ABOUT THE SPEAKER
Alexis Charpentier - Record digger, DJ, music entrepreneur
Alexis Charpentier (aka Lexis from Music Is My Sanctuary) believes record collectors, music curators and DJs serve a crucial role as cultural preservationists and alternative voices to mainstream music platforms.

Why you should listen

Alexis Charpentier is the founder of the Music Is My Sanctuary website and collective, one of the most respected and trusted voices in the independent music community. 

He is also the creator and producer of 24 Hours of Vinyl, a project that celebrates the love of vinyl culture by gathering DJs and collectors from different cities worldwide. During a 24-hour music marathon, participants share some of the best music discoveries from their vinyl collections.

A music lover above all, Charpentier is passionate about projects that that champion musicians from the past and present, while creating alternatives to commercial platforms. Through thousands of content pieces, interviews, radio sessions and events, his projects connect music lovers in a more profound manner than what’s possible with algorithm-driven suggestions. 

Based in Montreal, Canada, Charpentier runs the projects that fall under the Music Is My Sanctuary umbrella. He works as a music programmer at the PHI Center, a multidisciplinary arts and culture center. He also tours worldwide as a DJ and has regular club nights in his home city.

More profile about the speaker
Alexis Charpentier | Speaker | TED.com
TEDxMontreal

Alexis Charpentier: How record collectors find lost music and preserve our cultural heritage

亚历克西斯贝纳: 唱片收藏家是怎么寻找遗失的音乐并且保存我们的文化遗产的?

Filmed:
971,293 views

历年来,唱片收藏家通过挖掘因为艺术家们的疏忽而造成的来历模糊的唱片,在保存音乐和文化遗产上起到了至关重要的作用。亚历克西斯贝纳分享他对唱片的热爱,以及收藏家们如何使那些被遗忘的音乐第二次被人们听到的故事。通过这次有趣的,提神的讲话,我们可以学习更多的唱片挖掘文化(或许,也可以养成一个新的爱好)。
- Record digger, DJ, music entrepreneur
Alexis Charpentier (aka Lexis from Music Is My Sanctuary) believes record collectors, music curators and DJs serve a crucial role as cultural preservationists and alternative voices to mainstream music platforms. Full bio

Double-click the English transcript below to play the video.

从12岁起,我开始痴迷于唱片,
00:12
I became成为 obsessed痴迷 with records记录
when I was about 12 years年份 old.
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00:16
My parents父母 used to give me money to eat
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我父母过去常常会给我钱来买东西吃,
00:18
and on most days, instead代替 of eating,
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但是我绝大多数钱都不是用在吃上,
00:20
I would save保存 it and buy购买 myself
a record记录 at the end结束 of the week.
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而是省下来,在周末给自己买唱片。
00:23
Here I am with a gigantic巨大 Walkman随身听
that's about half my leg --
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这是带着一个笨重随身听的我,
大概有我半条腿那么长。
00:26
(Laughter笑声)
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(笑声)
00:28
It actually其实 looks容貌 more like a VCR录像机.
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其实这随身听更像一个录像机。
(笑声)
00:30
(Laughter笑声)
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所以当我还是一个青少年的时候,
00:32
So when I was a teenager青少年,
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00:33
the obsession困扰 of buying购买 cassettes盒子,
vinyls乙烯 基 and CDs光盘 just kept不停 growing生长.
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我对购买录音带、
唱片、光盘的痴迷日益加深。
我甚至在一家唱片店工作过很多年,
00:37
I was even working加工
in a record记录 store商店 for many许多 years年份
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报酬就只是唱片。
00:40
and only ever got paid支付 in records记录.
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00:43
One day I realized实现
that I had thousands数千 of records记录 more
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直到有一天,
我意识到我已经有几千张唱片,
我一生都听不完。
00:46
than I could even listen to in my life.
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我变成了和大多数人一样:
00:49
I became成为 what many许多 of us are:
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00:51
record记录 junkies瘾君子 --
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唱片瘾者,或者唱片挖掘人,
00:52
or record记录 diggers挖掘机,
as we like to call ourselves我们自己.
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我们喜欢这样称呼自己。
00:56
Record记录 digging挖掘, as the name名称 suggests提示,
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唱片挖掘,就像它的名字暗示的那样,
00:58
means手段 getting得到 your hands dirty.
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意味着会把我们的手弄脏。
它的意思是花数小时的时间在仓库,
01:00
It means手段 spending开支 hours小时
rummaging翻找 through通过 warehouses仓库,
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01:04
church教会 basements地下室,
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在教堂地下室,
在后院的拍卖,在唱片店仔细寻找。
01:05
yard sales销售, record记录 stores商店 --
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只是为了找到那些
已经被遗忘了几十年的唱片,
01:07
all to find records记录 that have been
forgotten忘记了 for decades几十年.
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01:11
Records记录 that have become成为 cultural文化 waste浪费.
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那些已经成为了文化浪费的唱片。
19世纪30年代年到60年代间唱片收藏家
01:14
The earliest最早 record记录 collectors收藏家
from about the '30s to the 1960s
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01:18
found发现 and preserved罐头
so many许多 important重要 records记录
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寻找并保存如此之多
本应该已经消失的的重要唱片。
01:21
that would have been lost丢失 forever永远.
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01:24
In those days, most
cultural文化 and public上市 institutions机构
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在当时,大多数的文化和公共机构
不太关注这些宝贝的保存。
01:27
didn't really care关心
to preserve保留 these treasures珍品.
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在很多时候,
他们将它们扔到垃圾堆里。
01:29
In many许多 cases, they were just
throwing投掷 them into the garbage垃圾.
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01:33
Record记录 digging挖掘 is a lifestyle生活方式.
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唱片挖掘是一种生活方式。
我们当然痴迷于晦涩难懂的唱片,
01:35
We're absolutely绝对 obsessed痴迷
with obscure朦胧 records记录,
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昂贵的唱片,投入多的唱片
01:39
expensive昂贵 records记录, dollar-bin多勒宾 records记录,
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01:41
crazy artwork艺术品,
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疯狂的唱片
01:42
sub-subgenres子资源.
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以及主题很次的唱片。
包括那些唱片发行时的
一些最微小的细节。
01:44
And all of the tiniest最小的 details细节
that go with each release发布.
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01:48
When the media媒体 talks会谈
about the vinyl乙烯基 revival复兴
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当媒体提及近年发生的
黑胶唱片的复苏,
01:50
that's been happening事件
these last few少数 years年份,
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他们总是忘记提起那些
01:52
they often经常 forget忘记
to mention提到 this community社区
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01:55
that's been keeping保持 the vinyl乙烯基
and the tradition传统 and the culture文化 alive
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让黑胶唱片这种传统和文化幸存的团体,
02:00
for these last 30 years年份.
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在过去的30年。
这是一个有点紧密结合
但是竞争激烈的社会,
02:02
It's a very close-knit紧密结合
but competitive竞争的 society社会, a little bit,
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02:06
because when you're hunting狩猎
for extremely非常 rare罕见 records记录,
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因为当你狩猎极端稀少的唱片的时候,
02:09
if you miss小姐 your opportunity机会,
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如果你错过了这个机会,
你可能一生都见不到这张唱片了。
02:10
you might威力 not see that record记录
ever in your life.
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02:14
But I guess猜测 the only person in here
truly impressed印象深刻 by record记录 collectors收藏家
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但是我猜这里唯一对唱片收藏家留下深刻印象的
02:18
is another另一个 record记录 collector集电极.
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是另一位唱片收藏家。
02:21
To the outside world世界,
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在其他人看来,
我们唱片收藏家看起来
像一群很怪异的反常的人。
02:22
we seem似乎 like a very weird奇怪的,
oddball古怪 group of individuals个人.
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但是——
02:27
And --
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(笑声)
02:28
(Laughter笑声)
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02:29
And they're mostly大多 right.
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他们多半是对的。
所有我知道的唱片
收藏家都是迷恋唱片的疯子。
02:30
All the record记录 collectors收藏家 I know
are obsessive强迫症 maniacs疯子.
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我知道在某些方面我们都很疯狂。
02:33
We know we're all crazy in some way.
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02:36
But I think we should be viewed观看
a little bit more like this.
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但是我觉得我们应该被看成这样。
(笑声)
02:39
(Laughter笑声)
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我们是音乐界的考古学家。
02:40
We're music音乐 archaeologists考古学家.
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我们在搜寻这些遗失的艺术品
02:41
We're hunting狩猎 down the lost丢失 artifact神器.
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我们都有一张可以付出所有的唱片清单,
02:44
We all have a list名单 of records记录 that we
would do anything to get our hands on,
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02:47
that we've我们已经 been chasing for years年份,
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这些唱片我们已经追寻很多年了。
02:49
and we actually其实 call this list名单
our "holy grailsGrails."
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事实上,我们将这张清单称为我们的“圣杯”。
02:53
When you're digging挖掘 for records记录,
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当你在挖掘唱片的时候,
你会被你不知道的音乐包围着,
02:54
you're surrounded包围 by music音乐 you don't know.
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你会被人们曾经相信的未知,
02:57
You're surrounded包围 by mystery神秘
and by all these dreams --
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03:00
records记录 that people once一旦 believed相信 in.
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和这些梦包围。
想象一下,
有千千万万的艺术家本应该成为传奇,
03:03
Imagine想像 the thousands数千 of artists艺术家
who were destined注定 to be legends传说
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但是,因为不同的原因,他们被遗忘了。
03:06
but for various各个 reasons原因,
were just overlooked忽视.
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03:10
Many许多 of these records记录
only exist存在 in a handful少数 of copies副本,
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许多的这些唱片只现存几个副本,
甚至有一些还没有被找到,
03:13
and some have never even been found发现,
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也没有人听过。
03:15
never been heard听说.
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03:17
They're literally按照字面 endangered濒危 species种类.
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严格来说,它们是濒危的种类。
我告诉你一个故事,
03:20
I'll tell you a story故事
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对我来说,它涵括了唱片挖掘的价值。
03:21
that for me sort分类 of sums总和 up
the value of the work of record记录 diggers挖掘机.
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03:26
The story故事 of a brilliant辉煌
Montreal蒙特利尔 musician音乐家 and composer作曲家.
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这个故事是有关一个
杰出的蒙特利尔音乐家及作曲家,
03:31
Henri-Pierre亨利-皮埃尔 Noël
was born天生 and raised上调 in Haiti海地,
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Henri-Pierre Noël
他在海地出生长大。
但是他在美国和比利时短暂地住过。
03:34
but he lived生活 briefly简要地
in the US and in Belgium比利时.
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他本打算在蒙特利尔停留两周,
03:37
He passed通过 through通过 Montreal蒙特利尔
what was supposed应该 to be for two weeks,
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结果他在那里住了40年
03:40
but he ended结束 up
staying for the next下一个 40 years年份.
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他在年轻的时候学过钢琴,
03:43
When he was young年轻,
he learned学到了 to play piano钢琴
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自己开发出了一种
特别的方式来弹钢琴:
03:45
and developed发达 a very particular特定 way
of playing播放 his instrument仪器:
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极快,几近于只是震动的方式。
03:48
very fast快速 and almost几乎 like a percussion打击乐器.
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他的风格结合了海地音乐及民俗
03:50
His style样式 was a mix混合
of his Haitian海地 influences影响 and folklore民俗学
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和美国音乐对他的影响。
03:55
mixed with the American美国 influences影响
that he grew成长 up hearing听力.
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因此,他结合了放克和爵士。
03:58
So he created创建 a mix混合
of compas孔塔斯 mixed with funk恐惧 and jazz爵士乐.
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04:03
As a young年轻 man,
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作为一个年轻人,
他跟随演出乐队在美国及欧洲巡回演奏,
04:05
he played发挥 and toured参观 with live生活 bands
in the US and in Europe欧洲,
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但是在他移民到加拿大之前,
他没有出唱片或记录一首歌。
04:07
but had never recorded记录 an album专辑
or a song歌曲 before moving移动 to Canada加拿大.
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1979年,
他在蒙特利尔发行了他的第一张专辑,
04:12
It was in Montreal蒙特利尔 in 1979
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这张专辑叫做《钢琴》。
04:14
that he released发布
his first album专辑 called, "Piano钢琴."
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04:17
Completely全然 on his own拥有,
on Henri-Pierre亨利-皮埃尔 Noël Records记录.
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他的这张专辑完全是靠他自己,
他制作了他当时能支付的2000张唱片。
04:21
He only made制作 what he could afford给予:
2,000 copies副本 of the record记录.
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04:25
The record记录 received收到
a little bit of airplay艾盘,
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这张唱片只有一点点的播放量,
04:28
a little bit of support支持
in Canada加拿大 and in Haiti海地,
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只得到来自少数加拿大人及海地人的支持,
04:31
but without a big label标签 behind背后 it,
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但是唱片没有戴上一个很醒目的标签,
04:34
it was very, very difficult.
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想要成功是非常非常难的。
在当时,
04:36
Back then,
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如果你的音乐没有在主流电台上播放,
04:37
if your record记录 wasn't getting得到 played发挥
on mainstream主流 radio无线电,
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如果你的音乐没有纳入点唱机内,
或者你没有
04:40
if you weren't in jukeboxes点唱机
or if you weren't invited邀请 to play on TV电视,
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被电视台邀请出演,
你成功的几率非常小。
04:43
the odds可能性 were completely全然 against反对 you.
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在以前,一个独立艺术家发行一张专辑
04:45
Releasing释放 an album专辑
as an independent独立 artist艺术家
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04:48
was so much more difficult
than it is today今天,
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比现在难得多,
04:50
both in terms条款 of being存在 heard听说
and just distributing分布 the thing.
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在被听众听到以及市场分配方面。
因此,很快,他发行了第二张专辑,
04:53
So, soon不久 after,
he released发布 a second第二 album专辑,
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04:57
kept不停 a busy schedule时间表 playing播放 piano钢琴
in various各个 clubs会所 in the city,
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在城市的不同地点弹钢琴,
05:00
but his records记录 started开始
to accumulate积累 dust灰尘 slowly慢慢地.
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但是,他的唱片在慢慢积灰,
05:04
And those 2,000 copies副本
in the span跨度 of 30 years年份
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而他的那2000张唱片在30年的时间
不断消失,
05:06
easily容易 started开始 to get lost丢失
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05:08
until直到 only a few少数 copies副本
in the world世界 remained保持.
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直到全世界只剩几张唱片。
05:12
Then in the mid-中-2000s,
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然后在2005年左右,
一个蒙特利尔唱片挖掘家,科巴尔
05:15
a Montreal蒙特利尔 record记录 digger挖掘机
that goes by the name名称 Kobal科瓦尔
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正在做每周几轮的唱片搜寻,
05:18
was doing his weekly每周 rounds
of just hunting狩猎 for records记录.
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05:21
He was in a flea跳蚤 market市场
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在跳蚤市场,
被数千张脏的、
布满灰尘的、发霉的唱片包围。
05:23
surrounded包围 by thousands数千
of other dirty, dusty尘土飞扬, moldy发霉的 records记录.
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就是在那里他找到了《钢琴》。
05:27
That's where he found发现 the "Piano钢琴" album专辑.
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05:30
He wasn't specifically特别 looking for it.
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他那时候并不是专门来找它的。
05:32
Actually其实, you could say
it sort分类 of found发现 him.
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可以说更像是唱片找了他,
05:34
You could also say that after 20 years年份
of record记录 digging挖掘 every一切 single week,
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也可以说在20年
每周不停的唱片寻找之后,
他养成了可以挖到宝藏的第六感。
05:38
he had developed发达 a sixth第六 sense
for finding发现 the gold.
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他带走了那张唱片并调查
05:42
He took the record记录 and inspected检查 it:
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05:44
the front面前, the artwork艺术品,
the back, the liner衬垫 notes笔记,
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正面,音乐,背后以及内页。
05:47
and he was intrigued好奇 by the fact事实
that this Haitian海地 musician音乐家 made制作 a record记录
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他被一件事情吸引了,
那就是这位海地音乐家是在
70年代后期的魁北克发行这张专辑的,
05:51
in Quebec魁北克 in the late晚了 '70s,
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05:53
so he was intrigued好奇.
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所以他好奇了。
他拿出他那个在唱片探寻中
05:56
He took out his little,
plastic塑料, portable手提 turntable转盘
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05:58
that he brought with him
whenever每当 he was on these digging挖掘 quests任务
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随时携带的小便携塑料电唱盘,
06:02
and put the record记录 on.
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并将唱片装上去。
我们也做一样的事情吧。
06:04
So why don't we do the same相同 thing?
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(音乐)
06:14
(Music音乐)
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他立即爱上了这音乐,
06:45
He fell下跌 in love with the music音乐 instantly即刻,
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他必须得知道它背后的故事。
06:49
but he had to know
the backstory背景故事 behind背后 it.
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06:51
He didn't know where it came来了 from.
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他不知道这张唱片的来历。
06:54
He knew知道 the artist艺术家,
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他知道那那个艺术家
在发行的时候
06:56
at the time of the recording记录,
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是住在蒙特利尔的,
06:57
was living活的 in Montreal蒙特利尔,
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几个月里,他找到Noël的踪迹。
06:58
so for months个月, he tried试着 to track跟踪 him down.
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他甚至在唱片封套里
找到了Noël's的名片。
07:01
He even found发现 Noël's我的 business商业 card
inside the record记录 sleeve.
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这就是Noël 的动手能力。
07:05
That's how DIYDIY Henri-Pierre亨利-皮埃尔 Noël was.
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那么,他在唱片封套里
找到了他的名片,
07:09
So he found发现 the card
inside the record记录 sleeve --
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当然,他有试图打这个电话,
07:13
of course课程 he did try to call,
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07:14
but after 30 years年份,
the number didn't work anymore.
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但是30年过去了,
这个电话号码已经失效了。
07:18
So it was only in Belgium比利时,
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只有在比利时,
那个这位艺术家曾经住过的地方,
07:20
where the artist艺术家 had once一旦 lived生活,
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科巴尔终于
找到了一个与Noël认识的人,
07:22
that Kobal科瓦尔 managed管理 to find someone有人
that knew知道 the artist艺术家 personally亲自
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07:25
and gave him the contact联系.
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并要到了联系方式。
所以当他终于见到这位艺术家的时候,
07:27
So when he finally最后
satSAT down with the artist艺术家,
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科巴尔承诺总有一天
要找到机会发行这张唱片。
07:30
he made制作 him a promise诺言 to someday日后
find a way to get the album专辑 rereleased重新发布.
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然后,科巴尔把一个
名叫Wah Wah 45s的唱片和
07:37
He then arranged安排 for a British英国的 label标签
called Wah议员 Wah议员 45s
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07:40
to get the two albums专辑 reissued重新发行.
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Noël的唱片一起重新发行。
07:43
And what happens发生 very often经常 is,
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在专辑的重新发行项目中,
阻碍是:
07:45
in these reissue补发 projects项目,
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想要找到母磁带是非常难的
07:46
that it becomes very difficult
to find the master tapes磁带 --
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07:49
the original原版的 recording记录 of the sessions会议.
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母磁带是最初的录音,
艺术可能会被火灾、洪涝或地震毁坏,
07:52
Art艺术 can be destroyed销毁
by fires火灾, floods洪水, earthquakes地震,
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被人扔掉,
07:55
thrown抛出 in the garbage垃圾,
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或者永远遗失。
07:56
or just lost丢失 forever永远.
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但幸运的是,
07:57
But thankfully感激地,
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07:59
the Henri-Pierre亨利-皮埃尔 Noël tapes磁带 were safe安全
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Noël的磁带幸存了下来,
08:00
and they were ready准备 for remasteringremastering.
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并且随时可以重新灌录。
08:03
The record记录 was finally最后 rereleased重新发布
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这张唱片最终被重新发行,
08:05
and received收到 praise赞美 from music音乐 critics批评者,
DJsDJ们 and listeners听众 worldwide全世界 --
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收到了来自音乐评论家们,
DJ们及世界各地的听众的褒扬,
08:10
the praise赞美 that it should have
received收到 in 1979.
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本应该在1979年就应该收到的表扬。
Noël很受鼓舞,重启了他的音乐事业,
08:15
The artist艺术家 was so inspired启发 that he decided决定
to revive复活 his music音乐 career事业,
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回到舞台,为新的观众表演。
08:18
get back on a stage阶段,
and play for new audiences观众.
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08:22
The artist艺术家, now in his 60s,
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这位现在60多岁的艺术家告诉我:
08:25
told me, "This changed everything for me.
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“这件事改变了我的一切,
我的计划从退休,
08:27
I went from planning规划 my retirement退休
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到去英国广播公司的电台,
08:29
to playing播放 on the BBCBBC Radio无线电 in London伦敦,
and on Radio无线电 Canada加拿大 and more."
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加拿大和其他电台演出。”
同时,这也给了他
08:33
But also it gave him a chance机会 to play
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第一次在他的三个儿子面前表演的机会。
08:35
in front面前 of his three sons儿子
for the first time.
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08:38
To me, this story故事 shows节目 perfectly完美
the work of record记录 diggers挖掘机 at its best最好.
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与我而言,这个故事最完美的展现了
唱片挖掘工作者的价值。
远不是唱片的稀少及价值,
08:43
Beyond the rarity稀有 and the dollar美元 value --
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08:45
and I'll be honest诚实,
we're totally完全 obsessed痴迷 by that --
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老实说,是因为这份工作
08:48
the true真正 beauty美女
is to give art艺术 a second第二 chance机会;
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能给艺术第二次的机会
让艺术不被遗忘。
08:51
to save保存 art艺术 from oblivion遗忘.
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一个优秀的唱片挖掘工作者的工作
08:54
The work of a good record记录 digger挖掘机
is a constant不变 loop循环 of three phases.
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包含三个循环的阶段。
08:57
The first thing we do is hunt打猎.
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第一阶段是搜寻唱片。
我们日复一日年复一年
09:00
We spend hours小时, days, years年份 of our lives生活
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在肮脏、布满灰尘的唱片箱子里翻找。
09:02
rummaging翻找 through通过
dirty and dusty尘土飞扬 record记录 bins垃圾箱.
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09:05
Everything that we can do
to find our hands on the gold.
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为了可以找到珍品,我们可以做任何事。
当然,你可以在网上找到好的唱片,
09:10
Yes, you can find good records记录 online线上,
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但是那些藏的最深的珍宝,
09:12
but for the deepest最深 treasures珍品,
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09:13
you need to get off the couch长椅
and into the wild野生.
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需要你离开沙发,去荒野中。
09:16
That's why we call it record记录 digging挖掘
and not record记录 clicking点击.
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这就是为什么这份工作是“挖掘唱片”,
而不是“点击唱片”。
(笑声)
09:19
(Laughter笑声)
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所以,我们就是音乐考古学家。
09:20
So what we are is music音乐 archaeologists考古学家.
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09:23
But then the next下一个 thing
we do is we gather收集.
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我们下一阶段要做的就是收集。
基于个人品味,专业知识以及收藏目标。
09:25
Based基于 on our taste味道,
expertise专门知识, personal个人 agenda议程,
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我们认真的甄选要留下那些唱片,
09:27
we choose选择 carefully小心 which哪一个 records记录 to save保存,
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哪些唱片对于我们有意义。
09:30
which哪一个 records记录 mean something to us.
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09:32
We then try and find out every一切
little thing we can about that record记录 --
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然后,我们会试图查明
关于这张唱片的所有信息:
艺术家、发行公司、
09:35
the artist艺术家, the label标签
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09:37
and supervital超重要 information信息
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以及其他重要的信息,
09:39
like "Who's谁是 that playing播放 trumpet喇叭
on track跟踪 three?"
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比如“小号是由谁演奏的呢?”
然后我们将这些信息文字化,归档,
09:42
Then we file文件 them, we contextualize情境 them,
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09:44
and we keep them safe安全.
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并确保这些文档的安全。
我们是音乐档案保管员。
09:46
We are music音乐 archivists档案.
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最后一个阶段是分享。
09:48
And the last thing we do
to close the loop循环 is we share分享.
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09:51
Most record记录 diggers挖掘机 that I know
have some sort分类 of a way
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我知道的大多数唱片挖掘者中,
都有一条渠道来分享他们的发现,
来赞扬艺术家,
09:54
to share分享 their discovery发现
and elevate提升 the artist艺术家
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通过唱片再发行,
09:57
through通过 an album专辑 reissue补发,
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一篇网络文章,一期电台节目。
09:58
a web卷筒纸 article文章, a radio无线电 show显示.
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10:01
We give records记录 back
their rightful合法的 place地点 in music音乐 history历史.
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我们将唱片放回
它在音乐历史上本该有的位置。
我们是风向创造者与监护者。
10:05
We are tastemakers潮流制造者 and curators策展人.
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我们是音乐理论家。
10:07
We are musicologists音乐学家.
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所以于我自己
10:09
So for myself
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10:10
and most of the record记录 collectors收藏家
I've encountered遇到 in 20 years年份,
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以及这20年我遇到的
多数唱片收藏家而言,
10:13
I think that we all
have some sort分类 of an outlet出口
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我想我们都有某些分享
我们发现的渠道。
10:16
for these discoveries发现.
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我认为这是在对这件事情的迷恋中,
10:17
I think it's our way to keep our sanity明智
and sort分类 of sense of purpose目的
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10:21
in this very maddening发疯 obsession困扰,
209
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保持明智以及目的性的方式,
因为这有时候是有点孤独的。
10:24
because it can be sort分类 of a lonely孤独 one.
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10:26
But I think we also do it
because it serves供应 the human人的 need
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但是我想我们的目的,
还有因为唱片挖掘服务
10:29
to pass通过 along沿 cultural文化 knowledge知识.
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人类将文化传递下去的需求。
说到引导的必要性,
10:31
Speaking请讲 of the need for curation策展,
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10:34
in an era时代 of overwhelming压倒 choice选择,
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在这个充斥着各种选择的时代,
10:36
it's been demonstrated证明
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有一件事情已经被证实了,
那就是,事实上,太多的选择会阻碍发现。
10:37
that too much choice选择
actually其实 hinders阻碍 discovery发现.
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10:39
For example,
217
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举个例子,
如果你想在Netflix上找点东西看,
10:41
if you're trying to watch
something on NetflixNetflix公司,
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10:43
you're actually其实 only browsing浏览
through通过 a catalog目录 of 6,000 titles标题.
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你其实需要浏览6000个标题的目录。
现在和Spotify比较,
10:48
Now, compare比较 that with SpotifySpotify的;
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如果你想找点音乐来听,
10:50
if you want to pick
something to listen to,
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10:52
you're browsing浏览 through通过 a catalog目录
of 30 million百万 songs歌曲.
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你需要浏览三千万首歌的目录。
10:56
So I think as you can see,
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所以我想如你所见,
10:57
this notion概念 of paralysis麻痹 by choice选择
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比如,选择的阻碍性这个概念,
10:59
affects影响 music音乐 more than movies电影,
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对音乐的阻碍比之电影更大。
11:02
for example.
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现在有几个研究
11:04
And there's a few少数 studies学习
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11:05
that are starting开始 to show显示
the effects效果 of this.
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开始调查过多选择的影响。
英国的音乐市场显示,
11:07
A recent最近 look at the UK联合王国 music音乐 market市场
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11:09
shows节目 that the top最佳 one percent百分 of artists艺术家
in the UK联合王国 are actually其实 earning盈利 77 percent百分
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事实上仅1%的英国音乐艺术家占据了
总行业77%的总收入。
11:14
of the total revenues收入
inside the music音乐 industry行业.
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这是2013年的调查,
11:17
That's 2013,
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11:19
and that's progressively逐步 getting得到 worse更差,
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现在的情况对部分人越来越糟糕,
11:22
or progressing进展.
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或越来越好。
如果你在这1%内,我敢说你很高兴。
11:24
Anyway无论如何, if you're in the one percent百分,
I'm sure you're happy快乐.
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11:26
(Laughter笑声)
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(笑声)
所以,这个对于这种情况我认为,
11:28
So the takeaway带走 for me is
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11:31
it's easier更轻松 for people
to listen to music音乐 than ever before.
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相比以前,人们很容易就能听到音乐,
11:36
People have more music音乐
at their disposal处置 than ever before,
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人们有更多的音乐供他们选择,
11:39
yet然而 people choose选择 to listen to more
of the same相同 music音乐 than ever before.
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但是人们选择听类型差不多的音乐。
这挺令人伤心的。
11:43
And that's a sad伤心 thing.
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在音乐的调查、挖掘和传导活动的激励下,
11:47
Inspired启发 by my love for music音乐 research研究,
record记录 digging挖掘 and curation策展,
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11:51
I started开始 a website网站 called
"Music音乐 Is My Sanctuary避难所" in 2007.
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我在2007年创建了
一个名叫“音乐是我的圣地”的网站。
11:56
Our slogan口号 has always been
"Future未来 Classics and Forgotten忘记了 Treasures宝藏."
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我们的标语一直都是“未来的经典音乐,被遗忘的宝藏”,
这个标语表达了我们对于发现音乐,
11:59
And it shows节目 our love
for discovering发现 music音乐
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以及给人们介绍古老
和新颖的音乐的热爱。
12:02
and introducing引入 music音乐 both old and new.
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12:04
From humble谦卑 beginnings开始,
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我们从无人知晓,
到如今拥有大量听众,
12:06
we've我们已经 built内置 a worldwide全世界 platform平台
with a massive大规模的 audience听众
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12:09
with over 100 collaborators合作者.
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和超过100位合作伙伴,
我们已经创作了超过10000首曲目,
12:11
We've我们已经 created创建 over
10,000 pieces of content内容,
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12:13
over 500 hours小时 of audio音频 content内容.
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超过500小时的音频内容。
12:16
Our audience听众 consists of people
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我们的观众是那些
不满足于主流音乐频道的人。
12:18
who just want more
than what's being存在 offered提供 to them
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12:20
by mainstream主流 music音乐 channels渠道.
254
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12:22
They want to do --
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他们想要,
他们想挖的更深,
12:24
they want to dig deeper更深,
256
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12:25
but they don't necessarily一定
have 20 hours小时 a week like us nerds书呆子,
257
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3920
但是他们没必要我们这些呆子一样,
每周花20个小时。
12:30
so they trust相信 us to do that for them.
258
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1800
所以他们相信我们可以帮他们完成。
引导是我们所做的核心。
12:33
Curation成熟度 is at the heart
of everything we do.
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比起计算机算法,
我们更相信人们的推荐。
12:35
We believe in human人的
recommendations建议 over algorithms算法.
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我可以花几天时间
来谈我对唱片挖掘的热情,
12:40
I could talk about the passion
of record记录 digging挖掘 for days,
261
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12:44
but let me conclude得出结论 this way.
262
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但是让我总结一下。
12:46
After many许多 years年份 of doing it,
263
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在从事这份事业那么多年后,
12:48
a record记录 collector's珍藏 collection采集
becomes sort分类 of his autobiography自传.
264
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一个唱片收藏家的收藏逐渐成为他的自传。
12:54
Last year, I was DJ-ingdj-ing in Poland波兰,
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去年,我正在波兰打DJ,
12:57
and the people that were hosting托管 me,
266
765160
1976
招待我的那些人
12:59
they had this amazing惊人 record记录 collection采集,
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拥有惊人的唱片收藏,
这当然引起了我的兴趣,
13:01
and of course课程 I was intrigued好奇
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13:02
and I said, "Are you selling销售 these?"
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我问他:“你们是在卖这些唱片吗?”
他们对我解释说
13:05
They then explained解释 to me
that it was the collection采集
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这些只是他们一个很好朋友的收藏品,
13:08
that belonged属于 to their dear friend朋友 Maceo马塞奥
who passed通过 away a few少数 months个月 earlier.
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他的这个朋友几个月前去世了。
13:13
And they were doing a project项目
of inviting诱人的 different不同 people
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他们计划邀请不同的人,
带走这些收藏,
并根据它们来创作新的唱片,
13:17
to take the collection采集
and to create创建 something new from it,
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不管是用作样本还是DJ混音,
13:20
whether是否 it's sampling采样 or DJDJ mixes混合,
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13:22
you know, just to give it a second第二 life.
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赋予它了第二次生命。
所以在我用几个小时浏览完这些收藏,
13:24
And so after a few少数 hours小时
of going through通过 the collection采集 myself
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13:27
and creating创建 a DJDJ mix混合 from it,
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并根据他们创作了一曲DJ混音之后,
13:30
even though虽然 I never
got the chance机会 to meet遇到 him,
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即使我没有机会和这位收藏家见面。
我有了一种和特别的感受,
13:32
it felt like in a special特别 way,
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13:35
me and him,
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我和他,
我们在一起花几小时来探讨唱片。
13:36
we got to talk
about records记录 for a few少数 hours小时.
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所以,作为一个唱片挖掘工作者,
13:39
So, as record记录 diggers挖掘机,
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13:42
our work and our record记录
collections集合 are there
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我们的这份职业和我们的唱片收藏
13:45
to be passed通过 on to the next下一个 generation.
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将会传给我们的下一代。
13:48
Beautiful美丽 art艺术 deserves值得 to be cherished珍爱的,
shared共享 and rediscovered重新发现.
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美丽的艺术品值得被珍藏,
分享和被重新发现。
13:54
Embrace拥抱 curators策展人;
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支持唱片导听员吧,
我们是主流音乐频道、
数字或其他渠道的另一选择。
13:55
we are alternative替代 voices声音
to the mainstream主流 music音乐 channels渠道,
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13:59
digital数字 or otherwise除此以外.
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我们的音乐多的难以计算。
14:01
Go beyond the algorithm算法.
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无论你喜欢什么音乐,
14:03
Whatever随你 kind of music音乐 you like,
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有很多的音乐网站、
电台节目、DJ、唱片商店
14:05
there are so many许多 websites网站,
radio无线电 shows节目, DJsDJ们, record记录 stores商店 out there
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在等着和你们分享他们的发现。
14:09
that are just waiting等候
to share分享 their discoveries发现 with you.
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我们的工作是为了服务大家。
14:12
We do this work for you.
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14:14
All you have to do
is open打开 your ears耳朵 and take risks风险.
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你要做的只是花时间去听,
这些音乐将会改变你们的生活。
14:17
This music音乐 will change更改 your life.
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谢谢。
14:19
Thank you.
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(掌声)
14:20
(Applause掌声)
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Translated by Howel Wang
Reviewed by Conway Ye

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ABOUT THE SPEAKER
Alexis Charpentier - Record digger, DJ, music entrepreneur
Alexis Charpentier (aka Lexis from Music Is My Sanctuary) believes record collectors, music curators and DJs serve a crucial role as cultural preservationists and alternative voices to mainstream music platforms.

Why you should listen

Alexis Charpentier is the founder of the Music Is My Sanctuary website and collective, one of the most respected and trusted voices in the independent music community. 

He is also the creator and producer of 24 Hours of Vinyl, a project that celebrates the love of vinyl culture by gathering DJs and collectors from different cities worldwide. During a 24-hour music marathon, participants share some of the best music discoveries from their vinyl collections.

A music lover above all, Charpentier is passionate about projects that that champion musicians from the past and present, while creating alternatives to commercial platforms. Through thousands of content pieces, interviews, radio sessions and events, his projects connect music lovers in a more profound manner than what’s possible with algorithm-driven suggestions. 

Based in Montreal, Canada, Charpentier runs the projects that fall under the Music Is My Sanctuary umbrella. He works as a music programmer at the PHI Center, a multidisciplinary arts and culture center. He also tours worldwide as a DJ and has regular club nights in his home city.

More profile about the speaker
Alexis Charpentier | Speaker | TED.com

Data provided by TED.

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