella Good was a disco and rock fusion. Bjork’s Pagan Poetry was a haunting and experimental song, while Las Ketchup’s Asereje was a catchy and silly novelty. Alanis Morissette’s Hands Clean was a confessional and catchy pop-rock song, while Rufus Wainwright’s Across the Universe was a beautiful and faithful cover of the Beatles classic.

Some of the most memorable songs of 2002 were not easily categorized, but rather blended genres and styles. Sugababes’ Freak Like Me was a mash-up of Adina Howard’s Freak Like Me and Gary Numan’s Are ‘Friends’ Electric?, creating a pop and electro masterpiece. The Flaming Lips’ Do You Realize?? was a psychedelic and uplifting song, while X-Press 2’s Lazy was a house and spoken word collaboration with David Byrne. The Streets’ Weak Become Heroes was a rap and piano tribute to rave culture, while Doves’ There Goes The Fear was a rock and electronic epic.

The music of 2002 was a reflection of the year itself: diverse, unpredictable, exciting, and sometimes challenging. It was a year of contrasts and surprises, of highs and lows, of old and new. It was a year that gave us some of the most memorable songs of the 21st century, and a year that we can revisit through this playlist. Enjoy!

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Your (Almost) Daily Playlist: 9-25-23

I’ve been a fan of Santigold since she was Santogold. She changed her stage name to avoid a lawsuit from the maker of the film Santo Gold’s Blood Circus (my least favorite kind of circus, for those keeping notes). FUN FACT: When Santigold vomits she actually vomits gold sparkles. Don’t ask me how I know that.

Santigold was born Santi White on this date in 1976. A few of her tunes are included on today’s playlist.

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Your (Almost) Daily Playlist: 9-20-23

The Avalanches’ Robbie Chater estimates there are around 3500 samples used on the group’s Since I Left You album. As someone who negotiates sample uses, I pity the poor soul who had to secure and track those licenses!

Robbie Chater celebrates a birthday today. Or maybe he doesn’t celebrate it. I don’t know. I don’t know him. Either way, I celebrate. Lots of cuts by The Avalanches on today’s playlist.

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Your (Almost) Daily Playlist: 8-26-23

Hearing this band’s early demos, a friend remarked that they sounded like garbage. Voila! This band now had a name. (An alternate version of the origin of their name comes from a journal entry producer Butch Vig wrote as the band kept recording: “I hope that all this garbage will become something beautiful!”)

Garbage’s Shirley Manson was born on this date in 1966. The band is well-represented on today’s playlist.

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