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 je svako ovde gledao jedan ili više TED govora, je l' tako? Sad ću odsvirati ovo. Ovo je pesma iz TED Talks Online. (Muzika) A sada ću to usporiti zato što stvari zvuče mnogo više kul kada su sporije. (Muzika) Ken Robinson: Dobro jutro. Kako ste? Mark Eplbaum: Sada ću - Kejt Stoun: - izmiksovati neku muziku. MA: Uradiću to tako da deluje kao priča. Tod Mekover: Nešto što niko do sada nije čuo. KS: Imam krosfejder. Džulijan Trežer: Ovo zovem mikser. KS: Dva gramofona. Kris Anderson: Pojačajte ton, točak počne da se okreće. Den Elsej: Oduvek sam voleo muziku. Majkl Tilson Tomas: Da li je to melodija, ritam, raspoloženje ili stav? Daniel Volper: Osećam sve što se dešava u mom telu. Adam Okelford: U vašem mozgu se nalazi ovaj fantastičan muzički kompjuter. MTT: Kroz kompjutere i sintisajzere se stvaraju dela. To je jezik koji se razvija. I 21. vek. KR: Uključite radio. Upadnite u diskoteku. Znaćete šta radi ova osoba: pokreće se uz muziku. Mark Ronson: Ovo je moj omiljeni deo. MA: Morate imati držač vrata. To je bitno. TM: Mi svi obožavamo muziku. MTT: Himne, ludi plesovi, balade i marševi. Kirbi Ferguson i DžT: Remiks: To je nova muzika koja je napravljena od stare. Rajan Holadej: Spaja se neprimetno. Ketrin Šulc: I tako to funkcioniše. MTT: Šta se dešava kada muzika stane? KS: Da! (Aplauz) MR: Očigledno je da sam gledao puno TED govora. Kada su me prvi put pitali da pričam na TEDu, isprva nisam bio sasvim siguran šta mislim pa sam odmah počeo da gledam gomile TED govora, što je sigurno najgora stvar koju sam mogao da uradim zato što onda krećete da paničite, razmišljate - još uvek nisam organizovao uspešnu ekspediciju na Severni pol. Niti sam uspeo da sprovedem električnu energiju u moje selo uz pomoć moje genijalne ideje. U stvari, većinu mog života sam protraćio kao didžej u noćnim klubovima i kao producent pop pesama.
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.
Ali ja i dalje nastavljam da gledam ove video zapise, zato što sam mazohista, i konačno, ljudi kao što su Majkl Tilson Tomas i Tod Mekover, i gledanje njihovog strastvenog govora o muzici, je pokrenulo nešto u meni, i ja sam lud za svakim ko posvećeno priča o snazi muzike. A zatim sam počeo da zapisujem na karticama svaki put kada čujem nešto što pogađa žicu u meni, izvinite na igri rečima, ili nešto što bih mogao da iskoristim, i uskoro je moj studio izgledao ovako, nalik na nešto poput Džona Neša u „Blistavom Umu“.
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)
Još jedna dobra stvar u gledanju TED govora je to što kada gledate neki baš dobar, odjednom poželite da je govornik vaš najbolji prijatelj, zar ne? Makar na jedan dan. Deluju kao fine osobe. Možda biste vozili bicikl, jeli s njima sladoled. Sigurno biste puno naučili. I povremeno bi vas kritikovali kada se iznerviraju što vi ne možete da shvatite pola tehničkih stvari o kojima oni stalno blebeću. Ali onda bi se setili da ste vi ipak običan čovek normalne smrtničke inteligencije, bez završenog fakulteta, i onda bi vam naizgled oprostili, i pomazili vas po glavi, kao psa. (Smeh)
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.
Ma da, hajde da se vratimo u realni svet, verovatno Ser Ken Robinson i ja nikada nećemo biti najbolji prijatelji. On živi skroz daleko u Los Anđelesu i mislim da je previše zauzet, ali uz pomoć alata koji su mi dostupni - tehnologije i mog jedinstvenog načina pravljenja muzike - Na neki način mogu da kompenzujem naše prisustvo u zajedničku stvar, koja je slična onome što ste prethodno videli. Kada čujem nešto što mi se izuzetno dopada mogu da ga obradim i ubacim sebe u tu priču ili čak da je promenim.
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.
U principu, to pokušavam da uradim sa ovim stvarima, ali mnogo važnije, to je muzika postala za poslednjih trideset godina. To je glavna okosnica. Pre 30 godina, imali ste prve digitalne semplere, i oni su promenili sve preko noći. Odjednom, umetnici su mogli da sempluju sve što im je dolazilo pod ruku, od bubnjeva iz „Funky Meters“, preko basa Rona Kartera, do teme „The Price Is Right“. Albumi poput De La Soulovog „3 Feet High and Rising“ i „Paul's Boutique“ Bisti Bojsa uzimali su iz decenija snimljene muzike kako bi se stvorila ova sonična i slojevita remek dela koja su u osnovi postala „Sgt. Peppers“ njihovog doba. A oni nisu semplovali ove ploče zato što su bili previše lenji da bi napisali svoju muziku. Niti zbog novca da bi zaradili na osnovu sličnosti s originalnom pesmom. Iskreno, radilo se o semplovanju veoma retkih stvari, osim par očiglednih eksperimenata kao što je Vanila Ajs i „du du du da da du du“ koji poznajemo kao takav. Ali stvar je u tome što su oni semplovali te snimke zato što su čuli nešto u toj muzici što im se obratilo i zbog toga su odmah želeli da se ubace u njenu priču. Čuli su je i poželeli da budu deo toga i odjednom su našli tehnologiju koja im je to omogućila, nalik načinu na koji je delta bluz uticao na Stounse, Bitlse i Kleptona, tako da su oni poželeli da je obrade s alatima njihovog doba. Pazite, u muzici mi uzimamo nešto što volimo i to obrađujemo.
I'd like to play a song for you.
Želeo bih da nešto odsviram za vas.
(Music: "La Di Da Di" by Doug E. Fresh & Slick Rick)
(Muzika: „La Di Da Di“, Dagi Freš i Slik Rik)
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“ i to je peta najčešće semplovana pesma svih vremena. Ona je semplovana 547 puta. Napravila su je1984. dva legendarna repera, Slik Rik i Dagi Freš, taj izgled s Rej Ban naočarima i trajnom je strava. Nadam se da će se to uskoro 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.
Elem, to je praistorijska era semplovanja. Na ovom snimku nema semplova, iako sam sinoć pogledao na internetu, mislim, pre nekoliko meseci, „La Di Da Di“ znači, to je stari kokni izraz s kraja 1800-ih u Engleskoj, pa će se možda uskoro pojaviti remiks s gđom Petmor iz serije „Downtown Abbey“, ili će se to desiti nekog drugog dana.
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.
Dagi Freš je bio ljudski bitboks. Slik Rik je glas sa snimka, glas Slik Rika je pevljiv pa zbog toga on proizvodi zarazne melodije i semplove 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. U slučaju da ste se zapitali, ovo sam ja iz 1984. i bio sam dobro, hvala na pitanju. Već se vraćamo kroz vreme. Bio sam u opasnoj ljubavnoj vezi s muzikom grupe Duran Duran, što možete videti po mom stilu oblačenja. Bio sam u sredini. Najjednostavniji način na koji sam znao kako da nekako budem deo tog iskustva, deo te pesme, je da skupim bend devetogodišnjaka i da sviramo „Wild Boys“ na školskoj priredbi. Dakle, mi smo to učinili, i da skratim priču, uz povike su nas oterali sa scene, a ako u životu imate priliku da pobegnete od publike pune osmogodišnjaka i devetogodišnjaka koji viču „ua“ toplo bih vam preporučio da to izbegnete. Nije zabavno. Ali tada to nije bilo važno, zato što sam u stvari želeo da budem deo istorije te pesme makar na minut. Nije me bilo briga da li se nekom sviđa. Meni se dopala i pomislio sam da bih i ja mogao da budem deo 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.
Tokom sledećih 10 godina, „La Di Da Di“ je nebrojeno puta semplovana završavajući u velikim hitovima kao što su „Here Comes The Hotstepper“ i „I Wanna Sex You Up“. Snup Dogi Dog je obradio ovu pesmu na svom prvom albumu „Doggystyle“ i zove se „Lodi Dodi“. Advokati u ovom trenutku uživaju. A onda ubrzate ka 1997. i Notorius B.I.G. ili Bigi obrađuje „La Di Da Di“ u svom najvećem hitu „Hypnotize“, čiji deo ću pustiti i pustiću vam malo od Slik Rika da bih vam pokazao odakle su to uzeli.
(Music: "Hypnotize" by The Notorious B.I.G.)
(Muzika: „Hypnotize“ - The Notorious B.I.G.)
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 Bigi je ubijen nekoliko nedelja pre nego što je ta pesma dostigla prvo mesto na listi u jednoj od najvećih tragedija hiphop ere, ali on je imao 13 godina i bio prilično živ kada se „La Di Da Di“ prvi put pojavila i kao dečak, odrastajući u Bruklinu, teško je ne poverovati da mu ova pesma sigurno čuva neka od bitnijih sećanja. Ali način na koji ju je obradio je potpuno njegov. On je okreće, obrađuje je, tu nema ničega što je kič. To je u potpunosti moderni Bigi. Morao sam da se našalim ovde jer ste vi jedini ljudi koji to shvataju. Dakle, to je glupost. (Smeh)
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.
Drugde u pop i rep svetu, mi malo ludimo u semplovanju. Bežimo od nejasnih semplova koje smo radili i odjednom svi preuzimaju popularne pesme iz osamdesetih, kao što je Bouvijeva „Let's Dance“, ili disko pesme i onda repuju na njih. Ove trake ne stare baš tako dobro. Njih ne možete sada čuti jer su pozajmljene iz ere koja se tada strmoglavo razvijala. Ne možete u potpunosti oteti nostalgiju cele pesme. Slušalac na taj način ostaje oštećen.
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 jedan deo tih stvari, a zatim mu dodati nešto sveže i novo, što sam naučio dok sam radio s pokojnom fantastičnom Ejmi Vajnhaus na njenom albumu „Back to Black“. Napravila se velika fama oko zvuka albuma koji smo Salam Remi, drugi producent, i ja postigli i kako smo uhvatili davno zaboravljeni zvuk, ali bez osobenosti pravog 21. veka, i velikog hita kao što je Ejmi Vajnhaus i njene pesme o izlečenju i Rodžeru Muru čak i pominjanje Slik Rika, tu je bio prisutan veliki rizik da sve to bude kič, da budem iskren. Zamislite bilo kog drugog pevača iz te ere kako preko toga peva stare pesme. Pojavljuje se rizik da to sve zvuči blago. Mislim, nije bilo sumnje da smo Ejmi, Salam i ja bili zaljubljenici u gospel, soul, bluz i džez, što se moglo čuti u našim muzičkim aranžmanima. Ona je svojim glasom sve to začinila i učinila bezvremenim.
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 vratimo u sadašnji trenutak, trenutna pop ikona, Majli Sajrus, obrađuje „La Di Da Di“ za njenu generaciju, a mi ćemo čuti deo Slik Rika i videćemo kako ga ona preokreće. (Muzika: „La Di Da Di“ - Slik Rik i Dag I. Freš) (Muzika: „We Can't Stop“ - Majli Sajrus) Dakle, Majli Sajrus, koja čak nije bila ni rođena kada je „La Di Da Di“ bila napravljena, a nisu ni saradnici na njenoj pesmi, ipak je smatrala ovu pesmu veoma bitnom za kolektivnu svest o pop muzici a sada, s vanvremenskom melodijom originala uspela je da je prenese potpuno novoj generaciji koja će je sigurno obrađivati kao njihovu ličnu.
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 samih početaka ere semplovanja postojala je beskrajna rasprava o kvalitetu i vrednosti muzike koja sadrži semplove. Znate, Gremi komisija kaže da ako vaša pesma sadrži neku preispisanu ili prekomponovanu muziku vi se ne možete takmičiti za pesmu godine. Rokisti, koji su rasisti ali samo što se tiče rok muzike konstantno koriste argumente - to je prava reč. Oni konstantno koriste argumente kako bi obezvredili rep i moderni pop, a ti argumenti u potpunosti maše poentu, zato što je brana pukla. Svi mi živimo u eri semplovanja. Uzimamo stvari koje volimo i nadograđujemo ih. Tako to ide. I zaista dodajemo nešto jedinstveno i originalno i spajamo naše muzičko putovanje s tim, a zatim imamo šansu da budemo deo evolucije te muzike koju volimo i da budemo povezani s njom kada se pretvori u nešto novo.
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 želeo da odradim još jedno delo koje sam sastavio za vas večeras, i sastoji se od dva veoma inspirativna TED performansa koje sam odgledao. U jednom učestvuju klavijaturista Derek Paravičini, koji je u stvari slepi autistični genije za klavirom, i Emanuel Džal, koji je nekadašnje dete vojnik iz Južnog Sudana, pesnik i reper. I još jednom sam našao način da ubacim mene dosadnjakovića u muzičku istoriju ovih pesama, ali tu ne mogu ništa zato što su to stvari koje volim, i zato što želim da se zezam s njima. Nadam se da ćete uživati. Izvolite, počinjemo.
Let's hear that TED sound again, right?
Hajde još jednom da čujemo taj TED zvuk.
(Music)
(Muzika)
Thank you very much. Thank you.
Hvala vam mnogo. Hvala.
(Applause)
(Aplauz)