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For this week's Please Explain, the veil is lifted on hit-making! New Yorker staff writer John Seabrook spills the secrets of how to produce industrial-strength hits in his new book, The Song Machine: Inside the Hit Factory.

The story of modern pop music today starts with Denniz PoP, a Swedish DJ who produced the band Ace of Base, and was responsible for their smash hit "The Sign." Remember that one?

This was an age of dance music, of big soaring choruses, and Denniz PoP knew exactly how to tailor music for the clubs. Swedish musicians were able to combine R&B and Europop because they didn't have to contend with the racial legacy of R&B, says Seabrook. Even the fact that English was not their native language was an asset to these Swedish songwriters. They wrote songs based on the sounds of syllables, not the meaning of words. Gone were the songs with heavy metaphors, double entendre, and symbolism. 

The Swedes industrialized a form of song-making that started with Hip-Hop, says Seabrook, the track-and-hook approach. Despite the fact that hit machines don't last long, Denniz PoP's disciples continued to churn out hits. Max Martin is responsible for many Backstreet Boys hits, and Britney Spears' infamous "Baby One More Time" (though the song was originally pitched to and rejected by TLC). 

But as the backlash against pure-pop music emerged and Napster ate into CD sales, many of these hitmakers began to lose work. Until a little show came along called American Idol. Kelly Clarkson worked with Max Martin and his protege, Dr. Luke, on her first smash hit.  

When Clarkson broke away from Martin and Dr. Luke and released an album of original music, it tanked. Max Martin, Dr. Luke, and their music machine continue to churn out hits. 

EVENT: On Monday, October 5th, John Seabrook will be at Greenlight Bookstore, 686 Fulton Street, Brooklyn, NY 11217 at 7:30 P.M.