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: 9-18-23

With his album Boy In Da Corner, Dizzee Rascal, who was only 17 years old when he wrote and recorded the album, became the youngest and first Black artist to win the Mercury Prize, beating out Coldplay, Radiohead, and The Darkness. 

Dizzee Rascal was born Dylan Mills on this date in 1984. Some of his work is included on today’s playlist.

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A Pharrell Williams Playlist

In 2001 HBO aired a Britney Spears concert around the time Jive Records released the singer’s album Britney. A few days before the first promo for the concert was to run on HBO, Jive’s head of publicity had the idea that Britney’s then-brand new single “I’m a Slave 4 U” should be used in the promo spots. The song was written (and produced) by the team of Pharrell Williams and Chad Hugo. I was running the licensing department at Jive at that time. I went to Pharrell and Chad’s publishers, EMI, to secure the necessary permissions. It was on a Wednesday. The spot was scheduled to premier the coming Saturday. The person at EMI with whom I spoke told me the song is so new that it is not yet in their system, and therefore she couldn’t license it. “Can’t you just add it to your system? You know they’re signed to your company.” “No. You won’t be able to use the song.”

Oh, really? A song cannot be licensed simply because someone at that company can’t think outside the box and figure out a way to effect the deal before the usual ingestion process is complete? That explanation doesn’t work for me. EMI will forego a license fee if the song isn’t used, which is fine, as their employee is the one not allowing it. Also, standing to forego revenue? Pharrell and Chad, who rely on EMI to make the deals for their music so they can get paid.

I called the Jive executive who paired Pharrell and Chad with Britney and told him EMI’s stance. He called Pharrell and/or Chad. Pharrell and/or Chad called EMI. On Thursday I got EMI’s approval to proceed. Don’t tell me something can’t be done.

Producer/Songwriter/NERD Pharrell Williams turns 47 today. In his honor I present to you this playlist of thirty songs Pharrell, often with Chad Hugo, had a hand in writing and/or producing and/or performing. You may be surprised at how many of these you know.

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Your (Almost) Daily Playlist (5-9-20)

Inspired by the passing of Little Richard and the May 9 birthdays of Ghostface Killah, Sam & Dave’s Dave Prater, Depeche Mode’s Dave Gahan, Billy Joel, Andrew W.K., Hank Snow, The Housemartins/The Beautiful South’s Paul Heaton, The Crickets’ Sonny Curtis, The Ventures’ Nokie Edwards, Cyrkle’s Don Dannemann, Clint Holmes and Tommy Roe.

https://open.spotify.com/playlist/3nuAouwg8QOe7LPiBZvn3p