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.
我想在场的各位 都曾在网上看过 TED 演讲,对吧? 所以,我接下来要播放一段音乐 这是 TED 演讲的开头音乐 (( 音乐 )) 然后,我现在要放慢节奏 因为放慢节奏听更酷 (( 音乐 )) 肯 · 罗宾逊:早上好。你好吗? 马克 · 阿波保:我准备 - - 凯特 · 史东: - - 混搭一些音乐 马克・阿波保:我将以说故事的方式进行 塔德・玛卡华:一些大家从未耳闻的故事 凯特・史东:我有一台混音应用器 朱利安・崔吉:我称它混搭神器 凯特・史东:DJ 的两块板 克里斯.安德森: 你打开转盘,然後轮盘开始旋转 丹.艾尔西:我一直热爱音乐 麦可.汤玛斯: 这是旋律还是节奏,这是心情还是态度? 丹尼尔.沃尔波特: 感觉活跃於我体内的一切 雅丹.奥克福:在你大脑里, 这简直就是一台不可思议的音乐电脑 麦可.汤玛斯:利用电脑,以及合成器来创作。 这是种仍不断进化的语言 而且,在二十一世纪 肯.罗宾森:开启收音机,去夜店串门子 你就会知道这个人在干什麽:接近音乐 马克・荣森:这是我最爱的部分 马克・阿波保:我就得有门垫。这相当要紧。 塔德.马家华:我们都热爱音乐。 麦可.汤玛斯:颂歌丶舞曲丶民歌丶进行曲 克比.福吉森 / 朱利安.崔吉: 混搭曲,这是用旧歌曲创造的新音乐 莱恩.何拉迪:完美混搭 凯瑟琳.舒兹:而这就是混搭 麦可・汤玛斯:当音乐停止时,会怎麽样? 凯瑟琳・舒兹:耶~ (( 掌声 )) 看得出来,我看了很多 TED 演讲 当 TED 邀请我来演讲时, 我一开始不确定该说什麽, 所以没错,我立马开始观看一大堆的 TED 演讲 基本上,这个方法 是全世界最傻逼的方法之一 因为你开始吓自己,不断地想 我还没成功跑去北极探索过, 我也没动过大脑 为我的家乡提供电力 事实上,我将人生的大部分时间 都几乎浪费在夜店里做 DJ 以及,录制流行音乐专辑
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.
但我仍锲而不舍地,观看这些视频, 因为,我就是一个受虐狂 而且到後来,像麦可・提尔森・汤玛斯 塔德・马家华这样的人物, 看着他们满腔热情地谈论音乐, 肯定在我内心深处激起了一些想法, 我对於满腔热血谈论音乐力量的人 实在毫无招架之力 我开始在这些小小的便签纸上写下 每次我所听到的东西 敲动我的心弦,原谅我的双关语 或者,一些我想尝试的灵感 很快地,我的工作室就变成这样 有点像约翰・纳许,『 美丽心灵 』的感觉。
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)
观看 TED 演讲的另外一个好处是 当你看到一个很棒的演讲时, 你忽然会很希望这位演讲者就是 你的哥们儿,对吧?当一天好友也好 他们感觉上是很亲切的人 你们会一起骑单车,或共享一份冰淇淋 你绝对会从中受益不少 然後时不时,他们就会斥骂你 因为他们觉得很挫败,因为我们不太理解 他们时不时所分享的行家术语 但他们会记起,你不过是凡人一名 普通平凡丶智力平平 连大学都没有读完 然後,他们就原谅了你 然後就拍拍你,像安抚狗狗一样 (( 笑声 ))
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.
天哪,没错。回到现实世界 也许肯.罗宾森爵士和我 最终不会成为死党 他住在遥远的洛杉矶, 我想他非常忙碌 但透过我可利用的工具:科技 以及,我与生俱来的制作音乐的方式 - - 某种程度上,我可以将我们的存在 融入一个我们共享的事件中, 也就是大家刚刚所看到的 我可以从我喜欢的媒体作品中听出些东西 然後,我可以从中拣选 将我自己置入到那个叙事声音中 或者,甚至可以作出改变
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.
简单来说,这就是我一直尝试 利用这些东西来创作,但更重要的是 这也是过去三十年来,音乐的样貌 这就是主流 三十年前,出现了第一台数位合成器 一夜之间,全变了 忽然间,艺术家可以从以前的 任何作品中提取样本 譬如:骤停打击乐的小军鼓 荣恩・卡特的大提琴曲 『 价格竞猜 』节目的主题曲,等等 各个专辑,例如迪拉索的『上升至三英尺高 』 野兽男孩的『 保罗潮店』 抢掠几十年内,所记录下来的音乐 用来创造这些分层声波杰作 这简直就是他们 当时的「比伯军曹」(披头四专辑) 他们当时从这些音乐中取样, 并不是因为他们懒得去写自己的音乐 他们从这些音乐中取样, 也不是为了占原创者的便宜 老实说,这完全这是为了 撷取一些相当隐晦的东西, 除了一些鲜明的例子, 譬如说香草冰和「嘟嘟嘟搭搭嘟嘟」, 大家都知道 但重点是 这批人之所以从那些音乐中取样 因为,他们从那些音乐中听到了 一些触动他们的东西 让他们立马就想将自己 注入到那些音乐的诠释当中 他们听到了,他们想融入其中 然後霎时间,他们发现 自己就拥有那样做的技术 就好像「三角洲蓝调」那样 突然激起滚石乐队丶披头四和克莱普顿的心弦 然後,他们直觉需要用他们当时的工具 一起编撰那首歌曲 在音乐界,我们捡起我们喜欢的东西 我们就会亲手改造它
I'd like to play a song for you.
我想为大家播一首歌
(Music: "La Di Da Di" by Doug E. Fresh & Slick Rick)
(( 音乐:道格.佛莱许 与 Slick Rick 的 La Di Da Di ))
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.
这首歌叫 『 La Di Da Di 』 当时排名第五,最多人采样的音乐 这首歌已经被取样 547 次 这首歌是在 1984 年 由两位嘻哈传奇人物打造: Slick Rick 和 道格・佛莱许 墨镜和稀拉卷发形象非常抢眼 我真希望这个风格会再次流行
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.
不管怎样,这是发生在音乐采样的年代之前 在这张专辑没有任何取样混搭 尽管,我昨晚的确在网上搜了一下 我是说几个月前, 『 La Di Da Di 』 来自於 十八世纪晚期,英格兰地区的一种伦敦方言 之後的《唐顿庄园》说不定会出现 派特摩太太的混搭音乐, 或者,我们改天再谈这个
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.
道格・佛莱许是人肉电子节奏鼓, 而 Slick Rick 就是你在唱片上听到的那声音, 也正因为 Slick Rick 的动人歌喉 超级诱人的声线,这首歌为日後的流行音乐 提供了无限丶可取的原声和音乐样本
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.
那是 1984 的情况 这是我 1984 年的样子,如果你在想 我当时混得怎样,感谢您的关心 这好像怀旧星期四 当时我无可救药地 深深地爱上了杜兰杜兰的音乐, 你多少可以从我的穿着端倪出 我站在中间 当时我头脑简单, 想让自己以某种形式融入那首歌 我想到的最简单的方法 就是和一群同样九岁大的人组团 在学校的表演秀上,扮成「狂野男孩」 反正那些年我们做了这些事,长话短说 我们被轰下台 如果你有那麽一个机会,好好享受人生 不用在大礼堂上受罪 忍受2丶3年级学生,在台下发出嘘声 我会建议你好好享受人生,那一点都不好玩, 这也不算啥大事, 因为当时我想要的 是參與到那首歌的历史里,虽然仅短短一分钟 我并不在乎谁喜欢这首歌 我就是爱这首歌,我就想成为这首歌的一部分
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.
在接下来的十年里,La Di Da Di 一直被无数的音乐专辑取样, 摇身一变成为大众狂潮, 例如: Here Comes the Hotstepper 还有 I Wanna Sex You Up 史努比狗狗把这首歌 收录到他的首张专辑「狗狗风格」里, 把它称之为 Lodi Dodi 版权律师当时可是天天吵架 然後,你快速进入 1997 年 当时 Notorious B.I.G. 或者 Biggie 在他最热门的「催眠术」中 重新演绎了 La Di Da Di 我将会播放这首歌的其中一段, 我也会播放 Slick Rick 的其中一段, 让大家听听他们的灵感从哪来
(Music: "Hypnotize" by The Notorious B.I.G.)
(( 音乐:The Notorious B.I.G. 的「催眠术」))
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)
Biggie 後来被谋杀了 在这首歌成为冠军曲的前几周, 这也是嘻哈时代的悲剧之一, La Di Da Di 推出时, 他应该是 13 岁,活力十足 身为一名青少年, 在布鲁克林长大 很难不去想像,那首歌曲搞不好 对他而言,有说不完的美好回忆 但他演绎这首歌的方式,正如你所听到 完全就是他的个人风格 他重新量身订作这首歌曲 这首歌不是东拼西凑的二手货 这完全是现代版的 Biggie 作品 我不得不在这里讲这个笑话, 因为你们大概是唯一有机会听懂的人 好吧,这是我的无奈。(笑声)
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.
在流行音乐和饶舌音乐的世界里, 我们开始变成混搭迷 我们开始远离一直在做的隐晦取样混搭, 然後霎时间,大家都开始采用 这些80年代大众曲调,例如鲍伊的「一起跳吧」 还有所有的迪斯科音乐,用饶舌方式唱 这些音乐不太会过时 现在,大家都不再听这类音乐了 因为都从另一个年代借来的, 充满了各种的自身隐喻 你无法任意抢劫,怀旧,然後批发 这样会让听众受不了
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.
你必须从这些歌里面提取一个元素 然後,把一些新鲜的东西带进去 这也是我之前学来的东西 我当时和还在世, 非常优秀的艾美.怀丝合作 创作她的专辑《黑色会》 当时,为了这个专辑的音波 我和另一位制作人萨朗.雷米,难免有争吵 争论我们怎样捕捉这遗失很久的声音, 要是没有 21 世纪现代个性和魔力, 艾美.怀丝关於戒毒所和 罗杰.摩尔的歌词就做不到, 还有Slick Rick的元素, 这个东西就会岌岌可危, 老实说,有可能会变成一团糟 要是随意从那个时代找一个歌手 重新演唱同样的旧歌词 这有可能会被认为极度无聊 我是说,毫无疑问 艾美丶我还有萨朗都同样热爱 这样的信念丶灵魂丶蓝调和爵士乐 你听听音乐的改编,就会发现 她带进了一些元素, 使歌曲更加冲击丶更具时代意味
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.
所以,假如我们纵观历史 其中的文化代表作属於:『麦莉 · 赛勒斯』 她为她的世代 重新演绎了 La Di Da Di, 我们会先听一段 Slick Rick, 然後在看看她,如何改编这首歌 (( 音乐: Slick Rick & 道格.佛莱许的 "La Di Da Di" )) (( 音乐: 麦莉·赛勒斯的 "We Can't Stop" )) 所以,麦莉 · 赛勒斯 在 La Di Da Di 推出时,她还没出生 她那首歌的作曲人一个也未出世, 这印证这首歌某程度上 已经在流行音乐的集体回忆中 刻下了它的印记 时至今日,这首歌原作具有一种超时空玩味 并且,某程度上给新生代创造了全新演绎 让新生代自由选择改编
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.
迄音乐取样混搭的时代起 就有过无数的争论, 关於采样的音乐是否为音乐 大家知道,葛莱美奖委员会说 如果你的歌包含一些之前写过的音乐 或先前已发表过的音乐, 那就不符合歌曲提名的资格 摇滚乐歧视者 是仅歧视摇滚音乐的人, 不断使用一个论点来 - - 真的有这个单字啦 他们不断使用一个论点来 贬低说唱和现代流行音乐, 而这些论点已经毫无杀伤力, 因为,已经覆水难收 我们生活在後混搭采样的年代 我们撷取喜欢的东西, 然後,我们改造它们 这就是我们创作的方式 当我们真正地添加 一些重要原创的东西, 把我们的音乐历程与此相结合, 然後,我们有机会 成为我们所热爱的音乐进化历程之一, 并且,等到这再次成为新的东西, 我们就与此产生联系。
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.
所以,我想再播一首歌 这是我今晚为各位准备的, 这首歌的内容,来自我目前看过 两个很有新意的 TED 表演 其中一个是钢琴演奏家德:瑞克・帕拉文西尼 他是一位盲人 身患孤独症的钢琴天才 另外一位是阿曼纽・加尔 他曾是苏丹南部的童兵 他是口说艺术诗人和饶舌歌手 而且,我再次找到了一种方式 来不厌其烦地 将自己挤进这些音乐的历史 我就是忍不住这样做, 因为,这就是我热爱的东西 我想与这些东西打交道 所以,我希望大家喜欢。我们开始吧。
Let's hear that TED sound again, right?
我们再来听听 TED 的声音,好吧?
(Music)
(( 音乐 ))
Thank you very much. Thank you.
非常感谢,谢谢!
(Applause)
(( 掌声 ))