谁真的写了厨师的食谱？

Every so often, accusations of plagiarism rip through the food industry and tumble out into public view. In 2008, Rebecca Charles, who introduced the lobster-roll restaurant to New York with Pearl Oyster Bar,sued her old sous chefEd MacFarland for stealing the concept of her restaurant with the opening of Ed’s Lobster Bar, down to her mother’s recipe for a Caesar salad made with English-muffin croutons and a coddled egg. Back in 2012, Food Network甜点首先主持人安妮·桑顿据报道，该网络发现她以太接近舒适的方式复制其他食谱的多个实例之后，失去了她的表演。食谱作者Paula Wolfert告诉Montreal Gazettethat theft of her recipes, without crediting her stories, was rampant until she sued about 25 years ago. But legal recourse is rare. For the most part, restaurant chefssnarkabout dish-stealing by chefs at other restaurants orlarge corporations- 或者至少不承认灵感 - 但更多。

更多的recently, amid accusations of moldy jams at Los Angeles’s Sqirl restaurant, owner Jessica Koslow also had to fend off a different kind of allegation: some former chefs at the restaurant accused Koslow of taking sole credit for recipes that they created. As former pastry chef Elise Fields toldEater, Koslow neglected to give her staff “any credit for the popularity of the sorrel rice bowl, or literally anything else that’s ever taken off on that menu.”

Koslow, for her part, apologized for “mistakes” but claimed that “there is an existing structure in our industry for how restaurants retain the creative recipes and techniques that many chefs contribute to the place during their employment and I will consider my part in this system as we move forward.” (In light of these revelations,亚搏电竞食品和葡萄酒亚搏电竞更改了sqirl的归因sunchoke hash recipefrom Jessica Koslow’s byline to former chef de cuisine Ria Dolly Barbosa with the agreement of both parties.)

The problems at Sqirl, in particular, seemed rooted in some staff members’ perception of her lack of culinary cred and contribution to the restaurant menu from its beginnings. Another Sqirl pastry chef, Sarah Piligian, told Eater: “I literally worked for Jessica for almost three years, and I’ve never seen her cook,” and Balo Orozoco, a former Sqirl catering chef installed at another of her restaurants, Onda, also claimed “she doesn’t cook.” In that way, from these chefs’ viewpoints, the Sqirl blow-up over recipe attribution seems to be more akin to a hypothetical situation in which restaurateurs like Danny Meyer or Maguy Le Coze told a magazine to put their names on a recipe created at one of their restaurants. Still, other unnamed Sqirl chefs told Eater that working at Sqirl was the first time they’d been paid fairly or that the claims that she couldn’t cook were misogynistic.

食谱是出了名难版权,restaurant concepts are, too—as Charles found out when she tried to create a legal precedent before settling out of court with MacFarland. While legally, recipes don’t belong to anyone, Wolfertargued that根据作者协会的说法，“您只能拥有食谱的语言，书面文字。”但是，如果没有艰苦的规则，上下文是关键，它在餐厅的传统和食谱作者的传统之间有所不同，并在此过程中涉及不同的协议，隐性或明确的人。太多了，因为许多食谱本身都借鉴了多种影响。

Read:New Era of the Recipe Burglar

“Everything I do is collaborative,” saysNew York Timesfood columnist and cookbook author Melissa Clark. “What I do is hire recipe testers. I have a recipe vision. I will type out a recipe. If something is wrong, they change it. Do they get credit at the end of the column? No. But everyone needs to be paid a fair wage, and everyone needs to be on the same page.” Clark does credit her recipe testers in the acknowledgements of her cookbooks.

很少有人会说，建议添加百里香装饰的厨师值得一提，或者每个在菜肴中输入的厨师都应该在餐厅菜单上的菜肴下方放置自己的名字。At many restaurants, particularly larger ones or those part of sprawling global behemoths, the chef de cuisine’s role is more akin to a speechwriter, who collaborates with a politician to channel their vision, but ultimately knows that part of the deal is that it is the politician, not the speechwriter, who will deliver those words on television and receive the historical attribution. In the ideal scenario, chefs de cuisine, like speechwriters, then parlay that experience into future career moves (see: Obama’s former speechwriter Jon Favreau or any number of political commentators). Holding the title of chef de cuisine or sous chef is, ipso facto, an acknowledgement of that person’s contribution of creative and technical expertise to a restaurant. Still, many chef-owners go beyond that in acknowledging the work of their staffers.

Read:你不能版权配方,但仍然存在Some Rules

在与出版物合作时，许多厨师所有者坚持认为，餐馆里的厨师因其在很大程度上负责创作的菜肴而获得了赞誉。Vice Munchies的烹饪总监Farideh Sadeghin总是问她应该将餐厅食谱归功于谁，而且厨师老板经常引用另一位厨师。在更清晰的情况下，当厨师带领整个餐厅的整个细分市场时，他们都通过与更著名的厨师和旁白的隶属关系来获得品牌建设待遇：厨师de Cuisine通常在菜单的顶部或网站上列出。Rene Redzepi与餐厅的发酵负责人David Zilber分享了旁路The Noma Guide to Fermentation，就像Yotam Ottolenghi和糕点厨师Helen Goh一样甜蜜：来自伦敦Ottolenghi的甜点。恩里克·奥尔维拉（Enrique Olvera）的Cosme，David Chang的Momofuku Kawi的Eunjo公园（Eunjo Park）以及Ana Sortun的Sarma和Sofra的Cassie Piuma等厨师都从他们在媒体上建立的老板中获得了晋升。

“I had a technique I took from Clio to Alinea to wd~50, and I never felt bitter about that—you leave your influence behind,” says Alex Stupak, now chef-owner of four restaurants in New York City, while conceding that he first became a pastry chef, in part, because it was almost the only name-building role in the kitchen other than chef-owner. “If a cook is developing something within the four walls of a place, then it’s for that place. If it’s not, then you’re making the argument that you’re making research and development for yourself on someone else’s dime.” That all said Stupak also argues that attribution helps increase team pride. “Why wouldn’t you give credit where credit is due?”

And Cal Peternell, who worked for decades at Chez Panisse, and was paid extra to do some recipe testing and development for the restaurant’s cookbooks, sees it similarly. “If the restaurant is paying you and paying for all the ingredients, then the things you’re doing there are the restaurant’s intellectual property,” says Peternell, who was credited in the acknowledgements of cookbooks to which he contributed, but didn’t see a headnote attribution as necessary for a handful of recipes. “Part of working, yeah, I’m giving them some of my intellectual property, but I’m getting a lot back. I was learning and getting better and I was giving back. I certainly feel lucky in that way.” Of course, if a chef doesn’t feel as though they are learning or gaining future opportunities or getting paid extra for recipes beyond the restaurant menu, the exchange on a cook’s salary may feel exploitative.

更常见的是，食谱盗窃案的实例往往会涉及陌生人使用食谱而没有任何信用：厨师模仿其他受欢迎的餐厅，而没有承认，博客聚合商扣押食谱或食品媒体品牌的食谱开发人员名称。亚搏电竞本·米姆斯（Ben Mims），现在是一名烹饪专栏作家Los Angeles Times,recounts that some cooking outlets would attribute a recipe to the faceless “Test Kitchen” if the developer was not a celebrity chef. He had to fight to get credit for developers in the acknowledgements page. “It’s a bigger deal now than ever,” says Mims. “You’re there to make your name. And giving proper credit, even if it’s just a recipe, can matter in quality of life and the next job you get.”

Tina Ujlaki, former executive food editor at亚搏电竞食品和美酒，亚搏电竞还推动以确保杂志测试厨房中的每个食谱都附有其主要食谱开发人员的名称，即使它是事件中瓶颈上的印刷标签。乌伊拉基说：“您应该始终在应得的信用额的地方给予信用。”“您为游泳池做出贡献了很多杂志 - 这是租用的工作。我从没想过。食谱有生命。他们有一个背景故事。”一个额外的好处是，读者知道他们正在将时间和杂货投入到他们信任的人的食谱中，以与这些食谱开发人员建立关系。

Still, Ujlaki says that the recipe world is rife with copying—Marion Cunningham’s yeast-raised waffles have appeared unattributed all over the place for years—even if there are generally accepted guidelines. “The rule has always been, if you change two ingredients, the recipe is technically yours,” says Ujlaki. “So, if you don’t list salt and pepper, and list ‘seasoning,’ is it yours?” (Other recipe developers go by the theory of changing three things, including both ingredients and techniques.)

In America, in particular, there is a grievous past to who gets their name on a printed recipe, particularly in the South, where enslaved Black men and women brought the ingredients of their homelands and created a new style of cooking with them, while they were often barred from reading and writing. The narrative of Southern food has been so weighted towards white figureheads that two books in the past five years have launched as correctives: Toni Tipton-Martin’sThe Jemima Code,记录黑人妇女在塑造南部美食和迈克尔·吐蒂的创造力和技术技巧烹饪基因。

“这是食物的帝国化。亚搏电竞食物的身份政治。亚搏电竞这是食物的色彩主义。”厨师，音乐家，作者L亚搏电竞azarus Lynch说南部厨师的儿子。“I think it’s part of the fractured history of Black Americans. We weren’t allowed to read. In the Black community, there were house negroes, who were privileged to education and nursing, and field negroes, who were not. Who holds the keys to a certain story or represents a certain ingredient or technique? This is the politics of who can share recipes and who can’t.”

On a granular level, there may not be a great transgression in one chef signing up to sell their creativity to one restaurant, particularly if the chefs are white, educated, and male and have easier access to capital and media buy-in to later build their own brands and restaurants. A larger question may be: Who gets to be a chef-owner? Who gets to be a food columnist? And who does the media seek out for recipes in the first place? As Priya Krishna and Yewande Komolafepoint out inBon Appétit,recipe writing, itself, can get whitewashed when editors assume a white audience—and perhaps that influences who is sought out to represent a culture’s culinary traditions. Stupak recounted, with great frustration, how when he opened his first restaurant in 2010 with his wife Laura Resler, who is Mexican-American and was then the pastry chef, media outlets would credit her dishes to him, despite the couple’s efforts to get her press. “I’m glad things are the way they are now,” he says of the conversations about race and gender in attribution.

When it comes to the chef recipes published in media outlets, Sadeghin acknowledges that sometimes an editor just wants a recipe from one with name recognition—not any recipe from any chef. But “part of our job in food media is to discover talent, not just to give the same people credit all the time,” she says. And that’s essential to a greater responsibility. “Naming recipes with their original titles, and not English descriptions—not dumbing it down for white audiences. It’s our job to teach, not making it always more palatable for audiences.”