♪ >> "brilliant ideas" powered by hyundai motor. ♪ isthe contemporary art world vibrant and booming as never before. it is a 20% three phenomenon, a global industry, -- 21st-century phenomenon a global industry in its own right. "brilliant ideas" looks at unique power to astonish, challenge, and inspire. in this program, british sculptor conrad shawcross. ♪

>> british artist conrad shawcross has never been afraid to think big. as proven by his latest astounding project at britain's royal academy. in the past decade he has had the most meteoric career in british contemporary arts, and he is now the youngest member of the royal academy. about: the good thing being an artist is you can mix things up. put a bit of philosophy, a bit of maths. >> embracing ideas from geometry to philosophy, physics and metaphysics, he creates works that are filled with paradox and poetry. youad: you can't -- >>

can't talk about conrad shawcross at the moment without framing everything in terms of youthful prodigy. >> i see conrad as sort of a leonardo da vinci of our time. understood how things were made, things were operated, the mechanization of things. >> i think of him in terms of extraordinary mathematical structure, on which this wonderful sort of poetically or lyricismngs -- poetic hangs. unites a torrent of ideas about things that spill over what are conventionally the confines of art. fearless, and he has incredible energy. i sometimes think, my goodness, this young man, he never sleeps. ♪

best known for his mysterious mechanical sculptures, conrad shawcross first came to prominence in 2004 with his brilliantly original work "the nervous system." conrad: i spent four months locked in my room, building this wove amachine that helix of cord into a rope very slowly. i was trying to understand time, both linear and cyclical, the strands. it highlights the limits of language, the limits of perception. the way we rely on metaphors to describe time. i was never trying to play around with whimsy. i found it a bit upsetting. i wanted the machine to feel very rational. but it was received very well.

it was the first time i saw something. there is nothing like the feeling of that work paying off. it was fantastic. beginning of this journey. conrad works out of his studio in east london. we are going to have to swing the other tetrahedron out. >> the son of marina warner and william shawcross, his childhood interest into at what was to come. conrad: i was always taken to the theater and art galleries, and cope bridges to churches and frescoes and altarpieces. i remember going to pompeii, to the ruins. they were a bit concerned that i did not read as much as them. my interests were much more in building structures, taking things apart.

1990's conrad attended the ruskin school of the arts, part of oxford university. conrad: studying art in university was key to my practice, in that we were exposed to all these subjects, history and english and poetry and science, so it was not part about art. i became very obsessed with how my car worked. i think my teachers at ruskin were pretty confused. i would sit out in the yard, being a mechanic. at the time they were like, you can't repair your car as part of your course. here at the science ecm in london, the rich array -- science museum in london, the rich array of objects had a profound influence on conrad. conrad: i would go to the science museum a lot when i was a kid. my main memories of it are when i was a student at ruskin. i would go there for

inspiration. it was this 1960's room of displays, and they were beautiful victorian models. >> many of his regular -- works pay tribute to pioneering figures from the past. babbage,ese is charles the 19th century polymath who many regard as the pioneer of computing, even though his own machine, the difference engine, was never completed. one of the first historical reference works are made is called "paradigm," where i put myself in the role of a charles babbage-like engineer. if he got this thing, somehow the world would change. but the machine would have no product. it would just leave and on we've -- unweave, slowly crush itself.

so it was a static work. it was a bit tough. be a bit moreo sophisticated, not have it be this flashy thing. i wanted to create a work about an idea, about failure. >> conrad's extraordinary mechanical sculptures soon caught the attention of one of the most influential figures in british art. >>'s work was so -- his work was so unusual, in that it was informed by science and mathematics, and had a different feel from anything else i had seen before. >> the point about conrad, whether it is mathematics or craft, art, science, engineering, design, he is working from a position that this is a unified discourse. are marriednd art

to each other. there has been a period of separation, but there is momentum to get them back together again. there is a sense that the artist is a rational and the science is rational, and therefore they cannot coexist. is theere irrational leap of faith the scientist has to make, and certainly the artist, they make experiments. they paint a different times of day, but the same scene. they get beyond the visible, trying to discover. it ise all great artists, interesting to know what is behind, you know, the ideas somebody is exploring. but i think that he is also able to do is make very beautiful objects, so one can just appreciate formal and aesthetic quality. it is that sort of layering,

where the more you dig, the more you find out, the more eloquent the work becomes.

>> conrad shawcross is one of britain's mos artists. his work develops in diverse

directions. here he is putting the finishing touches to an exhibition of recent sculptures. >> he made his name with these quite extraordinary mechanical objects. in the last couple years, he has been changing his style of work and the materials he uses, and i think it is the diversity of ideas, the diversity of materials, the diversity of forms has really surprised me about conrad. inthe mathematics of music visual form have become a major theme within conrad's work. ♪ conrad: this is a sort of thing that became a victorian novelty at dinner parties. it was invented to study the vibrations in buildings when they were building the tube network. it was almost like a

seismograph. it was the birth of synesthesia, of visualizing musical mathematics. you get these beautiful forms from a noise. this is a machine that i made maybe eight years ago. it was a variation on a harmonograph, a little looser. i was not interested in just creating a pure facsimile. it would be interesting if it was a near miss, or a discordantcy. aph tos the harmonogr produce a drawing based on the ratios in a musical chord. it is then turned into three dimensions in his culture -- sculpture. conrad: in one way, you can describe it as a picture of a chord. it sits on this long stem. it is a journey towards silence.

they visual realization of an a ural experience. people will see different things. i have to surrender control of it, and hopefully it will work on lots of different levels. it is work that you lose control of once you make it. things you didn't even think of when you were conceiving at. you don't have to know what you are making at the time. ♪ conrad's exploration of music and form reached a new audience in a recent public commission. conrad: the park came about through this tragic theft of a

sculpture which was stolen by scrap metal merchants about five years ago. so there was a public competition to create another art piece in the park. i was lucky enough to win it. they are called "three perpetual chords." there is no decay to them, so they keep going ad infinitum. they have a sense of never ending. one of the things i am most interested by in work is the idea of entering into a structure and creating this emotion. when i saw photographs of the sculpture, there were lots of kids with their heads through the hole. even though it was a formal sculpture, kids would use it as an object of play. i wanted to engage with that as an idea. if you are putting in a park.

been incredibly well-received by people under the age of seven. like a totalome climbing sensation. if you get kids running toward something, you know you have done something right. conrad' as work springs from the playful to be highly conceptual. project,going "ada" named after ada lovelace, who work closely with charles babbage, he uses a robot to create a new relationship between music and mathematics. conrad: i came up with this idea of creating a series of musical commissions, getting musicians to respond to the robot. instead of the robot responding to music, the music would be subservient to the robot.

[opera singing] conrad: each musician would have to respond to this pre-existing piece of choreography, the movement of the wand and the lightbulb based on numbercrunching and particular works taken from ada's with babbage. >> lovelace saw that a number could represent music, could represent a letter of the alphabet. that is what conrad is doing here. that number has meaning and significance that goes beyond its quantity. frombracing everything musical theory to quantum mechanics, conrad's artistic output is becoming ever more ambitious. will belatest project his most epic so far. [applause]

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♪ >> over the past decade, british sculptor conrad shawcross has rapidly attracted international renown with works shown everywhere from tokyo to test mania, mexico to -- tasmania, mexico to paris. here in the royal academy courtyard he is installing his project to date. conrad: it is definitely one of the most epic things we have made. something i conceived maybe 10 years ago. a long time coming, and a long time to arrive. welding, 25rs of

tons of metal. >> the biggest challenge was the logistical challenge. our factory is 24,000 square feet. when these things were assembled in the factory, they spilled out into the yard. we ended up with thousands and thousands of these things across the workshop. the triangles are laser profiled, like russian dolls getting smaller and smaller. 30,000 different triangles welded together into 8000 tetrahedrons. 20 miles of welding, which took 10 men for months to produce. conrad: the tetrahedron in greek times was used as the symbol of the adam. , the indivisible unit of

matter. this on its own is such a symbol of order and rationality. but together, they are completely chaotic and scary. like too many children. [laughter] can everyone have a look up above? >> we are on the fourth day of installing. we are now about to raise the last one. we are shuffling about to find the right position. going around this way. >> we are doing the safety checking, to see if there is any movement or anything compromised. or five welds that

were not as good as they should be. >> it is very important that they are hanging straight. conrad: my hands are totally ripped up, that this is par for the course. i totally love doing this. >> after four days and nights of "dappled light of the sun" is complete. conrad: when i first saw the tetrahedron, i was completely flummoxed by the way they come together. it forms these tendrils and branches. it forms these plant-like forms, so it feels like a plant. the ones in the center are older, and the ones at the edges are radicals that are younger. so there is a sense of time within the structure. you can see it in trees or fire or neural pathways, all these

radiant ideas of how you can grow. essentially it acts as a canopy above the courtyard, on these very slender stilts. you walk underneath at, and it creates this dappled light on the ground. the title refers to the effect it has on the ground, and the experience we all had of sitting under a tree in the sunlight and feeling like this is a wonderful moment. ♪ conrad: the shadows become more important with the work. it used to be a byproduct, but i'm sort of investigating it as the actual artwork itself. the shadow is actually the product of the piece. that refers back to a quotation i chanced upon from dorothy hodgkin, a scientist working in the last century. she pioneered a process called

crystal radiography, which is shining light through crystals. you then look at the silhouettes of the crystals to try to understand their form. the process as like trying to work out the structure of the tree by only seeing its shadow. we live in sort of the shadows,, and we will never be able to see the real tree. i think it is a nice, very humble metaphor about the limits of our potential, or how much we will be able to know. i was really fascinated when he showed me the original drawings. to see this thing develop as an organic project, and now seeing the sunlight shading on the courtyard was remarkable. to see what conrad wanted to achieve with the structure was fantastic. >> i think it is absolutely

beautiful, and i think it is amazing when someone gets, has so much conviction in their vision, and then you get to see it. you think, you know, it is growing, all these triangles growing and growing. is it a snake? will it become a dragon? the playing between the sun and the shade and the light, the sky, that is interesting. elderly ladies came in not so long ago, and all this mess was on the floor before we elevated it. they looked absolutely horrified. what an earth is going on? what is the academy doing? then when they came back later, and a lot of them had been elevated on the support

structure and it became like ancient trees, they thought, how marvelous. they understood what it was. i love the fact it could generate that kind of reaction. >> i think the work at the royal academy is a real masterwork. i knew it was going to be a great work. when i actually saw it, then i only hownded by not monumental it is, but how lyrical it is as well. it has a kind of lightness to it which is very difficult to achieve in sculpture. >> conrad shawcross's breathtaking creative curiosity shows no sign of waning. a fusion of physics, metaphysics, language, and metaphor, his work chisels away at the uncertainty of knowledge and our assumptions about the world around us.

using the materials of our age to create fantastic questions. there is always questioning, never an answer with his work. always a question. conrad: there were moments like a scientist stumbling across him him like a first time. that moment of realization is very exciting. >> i don't know how conradt does it. i don't know how he managed such enormous projects, public commissions all at the same time. it is very interesting to see his suddenly extraordinary rise. ♪ ♪

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♪ >> welcome to "business week" on bloomberg television. david: the female solidarity movement, and how tina brown and others are getting into the empowerment. carroll: titanium backside -- now it is at the center of a plot to steal the color white. cloak and decker details. david: millions will gather around the tv this weekend for the super bowl ads. will the commercials be better or worse than the big game? all as we go behind the latest issue of "business week" right here on bloomberg television.

carol: we mentioned the super bowl. there is a fun story this week that has to do with the coin used at the toss at the beginning of the game. it is an interesting story, going into the company behind it. sidesny coin, it has two to this story. it talks about "the wolf of wall street" and mark cuban. great read. david: there is a timely piece about mosquitoes. obviously the zika virus is of concern to people. looking at the economics of mosquitoes. how you look at the malaria virus. the push to eradicate mosquitoes. brazil will spend a quarter billion dollars when it is in recession to try to get rid of mosquitoes. carol: a real estate story. i am czechoslovakian. they talk about all the castles in czechoslovakia -- you can get them for about $13,000, but you

have to do a lot of renovation. david: a lot of great stuff. let's get started. carol: empowering women has turned into a multibillion dollar business. david: but who is making the money, and who is getting empowered? -- has beena call hot ca ou doing some digging and talks about feminism as a brand. we talk about these women's empowerment conferences. there's a lot of them. sheila: i lost track. you can spend almost every day last fall at some kind of women's panel or meeting. david: how different are they? they are about women's empowerment, but when you go to the panels, whether it is women in the world or fortunes? sheila: there is a range, like with everything. of the at the high-end corporate ladder is the fortune most powerful women conference. that is the most expensive one, $10,000 to go to that one and a group of related events. david: people are paying out-of-pocket?

sheila: that one is invitation only, and very only senior woman from corporate america. either they can afford this, or the companies are paying for them to go. then you have tina brown' as women in the world summit. there is a student ticket for under $100, but it goes up to $300. that is less about networking, more about a really intense, visceral experience of hearing women's stories. different women come on stage from all over the world, involved in a range of things. activists from iraq trying to yazidis kidnapped by isis, and celebrities like meryl streep. then there are more networky self-help conferences. carol: you have been to them. i have been to them. you are inspired by what is said. but i guess when you think about was really moving the needle when it comes to getting more

women in the boardroom, or more, you know, more presence of women throughout corporate america, does it make a difference? sheila: that was the question i had. if you make a chart of the number of women's events, the line would be going up, like google's stock price. but if you made a chart of the gender pay gap or family leave policies in the u.s., or the number of women in congress, the number of women ceo's of large companies, the improvement is very gradual. it is tiny. i thought, what is the relationship between these two things? is the fact these events exploded a reflection of the lack of progress and frustration in women? is there some connection? is it helping? i am certainly not arguing they are bad. people love them. i loved going to them. they are fun, but they are definitely not the types of things that are going to lead to real changes in terms of policy. this is something i noticed when i interviewed women who had been involved in making real changes,

like passing title ix or the fair pay act or whatever. it requires collective action. women need to group together and agree, ok, we are going to do x, we're going to pressure, going to vote in a particular member of congress. there is no follow through on these. you go back to your own workplace, and you have been told -- carol: you just think, ok. sheila: you have been told to ask for a raise and be more assertive, don't let the guys take credit for your ideas in the meetings, ask what you need . it is very individual. you are getting prescriptive, individual advice that may help you in your personal situation. but in terms of the global women's situation, there needs to be more follow-through. david: you quote anne-marie slaughter, who rose to prominence writing about women having it all or not having it

all. the preponderance of these conferences -- there has not been the advance that you would expect there to be. sheila: she made a good point in the article. let's be realistic. these are great networking opportunities, and men have always had those. men have those at different workplaces every day. they go golfing, or go to bars, whatever they do. women go to these conferences and find clients or go to board seats. but she pointed out, and i tend to agree, if you are looking for these increase the number of women in general, it does not have any real connection. carol: you talked with sally krawczyk, who is very well known. you also talked to tina brown. what were the perspectives they brought? sheila: they were very interesting. sally had a great line, i thought. she said, we have tons of men's conferences -- they are just called conferences. that really got to what i thought is a bit of cynicism behind some of this, not all of it, some of it.

people figured out, we can have a conference right now that is mostly men currently, let's just double our revenue and stick all the women in their own little conference. we will keep having our regular conference, and you can kind of double the fun that way. that is some of what happened. ved offave been hi into their own thing and the main conference is predominantly male. david: you look at women in the world, the stories told are very experiential. it is not prescriptive. tina brown did that deliberately. has that worked out? does that make a distinctive from these other conferences? sheila: it does. i compared it to an issue of "vanity fair" magazine. she edited that magazine, and she was known for her ability to pick up the next big thing and get a lot of attention and fireworks around something. she has done that with this. she used a similar formula. a very high-level kind of intellectual stuff, very

difficult international global activists and refugees and orphans and rape victims, really unsettling stories that she wants to bring attention to. but then she also has the glamour and nicole kidman and meryl streep, celebrities galore. i think that has created a kind of unique vibe at her event that you don't necessarily find at these other ones. carol: i want to go back to anne-marie slaughter. whatyou put in your story, she suggests needs to be done. have prominent women talking about real things like who is raising kids at home while i am running the company. sheila: that's what i noticed. a lot of these women are representatives of the companies, and the whole thing is very carefully stage-managed. so they don't want to be too negative. that is true. they are under pressure from their employers and themselves.

so there is a lot of glossing over and, you can do it if you just lean in harder, try harder. the point and reset or was making that i certainly observed -- andriy slaughter was making that i certainly observed, there was not a lot of acknowledging of the dirty reality behind the scenes. as soon as the lights go off and everyone goes back to the dinner table, all of that stuff was on us. david: we did not talk about how big of a business this has become. tina brown is under "the new york times," but really doing this around the world. are these all making money? our companies making money off these conferences? sheila: it is hard to do it well. is a handful that have folded. but the ones that have figured it out are making a lot of money, and a lot of the revenue comes from sponsors, sponsor contracts. blue-chip corporations in america are apparently very eager to have their branding on these women's events. i think it's because there is

this real trend towards corporate do-gooderism. one of my complaints about that, it does not always translate into actual action. are they doing more for female employees, female workers around the world? i don't know. but they are stamping the name on these women's events. the fact the nfl had won today i thought was an example of however one is recognizing the branding power of women's empowerment and promoting women. carol: bottom line, there's lots of conferences and lots of talks, but the action is where it is missing a little bit. sheila: i wanted people to think about what they could do, or why that is missing. going to a conference is a great experience, but what is the followthrough? david: sheila, thank you so much. coming up, the story of secret documents and the plot against a billion-dollar pigments. carol: a look behind the scenes of dupont's color war when "bloomberg businessweek" returns. ♪

♪ you probably don't give much thought about the color white. david: but 17% of the world's wife comes from a formula developed by dupont. carol: a fascinating cloak and dagger story for this week. he joins us from washington. good to have you with us. i think about the color white. i tried to pick it for painting my home. there's tons of different whites. dupont knows that white is a tricky area. >> you know, white is a very profitable color. i learned this in reporting the story. to make the color white, especially this perfect white, the absolute white that you find

inside your refrigerators, on the hood of your beautiful new ford mustang, on an assortment of products, it is actually a very time-consuming process that dupont spent six decades perfecting. it took them six decades. they start with something called titanium backside, which they mine out and turn into a mixture close to love a. then -- close to lava. then it comes out in this consistency of face powder, and that is sold to manufacturing. the white aluminum siding on your house is this. it is in everything from cars to even pages in the bible on your bookshelf. david: you mentioned this is a multibillion dollar business. there is interest around the world in getting this stuff. you focus on how it found its

way to china outside the purview of dupont. >> yes. this is a very valuable process, and dupont is a world leader in this, producing the best titanium white by chlorination, which is what they call it. they own almost 20% of the market, and china wants it. china is a big manufacturer, as we know, and they would like to produce their own high quality titanium backside to put in their products. dupontthan approaching to make a business deal, they sought to steal it. 58-year-oldd a former engineer who runs a consultancy business to get it for them. he did it in a very ingenious but also kind of cloak and dagger way. carol: talk about that. it involves some former employees of dupont. decides that he had

done some other businesses with firms in china, and assigns, i know china really wants dupont's process for making the color white. how do i get it? i go after the former dupont people. so he recruited former dupont engineers. walter liew is very smart, very savvy. he knew exactly what the weaknesses of these guys were. whether it was money or whether it was flattery. himnlisted them to provide keep blueprints, key documents, key photographs, key pieces of information that helped him win $30 million in contracts with chinese firms to produce the color white and design plants that would produce this color. one plant did get built. the other i don't believe has been built yet, before they caught him in 2011. we learned a lot about his case for may 2014 trial in san 2014 trial inrom

san francisco. david: we hear an awful lot about the chinese stealing national security secrets. we don't often hear about it on the commercial side, but that's what this exemplifies. it seems guys like this guy do not get caught. do not get reported, even. companies find out they have been hacked or that someone stole something from them, and they don't report it. they deal with it internally. why? it is embarrassing. it hurts the bottom line. you don't want to be labeled as having poor information security. they don't want to report to the fbi and suddenly have agents roaming around the building. this is a case where dupont learns that their stuff had been stolen. they are upset. they file a lawsuit, then they enlist the fbi to help them. the fbi investigates and finds out that one of the companies buying the secrets from liew is a state run enterprise. that makes it economic

espionage, and that is a big deal. so they went after liew and his wife and others. liew was convicted. his wife pled guilty. one of the retired dupont wasneers who helped liew convicted. it was a big win for the government in trying to send a message that you can't steal this stuff. why the color white? why would you go after the color white? china andabout espionage and stealing trade secrets -- we have read the litany of chinese hackers targeting u.s. companies, even trade unions to steal secrets. it sounds like it is a galliard, right --deluge, right? but what are they going after? not the microprocessor that goes in the iphone. by the time they produce that, a new one is on the market that is even better. they want to go after stuff that is really hard to make and is profitable, short-circuiting the r&d process. dupont spent $150 million a year

working to refine this process even if he just improved efficiency by 1%. they spent six decades designing process tonation make the color white, which is far superior to the way china makes the color white, which is a messier and less environmentally friendly method. now, if they steal the secrets and can somehow put it in a plant and make it without it exploding and killing everyone, because frankly you are dealing with chlorine gas and a lot of dangerous chemicals. it gets up to 1800 degrees in temperature. they are on their way to saving a ton of r&d cost. david: fascinating stuff. up next, we go to the back the book for this week's etc. segment. carol: the only thing people love more than the super bowl? the multimillion dollar super bowl ads. be edgys year's crop enough to keep you from going to the fridge at commercial time? ♪

♪ carol: it is time to take a look at the etc. part of the magazine, the top of -- back of the book section. david: let's start with the cover story. looking at well there -- wea lth therapy. >> it is there to treat the affluent, who suffer from a lot of issues that you can understand they don't want to talk to their friends about. they have a lot of money, and have trouble dealing with that. you can't go to your friends and say, i have these issues with

all this money i have. don't you want to your my problems? there is a whole cottage industry that has sprung up to help people deal with these issues. david: my impulse is to roll my eyes. carol: you begin the story with a college student who walks into a there's office -- thera pist's office. bret: the student says he has terrible news, which turns out to be that his father on his 21st birthday told him that he is the heir to a fortune, which for most people -- david: could be worse. student, her this had not been prepared for this at all. you can imagine it is shocking news to learn that all the thoughts you have about what kind of job you might want to have, you don't necessarily have to worry about that anymore. so the students had has a free andand goes -- freakout goes and buys a fancy sports

car, but he's keeping it in a garage because he doesn't want his friends to know how wealthy he is. david: how much of this is a product of our times? i think about what bernie sanders is saying on the campaign trail. is this something new? bret: it is relatively new. banks have started getting into this, started having divisions at wells fargo, for instance, called abbot downing. try not to confuse that with "downton abbey." it has picked up so much in the last couple years. withthe occupy movement, minimum wage movements, bernie sanders, and the 1% being targeted as bad people. carol: it's interesting. you talk about how they also teach families to communicate with one another, understanding where the wealth came from. there's some real things they tackle. bret: we found that by the third generation of wealth, most of

those kids sort of grew up with it and don't really have an appreciation for it the way the grandparents did. immigrant mentalities, hard work, perseverance, and by the third generation that can get lost. that's the critical juncture. if the kids in the third generation don't get it, that's when wealth can disappear. david: you are looking ahead to the super bowl. a big part of the super bowl carol: -- if i need therapy depending on who wins or loses. david: but you post the question, we are seeing a change in the kinds of ads during the super bowl. bret: in the last couple years, the ads have gotten less funny, oriented around sex a lot less, and they are much more inspiring than they used to be. basically because this has become, advertisers see this as a family event. they don't want to objectify women in the ads. they want to inspire.

we saw this starting last year with ads getting longer and longer. that trend we expect to continue this year. carol: it is like mi ni-movies. is these little vignettes. bret: they are trying to tell a story. trying to capture you in a way that you may not have been captured in years before. these ads are super expensive. --million for a 32nd ad 30-second ad. david: a lot of these are closely held. you will not see the mental game day. but the second life online is such a huge part of this. you can have a commercial that is a minute and a half that people watch during the game and also afterwards. bret: sometimes it works against you. nationwide did and at last year that had a dedicated in it. ad kid in it.

ads,: humorous inspirational ads are on the rise. do we expect that to continue? bret: advertisers look at what worked last year. last year, one of the most popular ones was a mcdonald's ad where people paid for things with hugs. davidcarol: i have not done tha. [laughter] but anyway -- bret, thank you so much. that does it for this week's edition of "bloomberg businessweek." the latest issue is available online and on newsstands. carol: we will see you next week, right here on bloomberg television. ♪

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♪ >> from our studios in new york city, this is "charlie rose." betty: welcome to the program. i'm betty liu, filling in for charlie rose, who is on assignment. we begin with a look at the latest democratic debate. the one-on-one showdown between bernie sanders and hillary clinton at the university of new hampshire. [applause] rachel: secretary clinton, senator sanders is campaigning against you now. at this point in the campaign, by arguing you are not progressive enough to be the democratic nominee. he has said that if you voted for the iraq war, if you were in favor he