1
00:00:02,134 --> 00:00:03,293
When I was a kid,

2
00:00:03,317 --> 00:00:05,825
I experienced something so powerful,

3
00:00:05,849 --> 00:00:08,923
I spent the rest of my life
searching for it,

4
00:00:08,947 --> 00:00:10,459
and in all the wrong places.

5
00:00:11,327 --> 00:00:13,920
What I experienced wasn't virtual reality.

6
00:00:14,633 --> 00:00:15,816
It was music.

7
00:00:16,251 --> 00:00:18,547
And this is where the story begins.

8
00:00:19,797 --> 00:00:21,167
That's me,

9
00:00:21,191 --> 00:00:23,137
listening to the Beatles' "White Album."

10
00:00:23,161 --> 00:00:26,329
And the look on my face is the feeling

11
00:00:26,353 --> 00:00:29,099
that I've been searching for ever since.

12
00:00:29,938 --> 00:00:32,524
Music goes straight to the emotional vein,

13
00:00:32,548 --> 00:00:34,154
into your bloodstream

14
00:00:34,178 --> 00:00:35,509
and right into your heart.

15
00:00:36,157 --> 00:00:38,678
It deepens every experience.

16
00:00:39,717 --> 00:00:40,883
Fellas?

17
00:00:41,454 --> 00:00:45,672
(Music)

18
00:00:47,472 --> 00:00:49,624
This is the amazing McKenzie Stubbert

19
00:00:49,648 --> 00:00:51,527
and Joshua Roman.

20
00:00:51,551 --> 00:00:52,714
Music --

21
00:00:52,738 --> 00:00:53,932
(Applause)

22
00:00:53,956 --> 00:00:55,114
Yep.

23
00:00:56,630 --> 00:01:00,455
Music makes everything
have more emotional resonance.

24
00:01:01,229 --> 00:01:03,158
Let's see how it does for this talk.

25
00:01:03,825 --> 00:01:07,569
The right piece of music
at the right time fuses with us

26
00:01:07,593 --> 00:01:08,918
on a cellular level.

27
00:01:09,382 --> 00:01:11,662
When I hear that one song

28
00:01:12,502 --> 00:01:13,805
from that one summer

29
00:01:14,488 --> 00:01:15,665
with that one girl,

30
00:01:16,480 --> 00:01:18,501
I'm instantly transported
back there again.

31
00:01:19,963 --> 00:01:21,130
Hey, Stacey.

32
00:01:22,908 --> 00:01:26,186
Here's a part of the story, though,
where I got a little greedy.

33
00:01:26,210 --> 00:01:29,808
I thought if I added more layers
on top of the music,

34
00:01:30,394 --> 00:01:33,646
I could make the feelings
even more powerful.

35
00:01:33,670 --> 00:01:36,504
So I got into directing music videos.

36
00:01:37,432 --> 00:01:38,906
Here's what they looked like.

37
00:01:42,429 --> 00:01:43,672
That's my brother, Jeff.

38
00:01:44,799 --> 00:01:46,121
Sorry about this, Jeff.

39
00:01:46,145 --> 00:01:47,232
(Laughter)

40
00:01:47,256 --> 00:01:49,203
Here's me, just so we're even.

41
00:01:50,682 --> 00:01:51,885
Incredible moves.

42
00:01:52,444 --> 00:01:53,785
Should've been a dancer.

43
00:01:53,809 --> 00:01:54,931
(Laughter)

44
00:01:54,955 --> 00:01:56,267
These experiments grew,

45
00:01:56,291 --> 00:01:59,075
and in time, started
to look more like this.

46
00:02:01,852 --> 00:02:04,492
In both, I'm searching
for the same thing, though,

47
00:02:04,516 --> 00:02:07,175
to capture that lightning in a bottle.

48
00:02:08,192 --> 00:02:09,865
Except, I'm not.

49
00:02:09,889 --> 00:02:13,448
Adding moving pictures over the music
added narrative dimension, yes,

50
00:02:14,261 --> 00:02:16,785
but never quite equated the power

51
00:02:16,809 --> 00:02:19,553
that just raw music had for me on its own.

52
00:02:20,795 --> 00:02:23,949
This is not a great thing to realize
when you've devoted your life

53
00:02:23,973 --> 00:02:26,812
and professional career
to becoming a music video director.

54
00:02:26,836 --> 00:02:29,137
I kept asking myself,
did I take the wrong path?

55
00:02:30,353 --> 00:02:34,204
So I started thinking: if I could
involve you, the audience, more,

56
00:02:34,228 --> 00:02:37,230
I might be able to make you
feel something more as well.

57
00:02:37,901 --> 00:02:41,086
So Aaron Koblin and I began
auditioning new technologies

58
00:02:41,110 --> 00:02:44,248
that could put more of you
inside of the work,

59
00:02:44,272 --> 00:02:47,906
like your childhood home
in "The Wilderness Downtown,"

60
00:02:48,750 --> 00:02:52,510
your hand-drawn portraits,
in "The Johnny Cash Project,"

61
00:02:53,581 --> 00:02:54,981
and your interactive dreams

62
00:02:55,791 --> 00:02:57,488
in "3 Dreams of Black."

63
00:02:59,469 --> 00:03:01,426
We were pushing beyond the screen,

64
00:03:01,450 --> 00:03:03,431
trying to connect more deeply

65
00:03:03,455 --> 00:03:05,832
to people's hearts and imaginations.

66
00:03:06,745 --> 00:03:08,091
But it wasn't quite enough.

67
00:03:09,258 --> 00:03:14,057
It still didn't have the raw
experiential power of pure music for me.

68
00:03:15,443 --> 00:03:17,504
So I started chasing a new technology

69
00:03:17,528 --> 00:03:20,227
that I only had read about
in science fiction.

70
00:03:20,826 --> 00:03:23,235
And after years of searching,
I found a prototype.

71
00:03:23,871 --> 00:03:28,095
It was a project from Nonny de la Peña
in Mark Bolas's lab in USC.

72
00:03:29,102 --> 00:03:32,170
And when I tried it, I knew I'd found it.

73
00:03:33,095 --> 00:03:34,587
I could taste the lightning.

74
00:03:35,334 --> 00:03:36,984
It was called virtual reality.

75
00:03:38,047 --> 00:03:40,303
This was it five years ago
when I ran into it.

76
00:03:41,530 --> 00:03:43,592
This is what it looks like now.

77
00:03:44,846 --> 00:03:48,751
I quickly started building things
in this new medium,

78
00:03:48,775 --> 00:03:50,992
and through that process
we realized something:

79
00:03:51,664 --> 00:03:55,081
that VR is going to play
an incredibly important role

80
00:03:55,105 --> 00:03:56,820
in the history of mediums.

81
00:03:57,681 --> 00:04:00,398
In fact, it's going to be the last one.

82
00:04:01,390 --> 00:04:05,005
I mean this because it's the first medium
that actually makes the jump

83
00:04:05,029 --> 00:04:08,317
from our internalization
of an author's expression

84
00:04:08,341 --> 00:04:10,011
of an experience,

85
00:04:10,035 --> 00:04:12,687
to our experiencing it firsthand.

86
00:04:13,691 --> 00:04:15,855
You look confused.
I'll explain. Don't worry.

87
00:04:15,879 --> 00:04:17,273
(Laughter)

88
00:04:17,830 --> 00:04:21,020
If we go back to the origins of mediums,

89
00:04:21,044 --> 00:04:22,408
by all best guesses,

90
00:04:22,432 --> 00:04:25,398
it starts around a fire,
with a good story.

91
00:04:25,986 --> 00:04:27,451
Our clan leader is telling us

92
00:04:27,475 --> 00:04:31,104
about how he hunted the woolly mammoth
on the tundra that day.

93
00:04:32,069 --> 00:04:33,408
We hear his words

94
00:04:34,090 --> 00:04:37,363
and translate them
into our own internal truths.

95
00:04:38,839 --> 00:04:40,004
The same thing happens

96
00:04:40,028 --> 00:04:42,670
when we look at the cave painting
version of the story,

97
00:04:44,241 --> 00:04:45,824
the book about the mammoth hunt,

98
00:04:46,472 --> 00:04:47,706
the play,

99
00:04:48,109 --> 00:04:49,295
the radio broadcast,

100
00:04:49,749 --> 00:04:50,914
the television show,

101
00:04:51,582 --> 00:04:52,737
or the movie.

102
00:04:53,532 --> 00:04:57,264
All of these mediums require
what we call "suspension of disbelief,"

103
00:04:57,288 --> 00:05:01,346
because there's a translation gap
between the reality of the story

104
00:05:01,370 --> 00:05:04,792
and our consciousness
interpreting the story

105
00:05:04,816 --> 00:05:06,084
into our reality.

106
00:05:07,081 --> 00:05:11,157
I'm using the word "consciousness"
as a feeling of reality that we get

107
00:05:11,181 --> 00:05:14,517
from our senses experiencing
the world around us.

108
00:05:16,580 --> 00:05:19,377
Virtual reality bridges that gap.

109
00:05:19,985 --> 00:05:24,198
Now, you are on the tundra
hunting with the clan leader,

110
00:05:24,222 --> 00:05:26,576
or you are the clan leader,

111
00:05:26,600 --> 00:05:29,302
or maybe you're even the woolly mammoth.

112
00:05:29,326 --> 00:05:30,961
(Laughter)

113
00:05:34,218 --> 00:05:35,830
So here's what special about VR.

114
00:05:36,726 --> 00:05:38,305
In all other mediums,

115
00:05:38,329 --> 00:05:40,599
your consciousness interprets the medium.

116
00:05:41,044 --> 00:05:45,214
In VR, your consciousness is the medium.

117
00:05:46,399 --> 00:05:48,833
So the potential for VR is enormous.

118
00:05:48,857 --> 00:05:50,531
But where are we now?

119
00:05:50,555 --> 00:05:53,141
What is the current state of the art?

120
00:05:54,318 --> 00:05:55,468
Well,

121
00:05:56,746 --> 00:05:57,935
we are here.

122
00:05:58,724 --> 00:06:01,872
We are the equivalent
of year one of cinema.

123
00:06:01,896 --> 00:06:03,522
This is the Lumière Brothers film

124
00:06:03,546 --> 00:06:06,905
that allegedly sent a theater full
of people running for their lives

125
00:06:06,929 --> 00:06:09,222
as they thought a train
was coming toward them.

126
00:06:10,136 --> 00:06:13,412
Similar to this early stage of ths medium,

127
00:06:13,436 --> 00:06:16,977
in VR, we also have to move
past the spectacle

128
00:06:17,001 --> 00:06:18,887
and into the storytelling.

129
00:06:18,911 --> 00:06:20,658
It took this medium decades

130
00:06:20,682 --> 00:06:23,340
to figure out its preferred
language of storytelling,

131
00:06:23,364 --> 00:06:25,140
in the form of a feature film.

132
00:06:25,164 --> 00:06:28,518
In VR today, we're more learning grammar

133
00:06:28,542 --> 00:06:29,833
than writing language.

134
00:06:30,880 --> 00:06:34,431
We've made 15 films in the last year
at our VR company, Vrse,

135
00:06:34,455 --> 00:06:36,072
and we've learned a few things.

136
00:06:36,801 --> 00:06:40,116
We found that we have a unique,
direct path into your senses,

137
00:06:40,140 --> 00:06:42,949
your emotions, even your body.

138
00:06:43,897 --> 00:06:45,572
So let me show you some things.

139
00:06:45,596 --> 00:06:46,994
For the purpose of this demo,

140
00:06:47,018 --> 00:06:50,083
we're going to take every direction
that you could possibly look,

141
00:06:50,107 --> 00:06:52,320
and stretch it into this giant rectangle.

142
00:06:53,083 --> 00:06:55,033
OK, here we go.

143
00:06:57,642 --> 00:07:01,923
So, first: camera movement
is tricky in VR.

144
00:07:01,947 --> 00:07:04,049
Done wrong, it can actually make you sick.

145
00:07:04,930 --> 00:07:09,429
We found if you move the camera
at a constant speed in a straight line,

146
00:07:09,453 --> 00:07:11,670
you can actually get away with it, though.

147
00:07:11,694 --> 00:07:13,421
The first day in film school,

148
00:07:13,445 --> 00:07:16,032
they told me you have to learn
every single rule

149
00:07:16,056 --> 00:07:17,814
before you can break one.

150
00:07:17,838 --> 00:07:20,012
We have not learned every single rule.

151
00:07:20,036 --> 00:07:21,564
We've barely learned any at all,

152
00:07:21,588 --> 00:07:23,405
but we're already trying to break them

153
00:07:23,429 --> 00:07:25,958
to see what kind of creative things
we can accomplish.

154
00:07:25,982 --> 00:07:29,694
In this shot here, where we're moving up
off the ground, I added acceleration.

155
00:07:29,718 --> 00:07:32,551
I did that because I wanted
to give you a physical sensation

156
00:07:32,575 --> 00:07:33,958
of moving up off the ground.

157
00:07:33,982 --> 00:07:36,475
In VR, I can give that to you.

158
00:07:37,797 --> 00:07:41,871
(Music)

159
00:07:43,882 --> 00:07:47,429
Not surprisingly, music matters a lot
in this medium as well.

160
00:07:47,842 --> 00:07:49,716
It guides us how to feel.

161
00:07:50,354 --> 00:07:53,675
In this project we made
with the New York Times's Zach Richter

162
00:07:53,699 --> 00:07:55,454
and our friend, JR,

163
00:07:55,478 --> 00:07:57,363
we take you up in a helicopter,

164
00:07:57,387 --> 00:08:01,325
and even though you're flying
2,000 feet above Manhattan,

165
00:08:01,349 --> 00:08:02,937
you don't feel afraid.

166
00:08:02,961 --> 00:08:05,869
You feel triumphant for JR's character.

167
00:08:07,022 --> 00:08:08,501
The music guides you there.

168
00:08:08,525 --> 00:08:10,525
(Music)

169
00:08:17,364 --> 00:08:18,971
Contrary to popular belief,

170
00:08:18,995 --> 00:08:21,661
there is composition in virtual reality,

171
00:08:21,685 --> 00:08:23,746
but it's completely
different than in film,

172
00:08:23,770 --> 00:08:25,495
where you have a rectangular frame.

173
00:08:25,519 --> 00:08:28,031
Composition is now
where your consciousness exists

174
00:08:28,055 --> 00:08:30,002
and how the world moves around you.

175
00:08:30,927 --> 00:08:34,291
In this film, "Waves of Grace,"
which was a collaboration between Vrse,

176
00:08:34,315 --> 00:08:37,224
the United Nations, Gabo Arora,
and Imraan Ismail,

177
00:08:37,248 --> 00:08:40,490
we also see the changing role
of the close-up in virtual reality.

178
00:08:41,139 --> 00:08:45,352
A close-up in VR means
you're actually close up to someone.

179
00:08:45,954 --> 00:08:48,597
It brings that character inside
of your personal space,

180
00:08:48,621 --> 00:08:52,466
a space that we'd usually reserve
for the people that we love.

181
00:08:52,490 --> 00:08:55,660
And you feel an emotional
closeness to the character

182
00:08:55,684 --> 00:08:58,392
because of what you feel
to be a physical closeness.

183
00:09:04,639 --> 00:09:08,978
Directing VR is not like
directing for the rectangle.

184
00:09:09,002 --> 00:09:12,086
It's more of a choreography
of the viewer's attention.

185
00:09:12,864 --> 00:09:15,458
One tool we can use
to guide your attention

186
00:09:15,482 --> 00:09:16,915
is called "spatialized sound."

187
00:09:16,939 --> 00:09:19,907
I can put a sound anywhere
in front of you, to left or right,

188
00:09:19,931 --> 00:09:21,310
even behind you,

189
00:09:21,334 --> 00:09:24,330
and when you turn your head,
the sound will rotate accordingly.

190
00:09:24,354 --> 00:09:27,856
So I can use that to direct your attention
to where I want you to see.

191
00:09:28,308 --> 00:09:30,886
Next time you hear someone
singing over your shoulder,

192
00:09:30,910 --> 00:09:32,171
it might be Bono.

193
00:09:32,195 --> 00:09:33,402
(Laughter)

194
00:09:38,539 --> 00:09:41,294
VR makes us feel
like we are part of something.

195
00:09:42,459 --> 00:09:45,968
For most of human history,
we lived in small family units.

196
00:09:45,992 --> 00:09:47,503
We started in caves,

197
00:09:47,527 --> 00:09:50,960
then moved to clans and tribes,
then villages and towns,

198
00:09:50,984 --> 00:09:53,676
and now we're all global citizens.

199
00:09:54,211 --> 00:09:58,011
But I believe that we are still
hardwired to care the most

200
00:09:58,035 --> 00:10:00,532
about the things that are local to us.

201
00:10:01,325 --> 00:10:06,283
And VR makes anywhere
and anyone feel local.

202
00:10:06,307 --> 00:10:08,815
That's why it works as an empathy machine.

203
00:10:08,839 --> 00:10:12,063
Our film "Clouds Over Sidra"
takes you to a Syrian refugee camp,

204
00:10:12,087 --> 00:10:16,638
and instead of watching a story
about people over there,

205
00:10:16,662 --> 00:10:20,485
it's now a story about us here.

206
00:10:22,386 --> 00:10:23,896
But where do we go from here?

207
00:10:24,432 --> 00:10:26,889
The tricky thing is that
with all previous mediums,

208
00:10:26,913 --> 00:10:29,283
the format is fixed at its birth.

209
00:10:30,182 --> 00:10:32,071
Film has been a sequence of rectangles,

210
00:10:32,095 --> 00:10:34,934
from Muybridge and his horses to now.

211
00:10:35,377 --> 00:10:36,927
The format has never changed.

212
00:10:37,654 --> 00:10:41,101
But VR as a format, as a medium,

213
00:10:42,370 --> 00:10:43,619
isn't complete yet.

214
00:10:44,767 --> 00:10:47,966
It's not using physical celluloid
or paper or TV signals.

215
00:10:47,990 --> 00:10:51,809
It actually employs what we use
to make sense of the world.

216
00:10:52,642 --> 00:10:56,545
We're using your senses
as the paints on the canvas,

217
00:10:56,569 --> 00:10:57,891
but only two right now.

218
00:10:59,653 --> 00:11:03,493
Eventually, we can see if we will have
all of our human senses employed,

219
00:11:03,517 --> 00:11:07,712
and we will have agency to live
the story in any path we choose.

220
00:11:08,575 --> 00:11:11,031
And we call it virtual reality right now,

221
00:11:11,055 --> 00:11:13,849
but what happens when we move
past simulated realities?

222
00:11:15,345 --> 00:11:16,775
What do we call it then?

223
00:11:17,503 --> 00:11:20,339
What if instead of verbally
telling you about a dream,

224
00:11:20,363 --> 00:11:23,137
I could let you live inside that dream?

225
00:11:23,860 --> 00:11:27,487
What if instead of just experiencing
visiting some reality on Earth,

226
00:11:27,511 --> 00:11:31,937
you could surf gravitational waves
on the edge of a black hole,

227
00:11:31,961 --> 00:11:34,737
or create galaxies from scratch,

228
00:11:34,761 --> 00:11:37,845
or communicate with each other
not using words,

229
00:11:37,869 --> 00:11:39,772
but using our raw thoughts?

230
00:11:41,254 --> 00:11:43,335
That's not a virtual reality anymore.

231
00:11:44,052 --> 00:11:46,398
And honestly I don't know
what that's called.

232
00:11:46,884 --> 00:11:49,216
But I hope you see where we're going.

233
00:11:50,629 --> 00:11:54,351
But here I am, intellectualizing
a medium I'm saying is experiential.

234
00:11:54,839 --> 00:11:56,265
So let's experience it.

235
00:11:56,845 --> 00:12:00,040
In your hands, you hopefully hold
a piece of cardboard.

236
00:12:01,143 --> 00:12:02,776
Let's open the flap.

237
00:12:02,800 --> 00:12:05,333
Tap on the power button
to unlock the phone.

238
00:12:06,145 --> 00:12:07,769
For the people watching at home,

239
00:12:07,793 --> 00:12:09,629
we're going to put up a card right now

240
00:12:09,653 --> 00:12:12,883
to show you how to download
this experience on your phone yourself,

241
00:12:12,907 --> 00:12:16,208
and even get a Google cardboard
of your own to try it with.

242
00:12:17,275 --> 00:12:19,802
We played in cardboard boxes as kids,

243
00:12:19,826 --> 00:12:24,410
and as adults, I'm hoping we can all find
a little bit of that lightning

244
00:12:24,434 --> 00:12:27,208
by sticking our head in one again.

245
00:12:29,615 --> 00:12:31,044
You're about to participate

246
00:12:31,068 --> 00:12:35,520
in the largest collective
VR viewing in history.

247
00:12:36,236 --> 00:12:39,854
And in that classic old-timey
style of yesteryear,

248
00:12:39,878 --> 00:12:42,109
we're all going to watch something

249
00:12:42,133 --> 00:12:44,130
at the exact same time, together.

250
00:12:45,019 --> 00:12:46,442
Let's hope it works.

251
00:12:46,466 --> 00:12:48,651
What's the countdown
look like? I can't see.

252
00:12:52,564 --> 00:12:59,558
Audience: ...15, 14, 13, 12, 11, 10, 9,

253
00:12:59,582 --> 00:13:06,446
8, 7, 6, 5, 4, 3, 2, 1

254
00:13:10,327 --> 00:13:14,155
(Birds singing)

255
00:13:22,508 --> 00:13:25,168
(Train engine)

256
00:13:33,351 --> 00:13:35,351
Audience: (Shreiks)

257
00:13:51,285 --> 00:13:52,575
(Video) JR: Let me tell you

258
00:13:52,599 --> 00:13:55,076
how I shot the cover
of the New York Times Magazine,

259
00:13:55,100 --> 00:13:57,194
"Walking New York."

260
00:14:06,577 --> 00:14:09,987
I just got strapped on
outside the helicopter,

261
00:14:10,011 --> 00:14:14,255
and I had to be perfectly
vertical so I could grab it.

262
00:14:14,279 --> 00:14:15,897
And when I was perfectly above --

263
00:14:15,921 --> 00:14:18,658
you know, with the wind,
we had to redo it a few times --

264
00:14:18,682 --> 00:14:20,476
then I kept shooting.

265
00:14:27,598 --> 00:14:29,296
(Video) Woman's voice: Dear Lord,

266
00:14:29,900 --> 00:14:31,220
protect us from evil,

267
00:14:32,654 --> 00:14:33,865
for you are the Lord,

268
00:14:35,044 --> 00:14:36,231
the light.

269
00:14:41,824 --> 00:14:44,207
You who gave us life took it away.

270
00:14:46,191 --> 00:14:47,771
Let your will be done.

271
00:14:48,941 --> 00:14:53,505
Please bring peace to the many
who have lost loved ones.

272
00:14:53,529 --> 00:14:55,272
Help us to live again.

273
00:14:58,564 --> 00:15:01,683
(Music)

274
00:15:17,066 --> 00:15:18,527
(Video) (Children's voices)

275
00:15:19,504 --> 00:15:24,169
Child's voice: There are more kids
in Zaatari than adults right now.

276
00:15:29,924 --> 00:15:31,953
Sometimes I think

277
00:15:31,977 --> 00:15:34,411
we are the ones in charge.

278
00:15:39,410 --> 00:15:40,785
Chris Milk: How was it?

279
00:15:40,809 --> 00:15:44,524
(Applause)

280
00:15:44,548 --> 00:15:47,477
That was a cheap way of getting you
to do a standing ovation.

281
00:15:47,501 --> 00:15:50,309
I just made you all stand.
I knew you'd applaud at the end.

282
00:15:50,333 --> 00:15:51,974
(Applause)

283
00:15:51,998 --> 00:15:55,817
I believe that everyone on Earth
needs to experience

284
00:15:55,841 --> 00:15:57,421
what you just experienced.

285
00:15:58,036 --> 00:16:01,203
That way we can collectively
start to shape this,

286
00:16:01,227 --> 00:16:03,001
not as a tech platform,

287
00:16:03,025 --> 00:16:04,600
but as a humanity platform.

288
00:16:05,498 --> 00:16:08,682
And to that end, in November of last year,

289
00:16:08,706 --> 00:16:11,992
the New York Times and Vrse made
a VR project called "The Displaced."

290
00:16:12,016 --> 00:16:14,362
It launched with one million
Google cardboards

291
00:16:14,386 --> 00:16:17,859
sent out to every Sunday subscriber
with their newspaper.

292
00:16:17,883 --> 00:16:20,401
But a funny thing happened
that Sunday morning.

293
00:16:20,425 --> 00:16:21,747
A lot of people got them

294
00:16:21,771 --> 00:16:25,977
that were not the intended recipients
on the mailing label.

295
00:16:26,001 --> 00:16:29,545
And we started seeing this
all over Instagram.

296
00:16:33,059 --> 00:16:34,239
Look familiar?

297
00:16:36,252 --> 00:16:38,395
Music led me on a path

298
00:16:38,419 --> 00:16:41,468
of searching for what seemed
like the unattainable

299
00:16:41,492 --> 00:16:42,745
for a very long time.

300
00:16:43,466 --> 00:16:47,437
Now, millions of kids just had
the same formative experience

301
00:16:47,461 --> 00:16:49,202
in their childhood

302
00:16:49,226 --> 00:16:51,530
that I had in mine.

303
00:16:52,316 --> 00:16:54,545
Only I think this one

304
00:16:54,569 --> 00:16:55,727
surpasses it.

305
00:16:56,358 --> 00:16:57,508
Let's see

306
00:16:57,859 --> 00:16:59,009
where this

307
00:16:59,573 --> 00:17:00,723
leads them.

308
00:17:01,384 --> 00:17:02,535
Thank you.

309
00:17:02,559 --> 00:17:09,041
(Applause)