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In , a year full of one-hit wonders, the jump from one-hit to two-hit status was tougher than the jump from zero to one. She sings in the voice of an ordinary American girl with too many feelings — everything she spent her first hit pretending not to be. In the video, she mopes around the beach sighing over the cute guy she creep-peeps him via tourist binoculars. Nobody understands except her squad of elfin dancers, who frolic around her in a heart-shape on the pier.

The beat goes on. But on …Baby One More Time , she proved she was here to stay. Rolling Stone is a part of Penske Media Corporation. All Rights Reserved. See Also. Newswire Powered by. Close the menu. Rolling Stone. Log In. To help keep your account secure, please log-in again. You are no longer onsite at your organization. Please log in. For assistance, contact your corporate administrator. Arrow Created with Sketch. Calendar Created with Sketch. Path Created with Sketch.

There's no female pop artist out there right now. This was a very significant moment in pop history: The signing of Britney Spears as a sort of girl-next-door teenager, rather than as a Whitney Houston-esque diva. One of the calculations there was, Clive Calder was notoriously cheap, and Whitney Houston was notoriously expensive. So Britney Spears seemed like she would be cheap too, because she was just a teenager from Louisiana, and wasn't demanding in any way.

Star secured, the Jive team needed, well, music. They turned to Swedish producer-songwriter Max Martin, of Cheiron Studios, who had worked with Ace of Base and co-produced some songs on the Backstreet Boys' self-titled debut album. Barry Weiss: There weren't many U. The pop at the time was very right down the middle. But we were looking for edgier, younger-sounding records. She was all dressed up. She was She thought I was a year-old producer from the old school.

I had really long hair at the time — I looked like Ozzy Osbourne. It was pretty obvious that she had something, even though she was very quiet and very shy. Martin went home to Sweden and cranked out a song. But it wasn't Britney's… yet. I came up with the melody first. I wrote the chorus; you just hum it in. Thanks to [my co-producer, Rami Yacoub], that song sounds the way it does. I'm more of a melody man. So he's a big reason that the song turned out the way that it did. NaNa Hedin, backup vocalist: I remember that I thought the song was for teenagers but the production was filled with a grown-up attitude and with sounds that I really liked.

I was so impressed by how a guy like Max and the other writers could write lyrics that got into the hearts and spoke to teenage thinking. It really represented [that] whole generation, not them. But Max was not down with that… When the song came into us, we thought, let's cut this with Britney.

Let's send her to Stockholm. The magic that worked with the Backstreet Boys, why wouldn't it work again for Britney Spears? It was my first time overseas. They had six songs, [and] I had a week. Since "…Baby One More Time" was the first song, we really didn't know where to take it.

We just kept on recording. We tried a couple of different styles. After a while, I could hear her stomach growl in the microphone. I asked if she was hungry. We'd been going for eight hours. She said, "No, I'm fine. John Seabrook: In those days, and maybe this is still true, Max made all the demos himself.

He would sing the different harmony parts himself, too. Max has an amazing voice, and very few people have ever actually heard that demo. I did hear it, and Max sounds exactly like Britney, including all the little sounds that sound improvised; the mow-woww sounds. So Britney ended up sounding exactly like Max. Chris Molanphy, chart analyst and pop critic: The reason why it remains one of the most iconic songs of the s teen pop boomlet is it's kind of a perfect marriage of song and artist and songwriter.

His muse-vehicle for his particular brand of writing. You can't picture it being sung by anybody else. We thought it was really weird at first. It was strange. It was not the way Max wrote it. But it worked! We thought it could be a really good opening salvo for her. NaNa Hedin: The magic is the attitude. Deep underneath the pop sound it has a sexy rock rebel attitude, from a young schoolgirl and her voice. John Seabrook: Before the song came out, nobody in America liked the hook, "hit me baby one more time.

But what it really was was the Swedes using English not exactly correctly. What they really wanted to say was, "hit me up on the phone one more time" or something. But at that point, Max's English wasn't that great. So it came out sounding a little bit weird in English.

But when they tried to get him to change it, he said, "No, it can't be changed. That's it. Barry Weiss: I actually changed the lyric. I was concerned about going to U. Barry Weiss: I went immediately to Nigel Dick, the video director.

Nigel Dick, director, "…Baby One More Time" video: Interestingly, a lot of people I worked with at the time told me I should walk away from the project. She's 16 years old. It's candy-floss pop. I just thought the song was really, really good. Barry Weiss: Nigel came up with an idea, like, Britney is in outer space. She comes and lands on Mars on a spaceship, and then she breaks into this dance routine. No way am I doing this.

This is really cheesy. Let me get on the phone with Nigel Dick. Nigel Dick: She said, "I want to be in a school with a bunch of cute boys and do some dancing. Barry Weiss: Her idea was the whole Grease thing, dancing in the hallway. She gave the kernel of the idea to Nigel, and he came up with the rest. Nigel Dick: Your initial reaction to this is, I'm being told by a year-old-girl what I should do … [But] this girl is 16 and I'm a grown man; perhaps she has a better perspective on her audience than I do.

So I swallowed my pride. John Seabrook: Britney knew better than the adults what people wanted and I think that's also significant, because I think the adults began to realize that they didn't necessarily know what the kids wanted anymore. Nigel Dick: [Shooting] was very easy. There was no real drama.

What I did not know at the time was that, of course, you have this experience with the Mickey Mouse Club. As far as I knew, she was just a schoolgirl from the South. She was very, very drilled with her dance routine. I've worked with her four times, and I've yet to work with somebody who puts in as much preparation, and was as eager to rehearse, as she was. An inauspicious beginning for what would become a famous or infamous, depending on your point of view outfit for the underage performer.

Nigel Dick: I don't have kids, so my understanding of what teenagers wore was limited to driving home from the office and seeing kids standing by a bus stop. So I suggested they would be wearing jeans and t-shirts and sneakers and would have backpacks, and Britney said, "Well, shouldn't I be wearing a schoolgirl outfit? But I was overruled. Chris Molanphy: I can't prove this, but, the fact that all female teen pop stars for the next roughly three years had to shoot a video with their belly button bared — Britney made that look iconic.

I didn't do anything. It was very much on the edge of what was acceptable then. Nigel Dick: Certainly, my initial reaction was, "Are you sure we should be going down this route with this young lady? How can I explain this? I don't see myself — hand on the Bible — I know I'm not ugly, but I don't see myself as a sex symbol or this goddess-attractive-beautiful person at all. When I'm on stage, that's my time to do my thing and go there and be that — and it's fun.

It's exhilarating just to be something that you're not.

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