The reeducation of Lauryn Hill: what makes a pop song? asks Salon (in publishing and royalties terms, that is). Interesting topic, surprisingly dull article. It might be this, says one guy. It might be that. says another. There’s a basic contradiction between musicians getting a flat-rate fee for what they do and writers getting royalty payments for what they do – i.e. the person who writes the words and melody is ‘creative’ and the person who improvises a great bassline is a ‘labourer’. The obvious solution – treat both parties as labourers – goes unmentioned.