Don Draper Sways Kodak Executives With Carousel Emotional Pitch

Mad Men - The Carousel (Higher Quality) — TomR35

TomR35

By reframing technical hardware as a vessel for nostalgia, advertisers can convert consumer emotional pain into a powerful, involuntary product connection.

AI-assisted summary of Mad Men - The Carousel (Higher Quality) — original source. Check the original for full context.

Source published:

Key ideas

  • Kodak presents a branding challenge regarding how to market their slide projector's circular tray, fearing the concept of 'the wheel' lacks technological excitement. (0:00)
  • Don Draper contrasts the power of 'new'—which creates an itch products must soothe—with nostalgia, defining it as a delicate yet immensely potent emotional bond. (1:10)
  • Reframing the circular mechanism as 'the carousel' rather than 'the wheel', Draper positions the projector as an emotional time machine that takes consumers back home. (1:45)
  • The deeply personal pitch leaves the Kodak executives emotionally stunned, securing the account without considering competitors. (3:15)

Detailed notes

## Background Published on YouTube by TomR35 on May 16, 2008, this video features an excerpt from the season finale of the television drama Mad Men. In the description, the uploader highlights the clip as arguably the finest few minutes from that season of television and the pinnacle of the series itself.

## TL;DR During a pitch meeting, Kodak executives challenge the agency to market their circular slide projector despite the difficulty of making a basic wheel seem exciting to modern consumers. Don Draper reframes the presentation away from technological novelty and the lure of the word 'new,' focusing instead on nostalgia as an ache directly in the heart. Projecting personal slides of his own family, Don reveals that the device is not an interplanetary gadget but a time machine that travels back and forth through memory. He re-christens the product as 'the carousel,' convincing the moved executives that it offers consumers a comforting journey back to a place where they are unconditionally loved.

## Atmosphere & style The presentation begins with polite, dry corporate humor before softening into an intensely intimate, spellbinding reverie as the lights go down. Don Draper's steady, reflective delivery and the hypnotic clicking of the slide projector cast a quiet, melancholic hush over the pitch room. The emotional arc builds from intellectual marketing theory into profound personal vulnerability, culminating in a heavy, reverent silence that leaves the clients visibly shaken.

## Bulletin - [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) Kodak presents a branding challenge regarding how to market their slide projector's circular tray, fearing the concept of 'the wheel' lacks technological excitement. - [01:10](https://www.youtube.com/watch?v=suRDUFpsHus&t=70s) Don Draper contrasts the power of 'new'—which creates an itch products must soothe—with nostalgia, defining it as a delicate yet immensely potent emotional bond. - [01:45](https://www.youtube.com/watch?v=suRDUFpsHus&t=105s) Reframing the circular mechanism as 'the carousel' rather than 'the wheel', Draper positions the projector as an emotional time machine that takes consumers back home. - [03:15](https://www.youtube.com/watch?v=suRDUFpsHus&t=195s) The deeply personal pitch leaves the Kodak executives emotionally stunned, securing the account without considering competitors.

## Key takeaways - [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) Kodak executives Joe Harriman and Lynn Taylor task the agency with marketing a circular slide mechanism, worried that 'the wheel' is perceived as outdated technology. - [00:35](https://www.youtube.com/watch?v=suRDUFpsHus&t=35s) Don Draper acknowledges that technology acts as a glittering lure, but stresses that true consumer connection requires a deeper sentimental bond. - [00:55](https://www.youtube.com/watch?v=suRDUFpsHus&t=55s) Don recalls his former Greek copywriter colleague Teddy, who taught him that 'new' is the most powerful word in advertising because it creates an itch the product soothes. - [01:30](https://www.youtube.com/watch?v=suRDUFpsHus&t=90s) Teddy also taught that nostalgia offers an even deeper connection than novelty, characterized as fragile, delicate, and potent. - [01:45](https://www.youtube.com/watch?v=suRDUFpsHus&t=105s) Nostalgia is defined by its Greek etymology as 'the pain from an old wound,' functioning as an involuntary twinge directly in the heart. - [02:10](https://www.youtube.com/watch?v=suRDUFpsHus&t=130s) Don argues that Kodak's device should not be sold as a spaceship or a piece of space-age engineering, but as a time machine. - [02:20](https://www.youtube.com/watch?v=suRDUFpsHus&t=140s) Using personal slides of his family life, Don demonstrates the device's ability to travel backwards and forwards through human experience. - [02:40](https://www.youtube.com/watch?v=suRDUFpsHus&t=160s) Don re-christens the slide tray as 'the carousel,' likening it to a ride that lets adults travel the way children do: around and around, safely back home where they are loved. - [03:15](https://www.youtube.com/watch?v=suRDUFpsHus&t=195s) The presentation concludes in stunned silence, leading the clients to completely bypass competing agencies.

## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) The Pitch: Beyond the Glittering Lure of Technology

The pitch meeting with Kodak opens with introductions for executives Joe Harriman and Lynn Taylor, while noting with dry humor that no members of the Eastman family could make it today because they are all back in the laboratory—an admittedly wonderful facility, though its researchers never seem to take vacations. Turning to the business at hand, the Kodak executives pose the central dilemma of their campaign: they ask if the agency has managed to figure out a way to incorporate the concept of "the wheel" into the pitch. As the executives admit, positioning a wheel is inherently difficult because wheels are rarely perceived as exciting, cutting-edge technology by modern consumers, even though they represent the very first technological innovation.

Taking the floor, Don Draper pauses to reframe the entire conversation away from mere mechanics. He acknowledges the natural appeal of technical innovation, noting that “Technology is a glittering lure.” However, Don explains that on rare occasions, an advertiser can connect with the public on a much deeper level than superficial flash, provided consumers share an authentic sentimental bond with the product. To illustrate this philosophy, he reflects on his very first advertising job working in-house at a fur company alongside an experienced Greek copywriter named Teddy. As Don recounts, Teddy taught him that the single most powerful word and concept in advertising is "new," because novelty inevitably creates an emotional itch in the consumer, allowing the marketer to apply their product like a soothing bottle of calamine lotion. Yet Teddy also spoke of an even profounder connection: nostalgia, a quality Don characterizes as fragile, delicate, and immensely potent.

[01:45](https://www.youtube.com/watch?v=suRDUFpsHus&t=105s) The Kodak Carousel: A Time Machine Back Home

Projecting intimate personal slides of his own family life onto the screen in the darkened room, Don unpacks the emotional weight behind the Greek origin of Teddy's favorite concept. He explains that “Teddy told me that in Greek, nostalgia literally means the pain from an old wound.” Far stronger than straightforward memory, this ache functions as an involuntary twinge directly in the heart. Don argues that Kodak's new slide projector must not be understood or sold merely as an advanced piece of space-age engineering. Rather than treating it as an interplanetary gadget, he reframes the circular slide tray entirely: “This device isn't a spaceship; it's a time machine.”

Don explains that the machine possesses the miraculous ability to travel both backwards and forwards through human experience, transporting viewers directly to the places and memories they ache to visit once more. Rejecting Kodak's mechanical label of "the wheel," Don re-christens the product as "the carousel." Like an amusement park ride, it allows adults to travel through time the exact way a child travels through space: looping around and around, only to return safely back home to a place where they are unconditionally loved. As the projector clicks through the poignant images and Don concludes his presentation with a quiet word of thanks, the room is left in stunned, emotional silence, prompting the client to abruptly pass on considering any competitors as the meeting ends.

```mermaid flowchart TD accTitle: Don Draper's Kodak Pitch Evolution accDescr: Flowchart tracing the conceptual shift from mechanical novelty to emotional nostalgia in Don Draper's presentation.

subgraph Problem["The Client's Dilemma"] A["The Wheel"] -->|"Viewed as outdated"| B["Lack of technological novelty"] end

subgraph ConventionalApproach["Standard Advertising"] B -.->|"Typical fix"| C["The Glittering Lure of 'New'"] C --> D["Creates an itch"] D --> E["Product acts as calamine lotion"] end

subgraph DraperPitch["Don Draper's Reframe"] B ==>|"Deeper bond"| F["Nostalgia: Pain from an old wound"] F --> G["The Time Machine"] G --> H["The Carousel: A voyage back home to love"] end ```

- **Key Advertising Principles Discussed:** - Novelty ("New"): Serves as an artificial irritant or itch that the advertised product promises to soothe. - Nostalgia: Originates from the ancient Greek etymology signifying the ache or pain felt from an unhealed wound. - Emotional Reframing: Shifting a mechanical consumer product from a sterile optical projector into an intimate emotional vessel of family memory.

## Mentioned Mad Men, Kodak, Don Draper, Teddy, Joe Harriman, Lynn Taylor, Eastman family, The Carousel

## Video description Arguably the best few minutes of the last season of television, and certainly the best of Mad Men. From the season finale.

[Source](https://www.youtube.com/watch?v=suRDUFpsHus)

中文简报

唐·德雷珀凭“旋转木马”情感提案打动柯达高管 通过将技术硬件重新诠释为怀旧的载体，广告商可将消费者的情感痛点转化为强大且不由自主的产品联结。 在一次提案会议上，柯达高管向广告公司提出挑战，要求推广其圆形托盘幻灯机，尽管要让一个基本的“轮子”对现代消费者产生吸引力十分困难。唐·德雷珀将提案重心从技术新奇感和“新”字诱惑中抽离，转而聚焦于怀旧这一直击心灵的隐痛。通过放映自己家人的私人幻灯片，唐阐明该设备并非星际科技产品，而是一台穿梭于记忆中的时间机器。他将该产品重新命名为“旋转木马”，说服了深受触动的高管，证明它能为消费者提供一段令人慰藉的旅程，带他们回到那个被无条件深爱着的地方。 柯达提出了一个品牌推广难题，即如何营销其幻灯机的圆形托盘，担心“轮子”这一概念缺乏技术上的兴奋感。 (0:00) 唐·德雷珀将“新”的力量（制造出必须由产品抚平的心痒）与怀旧进行对比，将怀旧定义为一种微妙却极其强大的情感纽带。 (1:10) 德雷珀将这一圆形机械结构重新诠释为“旋转木马”而非“轮子”，将投影仪定位为带消费者回家的情感时间机器。 (1:45) 这场极具个人色彩的提案让柯达高管深受震撼，在完全未考虑竞争对手的情况下直接敲定了这项业务。 (3:15)

Reading summary

During an advertising pitch to Kodak executives, Don Draper reframes the marketing of a circular slide projector, arguing that tapping into nostalgia creates a far deeper consumer bond than promoting mechanical novelty. The Dilemma of Novelty Versus Emotional Connection (0:00) Kodak executives Joe Harriman and Lynn Taylor approached the campaign with an inherent marketing hurdle: how to generate excitement around 'the wheel.' While the wheel represents humanity's foundational technological breakthrough, modern consumers do not readily view it as innovative or cutting-edge technology. Draper addresses this challenge by acknowledging that while technology is often a glittering lure, standard advertising tends to rely too heavily on novelty. Drawing on lessons from his former copywriter colleague Teddy at a fur company, Draper distinguishes between two advertising strategies. Teddy taught that the word 'new' acts as an artificial irritant that creates an itch in consumers, which the advertised product then soothes like calamine lotion. However, Draper contends that truly memorable marketing bypasses superficial novelty to tap into authentic sentiment. Nostalgia as a Potent Time Machine (1:45) To build an emotional connection, Draper invokes Teddy's definition of nostalgia, which in Greek translates to the pain from an old wound. Rather than functioning as a standard memory, nostalgia operates as an involuntary twinge directly in the heart that is delicate yet immensely potent. Projecting slides of his own personal family life in the darkened room, Draper rejects treating the device as a piece of sterile space-age engineering. Instead of pitching an interplanetary gadget or spaceship, he reframes the slide tray as an emotional time machine capable of traveling backwards and forwards to return people to the moments they ache to visit. Re-christening the Wheel as the Carousel (1:45) Draper discards Kodak's purely mechanical label of 'the wheel' in favor of 'the carousel.' Drawing a comparison to a children's amusement park ride, he explains that the circular slide tray allows adults to travel through time the same way a child moves through space: looping around only to return safely back home to where they are unconditionally loved. This conceptual shift transforms a physical optical projector into an intimate vessel of family memory. Concluding in quiet gratitude as the slides finish, the presentation leaves the room in stunned emotional silence, convincing the Kodak executives to forgo hearing pitches from competing agencies. By demonstrating that consumers are driven more profoundly by an ache for the past than by technological flash, Draper successfully converts a perceived mechanical flaw into the product's greatest emotional asset.

精炼阅读摘要

唐·德雷珀（Don Draper）在柯达（Kodak）幻灯机提案中主张，广告最深层的力量并非来自浮于表面的技术创新，而是源于能触动内心旧伤的情感“怀旧”；他将冰冷的机械圆盘重新定义为能够带人重返情感归宿的“旋转木马”时光机。 突破“轮子”困境与新颖性的局限 (0:00) 柯达高管乔·哈里曼（Joe Harriman）与林恩·泰勒（Lynn Taylor）在提案会议上提出了核心营销困境：如何将“轮子”（the wheel）这一概念融入宣传。高管们承认，尽管轮子是人类最初的技术革新，但在现代消费者眼中很难被视为令人兴奋的前沿科技。针对这一机械困局，唐·德雷珀指出“技术是一记耀眼的诱饵”，仅靠表面闪光无法建立深层沟通，唯有消费者与产品建立起真正的情感纽带才能形成共鸣。德雷珀借由早年与希腊文案撰写人特迪（Teddy）共事的经历指出，广告中最有威力的词是“新（new）”，因为它能制造消费者的心理瘙痒，使产品如同炉甘石洗剂般提供即时舒缓；但特迪同样指出，存在着一种比新颖性更为深远、脆弱且极具威力的力量——怀旧。 怀旧本质：源自旧伤口的深层隐痛 (1:45) 德雷珀在昏暗的会议室中投射出自己家庭生活的私人幻灯片，以此剖析怀旧的深层心理机制。他解释称，根据特迪的说法，“怀旧”（nostalgia）在希腊语中的字面原意是“来自旧伤口的痛苦”。德雷珀主张，这种情感远比普通的回忆更为强烈，是一种直接在心脏深处引发的非自愿抽痛。基于这一情感洞察，德雷珀认为柯达的新型幻灯机绝不能被当作太空时代的工程零件或某种跨星球的机械产物进行推销，而应当将其激活为承载未愈隐痛与深刻记忆的情感容器。 从机械装置到“旋转木马”时光机 (1:45) 在重构产品定位时，德雷珀断言该设备“不是太空飞船，而是一台时光机”，能够穿梭于过往与未来，将用户送回他们渴望重访的情感场景中。他据此彻底否定了柯达机械化的名称“轮子”，将其重新命名为“旋转木马”（the carousel）。德雷珀将该装置比作游乐园项目，认为它让成年人能够像孩子穿越空间那样穿越时间：在不断的循环往复中，安全地返回到那个自己被无条件深爱着的家中。这一诠释在现场引发了极具震撼力的静默，直接促使柯达高管决定不再接洽任何其他竞争对手。 德雷珀通过将工业产品转译为人类记忆与归宿感的情感载体，促使柯达当场采纳了“旋转木马”的定位并终止了与其他机构的比稿；不过记录并未涉及这种高度依赖感性叙事的策略在更广泛的大众商业推广中的实际量化表现与后续执行挑战。

Detailed notes — zh

## Background 该视频由 YouTube 频道 TomR35 于 2008 年 5 月 16 日发布。视频内容选自知名美剧《广告狂人》（Mad Men）第一季季终集，简介称其为上一季电视中最精彩的几分钟，更是整部《广告狂人》中的巅峰时刻。 ## TL;DR 柯达公司的代表乔·哈里曼与林恩·泰勒前往广告公司开会，提出圆形幻灯片轮盘虽然是基础创新，但难以作为前沿高科技卖点进行营销。面对这一棘手难题，唐·德雷珀（Don Draper）发表了一场极具感染力的提案，指出广告不仅在于制造追求“新事物”的冲动，更能借助“怀旧”建立深层情感联结。他结合投射出的家庭生活底片，将“怀旧”阐释为希腊语中直击心灵的旧伤隐痛，并提议将产品从冰冷的机械“轮盘”重塑为充满童真与温情的“旋转木马”，成功用一台能重返爱意港湾的时光机彻底打动了客户。 ## Atmosphere & style 整个场景呈现出从略带拘谨的商务谈判逐渐演变为深沉诗意的情感洗礼。开场时客户代表的调侃与技术顾虑带着克制的职业氛围，而唐起身后，语调变得磁性、深邃且充满叙事张力。随着幻灯机投射出一张张泛黄而温热的家庭切片，咔哒作响的换片声与唐对“怀旧是旧伤之痛”的剖析交织，营造出一种令人屏息凝神、心头隐隐作痛却又无比温暖的氛围，最终将全场带入无声的震撼与深深的动容之中。 ## Bulletin - [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) 柯达代表乔·哈里曼与林恩·泰勒在提案会上坦言，如何将“轮盘”这一原始机械结构包装成吸引大众的高科技概念是当前最大的营销难题。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 唐·德雷珀打破传统“求新”的广告逻辑，提出技术仅是诱饵，真正打动人心的力量在于产品与消费者建立的情感纽带。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 德雷珀引申“怀旧（Nostalgia）”的希腊语词源——旧伤之痛，将幻灯机重新定义为能回到过去、抚平创伤的“时光机”。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 提案最终将产品命名从冷冰冰的“轮盘（The Wheel）”重塑为“旋转木马（The Carousel）”，以重返家庭与被爱之地的隐喻彻底征服客户。 ## Key takeaways - [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) 柯达管理层面对的市场挑战在于大众并不认为轮状幻灯片结构具备令人兴奋的高科技属性。 - [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) 会议提到伊士曼研发团队与技术人员因专注工作而从不休假，凸显出柯达偏向工程师导向的技术背景。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 广告业常规法则依赖强调“新（New）”，通过制造欲望的痒点并提供产品作为止痒手段。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 单纯的技术只是闪闪发光的诱饵，唯有当公众与产品产生情感羁绊时才能超越表面的浮华。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) “怀旧（Nostalgia）”在希腊语原意中代表“旧伤口的疼痛”，是一种直击内心的强烈刺痛感，力量远超普通记忆。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 幻灯机在此提案中被解构成超越冷酷工业航天器的“时光机”，具备带人穿梭回渴望之地的精神属性。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 将产品命名跃迁为“旋转木马（The Carousel）”，象征如同孩童般绕圈旅行，最终平安回到被爱包围的家中。 - [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 通过个人真实家庭底片的情感展示，提案完成了从机械功能介绍到生命共鸣体验的叙事升华。 ## Detailed walkthrough ### [00:00](https://www.youtube.com/watch?v=suRDUFpsHus&t=0s) 柯达代表的顾虑与“轮子”的技术困境 会议开场时，柯达公司的代表乔·哈里曼（Joe Harriman）与林恩·泰勒（Lynn Taylor）向广告团队致意。现场有人提到今天伊士曼（Eastman）家族的成员并未出席，因为他们全留在实验室里；尽管柯达拥有顶尖的研发设施，但工程师与技术人员从来不休假。客户代表开玩笑地询问是否会展示技术人员工作的切片投影，紧接着便切入正题，询问广告团队是否已经找到了将“轮盘（wheel）”这一概念融入推广的方案。柯达方面坦承这非常棘手，因为虽然轮子是人类最原始的发明，但在当下的大众眼中，轮盘形状的投影装置算不上什么令人兴奋的高新技术。 - 出席会议的柯达核心客户代表包括乔·哈里曼与林恩·泰勒。 - 研发部门与伊士曼团队未能到场，被调侃为“从来不休假”。 - 客户的核心营销挑战：圆形幻灯机轮盘虽然属于底层核心创新，但很难包装成抓人眼球的前沿高科技噱头。 --- ### [00:39](https://www.youtube.com/watch?v=suRDUFpsHus&t=39s) 怀旧的刺痛与“旋转木马”时光机提案 唐·德雷珀（Don Draper）起身后向客户致谢，随即展开了一场极具感染力的提案。他指出，技术本身往往只是“闪闪发光的诱饵”，但在极少数情况下，如果公众能与产品建立情感纽带，他们就会被超越表象浮华的深层力量所打动。唐回忆起自己的第一份工作是在一家皮草公司做文案，与一位名叫泰迪（Teddy）的资深希腊裔文案老手共事。唐提到泰迪曾教导他广告中最核心的概念就是“新”，因为“新”会制造渴望的痒处，而产品的作用就像炉甘石洗剂一样止痒。然而，泰迪也向他阐述过一种与产品之间更深沉的联结——怀旧。 唐结合幻灯机中投射出的家庭生活底片，深情地剖析了怀旧的力量：“泰迪告诉我，在希腊语中，‘怀旧’的字面意思是‘旧伤口带来的疼痛’。”（“Teddy told me that in Greek, Nostalgia literally means the pain from an old wound.”）唐进一步解释说，这是一种直击心脏的刺痛，比单纯的记忆要强大得多。面前的这台投影仪绝不仅仅是一个科技航天器，而是一台能穿梭过去与未来的“时光机”，它能带领人们回到那个心底极度渴望重返的地方。因此，唐提出这个产品绝不该叫冷冰冰的“轮盘”，而应被称为“旋转木马”（The Carousel）。它让使用者像孩子一样旅行：一圈又一圈，最终回到家中，回到那个深知自己被爱着的地方。演示在无声的震撼与深深的动容中结束，客户最终被彻底折服。 ```mermaid flowchart TD accTitle: 广告概念升华流程 accDescr: 展示从表层技术特性到怀旧情感纽带的营销定位转变 subgraph Surface["表层定位：技术与新意"] A["技术诱饵 / 轮子功能"] --> B["新 (New)"] B --> C["制造消费冲动 (止痒剂)"] end subgraph Depth["深层定位：情感与怀旧"] D["情感纽带 (Sentimental Bond)"] --> E["怀旧 (Nostalgia)"] E --> F["旧伤之痛 / 心脏的刺痛"] end subgraph Product["产品重构：旋转木马"] F --> G["定位转变：从航天器到时光机"] G --> H["命名重塑：旋转木马 (The Carousel)"] H --> I["情感终点：重返被爱包围的港湾"] end Surface -->|"超越表象浮华"| Depth ``` - **广告核心法则对比**：常规广告依赖制造“新”来刺激需求；而最高级的广告则调用“怀旧（Nostalgia）”来唤起深层共鸣。 - **怀旧词源解析**：希腊语中意指旧伤的隐痛，是一种远比普通记忆更强烈的心灵震颤。 - **产品命名跃迁**：将冷硬机械感的“轮盘（The Wheel）”重塑为充满温情童趣与家庭归属感的“旋转木马（The Carousel）”。 ## Mentioned 柯达, 乔·哈里曼, 林恩·泰勒, 伊士曼, 唐·德雷珀, 泰迪, 旋转木马, 广告狂人 ## Video description Arguably the best few minutes of the last season of television, and certainly the best of Mad Men. From the season finale. [Source](https://www.youtube.com/watch?v=suRDUFpsHus)

Original transcript

[0:00] This is Joe Harriman and Lynn Taylor. No Eastmans today, unfortunately. They're all back in the lab. It's a wonderful facility, but they don't take vacations. What do they show? Slice of them working? So, have you figured out a way to work the wheel into it? We know it's hard because wheels aren't really seen as exciting technology, even though they are the original. Well, Thank you. Technology is... A glittering lure. But there's the rare occasion when the public can be engaged on a level beyond flash. if they have a sentimental bond with the product. My first job. I was in-house at a fur company with this old pro copywriter, Greek named Teddy. And Teddy told me the most important idea. in advertising. is. New. creates an itch. You simply put your product in there as a kind of calamine lotion. But he also talked about... a deeper bond with the product. Nostalgia. It's delicate. but potent. Sweetheart. Thank you. Teddy told me that in Greek Nostalgia literally means The pain from an old wound. It's a twinge in your heart, far more powerful than memory alone. This device... Isn't a spaceship It's a time machine. It goes backwards and forwards. It takes us to a place where we ache to go again. It's not called the wheel. It's called the carousel. It lets us travel the way a child travels. Around and around, back home again. To a place where we know we are loved. Thank you. Good luck at your next meeting.