I'm assuming everyone here has watched a TED Talk online at one time or another, right? So what I'm going to do is play this. This is the song from the TED Talks online. (Music) And I'm going to slow it down because things sound cooler when they're slower. (Music) Ken Robinson: Good morning. How are you? Mark Applebaum: I'm going to -- Kate Stone: -- mix some music. MA: I'm going to do so in a way that tells a story. Tod Machover: Something nobody's ever heard before. KS: I have a crossfader. Julian Treasure: I call this the mixer. KS: Two D.J. decks. Chris Anderson: You turn up the dials, the wheel starts to turn. Dan Ellsey: I have always loved music. Michael Tilson Thomas: Is it a melody or a rhythm or a mood or an attitude? Daniel Wolpert: Feeling everything that's going on inside my body. Adam Ockelford: In your brain is this amazing musical computer. MTT: Using computers and synthesizers to create works. It's a language that's still evolving. And the 21st century. KR: Turn on the radio. Pop into the discotheque. You will know what this person is doing: moving to the music. Mark Ronson: This is my favorite part. MA: You gotta have doorstops. That's important. TM: We all love music a great deal. MTT: Anthems, dance crazes, ballads and marches. Kirby Ferguson and JT: The remix: It is new music created from old music. Ryan Holladay: Blend seamlessly. Kathryn Schulz: And that's how it goes. MTT: What happens when the music stops? KS: Yay! (Applause) MR: Obviously, I've been watching a lot of TED Talks. When I was first asked to speak at TED, I wasn't quite sure what my angle was, at first, so yeah, I immediately started watching tons of TED Talks, which is pretty much absolutely the worst thing that you can do because you start to go into panic mode, thinking, I haven't mounted a successful expedition to the North Pole yet. Neither have I provided electricity to my village through sheer ingenuity. In fact, I've pretty much wasted most of my life DJing in night clubs and producing pop records.
Pretpostavljam da ste svi gledali bar jedno TED govor online u jednom trenutku? Pustit ću vam nešto. Ovo je glazba iz TED govora online. (Glazba svira) Usporit ću je jer stvari zvuče više cool kad su sporije. (Glazba svira) Ken Robinson: Dobro jutro. Kako ste? Mark Applebaum: Ja ću -- Kate Stone: -- malo miksati glazbu. MA: To ću učiniti kao da pričam priču. Tod Machover: Nešto što još nitko nikad nije čuo. KS: Imam crossfader. Julian Treasure: Ja to zovem mikseta. KS: Dva DJ gramofona. Chris Anderson: Pomakneš gumb i počne se vrtjeti. Dan Ellsey: Oduvijek volim glazbu. Michael Tilson Thomas: Je li to melodija, ritam, ugođaj ili stav? Daniel Wolpert: Osjećam sve što se događa u mom tijelu. Adam Ockelford: U tvom mozgu nalazi se nevjerojatno glazbeno računalo. MTT: Računalima i sintisajzerima stvaramo glazbu. Taj jezik još evoluira. A 21. stoljeće. KR: Upali radio. Svrati u diskoteku. Znat ćeš što ta osoba radi: kreće se u ritmu glazbe. Mark Ronson: Ovo je moj omiljeni dio. MA: Morate imati stopere za vrata. To je važno. TM: Svi mi jako volimo glazbu. MTT: Himne, dance ludnice, balade i marševi. Kirby Ferguson i JT: Oni rade remikseve. To je nova glazba stvorena od stare. Ryan Holladay: Stopi se neprimjetno. Kathryn Schulz: I tako to ide. MTT: Što se dešava kada glazba stane? KS: To! (Pljesak) MR: Očito, gledao sam puno TED predavanja. Kada su me zamolili da govorim na TED-u, nisam baš bio siguran kako da tome pristupim, isprva, pa sam odmah počeo gledati hrpu TED govora, što je otprilike najgore što možete učiniti jer počnete paničariti i razmišljati, nisam još poduzeo uspješnu ekspediciju na Sjeverni pol. Nisam ni pribavio struju svom selu svojim čistim genijem. Zapravo, protratio sam većinu života kao DJ u noćnim klubovima i producirajući pop ploče.
But I still kept watching the videos, because I'm a masochist, and eventually, things like Michael Tilson Thomas and Tod Machover, and seeing their visceral passion talking about music, it definitely stirred something in me, and I'm a sucker for anyone talking devotedly about the power of music. And I started to write down on these little note cards every time I heard something that struck a chord in me, pardon the pun, or something that I thought I could use, and pretty soon, my studio looked like this, kind of like a John Nash, "Beautiful Mind" vibe.
No i dalje sam gledao videe, jer sam mazohist. Došao sam do Michaela Tilsona Thomasa i Toda Machovera i kada sam vidio njihovu strast dok govore o glazbi to je definitivno pokrenulo nešto u meni. Uvijek padam na ljude koji tako predano govore o moći glazbe. Počeo sam zapisivati stvari na papiriće svaki put kad bih čuo nešto što je zatitralo u meni neku žicu, oprostite na igri riječi, ili nešto što bih mogao iskoristiti. Ubrzo je moj studio izgledao ovako, nešto kao John Nash u filmu "Beautiful Mind".
The other good thing about watching TED Talks, when you see a really good one, you kind of all of a sudden wish the speaker was your best friend, don't you? Like, just for a day. They seem like a nice person. You'd take a bike ride, maybe share an ice cream. You'd certainly learn a lot. And every now and then they'd chide you, when they got frustrated that you couldn't really keep up with half of the technical things they're banging on about all the time. But then they'd remember that you're but a mere human of ordinary, mortal intelligence that didn't finish university, and they'd kind of forgive you, and pet you like the dog. (Laughter)
Druga dobra stvar kod TED govora je, kada pogledate stvarno dobar govor, nekako iznenada poželite da je govornik vaš najbolji prijatelj, zar ne? Makar samo na jedan dan. Čine se kao dobre osobe. Vozili biste se biciklom, možda podijelili sladoled. Svakako biste puno naučili. Povremeno bi vas izgrdili kada bi se isfrustrirali zato što ne možete pratiti pola tehničkih stvari o kojima non stop melju. A onda bi se sjetili da ste samo čovjek s običnom inteligencijom smrtnika koji nije završio fakultet. I oprostili bi vam i pomazili vas kao psa. (Smijeh)
Man, yeah, back to the real world, probably Sir Ken Robinson and I are not going to end up being best of friends. He lives all the way in L.A. and I imagine is quite busy, but through the tools available to me -- technology and the innate way that I approach making music -- I can sort of bully our existences into a shared event, which is sort of what you saw. I can hear something that I love in a piece of media and I can co-opt it and insert myself in that narrative, or alter it, even.
Čovječe, no, da se vratimo u stvarni svijet. Vjerojatno Sir Ken Robinson i ja nećemo završiti kao najbolji prijatelji. On živi čak u Los Angelesu i vjerujem da je dosta zauzet, no koristeći alate koji su mi dostupni -- tehnologiju i način na koji pristupam stvaranju glazbe -- mogu nekako silom naše egzistencije spojiti u događaj koji dijelimo, što je otprilike ono što ste vidjeli. Mogu čuti nešto što mi se sviđa u nekom mediju i mogu to preuzeti i ubaciti se u tu priču, ili je čak izmijeniti.
In a nutshell, that's what I was trying to do with these things, but more importantly, that's what the past 30 years of music has been. That's the major thread. See, 30 years ago, you had the first digital samplers, and they changed everything overnight. All of a sudden, artists could sample from anything and everything that came before them, from a snare drum from the Funky Meters, to a Ron Carter bassline, the theme to "The Price Is Right." Albums like De La Soul's "3 Feet High and Rising" and the Beastie Boys' "Paul's Boutique" looted from decades of recorded music to create these sonic, layered masterpieces that were basically the Sgt. Peppers of their day. And they weren't sampling these records because they were too lazy to write their own music. They weren't sampling these records to cash in on the familiarity of the original stuff. To be honest, it was all about sampling really obscure things, except for a few obvious exceptions like Vanilla Ice and "doo doo doo da da doo doo" that we know about. But the thing is, they were sampling those records because they heard something in that music that spoke to them that they instantly wanted to inject themselves into the narrative of that music. They heard it, they wanted to be a part of it, and all of a sudden they found themselves in possession of the technology to do so, not much unlike the way the Delta blues struck a chord with the Stones and the Beatles and Clapton, and they felt the need to co-opt that music for the tools of their day. You know, in music we take something that we love and we build on it.
Ukratko, to je ono što sam pokušavao učiniti s tim stvarima, no što je još važnije, to je ono što se proteklih 30 godina u glazbi događa. To je glavna nit. Vidite, prije 30 godina pojavili su se prvi digitalni sempleri i sve su promijenili preko noći. Odjednom su glazbenici mogli semplirati iz svega što je bilo prije njih, od snare-bubnja Funky Metersa do bas-linije Rona Cartera, teme iz kviza "Pogodi cijenu". Albuma poput De La Soul-ovog "3 Feet High and Rising" i "Paul's Boutique" Beastie Boysa krali su iz desetljeća snimljene glazbe kako bi stvorili ta zvučna, slojevita remekdjela koja su u biti bila Sgt. Pepper svog vremena. I oni nisu semplirali te snimke zato što su bili prelijeni da bi pisali svoju glazbu. Nisu ih semplirali da bi zaradili na slavi originalnih stvari. Iskreno rečeno, semplirale su se najviše nepoznate stvari, osim par očitih izuzetaka kao Vanilla Ice i "du du du da da du du" za koje znamo. Stvar je u tome što su semplirali te ploče jer su čuli nešto u toj glazbi što je za njih imalo značenje pa su se odmah htjeli ubaciti u priču te glazbe. Čuli su je, htjeli su biti dio toga i odjednom su se našli u posjedu tehnologije koja im je to omogućavala, kao što se Delta blues svidio Stonesima i Beatlesima i Claptonu i osjetili su potrebu preuzeti tu glazbu i prilagoditi je svom vremenu. Vidite, u glazbi uzimamo ono što volimo i na tome gradimo.
I'd like to play a song for you.
Sad bih vam odsvirao jednu pjesmu.
(Music: "La Di Da Di" by Doug E. Fresh & Slick Rick)
(Glazba: "La Di Da Di" od Doug E. Fresha & Slick Ricka)
That's "La Di Da Di" and it's the fifth-most sampled song of all time. It's been sampled 547 times. It was made in 1984 by these two legends of hip-hop, Slick Rick and Doug E. Fresh, and the Ray-Ban and Jheri curl look is so strong. I do hope that comes back soon.
To je "La Di Da Di", peta najsempliranija pjesma ikada. Semplirana je 547 puta. Snimili su je 1984 ove dvije legende hip-hopa, Slick Rick i Doug E. Fresh, a Ray-Ban naočale i kovrče su prejake. Nadam se da će se to vratiti u modu.
Anyway, this predated the sampling era. There were no samples in this record, although I did look up on the Internet last night, I mean several months ago, that "La Di Da Di" means, it's an old Cockney expression from the late 1800s in England, so maybe a remix with Mrs. Patmore from "Downton Abbey" coming soon, or that's for another day.
Uglavnom, to je prethodilo eri sempliranja. Nije bilo semplova u ovoj snimci, iako sam provjerio na internetu sinoć. Ustvari, prije nekoliko mjeseci što "La Di Da Di" znači, to je stari Cockney izraz s kraja 19. stoljeća u Engleskoj, tako da možda remiks s Mrs. Patmore iz "Downtown Abbey" izlazi uskoro, ili je to za budućnost.
Doug E. Fresh was the human beat box. Slick Rick is the voice you hear on the record, and because of Slick Rick's sing-songy, super-catchy vocals, it provides endless sound bites and samples for future pop records.
Doug E. Fresh je bio ljudska ritam-mašina Slick Rick je glas koji čujete na snimci, i zahvaljujući Slick Rickovom pjevnom i super-zaraznom vokalu, to je nepresušan izvor sound biteova i semplova za buduće pop ploče.
That was 1984. This is me in 1984, in case you were wondering how I was doing, thank you for asking. It's Throwback Thursday already. I was involved in a heavy love affair with the music of Duran Duran, as you can probably tell from my outfit. I was in the middle. And the simplest way that I knew how to co-opt myself into that experience of wanting to be in that song somehow was to just get a band together of fellow nine-year-olds and play "Wild Boys" at the school talent show. So that's what we did, and long story short, we were booed off the stage, and if you ever have a chance to live your life escaping hearing the sound of an auditorium full of second- and third-graders booing, I would highly recommend it. It's not really fun. But it didn't really matter, because what I wanted somehow was to just be in the history of that song for a minute. I didn't care who liked it. I just loved it, and I thought I could put myself in there.
To je bilo 1984. Ovo sam ja 1984., ako ste se pitali kako je meni tada bilo, hvala na pitanju Već je "Nostalgični četvrtak". Bio sam duboko zaljubljen u glazbu Duran Durana., što možete zaključiti po mojoj odjeći. Ja sam u sredini. I najjednostavniji način za mene da sudjelujem u tom iskustvu da se nekako ubacim u tu pjesmu bio je da okupim bend s prijateljima devetogodišnjacima i sviram "Wild Boys" na školskoj priredbi. To smo i učinili, i da skratim priču, izviždali su nas s pozornice, i ako ikada budete imali šansu da u životu izbjegnete zvuk auditorija punog učenika drugog i trećeg razreda kako zvižde, toplo bih vam to preporučio. Nije nimalo zabavno. No to nije imalo veze, jer sam samo htio biti u povijesti te pjesme na jednu minutu. Nije me bilo briga kome se sviđa. Ja sam ju volio i mislio sam da mogu biti dio nje.
Over the next 10 years, "La Di Da Di" continues to be sampled by countless records, ending up on massive hits like "Here Comes the Hotstepper" and "I Wanna Sex You Up." Snoop Doggy Dogg covers this song on his debut album "Doggystyle" and calls it "Lodi Dodi." Copyright lawyers are having a field day at this point. And then you fast forward to 1997, and the Notorious B.I.G., or Biggie, reinterprets "La Di Da Di" on his number one hit called "Hypnotize," which I will play a little bit of and I will play you a little bit of the Slick Rick to show you where they got it from.
Tijekom sljedećih 10 godina, "La Di Da Di" nastavlja biti semplirana na brojnim pločama i završava sa megahitovima poput "Here Comes the Hotstepper" i "I Wanna Sex You Up." Snoop Doggy Dogg je obradio tu pjesmu na svom debitantskom albumu "Doggystyle" i naziva je "Lodi Dodi." Odvjetnici za copyright dolaze na svoje u tom trenutku. I tada premotavamo na 1997. kada Notorious B.I.G., ili Biggie, reinterpretira "La Di Da Di" na svom hitu "Hypnotize," koji ću vam malo odsvirati a pustit ću i malo Slick Ricka da vam pokažem odakle su to uzeli.
(Music: "Hypnotize" by The Notorious B.I.G.)
(Glazba: "Hypnotize" od The Notorious B.I.G.-a)
So Biggie was killed weeks before that song made it to number one, in one of the great tragedies of the hip-hop era, but he would have been 13 years old and very much alive when "La Di Da Di" first came out, and as a young boy growing up in Brooklyn, it's hard not to think that that song probably held some fond memories for him. But the way he interpreted it, as you hear, is completely his own. He flips it, makes it, there's nothing pastiche whatsoever about it. It's thoroughly modern Biggie. I had to make that joke in this room, because you would be the only people that I'd ever have a chance of getting it. And so, it's a groaner. (Laughter)
Dakle Biggie je ubijen koji tjedan prije nego što je ta pjesma postala broj jedan, u jednoj od velikih tragedija hip-hop ere, no imao je 13 godina i bio vrlo živ kada je "La Di Da Di" izašla. I kao dječak koji odrasta u Brooklynu teško je ne misliti da je ta pjesma vjerojatno imala za njega neka draga sjećanja. No način na koji ju je interpretirao, kao što ste čuli, je potpuno njegov. Preokrenuo ju je. Nema tu nikakve imitacije. To je potpuno moderni Biggie. (=velika ili važna stvar) Morao sam ispričati tu šalu u ovoj prostoriji jer ste vi jedini ljudi kojima to mogu prodati. I tako, presmiješno je. (Smijeh)
Elsewhere in the pop and rap world, we're going a little bit sample-crazy. We're getting away from the obscure samples that we were doing, and all of a sudden everyone's taking these massive '80s tunes like Bowie, "Let's Dance," and all these disco records, and just rapping on them. These records don't really age that well. You don't hear them now, because they borrowed from an era that was too steeped in its own connotation. You can't just hijack nostalgia wholesale. It leaves the listener feeling sickly.
Drugdje u pop i rap svijetu, malo smo poludjeli za semplovima. Odmičemo se od opskurnih semplova koje smo prije radili i odjednom svi uzimaju hitove iz 80ih kao npr. Bowie "Let's Dance" i sve te disko ploče i samo repamo preko njih. Te ploče nisu baš u modi danas. Ne čujemo ih često jer su posuđivale iz ere koja je bila previše uronjena u svoj kontekst. Ne možete samo tako oteti nostalgiju. Od toga se slušatelju smuči.
You have to take an element of those things and then bring something fresh and new to it, which was something that I learned when I was working with the late, amazing Amy Winehouse on her album "Back to Black." A lot of fuss was made about the sonic of the album that myself and Salaam Remi, the other producer, achieved, how we captured this long-lost sound, but without the very, very 21st-century personality and firebrand that was Amy Winehouse and her lyrics about rehab and Roger Moore and even a mention of Slick Rick, the whole thing would have run the risk of being very pastiche, to be honest. Imagine any other singer from that era over it singing the same old lyrics. It runs a risk of being completely bland. I mean, there was no doubt that Amy and I and Salaam all had this love for this gospel, soul and blues and jazz that was evident listening to the musical arrangements. She brought the ingredients that made it urgent and of the time.
Morate uzeti neki element toga i dodati nešto svježe i novo. To sam naučio kada sam radio s pokojnom, sjajnom Amy Winehouse na njezinom albumu "Back to Black." Puno se pričalo o zvuku albuma koji smo ja i Salaam Remi, drugi producent, postigli, kako smo uhvatili taj dugo zaboravljeni zvuk, ali bez te osobnosti 21. stoljeća i te vatrene Amy Winehouse i njezinih tekstova o rehabilitaciji i Rogeru Mooru i čak spominje i Slick Ricka, cijela stvar bi riskirala da bude potpuna imitacija. Zamislite bilo koju drugu pjevačicu koja pjeva iste stare tekstove. Moguće je da bi to bilo potpuno bezukusno. Nema sumnje da smo Amy i ja i Salaam voljeli gospel, soul i blues i jazz što je očito kada slušate te glazbene aranžmane. No ona je donijela sastojke koji su sve učinili modernim i suvremenim.
So if we come all the way up to the present day now, the cultural tour de force that is Miley Cyrus, she reinterprets "La Di Da Di" completely for her generation, and we'll take a listen to the Slick Rick part and then see how she sort of flipped it. (Music: "La Di Da Di" by Slick Rick & Doug E. Fresh) (Music: "We Can't Stop" by Miley Cyrus) So Miley Cyrus, who wasn't even born yet when "La Di Da Di" was made, and neither were any of the co-writers on the song, has found this song that somehow etched its way into the collective consciousness of pop music, and now, with its timeless playfulness of the original, has kind of translated to a whole new generation who will probably co-opt it as their own.
Ako se sada vratimo u sadašnjost, kulturna sila je Miley Cyrus. Ona reinterpretira "La Di Da Di" u potpunosti za svoju generaciju. Poslušat ćemo dio Slick Ricka i vidjeti kako ga je preokrenula. (Glazba: "La Di Da Di" , Slick Rick & Doug E. Fresh) (Glazba: "We Can't Stop", Miley Cyrus) Dakle, Miley Cyrus, koja nije bila ni rođena kada je nastao "La Di Da Di", a nisu ni koautori ove pjesme, našla je ovu pjesmu koja je nekako urezala svoj put u kolektivnu svijest pop glazbe, i sada, sa svojom bezvremenskom razigranošću originala prevela na neki način za novu generaciju koja će ju vjerojatno prihvatiti kao svoju.
Since the dawn of the sampling era, there's been endless debate about the validity of music that contains samples. You know, the Grammy committee says that if your song contains some kind of pre-written or pre-existing music, you're ineligible for song of the year. Rockists, who are racist but only about rock music, constantly use the argument to — That's a real word. That is a real word. They constantly use the argument to devalue rap and modern pop, and these arguments completely miss the point, because the dam has burst. We live in the post-sampling era. We take the things that we love and we build on them. That's just how it goes. And when we really add something significant and original and we merge our musical journey with this, then we have a chance to be a part of the evolution of that music that we love and be linked with it once it becomes something new again.
Od samog početka ere sempliranja vodi se beskrajna debata o vrijednosti glazbe koja sadrži semplove. Naprimjer, odbor Grammya kaže da ako vaša pjesma sadrži neki oblik prethodno napisane ili prethodno postojeće glazbe, ne možete se natjecati za pjesmu godine. Rokisti, to jest rasisti u pogledu rock glazbe, stalno koriste taj argument -- To je postojeća riječ. Stvarno postoji. Stalno koriste taj argument kako bi obezvrijedili rap i moderni pop, a ti argumenti su potpuno promašili metu, zato što je brana pukla. Mi živimo u eri poslije sempliranja. Uzimamo stvari koje volimo i na njima gradimo. To je tako. A kada stvarno dodamo nešto važno i originalno i spojimo svoje glazbeno putovanje s tim, tada imamo priliku biti dio evolucije glazbe koju volimo i možemo se s njom povezati kada postane opet nova.
So I would like to do one more piece that I put together for you tonight, and it takes place with two pretty inspiring TED performances that I've seen. One of them is the piano player Derek Paravicini, who happens to be a blind, autistic genius at the piano, and Emmanuel Jal, who is an ex-child soldier from the South Sudan, who is a spoken word poet and rapper. And once again I found a way to annoyingly me-me-me myself into the musical history of these songs, but I can't help it, because they're these things that I love, and I want to mess around with them. So I hope you enjoy this. Here we go.
Sada bih htio odsvirati još jednu pjesmu koju sam napravio za vas, a odvija se sa dvije prilično inspirirajuće TED izvedbe koje sam gledao. Jedna od njih je pijanist Derek Paravicini, koji je slijepi, autistični genij za klavirom, i Emmanuel Jal, koji je bivše dijete-vojnik iz Južnog Sudana, koji je pjesnik govorene riječi i rapper. I opet sam našao način da iritantno ubacim ja-ja-ja sebe u glazbenu povijest tih pjesama, no ne mogu si pomoći jer su to stvari koje volim, i želim se s njima baviti. Nadam se da će vam se svidjeti. Idemo.
Let's hear that TED sound again, right?
Poslušajmo opet taj TED zvuk, može?
(Music)
(Glazba)
Thank you very much. Thank you.
Hvala vam puno. Hvala.
(Applause)
(Pljesak)