A Quote by Jacqueline Novogratz
I still feel that the kind of leader I want to be is one that spends time understanding our work in a way that allows me to translate it for policymakers and people who have real access to resources.
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I want people to do what they want to do because when they feel comfortable it seems to translate better on screen. It is when you put people in a straitjacket that it doesn't seem to translate very well at all. The individuals I work with are usually people I know.
A real leader spends his time fixing the problem instead of finding who to blame.
True conservation provides for wise use by the general public. The American people do not want our resources preserved for the exclusive use of the wealthy. These land and water resources belong to the people, and people of all income levels should have easy access to them.
I would imagine, a very large percentage of people who get something for art and they do something else, and they have some excess resources. And they trade those resources with artists whose work makes them feel good, or feel better, or question. And the artist, if they're smart, they use it to buy the most expensive thing in the world: time to make more. The more that come, the better it is for these people, their children, the people they care about, fills the society with a real constant thing.
Power is generally defined as control over resources and control over access to resources, which often means control over other people because we're thinking about things like financial resources or shelter, or even love and affection, but we also possess resources that we sometimes can't access.
My music already has this oldish kind of quality to it, like you don't necessarily know what era it was recorded in, so it all kind of felt surreal and weird. Night after night when I played live, I was really trying to figure it out in real time, and I still don't know what effect I'm going for or what effect I actually achieve. Looking back, I feel like it would be arrogant of me not to appreciate the fact that I've been able to do whatever I want and still have an audience come see me.
I want to see that our older people still feel useful, and our younger people feel engaged in our wider society, and I want to feel that we can bond people from disparate backgrounds, ages and communities together in a greater project, which they get engaged in for the sake of others. Volunteering, in all sorts of ways, seems to me likely to be able to achieve some of that
I've never been particularly good at explaining or even understanding what this sort of rage is that is so accessible to me. I'm not an out-of-control person, but I can access in my work very easily a feeling of real fury. Thank goodness I've channeled it into my work, I guess.
What's really important is the people, first of all. I like working with people who are kind, above all else. I don't really want to work with someone who will manipulate me. The idea that you must treat actors a certain way in order to get a performance out of them kind of disturbs me, and it's disregarding what we do. Our job is to do our job.
Who voted for Trump? Who are these people who, as he famously said, would let him shoot someone on Fifth Avenue and still support him? It's people who want too strong a leader, who would do what that leader tells them. Similar to the Europeans following Mussolini and Hitler. There's a streak in humanity that likes that kind of leader. That's Trump's core. Authoritarianism.
We shall never meet, but there is something I want you to know. My time is not the same as your time. Our times are not the same. And do you know what that means? That means that time does not exist. Do you want me to repeat that? There is no time. There is a life and a death. There are people and animals. Our thoughts exist. And the world. The universe, too. But there is no time. You might as well take it easy. Do you feel better now? I feel better. This is going to work out. Have a nice day.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
Free is not going to go away. Either the advertising model will still work, or there will still be literally hundreds of millions of people who want to put their information on the Net and want people to have access to it.
Often people think they know what they want, but what they really want is something that's genuine. So they'll be saying, "Do another one like that," but you liked that one because it's real. So as long as I keep it real and I do something that's real to me, you're going to feel it in the same way.
For me, being able to work with somebody who I don't have to translate my experience to all the time - that's important, because I'm not having to walk someone down the path of racial understanding to tell a story about a woman of color.
It's about people coming to an understanding, a realisation that we must bridge the gap, build bridges and make people aware of what's happening. The award gives me the kind of pride and understanding that most people wouldn't think of. It is strengthening the Yolgnu people, but it's also giving strength to Balanda people who otherwise don't have that kind of understanding.
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