
Billie Jean
That bassline, mixed and remixed until it gleamed, and the four minutes that integrated MTV.

That bassline, mixed and remixed until it gleamed, and the four minutes that integrated MTV.

Vincent Price cackling over a disco-funk groove, and a fourteen-minute video that turned pop into event television.

Written on a tour bus in Norway and premiered at Alexander McQueen's last show, all nonsense syllables and appetite.

Beyonce found Bob Fosse's Mexican Breakfast on YouTube; three Grammys and a decade of wedding receptions followed.

Timbaland set a tumbi melody over tabla and left Elliott acres of empty space to fill.

Minogue passed on it; Bloodshy and Avant hung a Bollywood string sample over surf guitar for Spears's only Grammy.

Max Martin built it at Cheiron in Stockholm after TLC and the Backstreet Boys passed, and Spears was sixteen.

Robert Hazard wrote it in 1979 from a man's point of view, and Lauper flipped it into female solidarity.

A Steinberg and Kelly demo Rodgers disliked at first, six weeks at number one, and a seventeen-foot wedding cake.

Jackson took the chorus line from a CPR dummy named Annie, and the anti-gravity lean later earned a patent.
Gore wrote it as a harmonium ballad; Wilder and Flood put a dance beat under it over his objections.

Walden thought the demo too country, funked it up, and Houston cut it while shaking off a bronchial infection.

RedOne produced it at Record Plant, Gaga's mum-mum-mum-mah hook nodding to Boney M, and 2009's best-selling single worldwide.

Six studios, eighty-two takes at the guitar part, Ronson collapsing in the studio, and fourteen weeks at number one.
Dennis and Davis wrote it in three and a half hours, and Minogue committed after twenty seconds of the demo.

Scorsese shot eighteen minutes in a Brooklyn subway station, and the brass hits point straight back at James Brown.

Written for another singer, rebuilt with Stephen Bray for a Desperately Seeking Susan dance scene, then buried on a B-side.

Madonna and Stephen Bray built it on horns and handclaps; Fincher's Metropolis video cost a reported five million dollars.

Calvin Harris wrote and produced it alone, and Rihanna rode ten weeks at number one, 2011's longest run.

Jackson answered street harassers by demanding respect over a factory preset Jimmy Jam found on an Ensoniq Mirage.

Seven weeks at UK number one for a debut single, and a chorus that puts her friends before any suitor.

Bill Bottrell played the riff everyone credits to Slash, then rapped the verse himself after eight months of searching.

StarGate looped Michael Jackson's chant from Wanna Be Startin' Somethin', and Rihanna took it to number one in ten countries.

Tom Tom Club's Genius of Love, flipped by Dave Hall, and Carey the first woman to debut at number one.
Mary Wilson and Phyllis Hyman turned it down; Benitez cut it at Sigma Sound in a week, cowbell included.

Tom Tom Club's Genius of Love beat rebuilt as smooth British R&B, and Morrison sounding utterly unbothered about being wronged.

Twenty-two weeks crawling up the Hot 100 before number one, RedOne's synths announcing the pop decade ahead.

Martin and Shellback stomped the drum pattern on a wooden floor, and Swift turned tabloid noise into fifty weeks charting.

A demo Janet Jackson's camp turned down, which Houston rode to number one over her cousin Dionne Warwick.

Twain and Lange built it on three men who fall short, and that hooded leopard print did the rest.

Written for the Charlie's Angels soundtrack, eleven straight weeks at number one, and Michelle Williams's first single with the group.

A radio host's joke about the lineup changes, flipped into a Grammy winner Beyonce largely wrote on a flight.

Sia cut the vocal as a guide for another singer; Guetta released it anyway, and she got a number one.

Nicknamed the BlackBerry Song because every line could be text-messaged, and Timbaland trades verses instead of just producing.

Andreas Carlsson reportedly wrote the lyric during a Stockholm driving test; Cheiron's producers built pop's most decisive exit.

Ridgeley scrawled a note to his parents, doubled a word by mistake, and George Michael built a number one on it.

Written after a show in Utrecht by the band's own drummer, it walked Latin percussion onto American pop radio.

Four singers, one Rockwilder beat, and Missy Elliott turning a Labelle cover into 2001's best-selling single worldwide.

Written on a Casiotone the DJ Mark Kamins gave her, finished by Jellybean Benitez, and Madonna's first top five.

David Frank looped eight bars the night before the session; Aguilera re-sang her vocal softer and topped the Hot 100.

A folk song on tour until Josh Ramsay poppified it, then nine weeks at the top of the Hot 100.

Cut in New York, finished by Sandy Vee in Paris, and Rihanna's ninth Hot 100 number one; euphoria on demand.

Jessie J wrote it with Claude Kelly, passed on singing it, and Cyrus took it to number two.

Anita Pointer takes the lead, Richard Perry produced, and a 1984 reissue lifted a number thirty single to nine.

A new jack swing pivot from L.A. Reid and Babyface, and by Reid's account the vocal took one take.

Judd Lander, the harmonica player from Karma Chameleon, gives the record its Stevie Wonder swing over Absolute's production.

Written as a rock song for Cyndi Lauper, then rebuilt with Patrick Leonard into Madonna's fifth American number one.

Warren wrote it for a Motown kung fu film, Perry swapped the drum machine for live players, DeBarge soared.

Elliot Wolff wrote and programmed it alone, Fincher shot the video in black and white, three weeks at number one.

Perry's West Coast answer to Empire State of Mind, the misspelling saluting Big Star, six weeks at number one.

Waterman handed Astley the title after hearing him talk about his girlfriend; five weeks at number one followed.

Four writers including Chris Brown, a reissue bonus track, and two weeks at number one on anxiety alone.

Denniz Pop and Max Martin cut it at Cheiron in Stockholm, and Joseph Kahn's haunted-mansion video did the rest.

Nietzsche by way of a co-writer's mother, Greg Kurstin's production, and Clarkson's third number one.

Ester Dean's hook borrows Geoff Mack's 1959 I've Been Everywhere; Calvin Harris and Dr. Luke supply the drop.

Max Martin coached Timberlake into pronouncing the last word "may", and 'N Sync got their only Hot 100 number one.

Martha Wash sang the hook uncredited, then sued; her settlement put vocalist credits on MTV, and the floor still fills.

Claude Kelly's ringleader conceit, a Dr. Luke stomp, and Spears back on top of the spectacle that swallowed her.

Cut at Thomas Crown Studios in Virginia Beach, with a prelude fused to the front of the summer single.

A riff written on a bike ride, a sample Rick Rubin cleared free, and a surprise American number one.

Nine weeks at number one, the first of the 2010s, and Kesha's talk-sung verses over Dr. Luke's synths.
Minor key at Linn Berggren's insistence, a demo titled Mr. Ace, and a number one in thirteen countries.

Trumpet hook lifted from the Yiddish standard Dona Dona, and two and a half years later, number eight.

An Oscar nominee from the Footloose soundtrack, George Duke producing, and Williams audibly grinning through every chorus.

Forty minutes to write, eight weeks at number one, and Kadish playing the drums, guitar and bass himself.

RedOne, Carl Falk and Rami Yacoub behind the board, Minaj's vocals cut at Conway, diamond certified in America.

Parker had days to write it and found the hook in a late-night TV ad for a local service.

Snippets leaked online, so Gaga rushed it to radio a week early, cheering the crowd that cheers her.

Recorded on cheap gear in a college dorm room, co-written with Big Sean, and a number six hit.

Josh Alexander played every instrument on it, and Billy Steinberg's melodic instincts date back to Like a Virgin.

T-Pain wrote and produced it at Chalice in Los Angeles, and it held number one for three weeks.

A deliberate Euro-club record from Akon and Giorgio Tuinfort, with a video now past a billion views.

Ron Fair rebuilt an album track into a single, adding a bridge and a rap; four weeks at number one followed.

will.i.am heard electro in Sydney nightclubs while filming Wolverine, then rode that beat to twelve weeks at number one.

Shellback and Max Martin built a toast to outsiders, and it gave Pink her third Billboard number one.