TEDxMontreal
Alexis Charpentier: How record collectors find lost music and preserve our cultural heritage
艾力克西斯 · 查本提爾: 唱片收藏家如何找到遺失的音樂和保存文化的遺產
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世世代代，在保存音樂和文化遺產方面，唱片收藏者們扮演重要的角色，他們「挖掘」被忽略的藝術家所創作的、鮮為人知的音樂。艾力克西斯 · 查本提爾分享他對於唱片的熱愛，以及收藏家如何給予被遺忘的音樂第二次機會，讓它們被聽見。來聽聽他有趣、新鮮的演說，進一步了解唱片挖掘的文化，或許順便學個新的愛好。
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. Full bio
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.
00:12
I became obsessed with records
when I was about 12 years old.
when I was about 12 years old.
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我大約在十二歲時迷上了唱片。
00:16
My parents used to give me money to eat
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我父母以前會給我吃飯錢，
00:18
and on most days, instead of eating,
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大部分的日子，我沒去吃飯，
00:20
I would save it and buy myself
a record at the end of the week.
a record at the end of the week.
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而是把錢存下來，
在一週結束時為自己買張唱片。
在一週結束時為自己買張唱片。
00:23
Here I am with a gigantic Walkman
that's about half my leg --
that's about half my leg --
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這是我，帶著有我腿
一半大的巨大型隨身聽——
一半大的巨大型隨身聽——
00:26
(Laughter)
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（笑聲）
00:28
It actually looks more like a VCR.
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它看起來其實更像錄放影機。
00:30
(Laughter)
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（笑聲）
00:32
So when I was a teenager,
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我到了青少年時期，
00:33
the obsession of buying cassettes,
vinyls and CDs just kept growing.
vinyls and CDs just kept growing.
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對於購買錄音帶、黑膠唱片、
CD 的迷戀仍然持續上長。
CD 的迷戀仍然持續上長。
00:37
I was even working
in a record store for many years
in a record store for many years
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我甚至在一個唱片店裡工作了許多年，
00:40
and only ever got paid in records.
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且我得到的只有唱片，沒有薪水。
00:43
One day I realized
that I had thousands of records more
that I had thousands of records more
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有天，我發現我有數千張的唱片，
00:46
than I could even listen to in my life.
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這樣的數量，我一輩子都聽不完。
00:49
I became what many of us are:
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我變成和許多人一樣的：
00:51
record junkies --
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唱片成癮者——
00:52
or record diggers,
as we like to call ourselves.
as we like to call ourselves.
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或者說是唱片挖掘者，
我們喜歡以此自稱。
我們喜歡以此自稱。
00:56
Record digging, as the name suggests,
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唱片挖掘，正如其名，
00:58
means getting your hands dirty.
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就是要讓你親手下去挖。
01:00
It means spending hours
rummaging through warehouses,
rummaging through warehouses,
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這表示你要花數小時翻找唱片，
搜索地點包括倉庫、
搜索地點包括倉庫、
01:04
church basements,
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教堂地下室、
01:05
yard sales, record stores --
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庭院拍賣、唱片行——
01:07
all to find records that have been
forgotten for decades.
forgotten for decades.
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目的就是要找到
被遺忘了數十年的唱片。
被遺忘了數十年的唱片。
01:11
Records that have become cultural waste.
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已變成文化廢棄物的唱片。
01:14
The earliest record collectors
from about the '30s to the 1960s
from about the '30s to the 1960s
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最早期大約三十年代
到六十年代的唱片收藏家
到六十年代的唱片收藏家
01:18
found and preserved
so many important records
so many important records
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發現並保存了好多重要的唱片，
01:21
that would have been lost forever.
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若不是他們，就會永久失傳。
01:24
In those days, most
cultural and public institutions
cultural and public institutions
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在那時候，大部分的
文化和公共機構團體
文化和公共機構團體
01:27
didn't really care
to preserve these treasures.
to preserve these treasures.
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並不在乎這些寶藏的保存。
01:29
In many cases, they were just
throwing them into the garbage.
throwing them into the garbage.
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在許多情況中，
他們就把唱片丟進垃圾堆去了。
他們就把唱片丟進垃圾堆去了。
01:33
Record digging is a lifestyle.
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唱片挖掘是一種生活方式。
01:35
We're absolutely obsessed
with obscure records,
with obscure records,
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我們完完全全迷上鮮為人知的唱片、
昂貴的唱片、dollar-bin
（二手唱片店）的唱片、
（二手唱片店）的唱片、
01:39
expensive records, dollar-bin records,
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01:41
crazy artwork,
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瘋狂的藝術作品、
01:42
sub-subgenres.
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子類別。
01:44
And all of the tiniest details
that go with each release.
that go with each release.
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以及每張發行專輯的
所有最細微之細節。
所有最細微之細節。
01:48
When the media talks
about the vinyl revival
about the vinyl revival
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當媒體談到這些年重新流行起來的
01:50
that's been happening
these last few years,
these last few years,
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黑膠唱片時，
01:52
they often forget
to mention this community
to mention this community
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他們通常都會忘記提到這個社群，
01:55
that's been keeping the vinyl
and the tradition and the culture alive
and the tradition and the culture alive
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過去三十年間，是這個社群
讓黑膠唱片以及傳統和文化
讓黑膠唱片以及傳統和文化
02:00
for these last 30 years.
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能持續存活著。
02:02
It's a very close-knit
but competitive society, a little bit,
but competitive society, a little bit,
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它是個結合非常緊密，
但有點競爭性的族群，
但有點競爭性的族群，
02:06
because when you're hunting
for extremely rare records,
for extremely rare records,
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因為我們是在獵尋極度稀有的唱片，
02:09
if you miss your opportunity,
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如果你錯失你的機會，
02:10
you might not see that record
ever in your life.
ever in your life.
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你可能一生都不會看到那張唱片了。
02:14
But I guess the only person in here
truly impressed by record collectors
truly impressed by record collectors
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但我猜想，這裡唯一會真正
對唱片收藏家感到佩服的人，
對唱片收藏家感到佩服的人，
02:18
is another record collector.
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是本身也收集唱片的人。
02:21
To the outside world,
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對於外面的世界，
02:22
we seem like a very weird,
oddball group of individuals.
oddball group of individuals.
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我們似乎是非常奇異古怪的一群人。
02:27
And --
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而且——
02:28
(Laughter)
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（笑聲）
02:29
And they're mostly right.
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且他們通常是對的。
02:30
All the record collectors I know
are obsessive maniacs.
are obsessive maniacs.
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我認識的所有唱片收藏家
都是執著的狂人。
都是執著的狂人。
02:33
We know we're all crazy in some way.
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我們都知道我們在
某種層面上是很瘋狂的。
某種層面上是很瘋狂的。
02:36
But I think we should be viewed
a little bit more like this.
a little bit more like this.
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但我認為我們更應該
被看作是這樣:
被看作是這樣:
02:39
(Laughter)
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（笑聲）
02:40
We're music archaeologists.
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我們是音樂考古學家。
02:41
We're hunting down the lost artifact.
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我們在獵尋失落的工藝品。
02:44
We all have a list of records that we
would do anything to get our hands on,
would do anything to get our hands on,
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我們都有張清單，
上面的唱片是我們願不計代價取得的，
02:47
that we've been chasing for years,
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是我們尋找多年的，
02:49
and we actually call this list
our "holy grails."
our "holy grails."
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我們把這清單稱為我們的「聖杯」。
02:53
When you're digging for records,
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當你在挖掘唱片時，
02:54
you're surrounded by music you don't know.
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你被你不認識的音樂圍繞著。
02:57
You're surrounded by mystery
and by all these dreams --
and by all these dreams --
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你被神秘感以及所有
這些夢想給圍繞著——
這些夢想給圍繞著——
03:00
records that people once believed in.
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這些是人們曾經相信的唱片。
03:03
Imagine the thousands of artists
who were destined to be legends
who were destined to be legends
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想像一下，數千名注定
成為傳奇的藝術家，
成為傳奇的藝術家，
03:06
but for various reasons,
were just overlooked.
were just overlooked.
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卻因為各種理由而被忽略了。
03:10
Many of these records
only exist in a handful of copies,
only exist in a handful of copies,
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裏頭有許多現在只剩下幾張唱片了，
03:13
and some have never even been found,
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有些從來沒有被找到，
03:15
never been heard.
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從來沒有被聽過。
03:17
They're literally endangered species.
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它們真可說是瀕臨絕種。
03:20
I'll tell you a story
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讓我說個故事，
03:21
that for me sort of sums up
the value of the work of record diggers.
the value of the work of record diggers.
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對我而言，這個故事總結出了
唱片挖掘者所做的事的價值。
唱片挖掘者所做的事的價值。
03:26
The story of a brilliant
Montreal musician and composer.
Montreal musician and composer.
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故事主角是一位聰明的
蒙特婁音樂家兼作曲家。
蒙特婁音樂家兼作曲家。
03:31
Henri-Pierre Noël
was born and raised in Haiti,
was born and raised in Haiti,
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亨利皮耶諾爾在海地出生和長大，
03:34
but he lived briefly
in the US and in Belgium.
in the US and in Belgium.
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但他在美國及比利時
住過短暫的時間。
住過短暫的時間。
03:37
He passed through Montreal
what was supposed to be for two weeks,
what was supposed to be for two weeks,
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他經過蒙特婁，
本來應該只要停留兩週，
本來應該只要停留兩週，
03:40
but he ended up
staying for the next 40 years.
staying for the next 40 years.
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但結果，他一待就待了四十年。
03:43
When he was young,
he learned to play piano
he learned to play piano
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他年輕時學過鋼琴，
03:45
and developed a very particular way
of playing his instrument:
of playing his instrument:
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並自己開發出了一種
很特別的樂器彈奏方式：
很特別的樂器彈奏方式：
03:48
very fast and almost like a percussion.
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非常快速，幾乎就像打擊樂器。
03:50
His style was a mix
of his Haitian influences and folklore
of his Haitian influences and folklore
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他的風格混合了海地的影響和民俗，
03:55
mixed with the American influences
that he grew up hearing.
that he grew up hearing.
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加上他成長過程聽到的美國影響。
03:58
So he created a mix
of compas mixed with funk and jazz.
of compas mixed with funk and jazz.
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所以他創造了一種
基本律動與放克和爵士的混合。
基本律動與放克和爵士的混合。
04:03
As a young man,
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年輕時，
04:05
he played and toured with live bands
in the US and in Europe,
in the US and in Europe,
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他和現場樂團一同
在美國及歐洲巡迴表演，
在美國及歐洲巡迴表演，
04:07
but had never recorded an album
or a song before moving to Canada.
or a song before moving to Canada.
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但在搬到加拿大之前
從未錄製過一張專輯或一首歌。
從未錄製過一張專輯或一首歌。
04:12
It was in Montreal in 1979
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1979 年，在蒙特婁，
04:14
that he released
his first album called, "Piano."
his first album called, "Piano."
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他發行了他的首張專輯《鋼琴》。
04:17
Completely on his own,
on Henri-Pierre Noël Records.
on Henri-Pierre Noël Records.
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完全靠自己，以亨利皮耶諾爾
唱片公司的名字獨立發行。
唱片公司的名字獨立發行。
04:21
He only made what he could afford:
2,000 copies of the record.
2,000 copies of the record.
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他只能負擔得起發行兩千張。
04:25
The record received
a little bit of airplay,
a little bit of airplay,
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那張唱片有少數被電台播放的機會，
04:28
a little bit of support
in Canada and in Haiti,
in Canada and in Haiti,
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在加拿大和海地得到一點點的支持，
04:31
but without a big label behind it,
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但背後沒有大唱片公司，
04:34
it was very, very difficult.
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是非常非常艱困的。
04:36
Back then,
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那時，
04:37
if your record wasn't getting played
on mainstream radio,
on mainstream radio,
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若你的唱片沒有在主流電台播放，
若沒有在自動點唱機中，
若沒有人邀請你去電視上演出，
若沒有人邀請你去電視上演出，
04:40
if you weren't in jukeboxes
or if you weren't invited to play on TV,
or if you weren't invited to play on TV,
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你成功的可能性就很低。
04:43
the odds were completely against you.
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04:45
Releasing an album
as an independent artist
as an independent artist
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以獨立藝術家的身份來發行專輯
04:48
was so much more difficult
than it is today,
than it is today,
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在那時比現在困難很多很多，
04:50
both in terms of being heard
and just distributing the thing.
and just distributing the thing.
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在被大眾聽到方面，
以及單純發行方面都是如此。
以及單純發行方面都是如此。
04:53
So, soon after,
he released a second album,
he released a second album,
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所以，在他發行了
第二張專輯之後沒多久，
第二張專輯之後沒多久，
04:57
kept a busy schedule playing piano
in various clubs in the city,
in various clubs in the city,
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忙碌地在城市內的
各個俱樂部演奏鋼琴，
各個俱樂部演奏鋼琴，
05:00
but his records started
to accumulate dust slowly.
to accumulate dust slowly.
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但他的唱片開始慢慢地累積灰塵。
05:04
And those 2,000 copies
in the span of 30 years
in the span of 30 years
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在三十年間，那兩千張專輯
05:06
easily started to get lost
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很容易就開始被遺失，
05:08
until only a few copies
in the world remained.
in the world remained.
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直到全世界僅剩下幾張還存在。
05:12
Then in the mid-2000s,
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在 21 世紀頭十年中期，
05:15
a Montreal record digger
that goes by the name Kobal
that goes by the name Kobal
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在蒙特婁，一位名叫
柯白爾的唱片挖掘者
柯白爾的唱片挖掘者
05:18
was doing his weekly rounds
of just hunting for records.
of just hunting for records.
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在進行他每週例行的唱片獵尋。
05:21
He was in a flea market
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他到了一個跳蚤市場，
05:23
surrounded by thousands
of other dirty, dusty, moldy records.
of other dirty, dusty, moldy records.
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被一大堆骯髒、滿佈灰塵、
發霉的唱片所包圍。
發霉的唱片所包圍。
05:27
That's where he found the "Piano" album.
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在那裡，他找到了《鋼琴》專輯。
05:30
He wasn't specifically looking for it.
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他的本意並非去找那張專輯。
05:32
Actually, you could say
it sort of found him.
it sort of found him.
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事實上，你可以說
是那張專輯找到他的。
是那張專輯找到他的。
05:34
You could also say that after 20 years
of record digging every single week,
of record digging every single week,
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也可以說，在持續二十年
每週都去挖掘唱片之後，
每週都去挖掘唱片之後，
05:38
he had developed a sixth sense
for finding the gold.
for finding the gold.
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他已經發展出了找到金礦的第六感。
05:42
He took the record and inspected it:
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他拿著唱片並檢查它：
05:44
the front, the artwork,
the back, the liner notes,
the back, the liner notes,
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正面、藝術設計、
背面、封套說明文字，
背面、封套說明文字，
05:47
and he was intrigued by the fact
that this Haitian musician made a record
that this Haitian musician made a record
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他感到很好奇，
這位海地音樂家在七十年代末
這位海地音樂家在七十年代末
05:51
in Quebec in the late '70s,
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在魁北克製作了一張唱片，
05:53
so he was intrigued.
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他的好奇心被激起了。
05:56
He took out his little,
plastic, portable turntable
plastic, portable turntable
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他拿出了他只要去挖寶時
05:58
that he brought with him
whenever he was on these digging quests
whenever he was on these digging quests
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都會隨身攜帶的可攜式
小型塑膠唱機轉盤，
小型塑膠唱機轉盤，
06:02
and put the record on.
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並把唱片放上去。
06:04
So why don't we do the same thing?
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我們也來做相同的事吧。
06:14
(Music)
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（音樂）
06:45
He fell in love with the music instantly,
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他馬上愛上了這音樂，
06:49
but he had to know
the backstory behind it.
the backstory behind it.
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但他得要知道它背後的故事。
06:51
He didn't know where it came from.
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它不知道它是打哪兒來的。
06:54
He knew the artist,
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他知道這位藝術家
06:56
at the time of the recording,
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在錄音的時候
06:57
was living in Montreal,
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是住在蒙特婁的，
06:58
so for months, he tried to track him down.
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所以他花了數個月的時間去追蹤他。
07:01
He even found Noël's business card
inside the record sleeve.
inside the record sleeve.
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他甚至在唱片套內
找到了諾爾的名片。
找到了諾爾的名片。
07:05
That's how DIY Henri-Pierre Noël was.
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亨利皮耶諾爾就是
這麼「自己動手做」。
這麼「自己動手做」。
07:09
So he found the card
inside the record sleeve --
inside the record sleeve --
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他在唱片套內找到了名片——
07:13
of course he did try to call,
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當然，他試著打電話去，
07:14
but after 30 years,
the number didn't work anymore.
the number didn't work anymore.
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但過了三十年，那個號碼已失效。
07:18
So it was only in Belgium,
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只有在比利時，
那位藝術家曾經住過的地方，
那位藝術家曾經住過的地方，
07:20
where the artist had once lived,
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07:22
that Kobal managed to find someone
that knew the artist personally
that knew the artist personally
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柯白爾才找到了認識
那位藝術家本人的人，
那位藝術家本人的人，
07:25
and gave him the contact.
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並給了他聯絡方式。
07:27
So when he finally
sat down with the artist,
sat down with the artist,
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所以，當他終於與
那位藝術家見面坐下談，
那位藝術家見面坐下談，
07:30
he made him a promise to someday
find a way to get the album rereleased.
find a way to get the album rereleased.
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他向他做了一個保證：有一天，
會找到方法來發行這張專輯。
會找到方法來發行這張專輯。
07:37
He then arranged for a British label
called Wah Wah 45s
called Wah Wah 45s
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他接著安排了一家英國唱片公司，
叫 Wah Wah 45s，
叫 Wah Wah 45s，
07:40
to get the two albums reissued.
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將兩張專輯重新發行。
07:43
And what happens very often is,
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在這類重新發行的計畫中
07:45
in these reissue projects,
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很常見的狀況是，
07:46
that it becomes very difficult
to find the master tapes --
to find the master tapes --
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非常難找到母帶——
07:49
the original recording of the sessions.
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用來做拷貝的原始錄音。
07:52
Art can be destroyed
by fires, floods, earthquakes,
by fires, floods, earthquakes,
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藝術有可能會被火災、
水災、地震給摧毀，
水災、地震給摧毀，
07:55
thrown in the garbage,
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或是丟到垃圾筒，
07:56
or just lost forever.
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因而永遠遺失。
07:57
But thankfully,
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但，謝天謝地，
07:59
the Henri-Pierre Noël tapes were safe
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亨利皮耶諾爾的母帶很安全，
08:00
and they were ready for remastering.
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它們都可以拿來重新灌製了。
08:03
The record was finally rereleased
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唱片終於被發行，
08:05
and received praise from music critics,
DJs and listeners worldwide --
DJs and listeners worldwide --
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得到了全世界音樂評論家、
DJ、聽眾的讚賞——
DJ、聽眾的讚賞——
08:10
the praise that it should have
received in 1979.
received in 1979.
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它早在 1979 年就該得到這些讚賞的。
08:15
The artist was so inspired that he decided
to revive his music career,
to revive his music career,
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這位藝術家受到很大的鼓舞，
決定重新開始他的音樂職涯、
決定重新開始他的音樂職涯、
08:18
get back on a stage,
and play for new audiences.
and play for new audiences.
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回到舞台上，為新觀眾演出。
08:22
The artist, now in his 60s,
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這位藝術家現在已經六十幾歲了，
08:25
told me, "This changed everything for me.
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他告訴我：「這改變了我的一切。
08:27
I went from planning my retirement
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我從規劃退休轉變成
08:29
to playing on the BBC Radio in London,
and on Radio Canada and more."
and on Radio Canada and more."
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在倫敦 BBC 電台、加拿大廣播公司，
及許多其他廣播電台演出。」
及許多其他廣播電台演出。」
08:33
But also it gave him a chance to play
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他也因此有機會可以初次
08:35
in front of his three sons
for the first time.
for the first time.
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在他的三個兒子面前演出。
08:38
To me, this story shows perfectly
the work of record diggers at its best.
the work of record diggers at its best.
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對我而言，這個故事完美呈現出了
唱片挖掘者的工作的理想狀況。
唱片挖掘者的工作的理想狀況。
08:43
Beyond the rarity and the dollar value --
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在稀有度和金錢價值之外——
08:45
and I'll be honest,
we're totally obsessed by that --
we're totally obsessed by that --
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老實說，我們非常重視那些——
08:48
the true beauty
is to give art a second chance;
is to give art a second chance;
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真正美麗之處在於
給予藝術第二次機會；
給予藝術第二次機會；
08:51
to save art from oblivion.
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拯救藝術，讓它不被遺忘。
08:54
The work of a good record digger
is a constant loop of three phases.
is a constant loop of three phases.
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好的唱片挖掘者，工作的方式
是採用三步驟的迴圈。
是採用三步驟的迴圈。
08:57
The first thing we do is hunt.
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我們做的第一件事是獵尋。
09:00
We spend hours, days, years of our lives
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我們花費人生中幾小時、
幾天、幾年的時間，
幾天、幾年的時間，
09:02
rummaging through
dirty and dusty record bins.
dirty and dusty record bins.
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在骯髒滿佈灰塵的唱片倉中翻找。
09:05
Everything that we can do
to find our hands on the gold.
to find our hands on the gold.
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我們會盡一切可能，
希望能親手找到金礦。
希望能親手找到金礦。
09:10
Yes, you can find good records online,
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是的，你可以上網找到好唱片，
09:12
but for the deepest treasures,
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但要找到最深的寶藏，
09:13
you need to get off the couch
and into the wild.
and into the wild.
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你得要離開沙發，
進入未開發的荒野。
進入未開發的荒野。
09:16
That's why we call it record digging
and not record clicking.
and not record clicking.
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那就是為什麼我們稱之為
唱片挖掘，而不是唱片點選。
唱片挖掘，而不是唱片點選。
09:19
(Laughter)
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（笑聲）
09:20
So what we are is music archaeologists.
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所以，我們是音樂的考古學家。
09:23
But then the next thing
we do is we gather.
we do is we gather.
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但我們接下來做的事情，是採集。
09:25
Based on our taste,
expertise, personal agenda,
expertise, personal agenda,
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依據我們的口味、專長、個人目的，
09:27
we choose carefully which records to save,
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我們會小心挑選要保留哪些唱片，
09:30
which records mean something to us.
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哪些唱片對我們有意義。
09:32
We then try and find out every
little thing we can about that record --
little thing we can about that record --
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接著，我們試著找出關於
那張唱片的所有瑣碎資訊——
那張唱片的所有瑣碎資訊——
09:35
the artist, the label
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藝術家、唱片公司，
09:37
and supervital information
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以及超重要的資訊，
09:39
like "Who's that playing trumpet
on track three?"
on track three?"
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像是「第三曲的喇叭是誰演奏的？」
09:42
Then we file them, we contextualize them,
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接著我們會把它們建檔、脈絡化，
09:44
and we keep them safe.
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並確保它們的安全。
09:46
We are music archivists.
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我們是音樂檔案保管員。
09:48
And the last thing we do
to close the loop is we share.
to close the loop is we share.
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完成迴圈的最後一件事，就是分享。
09:51
Most record diggers that I know
have some sort of a way
have some sort of a way
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我所知道的大部分
唱片挖掘者都有某種方式
唱片挖掘者都有某種方式
09:54
to share their discovery
and elevate the artist
and elevate the artist
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來分享他們的發現，並透過
專輯重新發行、網路文章、
09:57
through an album reissue,
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09:58
a web article, a radio show.
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廣播節目，來宣傳該藝術家。
10:01
We give records back
their rightful place in music history.
their rightful place in music history.
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我們幫唱片找回它們
在音樂史上應有的地位。
在音樂史上應有的地位。
我們是時髦風尚之開創者及策展人。
10:05
We are tastemakers and curators.
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10:07
We are musicologists.
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我們是音樂學家。
10:09
So for myself
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對我自己以及這二十年間
10:10
and most of the record collectors
I've encountered in 20 years,
I've encountered in 20 years,
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我所遇到的大部分唱片收藏家而言，
10:13
I think that we all
have some sort of an outlet
have some sort of an outlet
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我想，針對我們的發現，我們都有
10:16
for these discoveries.
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某種銷路管道。
10:17
I think it's our way to keep our sanity
and sort of sense of purpose
and sort of sense of purpose
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我想，在我們這麼狂的迷戀當中，
那是種保持理智和使命感的方式，
10:21
in this very maddening obsession,
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10:24
because it can be sort of a lonely one.
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因為它其實還蠻孤獨的。
10:26
But I think we also do it
because it serves the human need
because it serves the human need
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但我認為，我們去做的理由
也是因為它能滿足人類
也是因為它能滿足人類
10:29
to pass along cultural knowledge.
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需要把文化知識傳下去的需求。
10:31
Speaking of the need for curation,
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說到對策展的需求，
10:34
in an era of overwhelming choice,
214
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在一個選擇太多的時代中，
10:36
it's been demonstrated
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我們已經知道
10:37
that too much choice
actually hinders discovery.
actually hinders discovery.
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太多的選擇其實對於發掘是個阻礙。
10:39
For example,
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比如，
10:41
if you're trying to watch
something on Netflix,
something on Netflix,
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如果你想在 Netflix 上找影片看，
10:43
you're actually only browsing
through a catalog of 6,000 titles.
through a catalog of 6,000 titles.
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你只是快速掃視過了
六千個片名的目錄。
六千個片名的目錄。
10:48
Now, compare that with Spotify;
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把它和 Spotify 做個比較，
10:50
if you want to pick
something to listen to,
something to listen to,
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如果你想要找音樂來聽，
10:52
you're browsing through a catalog
of 30 million songs.
of 30 million songs.
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你要看過三千萬條歌的目錄。
10:56
So I think as you can see,
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不難理解，
10:57
this notion of paralysis by choice
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選擇造成癱瘓的這個概念
10:59
affects music more than movies,
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對音樂的影響高於電影，
11:02
for example.
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舉例而言。
11:04
And there's a few studies
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有幾篇研究
11:05
that are starting to show
the effects of this.
the effects of this.
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談及這狀況造成的效應。
11:07
A recent look at the UK music market
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近期有篇關於英國音樂市場的探討，
11:09
shows that the top one percent of artists
in the UK are actually earning 77 percent
in the UK are actually earning 77 percent
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指出在英國音樂產業中，
前 1% 的藝術家所賺的錢
前 1% 的藝術家所賺的錢
就佔了產業總利潤的 77%。
11:14
of the total revenues
inside the music industry.
inside the music industry.
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11:17
That's 2013,
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那是 2013 年的資料，
11:19
and that's progressively getting worse,
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且這個利潤百分比在日漸變糟，
11:22
or progressing.
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或說在上升。
11:24
Anyway, if you're in the one percent,
I'm sure you're happy.
I'm sure you're happy.
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至少，如果你屬於那 1% 的人，
我相信你很開心。
我相信你很開心。
11:26
(Laughter)
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（笑聲）
11:28
So the takeaway for me is
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所以，我學到的是，
11:31
it's easier for people
to listen to music than ever before.
to listen to music than ever before.
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現在要聽音樂，比以前容易多了。
11:36
People have more music
at their disposal than ever before,
at their disposal than ever before,
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比起以前，
現代人有更多音樂可任意使用，
現代人有更多音樂可任意使用，
11:39
yet people choose to listen to more
of the same music than ever before.
of the same music than ever before.
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但比起以前，
人們卻更會選擇聽同樣的音樂。
人們卻更會選擇聽同樣的音樂。
11:43
And that's a sad thing.
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那很可惜。
11:47
Inspired by my love for music research,
record digging and curation,
record digging and curation,
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受到我對於音樂研究、唱片挖掘，
以及策展的熱愛所鼓舞，
以及策展的熱愛所鼓舞，
11:51
I started a website called
"Music Is My Sanctuary" in 2007.
"Music Is My Sanctuary" in 2007.
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2007 年，我創立了一個網站，
叫「音樂是我的聖所」。
叫「音樂是我的聖所」。
11:56
Our slogan has always been
"Future Classics and Forgotten Treasures."
"Future Classics and Forgotten Treasures."
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我們的標語一直都是
「未來經典及被遺忘的寶藏」。
「未來經典及被遺忘的寶藏」。
11:59
And it shows our love
for discovering music
for discovering music
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它展現了我對於發掘音樂
12:02
and introducing music both old and new.
246
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和推行新音樂及舊音樂的熱愛。
12:04
From humble beginnings,
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一開始很簡陋，
現已建立全球平台，有大量的聽眾，
12:06
we've built a worldwide platform
with a massive audience
with a massive audience
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12:09
with over 100 collaborators.
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合作夥伴有超過一百個。
12:11
We've created over
10,000 pieces of content,
10,000 pieces of content,
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我們創作出了超過一萬件的內容，
12:13
over 500 hours of audio content.
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超過五百小時的音樂內容。
12:16
Our audience consists of people
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我們的聽眾族群是
12:18
who just want more
than what's being offered to them
than what's being offered to them
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對現有主流音樂頻道
提供的內容不滿足，
提供的內容不滿足，
12:20
by mainstream music channels.
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還想要更多的人。
12:22
They want to do --
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他們想要——
12:24
they want to dig deeper,
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他們想要挖更深，
12:25
but they don't necessarily
have 20 hours a week like us nerds,
have 20 hours a week like us nerds,
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但他們不見得像我們這些
痴迷者一週有二十小時，
痴迷者一週有二十小時，
12:30
so they trust us to do that for them.
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所以他們信任我們來為他們做挖掘。
12:33
Curation is at the heart
of everything we do.
of everything we do.
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策展是我們所做的一切的核心。
12:35
We believe in human
recommendations over algorithms.
recommendations over algorithms.
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我們相信人類的推薦，而非演算法。
12:40
I could talk about the passion
of record digging for days,
of record digging for days,
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我可以花上數天的時間
來談對挖掘唱片的熱情，
來談對挖掘唱片的熱情，
12:44
but let me conclude this way.
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但讓我這麼作結。
12:46
After many years of doing it,
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在做了許多年之後，
12:48
a record collector's collection
becomes sort of his autobiography.
becomes sort of his autobiography.
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唱片收藏家的收藏可以說
就變成了他的自傳。
就變成了他的自傳。
12:54
Last year, I was DJ-ing in Poland,
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去年，我在波蘭當 DJ，
12:57
and the people that were hosting me,
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接待我的那些人，
12:59
they had this amazing record collection,
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他們有很了不起的唱片收藏，
13:01
and of course I was intrigued
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當然，我深深著迷，
13:02
and I said, "Are you selling these?"
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我說：「你們會出售這些嗎？」
13:05
They then explained to me
that it was the collection
that it was the collection
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他們向我解釋，這收藏的主人
13:08
that belonged to their dear friend Maceo
who passed away a few months earlier.
who passed away a few months earlier.
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是他們親愛的朋友梅西歐，
而梅西歐在幾個月前過世了。
而梅西歐在幾個月前過世了。
13:13
And they were doing a project
of inviting different people
of inviting different people
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他們在進行一項計畫，邀請不同的人
13:17
to take the collection
and to create something new from it,
and to create something new from it,
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用這些收藏品來創作出新東西，
13:20
whether it's sampling or DJ mixes,
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不論是取樣或是 DJ 混音，
13:22
you know, just to give it a second life.
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就是要賦予這些收藏另一個生命。
13:24
And so after a few hours
of going through the collection myself
of going through the collection myself
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我自己花了幾個小時
檢視所有的收藏品，
檢視所有的收藏品，
13:27
and creating a DJ mix from it,
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用它們創作出了 DJ 混音，
13:30
even though I never
got the chance to meet him,
got the chance to meet him,
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雖然我沒有機會見到他本人，
13:32
it felt like in a special way,
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感覺卻像是，以某種特別的方式，
13:35
me and him,
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我和他，我們得以
談論唱片談了幾個小時。
談論唱片談了幾個小時。
13:36
we got to talk
about records for a few hours.
about records for a few hours.
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13:39
So, as record diggers,
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所以，身為唱片挖掘者，
13:42
our work and our record
collections are there
collections are there
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我們的作品和唱片收藏
是等著要被傳到下一個世代的。
13:45
to be passed on to the next generation.
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13:48
Beautiful art deserves to be cherished,
shared and rediscovered.
shared and rediscovered.
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美麗的藝術應該要被
珍惜、分享，和再次發掘。
珍惜、分享，和再次發掘。
13:54
Embrace curators;
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擁抱策展人；
13:55
we are alternative voices
to the mainstream music channels,
to the mainstream music channels,
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我們是主流音樂頻道——
不論數位或其他方式——的替代聲音。
13:59
digital or otherwise.
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14:01
Go beyond the algorithm.
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超越演算法。
14:03
Whatever kind of music you like,
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不論你喜歡哪種音樂，
14:05
there are so many websites,
radio shows, DJs, record stores out there
radio shows, DJs, record stores out there
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市面上有那麼多網站、
廣播節目、DJ、唱片行，
廣播節目、DJ、唱片行，
14:09
that are just waiting
to share their discoveries with you.
to share their discoveries with you.
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都等待著要與你分享它們的發現。
14:12
We do this work for you.
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我們為你們代勞。
14:14
All you have to do
is open your ears and take risks.
is open your ears and take risks.
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你們只需用耳去聼、去嘗試冒險。
14:17
This music will change your life.
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這些音樂會改變你們的人生。
14:19
Thank you.
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謝謝。
14:20
(Applause)
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（掌聲）
ABOUT THE SPEAKER
Alexis Charpentier - Record digger, DJ, music entrepreneurAlexis 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.
Alexis Charpentier | Speaker | TED.com