Alexis Charpentier: How record collectors find lost music and preserve our cultural heritage
Alexis Charpentier: Kako kolekcionari ploča pronalaze izgubljenu glazbu i čuvaju kulturno nasljeđe
Alexis Charpentier - Record digger, DJ, music entrepreneur
Alexis Charpentier believes record collectors, music curators and DJs serve a crucial role as cultural preservationists and alternative voices to mainstream music platforms. Full bio
when I was about 12 years old.
a record at the end of the week.
that's about half my leg --
veličine pola moje noge --
vinyls and CDs just kept growing.
kasete, vinile i CD-e.
in a record store for many years
u prodavaonici ploča
that I had thousands of records more
nekoliko tisuća albuma više
u jednom životu.
as we like to call ourselves.
kako se često nazivamo.
rummaging through warehouses,
kopajući po skladištima,
forgotten for decades.
from about the '30s to the 1960s
od 30-tih do 60-tih godina
so many important records
cultural and public institutions
i javne ustanove tog vremena
to preserve these treasures.
o očuvanju tih vrijednosti.
throwing them into the garbage.
with obscure records,
that go with each release.
about the vinyl revival
these last few years,
to mention this community
and the tradition and the culture alive
i kulture vinila
but competitive society, a little bit,
for extremely rare records,
na vrlo rijetka izdanja,
ever in your life.
truly impressed by record collectors
oddball group of individuals.
are obsessive maniacs.
a little bit more like this.
za izgubljenim blagom.
would do anything to get our hands on,
koje bismo željeli imati,
our "holy grails."
and by all these dreams --
who were destined to be legends
koji su trebali postati legende,
were just overlooked.
only exist in a handful of copies,
samo nekoliko primjeraka,
the value of the work of record diggers.
daje smisao lovu na ploče.
Montreal musician and composer.
i kompozitoru iz Montreala.
was born and raised in Haiti,
rođen je i odrastao na Haitiju,
in the US and in Belgium.
what was supposed to be for two weeks,
kratki dvotjedni boravak u Montrealu,
staying for the next 40 years.
života u tom gradu.
he learned to play piano
of playing his instrument:
of his Haitian influences and folklore
haićanske narodne glazbe
that he grew up hearing.
uz koju je odrastao.
of compas mixed with funk and jazz.
s funk i jazz glazbom.
in the US and in Europe,
or a song before moving to Canada.
tek preseljenjem u Kanadu.
his first album called, "Piano."
on Henri-Pierre Noël Records.
(Henri-Pierre Noël Records),
2,000 copies of the record.
koliko si je mogao priuštiti.
a little bit of airplay,
in Canada and in Haiti,
u Kanadi i na Haitiju,
on mainstream radio,
or if you weren't invited to play on TV,
as an independent artist
than it is today,
and just distributing the thing.
he released a second album,
in various clubs in the city,
to accumulate dust slowly.
in the span of 30 years
in the world remained.
that goes by the name Kobal
of just hunting for records.
potrazi za pločama.
of other dirty, dusty, moldy records.
prašnih, vlažnih ploča.
it sort of found him.
of record digging every single week,
nakon 20 godina traženja
for finding the gold.
the back, the liner notes,
podatke unutar korica,
that this Haitian musician made a record
što je haićanski glazbenik
plastic, portable turntable
whenever he was on these digging quests
the backstory behind it.
inside the record sleeve.
"uradi sam" od glave do pete.
inside the record sleeve --
the number didn't work anymore.
taj broj više nije postojao.
that knew the artist personally
koja je poznavala glazbenika
sat down with the artist,
find a way to get the album rereleased.
ponovo objaviti album.
called Wah Wah 45s
to find the master tapes --
by fires, floods, earthquakes,
u požaru, poplavi, potresu,
DJs and listeners worldwide --
DJ-a i publike širom svijeta -
received in 1979.
to revive his music career,
Noël je oživio glazbenu karijeru,
and play for new audiences.
svirati novoj publici.
and on Radio Canada and more."
na Radio Canadi i sl."
for the first time.
the work of record diggers at its best.
najbolji primjer lova na ploče.
we're totally obsessed by that --
potpuno smo opčinjeni time --
is to give art a second chance;
umjetničkom djelu drugu priliku;
is a constant loop of three phases.
koje se ponavljaju.
dirty and dusty record bins.
to find our hands on the gold.
and into the wild.
i krenuti u nepoznato.
and not record clicking.
a ne o klikanju ploča.
we do is we gather.
expertise, personal agenda,
little thing we can about that record --
sve moguće informacije o samoj ploči,
on track three?"
na trećoj skladbi?"
to close the loop is we share.
kojom zatvaramo krug.
have some sort of a way
and elevate the artist
i promoviraju umjetnika
their rightful place in music history.
zasluženo mjesto u glazbenoj povijesti.
I've encountered in 20 years,
koje sam susreo tijekom 20 godina,
have some sort of an outlet
and sort of sense of purpose
te nam daje smisao
because it serves the human need
normalne ljudske pobude
actually hinders discovery.
something on Netflix,
through a catalog of 6,000 titles.
something to listen to,
of 30 million songs.
od 30 milijuna pjesama.
the effects of this.
in the UK are actually earning 77 percent
inside the music industry.
I'm sure you're happy.
to listen to music than ever before.
at their disposal than ever before,
nevjerojatne količine glazbe,
of the same music than ever before.
record digging and curation,
za traženjem i očuvanjem ploča,
"Music Is My Sanctuary" in 2007.
"Music Is My Sanctuary".
"Future Classics and Forgotten Treasures."
i zaboravljeno blago".
for discovering music
prema otkrivanju glazbe,
ono staro i novo u glazbi.
with a massive audience
s ogromnom publikom,
10,000 pieces of content,
than what's being offered to them
have 20 hours a week like us nerds,
poput nas za svoje potrage
of everything we do.
recommendations over algorithms.
of record digging for days,
becomes sort of his autobiography.
that it was the collection
who passed away a few months earlier.
koji je nedavno preminuo.
of inviting different people
i pozvali zainteresirane
and to create something new from it,
of going through the collection myself
got the chance to meet him,
about records for a few hours.
collections are there
shared and rediscovered.
dijeljenje i otkrivanje.
to the mainstream music channels,
radio shows, DJs, record stores out there
radio emisija, DJ-a, trgovina,
to share their discoveries with you.
is open your ears and take risks.
About the speaker:Alexis Charpentier - Record digger, DJ, music entrepreneur
Alexis Charpentier 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 (also known as Lexis) 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