演講MP3+雙語文稿:請求的藝術(shù)|不要逼迫人們購買音樂，讓他們主動為音樂慷慨解囊
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【演講人】Amanda Palmer
【演講主題】請求的藝術(shù)。不要逼迫人們購買音樂，讓他們主動為音樂慷慨解囊。
【中英文字幕】獲取完整版字幕
翻譯者： Yi Shao 校對者：Emma Zhao
00:14
(Breathes in)
（吸氣，呼氣）
00:16
(Breathes out)
00:22
So, I didn't always make my living from music. For about the five years after graduating from an upstanding liberal arts university, this was my day job.
我以前并不靠音樂謀生。 自從我五年前 從一所正派的文理學院畢業(yè)起 這是我白天的工作。
00:34
(Laughter)
00:35
I was a self-employed living statue called the Eight-Foot Bride, and I love telling people I did this for a job, because everybody always wants to know, who are these freaks in real life.
我是一座個體經(jīng)營的、名為“8英尺新娘”的活雕像， 我喜歡告訴別人這是我的工作。 因為大家都想知道， 這些怪人在真實生活中到底是什么樣的？
00:47
(Laughter)
00:48
Hello.
大家好。
00:50
I painted myself white one day, stood on a box, put a hat or a can at my feet, and when someone came by and dropped in money, I handed them a flower -- and some intense eye contact. And if they didn't take the flower, I threw in a gesture of sadness and longing -- as they walked away.
我每天把自己涂白，站在一個盒子上， 在腳邊放一頂帽子或者一個罐子， 如果有路過的人向里面投錢 我遞給他們一朵花，并且和他們進行強烈的眼神交流。 如果他們沒有收下花， 我就表現(xiàn)出悲傷和充滿渴望的樣子 看著他們慢慢走遠。
01:16
(Laughter)
01:19
So I had the most profound encounters with people, especially lonely people who looked like they hadn't talked to anyone in weeks, and we would get this beautiful moment of prolonged eye contact being allowed in a city street, and we would sort of fall in love a little bit. And my eyes would say -- "Thank you. I see you." And their eyes would say -- "Nobody ever sees me. Thank you."
我與人有著最深層次的接觸， 尤其是那些看起來 好幾個星期都沒有與人交流的孤獨者 我們共享一個美好的時刻 城市街道上可以發(fā)生的一次漫長眼神交流， 我們都感覺好像有點愛上對方。 我的眼睛會說，“謝謝。我看到你了?！?他們的眼睛則會說， “從來沒有人在意我的存在。謝謝你。”
01:55
I would get harassed sometimes. People would yell at me from their cars. "Get a job!" (Laughing) And I'd be, like, "This is my job." But it hurt, because it made me fear that I was somehow doing something un-joblike and unfair, shameful. I had no idea how perfect a real education I was getting for the music business on this box. And for the economists out there, you may be interested to know I actually made a pretty predictable income, which was shocking to me, given I had no regular customers, but pretty much 60 bucks on a Tuesday, 90 bucks on a Friday. It was consistent.
有時候我會被騷擾。 開車路過的人從車里對我大喊。 “找份工作去！” 我的反應是“這就是我的工作?！?但是這讓我很傷心 因為這讓我感覺我的工作不正經(jīng) 不公平和可恥。 我沒想到站在這個盒子上以音樂謀生的經(jīng)歷 竟會是有如此深刻的教育意義。 經(jīng)濟學家們你們可能會對這一點感興趣， 我的收入其實相當穩(wěn)定， 因為我沒有固定的顧客 這一點讓我自己也非常吃驚 我一般周二掙60美元，周五掙90美元。 我的收入是穩(wěn)定的。
02:37
And meanwhile, I was touring locally and playing in nightclubs with my band, the Dresden Dolls. This was me on piano, a genius drummer. I wrote the songs, and eventually we started making enough money that I could quit being a statue, and as we started touring, I really didn't want to lose this sense of direct connection with people, because I loved it. So after all of our shows, we would sign autographs and hug fans and hang out and talk to people, and we made an art out of asking people to help us and join us, and I would track down local musicians and artists and they would set up outside of our shows, and they would pass the hat, and then they would come in and join us onstage, so we had this rotating smorgasbord of weird, random circus guests.
同時，我還在本地巡演 與我的樂隊the Dresden Dolls一同在夜店演出。 這是我在彈鋼琴，旁邊是一位天才鼓手 我還搞歌曲創(chuàng)作， 我們的收入逐漸增加，最終，我不需要再做活人雕塑賺錢了， 我們開始巡演之后 我依然不想失去這種 與人直接交流的感覺，因為我喜歡這種感覺。 所以我們在表演結(jié)束之后一定會簽名 擁抱我們的歌迷，和人交流互動， 我們將請求他人給予幫助或加入我們的過程 變成了一門藝術(shù)，我會找來當?shù)氐囊魳芳液退囆g(shù)家 在我們的演出門口表演， 他們會傳遞一個帽子， 隨后他們進入演出場館和我們一起登上舞臺 也就是說，我們有著不斷更替的、各種各樣的、隨機的、古怪的表演嘉賓。
03:24
And then Twitter came along, and made things even more magic, because I could ask instantly for anything anywhere. So I would need a piano to practice on, and an hour later I would be at a fan's house. This is in London. People would bring home-cooked food to us all over the world backstage and feed us and eat with us. This is in Seattle. Fans who worked in museums and stores and any kind of public space would wave their hands if I would decide to do a last-minute, spontaneous, free gig. This is a library in Auckland. On Saturday I tweeted for this crate and hat, because I did not want to schlep them from the East Coast, and they showed up care of this dude, Chris, from Newport Beach, who says hello. I once tweeted, "Where in Melbourne can I buy a neti pot?" And a nurse from a hospital drove one right at that moment to the cafe I was in, and I bought her a smoothie and we sat there talking about nursing and death.
后來，微博（Twitter）的出現(xiàn) 讓事情變得更加神奇，因為 我可以在任意時間和地點提出任何要求。 我可能會需要一架鋼琴練習， 一個小時之后，我就在歌迷的家里彈琴。這件事發(fā)生在倫敦。 在世界各地都有人 把自己做的食物送到我們的后臺并和我們一起吃。這是在西雅圖。 如果我臨時決定搞一場即興的演唱會， 在博物館、商店或者任何其它公共場所工作的歌迷 就會向我們發(fā)出邀請。 這是奧克蘭的一家圖書館。 周六我發(fā)微博希望有人為我提供木板箱和帽子， 因為我不想把它們從東海岸帶到這里， 最終來自紐波特比奇（Newport Beach）的Chris 為我提供了這兩樣道具，他也向大家問好。 我曾經(jīng)發(fā)微博問墨爾本哪里有賣洗鼻壺（neti pot）？ 一位在醫(yī)院工作的護士開車 直接把它送到了我在的咖啡館里， 我給她買了一杯沙冰 我們坐在一起聊護理和死亡。
04:22
And I love this kind of random closeness, which is lucky, because I do a lot of couchsurfing. In mansions where everyone in my crew gets their own room but there's no wireless, and in punk squats, everyone on the floor in one room with no toilets but with wireless, clearly making it the better option.
我喜歡這樣幸運的、隨機的親近感覺 因為我常常做沙發(fā)客。 在大房子里，我們的每一位團隊成員都有自己的房間， 但是沒有無線網(wǎng)，在朋克樂迷占據(jù)的廢棄房屋里， 所有人都睡在一間房間的地板上，沒有衛(wèi)生間 但是有無線網(wǎng)，這一優(yōu)勢第二種方式成為了更好的選擇。
04:42
(Laughter)
04:45
My crew once pulled our van up to a really poor Miami neighborhood and we found out that our couchsurfing host for the night was an 18-year-old girl, still living at home, and her family were all undocumented immigrants from Honduras. And that night, her whole family took the couches and she slept together with her mom so that we could take their beds. And I lay there thinking, these people have so little. Is this fair? And in the morning, her mom taught us how to try to make tortillas and wanted to give me a Bible, and she took me aside and she said to me in her broken English, "Your music has helped my daughter so much. Thank you for staying here. We're all so grateful." And I thought, this is fair. This is this.
我的團隊曾經(jīng)把車 停在一個非常貧窮的邁阿密社區(qū) 我們發(fā)現(xiàn)當晚招待我們的是一個 依然與父母同住的18歲女孩， 他們一家人都是來自洪都拉斯的非法移民。 那天晚上，他們一家人 都睡沙發(fā)，她和她媽媽擠在一起 讓我們睡他們的床。 我就躺在那里想， 這些人擁有的東西這么少。 這樣公平嗎？ 早晨，她媽媽教我們做 玉米薄餅（tortilla），還想給我一本《圣經(jīng)》， 她把我叫到一邊，用支離破碎的英語對我說， “你的音樂對我女兒的幫助很大。 謝謝你能住在這里。我們都很感激。“ 然后我想，這就公平了。 是這種過程。
05:45
A couple of months later, I was in Manhattan, and I tweeted for a crash pad, and at midnight, I'm on the Lower East Side, and it occurs to me I've never actually done this alone. I've always been with my band or my crew. Is this what stupid people do?
幾個月之后，我在曼哈頓 發(fā)微博希望找一個過夜的地方，午夜時分 我在下東區(qū)（Lower East Side）按一戶人家的門鈴， 然后我突然意識到我從來沒有一個人借宿過。 我以前一直和我的樂隊或者團隊在一起。 這是不是愚蠢的人做的事情？
05:59
(Laughter)
06:01
Is this how stupid people die? And before I can change my mind, the door busts open. She's an artist. He's a financial blogger for Reuters, and they're pouring me a glass of red wine and offering me a bath, and I have had thousands of nights like that and like that.
愚蠢的人是不是就是這樣死的？ 我還沒來得及改變主意，門就打開了。 她是一位藝術(shù)家。他是路透社的一位金融博客寫手， 他們給我倒了一杯紅酒 讓我洗澡 我經(jīng)歷過成千上萬個這樣的夜晚。
06:18
So I couchsurf a lot. I also crowdsurf a lot. I maintain couchsurfing and crowdsurfing are basically the same thing. You're falling into the audience and you're trusting each other. I once asked an opening band of mine if they wanted to go out into the crowd and pass the hat to get some extra money, something that I did a lot. And as usual, the band was psyched, but there was this one guy in the band who told me he just couldn't bring himself to go out there. It felt too much like begging to stand there with the hat. And I recognized his fear of "Is this fair?" and "Get a job."
所以我常常做沙發(fā)客，也經(jīng)常人群沖浪（從舞臺上跳下，被觀眾接?。?。 我認為做沙發(fā)客和人群沖浪 其實是一個概念。 落入人群中 和信任他人。 我曾經(jīng)問一支為我們開場的樂隊 他們愿不愿意到人群中去，傳遞帽子 籌一點額外的錢，我經(jīng)常這樣做。 和往常一樣，樂隊非常興奮， 但是其中有一位成員告訴我 他沒有辦法說服自己這樣做。 拿著帽子站在那里感覺實在是太像乞討了。 我意識到這種恐懼就是我想到“這公平嗎？”和聽到“找份工作去！”的時候的感受。
07:00
And meanwhile, my band is becoming bigger and bigger. We sign with a major label. And our music is a cross between punk and cabaret. It's not for everybody. Well, maybe it's for you.
同時，我的樂隊發(fā)展得越來越好。我們和一家主流廠牌簽約。 我們的音樂是朋克和卡巴萊(cabaret)的集合體。 不是所有人都能接受。 也許你會喜歡的。
(Laughter)
07:14
We sign, and there's all this hype leading up to our next record. And it comes out and it sells about 25,000 copies in the first few weeks, and the label considers this a failure.
簽約之后，公司舉辦了大量的宣傳活動為我們的新唱片造勢。唱片推出之后僅僅幾周就賣出兩萬五千張， 但是我們的廠牌認為這是一張失敗的專輯。
07:26
I was like, "25,000, isn't that a lot?"
我當時就說，“兩萬五千張，不是很多嗎？”
07:28
They said, "No, the sales are going down. It's a failure." And they walk off.
他們說，“不，銷量在下降。這是一張失敗的唱片。” 隨后他們就拋棄了我們。
07:33
Right at this same time, I'm signing and hugging after a gig, and a guy comes up to me and hands me a $10 bill, and he says, "I'm sorry, I burned your CD from a friend."
與此同時，一次演唱會結(jié)束之后，我為歌迷簽名與他們擁抱的時候 一個人走上前來 給了我一張10美元的紙幣， 他說： “不好意思，我從朋友那里翻錄了你的CD?！?（笑聲） “不過我讀了你的博客，我知道你不喜歡你的廠牌。 我希望你收下這筆錢?！?/p>
07:45
(Laughter)
（笑聲）
07:50
"But I read your blog, I know you hate your label. I just want you to have this money."
“不過我讀了你的博客，我知道你不喜歡你的廠牌。 我希望你收下這筆錢?！?/p>
07:55
And this starts happening all the time. I become the hat after my own gigs, but I have to physically stand there and take the help from people, and unlike the guy in the opening band, I've actually had a lot of practice standing there. Thank you.
這樣的事情現(xiàn)在常常發(fā)生。 我們的演唱會結(jié)束之后，我變成了那個收集錢幣的帽子， 我就站在那里，接受人們的幫助， 和之前開場樂隊的那個成員不同 我在這方面擁有豐富的經(jīng)驗。 謝謝。
08:14
And this is the moment I decide I'm just going to give away my music for free online whenever possible, so it's like Metallica over here, Napster, bad; Amanda Palmer over here, and I'm going to encourage torrenting, downloading, sharing, but I'm going to ask for help, because I saw it work on the street. So I fought my way off my label, and for my next project with my new band, the Grand Theft Orchestra, I turned to crowdfunding. And I fell into those thousands of connections that I'd made, and I asked my crowd to catch me. And the goal was 100,000 dollars. My fans backed me at nearly 1.2 million, which was the biggest music crowdfunding project to date.
那一刻我決定 我要抓住可能的機會 在網(wǎng)上免費共享我的音樂。 當時Metallica正在聲討（音樂分享網(wǎng)站）Napster 而我Amanda Palmer卻在唱反調(diào)，鼓勵 BT、下載、分享，但是我會請求人們的幫助 因為這種方式在街頭是行得通的。 所以我和廠牌斗爭，結(jié)束了合作， 并與我的樂隊the Grand Theft Orchestra， 我開始在人群中融資。 我縱身一躍，跳入我建立的成千上萬的聯(lián)系之中 我請求人群接住我。 我的目標是十萬美元 我的歌迷們?yōu)槲姨峁┝艘话俣f， 這是歷史上規(guī)模最大的音樂人群募資。
09:00
(Applause)
09:04
And you can see how many people it is. It's about 25,000 people.
可以看出有多少人參與了募款。 大約兩萬五千人。
09:12
And the media asked, "Amanda, the music business is tanking and you encourage piracy. How did you make all these people pay for music?" And the real answer is, I didn't make them. I asked them. And through the very act of asking people, I'd connected with them, and when you connect with them, people want to help you. It's kind of counterintuitive for a lot of artists. They don't want to ask for things. But it's not easy. It's not easy to ask. And a lot of artists have a problem with this. Asking makes you vulnerable.
媒體會問，“Amanda， 音樂產(chǎn)業(yè)在衰亡，而你鼓勵盜版。 你是如何讓這么多人為音樂付錢的？“ 我真正的答案是，我并沒有逼迫他們，我所作的是請求他們。 通過請求他人幫助 我與他們建立了聯(lián)系 情感相通之后，人們就愿意幫助你。 對于很多藝術(shù)家來說，這似乎不合邏輯。 他們不愿意請求幫助。 不過這并不容易。開口提出請求是一件不容易的事情。 很多藝術(shù)家都不愿這樣做。 請求幫助可能會讓你很脆弱。
09:50
And I got a lot of criticism online, after my Kickstarter went big, for continuing my crazy crowdsourcing practices, specifically for asking musicians who are fans if they wanted to join us on stage for a few songs in exchange for love and tickets and beer, and this was a doctored image that went up of me on a website. And this hurt in a really familiar way. And people saying, "You're not allowed anymore to ask for that kind of help," really reminded me of the people in their cars yelling, "Get a job." Because they weren't with us on the sidewalk, and they couldn't see the exchange that was happening between me and my crowd, an exchange that was very fair to us but alien to them.
Kickstarter（為創(chuàng)意項目募資的平臺）上的項目發(fā)展壯大之后 我繼續(xù)在人群中募資的行為 在網(wǎng)絡上招來了很多批評。 尤其是邀請喜歡我們音樂的音樂人 上臺與我們一同演唱幾首歌曲 換取門票、啤酒，加深感情 這是某網(wǎng)站刊登的一張 處理過的我的照片。 這種受傷的感覺很熟悉。 人們說，”你現(xiàn)在已經(jīng)沒有資格 再這樣請求幫助了，” 這讓我想起那些在車里對我大喊“找份工作去?！钡娜藗?他們沒有和我們一起站在人行道上 他們沒有見過 我和人們的交流， 一種我們認為公平，他們卻從未體驗過的交流。
10:43
So this is slightly not safe for work. This is my Kickstarter backer party in Berlin. At the end of the night, I stripped and let everyone draw on me. Now let me tell you, if you want to experience the visceral feeling of trusting strangers –
這是一項不宜在工作場所進行的工作。 這是在柏林舉辦的Kickstarter贊助者派對。 派對結(jié)束之前，我脫光了衣服讓人們在我身上畫畫。 我用親身經(jīng)歷告訴你們，如果你想體會 信任陌生人那種發(fā)自內(nèi)心深處的感覺。
10:56
(Laughter)
10:57
I recommend this, especially if those strangers are drunk German people.
我推薦這種方式， 尤其是這些陌生人都是醉酒的德國人的時候。
11:02
(Laughter)
11:04
This was a ninja master-level fan connection, because what I was really saying here was, I trust you this much. Should I? Show me.
這是與歌迷交流的最高級別， 因為我真正傳達的信息是， 我就是這樣信任你們。 我應該這樣做嗎？用行動告訴我。
11:17
For most of human history, musicians, artists, they've been part of the community. Connectors and openers, not untouchable stars. Celebrity is about a lot of people loving you from a distance, but the Internet and the content that we're freely able to share on it are taking us back. It's about a few people loving you up close and about those people being enough. So a lot of people are confused by the idea of no hard sticker price. They see it as an unpredictable risk, but the things I've done, the Kickstarter, the street, the doorbell, I don't see these things as risk. I see them as trust. Now, the online tools to make the exchange as easy and as instinctive as the street, they're getting there. But the perfect tools aren't going to help us if we can't face each other and give and receive fearlessly, but, more important -- to ask without shame.
在人類歷史上的大部分時期， 音樂人、藝術(shù)家是社群的一部分 他們促進溝通，開拓新領域，不是無法觸及的明星。 成為名人意味著有很多人從遠方愛你， 然而因特網(wǎng) 和我們在網(wǎng)絡上自由共享的內(nèi)容 拉近了名人和支持者的距離。 現(xiàn)在則是一小部分人近距離的 為你提供足夠的支持。 很多人不理解沒有標準定價 這個概念。 他們認為這些事情不可預料的冒險，但是我所做的事情 Kickstarter，在街頭募款，按陌生人的門鈴 我不認為這些事情是風險。 我認為它們是信任。 現(xiàn)在，網(wǎng)絡工具讓這種交流 像在街頭請求幫助一樣簡單和自然， 它們即將實現(xiàn)這種轉(zhuǎn)變。 然而如果我們無法直面彼此 無所畏懼的給予和接受 完美的工具也無法幫助我們， 然而，更重要的是 不因請求幫助而感到羞愧。
12:26
My music career has been spent trying to encounter people on the Internet the way I could on the box. So blogging and tweeting not just about my tour dates and my new video but about our work and our art and our fears and our hangovers, our mistakes, and we see each other. And I think when we really see each other, we want to help each other.
做音樂的過程中，我一直希望 能像我站在盒子上的時候一樣 與不同的人相遇 所以我的博客和微博上不僅有我們的巡演日期 我們的新音樂錄音帶，還有我們的作品、我們的藝術(shù) 我們的恐懼、宿醉和錯誤 這樣我們就能真正感受到彼此的存在。 當我們真正建立這種聯(lián)系時， 我們就希望互相幫助。
12:56
I think people have been obsessed with the wrong question, which is, "How do we make people pay for music?" What if we started asking, "How do we let people pay for music?"
我認為人們花了大量的精力試圖解決錯誤的問題， 也就是“我們?nèi)绾螐娖热藗兏跺X購買音樂？” 我們應該問一個新的問題， “我們?nèi)绾巫屓藗冎鲃訛橐魳房犊饽遥俊?/p>
13:10
Thank you.
13:11
(Applause)
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