
Breakfast at Tiffany's
Todd Pipes drew the lyric from Roman Holiday, swapped in a different Hepburn title, and Britain sent it to number one.

Todd Pipes drew the lyric from Roman Holiday, swapped in a different Hepburn title, and Britain sent it to number one.

Estrin mailed Robb an instrumental demo; the lyrics came from scraps in a journal, the strings from Capitol.

Sugar Ray's drummer co-wrote it about touring temptation and a faithful girlfriend; the album title joked about vanishing fame.

Kamin wrote it after a funeral, imagining the widower left behind; it then held Adult Top 40 for twenty-three weeks.

Long Island power pop, written overnight for the girlfriend Hampson later married, cut in Atlanta with Nick DiDia.

Twelve weeks at number one on Alternative Airplay, with Brett Scallions selling every syllable of Carl Bell's chorus.

Lewis finished the words onstage in Biloxi with Fred Durst singing along, and that live take became the hit.

Alone in a Hollywood hotel room missing his son, Scantlin turned the ache into ten weeks atop Mainstream Rock.
Duritz dislikes writing to order, then handed Shrek 2 an Oscar-nominated rush of helpless, hurtling infatuation.

Cut at John Alagia's home studio in Maryland, it topped Adult Pop Songs for nine weeks and became a wedding standard.

Jerry Harrison of Talking Heads produced it, and Roberts sang three verses about strange childhoods in a startling baritone.

Scannell wrote it about a friendship he wanted to be more, and it became Billboard's most-played single of 2000.

Cut at Ardent Studios in Memphis, re-recorded in 1997 for the band's second album, and a number eleven hit.

Roland wrote it about a souring relationship with the band's first manager, then rode nine weeks atop rock radio.

Rick Rubin produced it, the video was shot at the Playboy Mansion, and Cuomo swears the longing was sincere.
Scalzo sang lead from behind the bass, Hammond organ carrying it, and Machine Gun Kelly later borrowed the chorus.

Richards wrote it after a talk with his ten-year-old neighbor, and calling God "her" brought death threats.

Forty-five minutes to an hour, by Kroeger's account, then more US radio plays than any song of the decade.

Death Cab's first number one on alternative radio, and its video was performed live in one unbroken take.

A video at Bethesda Fountain, a six-dollar hat, and a hook that pushed the album past five times platinum.