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00:00:00,492 --> 00:00:03,527
Probably a lot of you know
the story of the two salesmen

2
00:00:03,551 --> 00:00:06,469
who went down to Africa in the 1900s.

3
00:00:06,493 --> 00:00:09,133
They were sent down to find
if there was any opportunity

4
00:00:09,157 --> 00:00:10,365
for selling shoes,

5
00:00:10,389 --> 00:00:12,717
and they wrote telegrams
back to Manchester.

6
00:00:13,313 --> 00:00:14,551
And one of them wrote,

7
00:00:14,575 --> 00:00:17,737
"Situation hopeless. Stop.
They don't wear shoes."

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And the other one wrote,

9
00:00:19,928 --> 00:00:22,936
"Glorious opportunity.
They don't have any shoes yet."

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(Laughter)

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Now, there's a similar situation
in the classical music world,

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00:00:27,467 --> 00:00:31,376
because there are some people who think
that classical music is dying.

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And there are some of us
who think you ain't seen nothing yet.

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And rather than go
into statistics and trends,

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and tell you about all the orchestras
that are closing,

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and the record companies that are folding,

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I thought we should do
an experiment tonight.

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Actually, it's not really an experiment,
because I know the outcome.

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00:00:52,343 --> 00:00:53,602
(Laughter)

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But it's like an experiment.

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Now, before we start --

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(Laughter)

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Before we start, I need to do two things.

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One is I want to remind you
of what a seven-year-old child

25
00:01:06,561 --> 00:01:08,572
sounds like when he plays the piano.

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Maybe you have this child at home.

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He sounds something like this.

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(Music)

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(Music ends)

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00:01:32,313 --> 00:01:34,487
I see some of you recognize this child.

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Now, if he practices for a year
and takes lessons, he's now eight

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and he sounds like this.

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(Music)

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00:01:45,894 --> 00:01:47,085
(Music ends)

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00:01:47,109 --> 00:01:49,976
He practices for another year
and takes lessons -- he's nine.

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(Music)

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00:01:55,163 --> 00:01:56,641
(Music ends)

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Then he practices for another year
and takes lessons -- now he's 10.

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(Music)

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00:02:04,680 --> 00:02:05,881
(Music ends)

41
00:02:05,905 --> 00:02:07,658
At that point, they usually give up.

42
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(Laughter)

43
00:02:09,000 --> 00:02:11,269
(Applause)

44
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Now, if you'd waited for one more year,
you would have heard this.

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00:02:15,000 --> 00:02:17,105
(Music)

46
00:02:22,969 --> 00:02:24,405
(Music ends)

47
00:02:24,429 --> 00:02:27,609
Now, what happened was not
maybe what you thought,

48
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which is, he suddenly
became passionate, engaged,

49
00:02:30,456 --> 00:02:34,339
involved, got a new teacher,
he hit puberty, or whatever it is.

50
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What actually happened
was the impulses were reduced.

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You see, the first time, he was playing
with an impulse on every note.

52
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(Music)

53
00:02:44,410 --> 00:02:46,758
And the second,
with an impulse every other note.

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(Music)

55
00:02:48,920 --> 00:02:50,816
You can see it by looking at my head.

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00:02:50,840 --> 00:02:52,556
(Laughter)

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00:02:52,580 --> 00:02:55,852
The nine-year-old put
an impulse on every four notes.

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(Music)

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00:02:58,000 --> 00:02:59,869
The 10-year-old, on every eight notes.

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00:02:59,893 --> 00:03:01,976
(Music)

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00:03:02,000 --> 00:03:05,385
And the 11-year-old,
one impulse on the whole phrase.

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(Music)

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I don't know how
we got into this position.

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(Laughter)

65
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I didn't say, "I'm going to move
my shoulder over, move my body."

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No, the music pushed me over,

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which is why I call it
one-buttock playing.

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(Music)

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It can be the other buttock.

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(Music)

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You know, a gentleman was once
watching a presentation I was doing,

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when I was working with a young pianist.

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He was the president
of a corporation in Ohio.

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I was working with
this young pianist, and said,

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"The trouble with you
is you're a two-buttock player.

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You should be a one-buttock player."

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I moved his body while he was playing.

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And suddenly, the music took off.
It took flight.

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The audience gasped
when they heard the difference.

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Then I got a letter from this gentleman.

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He said, "I was so moved.

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I went back and I transformed
my entire company

83
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into a one-buttock company."

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(Laughter)

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Now, the other thing I wanted
to do is to tell you about you.

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There are 1,600 people, I believe.

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My estimation is that probably 45 of you

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are absolutely passionate
about classical music.

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You adore classical music.
Your FM is always on that classical dial.

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You have CDs in your car,
and you go to the symphony,

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your children are playing instruments.

92
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You can't imagine your life
without classical music.

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That's the first group, quite small.

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Then there's another bigger group.

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The people who don't mind classical music.

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(Laughter)

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You know, you've come home
from a long day,

98
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and you take a glass of wine,
and you put your feet up.

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A little Vivaldi in the background
doesn't do any harm.

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That's the second group.

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Now comes the third group:

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people who never listen
to classical music.

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It's just simply not part of your life.

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You might hear it like second-hand
smoke at the airport ...

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(Laughter)

106
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-- and maybe a little bit
of a march from "Aida"

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when you come into the hall.

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But otherwise, you never hear it.

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That's probably the largest group.

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And then there's a very small group.

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These are the people
who think they're tone-deaf.

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Amazing number of people think
they're tone-deaf.

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Actually, I hear a lot,
"My husband is tone-deaf."

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(Laughter)

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Actually, you cannot be tone-deaf.

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Nobody is tone-deaf.

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If you were tone-deaf,
you couldn't change the gears

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on your car, in a stick shift car.

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You couldn't tell the difference between

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somebody from Texas
and somebody from Rome.

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And the telephone. The telephone.

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If your mother calls

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on the miserable telephone,
she calls and says, "Hello,"

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you not only know who it is,
you know what mood she's in.

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You have a fantastic ear.
Everybody has a fantastic ear.

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So nobody is tone-deaf.

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But I tell you what.

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It doesn't work for me
to go on with this thing,

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with such a wide gulf
between those who understand,

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love and are passionate
about classical music,

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and those who have
no relationship to it at all.

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The tone-deaf people,
they're no longer here.

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But even between those three categories,

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it's too wide a gulf.

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So I'm not going to go on
until every single person in this room,

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downstairs and in Aspen,
and everybody else looking,

137
00:06:00,619 --> 00:06:04,464
will come to love
and understand classical music.

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So that's what we're going to do.

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Now, you notice that there is not
the slightest doubt in my mind

140
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that this is going to work,
if you look at my face, right?

141
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It's one of the characteristics
of a leader that he not doubt

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for one moment the capacity
of the people he's leading

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to realize whatever he's dreaming.

144
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Imagine if Martin Luther King
had said, "I have a dream.

145
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Of course, I'm not sure
they'll be up to it."

146
00:06:31,072 --> 00:06:33,976
(Laughter)

147
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All right. So I'm going
to take a piece of Chopin.

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This is a beautiful prelude by Chopin.

149
00:06:39,198 --> 00:06:40,666
Some of you will know it.

150
00:06:41,770 --> 00:06:44,508
(Music)

151
00:07:11,118 --> 00:07:13,434
Do you know what I think
probably happened here?

152
00:07:13,458 --> 00:07:16,136
When I started, you thought,
"How beautiful that sounds."

153
00:07:16,160 --> 00:07:18,532
(Music)

154
00:07:28,968 --> 00:07:31,071
"I don't think we should
go to the same place

155
00:07:31,095 --> 00:07:32,900
for our summer holidays next year."

156
00:07:32,924 --> 00:07:35,544
(Laughter)

157
00:07:35,568 --> 00:07:36,933
It's funny, isn't it?

158
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It's funny how those thoughts
kind of waft into your head.

159
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And of course --

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(Applause)

161
00:07:45,365 --> 00:07:48,176
Of course, if the piece is long
and you've had a long day,

162
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you might actually drift off.

163
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Then your companion
will dig you in the ribs

164
00:07:51,836 --> 00:07:54,867
and say, "Wake up! It's culture!"
And then you feel even worse.

165
00:07:54,891 --> 00:07:55,953
(Laughter)

166
00:07:55,977 --> 00:07:58,966
But has it ever occurred to you
that the reason you feel sleepy

167
00:07:58,990 --> 00:08:01,802
in classical music is not
because of you, but because of us?

168
00:08:01,826 --> 00:08:03,663
Did anybody think while I was playing,

169
00:08:03,687 --> 00:08:05,647
"Why is he using so many impulses?"

170
00:08:05,671 --> 00:08:08,778
If I'd done this with my head you
certainly would have thought it.

171
00:08:08,802 --> 00:08:10,942
(Music)

172
00:08:14,548 --> 00:08:15,698
(Music ends)

173
00:08:15,722 --> 00:08:18,878
And for the rest of your life,
every time you hear classical music,

174
00:08:18,902 --> 00:08:22,682
you'll always be able to know
if you hear those impulses.

175
00:08:23,093 --> 00:08:25,076
So let's see what's really going on here.

176
00:08:25,100 --> 00:08:28,013
We have a B. This is a B.

177
00:08:28,037 --> 00:08:29,322
The next note is a C.

178
00:08:29,798 --> 00:08:31,976
And the job of the C is to make the B sad.

179
00:08:32,000 --> 00:08:33,601
And it does, doesn't it?

180
00:08:33,625 --> 00:08:35,373
(Laughter)

181
00:08:35,397 --> 00:08:36,608
Composers know that.

182
00:08:36,632 --> 00:08:39,211
If they want sad music,
they just play those two notes.

183
00:08:39,235 --> 00:08:42,976
(Music)

184
00:08:43,000 --> 00:08:45,531
But basically, it's just a B,
with four sads.

185
00:08:45,555 --> 00:08:47,976
(Laughter)

186
00:08:48,000 --> 00:08:49,402
Now, it goes down to A.

187
00:08:50,895 --> 00:08:52,436
Now to G.

188
00:08:52,460 --> 00:08:53,686
And then to F.

189
00:08:53,710 --> 00:08:55,769
So we have B, A, G, F.

190
00:08:56,375 --> 00:08:57,976
And if we have B, A, G, F,

191
00:08:58,000 --> 00:08:59,587
what do we expect next?

192
00:08:59,611 --> 00:09:02,721
(Music)

193
00:09:03,190 --> 00:09:04,588
That might have been a fluke.

194
00:09:04,612 --> 00:09:05,774
Let's try it again.

195
00:09:05,798 --> 00:09:08,563
(Music)

196
00:09:09,444 --> 00:09:10,722
Oh, the TED choir.

197
00:09:10,746 --> 00:09:13,904
(Laughter)

198
00:09:13,928 --> 00:09:16,794
And you notice nobody is tone-deaf, right?

199
00:09:16,818 --> 00:09:18,020
Nobody is.

200
00:09:18,044 --> 00:09:19,889
You know, every village in Bangladesh

201
00:09:19,913 --> 00:09:24,771
and every hamlet in China
-- everybody knows:

202
00:09:24,795 --> 00:09:27,236
da, da, da, da -- da.

203
00:09:27,260 --> 00:09:29,212
Everybody knows, who's expecting that E.

204
00:09:29,236 --> 00:09:31,435
Chopin didn't want to reach the E there,

205
00:09:31,459 --> 00:09:32,990
because what will have happened?

206
00:09:33,814 --> 00:09:36,181
It will be over, like Hamlet.
Do you remember?

207
00:09:36,205 --> 00:09:37,413
Act One, scene three,

208
00:09:37,437 --> 00:09:39,455
he finds out his uncle killed his father.

209
00:09:39,479 --> 00:09:42,217
He keeps on going up
to his uncle and almost killing him.

210
00:09:42,241 --> 00:09:45,408
And then he backs away,
he goes up to him again, almost kills him.

211
00:09:45,432 --> 00:09:47,476
The critics sitting in the back row there,

212
00:09:47,500 --> 00:09:50,976
they have to have an opinion,
so they say, "Hamlet is a procrastinator."

213
00:09:51,000 --> 00:09:53,525
Or they say, "Hamlet has
an Oedipus complex."

214
00:09:53,549 --> 00:09:55,798
No, otherwise the play
would be over, stupid.

215
00:09:55,822 --> 00:09:56,907
(Laughter)

216
00:09:56,931 --> 00:09:59,523
That's why Shakespeare puts
all that stuff in Hamlet --

217
00:09:59,547 --> 00:10:01,612
Ophelia going mad,
the play within the play,

218
00:10:01,636 --> 00:10:03,596
and Yorick's skull, and the gravediggers.

219
00:10:03,620 --> 00:10:05,263
That's in order to delay --

220
00:10:05,287 --> 00:10:06,922
until Act Five, he can kill him.

221
00:10:06,946 --> 00:10:08,857
It's the same with the Chopin.

222
00:10:08,881 --> 00:10:11,293
He's just about to reach the E,

223
00:10:11,317 --> 00:10:13,920
and he says, "Oops, better
go back up and do it again."

224
00:10:14,571 --> 00:10:16,063
So he does it again.

225
00:10:16,540 --> 00:10:17,768
Now, he gets excited.

226
00:10:17,792 --> 00:10:19,985
(Music)

227
00:10:20,009 --> 00:10:21,976
That's excitement, don't worry about it.

228
00:10:22,000 --> 00:10:24,831
Now, he gets to F-sharp,
and finally he goes down to E,

229
00:10:25,850 --> 00:10:27,136
but it's the wrong chord --

230
00:10:27,160 --> 00:10:29,373
because the chord
he's looking for is this one,

231
00:10:30,819 --> 00:10:31,969
and instead he does ...

232
00:10:32,604 --> 00:10:35,152
Now, we call that a deceptive cadence,

233
00:10:35,176 --> 00:10:36,388
because it deceives us.

234
00:10:36,412 --> 00:10:38,903
I tell my students,
"If you have a deceptive cadence,

235
00:10:38,927 --> 00:10:41,146
raise your eyebrows,
and everybody will know."

236
00:10:41,170 --> 00:10:43,078
(Laughter)

237
00:10:43,102 --> 00:10:46,783
(Applause)

238
00:10:46,807 --> 00:10:48,474
Right.

239
00:10:48,498 --> 00:10:50,420
He gets to E, but it's the wrong chord.

240
00:10:50,444 --> 00:10:51,639
Now, he tries E again.

241
00:10:51,663 --> 00:10:53,125
That chord doesn't work.

242
00:10:53,149 --> 00:10:55,545
Now, he tries the E again.
That chord doesn't work.

243
00:10:55,569 --> 00:10:57,678
Now, he tries E again,
and that doesn't work.

244
00:10:58,124 --> 00:10:59,274
And then finally ...

245
00:11:02,166 --> 00:11:05,019
There was a gentleman
in the front row who went, "Mmm."

246
00:11:05,043 --> 00:11:06,293
(Laughter)

247
00:11:06,317 --> 00:11:09,673
It's the same gesture
he makes when he comes home

248
00:11:09,697 --> 00:11:12,383
after a long day, turns off
the key in his car and says,

249
00:11:12,407 --> 00:11:13,659
"Aah, I'm home."

250
00:11:13,683 --> 00:11:15,309
Because we all know where home is.

251
00:11:15,333 --> 00:11:18,573
So this is a piece which goes
from away to home.

252
00:11:18,597 --> 00:11:21,796
I'm going to play it all the way through
and you're going to follow.

253
00:11:21,820 --> 00:11:23,444
B, C, B, C, B, C, B --

254
00:11:23,468 --> 00:11:25,160
down to A, down to G, down to F.

255
00:11:25,184 --> 00:11:27,772
Almost goes to E, but otherwise
the play would be over.

256
00:11:27,796 --> 00:11:29,811
He goes back up to B,
he gets very excited.

257
00:11:29,835 --> 00:11:31,299
Goes to F-sharp. Goes to E.

258
00:11:31,323 --> 00:11:33,377
It's the wrong chord.
It's the wrong chord.

259
00:11:33,401 --> 00:11:35,742
And finally goes to E, and it's home.

260
00:11:35,766 --> 00:11:39,202
And what you're going to see
is one-buttock playing.

261
00:11:39,226 --> 00:11:40,976
(Laughter)

262
00:11:41,000 --> 00:11:44,176
Because for me, to join the B to the E,

263
00:11:44,200 --> 00:11:50,119
I have to stop thinking
about every single note along the way,

264
00:11:50,143 --> 00:11:54,897
and start thinking about the long,
long line from B to E.

265
00:11:55,508 --> 00:12:00,012
You know, we were just in South Africa,
and you can't go to South Africa

266
00:12:00,036 --> 00:12:02,632
without thinking of Mandela
in jail for 27 years.

267
00:12:03,323 --> 00:12:05,148
What was he thinking about? Lunch?

268
00:12:05,538 --> 00:12:08,976
No, he was thinking
about the vision for South Africa

269
00:12:09,000 --> 00:12:10,545
and for human beings.

270
00:12:10,569 --> 00:12:13,522
This is about vision.
This is about the long line.

271
00:12:13,546 --> 00:12:15,807
Like the bird who flies over the field

272
00:12:15,831 --> 00:12:19,573
and doesn't care about the fences
underneath, all right?

273
00:12:19,597 --> 00:12:22,692
So now, you're going to follow
the line all the way from B to E.

274
00:12:22,716 --> 00:12:26,065
And I've one last request before I play
this piece all the way through.

275
00:12:26,628 --> 00:12:30,447
Would you think of somebody who you adore,

276
00:12:30,471 --> 00:12:31,847
who's no longer there?

277
00:12:32,516 --> 00:12:34,876
A beloved grandmother, a lover --

278
00:12:34,900 --> 00:12:39,023
somebody in your life
who you love with all your heart,

279
00:12:39,047 --> 00:12:41,116
but that person is no longer with you.

280
00:12:42,262 --> 00:12:44,224
Bring that person into your mind,

281
00:12:44,248 --> 00:12:46,225
and at the same time,

282
00:12:46,249 --> 00:12:49,707
follow the line all the way from B to E,

283
00:12:49,731 --> 00:12:52,789
and you'll hear everything
that Chopin had to say.

284
00:12:58,360 --> 00:13:01,360
(Music)

285
00:14:45,079 --> 00:14:46,561
(Music ends)

286
00:14:48,000 --> 00:14:51,000
(Applause)

287
00:14:56,522 --> 00:14:58,516
Now, you may be wondering --

288
00:14:58,540 --> 00:15:01,540
(Applause)

289
00:15:03,670 --> 00:15:04,820
(Applause ends)

290
00:15:04,844 --> 00:15:06,733
You may be wondering why I'm clapping.

291
00:15:06,757 --> 00:15:08,671
Well, I did this at a school in Boston

292
00:15:08,695 --> 00:15:11,892
with about 70 seventh
graders, 12-year-olds.

293
00:15:12,479 --> 00:15:14,253
I did exactly what I did with you,

294
00:15:14,277 --> 00:15:16,134
and I explained the whole thing.

295
00:15:16,158 --> 00:15:17,976
At the end, they went crazy, clapping.

296
00:15:18,000 --> 00:15:19,786
I was clapping. They were clapping.

297
00:15:19,810 --> 00:15:21,668
Finally, I said, "Why am I clapping?"

298
00:15:21,692 --> 00:15:24,026
And one of them said,
"Because we were listening."

299
00:15:24,050 --> 00:15:27,976
(Laughter)

300
00:15:28,000 --> 00:15:31,194
Think of it. 1,600 people, busy people,

301
00:15:31,218 --> 00:15:33,558
involved in all sorts of different things,

302
00:15:33,582 --> 00:15:37,407
listening, understanding and being moved

303
00:15:37,431 --> 00:15:38,748
by a piece by Chopin.

304
00:15:39,511 --> 00:15:40,757
Now, that is something.

305
00:15:40,781 --> 00:15:43,488
Am I sure that every single
person followed that,

306
00:15:43,512 --> 00:15:45,107
understood it, was moved by it?

307
00:15:45,131 --> 00:15:46,432
Of course, I can't be sure.

308
00:15:46,456 --> 00:15:48,717
But I'll tell you what happened
to me in Ireland

309
00:15:48,741 --> 00:15:50,392
during the Troubles, 10 years ago,

310
00:15:50,416 --> 00:15:53,341
and I was working with some Catholic
and Protestant kids

311
00:15:53,365 --> 00:15:55,796
on conflict resolution.

312
00:15:55,820 --> 00:15:57,502
And I did this with them --

313
00:15:57,526 --> 00:16:00,009
a risky thing to do,
because they were street kids.

314
00:16:00,976 --> 00:16:03,465
And one of them came to me
the next morning

315
00:16:03,489 --> 00:16:04,690
and he said,

316
00:16:04,714 --> 00:16:07,587
"You know, I've never listened
to classical music in my life,

317
00:16:07,611 --> 00:16:09,720
but when you played
that shopping piece ..."

318
00:16:09,744 --> 00:16:11,514
(Laughter)

319
00:16:11,538 --> 00:16:15,000
He said, "My brother was shot last year
and I didn't cry for him.

320
00:16:15,759 --> 00:16:17,783
But last night,
when you played that piece,

321
00:16:17,807 --> 00:16:19,621
he was the one I was thinking about.

322
00:16:20,512 --> 00:16:22,580
And I felt the tears
streaming down my face.

323
00:16:22,604 --> 00:16:25,133
And it felt really
good to cry for my brother."

324
00:16:25,726 --> 00:16:28,182
So I made up my mind at that moment

325
00:16:28,206 --> 00:16:32,063
that classical music is for everybody.

326
00:16:32,911 --> 00:16:34,079
Everybody.

327
00:16:35,000 --> 00:16:37,497
Now, how would you walk --

328
00:16:37,521 --> 00:16:41,330
my profession, the music profession
doesn't see it that way.

329
00:16:41,774 --> 00:16:44,989
They say three percent of the population
likes classical music.

330
00:16:45,013 --> 00:16:48,267
If only we could move it to four percent,
our problems would be over.

331
00:16:48,291 --> 00:16:49,330
(Laughter)

332
00:16:49,354 --> 00:16:52,980
How would you walk?
How would you talk? How would you be?

333
00:16:53,004 --> 00:16:56,339
If you thought, "Three percent
of the population likes classical music,

334
00:16:56,363 --> 00:16:58,363
if only we could move it to four percent."

335
00:16:58,387 --> 00:17:00,504
How would you walk or talk?
How would you be?

336
00:17:00,528 --> 00:17:02,963
If you thought, "Everybody
loves classical music --

337
00:17:02,987 --> 00:17:04,998
they just haven't found out about it yet."

338
00:17:05,403 --> 00:17:07,990
See, these are totally different worlds.

339
00:17:08,387 --> 00:17:10,662
Now, I had an amazing experience.

340
00:17:10,686 --> 00:17:11,928
I was 45 years old,

341
00:17:11,952 --> 00:17:13,735
I'd been conducting for 20 years,

342
00:17:13,759 --> 00:17:15,959
and I suddenly had a realization.

343
00:17:16,770 --> 00:17:19,613
The conductor of an orchestra
doesn't make a sound.

344
00:17:20,478 --> 00:17:22,835
My picture appears
on the front of the CD --

345
00:17:22,859 --> 00:17:25,761
(Laughter)

346
00:17:25,785 --> 00:17:27,786
But the conductor doesn't make a sound.

347
00:17:27,810 --> 00:17:29,633
He depends, for his power,

348
00:17:29,657 --> 00:17:32,509
on his ability to make
other people powerful.

349
00:17:33,485 --> 00:17:35,389
And that changed everything for me.

350
00:17:35,413 --> 00:17:37,146
It was totally life-changing.

351
00:17:37,170 --> 00:17:38,683
People in my orchestra said,

352
00:17:38,707 --> 00:17:40,939
"Ben, what happened?"
That's what happened.

353
00:17:40,963 --> 00:17:45,663
I realized my job was to awaken
possibility in other people.

354
00:17:46,693 --> 00:17:49,402
And of course, I wanted to know
whether I was doing that.

355
00:17:49,426 --> 00:17:50,615
How do you find out?

356
00:17:50,639 --> 00:17:51,950
You look at their eyes.

357
00:17:51,974 --> 00:17:54,926
If their eyes are shining,
you know you're doing it.

358
00:17:55,873 --> 00:17:58,236
You could light up a village
with this guy's eyes.

359
00:17:58,260 --> 00:17:59,276
(Laughter)

360
00:17:59,300 --> 00:18:02,549
Right. So if the eyes are shining,
you know you're doing it.

361
00:18:02,573 --> 00:18:05,261
If the eyes are not shining,
you get to ask a question.

362
00:18:05,285 --> 00:18:06,691
And this is the question:

363
00:18:06,715 --> 00:18:09,279
who am I being

364
00:18:09,303 --> 00:18:11,572
that my players' eyes are not shining?

365
00:18:11,596 --> 00:18:13,453
We can do that with our children, too.

366
00:18:13,477 --> 00:18:16,349
Who am I being,

367
00:18:16,373 --> 00:18:18,539
that my children's eyes are not shining?

368
00:18:19,063 --> 00:18:21,451
That's a totally different world.

369
00:18:21,475 --> 00:18:26,540
Now, we're all about to end
this magical, on-the-mountain week,

370
00:18:26,564 --> 00:18:28,300
we're going back into the world.

371
00:18:28,835 --> 00:18:32,580
And I say, it's appropriate
for us to ask the question,

372
00:18:32,604 --> 00:18:36,877
who are we being as we go back
out into the world?

373
00:18:37,571 --> 00:18:39,921
And you know, I have
a definition of success.

374
00:18:39,945 --> 00:18:41,181
For me, it's very simple.

375
00:18:41,205 --> 00:18:43,211
It's not about wealth and fame and power.

376
00:18:43,235 --> 00:18:45,664
It's about how many shining eyes
I have around me.

377
00:18:46,214 --> 00:18:48,574
So now, I have one last thought,

378
00:18:48,598 --> 00:18:52,930
which is that it really makes
a difference what we say --

379
00:18:52,954 --> 00:18:54,747
the words that come out of our mouth.

380
00:18:55,509 --> 00:18:58,281
I learned this from a woman
who survived Auschwitz,

381
00:18:58,305 --> 00:18:59,773
one of the rare survivors.

382
00:18:59,797 --> 00:19:02,694
She went to Auschwitz
when she was 15 years old.

383
00:19:04,003 --> 00:19:05,153
And ...

384
00:19:06,991 --> 00:19:09,007
And her brother was eight,

385
00:19:09,031 --> 00:19:10,764
and the parents were lost.

386
00:19:11,784 --> 00:19:16,152
And she told me this, she said,

387
00:19:16,176 --> 00:19:18,628
"We were in the train going to Auschwitz,

388
00:19:18,652 --> 00:19:21,525
and I looked down and saw
my brother's shoes were missing.

389
00:19:22,095 --> 00:19:25,405
I said, 'Why are you so stupid,
can't you keep your things together

390
00:19:25,429 --> 00:19:26,647
for goodness' sake?'"

391
00:19:26,671 --> 00:19:29,338
The way an elder sister might speak
to a younger brother.

392
00:19:31,285 --> 00:19:34,000
Unfortunately, it was the last
thing she ever said to him,

393
00:19:34,024 --> 00:19:35,548
because she never saw him again.

394
00:19:35,572 --> 00:19:36,839
He did not survive.

395
00:19:37,372 --> 00:19:39,897
And so when she came out
of Auschwitz, she made a vow.

396
00:19:40,228 --> 00:19:41,458
She told me this.

397
00:19:41,482 --> 00:19:44,902
She said, "I walked out
of Auschwitz into life

398
00:19:44,926 --> 00:19:46,309
and I made a vow.

399
00:19:46,705 --> 00:19:47,933
And the vow was,

400
00:19:47,957 --> 00:19:53,095
"I will never say anything that couldn't
stand as the last thing I ever say."

401
00:19:54,573 --> 00:19:56,170
Now, can we do that? No.

402
00:19:56,194 --> 00:19:59,050
And we'll make ourselves wrong
and others wrong.

403
00:20:00,177 --> 00:20:02,594
But it is a possibility to live into.

404
00:20:03,621 --> 00:20:04,911
Thank you.

405
00:20:04,935 --> 00:20:07,935
(Applause)

406
00:20:11,479 --> 00:20:12,895
Shining eyes.

407
00:20:12,919 --> 00:20:14,336
(Applause)

408
00:20:14,360 --> 00:20:15,736
Shining eyes.

409
00:20:15,760 --> 00:20:18,760
(Applause)

410
00:20:22,000 --> 00:20:24,468
Thank you, thank you.