According to a 2011 research project based on a fMRI study of people listening to music, familiarity with a song reflexively causes emotional engagement; it doesn’t

“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)

particular countries; the precise color of eye shadow a performer should wear in different Asian regions, as well as the hand gestures he or she should make; and the camera angles to be used in the videos (a 360-degree group shot to open the video, followed by a montage of individual close-ups).

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

The track-and-hook method of songwriting reaches its apotheosis with “Rude Boy”; the song is virtually all hooks.

“When we’re writing for her, we sit down and talk to her and find out what’s going on in her life, and try to find out the kernel of truth. I want her to sing about something she cares about, so we talk about her life and what she’s going through, and try to weave it into something powerful and visual.”

“As Long as You Love Me,” “Everybody (Backstreet’s Back),” and “I’ll Never Break Your Heart,” all enormous hits.

the age of the celebutante

“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.