WEBVTT - Bloomberg Wall Street Week - April 26, 2024

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<v Speaker 1>This is Bloomberg Wall Street Week.

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<v Speaker 2>The global push into infrastructure, breaking the IPO logjam in text.

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<v Speaker 1>The financial stories that sheep.

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<v Speaker 2>Are work cutting inflation without losing jobs. Do we need

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<v Speaker 2>rate cuts and if so, how many? Investing in a

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<v Speaker 2>time of geopolitical turmoil.

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<v Speaker 1>Through the eyes of the most influential voices.

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<v Speaker 2>Ten Rogueff economists at Harvard, former FDIC had Shila bet

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<v Speaker 2>Ge CEO, Larry Kulp, San Francisco FED President Mary Daily Bloomberg.

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<v Speaker 1>Wall Street Week with David Weston from Bloomberg Radio.

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<v Speaker 2>Tesla moves forward after all Goldman finally gets out of

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<v Speaker 2>retail and everyone's trying to figure out where inflation is headed.

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<v Speaker 2>This is Bloomberg Wall Street Week. I'm David Weston. This

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<v Speaker 2>week Wes Edens bright Line breaks ground on the nation's

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<v Speaker 2>first truly high speed train line.

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<v Speaker 3>This is now the beginning of the high speed rail

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<v Speaker 3>industry in the US.

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<v Speaker 2>Sir Clive Gillinson of Carnegie Hall on what it takes

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<v Speaker 2>to make one of the world's great concert halls not

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<v Speaker 2>only survive but thrive.

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<v Speaker 4>You always go for the vision, go for something that

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<v Speaker 4>is irresistible.

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<v Speaker 2>And Tony James of Jefferson River capital on making sure

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<v Speaker 2>New York's Metropolitan Museum of Art doesn't turn into your

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<v Speaker 2>grandmother's attic.

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<v Speaker 5>We're trying to be current. We don't want this to

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<v Speaker 5>be your grandmother's attic.

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<v Speaker 2>We start with the ever present question of inflation and

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<v Speaker 2>where it's headed with Peter Boris, chairman and CEO of

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<v Speaker 2>Computer Trading. So Peter, welcome back. Good to have here.

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<v Speaker 2>Every week we get new data on inflation points one

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<v Speaker 2>way or the other, but in a larger sense, you

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<v Speaker 2>often look at what you call the Seven Seas and commodities,

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<v Speaker 2>one of those telling you right now, first.

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<v Speaker 6>Of all, thanks for having me. The seven Seas are

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<v Speaker 6>relatively consistent, that inflation is going to be persistent for longer.

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<v Speaker 6>You're starting to see some of the seasonal commodities potentially breakout.

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<v Speaker 6>Cattle one see corn, the other sea that have been

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<v Speaker 6>relatively weak, the stronger seas coffee, cocoa, and crude. They've

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<v Speaker 6>been relatively stable after having fairly large moves.

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<v Speaker 2>And what's driving that right now? I mean, what are

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<v Speaker 2>the forces? Why do you look at the seven Seas?

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<v Speaker 6>I look at them as the ac which is the

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<v Speaker 6>consumer in terms of is the consumer going to have

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<v Speaker 6>to substitute their spending for more on staples where demand

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<v Speaker 6>is inelastic, and that then is going to lead to

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<v Speaker 6>less discretionary spending across the board. And so then I

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<v Speaker 6>look at bigger picture stocks like Visa, MasterCard, Costco, Target

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<v Speaker 6>to see if the consumer strength is still there. Those

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<v Speaker 6>stocks have demonstrated a little bit of weakness. So that

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<v Speaker 6>is the conundrum, the ninth c of the pressure on

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<v Speaker 6>commodities and potential weakness of these consumer stocks, which definitely

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<v Speaker 6>puts the FED in a box.

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<v Speaker 2>So if there's a breakout in some of the seas

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<v Speaker 2>and the commodities, that puts pressure on Visa and MasterCard

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<v Speaker 2>bigcause people don't have as much money to spend it Target,

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<v Speaker 2>for example, they have to spend it on food.

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<v Speaker 1>Yes.

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<v Speaker 6>Yes, And so those stocks in particular are a good

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<v Speaker 6>measure of consumer strength. And you see that in weekly

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<v Speaker 6>data that you can get from JP or Bank of

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<v Speaker 6>America compares to a week over week or year over

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<v Speaker 6>year as the strength of consumer spending.

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<v Speaker 2>Now, some stocks that have really felt a lot of

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<v Speaker 2>pressure just recently have been the big tech. What is

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<v Speaker 2>going on with them? Do you think?

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<v Speaker 6>Well, first of all, there's the trading aspect to it,

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<v Speaker 6>so you know, there's the old saying, right, what goes

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<v Speaker 6>up must come down. So you've basically had a really

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<v Speaker 6>big move, You've corrected. Technically, a number of these stocks

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<v Speaker 6>have broken key levels, and if they don't reject those

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<v Speaker 6>levels and start their uptrended again, that could mean that

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<v Speaker 6>the leading aspect of the technology relative to other stocks

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<v Speaker 6>is ending, which can hurt the large cap indices because

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<v Speaker 6>there's such big weights.

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<v Speaker 2>What does this all say the FED? I mean, I

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<v Speaker 2>could speculate that actually a little bit of tightening financial

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<v Speaker 2>conditions would not be a bad thing for the FED

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<v Speaker 2>right now because they've been going the other way.

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<v Speaker 6>I think the FED is sprinting in place, very very

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<v Speaker 6>challenging because you have this tug of war. But it's

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<v Speaker 6>hard to say that you should be easing when you've

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<v Speaker 6>just had record highs in bitcoin, record highs inequities, and

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<v Speaker 6>you've seen gasoline prices go up and potentially now these

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<v Speaker 6>other commodities breaking out. So they're stuck in my mind

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<v Speaker 6>of not doing anything probably the rest of the year.

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<v Speaker 2>Gold doesn't begin with the sea. Last time I recalled,

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<v Speaker 2>when you talk about record highs, we've had some record

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<v Speaker 2>highs in gold. Is that a useful indicator in your

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<v Speaker 2>experience over time where inflation might be heading, because often

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<v Speaker 2>you think that's where you go if you think you

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<v Speaker 2>got inflation.

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<v Speaker 6>So I am not one that particularly favors gold as

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<v Speaker 6>an indicator of what's going on with inflation. By the way,

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<v Speaker 6>the correlation between gold and the S and P has

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<v Speaker 6>been fairly high, so you would think, ooh, that's a

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<v Speaker 6>cross current. People tend to look backwards. So in the seventies,

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<v Speaker 6>when gold was really strong and inflation was high, there

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<v Speaker 6>weren't really a lot of other instruments to use to

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<v Speaker 6>hedge against inflation. But today there are many more instruments.

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<v Speaker 6>You can short bonds in the futures markets, you can

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<v Speaker 6>participate in individual commodity markets, or you can actually participate

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<v Speaker 6>through options or futures in the equity market.

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<v Speaker 2>So I don't think.

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<v Speaker 6>Gold is as much of inflation indicator as perhaps a

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<v Speaker 6>supply and demand question for uncertainty in the global geopolitical

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<v Speaker 6>And then non US central banks may have added to

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<v Speaker 6>gold demand recently. Of course, that too, in the last

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<v Speaker 6>week or so, has had a pretty significant correction.

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<v Speaker 2>Let me come back to your ninth see, I think

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<v Speaker 2>it is conundrum what you said, yes, okay. As an investor,

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<v Speaker 2>how do you invest into a conundrum? What do you do?

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<v Speaker 6>So it depends on your time frame. If you're younger

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<v Speaker 6>and you have a long time frame, then do you

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<v Speaker 6>sit back? And that's the nature of markets on average, right,

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<v Speaker 6>there's a double digital client in the SMP every year.

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<v Speaker 6>Of course, I'm always mindful of the six foot tall

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<v Speaker 6>man that drowns in water an average out of five feet.

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<v Speaker 6>So you have to be careful of averages because there

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<v Speaker 6>are bear markets. But in that case, you stay the course.

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<v Speaker 6>If you're more like me and you're a trader and

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<v Speaker 6>you've had a good run, I think the hardest thing

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<v Speaker 6>in portfolio management and discipline is selling a winner or

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<v Speaker 6>taking it down and rebalancing your portfolio. Is this a

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<v Speaker 6>time to rebalance your portfolio where you have this conundrum

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<v Speaker 6>combined with fed uncertainty, I think that makes a lot

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<v Speaker 6>of sense.

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<v Speaker 2>Peter is so helpful, Always good to have you on

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<v Speaker 2>Wall Street week and it's Peter Borsh of Computer Trading,

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<v Speaker 2>Treasury Secutary Yell and travel to China. The criticize the

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<v Speaker 2>government for subsidizing parts of its industry. But this week

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<v Speaker 2>the IMF leveled us similar criticism at the United States

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<v Speaker 2>and urge Europe not to follow suit, to take us

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<v Speaker 2>through where Europe stands in the apparent race to subsidize

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<v Speaker 2>were welcome now, Stephanie Flanders Bloomberg, Senior Executive editor for

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<v Speaker 2>Economics and Government. So Stephanie, welcome back. Great to have

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<v Speaker 2>you with us. So tell us about this wonderful world

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<v Speaker 2>of industrial policy. Sometimes we criticize it, and it looks

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<v Speaker 2>like right now in the United States is embracing it.

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<v Speaker 2>Where are we globally on industrial policy?

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<v Speaker 7>You know, this is one of those things where it's

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<v Speaker 7>a fast moving a bit of economics, certainly of economic

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<v Speaker 7>policy making. You know, for decades, certainly when I was

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<v Speaker 7>first learning about industrial policy and economic policy, it was

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<v Speaker 7>kind of a dirty word, certainly capital I capital p

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<v Speaker 7>industrial policy because it was the idea, maybe more popular

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<v Speaker 7>in the fifties and sixties, that governments could spot strategic

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<v Speaker 7>industries and invest in them. And the line I was

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<v Speaker 7>always given that they were good at picking losers, they

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<v Speaker 7>weren't good at picking winners, and that you could waste

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<v Speaker 7>a lot of money doing that as a government, and

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<v Speaker 7>if you were going to do it successfully, well, the

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<v Speaker 7>only places that had done that were maybe places like

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<v Speaker 7>Korea or Singapore where you had highly effective states and

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<v Speaker 7>you had you know, these were emerging market economies that

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<v Speaker 7>had a path to follow. They could see what other

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<v Speaker 7>countries had done, so they had less chance of getting

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<v Speaker 7>it wrong. And what's changed. I think, you know, like

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<v Speaker 7>so many things, has been upended by the different geopolitical outlook.

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<v Speaker 7>You know that what you think of as even you know,

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<v Speaker 7>what a winner would be in a context where you

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<v Speaker 7>could have in ten or twenty years time a decoupled

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<v Speaker 7>global economy really changes.

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<v Speaker 4>You know.

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<v Speaker 7>It could be you may have wasted a lot of money,

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<v Speaker 7>and an economist might have said that is a big

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<v Speaker 7>You've inefficiently used those resources, you're not making profits, You've

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<v Speaker 7>produced excess capacity of a good in the global market

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<v Speaker 7>from doing this industrial policy. But if in twenty years

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<v Speaker 7>time you find that you're the only place with say

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<v Speaker 7>a solar panel industry on one side of a big

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<v Speaker 7>economic in the global economy, well maybe all that quote

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<v Speaker 7>unquote wasted money will turn out to have been well spent.

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<v Speaker 7>So I think everyone's having to kind of rethink what

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<v Speaker 7>success and failure looks like in an industrial policy context.

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<v Speaker 7>But We certainly could be in for wasting a lot

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<v Speaker 7>of money with these subsidies.

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<v Speaker 2>Whether it's a good thing or a bad thing. How

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<v Speaker 2>much of this do you think is triggered by China?

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<v Speaker 2>Because China is now the second largest economy, some things

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<v Speaker 2>that maybe beindest way of first. It certainly embraced subsidizing

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<v Speaker 2>industry quite a bit. The Biden administration criticizes China greatea

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<v Speaker 2>for that, but it's an enormous amount of money. How

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<v Speaker 2>much of this is the rest of us being afraid

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<v Speaker 2>that they will overwhelmed us?

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<v Speaker 7>Well? And I think it's also it's not just the fear, right,

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<v Speaker 7>it's actually the reality in some key sectors. I mean,

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<v Speaker 7>the green technology is a classic example. We're now looking

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<v Speaker 7>at how much you know Chinese evs electric vehicles are

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<v Speaker 7>just sort of swamping the global market. A lot of

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<v Speaker 7>subsidies have certainly gone into that. The European Union announced

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<v Speaker 7>an investigation into ev They've already been burnt when it

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<v Speaker 7>comes to solar panels because they European Union had invested

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<v Speaker 7>a lot in developing, wanted to have a big domestic

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<v Speaker 7>solar panel industry, was just wiped out of the water

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<v Speaker 7>by China. There's the sheer scale of Chinese production. Now

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<v Speaker 7>ninety percent of solar panels in Europe are made in China,

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<v Speaker 7>and actually a very high proportion in the US as well.

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<v Speaker 7>So you know, China is driving this, but of course

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<v Speaker 7>if you're Europe, it's also the Biden administration's response to China,

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<v Speaker 7>things like the Inflation Reduction Act. You know, the Europeans

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<v Speaker 7>have felt like they had to have their own thing.

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<v Speaker 7>They announced the Net Zero Industry Act last year, was

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<v Speaker 7>very explicitly about building the European domestic green energy systems

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<v Speaker 7>and products so that they weren't going to end up

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<v Speaker 7>reliant on China.

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<v Speaker 2>And how much pressure is there in Europe? Do they

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<v Speaker 2>need to do some sort of large fiscal infusion to

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<v Speaker 2>really get competitive?

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<v Speaker 7>I mean, I suspect certainly. The International Monetary Fund would

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<v Speaker 7>say it is as much about developing the single market

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<v Speaker 7>and working as a cohesive block as it is about

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<v Speaker 7>spending lots of money. Yes, there's going to need to

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<v Speaker 7>be a lot of investment funds for green technologies, for

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<v Speaker 7>decarbonizing the economy, potentially for taking advantage of digital technologies

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<v Speaker 7>that Europe hasn't hasn't been able to do as well

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<v Speaker 7>as the US.

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<v Speaker 2>Stephanie has always so good to talk to you. Thank

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<v Speaker 2>you so much. That is Bloomberg's Stephanie Flanders. Coming up.

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<v Speaker 2>Is America finally going to get one of those high

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<v Speaker 2>speed trains we've envied in France and Japan. We talked

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<v Speaker 2>with Wes Edens about his bold new bright Line venture

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<v Speaker 2>that broke round this.

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<v Speaker 3>Week, so we think that the adoption rate for it

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<v Speaker 3>is going to be rapid.

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<v Speaker 2>That's next time, Wall Street Week on Bloomberg.

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<v Speaker 1>This is Bloomberg worll Street Week with David Weston from

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<v Speaker 1>Bloomberg Radio.

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<v Speaker 2>This is Wall Street Week. I'm David Weston. The United

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<v Speaker 2>States took a big step toward high speed trains this

0:13:08.200 --> 0:13:11.160
<v Speaker 2>week when Brightline West broke ground on a twelve billion

0:13:11.200 --> 0:13:13.520
<v Speaker 2>dollar project to build a rail link between Las Vegas

0:13:13.720 --> 0:13:16.480
<v Speaker 2>and Los Angeles. And we welcome now the founder and

0:13:16.600 --> 0:13:19.520
<v Speaker 2>chairman of Brightline. He is Wes Edens. Wes, great tip

0:13:19.559 --> 0:13:21.040
<v Speaker 2>to have you with us. Thank you for joining us

0:13:21.320 --> 0:13:23.559
<v Speaker 2>to tell us about this project bright Line West. It's

0:13:23.600 --> 0:13:26.520
<v Speaker 2>the second bright Line project after Florida. Give us a

0:13:26.559 --> 0:13:29.000
<v Speaker 2>sense of how big a business this is in success.

0:13:29.600 --> 0:13:31.280
<v Speaker 3>Well, first of all, thanks for having me on David.

0:13:31.320 --> 0:13:34.880
<v Speaker 3>You know, it's a great time for US. It's a

0:13:34.920 --> 0:13:37.520
<v Speaker 3>great time for the rail business. And so, as you said,

0:13:37.559 --> 0:13:41.719
<v Speaker 3>we broke around earlier today on Brightline West, which is

0:13:41.800 --> 0:13:44.760
<v Speaker 3>the second train project for US, but it's the most. Notably,

0:13:44.800 --> 0:13:48.040
<v Speaker 3>it's the first high speed train, true high speed rail

0:13:48.320 --> 0:13:51.600
<v Speaker 3>that'll be built in America, and that's a big deal

0:13:52.120 --> 0:13:54.839
<v Speaker 3>in a monumental location. And I think, actually even a

0:13:54.840 --> 0:13:56.480
<v Speaker 3>bigger deal is I really do think that this is

0:13:56.559 --> 0:13:58.920
<v Speaker 3>now the beginning of the high speed rail industry of

0:13:58.920 --> 0:14:02.640
<v Speaker 3>the US, which I think is massive. You opportunities and

0:14:02.679 --> 0:14:04.560
<v Speaker 3>growth in front of it. So it's a really exciting time.

0:14:05.120 --> 0:14:08.000
<v Speaker 2>Given your investment tracker, you've checked how much demand there

0:14:08.120 --> 0:14:10.880
<v Speaker 2>is out there potentially, and you've concluded it's big enough

0:14:10.920 --> 0:14:12.520
<v Speaker 2>to support this and make it a good business. How

0:14:12.600 --> 0:14:13.400
<v Speaker 2>much demand is there.

0:14:13.840 --> 0:14:16.559
<v Speaker 3>There's about fifty million trips that happen between Los Angeles

0:14:16.640 --> 0:14:19.320
<v Speaker 3>and Las Vegas every year, about eighty five percent of

0:14:19.320 --> 0:14:22.120
<v Speaker 3>those happened by car. And I don't know if you've

0:14:22.120 --> 0:14:24.720
<v Speaker 3>ever done the drive from Las Vegas to La but

0:14:24.840 --> 0:14:28.640
<v Speaker 3>it's a notably difficult drive. It's probably four hours in

0:14:28.720 --> 0:14:32.720
<v Speaker 3>the best case. It's very very unreliable in terms of

0:14:32.800 --> 0:14:34.920
<v Speaker 3>what the time actually is, and so there's a tremendous

0:14:34.920 --> 0:14:37.200
<v Speaker 3>amount of demand between these two cities. There's only one

0:14:37.240 --> 0:14:39.320
<v Speaker 3>way to get there, which is on I fifteen, and

0:14:39.400 --> 0:14:40.840
<v Speaker 3>so our train is going to go right down the

0:14:40.840 --> 0:14:42.800
<v Speaker 3>middle of I fifteen, and we think it's going to

0:14:42.960 --> 0:14:44.760
<v Speaker 3>have a massive amount of demand for people to make

0:14:44.800 --> 0:14:45.160
<v Speaker 3>that trip.

0:14:45.480 --> 0:14:47.800
<v Speaker 2>This is not your first fora You have bridline up

0:14:47.840 --> 0:14:51.480
<v Speaker 2>and running i've in Florida right between Miami and Orlando.

0:14:51.880 --> 0:14:53.640
<v Speaker 2>What have you learned from that that will change what

0:14:53.720 --> 0:14:54.760
<v Speaker 2>you do with Briadline West.

0:14:55.680 --> 0:14:56.440
<v Speaker 4>Well, i'd say.

0:14:56.360 --> 0:14:58.640
<v Speaker 3>Most notably learned that people like trains, right, so we

0:14:58.760 --> 0:15:00.760
<v Speaker 3>have millions of people that are our train down there.

0:15:00.840 --> 0:15:03.160
<v Speaker 3>The adoption a bit in South Florida and no awfter

0:15:03.240 --> 0:15:07.560
<v Speaker 3>Orlando has been terrific. We opened the route from Miami

0:15:07.640 --> 0:15:10.320
<v Speaker 3>all the way to Orlando recently. It was actually last September.

0:15:11.040 --> 0:15:14.200
<v Speaker 3>The numbers have been fantastic and we're very optimistic about

0:15:14.200 --> 0:15:17.280
<v Speaker 3>the future of that train. The biggest lesson, i'd say

0:15:17.360 --> 0:15:21.480
<v Speaker 3>is that when we built that train, we basically use

0:15:21.560 --> 0:15:24.240
<v Speaker 3>the existing rail corridor for a portion of it. So

0:15:24.320 --> 0:15:26.760
<v Speaker 3>basically from Miami up to Cocoa Beach. It's kind of

0:15:26.760 --> 0:15:29.160
<v Speaker 3>a straight shot from south to north. At that point

0:15:29.200 --> 0:15:31.560
<v Speaker 3>you turn left and then go across Throughte five twenty

0:15:31.560 --> 0:15:33.840
<v Speaker 3>eight to the Orlando Airport. That's how the route has

0:15:33.880 --> 0:15:37.760
<v Speaker 3>made what we did you know that because we had

0:15:37.800 --> 0:15:40.080
<v Speaker 3>access to the train. It was version one point zero.

0:15:40.080 --> 0:15:41.560
<v Speaker 3>As I said, it makes a lot of sense, but

0:15:41.600 --> 0:15:43.000
<v Speaker 3>there's a lot of things about it that we think

0:15:43.040 --> 0:15:45.080
<v Speaker 3>can be improved on. In particular, there's a lot of

0:15:45.160 --> 0:15:48.280
<v Speaker 3>rail crossings there because that runs up really US Highway one.

0:15:48.760 --> 0:15:51.720
<v Speaker 3>So this train from Vegas to La will cite it

0:15:51.880 --> 0:15:54.000
<v Speaker 3>in the middle of I fifteen. It's a big two

0:15:54.080 --> 0:15:56.840
<v Speaker 3>hundred foot wide corridor but right in the middle of it.

0:15:56.920 --> 0:15:57.760
<v Speaker 1>And because of that, you.

0:15:57.800 --> 0:16:00.600
<v Speaker 3>Can put a fence around it, you can electrify, no

0:16:00.800 --> 0:16:03.560
<v Speaker 3>rail crossings, you can go true high speed, so you know,

0:16:03.600 --> 0:16:05.600
<v Speaker 3>north of two hundred miles an hour is kind of

0:16:05.680 --> 0:16:08.880
<v Speaker 3>the objective, and that version two point zero is what

0:16:08.960 --> 0:16:11.080
<v Speaker 3>we think makes sense for this quarter, and I think

0:16:11.120 --> 0:16:13.320
<v Speaker 3>it's a good blueprint for what we should find success

0:16:13.360 --> 0:16:15.320
<v Speaker 3>with in other parts of the country as well.

0:16:15.600 --> 0:16:18.120
<v Speaker 2>What's the time horizon you're looking at for these investments.

0:16:18.160 --> 0:16:21.320
<v Speaker 2>I believe you're cash positive in Brightline out in Florida.

0:16:21.400 --> 0:16:24.080
<v Speaker 2>Now you haven't recouped the investment yet, but your cash positive.

0:16:24.240 --> 0:16:27.000
<v Speaker 2>How long until you actually recruit investment in Brightline or

0:16:27.040 --> 0:16:28.160
<v Speaker 2>for that matter, bright Line West.

0:16:28.360 --> 0:16:29.960
<v Speaker 3>You know, I think from this point forward in bright

0:16:30.040 --> 0:16:32.680
<v Speaker 3>Line East, it's all systems go. You know, we're adding

0:16:32.760 --> 0:16:36.360
<v Speaker 3>more capacity this summer in June with more train cars,

0:16:36.400 --> 0:16:38.480
<v Speaker 3>the same in the end of the year in December,

0:16:38.480 --> 0:16:40.240
<v Speaker 3>and then the same again next year. And so with

0:16:40.400 --> 0:16:44.160
<v Speaker 3>that you'll then get to higher ridership levels, higher revenues,

0:16:44.400 --> 0:16:46.160
<v Speaker 3>and we think that that's a time in which we'll

0:16:46.160 --> 0:16:48.560
<v Speaker 3>start to look at, you know, different alternative in terms

0:16:48.600 --> 0:16:51.000
<v Speaker 3>of financing, bringing in equity, you know, et cetera, et cetera.

0:16:51.480 --> 0:16:53.480
<v Speaker 2>Do you have a sense of when you would bring

0:16:53.560 --> 0:16:54.320
<v Speaker 2>in other investors.

0:16:54.480 --> 0:16:56.800
<v Speaker 3>Yeah, we have brought in, you know, modest investors. I mean,

0:16:57.240 --> 0:16:59.680
<v Speaker 3>I'm a large investor in a personally, so I'm a

0:16:59.760 --> 0:17:01.680
<v Speaker 3>big believer and I kind of eat my own cooking,

0:17:01.760 --> 0:17:03.920
<v Speaker 3>so to speak with it and have for a long time.

0:17:04.640 --> 0:17:07.080
<v Speaker 3>I think that it's an investable project now, and so

0:17:08.040 --> 0:17:12.520
<v Speaker 3>the the groundbreaking today I think signifies kind of the

0:17:12.600 --> 0:17:14.760
<v Speaker 3>next layer of it, and I think that there will

0:17:14.800 --> 0:17:17.000
<v Speaker 3>be some investment opportunities both on the debt and equity

0:17:17.080 --> 0:17:20.240
<v Speaker 3>side in the upcoming kind of you know, months between

0:17:20.280 --> 0:17:21.840
<v Speaker 3>now and the end of the year, and then I

0:17:21.880 --> 0:17:23.920
<v Speaker 3>think as you get under construction, I think that there's

0:17:24.280 --> 0:17:26.720
<v Speaker 3>lots and lots of different opportunities to grow the business

0:17:26.760 --> 0:17:29.600
<v Speaker 3>because this is something clearly can be replicated. Their city

0:17:29.640 --> 0:17:31.480
<v Speaker 3>prayers around the country tell.

0:17:31.440 --> 0:17:34.399
<v Speaker 2>Us about the government role. We had Sexuary Boodagenche come

0:17:34.440 --> 0:17:37.920
<v Speaker 2>out for the groundbreaking bright Lane West. How critical is

0:17:38.000 --> 0:17:40.959
<v Speaker 2>the government? Can these happen without the government really supporting them?

0:17:41.240 --> 0:17:43.399
<v Speaker 3>I think the long term and the answer is absolutely yes.

0:17:43.480 --> 0:17:45.679
<v Speaker 3>But I think that there's lots of examples of government

0:17:45.720 --> 0:17:48.240
<v Speaker 3>playing pivotal role to getting new industries off the ground.

0:17:48.240 --> 0:17:49.800
<v Speaker 3>So if you look at the history of you know,

0:17:49.880 --> 0:17:53.960
<v Speaker 3>Elon Musk with his SpaceX, or the electric vehicles, or

0:17:54.280 --> 0:17:56.200
<v Speaker 3>you know, subsidies for the solar business, there's lots of

0:17:56.240 --> 0:17:58.840
<v Speaker 3>examples of things that started out being subsidized and then

0:17:58.880 --> 0:18:01.200
<v Speaker 3>turned into be you know, big robust businesses. And I

0:18:01.240 --> 0:18:04.159
<v Speaker 3>think the train is going to follow those same footsteps.

0:18:04.240 --> 0:18:07.080
<v Speaker 3>So you know, when you say government, really there's many

0:18:07.119 --> 0:18:10.800
<v Speaker 3>governments involved. So it's really a coalition of local governments

0:18:10.880 --> 0:18:13.680
<v Speaker 3>and state governments and federal governments, all of them playing

0:18:13.680 --> 0:18:17.399
<v Speaker 3>in big role. Obviously, the federal government in the Department Transportation,

0:18:17.920 --> 0:18:20.280
<v Speaker 3>you know, providing a three billion dollar grant, was a

0:18:20.480 --> 0:18:23.320
<v Speaker 3>huge part of this, but frankly, so were you know,

0:18:23.440 --> 0:18:29.240
<v Speaker 3>the delegations from Nevada and from California. Frankly, the governor

0:18:29.640 --> 0:18:33.359
<v Speaker 3>in Nevada, you know, my governm. Lombardo, who has been

0:18:33.359 --> 0:18:36.720
<v Speaker 3>an incredible supporter the DOT, the Department of Transportations, our

0:18:36.800 --> 0:18:39.680
<v Speaker 3>partner in Nevada for this project. So, you know, I

0:18:39.840 --> 0:18:41.960
<v Speaker 3>like to think that it takes everyone to say yes

0:18:42.000 --> 0:18:44.080
<v Speaker 3>and only one person say no to derail these kinds

0:18:44.080 --> 0:18:46.800
<v Speaker 3>of projects. And fortunately we have such a compelling project

0:18:46.840 --> 0:18:48.520
<v Speaker 3>that we've actually had nothing but yes.

0:18:48.680 --> 0:18:50.480
<v Speaker 4>So it's a really a good position to be in.

0:18:50.760 --> 0:18:52.920
<v Speaker 2>Okay, Wes, thank you so very much. That's west Edens.

0:18:53.040 --> 0:18:59.159
<v Speaker 2>He's chairing of Brideline and Brightline West. The arts, including music, museums, photography,

0:18:59.200 --> 0:19:02.480
<v Speaker 2>and more, contributed over one trillion dollars to the US

0:19:02.520 --> 0:19:04.680
<v Speaker 2>economy in twenty twenty two, according to the Bureau of

0:19:04.720 --> 0:19:08.159
<v Speaker 2>Economic Analysis, and New York in particular is known for

0:19:08.280 --> 0:19:11.520
<v Speaker 2>its performances and museums, but the very nature of the

0:19:11.800 --> 0:19:15.200
<v Speaker 2>arts is going through fundamental changes in what is presented

0:19:15.400 --> 0:19:18.040
<v Speaker 2>and in how it is paid for. Change is triggered

0:19:18.080 --> 0:19:20.320
<v Speaker 2>in part by a pandemic that forced most of us

0:19:20.400 --> 0:19:23.119
<v Speaker 2>to stay at home. Sir Clive Gillinson has been the

0:19:23.160 --> 0:19:26.400
<v Speaker 2>executive and artistic director of Carnegie Hall for nearly two decades,

0:19:26.720 --> 0:19:29.879
<v Speaker 2>and he remembers well the dramatic moment when his legendary

0:19:29.920 --> 0:19:32.680
<v Speaker 2>concert hall was once again open for business.

0:19:33.600 --> 0:19:35.639
<v Speaker 4>One of the most moving things is when we opened

0:19:35.680 --> 0:19:39.280
<v Speaker 4>again after COVID. The emotion in the hall was astounding

0:19:40.040 --> 0:19:42.359
<v Speaker 4>because Robert Smith, ou chairman, and I thought we should

0:19:42.359 --> 0:19:46.080
<v Speaker 4>speak to the audience on the opening night and I

0:19:46.200 --> 0:19:48.800
<v Speaker 4>literally said the first two words, which will welcome back.

0:19:49.760 --> 0:19:57.960
<v Speaker 4>The place exploded, welcome back to Cardigi. And that emotion

0:19:58.280 --> 0:20:02.040
<v Speaker 4>has carried through. So firstly, I think the whole thing

0:20:02.080 --> 0:20:04.760
<v Speaker 4>of live music and the impact of live music that

0:20:05.000 --> 0:20:08.400
<v Speaker 4>is in the greatest possible shape, and you know, people

0:20:08.560 --> 0:20:10.560
<v Speaker 4>love it, care about it, and I think they even

0:20:10.600 --> 0:20:14.080
<v Speaker 4>today that emotion is still there about how they now

0:20:14.200 --> 0:20:17.240
<v Speaker 4>value it in a way where you only value something

0:20:17.400 --> 0:20:20.400
<v Speaker 4>when it's taken away from you. Are you Carnegie Hall

0:20:21.200 --> 0:20:24.600
<v Speaker 4>fully back from the pandemic? Yes, the first year we

0:20:24.680 --> 0:20:27.359
<v Speaker 4>had a reduced number of concerts last season. This season

0:20:27.760 --> 0:20:30.440
<v Speaker 4>it's the full number of concerts. We're back to the

0:20:30.560 --> 0:20:35.919
<v Speaker 4>normal number of presentations and audiences are averaging ninety three percent.

0:20:36.480 --> 0:20:39.280
<v Speaker 4>So we're I mean, you know, the fantastic response to

0:20:39.400 --> 0:20:42.520
<v Speaker 4>what we're doing, and there's a real feeling of engagement

0:20:42.640 --> 0:20:44.280
<v Speaker 4>with the music in a very powerful way.

0:20:45.520 --> 0:20:48.440
<v Speaker 2>It wasn't just performing art centers like Carnie Hall that

0:20:48.520 --> 0:20:51.440
<v Speaker 2>were hit hard by the pandemic. Tony James of Jefferson

0:20:51.520 --> 0:20:54.639
<v Speaker 2>River Capital serves as co chair of the Metropolitan Museum

0:20:54.720 --> 0:20:57.359
<v Speaker 2>of Art, a position he came to when the pandemic

0:20:57.480 --> 0:20:59.960
<v Speaker 2>hit and hit the met particularly hard.

0:21:00.880 --> 0:21:02.800
<v Speaker 5>The Met, for example, lost one hundred million dollars in

0:21:02.880 --> 0:21:06.640
<v Speaker 5>revenues over the two years, so that's hard to recover from.

0:21:07.480 --> 0:21:09.840
<v Speaker 5>A lot of the arts scenes in New York depend

0:21:09.920 --> 0:21:15.720
<v Speaker 5>on tourism. Our attendants from locals are all the way back.

0:21:16.320 --> 0:21:19.040
<v Speaker 5>Our tenants from tourists are only in the seventies, and

0:21:19.119 --> 0:21:22.639
<v Speaker 5>particularly Asian tourists. That's where we're really short, and so

0:21:23.200 --> 0:21:25.520
<v Speaker 5>it's a bit of a struggle. We've had to find

0:21:25.560 --> 0:21:28.080
<v Speaker 5>new revenue sources. We've had to be careful about costs.

0:21:29.000 --> 0:21:31.760
<v Speaker 5>But I think you know, as we've discussed in the past, David,

0:21:32.119 --> 0:21:34.720
<v Speaker 5>I think arts are with New York, the gateway city,

0:21:34.760 --> 0:21:35.800
<v Speaker 5>the wonderful city that it is.

0:21:36.560 --> 0:21:39.080
<v Speaker 2>The success of a great art center like Carnegie Hall

0:21:39.400 --> 0:21:42.879
<v Speaker 2>or the Metropolitan Museum requires a balance, a balance between

0:21:42.960 --> 0:21:46.280
<v Speaker 2>high culture that appeals to changing audiences and running a

0:21:46.480 --> 0:21:49.800
<v Speaker 2>very large business with all the challenges of managing costs

0:21:49.840 --> 0:21:53.200
<v Speaker 2>and attracting revenues that any CEO of a big complex

0:21:53.280 --> 0:21:56.440
<v Speaker 2>company would understand. One of the things that strikes me

0:21:56.600 --> 0:22:00.800
<v Speaker 2>is your title, your executive and artistic director. It reminds

0:22:00.800 --> 0:22:02.600
<v Speaker 2>me a little bit about that division between a publisher

0:22:02.600 --> 0:22:03.680
<v Speaker 2>and an editor and newspaper.

0:22:03.800 --> 0:22:04.359
<v Speaker 1>You have both.

0:22:04.760 --> 0:22:07.199
<v Speaker 2>You're responsible for the business as it were Accrdentyhill as

0:22:07.240 --> 0:22:09.720
<v Speaker 2>well as the artistry give us the sense of the balance.

0:22:09.760 --> 0:22:11.919
<v Speaker 2>How do you get the right balance between the business

0:22:11.960 --> 0:22:13.160
<v Speaker 2>side and the art side.

0:22:13.440 --> 0:22:17.760
<v Speaker 4>I mean, it's a really interesting question because most organizations

0:22:17.840 --> 0:22:21.159
<v Speaker 4>separate the two. The reason I would never ever do

0:22:21.320 --> 0:22:25.040
<v Speaker 4>a job which was half of what I do is

0:22:25.119 --> 0:22:29.240
<v Speaker 4>because I feel if you're involved in the artistic you

0:22:29.400 --> 0:22:33.119
<v Speaker 4>want to be as expansive and imaginative and take risks,

0:22:33.880 --> 0:22:37.400
<v Speaker 4>you know, and really travel extraordinary journeys with the music. Now,

0:22:37.720 --> 0:22:40.200
<v Speaker 4>if you're the person responsible for the money, you're probably

0:22:40.280 --> 0:22:42.520
<v Speaker 4>going to be cautious and keep saying I'm not sure

0:22:42.560 --> 0:22:44.040
<v Speaker 4>we can do this, I'm not sure we can do that.

0:22:44.400 --> 0:22:47.360
<v Speaker 4>The good thing about doing the two together is if

0:22:47.400 --> 0:22:49.680
<v Speaker 4>I want to dream, I've then got to be part

0:22:49.760 --> 0:22:52.399
<v Speaker 4>of making sure that can happen as a business. So

0:22:52.520 --> 0:22:55.000
<v Speaker 4>in a way, I think it enables you to take

0:22:55.119 --> 0:22:58.000
<v Speaker 4>far greater risks because you're responsible for both.

0:22:58.800 --> 0:23:01.639
<v Speaker 2>You've been known throughout your career for taking some risks.

0:23:01.640 --> 0:23:04.000
<v Speaker 2>I mean you were, of course a professional cello player

0:23:04.200 --> 0:23:05.800
<v Speaker 2>back in the one Spring or extract.

0:23:05.800 --> 0:23:07.000
<v Speaker 4>Well, that was somebody else's risk.

0:23:09.160 --> 0:23:11.680
<v Speaker 2>But then you stepped up, not necessarily volunteering, but you

0:23:11.760 --> 0:23:14.200
<v Speaker 2>stepped up to really take over a struggling organization, and

0:23:14.240 --> 0:23:16.480
<v Speaker 2>you took risks from the very beginning. You've taken risks

0:23:16.520 --> 0:23:18.159
<v Speaker 2>at card of your hall. How do you get the

0:23:18.280 --> 0:23:21.680
<v Speaker 2>right balance, take your risk and we're not falling off

0:23:21.720 --> 0:23:22.480
<v Speaker 2>the high wire?

0:23:23.119 --> 0:23:25.719
<v Speaker 4>Well, I mean, of course, the key thing about all

0:23:25.880 --> 0:23:29.359
<v Speaker 4>risk is how you manage risk. I mean, you can't

0:23:29.400 --> 0:23:33.199
<v Speaker 4>live without risk. And so you know, there's a famous

0:23:33.240 --> 0:23:36.959
<v Speaker 4>saying which is you know, if you're not living near

0:23:37.040 --> 0:23:40.680
<v Speaker 4>the edge, you're taking up too much space. Money follows vision.

0:23:41.119 --> 0:23:44.040
<v Speaker 4>You always go for the vision. Go for something that

0:23:44.160 --> 0:23:47.040
<v Speaker 4>is irresistible, that has to happen, and then there's a

0:23:47.119 --> 0:23:49.440
<v Speaker 4>chance you can sell it to somebody else if it's

0:23:49.520 --> 0:23:52.399
<v Speaker 4>good and the world can live without it. I mean,

0:23:52.440 --> 0:23:56.040
<v Speaker 4>it's very nice for it to happen. If it's only that,

0:23:56.720 --> 0:23:58.800
<v Speaker 4>it's very hard to sell to somebody else. It's got

0:23:58.840 --> 0:23:59.680
<v Speaker 4>to be irresistible.

0:24:00.640 --> 0:24:03.480
<v Speaker 2>Over at the Metropolitan Museum, Tony James says that the

0:24:03.560 --> 0:24:06.639
<v Speaker 2>mission is to show the world great art, but to

0:24:06.760 --> 0:24:08.760
<v Speaker 2>do that it needs to generate a great deal of

0:24:08.800 --> 0:24:11.880
<v Speaker 2>revenue each year to support the facilities, including the two

0:24:12.040 --> 0:24:15.280
<v Speaker 2>million pieces of art the met owns, only fifteen percent

0:24:15.320 --> 0:24:17.720
<v Speaker 2>of which are on display at any given time, and

0:24:17.800 --> 0:24:20.600
<v Speaker 2>to mount more than twice as many exhibitions each year

0:24:20.960 --> 0:24:22.800
<v Speaker 2>as any other museum in the world.

0:24:23.560 --> 0:24:26.560
<v Speaker 5>About thirty percent of our revenues come from people paying

0:24:26.640 --> 0:24:29.520
<v Speaker 5>to go in, buying food, buying stuff in so let's

0:24:29.640 --> 0:24:31.880
<v Speaker 5>just call that revenues members as well, So that's about

0:24:31.920 --> 0:24:34.720
<v Speaker 5>thirty percent. About thirty percent of our revenues comes from

0:24:34.880 --> 0:24:37.879
<v Speaker 5>spin off from the endowment. We'd spend about four and

0:24:37.920 --> 0:24:40.040
<v Speaker 5>a half percent of the endowment each year, but that's

0:24:40.160 --> 0:24:43.320
<v Speaker 5>very restricted because people give you know, I'm giving this money,

0:24:43.359 --> 0:24:44.960
<v Speaker 5>but the interest on it can only be used to

0:24:44.960 --> 0:24:47.800
<v Speaker 5>buy renaissance art or something. There's fun fund digs in Egypt,

0:24:47.880 --> 0:24:51.120
<v Speaker 5>or there's all kinds of strange things, and then about

0:24:51.160 --> 0:24:53.480
<v Speaker 5>forty percent. The remaining forty percent comes from contributions with

0:24:53.600 --> 0:24:56.159
<v Speaker 5>different sorts. The problem the MET has is more one

0:24:56.160 --> 0:24:57.480
<v Speaker 5>of the great things about the MET depending on on

0:24:57.520 --> 0:24:58.080
<v Speaker 5>you want to look at it.

0:24:58.160 --> 0:24:59.080
<v Speaker 2>We sit on city land.

0:24:59.119 --> 0:25:00.639
<v Speaker 5>It was given a hundred fIF years ago, but we

0:25:00.680 --> 0:25:04.560
<v Speaker 5>sit on city land, and the deal was that city

0:25:04.680 --> 0:25:06.920
<v Speaker 5>residents can pay what you wish as you come in.

0:25:07.280 --> 0:25:09.800
<v Speaker 5>So the average city resident pays less than ten dollars

0:25:10.640 --> 0:25:13.920
<v Speaker 5>to come in for one of the biggest museums in

0:25:13.960 --> 0:25:16.480
<v Speaker 5>the world. They can spend days there or weeks there,

0:25:16.760 --> 0:25:21.480
<v Speaker 5>and whereas a tourist pays twenty eight dollars. So when

0:25:21.520 --> 0:25:23.760
<v Speaker 5>you lose your tourism, you lose a lot of the

0:25:23.840 --> 0:25:27.959
<v Speaker 5>reft of paying people honestly, and so that's been a challenge.

0:25:30.040 --> 0:25:32.320
<v Speaker 2>Coming up, we'll take a closer look at how centers

0:25:32.359 --> 0:25:35.000
<v Speaker 2>of art and culture are changing what they present to

0:25:35.119 --> 0:25:38.439
<v Speaker 2>adjust to changing audiences and what lies ahead in an

0:25:38.480 --> 0:25:43.600
<v Speaker 2>increasingly digital world. That's next on Wall Street Week on Bloomberg.

0:25:44.840 --> 0:25:49.040
<v Speaker 1>This is Bloomberg Wall Street Week with David Weston from

0:25:49.200 --> 0:25:50.080
<v Speaker 1>Bloomberg Radio.

0:25:56.760 --> 0:25:59.400
<v Speaker 2>This is Wall Street Week. I'm David Weston. There's more

0:25:59.480 --> 0:26:01.560
<v Speaker 2>to sustain I mean, the cultural center of New York

0:26:01.640 --> 0:26:05.080
<v Speaker 2>than presenting great art. Institutions like Carnegie Hall and the

0:26:05.200 --> 0:26:08.840
<v Speaker 2>Metropolitan Museum must respond to the changing city and culture

0:26:08.920 --> 0:26:12.200
<v Speaker 2>around them, reaching out to new communities and adapting to

0:26:12.280 --> 0:26:15.280
<v Speaker 2>the new forms of expression that the digital world makes possible,

0:26:15.560 --> 0:26:18.000
<v Speaker 2>and perhaps most of all, using the art to tell

0:26:18.040 --> 0:26:19.919
<v Speaker 2>compelling stories for all of us.

0:26:20.359 --> 0:26:24.359
<v Speaker 4>We have transformed the whole. So I mean, firstly, we

0:26:24.520 --> 0:26:28.080
<v Speaker 4>do much more storytelling. We started big festivals when I began,

0:26:28.600 --> 0:26:30.920
<v Speaker 4>and one of the earliest things was to ask Jesse

0:26:31.080 --> 0:26:36.639
<v Speaker 4>Norman an extraordinary thing, to create and curate a series

0:26:36.640 --> 0:26:39.800
<v Speaker 4>about African American culture. And we've looked at a number

0:26:39.880 --> 0:26:42.560
<v Speaker 4>of big stories. I mean, We've looked at migrations and

0:26:42.640 --> 0:26:47.400
<v Speaker 4>how migrations created American culture. We've looked at afric futurism.

0:26:47.480 --> 0:26:51.399
<v Speaker 4>We've looked at the role of women in music, but

0:26:52.000 --> 0:26:56.520
<v Speaker 4>more generally across the whole of culture. Now currently we're

0:26:56.520 --> 0:26:59.080
<v Speaker 4>looking at the fall of Weimar Republican using that as

0:26:59.080 --> 0:27:01.840
<v Speaker 4>a lens to look at the fragility of democracy all

0:27:01.920 --> 0:27:04.880
<v Speaker 4>around the world, big big issue of our day. Next

0:27:04.920 --> 0:27:07.760
<v Speaker 4>season we'll be looking at Latin music, So a huge

0:27:07.760 --> 0:27:09.920
<v Speaker 4>amount of storytelling. And that's only one dimension.

0:27:10.160 --> 0:27:12.120
<v Speaker 5>I suppose if you're a tourist and you've never seen

0:27:12.640 --> 0:27:14.760
<v Speaker 5>Haystack Van Goes Haystacks, you want to go see them

0:27:14.800 --> 0:27:18.159
<v Speaker 5>in person. But because so much of our audience is

0:27:18.240 --> 0:27:20.080
<v Speaker 5>local and we want them not to go once a

0:27:20.200 --> 0:27:21.879
<v Speaker 5>year or once every three years, we want them to

0:27:21.920 --> 0:27:25.359
<v Speaker 5>go every month. We wanted to come back, so we

0:27:25.560 --> 0:27:27.520
<v Speaker 5>have to have things that they want to go see.

0:27:27.640 --> 0:27:30.359
<v Speaker 5>That's current. I just got back from Berlin last night,

0:27:30.400 --> 0:27:33.280
<v Speaker 5>as you know, and they've got a wonderful contemporary art

0:27:33.320 --> 0:27:38.080
<v Speaker 5>museum there and it's it's got beautiful paintings, one Picasso

0:27:38.240 --> 0:27:42.680
<v Speaker 5>and one Magrie and it's a lovely collection of random,

0:27:42.840 --> 0:27:46.000
<v Speaker 5>if you will, but very high quality contemporary art. But

0:27:46.080 --> 0:27:48.800
<v Speaker 5>there's no theme to it. There's no story. We're trying

0:27:48.840 --> 0:27:50.920
<v Speaker 5>to create things that have a story so that people

0:27:50.960 --> 0:27:53.280
<v Speaker 5>want to come. Oh, this is you know, the rivalry

0:27:53.359 --> 0:27:55.640
<v Speaker 5>between deg and money and how they fed off each

0:27:55.680 --> 0:27:58.639
<v Speaker 5>other and they were both friends and at one point enemies,

0:27:58.840 --> 0:28:03.879
<v Speaker 5>and how money cut Dega out of one of the

0:28:03.920 --> 0:28:08.840
<v Speaker 5>paintings and get them interested in the narratives and the

0:28:08.920 --> 0:28:11.800
<v Speaker 5>Harlan and Renaissance Show has been a huge success of

0:28:12.040 --> 0:28:15.920
<v Speaker 5>celebrating that whole wave of culture that's centered in New York,

0:28:16.080 --> 0:28:19.359
<v Speaker 5>about the strength of Africa and the wonderfulness of African

0:28:19.400 --> 0:28:22.879
<v Speaker 5>American culture that's been spectacularly successful and was not very

0:28:22.920 --> 0:28:25.359
<v Speaker 5>well known. That's where it gets people's interests. It's not

0:28:25.440 --> 0:28:26.320
<v Speaker 5>just seeing an object.

0:28:26.760 --> 0:28:28.960
<v Speaker 2>As important as it is to preserve the best of

0:28:29.080 --> 0:28:31.560
<v Speaker 2>what is time honored in the arts, it's just that

0:28:31.720 --> 0:28:34.240
<v Speaker 2>important to recognize great art that is being created to

0:28:34.320 --> 0:28:37.159
<v Speaker 2>the present day and in places that go well beyond

0:28:37.200 --> 0:28:40.760
<v Speaker 2>the traditions we've lived with for so long, especially as

0:28:40.800 --> 0:28:44.480
<v Speaker 2>the profile of audiences continues to evolve. What is your

0:28:44.640 --> 0:28:47.840
<v Speaker 2>sense of how the profile and i'll say demographic profile

0:28:47.920 --> 0:28:51.160
<v Speaker 2>of your audiences has shifted over their nearly twenty years.

0:28:51.880 --> 0:28:54.880
<v Speaker 4>It's hard to say we have so many audiences because

0:28:54.880 --> 0:28:56.720
<v Speaker 4>we do so many different things. Were the best of

0:28:56.880 --> 0:29:00.880
<v Speaker 4>every sort of music who we aspire to be? So

0:29:01.720 --> 0:29:04.320
<v Speaker 4>in the some audiences which are very young, I mean,

0:29:04.360 --> 0:29:09.280
<v Speaker 4>for instance, our a Futurism audience was very different, you know,

0:29:09.600 --> 0:29:12.000
<v Speaker 4>and some up to seventy percent and never been in

0:29:12.080 --> 0:29:15.760
<v Speaker 4>Carnegie Hall before. So you know, with each project, we

0:29:15.920 --> 0:29:18.400
<v Speaker 4>develop new audiences and then we try and keep them

0:29:18.440 --> 0:29:23.080
<v Speaker 4>as part of our audience going forward. So I mean,

0:29:23.120 --> 0:29:25.600
<v Speaker 4>I think the audience has grown in terms of diversity,

0:29:25.680 --> 0:29:31.040
<v Speaker 4>but diversity meaning you know, not only race, but age, men, women,

0:29:31.480 --> 0:29:35.800
<v Speaker 4>I mean, you know, nationalities, everything, And we want to

0:29:35.920 --> 0:29:39.040
<v Speaker 4>be and represent the best of every sort of music,

0:29:39.440 --> 0:29:41.360
<v Speaker 4>which means that we're going to be relevant. I mean

0:29:41.400 --> 0:29:45.000
<v Speaker 4>there's something like one hundred and eighty nationalities in New York.

0:29:45.280 --> 0:29:48.160
<v Speaker 4>I mean insane, it's the most diverse city in the world.

0:29:48.360 --> 0:29:50.960
<v Speaker 4>But we want to be relevant and meaningful to everybody.

0:29:51.640 --> 0:29:54.720
<v Speaker 5>If you think about what's called the Western canon of

0:29:54.760 --> 0:29:57.760
<v Speaker 5>ours of the traditional they're all white male artists. A

0:29:57.840 --> 0:29:59.840
<v Speaker 5>lot of them are from Europe, all the way back

0:29:59.840 --> 0:30:03.720
<v Speaker 5>to the Middle Ages, through Renaissance to the Impressionism Old Masters.

0:30:04.720 --> 0:30:06.760
<v Speaker 2>Not a lot of diversity in that group.

0:30:07.440 --> 0:30:10.640
<v Speaker 5>And then we had sections of the museum dedicated to

0:30:10.640 --> 0:30:13.200
<v Speaker 5>the arts of the Pacific in Asia, for example, but

0:30:13.280 --> 0:30:15.800
<v Speaker 5>they were very discreet parts of the museum. I think

0:30:16.200 --> 0:30:18.720
<v Speaker 5>the greatness of the mat is that we can integrate

0:30:18.760 --> 0:30:19.320
<v Speaker 5>all these things.

0:30:19.560 --> 0:30:21.840
<v Speaker 2>If we went back twenty years ago and looked at

0:30:21.880 --> 0:30:25.440
<v Speaker 2>the nature of the performers appearing on the stages here

0:30:25.560 --> 0:30:28.280
<v Speaker 2>at Carnegie Hall and competitor today, how would it be different.

0:30:28.400 --> 0:30:30.440
<v Speaker 2>How are you getting new young talent and where's it

0:30:30.520 --> 0:30:32.880
<v Speaker 2>coming from? Well, we all the time.

0:30:33.000 --> 0:30:35.520
<v Speaker 4>Part of our job is obviously to bring you the

0:30:35.600 --> 0:30:39.720
<v Speaker 4>most extraordinary established performers here, but at the same time

0:30:39.800 --> 0:30:43.240
<v Speaker 4>we are always looking out for the most brilliant young players.

0:30:43.280 --> 0:30:45.920
<v Speaker 4>So a few days ago we had somebody called Jan

0:30:46.040 --> 0:30:50.320
<v Speaker 4>chan Lim who won the Van Clibn competition. He was nineteen.

0:30:50.360 --> 0:30:52.360
<v Speaker 4>He's just turned twenty, so now he's an old man,

0:30:52.440 --> 0:30:56.160
<v Speaker 4>of course, but he came in it was sold out

0:30:56.240 --> 0:30:59.280
<v Speaker 4>weeks in advance. He's a dazzling player. I mean, he

0:30:59.400 --> 0:31:01.160
<v Speaker 4>is going to be out of our life for the

0:31:01.200 --> 0:31:02.800
<v Speaker 4>next fifty sixty seventy years.

0:31:02.880 --> 0:31:05.560
<v Speaker 2>Probably what we think of is the traditional patrons of

0:31:05.600 --> 0:31:08.280
<v Speaker 2>the arts remain key to success of a place like

0:31:08.360 --> 0:31:11.440
<v Speaker 2>the Metropolitan Museum, but they're now being joined by a new,

0:31:11.720 --> 0:31:13.960
<v Speaker 2>younger and more diverse group of supporters.

0:31:14.120 --> 0:31:17.120
<v Speaker 5>We're building a new, modern, contemporary wing. It's just going

0:31:17.160 --> 0:31:19.840
<v Speaker 5>to get a really exciting project for the city six

0:31:20.000 --> 0:31:22.320
<v Speaker 5>hundred million dollars. You could spend two hundred million on

0:31:22.400 --> 0:31:24.320
<v Speaker 5>one Jockamenty sculpture if you had to buy.

0:31:24.240 --> 0:31:26.720
<v Speaker 2>It, and we got to fill an entire wing on art.

0:31:26.800 --> 0:31:30.280
<v Speaker 5>So we depend on collectors, usually at the end of

0:31:30.320 --> 0:31:33.240
<v Speaker 5>their lives, giving us their collections or parts of their collections.

0:31:34.000 --> 0:31:38.800
<v Speaker 5>So that set of givers is not that hasn't changed

0:31:38.840 --> 0:31:41.960
<v Speaker 5>very much. That's still not very diverse. It's old, it's

0:31:42.000 --> 0:31:46.720
<v Speaker 5>predominantly white, it's very wealthy, almost definitionally. But the people

0:31:46.760 --> 0:31:48.920
<v Speaker 5>that come in and give cash or go to benefits,

0:31:48.960 --> 0:31:52.520
<v Speaker 5>that's you young and we make every effort to make

0:31:52.560 --> 0:31:55.000
<v Speaker 5>that younger and more exciting and hipper. We're trying to

0:31:55.080 --> 0:31:57.520
<v Speaker 5>be current. We don't want this to be your grandmother's

0:31:57.520 --> 0:31:58.760
<v Speaker 5>attic for true.

0:31:58.840 --> 0:32:02.040
<v Speaker 2>Centers of art have to be great programmers to present

0:32:02.240 --> 0:32:05.600
<v Speaker 2>works in compelling ways, to tell stories. Beyond featuring what

0:32:05.720 --> 0:32:08.400
<v Speaker 2>people have already come to appreciate, they also play a

0:32:08.480 --> 0:32:11.360
<v Speaker 2>key role in educating us all and what we haven't seen,

0:32:11.680 --> 0:32:14.440
<v Speaker 2>what we have yet to appreciate, what is new, what

0:32:14.640 --> 0:32:17.800
<v Speaker 2>is different, and what is coming around the corner for me.

0:32:18.320 --> 0:32:22.880
<v Speaker 4>Education is not about audience development. Education is about giving

0:32:23.320 --> 0:32:26.520
<v Speaker 4>every child the opportunity to have access to music. So

0:32:26.920 --> 0:32:29.520
<v Speaker 4>we've got programs that are all around the country and

0:32:29.680 --> 0:32:32.040
<v Speaker 4>serve kids everywhere. I mean, we now reach eight hundred

0:32:32.120 --> 0:32:36.280
<v Speaker 4>thousand people a year with our education programs, probably the

0:32:36.360 --> 0:32:40.160
<v Speaker 4>bulk of those outside New York City. But if those

0:32:40.240 --> 0:32:44.160
<v Speaker 4>people never come to New York, I think we've succeeded

0:32:44.200 --> 0:32:46.040
<v Speaker 4>as long as music can be part of their life,

0:32:47.200 --> 0:32:48.720
<v Speaker 4>you know, Whereas if you were looking at as an

0:32:48.800 --> 0:32:51.160
<v Speaker 4>audience development, we would have failed miserably.

0:32:51.760 --> 0:32:53.760
<v Speaker 2>So you'll forgive me. This is Bloomberg. So we like

0:32:53.800 --> 0:32:55.880
<v Speaker 2>to think about the business model too. When you talk

0:32:55.920 --> 0:32:59.120
<v Speaker 2>about educating eight hundred thousand kids, how do you support that?

0:32:59.400 --> 0:33:00.560
<v Speaker 2>Where's the renew for that?

0:33:01.280 --> 0:33:05.080
<v Speaker 4>Well, I mean there's two things. Firstly, to create it,

0:33:05.200 --> 0:33:08.320
<v Speaker 4>you have to have partnerships. So we have partnerships all

0:33:08.360 --> 0:33:11.600
<v Speaker 4>around the country with people who share our values. And

0:33:11.760 --> 0:33:15.000
<v Speaker 4>you can't have partnerships without shared values. So we do

0:33:15.120 --> 0:33:17.240
<v Speaker 4>all of that, and then we have to raise a

0:33:17.360 --> 0:33:19.760
<v Speaker 4>huge amount of money. I don't know the exact amount

0:33:19.840 --> 0:33:21.960
<v Speaker 4>we spend on education every year, but out of a

0:33:22.040 --> 0:33:25.000
<v Speaker 4>budget of about one hundred and twenty million a year,

0:33:25.760 --> 0:33:29.280
<v Speaker 4>I would have thought we spend probably at least fifteen

0:33:29.400 --> 0:33:33.440
<v Speaker 4>million on education, which is not much less than we

0:33:33.560 --> 0:33:35.040
<v Speaker 4>spend on presenting concerts.

0:33:35.760 --> 0:33:38.640
<v Speaker 2>Like every business and institution, art centers are embracing what

0:33:38.840 --> 0:33:42.480
<v Speaker 2>digital technology makes possible, expanding their reach and exposure to

0:33:42.520 --> 0:33:45.080
<v Speaker 2>people in New York and around the world, such as,

0:33:45.120 --> 0:33:48.840
<v Speaker 2>for example, Carnegie Hall's new streaming service called Carnegie Hall Plus,

0:33:49.280 --> 0:33:51.920
<v Speaker 2>providing us the opportunity to enjoy great music in the

0:33:51.960 --> 0:33:53.160
<v Speaker 2>comfort of our homes.

0:33:53.480 --> 0:33:57.560
<v Speaker 4>It's on Apple TV, it's on Amazon, Comcast, It's on

0:33:57.720 --> 0:34:01.160
<v Speaker 4>ten different major platforms, so it's available to every home

0:34:01.400 --> 0:34:04.800
<v Speaker 4>in America. Just about now. We're also going more and

0:34:04.880 --> 0:34:10.080
<v Speaker 4>more international. And my view always is here we are.

0:34:10.160 --> 0:34:12.800
<v Speaker 4>I mean, even though it's such an extraordinary city in

0:34:12.840 --> 0:34:14.719
<v Speaker 4>New York, I don't know, I mean, what is it?

0:34:15.040 --> 0:34:18.120
<v Speaker 4>Probably ninety five percent of the world's population will never

0:34:18.200 --> 0:34:21.400
<v Speaker 4>come to New York, so what we do needs to

0:34:21.480 --> 0:34:26.400
<v Speaker 4>be available everywhere to everybody. I never think that digital

0:34:26.600 --> 0:34:30.440
<v Speaker 4>is a competitor with live. The live experience is the

0:34:30.520 --> 0:34:35.040
<v Speaker 4>greatest possible experience. It's of the moment, it's being created

0:34:35.160 --> 0:34:38.240
<v Speaker 4>for you at that moment you're sharing it with other people.

0:34:38.560 --> 0:34:42.240
<v Speaker 4>There's something magical and special about a great live performance,

0:34:42.280 --> 0:34:45.279
<v Speaker 4>which is inspirational, but if you can't have access to that,

0:34:45.920 --> 0:34:50.879
<v Speaker 4>then to have access digitally is a fantastic opportunity which

0:34:50.960 --> 0:34:53.560
<v Speaker 4>we should give people as well, but it is not

0:34:53.680 --> 0:34:57.040
<v Speaker 4>a replacement. So I never worry about digital being something

0:34:57.120 --> 0:35:00.800
<v Speaker 4>that's going to undermine people's wish to go to live performance.

0:35:01.080 --> 0:35:04.480
<v Speaker 2>The Metropolitan Museum is also using digital technology to gain

0:35:04.560 --> 0:35:07.120
<v Speaker 2>more ready access to audiences around the world, but it's

0:35:07.200 --> 0:35:10.239
<v Speaker 2>also designing a new wing of the physical museum with

0:35:10.400 --> 0:35:13.239
<v Speaker 2>the future evolution of technology very much in mind.

0:35:13.600 --> 0:35:15.920
<v Speaker 5>We're trying to digitize every one of our significant pieces

0:35:15.960 --> 0:35:18.480
<v Speaker 5>of work in high depth and make that free to

0:35:18.560 --> 0:35:22.720
<v Speaker 5>the world. And our mission is to show the world

0:35:22.880 --> 0:35:25.040
<v Speaker 5>great art, and it's not everyone's going to be able

0:35:25.080 --> 0:35:26.759
<v Speaker 5>to afford to travel to New York, so we have

0:35:26.920 --> 0:35:29.839
<v Speaker 5>to make that available to them digitally. The big question

0:35:29.920 --> 0:35:32.200
<v Speaker 5>is when you build a new wing, is like, what's technology?

0:35:32.320 --> 0:35:33.880
<v Speaker 5>This wing has to last one hundred years, so what

0:35:34.280 --> 0:35:35.160
<v Speaker 5>what are we building for.

0:35:36.600 --> 0:35:40.239
<v Speaker 2>Finally, one more thought from Sir Clive Gillinson, Executive and

0:35:40.320 --> 0:35:43.480
<v Speaker 2>Creative Director of Carnegie Hall about the Hall itself, how

0:35:43.560 --> 0:35:45.680
<v Speaker 2>it came to be and what makes it an icon

0:35:45.760 --> 0:35:47.520
<v Speaker 2>for performers of all sorts the.

0:35:47.640 --> 0:35:51.200
<v Speaker 4>World over and genuinely think that's the greatest concerts in

0:35:51.200 --> 0:35:54.399
<v Speaker 4>the world, which is completely baffling in terms of acoustics. Yes,

0:35:55.080 --> 0:35:57.239
<v Speaker 4>that's what I've always heard, and I mean what is

0:35:57.280 --> 0:36:01.479
<v Speaker 4>as sotonishing is because of the sign. It's eight hundred seats.

0:36:01.800 --> 0:36:05.880
<v Speaker 4>Most concertables are two thousand, and yet it feels completely

0:36:05.960 --> 0:36:10.040
<v Speaker 4>intimate wherever you sit and people who sit right you know,

0:36:10.200 --> 0:36:12.160
<v Speaker 4>because students will sit right at where you'll see it

0:36:12.200 --> 0:36:15.400
<v Speaker 4>from the platform, right at the back, and you can

0:36:15.520 --> 0:36:18.279
<v Speaker 4>hear it as if it's in your living room. If

0:36:18.360 --> 0:36:23.239
<v Speaker 4>you look up there, they can hear as well as

0:36:23.280 --> 0:36:26.719
<v Speaker 4>anybody else in the entire hall. And you can have

0:36:27.080 --> 0:36:31.960
<v Speaker 4>a massive orchestra making a huge noise and it works perfectly.

0:36:32.520 --> 0:36:35.239
<v Speaker 4>It can carry any sound, any amount of sound. And

0:36:35.400 --> 0:36:38.440
<v Speaker 4>yet you could just have somebody playing a lute here

0:36:38.840 --> 0:36:40.399
<v Speaker 4>and you can still hear every sound.

0:36:40.800 --> 0:36:42.840
<v Speaker 2>So what goes into making a concert hall one of

0:36:42.920 --> 0:36:46.320
<v Speaker 2>the greatest in the world. It turns out pretty much everything.

0:36:46.760 --> 0:36:50.680
<v Speaker 4>The reality is you cannot replicate a great concert hall

0:36:50.960 --> 0:36:54.600
<v Speaker 4>because I mean every single thing counts. The density of

0:36:54.640 --> 0:36:57.960
<v Speaker 4>the plaster on the wall matters, the carpet, what the

0:36:58.239 --> 0:37:01.280
<v Speaker 4>padding in the seats is and we send these seats

0:37:01.360 --> 0:37:04.160
<v Speaker 4>back to Canada to the manufacturer who made them in

0:37:04.280 --> 0:37:08.120
<v Speaker 4>eighteen ninety one, because nobody dares touch anything that could

0:37:08.120 --> 0:37:11.080
<v Speaker 4>affect the sound, So they go back to the same

0:37:11.160 --> 0:37:13.479
<v Speaker 4>place that they were made one hundred and thirty whatever

0:37:13.520 --> 0:37:16.160
<v Speaker 4>it is years ago, and so on. You know, even

0:37:16.200 --> 0:37:18.239
<v Speaker 4>when you have to put wires in the walls, the

0:37:18.320 --> 0:37:20.719
<v Speaker 4>fact that you'll be changing the plaster, you've got to

0:37:20.760 --> 0:37:23.040
<v Speaker 4>be careful that you try and get the right density

0:37:23.040 --> 0:37:23.600
<v Speaker 4>of plaster.

0:37:24.040 --> 0:37:26.840
<v Speaker 2>But the unique combination of qualities that have made Carnegie

0:37:26.840 --> 0:37:29.920
<v Speaker 2>Hall a legend around the world came together, almost by accident,

0:37:30.160 --> 0:37:33.680
<v Speaker 2>created by someone unknown as an architect who'd never done

0:37:33.760 --> 0:37:36.320
<v Speaker 2>this before, to please the wife of one of the

0:37:36.360 --> 0:37:37.399
<v Speaker 2>world's richest men.

0:37:38.000 --> 0:37:39.960
<v Speaker 4>And this guy had never built a concert wor in

0:37:40.000 --> 0:37:43.200
<v Speaker 4>his life. I read, you can tell me for the wrong.

0:37:44.000 --> 0:37:46.600
<v Speaker 4>The fellow who was the architect was actually a cellist.

0:37:47.040 --> 0:37:49.480
<v Speaker 4>He was you played cella, which of course is the

0:37:49.520 --> 0:37:51.759
<v Speaker 4>reason why he was such a great act. He was

0:37:51.840 --> 0:37:55.719
<v Speaker 4>the treasurer of Louise Carnegie's choral Society because she sang.

0:37:56.080 --> 0:37:58.800
<v Speaker 4>Louise Carnegie sang it. The oratory of society there was

0:37:58.880 --> 0:38:01.480
<v Speaker 4>no decent colstors. She said to her husband, as you do,

0:38:02.160 --> 0:38:02.520
<v Speaker 4>would you be?

0:38:05.400 --> 0:38:07.279
<v Speaker 2>That does it? For this episode of Wall Street Week,

0:38:07.400 --> 0:38:10.319
<v Speaker 2>I'm David Weston. This is Bloomberg seenor next week