How to build a thriving music scene in your city | Elizabeth Cawein

譯者: Val Zhang 審譯者: Wilde Luo

Each of these songs represents a scene, a movement,

（剛剛所提到的）每一首歌， 都代表了一種情景、一場運動，

in some cases, a sonic revolution

有些情況下，代表一場聲音上的革命，

that completely altered the course of popular music.

完全改變了流行音樂的軌道。

They're all also calling cards, almost, for those cities,

它們也幾乎是那些城市的名片，

songs totally linked with their city's identity,

那些歌曲和城市的個性 完全連結在一起，

and it might be why you probably consider them to be music cities.

這也是你可能會認為那些 城市是「音樂城市」的原因。

Now, the magical mythical thing, the thing we kind of all love

這種事，有其魔幻而又神秘的一點，

同樣也是大家都喜聞樂見的，

about stories like these

is that those cities weren't doing anything in particular

那就是，那些城市並沒有 特意做什麼來給人以如此印象。

to make those moments happen.

There's no formula for capturing lightning in a bottle.

世界上沒有捕捉靈感的公式，

A formula didn't give us grunge music

公式不會給我們帶來油漬搖滾樂，

or introduce Tupac to Dr. Dre,

也不會讓 Dr. Dre 與 Tupac 強強聯手，

and there's definitely no blueprint for how to open your record business

肯定也沒有藍圖會說明要如何

in a South Memphis neighborhood

在南曼非斯的街區經營唱片事業，

that, turns out, is home to Booker T. Jones,

那裡正是布克 · T · 瓊斯、

William Bell and Albert King.

威廉 · 貝爾和艾爾伯特 · 金的家鄉。

So this is just something that happens, then, right?

所以事情就是這樣 偶然發生了，對吧？

When the stars perfectly align,

若天公作美，

great music just happens.

偉大的音樂就會湧現。

And in the meantime, New York and Nashville

同時，紐約和納許維爾

can churn out the hits that come through our radios,

可以大量生產出 收音機上的熱門金曲，

define our generations

定義我們的世代，

and soundtrack our weddings and our funerals

為我們的婚禮和葬禮

and everything in between.

以及人生中的其他時刻進行配樂。

Well, I don't know about you,

我不知道你們覺得如何，

but the very idea of that is just deadly boring to me.

但我覺得這樣的想法 實在無聊得要命。

There are musicians all around you, making powerful, important music,

你們身邊到處都有音樂家， 創作出動人心弦、有影響力的音樂，

and thanks to the internet and its limitless possibilities

受益於網路，

創作者創作音樂、 粉絲發現音樂的方式，

for creators to create music

and fans to discover that music,

有著無限的可能性，

those zeitgeist songs don't have to be handed down to us

因此，那些具有時代 代表性的歌曲不再遙不可及；

from some conference room full of songwriters

要欣賞音樂，不必親臨大雅之堂。

in a corporate high-rise.

But also, and more importantly,

但更重要的是，

we can't decide that it's just something that happens,

我們無法自作主張斷定它是偶發的，

because music is about so much more than hits,

因為音樂，遠不止於熱門金曲，

those big, iconic moments that change everything.

那些重大、代表性的時刻改變一切。

It's more than just entertainment.

音樂不只是娛樂。

For so many of us,

對我們許多人而言，

music is truly a way to navigate life.

音樂真的是一種探索人生的方式。

A means of self-expression, sure,

當然它是一種表達自我的方式，

but it also helps us find our self-worth and figure out who we are.

但它也協助我們 找到自我價值、理解自己。

It connects us with other people as almost nothing else can,

它能以無與倫比的方式， 將我們與他人連結，

across language barriers,

跨越語言的障礙，

across social and cultural and economic divides.

跨越社會、文化和經濟的分歧。

Music makes us smarter and healthier and happier.

音樂讓我們變得 更聰明、健康和快樂。

Music is necessary.

音樂是不可或缺的。

What if you lived in a city that believed that,

如果你所住的城市 相信這一點，會如何？

that said, "We're not waiting for that hit song to define us.

它相信：「我們不會等著 熱門金曲來定義我們，

We're a music city because music is necessary."

我們是『音樂城市』， 因為音樂是不可或缺的。」

By seeing music as necessary, a city can build two things:

當城市認為音樂不可或缺， 就能建立兩樣東西：

first, an ecosystem to support the development of professional musicians

第一：商業生態系統，

能支持專業音樂家 以及音樂事業的發展；

and music business;

and second, a receptive and engaged audience to sustain them.

第二：思想開明、熱心投入的觀眾， 來支撐音樂的發展。

And those are the two critical elements of a music city,

這兩個元素是音樂城市的關鍵元素，

a city whose leaders recognize the importance of music

音樂城市的領袖認可音樂的重要性：

對於我們的個人發展、

for our development as individuals,

對於社區之間的連結，

our connection as a community

對於構建生氣盎然的居住環境， 音樂都有著深厚影響。

and our viability as a vibrant place to live.

See, smart cities, music cities,

智慧城市、音樂城市都懂得：

know that thriving nightlife, a creative class, culture

繁華熱鬧的夜生活， 有創意的團體、文化，

is what attracts young, talented people to cities.

能夠吸引有才華的年輕人來到城市。

It's what brings that lightning.

「靈感」源於此處。

And no, we can't predict the next egg that will hatch,

當然，我們不能預測接下來 哪個蛋會「孵出小鷄」（取得成果），

but we can create a city that acts like an incubator.

但我們能創造像孵化器一樣的城市。

To do that, first, we've got to know what we've got.

若要做到這一點，首先， 我們得要知道我們有什麼。

That means identifying and quantifying our assets.

那就意味著要辨識出 我們的資產並將之量化。

We need to know them backward and forward,

我們得要對它們有徹頭徹尾的了解，

from who and what and where they are to what their impact is on the economy.

從它們是什麽人、什麼事物、 在哪裡，到它們對於經濟的影響。

Let's count our recording studios and our record labels,

讓我們來計算我們的 錄音室和唱片公司的數目、

our historic landmarks and our hard-core punk clubs.

歷史地標數目及硬蕊龐克俱樂部數目。

We should count monthly free jazz nights and weekly folk jams,

我們應該計算每個月有多少免費的 爵士之夜、每週有多少民俗音樂表演，

music schools, artist development, instrument shops,

計算有多少音樂學校、 藝術家發展計畫、樂器行、

every lathe and every luthier,

車床、製琴師、

music museums open year round

全年開放的音樂博物館，

and music festivals open just one weekend a year.

以及一年一度在某個 週末舉行的音樂藝術節。

Now, ideally through this process, we'll create an actual asset map,

理想上，透過這樣的過程， 我們就能創造出一張資產地圖，

dropping a pin for each one,

將每項資產在地圖上標示出來，

allowing us to see exactly what we've got

讓我們能清楚看見我們有什麼，

and where organic momentum is already happening.

以及哪些地方正在蓬勃發展。

Because it's not enough to paint in broad strokes here.

因為光是整體性的粗略描述並不夠。

When it comes to specific support for music locally

當要給當地的音樂事業特定的支援，

and a broad understanding of a music brand nationally,

並充分了解一個音樂品牌 在整個國家中的情況，

you've got to have the receipts.

你必須要有收入才能做到。

Next, we'll need to identify our challenges.

接著，我們需要確定面臨的挑戰。

Now, it's important to know that, for the most part,

關鍵在於，我們要懂得， 在大多數情況下，

比起第一步看我們有什麽， 這一步並不只是看我們沒有什麽。

this won't be just the opposite of step one.

We won't gain a whole lot

如果只是簡單思考 我們的地圖中缺少了什麼，

by simply thinking about what's missing from our map.

我們不會有太多收穫。

Instead, we need to approach this more holistically.

取而代之，我們要用 更全面的方式來檢視。

There are lots of music venues on our map.

在我們的地圖上 有許多音樂展演場地。

Awesome.

這很棒。

But are they struggling?

但它們是否經營困難呢？

Do we have a venue ladder,

我們的表演場地有不同的等級劃分嗎？

which just means, can an artist starting out at a coffee house open mic

也就是，藝術家在咖啡館 進行素人現場即興表演時，

see a clear path for how they'll grow

是否能看到一條清晰的成長道路，

from that 25-seat room to a hundred-seat room and so on?

從 25 個席位的場地，推進到 100 個席位的場地，以此類推？

Or are we expecting them to go from a coffeehouse to a coliseum?

或者我們預期他們會 從咖啡館前進到大型體育館？

Maybe our challenges lie in city infrastructure:

也許我們的挑戰是在 城市的基礎設施方面：

public transportation, affordable housing.

公共運輸、可負擔的房價。

Maybe, like in London,

也許，就像在倫敦，

where the number of music venues went from 400 in 2010

音樂展演場地的數目 從 2010 年的 400 個場地，

to 100 in 2015,

降到 2015 年的 100 個場地，

we need to think about protections against gentrification.

我們必須要思考保護措施 對抗高檔化。

The mayor of London, in December of last year,

去年 12 月，倫敦的市長

actually added something called the "Agent of Change" principle

在該市的綜合計畫中加上了

所謂的「改變的推動力量」原則。

to the city's comprehensive plan.

And the name says it all.

這名字就說明了一切。

If a real-estate developer wants to build condos

如果不動產開發商 想要把公寓大樓建立在

next to an existing music venue,

一個既有的音樂展演場地旁邊，

the developer is the agent of change.

這個開發商就成了改變的推動力量。

They have to take the necessary steps for noise mitigation.

他們得要採取必要的步驟， 來將噪音降至最低。

Next, and this is a very big one,

接著，這點非常重要，

we need leadership, and we need a strategy.

我們需要領袖，以及策略。

Now we know there's a lot of magic in this mix:

我們知道在這個組合當中 需要許多的幸運魔法：

a lot of right people, right place, right time.

許多對的人、對的地方、對的時間。

And that will never stop being an important element

就創造音樂的方式來說，

of the way music is made,

那永遠都會是重要的元素，

the way some of the best, most enduring music is made.

一些最棒、最歷久不衰的音樂 就是這樣創造出來的。

But there cannot be a leadership vacuum.

但領袖的位子不能空缺著。

In 2018, thriving music cities don't often happen

2018 年，繁榮的音樂城市或許不常見，

and don't have to happen accidentally.

也不再只能偶然發生。

We need elected officials who recognize the power of music

我們需要那些清楚地 認識到音樂的力量、

and elevate the voices of creatives,

提升創作者的發言權的民選官員，

and they're ready to put a strategy in place.

且他們已經準備好 實施某種策略了。

In music cities, from Berlin to Paris to Bogotá,

在音樂城市， 從柏林到巴黎，再到波哥大，

music advisory councils

音樂諮詢委員會

ensure that musicians have a seat at the table.

會確保音樂家也能夠參與會議。

They're volunteer councils,

他們是自願的委員會，

and they work directly with a designated advocate

在市政廳內部，甚至是商會裏，

inside of city hall or even the chamber of commerce.

他們直接與指定的宣導者合作。

The strongest strategies will build music community supports like this one inward

最有力的對策，是從內部 建立像這樣的音樂社區支持，

while also exporting music outward.

同時還向外輸出音樂。

They go hand in hand.

他們攜手共進。

When we look inward, we create that place that musicians want to live.

當我們向內探索時，我們 能創造音樂家想要生活的地方。

And when we look outward,

當我們向外探索時，

we build opportunities for them to advance their career

我們為他們創造機會 來發展他們的事業，

while also driving attention back to our city

同時也把注意力轉移到我們的城市

and leveraging music as a talent-attraction tool.

利用音樂作為吸引人才的工具。

And here's something else that will help with that:

還有其他的東西也可以有所幫助：

we've got to figure out who we are.

我們必須弄清楚我們是誰。

Now, when I say Austin,

當我說到「奧斯丁」，

you probably think "live music capital."

你可能想到：「現場音樂之都」

And why?

為什麼？

Because in 1991, leadership in Austin saw something percolating

因為在 1991 年，奧斯丁的領袖 結合既有的資產，看到了一種趨勢，

with an existing asset, and they chose to own it.

他們決定抓住機遇。

By recognizing that momentum, naming it and claiming it,

透過察覺那些市場動力， 指出它，並設法獲取它，

they inevitably caused more live music venues to open,

自然而然地，他們讓更多的 現場音樂場地開放，

existing spaces to add live music to their repertoire,

已有場地的節目單上 也添上了現場音樂，

and they created a swell of civic buy-in around the idea,

他們成功地使得大量 市民為這個主意買單，

which meant that it wasn't just a slogan in some tourism pamphlet.

這代表，這並不只是旅遊 手冊上的一句口號而已。

It was something that locals really started to believe and take pride in.

這是當地人真的開始相信 並為此感到驕傲的事情。

Now, generally speaking, what Austin created

整體來說，奧斯丁創造的是

is just an assets-based narrative.

一種對「資産為本」的詮釋。

And when we think back to step one,

當我們回想到第一步，

we know that every city will not tick every box.

我們知道並不是每個城市 都能如此順利地發展。

Many cities won't have recording studios like Memphis

許多城市並不像曼非斯 坐擁許多的錄音室，

or a songwriter and publishing scene like Nashville,

或者像納什維爾擁有許多 歌曲創作者和出版商，

and that's not a dealbreaker.

但這不代表這樣就行不通了。

We simply have to find the momentum happening in our city.

我們只需要找到我們 城市中的發展勢頭。

What are our unique assets in comparison to no other place?

與其他地方相比， 我們有什麽獨特的資產？

So, if all of that sounds like something you'd like to happen where you live,

所以如果這些聽起來還不錯， 你希望它們也發生在你的居住地，

here are three things you can do to move the needle.

你可以做以下三件事加快進程。

First, you can use your feet, your ears and your dollars.

第一，你可以用你的腳步、 耳朵和鈔票去音樂現場。

Show up. Be that receptive and engaged audience

做思想開明且熱心投入的觀眾，

that is so necessary for a music city to thrive.

這對讓音樂在城市中 蓬勃發展是不可或缺的。

Pay a cover charge.

付服務費。

Buy a record.

買張唱片。

Discover new music, and please, take your friends.

發現新音樂，並帶上你的朋友！

Two, you can use your voice.

第二，你可以為此發聲，

Buy into the assets-based narrative.

為這些「資産為本」的詮釋買單。

Talk about and celebrate what your city has.

談論並讚揚你所居城市的資產。

And three, you can use your vote.

第三，你可以使用你的投票權。

Seek out leadership that doesn't just pay lip service to your city's music,

找出好的領袖，他或她對城市的 音樂發展不只是開空頭投票，

but recognizes its power

而是真切地認知音樂的力量

and is prepared to put a strategy in place

並準備好合宜的策略。

to elevate it, grow it and build collaboration.

讓音樂能在城市中發展、 成長，並創造合作的機會。

There really is no telling what city could be defined

或許沒有辦法可以斷言， 在接下來的十年中，

by a certain scene or a certain song in the next decade,

哪個城市會被哪個場景、 哪首歌給定義，

but as much as we absolutely cannot predict that,

但即使我們絶對無法預測它，

what we absolutely can predict

我們絕對可以預測的是：

is what happens when we treat music as necessary

當我們把音樂當成必需品 並努力打造出一座音樂城市時

and we work to build a music city.

會發生什麽。

And that is a place where I want to live.

這正是我想要生活的地方。

Thank you.

謝謝。

(Applause)

（掌聲）