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Hopefully, the people that would look at a Good Charlotte record and dismiss it for maybe what they think is a certain kind of content, if they do discover something meaningful, then it's a nice surprise. I like those kinds of contradictions.
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One of the most harmful things in the music industry is 'record-by-committee,' where 10 people from the label gather around, and they make you write a 100 songs and decide which one's a hit. That takes the inspiration out of it.
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In music industry they always want you to write something like the one that was popular. And that's something you kind of have to just - sometimes you just say yes to people, like, "Yeah, yeah, yeah, sure," and then you just write the one you want to write.
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Good Charlotte, for us, comes from a place of youth for us, back when we were struggling and fighting for every inch, just trying to get by.
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Anyone who's followed our band through the years has heard about the teenage angst.
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Good Charlotte is very special to us. It's something we really cherish.
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Good Charlotte became more than a band and more than the songs: it became something that the fans owned.
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The guy who runs Big Day Out doesn't like us for some reason; I don't even know why. We do all the other festivals, and we enquired about it. Who knows, maybe he'll eventually crack, but maybe not. We're just going to keep knocking on his door late at night saying, 'Come on, dude!'
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I prefer a good review. A bad review that dismisses us... I take it with a grain of salt. I go, 'Okay, they didn't even try.'
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As hopeful as I am, there are some times in my life when I get to low points. Luckily, I still have music to get me through things.
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We were all 16 and 17. When you're that age, you're just daydreaming all day. We had bands we loved - Green Day, Weezer, a lot of bands in the '90s - and we just wanted to have fun. We didn't overthink it too much.
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Things have changed. I almost feel like it's more adaptable, and you can decide your own career now. I feel artists have so much more of a voice and so much more power now. It's really inspiring to see how a lot of the young artists use their platforms.
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Straight up, I'm from Waldorf, Maryland, you guys. Let's not forget that.
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When you have a relationship with a label, it can really affect the work you're doing and if you feel like they don't believe in you sometimes you go: "maybe I'm not any good at this". Then you get on a label that is excited to have you and you go: "oh, maybe we are ok at this". It gives you a little more confidence and you work a little better.
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'Nevermind' by Nirvana. That was a big one for me.
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When we were younger, we fought, but that's what kids do, right?
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I kind of live by this old thing that time will tell whether people are going to write about this or that; all we can do is be who we are and make records we love, and everything else will sort itself out.
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3 years ago I was stocking shelves at Target, living on Ramen noodles, and crashing at Billy's house. Now I'm on tour.
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We didn't leave home until we graduated high school, but when we did, we genuinely left. We went out into the world with 50 bucks, backpacks, and acoustic guitars.
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We became a really good gateway band for all the kids that went on to love My Chem or Fall Out Boy.
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Our fans are very much like us; they like the same things we do.
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I hope my allergies don't act up.
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I feel like we've had a front row seat for the last 20 years to watching culture and youth.
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As young kids, we had a lot of tenacity. Life was tough at home, so it was easy to go out in the world and try.