TED2014
Mark Ronson: How sampling transformed music
Mark Ronson: Kako je sempliranje transformiralo glazbu
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Sempliranje nije "otimanje nostalgije na veliko", kaže Mark Ronson. Radi se o ubacivanju svoje osobnosti u naraciju pjesme i istovremeno nastavljanje priče. Pogledajte kako DJ miješa 15 TED predavanja u audiovizualni omlet i pratite evoluciju pjesme "La Di Da Di", hit Doug E. Fresha and Slick Ricka iz 1984, koji je otada ponovno osmislila svaka generacija.
Mark Ronson - Music producer and DJ
His production credits range from Amy Winehouse to Paul McCartney -- ace DJ, musician and producer Mark Ronson has lived recent music history from the inside out. Full bio
His production credits range from Amy Winehouse to Paul McCartney -- ace DJ, musician and producer Mark Ronson has lived recent music history from the inside out. Full bio
Double-click the English transcript below to play the video.
00:12
I'm assuming everyone here has watched
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Pretpostavljam da ste svi gledali
00:14
a TED Talk online at one time or another, right?
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bar jedno TED govor online u jednom trenutku?
00:18
So what I'm going to do is play this.
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Pustit ću vam nešto.
00:20
This is the song from the TED Talks online.
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Ovo je glazba iz TED govora online.
00:23
(Music)
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(Glazba svira)
00:30
And I'm going to slow it down
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Usporit ću je
00:31
because things sound cooler when they're slower.
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jer stvari zvuče više cool kad su sporije.
00:34
(Music)
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(Glazba svira)
01:18
Ken Robinson: Good morning. How are you?
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Ken Robinson: Dobro jutro. Kako ste?
01:22
Mark Applebaum: I'm going to --
Kate Stone: -- mix some music.
Kate Stone: -- mix some music.
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Mark Applebaum: Ja ću --
Kate Stone: -- malo miksati glazbu.
Kate Stone: -- malo miksati glazbu.
01:25
MA: I'm going to do so in a way that tells a story.
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MA: To ću učiniti kao da pričam priču.
01:27
Tod Machover: Something nobody's ever heard before.
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Tod Machover: Nešto što
još nitko nikad nije čuo.
još nitko nikad nije čuo.
01:30
KS: I have a crossfader.
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KS: Imam crossfader.
01:32
Julian Treasure: I call this the mixer.
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Julian Treasure: Ja to zovem mikseta.
01:34
KS: Two D.J. decks.
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KS: Dva DJ gramofona.
01:35
Chris Anderson: You turn up the
dials, the wheel starts to turn.
dials, the wheel starts to turn.
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Chris Anderson:
Pomakneš gumb i počne se vrtjeti.
Pomakneš gumb i počne se vrtjeti.
01:42
Dan Ellsey: I have always loved music.
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Dan Ellsey: Oduvijek volim glazbu.
01:44
Michael Tilson Thomas: Is it a melody
or a rhythm or a mood or an attitude?
or a rhythm or a mood or an attitude?
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Michael Tilson Thomas: Je li to
melodija, ritam, ugođaj ili stav?
melodija, ritam, ugođaj ili stav?
01:47
Daniel Wolpert: Feeling everything
that's going on inside my body.
that's going on inside my body.
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Daniel Wolpert: Osjećam sve
što se događa u mom tijelu.
što se događa u mom tijelu.
01:50
Adam Ockelford: In your brain is
this amazing musical computer.
this amazing musical computer.
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Adam Ockelford: U tvom mozgu
nalazi se nevjerojatno glazbeno računalo.
nalazi se nevjerojatno glazbeno računalo.
01:56
MTT: Using computers and synthesizers to create
works. It's a language that's still evolving.
works. It's a language that's still evolving.
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MTT: Računalima i sintisajzerima
stvaramo glazbu. Taj jezik još evoluira.
stvaramo glazbu. Taj jezik još evoluira.
02:07
And the 21st century.
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A 21. stoljeće.
02:10
KR: Turn on the radio. Pop into the discotheque.
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KR: Upali radio. Svrati u diskoteku.
02:12
You will know what this person
is doing: moving to the music.
is doing: moving to the music.
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Znat ćeš što ta osoba radi:
kreće se u ritmu glazbe.
kreće se u ritmu glazbe.
02:27
Mark Ronson: This is my favorite part.
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Mark Ronson: Ovo je moj omiljeni dio.
02:29
MA: You gotta have doorstops. That's important.
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MA: Morate imati stopere
za vrata. To je važno.
za vrata. To je važno.
02:34
TM: We all love music a great deal.
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TM: Svi mi jako volimo glazbu.
02:35
MTT: Anthems, dance crazes, ballads and marches.
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MTT: Himne, dance ludnice,
balade i marševi.
balade i marševi.
02:39
Kirby Ferguson and JT: The remix: It
is new music created from old music.
is new music created from old music.
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Kirby Ferguson i JT: Oni rade remikseve.
To je nova glazba stvorena od stare.
To je nova glazba stvorena od stare.
02:42
Ryan Holladay: Blend seamlessly.
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Ryan Holladay: Stopi se neprimjetno.
02:45
Kathryn Schulz: And that's how it goes.
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Kathryn Schulz: I tako to ide.
02:46
MTT: What happens when the music stops?
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MTT: Što se dešava
kada glazba stane?
kada glazba stane?
02:53
KS: Yay!
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KS: To!
02:57
(Applause)
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(Pljesak)
03:03
MR: Obviously, I've been watching a lot of TED Talks.
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MR: Očito, gledao sam
puno TED predavanja.
puno TED predavanja.
03:08
When I was first asked to speak at TED,
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Kada su me zamolili da govorim na TED-u,
03:11
I wasn't quite sure what my angle was, at first,
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nisam baš bio siguran
kako da tome pristupim, isprva,
kako da tome pristupim, isprva,
03:13
so yeah, I immediately started
watching tons of TED Talks,
watching tons of TED Talks,
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pa sam odmah počeo
gledati hrpu TED govora,
gledati hrpu TED govora,
03:16
which is pretty much absolutely
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što je otprilike
03:18
the worst thing that you can do
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najgore što možete učiniti
03:20
because you start to go into panic mode, thinking,
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jer počnete paničariti i razmišljati,
03:23
I haven't mounted a successful
expedition to the North Pole yet.
expedition to the North Pole yet.
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nisam još poduzeo uspješnu
ekspediciju na Sjeverni pol.
ekspediciju na Sjeverni pol.
03:26
Neither have I provided electricity
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Nisam ni pribavio struju
03:30
to my village through sheer ingenuity.
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svom selu svojim čistim genijem.
03:33
In fact, I've pretty much wasted most of my life
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Zapravo, protratio sam većinu života
03:35
DJing in night clubs
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kao DJ u noćnim klubovima
03:37
and producing pop records.
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i producirajući pop ploče.
03:39
But I still kept watching the videos,
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No i dalje sam gledao videe,
03:41
because I'm a masochist,
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jer sam mazohist.
03:43
and eventually, things like Michael Tilson Thomas
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Došao sam do Michaela Tilsona Thomasa
03:46
and Tod Machover, and seeing
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i Toda Machovera i kada sam vidio
03:49
their visceral passion talking about music,
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njihovu strast dok govore o glazbi
03:51
it definitely stirred something in me,
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to je definitivno pokrenulo nešto u meni.
03:53
and I'm a sucker for anyone talking devotedly
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Uvijek padam na ljude
koji tako predano govore
koji tako predano govore
03:55
about the power of music.
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o moći glazbe.
03:57
And I started to write down on these little note cards
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Počeo sam zapisivati stvari na papiriće
03:59
every time I heard something
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svaki put kad bih čuo nešto
04:01
that struck a chord in me, pardon the pun,
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što je zatitralo u meni neku žicu,
oprostite na igri riječi,
oprostite na igri riječi,
04:03
or something that I thought I could use,
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ili nešto što bih mogao iskoristiti.
04:05
and pretty soon, my studio looked like this,
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Ubrzo je moj studio izgledao ovako,
04:09
kind of like a John Nash, "Beautiful Mind" vibe.
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nešto kao John Nash
u filmu "Beautiful Mind".
u filmu "Beautiful Mind".
04:13
The other good thing about watching TED Talks,
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Druga dobra stvar kod TED govora je,
04:16
when you see a really good one,
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kada pogledate stvarno dobar govor,
04:18
you kind of all of a sudden wish the speaker
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nekako iznenada poželite da je govornik
04:20
was your best friend, don't you? Like, just for a day.
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vaš najbolji prijatelj, zar ne?
Makar samo na jedan dan.
Makar samo na jedan dan.
04:23
They seem like a nice person.
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Čine se kao dobre osobe.
04:25
You'd take a bike ride, maybe share an ice cream.
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Vozili biste se biciklom,
možda podijelili sladoled.
možda podijelili sladoled.
04:28
You'd certainly learn a lot.
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Svakako biste puno naučili.
04:30
And every now and then they'd chide you,
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Povremeno bi vas izgrdili
04:32
when they got frustrated that you couldn't really
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kada bi se isfrustrirali zato što ne možete
04:33
keep up with half of the technical things
they're banging on about all the time.
they're banging on about all the time.
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pratiti pola tehničkih stvari
o kojima non stop melju.
o kojima non stop melju.
04:36
But then they'd remember that
you're but a mere human
you're but a mere human
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A onda bi se sjetili
da ste samo čovjek
da ste samo čovjek
04:39
of ordinary, mortal intelligence
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s običnom inteligencijom smrtnika
04:40
that didn't finish university,
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koji nije završio fakultet.
04:42
and they'd kind of forgive you,
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I oprostili bi vam
04:43
and pet you like the dog.
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i pomazili vas kao psa.
04:47
(Laughter)
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(Smijeh)
04:49
Man, yeah, back to the real world,
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Čovječe, no, da se
vratimo u stvarni svijet.
vratimo u stvarni svijet.
04:52
probably Sir Ken Robinson and I
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Vjerojatno Sir Ken Robinson i ja
04:53
are not going to end up being best of friends.
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nećemo završiti kao najbolji prijatelji.
04:55
He lives all the way in L.A.
and I imagine is quite busy,
and I imagine is quite busy,
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On živi čak u Los Angelesu
i vjerujem da je dosta zauzet,
i vjerujem da je dosta zauzet,
04:58
but through the tools available to me -- technology
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no koristeći alate
koji su mi dostupni -- tehnologiju
koji su mi dostupni -- tehnologiju
05:01
and the innate way that I approach making music --
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i način na koji
pristupam stvaranju glazbe --
pristupam stvaranju glazbe --
05:03
I can sort of bully our existences
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mogu nekako silom naše egzistencije
05:06
into a shared event,
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spojiti u događaj koji dijelimo,
05:07
which is sort of what you saw.
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što je otprilike ono što ste vidjeli.
05:10
I can hear something that I love in a piece of media
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Mogu čuti nešto
što mi se sviđa u nekom mediju
što mi se sviđa u nekom mediju
05:13
and I can co-opt it
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i mogu to preuzeti
05:14
and insert myself in that narrative,
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i ubaciti se u tu priču,
05:17
or alter it, even.
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ili je čak izmijeniti.
05:20
In a nutshell, that's what I was trying to do
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Ukratko, to je ono
što sam pokušavao učiniti
što sam pokušavao učiniti
05:21
with these things, but more importantly,
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s tim stvarima,
no što je još važnije,
no što je još važnije,
05:24
that's what the past 30 years of music has been.
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to je ono što se proteklih
30 godina u glazbi događa.
30 godina u glazbi događa.
05:26
That's the major thread.
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To je glavna nit.
05:28
See, 30 years ago, you had the first digital samplers,
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Vidite, prije 30 godina
pojavili su se prvi digitalni sempleri
pojavili su se prvi digitalni sempleri
05:30
and they changed everything overnight.
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i sve su promijenili preko noći.
05:32
All of a sudden, artists could sample
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Odjednom su glazbenici mogli semplirati
05:34
from anything and everything that came before them,
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iz svega što je bilo prije njih,
05:36
from a snare drum from the Funky Meters,
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od snare-bubnja Funky Metersa
05:39
to a Ron Carter bassline,
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do bas-linije Rona Cartera,
05:40
the theme to "The Price Is Right."
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teme iz kviza "Pogodi cijenu".
05:43
Albums like De La Soul's "3 Feet High and Rising"
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Albuma poput De La Soul-ovog
"3 Feet High and Rising"
"3 Feet High and Rising"
05:45
and the Beastie Boys' "Paul's Boutique"
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i "Paul's Boutique" Beastie Boysa
05:47
looted from decades of recorded music
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krali su iz desetljeća snimljene glazbe
05:49
to create these sonic, layered masterpieces
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kako bi stvorili ta
zvučna, slojevita remekdjela
zvučna, slojevita remekdjela
05:52
that were basically the Sgt. Peppers of their day.
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koja su u biti bila
Sgt. Pepper svog vremena.
Sgt. Pepper svog vremena.
05:54
And they weren't sampling these records
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I oni nisu semplirali te snimke
05:57
because they were too lazy to write their own music.
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zato što su bili prelijeni
da bi pisali svoju glazbu.
da bi pisali svoju glazbu.
06:00
They weren't sampling these records to cash in on
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Nisu ih semplirali da bi zaradili
06:02
the familiarity of the original stuff.
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na slavi originalnih stvari.
06:03
To be honest, it was all about sampling
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Iskreno rečeno, semplirale su se
06:05
really obscure things,
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najviše nepoznate stvari,
06:07
except for a few obvious exceptions
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osim par očitih izuzetaka
06:08
like Vanilla Ice and "doo doo doo da da doo doo"
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kao Vanilla Ice i "du du du da da du du"
06:11
that we know about.
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za koje znamo.
06:12
But the thing is,
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Stvar je u tome
06:14
they were sampling those records
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što su semplirali te ploče
06:15
because they heard something in that music
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jer su čuli nešto u toj glazbi
06:17
that spoke to them
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što je za njih imalo značenje
06:19
that they instantly wanted to inject themselves
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pa su se odmah htjeli ubaciti
06:21
into the narrative of that music.
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u priču te glazbe.
06:23
They heard it, they wanted to be a part of it,
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Čuli su je, htjeli su biti dio toga
06:24
and all of a sudden they found themselves
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i odjednom su se našli
06:26
in possession of the technology to do so,
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u posjedu tehnologije
koja im je to omogućavala,
koja im je to omogućavala,
06:29
not much unlike the way the Delta blues
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kao što se Delta blues
06:31
struck a chord with the Stones
and the Beatles and Clapton,
and the Beatles and Clapton,
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svidio Stonesima
i Beatlesima i Claptonu
i Beatlesima i Claptonu
06:34
and they felt the need to co-opt that music
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i osjetili su potrebu preuzeti tu glazbu
06:36
for the tools of their day.
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i prilagoditi je svom vremenu.
06:38
You know, in music we take something that we love
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Vidite, u glazbi uzimamo ono što volimo
06:40
and we build on it.
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i na tome gradimo.
06:42
I'd like to play a song for you.
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Sad bih vam odsvirao jednu pjesmu.
06:52
(Music: "La Di Da Di" by Doug E. Fresh & Slick Rick)
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(Glazba: "La Di Da Di"
od Doug E. Fresha & Slick Ricka)
od Doug E. Fresha & Slick Ricka)
07:11
That's "La Di Da Di" and it's the fifth-most sampled
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To je "La Di Da Di",
peta najsempliranija
peta najsempliranija
07:13
song of all time.
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pjesma ikada.
07:15
It's been sampled 547 times.
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Semplirana je 547 puta.
07:18
It was made in 1984 by these two legends of hip-hop,
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Snimili su je 1984
ove dvije legende hip-hopa,
ove dvije legende hip-hopa,
07:21
Slick Rick and Doug E. Fresh,
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Slick Rick i Doug E. Fresh,
07:24
and the Ray-Ban and Jheri curl look is so strong.
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a Ray-Ban naočale i kovrče su prejake.
07:28
I do hope that comes back soon.
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Nadam se da će se to vratiti u modu.
07:30
Anyway, this predated the sampling era.
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Uglavnom, to je prethodilo eri sempliranja.
07:34
There were no samples in this record,
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Nije bilo semplova u ovoj snimci,
07:35
although I did look up on the Internet last night,
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iako sam provjerio na internetu sinoć.
07:38
I mean several months ago,
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Ustvari, prije nekoliko mjeseci
07:40
that "La Di Da Di" means, it's an old
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što "La Di Da Di" znači, to je stari
07:42
Cockney expression from the late 1800s in England,
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Cockney izraz s kraja 19. stoljeća u Engleskoj,
07:45
so maybe a remix with Mrs. Patmore
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tako da možda remiks s Mrs. Patmore
07:47
from "Downton Abbey" coming soon,
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iz "Downtown Abbey" izlazi uskoro,
07:49
or that's for another day.
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ili je to za budućnost.
07:53
Doug E. Fresh was the human beat box.
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Doug E. Fresh je bio ljudska ritam-mašina
07:55
Slick Rick is the voice you hear on the record,
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Slick Rick je glas koji čujete na snimci,
07:56
and because of Slick Rick's sing-songy,
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i zahvaljujući Slick Rickovom pjevnom
08:00
super-catchy vocals, it provides endless sound bites
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i super-zaraznom vokalu,
to je nepresušan izvor sound biteova
to je nepresušan izvor sound biteova
08:02
and samples for future pop records.
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i semplova za buduće pop ploče.
08:05
That was 1984.
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To je bilo 1984.
08:06
This is me in 1984, in case you were wondering
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Ovo sam ja 1984., ako ste se pitali
08:09
how I was doing, thank you for asking.
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kako je meni tada bilo, hvala na pitanju
08:12
It's Throwback Thursday already.
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Već je "Nostalgični četvrtak".
08:14
I was involved in a heavy love affair
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Bio sam duboko zaljubljen
08:16
with the music of Duran Duran,
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u glazbu Duran Durana.,
08:18
as you can probably tell from my outfit.
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što možete zaključiti po mojoj odjeći.
08:20
I was in the middle.
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Ja sam u sredini.
08:21
And the simplest way that I knew
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I najjednostavniji način za mene
08:23
how to co-opt myself into that experience
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da sudjelujem u tom iskustvu
08:26
of wanting to be in that song somehow
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da se nekako ubacim u tu pjesmu
08:28
was to just get a band together
of fellow nine-year-olds
of fellow nine-year-olds
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bio je da okupim bend
s prijateljima devetogodišnjacima
s prijateljima devetogodišnjacima
08:30
and play "Wild Boys" at the school talent show.
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i sviram "Wild Boys" na školskoj priredbi.
08:33
So that's what we did, and long story short,
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To smo i učinili, i da skratim priču,
08:35
we were booed off the stage,
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izviždali su nas s pozornice,
08:37
and if you ever have a chance to live your life
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i ako ikada budete imali šansu da u životu
08:40
escaping hearing the sound of an auditorium
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izbjegnete zvuk auditorija
08:42
full of second- and third-graders booing,
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punog učenika drugog
i trećeg razreda kako zvižde,
i trećeg razreda kako zvižde,
08:44
I would highly recommend it. It's not really fun.
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toplo bih vam to preporučio.
Nije nimalo zabavno.
Nije nimalo zabavno.
08:47
But it didn't really matter,
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No to nije imalo veze,
08:48
because what I wanted somehow
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jer sam samo htio
08:50
was to just be in the history
of that song for a minute.
of that song for a minute.
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biti u povijesti te pjesme na jednu minutu.
08:52
I didn't care who liked it.
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Nije me bilo briga kome se sviđa.
08:54
I just loved it, and I thought
I could put myself in there.
I could put myself in there.
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Ja sam ju volio i mislio sam
da mogu biti dio nje.
da mogu biti dio nje.
08:57
Over the next 10 years, "La Di Da Di"
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Tijekom sljedećih 10 godina, "La Di Da Di"
08:59
continues to be sampled by countless records,
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nastavlja biti semplirana na brojnim pločama
09:01
ending up on massive hits like
"Here Comes the Hotstepper"
"Here Comes the Hotstepper"
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i završava sa megahitovima poput
"Here Comes the Hotstepper"
"Here Comes the Hotstepper"
09:04
and "I Wanna Sex You Up."
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i "I Wanna Sex You Up."
09:06
Snoop Doggy Dogg covers this song
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Snoop Doggy Dogg je obradio tu pjesmu
09:08
on his debut album "Doggystyle"
and calls it "Lodi Dodi."
and calls it "Lodi Dodi."
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na svom debitantskom albumu "Doggystyle"
i naziva je "Lodi Dodi."
i naziva je "Lodi Dodi."
09:12
Copyright lawyers are having
a field day at this point.
a field day at this point.
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Odvjetnici za copyright
dolaze na svoje u tom trenutku.
dolaze na svoje u tom trenutku.
09:14
And then you fast forward to 1997,
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I tada premotavamo na 1997.
09:17
and the Notorious B.I.G., or Biggie,
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kada Notorious B.I.G., ili Biggie,
09:20
reinterprets "La Di Da Di"
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reinterpretira "La Di Da Di"
09:23
on his number one hit called "Hypnotize,"
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na svom hitu "Hypnotize,"
09:26
which I will play a little bit of
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koji ću vam malo odsvirati
09:27
and I will play you a little bit of the Slick Rick
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a pustit ću i malo Slick Ricka
09:29
to show you where they got it from.
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da vam pokažem odakle su to uzeli.
09:32
(Music: "Hypnotize" by The Notorious B.I.G.)
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(Glazba: "Hypnotize"
od The Notorious B.I.G.-a)
od The Notorious B.I.G.-a)
09:59
So Biggie was killed
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Dakle Biggie je ubijen
10:03
weeks before that song made it to number one,
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koji tjedan prije nego što je
ta pjesma postala broj jedan,
ta pjesma postala broj jedan,
10:05
in one of the great tragedies of the hip-hop era,
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u jednoj od velikih tragedija hip-hop ere,
10:07
but he would have been 13 years old
195
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1716
no imao je 13 godina
10:09
and very much alive when
"La Di Da Di" first came out,
"La Di Da Di" first came out,
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i bio vrlo živ kada je "La Di Da Di" izašla.
10:11
and as a young boy
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I kao dječak
10:12
growing up in Brooklyn,
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koji odrasta u Brooklynu
10:14
it's hard not to think that that song probably held
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teško je ne misliti da je
ta pjesma vjerojatno imala
ta pjesma vjerojatno imala
10:16
some fond memories for him.
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za njega neka draga sjećanja.
10:18
But the way he interpreted it, as you hear,
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No način na koji ju je interpretirao,
kao što ste čuli,
kao što ste čuli,
10:19
is completely his own.
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je potpuno njegov.
10:21
He flips it, makes it,
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Preokrenuo ju je.
10:23
there's nothing pastiche whatsoever about it.
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Nema tu nikakve imitacije.
10:25
It's thoroughly modern Biggie.
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To je potpuno moderni Biggie.
(=velika ili važna stvar)
(=velika ili važna stvar)
10:28
I had to make that joke in this room,
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Morao sam ispričati tu šalu u ovoj prostoriji
10:30
because you would be the only people
that I'd ever have a chance of getting it.
that I'd ever have a chance of getting it.
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jer ste vi jedini ljudi
kojima to mogu prodati.
kojima to mogu prodati.
10:33
And so, it's a groaner. (Laughter)
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I tako, presmiješno je. (Smijeh)
10:36
Elsewhere in the pop and rap world,
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Drugdje u pop i rap svijetu,
10:39
we're going a little bit sample-crazy.
210
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malo smo poludjeli za semplovima.
10:41
We're getting away from the obscure
samples that we were doing,
samples that we were doing,
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Odmičemo se od opskurnih semplova
koje smo prije radili
koje smo prije radili
10:44
and all of a sudden everyone's taking
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i odjednom svi uzimaju
10:45
these massive '80s tunes like Bowie, "Let's Dance,"
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2811
hitove iz 80ih kao npr. Bowie "Let's Dance"
10:48
and all these disco records,
and just rapping on them.
and just rapping on them.
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2379
i sve te disko ploče
i samo repamo preko njih.
i samo repamo preko njih.
10:50
These records don't really age that well.
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1844
Te ploče nisu baš u modi danas.
10:52
You don't hear them now, because they borrowed
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2055
Ne čujemo ih često jer su posuđivale
10:54
from an era that was too steeped
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1594
iz ere koja je bila previše uronjena
10:56
in its own connotation.
218
644309
1948
u svoj kontekst.
10:58
You can't just hijack nostalgia wholesale.
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4712
Ne možete samo tako oteti nostalgiju.
11:02
It leaves the listener feeling sickly.
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2124
Od toga se slušatelju smuči.
11:05
You have to take an element of those things
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Morate uzeti neki element toga
11:07
and then bring something fresh and new to it,
222
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2879
i dodati nešto svježe i novo.
11:10
which was something that I learned
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1190
To sam naučio
11:11
when I was working with the late,
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1718
kada sam radio s pokojnom,
11:13
amazing Amy Winehouse
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1312
sjajnom Amy Winehouse
11:14
on her album "Back to Black."
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2241
na njezinom albumu "Back to Black."
11:16
A lot of fuss was made about the sonic of the album
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3056
Puno se pričalo o zvuku albuma
11:19
that myself and Salaam Remi, the other producer,
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2029
koji smo ja i Salaam Remi,
drugi producent,
drugi producent,
11:21
achieved, how we captured this long-lost sound,
229
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1888
postigli, kako smo uhvatili
taj dugo zaboravljeni zvuk,
taj dugo zaboravljeni zvuk,
11:23
but without the very, very 21st-century personality
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3775
ali bez te osobnosti 21. stoljeća
11:27
and firebrand that was Amy Winehouse
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1953
i te vatrene Amy Winehouse
11:29
and her lyrics about rehab and Roger Moore
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3153
i njezinih tekstova o rehabilitaciji
i Rogeru Mooru
i Rogeru Mooru
11:32
and even a mention of Slick Rick,
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1926
i čak spominje i Slick Ricka,
11:34
the whole thing would have run the risk
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1285
cijela stvar bi riskirala
11:35
of being very pastiche, to be honest.
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da bude potpuna imitacija.
11:39
Imagine any other singer from that era over it
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2288
Zamislite bilo koju drugu pjevačicu
11:41
singing the same old lyrics.
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2691
koja pjeva iste stare tekstove.
11:44
It runs a risk of being completely bland.
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2137
Moguće je da bi to bilo potpuno bezukusno.
11:46
I mean, there was no doubt that Amy
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2513
Nema sumnje da smo Amy
11:48
and I and Salaam all had this love
240
696851
1958
i ja i Salaam voljeli
11:50
for this gospel, soul and blues and jazz
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1790
gospel, soul i blues i jazz
11:52
that was evident listening to
the musical arrangements.
the musical arrangements.
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3219
što je očito kada slušate
te glazbene aranžmane.
te glazbene aranžmane.
11:55
She brought the ingredients that made it urgent
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2044
No ona je donijela sastojke koji
su sve učinili modernim
su sve učinili modernim
11:57
and of the time.
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1659
i suvremenim.
11:59
So if we come all the way up to the present day now,
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3037
Ako se sada vratimo u sadašnjost,
12:02
the cultural tour de force that is Miley Cyrus,
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3512
kulturna sila je Miley Cyrus.
12:06
she reinterprets "La Di Da Di"
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2222
Ona reinterpretira "La Di Da Di"
12:08
completely for her generation,
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2162
u potpunosti za svoju generaciju.
12:10
and we'll take a listen to the Slick Rick part
249
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2944
Poslušat ćemo dio Slick Ricka
12:13
and then see how she sort of flipped it.
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3731
i vidjeti kako ga je preokrenula.
12:18
(Music: "La Di Da Di" by Slick Rick & Doug E. Fresh)
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4919
(Glazba: "La Di Da Di" , Slick Rick & Doug E. Fresh)
12:31
(Music: "We Can't Stop" by Miley Cyrus)
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(Glazba: "We Can't Stop", Miley Cyrus)
12:37
So Miley Cyrus,
253
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1841
Dakle, Miley Cyrus,
12:39
who wasn't even born yet
when "La Di Da Di" was made,
when "La Di Da Di" was made,
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3538
koja nije bila ni rođena
kada je nastao "La Di Da Di",
kada je nastao "La Di Da Di",
12:43
and neither were any of the co-writers on the song,
255
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3534
a nisu ni koautori ove pjesme,
12:46
has found this song that somehow
256
754849
2110
našla je ovu pjesmu koja je nekako
12:48
etched its way into the collective
consciousness of pop music,
consciousness of pop music,
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3045
urezala svoj put u kolektivnu
svijest pop glazbe,
svijest pop glazbe,
12:52
and now, with its timeless playfulness of the original,
258
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3953
i sada, sa svojom
bezvremenskom razigranošću originala
bezvremenskom razigranošću originala
12:55
has kind of translated to a whole new generation
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763957
2423
prevela na neki način za novu generaciju
12:58
who will probably co-opt it as their own.
260
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3668
koja će ju vjerojatno prihvatiti kao svoju.
13:02
Since the dawn of the sampling era,
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Od samog početka ere sempliranja
13:05
there's been endless debate
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1521
vodi se beskrajna debata
13:06
about the validity of music that contains samples.
263
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2598
o vrijednosti glazbe koja sadrži semplove.
13:09
You know, the Grammy committee says that
264
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1626
Naprimjer, odbor Grammya kaže da
13:10
if your song contains some kind of pre-written
265
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2658
ako vaša pjesma sadrži
neki oblik prethodno napisane
neki oblik prethodno napisane
13:13
or pre-existing music,
266
781653
1245
ili prethodno postojeće glazbe,
13:14
you're ineligible for song of the year.
267
782898
1995
ne možete se natjecati za pjesmu godine.
13:16
Rockists, who are racist
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2277
Rokisti, to jest rasisti
13:19
but only about rock music,
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1750
u pogledu rock glazbe,
13:20
constantly use the argument to —
270
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4231
stalno koriste taj argument --
13:25
That's a real word. That is a real word.
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2022
To je postojeća riječ. Stvarno postoji.
13:27
They constantly use the argument to devalue rap
272
795173
2616
Stalno koriste taj argument
kako bi obezvrijedili rap
kako bi obezvrijedili rap
13:29
and modern pop,
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1910
i moderni pop,
13:31
and these arguments completely miss the point,
274
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4162
a ti argumenti su potpuno promašili metu,
13:35
because the dam has burst.
275
803861
1959
zato što je brana pukla.
13:37
We live in the post-sampling era.
276
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2033
Mi živimo u eri poslije sempliranja.
13:39
We take the things that we love
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1627
Uzimamo stvari koje volimo
13:41
and we build on them.
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1378
i na njima gradimo.
13:42
That's just how it goes.
279
810858
1640
To je tako.
13:44
And when we really add
something significant and original
something significant and original
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3092
A kada stvarno dodamo
nešto važno i originalno
nešto važno i originalno
13:47
and we merge our musical journey with this,
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2497
i spojimo svoje glazbeno putovanje s tim,
13:50
then we have a chance to be
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1838
tada imamo priliku biti
13:51
a part of the evolution of that music that we love
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2633
dio evolucije glazbe koju volimo
13:54
and be linked with it once it
becomes something new again.
becomes something new again.
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3241
i možemo se s njom povezati kada postane opet nova.
13:57
So I would like to do one more piece
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5364
Sada bih htio odsvirati još jednu pjesmu
14:03
that I put together for you tonight,
286
831163
1718
koju sam napravio za vas,
14:04
and it takes place with two
287
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2355
a odvija se sa dvije
14:07
pretty inspiring TED performances that I've seen.
288
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3036
prilično inspirirajuće TED izvedbe
koje sam gledao.
koje sam gledao.
14:10
One of them is the piano player Derek Paravicini,
289
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3635
Jedna od njih je
pijanist Derek Paravicini,
pijanist Derek Paravicini,
14:13
who happens to be a blind,
290
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2082
koji je slijepi,
14:15
autistic genius at the piano,
291
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1538
autistični genij za klavirom,
14:17
and Emmanuel Jal, who is an ex-child soldier
292
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2413
i Emmanuel Jal, koji je bivše dijete-vojnik
14:19
from the South Sudan,
293
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1320
iz Južnog Sudana,
14:21
who is a spoken word poet and rapper.
294
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2862
koji je pjesnik govorene riječi i rapper.
14:24
And once again I found a way to annoyingly
295
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2338
I opet sam našao način da iritantno
14:26
me-me-me myself into the musical history
296
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2261
ubacim ja-ja-ja sebe u glazbenu povijest
14:28
of these songs,
297
856721
2514
tih pjesama,
14:31
but I can't help it,
298
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1108
no ne mogu si pomoći
14:32
because they're these things that I love,
299
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1705
jer su to stvari koje volim,
14:34
and I want to mess around with them.
300
862048
1927
i želim se s njima baviti.
14:35
So I hope you enjoy this. Here we go.
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3737
Nadam se da će vam se svidjeti. Idemo.
14:39
Let's hear that TED sound again, right?
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2081
Poslušajmo opet taj TED zvuk, može?
14:41
(Music)
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7672
(Glazba)
16:43
Thank you very much. Thank you.
304
991423
3025
Hvala vam puno. Hvala.
16:46
(Applause)
305
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2663
(Pljesak)
ABOUT THE SPEAKER
Mark Ronson - Music producer and DJHis production credits range from Amy Winehouse to Paul McCartney -- ace DJ, musician and producer Mark Ronson has lived recent music history from the inside out.
Why you should listen
Mark Ronson’s unusual path into the music world has led to an eclectic and multifaceted resume. Ronson began his career DJing hip New York City nightclubs in the heady 1990s. Since then, he’s scored his own hits with the help of Ghostface Killah and Amy Winehouse via his own first two albums Here Comes The Fuzz and Version, winning the Brit Award for best British male sole artist in 2008.
As a producer, Mark has helped create chart-topping albums for Adele, Lily Allen and Bruno Mars (nominated for 2014 Record of the Year for Locked out of Heaven), and won three Grammys for his work on Amy Winehouse's album Back to Black. 2010’s Record Collection featured collaborations with Duran Duran, Boy George, D'Angelo, Q-Tip and MNDR. Mark is the Global Ambassador for Arms Around The Child.
Mark Ronson | Speaker | TED.com