![]() Three songs from the album were in the chart's top 10 ranking, led by "Good 4 U" at no. ![]() In June, all 11 tracks from her Sour album landed in the top 30 of the Billboard Hot 100 chart. 1 on the Billboard Hot 100 songs chart with "Good 4 U." Adam if this was intentional you are a 200 IQ genius," the user wrote. "The mashup combines the narratives into one, with Olivia filling the role of the popular girl who initially stole the boy, and Hailey filling the role as the emo girl who got him back, with their individual lyrics detailing their respective reactions to these events. The user explained: "Guys, big theory on the lyric combo of this mashup: in Good For You, Olivia sings about how torn up she is about a breakup and how fast the guy recovered Misery Business is about Hailey Williams harboring a grudge against a popular girl who stole a boy she likes, and the vindictive pleasure she felt after stealing him back. In a comment posted around three months ago on YouTube channel of Adamusic, which shared a mashup of the two tracks, user John Paul Cross drew several comparisons between the songs. Williams reacted to the latest update of the writing credits for "Good 4 U" in an Instagram story posted on August 24.īack in late May, fans of "Good 4 U" took to TikTok following the release of the song's music video to report the similarities in the choruses of "Good 4 U" and "Misery Business." JMEnternational/JMEnternational for BRIT Awards/Getty Images) ParamoreĪccording to Billboard, sources said the respective teams for Rodrigo and Paramore were in touch about "Good 4 U" before its release in May. And it’s all thanks to Robin Thicke.Olivia Rodrigo performing at the 2021 Brit Awards on May 11 in London, England in the U.K. Whether appropriate or not, ‘good 4 u’ and ‘Misery Business’ will forever be linked, not just in rumour but in ASCAP credits and royalty payments. She could have fought it, as Led Zeppelin had done with Spirit when it came to ‘Stairway to Heaven’, but the dangerous precedent that remains in place could easily have been cited against her. Instead of letting a potential copyright claim get that far, Rodrigo cut her losses and award Williams and Farro credit. The reality of the musical comparisons didn’t actually matter because of the precedent that was set by Robin Thicke and Pharrell. There seems to be little doubt that Rodrigo’s team was aware of the ‘Blurred Lines’ ruling and how it could be used against ‘good 4 u’ in a court of law. Any artist who could find similarities in arrangement, composition, or lyrical focus could seek damages, regardless of intention. Little Richard’s estate could sue Paul McCartney over ‘I’m Down’, and it’s admitted inspiration from Richard’s style of rock and roll. Theoretically, Van Halen’s estate could sue any recording with guitar tapping on it. With such a nebulous definition of what officially constituted copyright violations, the door was now open for seemingly ridiculous lawsuits. In the wake of the lawsuit, over 200 musicians filed an amicus curiae brief that, as a result of the lawsuit, any artist with even a tangential claim that another song was inspired by theirs could sue for undue credit. The ruling was controversial for the reasoning that was given being vague and open to incredibly wide interpretation: ‘Blurred Lines’ and ‘Got to Give It Up’ were in different keys and had distinct melodies, but because ‘Blurred Lines’ was found to copy the “feel” and “sound” of ‘Got to Give It Up’, Thicke and co-writer Pharrell Williams were required to pay over $5 million in royalties to the Gaye family, along with adding Gaye’s name to the songwriting credits. So how were Paramore’s publishers able to claim “interpolation” and obtain songwriting credits for their clients? Because there is a notable precedent that would likely cause Rodrigo and her team legal headaches if they had pushed back: the lawsuit from Marvin Gaye’s estate that rewarded Gaye songwriting credit for Robin Thicke’s ‘Blurred Lines’ based on sonic similarities to ‘Got to Give It Up’. ![]() The songs are in different keys (a half-step difference, with ‘good 4 u’ in F# minor and ‘Misery Business’ in F minor, but still), and the melodies having as many notable differences as they do similarities. Looking closer at the two songs, the similarities seem to fall away under harsher scrutiny.
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