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.
我想在場各位 都曾經在網上看過 TED 演講,是吧? 接下來我要播放一段音樂。 這是 TED 演講的開頭音樂。 (音樂) 然後我要放慢節奏 因為用慢節奏聽更酷。 (音樂) 肯.羅賓森:早安,大家好。 馬克.阿波保:我要—— 凱特.史東:——混搭音樂。 馬克.阿波保:我要以敘述故事的方式進行。 塔德.馬家華:這是大家前所未聞的東西。 凱特.史東:我有台唱片平滑轉換器。 朱利安.崔吉:我稱之為混搭神器。 凱特.史東:DJ 的兩塊板。 克里斯.安德森: 你打開轉盤,然後輪盤開始轉動。 丹.艾爾西:我一直熱愛音樂。 麥可.湯瑪斯: 這是旋律還是節奏,這是心情還是態度? 丹尼爾.沃爾波特: 感覺活躍於我體內的一切。 雅丹.奧克福:在你大腦裡, 這簡直就是一台不可思議的音樂電腦。 麥可.湯瑪斯:利用電腦和合成器來創作。 這是種仍不斷進化的語言。 而且在二十一世紀。 肯.羅賓森:打開收音機,跑跑夜店。 你就會知道這個人在幹什麼:接近音樂。 馬克.榮森:這是我最喜愛的部分。 馬克.阿波保:我就得有門墊。這相當要緊。 塔德.馬家華:我們都熱愛音樂。 麥可.湯瑪斯:頌歌、舞曲、民歌、進行曲。 克比.福吉森和朱利安.崔吉: 混搭曲,這是用舊歌曲創造的新音樂。 萊恩.何拉迪:無縫混搭, 凱瑟琳.舒茲:而這就是混搭。 麥可.湯瑪斯:音樂停止時會怎麼樣? 凱瑟琳 .舒茲:耶! (掌聲) 看得出來我看了很多 TED 演講。 我剛被邀請到 TED 演講時, 一開始我不確定要說什麼, 所以沒錯,我立馬開始觀看一大堆的 TED 演講, 這個做法絕對是 你力所能及最最糟糕的事情, 因為你開始進入恐慌狀態,不斷地想 我沒有成功地到北極探索。 我亦從未單憑我的智慧 為我的村莊提供電力。 老實說,我將人生的大部分時間 浪費在夜總會裡做 DJ 和製作流行音樂唱片。
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.
但是我還是鍥而不捨地觀看這些視頻, 因為我就是一個受虐狂, 而且到了最後,像麥可.提爾森.湯瑪斯、 塔德.馬家華這樣的人物, 看著他們滿腔熱情地談論音樂, 這絕對在我內心深處激起了一些想法, 我對於滿腔熱血談論音樂力量的人 實在毫無招架之力。 我開始在這些小小的便簽紙上寫下 我每次聽到的什麼東西 敲動我的心弦,原諒我的雙關語, 或者我一想到我可以用的什麼東西, 很快,我的工作室就變成了這樣, 有點像約翰.納許《 美麗心靈》的感覺。
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)
觀看 TED 演講的另外一個好處是 當你看到一個相當了不起的演講時, 你就突然忍不住希望這位演講者 就是你的死黨,是不是?就一天也好。 他們看起來像很親切的人, 你們一起騎單車,或者分享一份冰淇淋, 你絕對會從中受益不少。 然後時不時他們就會斥罵你, 因為他們覺得很挫敗, 因為你不是很懂 他們一直甩出來的技術行話。 但是他們會記起你不過是凡人一名, 普通平凡、智力平平, 連大學都沒有讀完, 然後他們就原諒了你 然後就拍拍你,就像安撫小狗一樣。 (笑聲)
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,沒錯,回到真實世界, 也許肯.羅賓森爵士和我 最終不會成為死黨。 他住在遙遠的洛杉磯, 我想他是非常忙碌的, 但是通過我可以控制的工具——科技 以及我與生俱來的製作音樂的方式—— 某程度上我可以將我們的存在 融入一個我們共享的事件中, 也就是大家剛剛看見的那些。 我可以從我喜歡的媒體作品中聽出些東西 然後我可以挑選出來 將我自己插入到那個敘事聲音中 或者甚至可以作出改變。
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.
簡單來說,這就是我一直嘗試 利用這些東西所做的事情 但更為重要的是, 這也是過去三十年來音樂的樣貌。 這就是主線。 三十年前出現了第一台數位合成器, 一夜間改變一切。 霎時間,藝術家可以從以前的 任何作品中提取樣本, 譬如,時髦米特的小軍鼓、 榮恩.卡特的大提琴曲、 『價格競猜』節目的主題曲等。 各個專輯,例如迪拉索的「三尺高還要更高」、 野獸男孩的「保羅潮店」、 搶掠幾十年內記錄下來的音樂, 用來創造這些分層聲波傑作, 這簡直就是他們 當時的「比伯軍曹」(披頭四專輯)。 他們當時從這些音樂中取樣, 並不是因為他們懶得去寫自己的音樂。 他們從這些音樂中取樣 並不是為了從原作中賺個耳熟。 老實說,這完全這是為了 提取一些相當隱晦的東西, 一些相當明顯的例子除外, 譬如說香草冰和「嘟嘟嘟搭搭嘟嘟」, 大家都知道。 但重點是 這批人之所以從那些音樂中取樣 是因為他們從那些音樂中聽到了 一些觸動他們的東西, 讓他們立馬就想將自己 注入到那些音樂的敘述當中。 他們聽到了,他們想融入其中 然後霎時間,他們發現 自己擁有那樣做的技術, 就好像「三角洲藍調」那樣 突然激起滾石樂隊、披頭四和克萊普頓的心弦, 然後他們就直覺需要用他們當時的工具 一起編撰那首歌曲。 在音樂界我們撿起我們喜歡的東西 就馬上動手在上面進行改造。
I'd like to play a song for you.
我想為大家播一首歌。
(Music: "La Di Da Di" by Doug E. Fresh & Slick Rick)
(音樂:道格.佛萊許與 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.
這首歌叫 "La Di Da Di" 在當時最多人選取的歌曲中排名第五。 這首歌已經被取樣 547 次。 這首歌是在 1984 年 由兩位嘻哈傳奇人物創造: Slick Rick 和道格.佛萊許, 墨鏡和稀拉卷髮形象相當出眾。 我真心希望這個風格會再次流行。
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.
不管怎樣,這是發生在音樂取樣時代之前。 在這張唱片中並無任何取樣混搭, 儘管我昨晚的確在網上搜了一下, 我是說幾個月前, "La Di Da Di" 來自於 十八世紀晚期英格蘭地區的一種倫敦方言。 之後的《唐頓莊園》說不定會出現 派特摩太太的混搭音樂, 或者我們改天再談這個。
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.佛萊許是人肉電子節奏鼓, 而 Slick Rick 就是你在唱片上聽到的那聲音, 正因為 Slick Rick 美麗動人的歌喉、 超級誘人的聲帶,這首歌為日後的流行音樂 提供了無限、可取的原聲和音樂樣本。
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 的情況。 這是我 1984年的樣子,如果你在想 我那時混得怎樣,謝謝關心。 這好像懷舊星期四。 當時我不可救藥地 深深愛上了杜蘭杜蘭的音樂, 這大概你也可以從我的穿著上看出來。 我站在中間。 當時我頭腦簡單, 想讓自己以某種方式融入那首歌, 我想到的最簡單的方法 就是跟一群九歲大的同齡人組隊, 一起在學校的表演秀上扮「狂野男孩」。 這就是我們當時的日子,長話短說, 我們被轟下台了, 如果你有那麼一個機會好好活著, 不用在大禮堂上遭罪 忍受二、三年級學生在台下發出的噓聲, 我會極度建議你好好活著。那一點都不好玩。 但這沒多大關係, 因為當時我想要的 就是加入到那首歌的歷史中,雖然只是短短一分鐘。 我不在乎誰喜歡這首歌。 我就是愛這首歌,我只想將自己放入歌中。
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.
在接下來的十年裡,La Di Da Di 一直被無數的音樂專輯取樣, 搖身一變成為大眾狂潮, 例如 Here Comes the Hotstepper 還有 I Wanna Sex You Up。 史努比狗狗把這首歌 加入到他的首張專輯「狗狗風格」裡, 把它稱之為 Lodi Dodi。 版權律師這時可是吵到不行。 然後你快進到 1997 年, 當時 Notorious B.I.G. 或者 Biggie 在他最熱門的「催眠術」中 重新演繹了 La Di Da Di。 我會播放這首歌的其中一段, 我也會播放 Slick Rick 的其中一段, 讓大家聽聽他們從哪裡得來。
(Music: "Hypnotize" by The Notorious B.I.G.)
(音樂:The Notorious B.I.G. 的「催眠術」)
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 後來被謀殺了, 時間是在這首歌成為冠軍曲的前幾週, 這是嘻哈時代的悲劇之一, La Di Da Di 推出時, 他應該是 13 歲,活得好好的。 身為青少年, 出身於布魯克林, 很難不去想像那首歌曲 對他來說到底藏有多少美好記憶。 但是他演繹這首歌的方式,正如你所聽到, 完全是他的個人風格。 他改造了這首歌曲,創造了新的歌曲, 這首歌不是東拼西湊的混合物。 這完全是現代 Biggie 的作品。 我不得不在這裡講這個笑話, 因為你們大概是唯一有機會聽懂我的人。 好吧,這是我的無奈。(笑聲)
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.
在流行音樂和饒舌音樂的世界裡, 我們開始變成混搭迷。 我們開始遠離一直在做的隱晦取樣混搭, 然後霎時間,大家都開始採用 這些80年代大眾曲調,例如鮑伊的「一起跳吧」, 還有所有的迪斯科音樂,用饒舌方式唱。 這些音樂不太會過時。 現在大家都不再聽這類音樂了, 因為這是從另一個年代借來的, 充滿了自身的各種隱喻。 你不可以隨便搶劫懷舊然後批發。 這樣會讓聽眾受不了。
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.
你必須從這些歌裡面提取一個元素, 然後把一些新鮮的東西帶進去, 這也是我之前學來的東西, 那時我還在和現已逝世、 光鮮亮麗的艾美.懷絲合作 創造她的專輯《黑色會》。 當時為了這個專輯的音波, 我和另一位製作人薩朗.雷米不免有些爭吵, 爭論我們怎樣捕捉這遺失很久的聲音, 要是沒有 21 世紀現代個性和魔力, 艾美.懷絲關於戒毒所和 羅傑.摩爾的歌詞就做不到, 還有Slick Rick的元素, 這個東西就會岌岌可危, 老實說有可能會變成想到凌亂。 要是隨意從那個時代找一個歌手 重新演唱同樣的老歌詞。 這有可能會被認為極度無聊。 我是說,毫無疑問 艾美、我還有薩朗都同樣熱愛 這樣的信仰、靈魂、藍調和爵士樂, 你聽聽音樂的改編就會發現。 她帶進了一些元素, 使得歌曲更加緊迫、更具時代意味。
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.
所以如果我們縱觀歷史, 其中的文化代表作屬於麥莉.希拉, 她為同時代的人 重新演繹了 La Di Da Di, 我們會先聽一段 Slick Rick, 然後在看看她是怎樣改變這首歌。 (音樂: Slick Rick & 道格.佛萊許的 "La Di Da Di" ) (音樂: 麥莉.希拉的 "We Can't Stop") 麥莉.希拉 在"La Di Da Di" 推出時,她還沒出生, 那首歌的作曲人一個也沒出生, 她發現這首歌某程度上 已經在流行音樂的集體回憶中 刻下了它的印記, 時至今日,這首歌原作具有一種超時空玩味, 並且某程度上給新生代創造了全新演繹, 讓新生代自由選擇改編。
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.
自音樂取樣混搭時代起, 就有過無數的爭論, 爭論採用樣本的音樂算不算是音樂。 大家知道,葛萊美獎委員會說 如果你的歌包含一些之前寫過的音樂 或者之前存在過的音樂, 那麼就沒資格申請那年的歌曲提名。 搖滾樂歧視者 是僅歧視搖滾音樂的人, 不斷使用一個論點來—— 真的有這個單字啦。 他們不斷使用一個論點來 貶低說唱和現代流行音樂, 而這些論點已經完全無殺傷力, 因為水庫已經被沖開。 我們生活在後取樣混搭時代。 我選取我們喜愛的東西, 我們在此基礎上進行改造。 這就是我們的方式。 當我們真正地添加 一些重要原創的東西, 把我們的音樂歷程與此相結合, 然後我們有機會 成為我們所熱愛的音樂進化歷程之一, 並且等到這再次成為新的東西, 我們就與此產生聯繫。
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, 這是我今晚為各位準備的, 這首歌的內容 來自兩個有啟發意義的TED表演。 其中一個是鋼琴演奏家德瑞克.帕拉文西尼, 他是一位盲人, 身患孤獨症的鋼琴天才, 另外一位是阿曼紐.加爾, 他曾是蘇丹南部的童兵 他是口頭語言詩人和饒舌歌手。 而且我再次找到了一種方式 來不厭其煩地 將自己擠進這些音樂的歷史。 我就是忍不住這樣做, 因為這就是我熱愛的東西, 我想與這些東西打交道。 所以,我希望大家喜歡。我們開始吧。
Let's hear that TED sound again, right?
我們再來聽聽 TED 的聲音,好吧?
(Music)
(音樂)
Thank you very much. Thank you.
非常感謝。謝謝。
(Applause)
(掌聲)