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Champ182 last won the day on March 26

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  1. Same, that’s my own personal beef with everyone here
  2. I joined in the Neighborhoods era as well and have stuck around regularly since then and I still have no idea what the fuck people are talking about half the time with all the inside jokes and weird personal connections/beefs haha. Just gotta roll with it and have fun!
  3. Props for the screen name haha I hope you keep it for all of your future years on the site
  4. btw have we heard a clip of More Than You Know yet?
  5. Who would even know anything about that decision?
  6. just to be sure, none of this is real right?
  7. I'm just not going to look through the most cynical lens until they give me a reason to haha. Skiba said this in an interview about working with songwriters on NINE: "there was a lot of push and pull from all different sides, and there were a lot of very talented and opinionated cooks in the kitchen from different musical backgrounds" I just don't get the sense that they are using that approach anymore on this album. I'm sure we'll find out more! But for now I'll assume the best instead of the worst.
  8. I completely forgot about the Miley thing hahaha
  9. Diddy just read the fucking article they posted and it explains it to you. Artists don't give out more songwriting credits to randos out of the goodness of their hearts, the industry legal standard has completely changed. If a producer/friend/engineer/whoever is in the studio while writing and brainstorming is happening, and they throw out ideas along with the band, they're most likely getting a credit. (In 2015) a US jury decided that Robin Thicke’s “Blurred Lines” had plagiarised Marvin Gaye’s “Got To Give It Up” and struck fear into the hearts of songwriters. “Blurred Lines” didn’t owe its melody, chord structure or lyrics to Gaye but it intentionally sounded like Gaye and that proved extremely expensive. “The decision was very unexpected and not at all based on established legal principles,” says solicitor Dean Marsh of Creative Law & Business. “It created a precedent that inspiration alone could lead to infringement. In the aftermath, a slew of opportunistic claims are being made on other hits.” Rather than risk the time, cost and reputational damage of a trial, potential defendants take the pragmatic route of offering a share of songwriting in advance, which is how, for example, Right Said Fred ended up being credited on Taylor Swift’s “Look What You Made Me Do” without even having to call their lawyers. “You don’t want to analyse everything you write,” says Lindvall. “It can really paralyse you. There are so many songwriters who feel worried about the ‘Blurred Lines’ decision.” This new industry norm can seem like a tediously legalistic overcorrection, but let’s not forget that the old orthodoxy bred many injustices. Band members and producers who made vital contributions were denied a slice of the songwriting pie; musicians died penniless, even as their work underpinned global hits. https://gq-magazine.co.uk/culture/article/long-songwriting-credits Again, personally I don't have a problem with this type of shit. It only starts to rub me the wrong way when outsiders literally write songs/parts for Blink, which they openly talked about during the Cali/Nine days. They haven't talked about doing that this time, so I will assume they didn't go that route until there's any reason to think differently.
  10. We won't know which one it is unless they specifically talk about it, like they did with the NonTom albums. And it's been talked about quite a bit that artists/labels give out WAY more songwriting credits than before, precisely because it's one of the only money-makers in the music industry anymore. If somebody is in the room to help bounce ideas around, and they say "what if the melody goes up instead of down?" they could earn a songwriting credit. In contrast, they openly talked about how Feldy and others brought songs/ideas to them to use. Maybe they're still doing that, but a songwriting credit isn't a guarantee of it.
  11. Haha of course. Like I've said any time this comes up, there's a wide range of reasons to give someone songwriting credits nowadays. If it turns out that they let other people literally write songs for them again, I'll be bummed and critical of that. If they just had producers/engineers/music biz people around in the studio helping facilitate and brainstorm and gave out songwriting credits because that's what you do in the modern world, I don't care at all. I saw that Aaron Rubin got some credits for example, he's Tom's in-house engineer I can't imagine he literally wrote parts for them to use. Maybe I'm wrong though who knows!
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