出版与作家生涯2021bbc.co.uk
热门歌曲作者要求流行歌手停止为未参与创作的歌曲署名
Hit songwriters ask pop stars to stop taking credit for songs they didn't write
导读
BBC 报道：一批热门歌曲的幕后词曲作者公开呼吁流行歌手不要再把没参与创作的歌算作自己的作品——行业里长期存在歌手施压索取词曲署名（进而分走出版版税）的做法。对写作者而言，这是一堂关于「署名、报酬与谈判筹码」的课：作品归谁、名字写谁，往往不是事实问题，而是权力问题。
可以直接用的写作要点
- 01
署名和收益分配是谈出来的，不是自动按事实认定的：动笔前就想清楚署名、分成、修改权怎么写进合同。
- 02
把注意力放在议价能力上：你能被替代的程度，决定了你在分成谈判里能拿到多少。
- 03
警惕「改一个词就署名」这类行规，它会把创作者应得的长期版税稀释掉。
- 04
别把「作品好」当成全部：在注意力市场里，传播与形象包装同样决定谁被记住、谁拿到钱。
HN 评论精选
争的不是口头吹嘘，而是强制分享本不属于自己的词曲版税。
这里很多评论没抓住重点。问题不是歌手在采访里说「这歌是我写的」，而是歌手靠强势地位挤进词曲署名、分走出版版税，而他们其实只改了一个词甚至毫无贡献。我完全支持歌手靠演出、周边、代言挣钱，但没写歌就不该拿词曲的钱。文章里那些辩解（一路追溯到猫王）只能说明这行有多脏。
S_A_P查看英文原文
It seems as though this is not a well understood issue from reading the comments here. This isn’t artists doing interviews and saying “I wrote this”. The problem is that the artists are bullying their way into getting points for the song writing credits (publishing royalties) when they had little(change a word in the lyrics) or no input into the song. I fully support artists getting as much of the live performance/merch/appearances money as they can. If they did not write a song they should not be getting paid for songwriting. All of the justifications in the article dating back to Elvis Presley show how long the business has been slimy.
署名掠夺史揭示了行业里谁掌握议价权；形象比音乐更值钱。
这种操作在音乐圈历史悠久。早年是精明的制作人把自己写成黑人弱势创作者的作品作者，好在正常费用之外再拿一份版税；如今则换成歌手占词曲作者的便宜。都很恶劣，但也反映出谁手里有谈判筹码。今天的流行音乐核心是打造消费者想认同的明星形象，形象一旦成立，音乐本身就没那么重要了，写歌的人自然拿不到多少功劳。
hristov查看英文原文
This unfortunately has been a long used tactic in the music world. In the old times it was sharpie producers putting their names as writers for songs of poor black artists, so they (the producers) can get royalties in addition to their usual fees. Now it is the singers taking advantage of the songwriters and composers. It is all evil but it kind of shows who has the negotiation leverage. Todays pop music scene is all about creating a celebrity image consumers want to identify with. Once said image is created the actual music is not that important. So the writers do not get much credit.
真实的产业分配：一首歌几十个署名，收入剧烈波动，走红靠运气与位置。
我朋友做音乐制作，我做软件工程，我们常交换「战场故事」。他参与给 Maroon 5、The Chainsmokers 这类艺人投歌的 vocal production，多数时候石沉大海，艺人每天被塞大量歌。一首打进 Billboard 前 100 的歌，词曲、制作、录音演奏加起来能有 50 个名字。他的导师快 40 岁，主要写歌，自己做歌手卖不动，但去年靠一首上榜歌的署名和几首被大牌挑走的歌，一夜之间从「怎么交房租」变成 700 万美元，还搬去华盛顿州避加州所得税。我朋友这些年也能凑出几张大额支票，但很不稳定：一年 10 万，下一年 2 万，还都来自广告和随便什么电视节目。跟他聊完我总震惊：音乐在这个产业里其实没那么重要。
rgifford查看英文原文
A friend of mine decided to pursue music production around the same time I started in software engineering. We're both 20 somethings. We swap war stories now and then. I get to hear about how he's working with his mentor to do vocal production on a track getting pitched for Maroon 5, The Chainsmokers, etc. Sometimes the tracks take -- the artist likes them and decides to move forward. Usually they don't and it's a lot of getting your hopes up for nothing. These major artists have lots of songs getting thrown at them on any given day. To date some of my friends biggest credits are vocal production credits on a couple billboard top 100s. A single track will have 50 names on it between writing, production, studio performance, etc. My friend's mentor is late 30s and mainly does songwriting. He's been trying to do a solo thing but just isn't marketable. However, just recently he "made" it with a feature on a top 100 song and a couple songs picked up by major artists. The checks cleared this last year but the songs came out a couple years ago. He went from "how do I pay rent" to 7M literally over night. He moved to WA to dodge CA income tax. My friend has been able to tie a couple big checks together over the years, but it's been tough. One year it's 100k, the next it's 20k and all from ads and random tv shows. I'm consistently shocked when talking with my friend just how little music matters in the music industry. The people who make the most look good, sound good, and hell they're crazy talented. But they aren't the people who've written the lyrics or the melodies that define our culture. We probably can't name those people.
署名是利益分配与激励设计的表象，规则一改，谈判就转移到别处。
很多人从法律或道德角度看这事，比如「版权就是这样」或「人该为自己做的事署名」。经济学视角是这样：有一块饼要分，往往事先分好，谁的谈判地位强谁拿得多；如果你不认识多少表演者，就很难从唯一上门的那个表演者手里多要一块。文件上写谁是「作者」其实无关紧要，它只是谈判的一部分，目的是让表演者有动力去录这首歌——就像销售税名义上由买家付，经济上其实是买卖双方按议价能力分摊。如果硬性规定只有真正执笔的人能署名，人们就会换别的东西来谈，比如署名给你，但你得放进一家公司，让表演者占公司股份。
lordnacho查看英文原文
A lot of people seem to be taking a legalistic or moralistic view on this. Along the lines of "copyright works like this" or "people should get credit for what they do". The economic view would be something like: - There's a pie to be split, often beforehand. Some players are in better negotiating positions than others. Sadly, if you don't know a lot of performers, you'll have a hard time getting a bigger slice from the one that shows up. - It's not actually relevant who is on the document as a "writer". This is simply a thing to be negotiated over so that the performer is incentivized to do the recording. It's the same thing as putting up sales tax on a purchaser of goods, legally the buyer is paying x% extra, but economically the buyer and the seller actually split the bill according to negotiating power. - What will happen if it's enshrined that only the person who actually wrote the piece gets his name on it? Well there will be other things to bargain over. For instance, maybe you get your name exclusively on the song, but you put it in a company and the performer gets a piece of the company.
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