The Song Machine: How to Make a Hit

“Back Stabbers” and “Love Train” for the O’Jays, and “Me and Mrs. Jones” for Billy Paul—all from 1972—and followed by “You Make Me Feel Brand New” (1973) for the Stylistics and “The Love I Lost” (1973) for Harold Melvin and the Blue Notes, there was no stopping Gamble and Huff until “Ain’t No Stoppin’ Us Now” (1979)

song P.A.S.S.I.O.N; it reached number two in 1991.

“Jimmy always says it’s all about the connection between the artist and the fans,” he says. “This whole business, it’s just about that connection. And, clearly, people feel that connection with the girls.”

“There’s an old adage that you can only do research on people who are already familiar with the song,” he says. Zapoleon refers to this as the “rule of three”—you have to hear a new song at least three times before you know if you like it or not.

“The Sign”

the group managed to put out a third album, the Motown-inspired Flowers.

“Only Girl (In the World)”

a manual of cultural technology that catalogued the steps necessary to popularize K-pop artists in different Asian countries. The manual, which all SM employees are instructed to learn, explains when to import foreign composers, producers, and choreographers; what chord progressions to use

the age of the celebutante