 I'm just going to move a little bit down the stage. I feel after all of those beautiful 30-second talks, a little bit superfluous. But I love the idea that Remy talked about Queen and the gentleman who's now, I don't know, talked about Creativity. Lyle Chan further talked about Creativity. We had the lady talk about the Joy Button. And I want to use all of those things because as we've been listening this afternoon to my wonderful colleagues in the first half, what keeps coming back time and time again is this idea of Creativity. And I believe I have the answer. I need you to listen. What do I need you to do? Listen. I often say that to children at the beginning of a concert. What is the most important thing we're going to do today? The goody-two shoes say we mustn't talk or others say we mustn't misbehave. But I keep going until I get the child who will say, we need to listen. Then I say, why do we need to listen? Finally, we'll get an answer so we can hear the music. I did a concert recently with a grade five, six, and seven class. And I started this concert by saying, so tell me what you might expect today. And this boy in the front row stood up and said, well, sir, we were here last year. You asked us a lot of questions about the music. We listened to the music and we answered the questions. I expect today we'll be the same. Thank you. And I could hear the orchestra laughing behind me. So I turned and I said, I hope the orchestra will be listening. Music for me occupies the top of the food chain in the arts. I have it on good authority, namely my own, but that's true. I know there are people who disagree with me, the dancers, the visual artists, the sculptors, the painters, the dramatists, but they are allowed to be in error. And the reason I believe it to be so is in the womb we can hear. When we are born, we respond to sound, the sound of the father, the sound of the mother, and so on. Then as we start to move, our listening becomes imperative. When we have music as a young child, things change with our focus. I want to treat you, if I may, like a preschool class. I'm going to clap a pattern. You need to listen and I want you to clap it back. You'll be surprised to know that that was wrong. I don't want to be discouraging, but I want you to listen. Here's my pattern, nearly. You're doing this, but I'm doing, I'm going to extend that, well done, Gindi. No, we're going to use knees, feet, and a bit of go-ya. I'm a quick learner, thank you, go-ya. Knees, feet, hands. Here we go, listen in. When we do that, we're remembering, we're remembering, concentrating, focusing, listening, and repeating, imitation. Imitation is a great way to learn music. Here's a text. My friend William is my friend William. And my friend William is my friend Bill. Don't look for meaning. And may I sit down, thank you, Richard. This is Richard, give Richard a clap. Here is the song of my friend William. Would you like to sing that song? Go, my friend William. Now, we had knees and feet. So how about we go, my friend William is my friend William, my friend William is my friend Bill and my friend William. Now, earlier today, I met a gentleman called Brian. Would you stand up, Brian? I said, Brian, if I were to call on you as a volunteer, how would you feel? And as I released him from the neck hold, he said, I agree. So we're going to see the song, my friend William, and when we're finished, Brian is going to improvise a clapping pattern which we will remember and repeat. Here we go. My and my friend is my friend William and my friend William is my friend Bill. Can you do that again, Brian? Stand and we repeat Brian's improvisation. And my friend William is my friend William, my friend William is my friend Bill. Have a seat. While this is going on, our brain is saying, thank you, thank you. I love the repetition. Wouldn't be wonderful if every child aided by the United Nations had access to music. Thank you.