How sampling transformed music | Mark Ronson

Prevoditelj: Goran Schmidt Recezent: Ivan Stamenković

I'm assuming everyone here has watched

Pretpostavljam da ste svi gledali

a TED Talk online at one time or another, right?

bar jedno TED govor online u jednom trenutku?

So what I'm going to do is play this.

Pustit ću vam nešto.

This is the song from the TED Talks online.

Ovo je glazba iz TED govora online.

(Music)

(Glazba svira)

And I'm going to slow it down

Usporit ću je

because things sound cooler when they're slower.

jer stvari zvuče više cool kad su sporije.

(Music)

(Glazba svira)

Ken Robinson: Good morning. How are you?

Ken Robinson: Dobro jutro. Kako ste?

Mark Applebaum: I'm going to -- Kate Stone: -- mix some music.

Mark Applebaum: Ja ću -- Kate Stone: -- malo miksati glazbu.

MA: I'm going to do so in a way that tells a story.

MA: To ću učiniti kao da pričam priču.

Tod Machover: Something nobody's ever heard before.

Tod Machover: Nešto što još nitko nikad nije čuo.

KS: I have a crossfader.

KS: Imam crossfader.

Julian Treasure: I call this the mixer.

Julian Treasure: Ja to zovem mikseta.

KS: Two D.J. decks.

KS: Dva DJ gramofona.

Chris Anderson: You turn up the dials, the wheel starts to turn.

Chris Anderson: Pomakneš gumb i počne se vrtjeti.

Dan Ellsey: I have always loved music.

Dan Ellsey: Oduvijek volim glazbu.

Michael Tilson Thomas: Is it a melody or a rhythm or a mood or an attitude?

Michael Tilson Thomas: Je li to melodija, ritam, ugođaj ili stav?

Daniel Wolpert: Feeling everything that's going on inside my body.

Daniel Wolpert: Osjećam sve što se događa u mom tijelu.

Adam Ockelford: In your brain is this amazing musical computer.

Adam Ockelford: U tvom mozgu nalazi se nevjerojatno glazbeno računalo.

MTT: Using computers and synthesizers to create works. It's a language that's still evolving.

MTT: Računalima i sintisajzerima stvaramo glazbu. Taj jezik još evoluira.

And the 21st century.

A 21. stoljeće.

KR: Turn on the radio. Pop into the discotheque.

KR: Upali radio. Svrati u diskoteku.

You will know what this person is doing: moving to the music.

Znat ćeš što ta osoba radi: kreće se u ritmu glazbe.

Mark Ronson: This is my favorite part.

Mark Ronson: Ovo je moj omiljeni dio.

MA: You gotta have doorstops. That's important.

MA: Morate imati stopere za vrata. To je važno.

TM: We all love music a great deal.

TM: Svi mi jako volimo glazbu.

MTT: Anthems, dance crazes, ballads and marches.

MTT: Himne, dance ludnice, balade i marševi.

Kirby Ferguson and JT: The remix: It is new music created from old music.

Kirby Ferguson i JT: Oni rade remikseve. To je nova glazba stvorena od stare.

Ryan Holladay: Blend seamlessly.

Ryan Holladay: Stopi se neprimjetno.

Kathryn Schulz: And that's how it goes.

Kathryn Schulz: I tako to ide.

MTT: What happens when the music stops?

MTT: Što se dešava kada glazba stane?

KS: Yay!

KS: To!

(Applause)

(Pljesak)

MR: Obviously, I've been watching a lot of TED Talks.

MR: Očito, gledao sam puno TED predavanja.

When I was first asked to speak at TED,

Kada su me zamolili da govorim na TED-u,

I wasn't quite sure what my angle was, at first,

nisam baš bio siguran kako da tome pristupim, isprva,

so yeah, I immediately started watching tons of TED Talks,

pa sam odmah počeo gledati hrpu TED govora,

which is pretty much absolutely

što je otprilike

the worst thing that you can do

najgore što možete učiniti

because you start to go into panic mode, thinking,

jer počnete paničariti i razmišljati,

I haven't mounted a successful expedition to the North Pole yet.

nisam još poduzeo uspješnu ekspediciju na Sjeverni pol.

Neither have I provided electricity

Nisam ni pribavio struju

to my village through sheer ingenuity.

svom selu svojim čistim genijem.

In fact, I've pretty much wasted most of my life

Zapravo, protratio sam većinu života

DJing in night clubs

kao DJ u noćnim klubovima

and producing pop records.

i producirajući pop ploče.

But I still kept watching the videos,

No i dalje sam gledao videe,

because I'm a masochist,

jer sam mazohist.

and eventually, things like Michael Tilson Thomas

Došao sam do Michaela Tilsona Thomasa

and Tod Machover, and seeing

i Toda Machovera i kada sam vidio

their visceral passion talking about music,

njihovu strast dok govore o glazbi

it definitely stirred something in me,

to je definitivno pokrenulo nešto u meni.

and I'm a sucker for anyone talking devotedly

Uvijek padam na ljude koji tako predano govore

about the power of music.

o moći glazbe.

And I started to write down on these little note cards

Počeo sam zapisivati stvari na papiriće

every time I heard something

svaki put kad bih čuo nešto

that struck a chord in me, pardon the pun,

što je zatitralo u meni neku žicu, oprostite na igri riječi,

or something that I thought I could use,

ili nešto što bih mogao iskoristiti.

and pretty soon, my studio looked like this,

Ubrzo je moj studio izgledao ovako,

kind of like a John Nash, "Beautiful Mind" vibe.

nešto kao John Nash u filmu "Beautiful Mind".

The other good thing about watching TED Talks,

Druga dobra stvar kod TED govora je,

when you see a really good one,

kada pogledate stvarno dobar govor,

you kind of all of a sudden wish the speaker

nekako iznenada poželite da je govornik

was your best friend, don't you? Like, just for a day.

vaš najbolji prijatelj, zar ne? Makar samo na jedan dan.

They seem like a nice person.

Čine se kao dobre osobe.

You'd take a bike ride, maybe share an ice cream.

Vozili biste se biciklom, možda podijelili sladoled.

You'd certainly learn a lot.

Svakako biste puno naučili.

And every now and then they'd chide you,

Povremeno bi vas izgrdili

when they got frustrated that you couldn't really

kada bi se isfrustrirali zato što ne možete

keep up with half of the technical things they're banging on about all the time.

pratiti pola tehničkih stvari o kojima non stop melju.

But then they'd remember that you're but a mere human

A onda bi se sjetili da ste samo čovjek

of ordinary, mortal intelligence

s običnom inteligencijom smrtnika

that didn't finish university,

koji nije završio fakultet.

and they'd kind of forgive you,

I oprostili bi vam

and pet you like the dog.

i pomazili vas kao psa.

(Laughter)

(Smijeh)

Man, yeah, back to the real world,

Čovječe, no, da se vratimo u stvarni svijet.

probably Sir Ken Robinson and I

Vjerojatno Sir Ken Robinson i ja

are not going to end up being best of friends.

nećemo završiti kao najbolji prijatelji.

He lives all the way in L.A. and I imagine is quite busy,

On živi čak u Los Angelesu i vjerujem da je dosta zauzet,

but through the tools available to me -- technology

no koristeći alate koji su mi dostupni -- tehnologiju

and the innate way that I approach making music --

i način na koji pristupam stvaranju glazbe --

I can sort of bully our existences

mogu nekako silom naše egzistencije

into a shared event,

spojiti u događaj koji dijelimo,

which is sort of what you saw.

što je otprilike ono što ste vidjeli.

I can hear something that I love in a piece of media

Mogu čuti nešto što mi se sviđa u nekom mediju

and I can co-opt it

i mogu to preuzeti

and insert myself in that narrative,

i ubaciti se u tu priču,

or alter it, even.

ili je čak izmijeniti.

In a nutshell, that's what I was trying to do

Ukratko, to je ono što sam pokušavao učiniti

with these things, but more importantly,

s tim stvarima, no što je još važnije,

that's what the past 30 years of music has been.

to je ono što se proteklih 30 godina u glazbi događa.

That's the major thread.

To je glavna nit.

See, 30 years ago, you had the first digital samplers,

Vidite, prije 30 godina pojavili su se prvi digitalni sempleri

and they changed everything overnight.

i sve su promijenili preko noći.

All of a sudden, artists could sample

Odjednom su glazbenici mogli semplirati

from anything and everything that came before them,

iz svega što je bilo prije njih,

from a snare drum from the Funky Meters,

od snare-bubnja Funky Metersa

to a Ron Carter bassline,

do bas-linije Rona Cartera,

the theme to "The Price Is Right."

teme iz kviza "Pogodi cijenu".

Albums like De La Soul's "3 Feet High and Rising"

Albuma poput De La Soul-ovog "3 Feet High and Rising"

and the Beastie Boys' "Paul's Boutique"

i "Paul's Boutique" Beastie Boysa

looted from decades of recorded music

krali su iz desetljeća snimljene glazbe

to create these sonic, layered masterpieces

kako bi stvorili ta zvučna, slojevita remekdjela

that were basically the Sgt. Peppers of their day.

koja su u biti bila Sgt. Pepper svog vremena.

And they weren't sampling these records

I oni nisu semplirali te snimke

because they were too lazy to write their own music.

zato što su bili prelijeni da bi pisali svoju glazbu.

They weren't sampling these records to cash in on

Nisu ih semplirali da bi zaradili

the familiarity of the original stuff.

na slavi originalnih stvari.

To be honest, it was all about sampling

Iskreno rečeno, semplirale su se

really obscure things,

najviše nepoznate stvari,

except for a few obvious exceptions

osim par očitih izuzetaka

like Vanilla Ice and "doo doo doo da da doo doo"

kao Vanilla Ice i "du du du da da du du"

that we know about.

za koje znamo.

But the thing is,

Stvar je u tome

they were sampling those records

što su semplirali te ploče

because they heard something in that music

jer su čuli nešto u toj glazbi

that spoke to them

što je za njih imalo značenje

that they instantly wanted to inject themselves

pa su se odmah htjeli ubaciti

into the narrative of that music.

u priču te glazbe.

They heard it, they wanted to be a part of it,

Čuli su je, htjeli su biti dio toga

and all of a sudden they found themselves

i odjednom su se našli

in possession of the technology to do so,

u posjedu tehnologije koja im je to omogućavala,

not much unlike the way the Delta blues

kao što se Delta blues

struck a chord with the Stones and the Beatles and Clapton,

svidio Stonesima i Beatlesima i Claptonu

and they felt the need to co-opt that music

i osjetili su potrebu preuzeti tu glazbu

for the tools of their day.

i prilagoditi je svom vremenu.

You know, in music we take something that we love

Vidite, u glazbi uzimamo ono što volimo

and we build on it.

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

To je "La Di Da Di", peta najsempliranija

song of all time.

pjesma ikada.

It's been sampled 547 times.

Semplirana je 547 puta.

It was made in 1984 by these two legends of hip-hop,

Snimili su je 1984 ove dvije legende hip-hopa,

Slick Rick and Doug E. Fresh,

Slick Rick i Doug E. Fresh,

and the Ray-Ban and Jheri curl look is so strong.

a Ray-Ban naočale i kovrče su prejake.

I do hope that comes back soon.

Nadam se da će se to vratiti u modu.

Anyway, this predated the sampling era.

Uglavnom, to je prethodilo eri sempliranja.

There were no samples in this record,

Nije bilo semplova u ovoj snimci,

although I did look up on the Internet last night,

iako sam provjerio na internetu sinoć.

I mean several months ago,

Ustvari, prije nekoliko mjeseci

that "La Di Da Di" means, it's an old

što "La Di Da Di" znači, to je stari

Cockney expression from the late 1800s in England,

Cockney izraz s kraja 19. stoljeća u Engleskoj,

so maybe a remix with Mrs. Patmore

tako da možda remiks s Mrs. Patmore

from "Downton Abbey" coming soon,

iz "Downtown Abbey" izlazi uskoro,

or that's for another day.

ili je to za budućnost.

Doug E. Fresh was the human beat box.

Doug E. Fresh je bio ljudska ritam-mašina

Slick Rick is the voice you hear on the record,

Slick Rick je glas koji čujete na snimci,

and because of Slick Rick's sing-songy,

i zahvaljujući Slick Rickovom pjevnom

super-catchy vocals, it provides endless sound bites

i super-zaraznom vokalu, to je nepresušan izvor sound biteova

and samples for future pop records.

i semplova za buduće pop ploče.

That was 1984.

To je bilo 1984.

This is me in 1984, in case you were wondering

Ovo sam ja 1984., ako ste se pitali

how I was doing, thank you for asking.

kako je meni tada bilo, hvala na pitanju

It's Throwback Thursday already.

Već je "Nostalgični četvrtak".

I was involved in a heavy love affair

Bio sam duboko zaljubljen

with the music of Duran Duran,

u glazbu Duran Durana.,

as you can probably tell from my outfit.

što možete zaključiti po mojoj odjeći.

I was in the middle.

Ja sam u sredini.

And the simplest way that I knew

I najjednostavniji način za mene

how to co-opt myself into that experience

da sudjelujem u tom iskustvu

of wanting to be in that song somehow

da se nekako ubacim u tu pjesmu

was to just get a band together of fellow nine-year-olds

bio je da okupim bend s prijateljima devetogodišnjacima

and play "Wild Boys" at the school talent show.

i sviram "Wild Boys" na školskoj priredbi.

So that's what we did, and long story short,

To smo i učinili, i da skratim priču,

we were booed off the stage,

izviždali su nas s pozornice,

and if you ever have a chance to live your life

i ako ikada budete imali šansu da u životu

escaping hearing the sound of an auditorium

izbjegnete zvuk auditorija

full of second- and third-graders booing,

punog učenika drugog i trećeg razreda kako zvižde,

I would highly recommend it. It's not really fun.

toplo bih vam to preporučio. Nije nimalo zabavno.

But it didn't really matter,

No to nije imalo veze,

because what I wanted somehow

jer sam samo htio

was to just be in the history of that song for a minute.

biti u povijesti te pjesme na jednu minutu.

I didn't care who liked it.

Nije me bilo briga kome se sviđa.

I just loved it, and I thought I could put myself in there.

Ja sam ju volio i mislio sam da mogu biti dio nje.

Over the next 10 years, "La Di Da Di"

Tijekom sljedećih 10 godina, "La Di Da Di"

continues to be sampled by countless records,

nastavlja biti semplirana na brojnim pločama

ending up on massive hits like "Here Comes the Hotstepper"

i završava sa megahitovima poput "Here Comes the Hotstepper"

and "I Wanna Sex You Up."

i "I Wanna Sex You Up."

Snoop Doggy Dogg covers this song

Snoop Doggy Dogg je obradio tu pjesmu

on his debut album "Doggystyle" and calls it "Lodi Dodi."

na svom debitantskom albumu "Doggystyle" i naziva je "Lodi Dodi."

Copyright lawyers are having a field day at this point.

Odvjetnici za copyright dolaze na svoje u tom trenutku.

And then you fast forward to 1997,

I tada premotavamo na 1997.

and the Notorious B.I.G., or Biggie,

kada Notorious B.I.G., ili Biggie,

reinterprets "La Di Da Di"

reinterpretira "La Di Da Di"

on his number one hit called "Hypnotize,"

na svom hitu "Hypnotize,"

which I will play a little bit of

koji ću vam malo odsvirati

and I will play you a little bit of the Slick Rick

a pustit ću i malo Slick Ricka

to show you where they got it from.

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

Dakle Biggie je ubijen

weeks before that song made it to number one,

koji tjedan prije nego što je ta pjesma postala broj jedan,

in one of the great tragedies of the hip-hop era,

u jednoj od velikih tragedija hip-hop ere,

but he would have been 13 years old

no imao je 13 godina

and very much alive when "La Di Da Di" first came out,

i bio vrlo živ kada je "La Di Da Di" izašla.

and as a young boy

I kao dječak

growing up in Brooklyn,

koji odrasta u Brooklynu

it's hard not to think that that song probably held

teško je ne misliti da je ta pjesma vjerojatno imala

some fond memories for him.

za njega neka draga sjećanja.

But the way he interpreted it, as you hear,

No način na koji ju je interpretirao, kao što ste čuli,

is completely his own.

je potpuno njegov.

He flips it, makes it,

Preokrenuo ju je.

there's nothing pastiche whatsoever about it.

Nema tu nikakve imitacije.

It's thoroughly modern Biggie.

To je potpuno moderni Biggie. (=velika ili važna stvar)

I had to make that joke in this room,

Morao sam ispričati tu šalu u ovoj prostoriji

because you would be the only people that I'd ever have a chance of getting it.

jer ste vi jedini ljudi kojima to mogu prodati.

And so, it's a groaner. (Laughter)

I tako, presmiješno je. (Smijeh)

Elsewhere in the pop and rap world,

Drugdje u pop i rap svijetu,

we're going a little bit sample-crazy.

malo smo poludjeli za semplovima.

We're getting away from the obscure samples that we were doing,

Odmičemo se od opskurnih semplova koje smo prije radili

and all of a sudden everyone's taking

i odjednom svi uzimaju

these massive '80s tunes like Bowie, "Let's Dance,"

hitove iz 80ih kao npr. Bowie "Let's Dance"

and all these disco records, and just rapping on them.

i sve te disko ploče i samo repamo preko njih.

These records don't really age that well.

Te ploče nisu baš u modi danas.

You don't hear them now, because they borrowed

Ne čujemo ih često jer su posuđivale

from an era that was too steeped

iz ere koja je bila previše uronjena

in its own connotation.

u svoj kontekst.

You can't just hijack nostalgia wholesale.

Ne možete samo tako oteti nostalgiju.

It leaves the listener feeling sickly.

Od toga se slušatelju smuči.

You have to take an element of those things

Morate uzeti neki element toga

and then bring something fresh and new to it,

i dodati nešto svježe i novo.

which was something that I learned

To sam naučio

when I was working with the late,

kada sam radio s pokojnom,

amazing Amy Winehouse

sjajnom Amy Winehouse

on her album "Back to Black."

na njezinom albumu "Back to Black."

A lot of fuss was made about the sonic of the album

Puno se pričalo o zvuku albuma

that myself and Salaam Remi, the other producer,

koji smo ja i Salaam Remi, drugi producent,

achieved, how we captured this long-lost sound,

postigli, kako smo uhvatili taj dugo zaboravljeni zvuk,

but without the very, very 21st-century personality

ali bez te osobnosti 21. stoljeća

and firebrand that was Amy Winehouse

i te vatrene Amy Winehouse

and her lyrics about rehab and Roger Moore

i njezinih tekstova o rehabilitaciji i Rogeru Mooru

and even a mention of Slick Rick,

i čak spominje i Slick Ricka,

the whole thing would have run the risk

cijela stvar bi riskirala

of being very pastiche, to be honest.

da bude potpuna imitacija.

Imagine any other singer from that era over it

Zamislite bilo koju drugu pjevačicu

singing the same old lyrics.

koja pjeva iste stare tekstove.

It runs a risk of being completely bland.

Moguće je da bi to bilo potpuno bezukusno.

I mean, there was no doubt that Amy

Nema sumnje da smo Amy

and I and Salaam all had this love

i ja i Salaam voljeli

for this gospel, soul and blues and jazz

gospel, soul i blues i jazz

that was evident listening to the musical arrangements.

što je očito kada slušate te glazbene aranžmane.

She brought the ingredients that made it urgent

No ona je donijela sastojke koji su sve učinili modernim

and of the time.

i suvremenim.

So if we come all the way up to the present day now,

Ako se sada vratimo u sadašnjost,

the cultural tour de force that is Miley Cyrus,

kulturna sila je Miley Cyrus.

she reinterprets "La Di Da Di"

Ona reinterpretira "La Di Da Di"

completely for her generation,

u potpunosti za svoju generaciju.

and we'll take a listen to the Slick Rick part

Poslušat ćemo dio Slick Ricka

and then see how she sort of flipped it.

i vidjeti kako ga je preokrenula.

(Music: "La Di Da Di" by Slick Rick & Doug E. Fresh)

(Glazba: "La Di Da Di" , Slick Rick & Doug E. Fresh)

(Music: "We Can't Stop" by Miley Cyrus)

(Glazba: "We Can't Stop", Miley Cyrus)

So Miley Cyrus,

Dakle, Miley Cyrus,

who wasn't even born yet when "La Di Da Di" was made,

koja nije bila ni rođena kada je nastao "La Di Da Di",

and neither were any of the co-writers on the song,

a nisu ni koautori ove pjesme,

has found this song that somehow

našla je ovu pjesmu koja je nekako

etched its way into the collective consciousness of pop music,

urezala svoj put u kolektivnu svijest pop glazbe,

and now, with its timeless playfulness of the original,

i sada, sa svojom bezvremenskom razigranošću originala

has kind of translated to a whole new generation

prevela na neki način za novu generaciju

who will probably co-opt it as their own.

koja će ju vjerojatno prihvatiti kao svoju.

Since the dawn of the sampling era,

Od samog početka ere sempliranja

there's been endless debate

vodi se beskrajna debata

about the validity of music that contains samples.

o vrijednosti glazbe koja sadrži semplove.

You know, the Grammy committee says that

Naprimjer, odbor Grammya kaže da

if your song contains some kind of pre-written

ako vaša pjesma sadrži neki oblik prethodno napisane

or pre-existing music,

ili prethodno postojeće glazbe,

you're ineligible for song of the year.

ne možete se natjecati za pjesmu godine.

Rockists, who are racist

Rokisti, to jest rasisti

but only about rock music,

u pogledu rock glazbe,

constantly use the argument to —

stalno koriste taj argument --

That's a real word. That is a real word.

To je postojeća riječ. Stvarno postoji.

They constantly use the argument to devalue rap

Stalno koriste taj argument kako bi obezvrijedili rap

and modern pop,

i moderni pop,

and these arguments completely miss the point,

a ti argumenti su potpuno promašili metu,

because the dam has burst.

zato što je brana pukla.

We live in the post-sampling era.

Mi živimo u eri poslije sempliranja.

We take the things that we love

Uzimamo stvari koje volimo

and we build on them.

i na njima gradimo.

That's just how it goes.

To je tako.

And when we really add something significant and original

A kada stvarno dodamo nešto važno i originalno

and we merge our musical journey with this,

i spojimo svoje glazbeno putovanje s tim,

then we have a chance to be

tada imamo priliku biti

a part of the evolution of that music that we love

dio evolucije glazbe koju volimo

and be linked with it once it becomes something new again.

i možemo se s njom povezati kada postane opet nova.

So I would like to do one more piece

Sada bih htio odsvirati još jednu pjesmu

that I put together for you tonight,

koju sam napravio za vas,

and it takes place with two

a odvija se sa dvije

pretty inspiring TED performances that I've seen.

prilično inspirirajuće TED izvedbe koje sam gledao.

One of them is the piano player Derek Paravicini,

Jedna od njih je pijanist Derek Paravicini,

who happens to be a blind,

koji je slijepi,

autistic genius at the piano,

autistični genij za klavirom,

and Emmanuel Jal, who is an ex-child soldier

i Emmanuel Jal, koji je bivše dijete-vojnik

from the South Sudan,

iz Južnog Sudana,

who is a spoken word poet and rapper.

koji je pjesnik govorene riječi i rapper.

And once again I found a way to annoyingly

I opet sam našao način da iritantno

me-me-me myself into the musical history

ubacim ja-ja-ja sebe u glazbenu povijest

of these songs,

tih pjesama,

but I can't help it,

no ne mogu si pomoći

because they're these things that I love,

jer su to stvari koje volim,

and I want to mess around with them.

i želim se s njima baviti.

So I hope you enjoy this. Here we go.

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)