Question: Who wrote the song "Payphone"?
About the article "Payphone (song)", section "Background".

Candidate passages:
The song was written by Maroon 5's lead singer Adam Levine, along with Ammar Malik, Robopop, Benny Blanco, Shellback, and Wiz Khalifa, while production was helmed by Blanco and Shellback.
Levine, Blanco, Shellback, and Malik also wrote the band's previous single "Moves Like Jagger".
The writing process started when Blanco, Robopop, and Malik convened together in the studio; Malik and Robopop constructed a piano line and demo track that Blanco compiled into a proper melody.
Then, it was given to Levine who wrote the lyrics.
Meanwhile, Blanco recalled rapper Wiz Khalifa with an idea to throw a wrench into the Maroon 5 works by adding hip-hop flavor to the its sound, "I love when things don't make sense, like, 'Holy fuck!'
You don't hear him on the song at all.
I like when bands dip into a whole different genre."
Wiz Khalifa wrote and rapped his verse on "Payphone".
In an interview with "Rolling Stone", Blanco told that five minutes before Khalifa arrived at the studio, he prepared "the sound beds for the finger snap-driven portion of the jam".
However, producer Max Martin, who was the executive producer of "Overexposed", adjusted the chorus, because he felt it should be a "little different".
"Payphone" was recorded at Conway Studios in Los Angeles by Noah "Mailbox" Pasovoy and Shellback, while Eric Eylands served as the assistant engineer.
John Hanes mixed the song at Mixstar Studios in Virginia Beach and Phil Seaford was the mixing assistant.
The programming, additional bass, keys, acoustic guitars and the background vocals were provided by Shellback and Blanco.
Jeremy "Jbogs" Levin and David "D Silb" Silberstein served as production coordinators.
Khalifa appears as courtesy of Rostrum Records.
"Payphone" was released as a lead single from "Overexposed".
On April 17, 2012, it was digitally released in most territories.
A&M/Octone Records serviced the song to contemporary hit radio in the United States on April 24.
A CD single containing the album version of the song together with a Thomas Penton/Barry Huffine remix was released on June 8 in Germany.
Suzanne Byrne of RTÉ.ie concluded that "Lucky Strike" alongside "Daylight", "The Man Who Never Lied" and "Love Somebody" are potential single releases.
Jeremy Thomas of 411 Mania labeled the song together with "Payphone" and "One More Night" as "enjoyable numbers" that have potential for a "decent amount" of airplay.
Bruce Dennill of "The Citizen" wrote that "The Man Who Never Lied" together with "One More Night" are evidence "that Maroon 5 have come up with something (for now) that they’ve embraced and are willing to run with."
In a review of "Overexposed" Fraser McAlpine of BBC Music wrote, the band had left "the strutting cockerel heat" of their 2004 single "This Love" for the "saturated rave bliss" of "Love Somebody" or "The Man Who Never Lied"; an effect of the market they have chosen to contribute on.
"Billboard"'s Chris Payne wrote that the song keeps the energy from "Lucky Strike" strong, and contains one of the most memorable choruses on "Overexposed".
Robert Copsey of Digital Spy wrote that it feels "anonymous" despite its "stadium-sized" chorus. 
Adam Markovitz of "Entertainment Weekly" labeled "Lucky Strike" together with "Payphone" best tracks on "Overexposed" and described the former as "a funk-spiked strut".
Similarly as Markovitz, Suzanne Byrne of RTÉ.ie wrote that "Lucky Strike" alongside "Daylight", "The Man Who Never Lied" and "Love Somebody" are potential single releases.
Digital Spy's Robert Copsey named the track together with "One More Night" and "Ladykiller" as a worthy for digital download.
Chris Payne of "Billboard" wrote that on the song "Maroon 5's guitars finally come out to play in the opening bars here.
Though not a rock song per se, it still packs the energy of the band's earlier, more band-based material."
Cameron Adams of "Herald Sun" described "Lucky Strike" as "uncharacteristically clubby".
Contact Music's Alex Lai wrote that Levine has exchanged his "angelic vocals for singing in favor of more universal hooks" such as the "backing to disco dancer 'Lucky Strike'."
Evan Sawdey of PopMatters called the song a "danceable carbon copy" of "Second Chance" ("Gimme Some", 2011) by Peter Bjorn and John.
According to him, "Lucky Strike" imitates the latter "down to the guitar tone" and replaces the original by also adding additional dance beats. 
The song received positive reviews from music critics.
Bill Lamb from About.com gave to the song 4 out of 5 stars, praising the "full band arrangement on second and third choruses", "Adam Levine's soulful vocals" and the "melodic pop feel", but dismissed Wiz Khalifa's rap, calling it "unnecessary."
Crystal Bell from "Huffington Post" called it "definitely one of the band's most pop-y singles to date."
Amy Sciarretto from Pop Crush commented that the song is "buoyant, airy and catchy" and wrote that it is "yet another melodically blithe single that will be dominating the airwaves."
Robbie Daw from Idolator wrote that the song is "extremely Top 40-friendly."
Melinda Newman from HitFix wrote that the song "is a straight-ahead pop ditty, that, like everything else these days, seems to take a page from Bruno Mars’ "Grenade" for its shiny, military-like precise beat that still manages to sound convincingly warm.
It's melodic and catchy, and but not overly aggressive.
Rick Florino of Artist Direct commented that the song "merges one of the band's biggest hooks with clever lines."
Robert Copsey from Digital Spy described it as "a shining example as an addictive head-nodder.
"Chris Payne from "Billboard" wrote that "The pop/R&B fling is far from a classic Maroon 5 cut, yet it serves as a testament to the band's continued rebranding and a reminder of how much the airwaves have changed since 'This Love' hit in 2004."
Andrew Unterberger from "Pop Dust" criticized Khalifa's verse, writing that "the group’s first rapper guest of note, can’t do much to spice up the proceedings, and it’s unclear if he even knows what the song he’s rapping on is about."
He also criticized the song's title, writing: "nobody’s seriously used a payphone in a dramatic life moment in a decade."
Another mixed review came from "Entertainment Weekly"'s Marc Snetiker, who commented that "it’s pretty easy to replace the band’s signature electronic meta-funk with any of the boy band’s impish members, for example One Direction."
However, he concluded that "it's catchy, infectious, and overwhelmingly mellow."
Fraser McAlpine from BBC Music criticized his voice, writing: "Adam Levine fires up that nasal yelp as soon as the song begins, and does not let up until the fadeout."
McAlpine also wrote that "Wiz Khalifa gets more space at the front of the stage than the rest of his band do.
"Adam Markovitz from "Entertainment Weekly" concluded:"Payphone is an alchemy of elemental pop-rock building blocks that conjures virile longing in the same corny-graceful way as past M5 hits like "She Will Be Loved."
Levine's voice soars, the piano and guitar hit notes of bitter nostalgia, and for once the words' hurt feels real.
And whether by Pro-Tooled magic or old-fashioned sweat, the song also sounds remarkably like it was recorded in a studio by musicians who actually came together to play as a band — even if one of them was only dropping by on his way to the soundstage.
"The theme of being at a payphone has been interpreted as his yearning for a past that he knows cannot happen again.
Many have been critical of the anachronism, which misses this primary point.
The song ranked number 46 on "Rolling Stone"s list of the 50 best songs of 2012. 
"Payphone" is a pop and R&B song that contains hip hop influences and has duration of 3 minutes and 51 seconds.
Its instrumentation, which consists of funk guitars, bass and synths is accompanied by Levine's high falsetto.
"Payphone" is written in the key of B major (recorded in B major), in common time, with a tempo of 110 beats per minute.
Levine's vocal range spans from the low note of G♯3 to the high note of B5.
Thomas Chau from AOL Radio Blog called the song "mellow" and compared it to the band's previous singles "She Will Be Loved" (2004) and "Won't Go Home Without You" (2007).
Andrew Unterberger of Popdust agreed, and wrote that "it's got that same kind of mid-tempo blandness that’s caused casual fans to mix up ballads like 'Won’t Go Home Without You' and 'Never Gonna Leave This Bed' (2011).
"The song begins with Levine performing an upper register read-through of the chorus backed by a simple keyboard.
On the chorus, he sings: "I’m at a payphone trying to call home / All of my change I spent on you / Where have the times gone?
/ Baby, it’s all wrong / Where are the plans we made for two?
/ If happy ever after did exist / I would still be holding you like this / All those fairytales are full of shit / One more fucking love song, I’ll be sick".
"Shit" and "fucking" are replaced with "it" and "stupid", respectively, in the song's clean version.
The clean version censors Wiz Khalifa's cursing as well.
When Khalifa serves his verse, his rhymes don't speak of his love life, but rather his "haters": "I'll be out spending all this money while you sittin' 'round wondering why it wasn't you who came up from nothin' / Made it from the bottom now when you see me I'm stunnin'."
Amy Sciarretto from "Pop Crush" and Bill Lamb from About.com pointed out that the lyrics are "almost mirroring Levine’s current romantic situation with former girlfriend Anne Vyalitsyna and their very public split.