How sampling transformed music | Mark Ronson

Prevodilac: Mile Živković Lektor: Vesna Savić

I'm assuming everyone here has watched

Pretpostavljam da je

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

svako ovde gledao jedan ili više TED govora, je l' tako?

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

Sad ću odsvirati ovo.

This is the song from the TED Talks online.

Ovo je pesma iz TED Talks Online.

(Music)

(Muzika)

And I'm going to slow it down

A sada ću to usporiti

because things sound cooler when they're slower.

zato što stvari zvuče mnogo više kul kada su sporije.

(Music)

(Muzika)

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 Eplbaum: Sada ću - Kejt Stoun: - izmiksovati neku muziku.

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

MA: Uradiću to tako da deluje kao priča.

Tod Machover: Something nobody's ever heard before.

Tod Mekover: Nešto što niko do sada nije čuo.

KS: I have a crossfader.

KS: Imam krosfejder.

Julian Treasure: I call this the mixer.

Džulijan Trežer: Ovo zovem mikser.

KS: Two D.J. decks.

KS: Dva gramofona.

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

Kris Anderson: Pojačajte ton, točak počne da se okreće.

Dan Ellsey: I have always loved music.

Den Elsej: Oduvek sam voleo muziku.

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

Majkl Tilson Tomas: Da li je to melodija, ritam, raspoloženje ili stav?

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

Daniel Volper: Osećam sve što se dešava u mom telu.

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

Adam Okelford: U vašem mozgu se nalazi ovaj fantastičan muzički kompjuter.

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

MTT: Kroz kompjutere i sintisajzere se stvaraju dela.

To je jezik koji se razvija.

And the 21st century.

I 21. vek.

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

KR: Uključite radio. Upadnite u diskoteku.

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

Znaćete šta radi ova osoba: pokreće se uz muziku.

Mark Ronson: This is my favorite part.

Mark Ronson: Ovo je moj omiljeni deo.

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

MA: Morate imati držač vrata. To je bitno.

TM: We all love music a great deal.

TM: Mi svi obožavamo muziku.

MTT: Anthems, dance crazes, ballads and marches.

MTT: Himne, ludi plesovi, balade i marševi.

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

Kirbi Ferguson i DžT: Remiks: To je nova muzika koja je napravljena od stare.

Ryan Holladay: Blend seamlessly.

Rajan Holadej: Spaja se neprimetno.

Ketrin Šulc: I tako to funkcioniše.

Kathryn Schulz: And that's how it goes.

MTT: What happens when the music stops?

MTT: Šta se dešava kada muzika stane?

KS: Yay!

KS: Da!

(Applause)

(Aplauz)

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

MR: Očigledno je da sam gledao puno TED govora.

When I was first asked to speak at TED,

Kada su me prvi put pitali da pričam na TEDu,

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

isprva nisam bio sasvim siguran šta mislim

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

pa sam odmah počeo da gledam gomile TED govora,

which is pretty much absolutely

što je sigurno

the worst thing that you can do

najgora stvar koju sam mogao da uradim

because you start to go into panic mode, thinking,

zato što onda krećete da paničite, razmišljate -

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

još uvek nisam organizovao uspešnu ekspediciju na Severni pol.

Neither have I provided electricity

Niti sam uspeo da sprovedem električnu energiju

to my village through sheer ingenuity.

u moje selo uz pomoć moje genijalne ideje.

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

U stvari, većinu mog života sam protraćio

DJing in night clubs

kao didžej u noćnim klubovima

and producing pop records.

i kao producent pop pesama.

But I still kept watching the videos,

Ali ja i dalje nastavljam da gledam ove video zapise,

because I'm a masochist,

zato što sam mazohista,

and eventually, things like Michael Tilson Thomas

i konačno, ljudi kao što su Majkl Tilson Tomas

and Tod Machover, and seeing

i Tod Mekover, i gledanje

their visceral passion talking about music,

njihovog strastvenog govora o muzici,

it definitely stirred something in me,

je pokrenulo nešto u meni,

and I'm a sucker for anyone talking devotedly

i ja sam lud za svakim ko posvećeno priča

about the power of music.

o snazi muzike.

And I started to write down on these little note cards

A zatim sam počeo da zapisujem na karticama

every time I heard something

svaki put kada čujem nešto

that struck a chord in me, pardon the pun,

što pogađa žicu u meni, izvinite na igri rečima,

or something that I thought I could use,

ili nešto što bih mogao da iskoristim,

and pretty soon, my studio looked like this,

i uskoro je moj studio izgledao ovako,

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

nalik na nešto poput Džona Neša u „Blistavom Umu“.

The other good thing about watching TED Talks,

Još jedna dobra stvar u gledanju TED govora

when you see a really good one,

je to što kada gledate neki baš dobar,

you kind of all of a sudden wish the speaker

odjednom poželite da je govornik

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

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

They seem like a nice person.

Deluju kao fine osobe.

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

Možda biste vozili bicikl, jeli s njima sladoled.

You'd certainly learn a lot.

Sigurno biste puno naučili.

And every now and then they'd chide you,

I povremeno bi vas kritikovali

when they got frustrated that you couldn't really

kada se iznerviraju što vi ne možete

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

da shvatite pola tehničkih stvari o kojima oni stalno blebeću.

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

Ali onda bi se setili da ste vi ipak običan čovek

of ordinary, mortal intelligence

normalne smrtničke inteligencije,

that didn't finish university,

bez završenog fakulteta,

and they'd kind of forgive you,

i onda bi vam naizgled oprostili,

and pet you like the dog.

i pomazili vas po glavi, kao psa.

(Laughter)

(Smeh)

Man, yeah, back to the real world,

Ma da, hajde da se vratimo u realni svet,

probably Sir Ken Robinson and I

verovatno Ser Ken Robinson i ja

are not going to end up being best of friends.

nikada nećemo biti najbolji prijatelji.

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

On živi skroz daleko u Los Anđelesu i mislim da je previše zauzet,

but through the tools available to me -- technology

ali uz pomoć alata koji su mi dostupni - tehnologije

and the innate way that I approach making music --

i mog jedinstvenog načina pravljenja muzike -

I can sort of bully our existences

Na neki način mogu da kompenzujem naše prisustvo

into a shared event,

u zajedničku stvar,

which is sort of what you saw.

koja je slična onome što ste prethodno videli.

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

Kada čujem nešto što mi se izuzetno dopada

and I can co-opt it

mogu da ga obradim

and insert myself in that narrative,

i ubacim sebe u tu priču

or alter it, even.

ili čak da je promenim.

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

U principu, to pokušavam da uradim

with these things, but more importantly,

sa ovim stvarima, ali mnogo važnije,

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

to je muzika postala za poslednjih trideset godina.

That's the major thread.

To je glavna okosnica.

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

Pre 30 godina, imali ste prve digitalne semplere,

and they changed everything overnight.

i oni su promenili sve preko noći.

All of a sudden, artists could sample

Odjednom, umetnici su mogli da sempluju

from anything and everything that came before them,

sve što im je dolazilo pod ruku,

from a snare drum from the Funky Meters,

od bubnjeva iz „Funky Meters“,

to a Ron Carter bassline,

preko basa Rona Kartera,

the theme to "The Price Is Right."

do teme „The Price Is Right“.

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

Albumi poput De La Soulovog „3 Feet High and Rising“

and the Beastie Boys' "Paul's Boutique"

i „Paul's Boutique“ Bisti Bojsa

looted from decades of recorded music

uzimali su iz decenija snimljene muzike

to create these sonic, layered masterpieces

kako bi se stvorila ova sonična i slojevita remek dela

that were basically the Sgt. Peppers of their day.

koja su u osnovi postala „Sgt. Peppers“ njihovog doba.

And they weren't sampling these records

A oni nisu semplovali ove ploče

because they were too lazy to write their own music.

zato što su bili previše lenji da bi napisali svoju muziku.

They weren't sampling these records to cash in on

Niti zbog novca da bi zaradili

the familiarity of the original stuff.

na osnovu sličnosti s originalnom pesmom.

To be honest, it was all about sampling

Iskreno, radilo se o semplovanju

really obscure things,

veoma retkih stvari,

except for a few obvious exceptions

osim par očiglednih eksperimenata

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

kao što je Vanila Ajs i „du du du da da du du“

that we know about.

koji poznajemo kao takav.

But the thing is,

Ali stvar je u tome

they were sampling those records

što su oni semplovali te snimke

because they heard something in that music

zato što su čuli nešto u toj muzici

that spoke to them

što im se obratilo

that they instantly wanted to inject themselves

i zbog toga su odmah želeli da se ubace

into the narrative of that music.

u njenu priču.

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

Čuli su je i poželeli da budu deo toga

and all of a sudden they found themselves

i odjednom su našli

in possession of the technology to do so,

tehnologiju koja im je to omogućila,

not much unlike the way the Delta blues

nalik načinu na koji je delta bluz

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

uticao na Stounse, Bitlse i Kleptona,

and they felt the need to co-opt that music

tako da su oni poželeli da je obrade

for the tools of their day.

s alatima njihovog doba.

You know, in music we take something that we love

Pazite, u muzici mi uzimamo nešto što volimo

and we build on it.

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

To je „La Di Da Di“ i to je peta najčešće semplovana

song of all time.

pesma svih vremena.

It's been sampled 547 times.

Ona je semplovana 547 puta.

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

Napravila su je1984. dva legendarna repera,

Slick Rick and Doug E. Fresh,

Slik Rik i Dagi Freš,

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

taj izgled s Rej Ban naočarima i trajnom je strava.

I do hope that comes back soon.

Nadam se da će se to uskoro vratiti u modu.

Anyway, this predated the sampling era.

Elem, to je praistorijska era semplovanja.

There were no samples in this record,

Na ovom snimku nema semplova,

although I did look up on the Internet last night,

iako sam sinoć pogledao na internetu,

I mean several months ago,

mislim, pre nekoliko meseci,

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

„La Di Da Di“ znači, to je stari

Cockney expression from the late 1800s in England,

kokni izraz s kraja 1800-ih u Engleskoj,

so maybe a remix with Mrs. Patmore

pa će se možda uskoro pojaviti remiks s gđom Petmor

from "Downton Abbey" coming soon,

iz serije „Downtown Abbey“,

or that's for another day.

ili će se to desiti nekog drugog dana.

Doug E. Fresh was the human beat box.

Dagi Freš je bio ljudski bitboks.

Slick Rick is the voice you hear on the record,

Slik Rik je glas sa snimka,

and because of Slick Rick's sing-songy,

glas Slik Rika je pevljiv pa zbog toga

super-catchy vocals, it provides endless sound bites

on proizvodi zarazne melodije

and samples for future pop records.

i semplove za buduće pop ploče.

That was 1984.

To je bilo 1984.

This is me in 1984, in case you were wondering

U slučaju da ste se zapitali, ovo sam ja iz 1984.

how I was doing, thank you for asking.

i bio sam dobro, hvala na pitanju.

It's Throwback Thursday already.

Već se vraćamo kroz vreme.

I was involved in a heavy love affair

Bio sam u opasnoj ljubavnoj vezi

with the music of Duran Duran,

s muzikom grupe Duran Duran,

as you can probably tell from my outfit.

što možete videti po mom stilu oblačenja.

I was in the middle.

Bio sam u sredini.

And the simplest way that I knew

Najjednostavniji način na koji sam znao

how to co-opt myself into that experience

kako da nekako budem deo tog iskustva,

of wanting to be in that song somehow

deo te pesme,

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

je da skupim bend devetogodišnjaka

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

i da sviramo „Wild Boys“ na školskoj priredbi.

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

Dakle, mi smo to učinili, i da skratim priču,

we were booed off the stage,

uz povike su nas oterali sa scene,

and if you ever have a chance to live your life

a ako u životu imate priliku

escaping hearing the sound of an auditorium

da pobegnete od publike pune osmogodišnjaka

full of second- and third-graders booing,

i devetogodišnjaka koji viču „ua“

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

toplo bih vam preporučio da to izbegnete. Nije zabavno.

But it didn't really matter,

Ali tada to nije bilo važno,

because what I wanted somehow

zato što sam u stvari želeo

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

da budem deo istorije te pesme makar na minut.

I didn't care who liked it.

Nije me bilo briga da li se nekom sviđa.

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

Meni se dopala i pomislio sam da bih i ja mogao da budem deo nje.

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

Tokom sledećih 10 godina, „La Di Da Di“

continues to be sampled by countless records,

je nebrojeno puta semplovana

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

završavajući u velikim hitovima kao što su „Here Comes The Hotstepper“

and "I Wanna Sex You Up."

i „I Wanna Sex You Up“.

Snoop Doggy Dogg covers this song

Snup Dogi Dog je obradio ovu pesmu

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

na svom prvom albumu „Doggystyle“ i zove se „Lodi Dodi“.

Copyright lawyers are having a field day at this point.

Advokati u ovom trenutku uživaju.

And then you fast forward to 1997,

A onda ubrzate ka 1997.

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

i Notorius B.I.G. ili Bigi

reinterprets "La Di Da Di"

obrađuje „La Di Da Di“

on his number one hit called "Hypnotize,"

u svom najvećem hitu „Hypnotize“,

which I will play a little bit of

čiji deo ću pustiti

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

i pustiću vam malo od Slik Rika

to show you where they got it from.

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

Dakle Bigi je ubijen nekoliko nedelja pre nego što je

weeks before that song made it to number one,

ta pesma dostigla prvo mesto na listi

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

u jednoj od najvećih tragedija hiphop ere,

but he would have been 13 years old

ali on je imao 13 godina

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

i bio prilično živ kada se „La Di Da Di“ prvi put pojavila

and as a young boy

i kao dečak,

growing up in Brooklyn,

odrastajući u Bruklinu,

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

teško je ne poverovati da mu ova pesma sigurno čuva

some fond memories for him.

neka od bitnijih sećanja.

But the way he interpreted it, as you hear,

Ali način na koji ju je obradio

is completely his own.

je potpuno njegov.

He flips it, makes it,

On je okreće, obrađuje je,

there's nothing pastiche whatsoever about it.

tu nema ničega što je kič.

It's thoroughly modern Biggie.

To je u potpunosti moderni Bigi.

I had to make that joke in this room,

Morao sam da se našalim ovde

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

jer ste vi jedini ljudi koji to shvataju.

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

Dakle, to je glupost. (Smeh)

Elsewhere in the pop and rap world,

Drugde u pop i rep svetu,

we're going a little bit sample-crazy.

mi malo ludimo u semplovanju.

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

Bežimo od nejasnih semplova koje smo radili

and all of a sudden everyone's taking

i odjednom svi preuzimaju

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

popularne pesme iz osamdesetih, kao što je Bouvijeva „Let's Dance“,

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

ili disko pesme i onda repuju na njih.

These records don't really age that well.

Ove trake ne stare baš tako dobro.

You don't hear them now, because they borrowed

Njih ne možete sada čuti jer su pozajmljene

from an era that was too steeped

iz ere koja se tada

in its own connotation.

strmoglavo razvijala.

You can't just hijack nostalgia wholesale.

Ne možete u potpunosti oteti nostalgiju cele pesme.

It leaves the listener feeling sickly.

Slušalac na taj način ostaje oštećen.

You have to take an element of those things

Morate uzeti jedan deo tih stvari,

and then bring something fresh and new to it,

a zatim mu dodati nešto sveže i novo,

which was something that I learned

što sam naučio

when I was working with the late,

dok sam radio s pokojnom

amazing Amy Winehouse

fantastičnom Ejmi Vajnhaus

on her album "Back to Black."

na njenom albumu „Back to Black“.

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

Napravila se velika fama oko zvuka albuma

that myself and Salaam Remi, the other producer,

koji smo Salam Remi, drugi producent, i ja

achieved, how we captured this long-lost sound,

postigli i kako smo uhvatili davno zaboravljeni zvuk,

but without the very, very 21st-century personality

ali bez osobenosti pravog 21. veka,

and firebrand that was Amy Winehouse

i velikog hita kao što je Ejmi Vajnhaus

and her lyrics about rehab and Roger Moore

i njene pesme o izlečenju i Rodžeru Muru

and even a mention of Slick Rick,

čak i pominjanje Slik Rika, tu je bio

the whole thing would have run the risk

prisutan veliki rizik

of being very pastiche, to be honest.

da sve to bude kič, da budem iskren.

Imagine any other singer from that era over it

Zamislite bilo kog drugog pevača iz te ere

singing the same old lyrics.

kako preko toga peva stare pesme.

It runs a risk of being completely bland.

Pojavljuje se rizik da to sve zvuči blago.

I mean, there was no doubt that Amy

Mislim, nije bilo sumnje da smo Ejmi,

and I and Salaam all had this love

Salam i ja bili

for this gospel, soul and blues and jazz

zaljubljenici u gospel, soul, bluz i džez,

that was evident listening to the musical arrangements.

što se moglo čuti u našim muzičkim aranžmanima.

She brought the ingredients that made it urgent

Ona je svojim glasom sve to začinila

and of the time.

i učinila bezvremenim.

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

Ako se vratimo u sadašnji trenutak,

the cultural tour de force that is Miley Cyrus,

trenutna pop ikona, Majli Sajrus,

she reinterprets "La Di Da Di"

obrađuje „La Di Da Di“

completely for her generation,

za njenu generaciju,

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

a mi ćemo čuti deo Slik Rika

and then see how she sort of flipped it.

i videćemo kako ga ona preokreće.

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

(Muzika: „La Di Da Di“ - Slik Rik i Dag I. Freš)

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

(Muzika: „We Can't Stop“ - Majli Sajrus)

So Miley Cyrus,

Dakle, Majli Sajrus,

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

koja čak nije bila ni rođena kada je „La Di Da Di“ bila napravljena,

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

a nisu ni saradnici na njenoj pesmi,

has found this song that somehow

ipak je smatrala ovu pesmu

etched its way into the collective consciousness of pop music,

veoma bitnom za kolektivnu svest o pop muzici

and now, with its timeless playfulness of the original,

a sada, s vanvremenskom melodijom originala

has kind of translated to a whole new generation

uspela je da je prenese potpuno novoj generaciji

who will probably co-opt it as their own.

koja će je sigurno obrađivati kao njihovu ličnu.

Since the dawn of the sampling era,

Od samih početaka ere semplovanja

there's been endless debate

postojala je beskrajna rasprava

about the validity of music that contains samples.

o kvalitetu i vrednosti muzike koja sadrži semplove.

You know, the Grammy committee says that

Znate, Gremi komisija kaže da

if your song contains some kind of pre-written

ako vaša pesma sadrži neku preispisanu

or pre-existing music,

ili prekomponovanu muziku

you're ineligible for song of the year.

vi se ne možete takmičiti za pesmu godine.

Rockists, who are racist

Rokisti, koji su rasisti

but only about rock music,

ali samo što se tiče rok muzike

constantly use the argument to —

konstantno koriste argumente -

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

to je prava reč.

They constantly use the argument to devalue rap

Oni konstantno koriste argumente kako bi obezvredili rep

and modern pop,

i moderni pop,

and these arguments completely miss the point,

a ti argumenti u potpunosti maše poentu,

because the dam has burst.

zato što je brana pukla.

We live in the post-sampling era.

Svi mi živimo u eri semplovanja.

We take the things that we love

Uzimamo stvari koje volimo

and we build on them.

i nadograđujemo ih.

That's just how it goes.

Tako to ide.

And when we really add something significant and original

I zaista dodajemo nešto jedinstveno i originalno

and we merge our musical journey with this,

i spajamo naše muzičko putovanje s tim,

then we have a chance to be

a zatim imamo šansu da budemo

a part of the evolution of that music that we love

deo evolucije te muzike koju volimo

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

i da budemo povezani s njom kada se pretvori u nešto novo.

So I would like to do one more piece

Sada bih želeo da odradim još jedno delo

that I put together for you tonight,

koje sam sastavio za vas večeras,

and it takes place with two

i sastoji se

pretty inspiring TED performances that I've seen.

od dva veoma inspirativna TED performansa koje sam odgledao.

One of them is the piano player Derek Paravicini,

U jednom učestvuju klavijaturista Derek Paravičini,

who happens to be a blind,

koji je u stvari slepi

autistic genius at the piano,

autistični genije za klavirom,

and Emmanuel Jal, who is an ex-child soldier

i Emanuel Džal, koji je nekadašnje dete vojnik

from the South Sudan,

iz Južnog Sudana,

who is a spoken word poet and rapper.

pesnik i reper.

And once again I found a way to annoyingly

I još jednom sam našao način

me-me-me myself into the musical history

da ubacim mene dosadnjakovića u muzičku istoriju

of these songs,

ovih pesama,

but I can't help it,

ali tu ne mogu ništa

because they're these things that I love,

zato što su to stvari koje volim,

and I want to mess around with them.

i zato što želim da se zezam s njima.

So I hope you enjoy this. Here we go.

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)