Core Viewpoint - The ongoing copyright dispute between singer G.E.M. (邓紫棋) and her former company, Hummingbird Music, highlights the conflict between creator rights and capital control in the music industry, reflecting a broader trend of similar disputes globally [2][10]. Group 1: Background of the Dispute - G.E.M. claims that after years of signing with Hummingbird Music, she discovered that the copyright of her songs, including popular tracks like "Bubble" and "Together No Matter How Far," does not belong to her [1][4]. - The copyright dispute has lasted over six years, with G.E.M. recently releasing a re-recorded album titled "I AM GLORIA," which includes 12 of her old songs [3][5]. - Hummingbird Music asserts that all music works created during the contract period belong to them, demanding the removal of G.E.M.'s re-recorded album from music platforms [2][9]. Group 2: Legal Framework and Implications - G.E.M. has identified a potential solution to her copyright issues through Article 42 of China's Copyright Law, which allows for "statutory licensing" of music works, enabling her to legally re-record her songs [5][8]. - The statutory licensing provision aims to prevent copyright monopolies and encourages diverse dissemination of works while ensuring that copyright holders receive compensation [6][12]. - The dispute underscores the importance of clear contractual terms regarding copyright ownership, especially in the digital age where creators are more aware of their rights [11][12]. Group 3: Industry Trends and Comparisons - The copyright battle faced by G.E.M. is not an isolated incident; similar cases have emerged globally, such as Taylor Swift's $360 million buyback of her album rights and the issues faced by the band Sodagreen [2][10]. - These disputes reflect a fundamental conflict between traditional "lifetime buyout" copyright models and the emerging awareness of creator sovereignty in the digital era [10][11]. - The complexities of music copyright, which involve various rights types including lyrics, composition, and recording, necessitate that artists pay close attention to contract details to protect their interests [11][12].

Core Viewpoint - The article discusses the challenges faced by artists in the music industry regarding copyright ownership and the importance of re-evaluating the copyright value system to ensure creators retain their rights and benefits from their works [3][9][37]. Group 1: Artist Experiences - G.E.M. (邓紫棋) signed a contract at 15 that transferred her music copyright and recording rights to her former company, resulting in her not receiving royalties for six years due to ongoing legal disputes [5][6]. - During her legal battle, G.E.M. held a world tour but did not benefit from the streaming revenue of her old songs, as the rights remained with her former company [7][8]. - G.E.M. released a re-recorded album to regain control over her music rights, urging fans to support this new version to diminish the value of the original recordings [11][12]. Group 2: Other Artists' Struggles - Wu Qingfeng (吴青峰) faced a similar situation, where his early contract led to a lengthy legal battle over his music rights, ultimately resulting in him urging fans not to listen to the original versions of his songs [16][17]. - Taylor Swift's experience highlights the issue of losing control over her early albums due to a contract with Big Machine Records, which sold her master recordings to a controversial figure [18][20]. - Swift's strategy of re-recording her albums has proven successful, with her re-recorded album achieving significant sales, demonstrating the potential for artists to reclaim their rights [20][22]. Group 3: Industry Insights - The article emphasizes that many artists, especially in China, often unknowingly relinquish their music rights due to a lack of understanding of contracts, particularly when signed at a young age [27][32]. - The current music industry landscape, influenced by social media and streaming, necessitates a re-evaluation of how artists negotiate their rights, as they can now promote their music independently [37][38]. - The importance of artists understanding their rights and the implications of contract terms is crucial for ensuring they do not lose long-term revenue from their works [37][40].

Core Viewpoint - The article discusses the challenges faced by artists in the music industry regarding copyright ownership, highlighting the struggles of several musicians, including G.E.M., Wu Qingfeng, and Taylor Swift, who have fought to regain control over their music rights after signing contracts that relinquished their ownership to record labels [3][4][5]. Group 1: Artist Experiences - G.E.M. signed a contract at age 15 that transferred her music copyright and recording rights to her former label, resulting in her not receiving royalties for six years due to ongoing legal disputes [4][6]. - Wu Qingfeng faced a similar situation, where he lost the rights to his music after signing a contract with a music company, leading to a lengthy legal battle to reclaim his rights [8][9]. - Taylor Swift's experience involved her original label selling her first six albums' master recordings to a controversial figure, prompting her to re-record her albums to regain control and encourage fans to support her new versions [12][13]. Group 2: Industry Practices - The article highlights the problematic nature of contracts in the music industry, particularly for young artists who may not fully understand the implications of relinquishing their rights [18][20]. - It emphasizes the shift in the music industry's revenue model, where artists now have more avenues for exposure and income, making it crucial for them to negotiate better terms regarding their rights [20][21]. - The article suggests that the current copyright structure often disadvantages artists, as many are unaware of the long-term consequences of their contracts, leading to a need for greater awareness and negotiation power among musicians [19][21].

Core Viewpoint - The dispute between G.E.M. (邓紫棋) and her former music company, Hummingbird Music, revolves around copyright issues related to her re-recorded songs and the management of her royalties, highlighting the complexities of artist contracts and copyright laws in the music industry [1][6][9]. Group 1: Hummingbird Music's Statement - Hummingbird Music issued a statement claiming that G.E.M. violated copyright laws by releasing re-recorded versions of her songs, which were created during their contract period, and demanded the removal of these songs from online platforms [1]. - The company emphasized that the rights to the songs are registered under Hummingbird Music with global copyright organizations [1]. Group 2: G.E.M.'s Response - G.E.M. responded by asserting that her re-recordings are legally justified under statutory licensing and that she has paid the necessary fees for this process [3][4]. - She highlighted that her public performance rights have been managed by the CASH association since she was 14, allowing her to legally release the re-recorded versions globally [4][8]. Group 3: Background of the Dispute - The conflict has been ongoing since 2019, when G.E.M. terminated her contract with Hummingbird Music due to alleged breaches by the company, leading to mutual lawsuits [9]. - G.E.M. expressed that she has not received any royalties for her previous works for over six years, raising concerns about the management of her rights and earnings [6][9]. Group 4: Legal and Contractual Implications - G.E.M. pointed out the distinction between copyright ownership and recording rights, explaining that while the copyright of her songs may be disputed, the rights to public performance and broadcasting belong to her due to her association with CASH [7][8]. - She also questioned Hummingbird Music's commitment to contractual obligations, asking for the settlement of her royalties and fees that have been outstanding since 2018 [5].

Core Viewpoint - G.E.M. (邓紫棋) released a re-recorded album titled "I AM GLORIA," which includes her representative works, amidst a long-standing copyright dispute with her former label, Hummingbird Music [1][5][6]. Group 1: Background of the Re-recorded Album - The re-recorded album is a response to a copyright statement issued by Hummingbird Music, which claimed ownership of over 100 songs released during G.E.M.'s contract with them [6][7]. - G.E.M. revealed that her first contract, signed at age 15, was a buyout agreement, resulting in her losing ownership of her works despite retaining the right to be credited as the author [7][8]. Group 2: Legal Framework and Challenges - G.E.M.'s legal team found a basis for re-recording under Article 42 of China's Copyright Law, allowing recording producers to use previously recorded music without the copyright owner's permission, provided they pay reasonable compensation [8][10]. - The re-recorded album allows G.E.M. to regain control over the distribution of her works' income, which had previously been a source of frustration due to the lack of royalties from her past works [10][12]. Group 3: Industry Context and Implications - The struggle for control over recording rights is a significant challenge in the music industry, where record labels typically retain ownership of the master recordings, making it difficult for artists to reclaim their rights [12][13]. - The situation reflects a broader trend in the music industry where artists are increasingly aware of their rights and are taking steps to regain control over their works, as seen with other artists like Taylor Swift [15][16]. Group 4: Artist Empowerment and Industry Evolution - G.E.M.'s actions symbolize a growing awareness among artists regarding their rights, emphasizing that music is not just a product but an extension of their identity and creative sovereignty [16][17]. - The industry is witnessing a shift where artists are challenging traditional copyright systems through re-recording, repurchasing, and independent releases, aiming to highlight the importance of creative ownership [16][17].

Core Viewpoint - The ongoing copyright dispute between G.E.M. (邓紫棋) and Hummingbird Music highlights significant issues in the music industry regarding copyright ownership, royalty distribution, and trademark rights, prompting calls for reform in industry contracts and legal frameworks [1][2][4]. Group 1: Copyright Dispute Overview - G.E.M. has not received royalties for her old songs for over six years due to a problematic contract signed at age 15, which transferred rights to 103 original songs to Hummingbird Music [1]. - The dispute has drawn attention to the complexities of music copyright, including the separation of rights among songwriters, performers, and producers, and the exploitation of vague contract terms by companies [2][3]. Group 2: Legal Framework and Solutions - The key to resolving the dispute lies in G.E.M.'s membership in the Hong Kong Composers and Authors Society (CASH), which allows her to retain certain rights over her works despite Hummingbird's claims [2]. - The flexibility of China's Copyright Law enables G.E.M. to re-record her songs without Hummingbird's permission, as long as no prohibitive statements were made during the original release [3]. Group 3: Recommendations for Industry Reform - The dispute serves as a catalyst for restructuring industry contracts, emphasizing the need for clear rights delineation, detailed royalty distribution, and proactive protection of artists' names [4][5]. - Recommendations include mandatory rights lists in contracts, differentiated royalty structures based on usage scenarios, and a dual-track system for payment and dispute resolution to ensure transparency and accountability [5][6]. - Proposals for trademark rights include ensuring that artists retain ownership of their stage names, with strict penalties for companies that attempt to register these names without consent [5][6].