A Quote by Molly Antopol
There's something interesting about being really intimate and familiar with Israel, but still being American - that really thin piece of glass between me and my experiences.
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I'm not Israeli and because I'm not a citizen, it doesn't matter how often I go there - I'm still not Israeli. There's this way I feel so close to so many people there, but I always feel like I'm staring through the glass. And in a way, having this really thin piece of glass between me and this place is incredibly useful for me as a writer, because I'm just so hyper-aware of it. I could take a walk in San Francisco and probably notice a third of the things that I would notice in Israel, because I'm just attuned to everything when I'm there.
Being of service is something that really makes me happy. Being able to tell young kids about something they might never have known without meeting someone with my experiences is what really what I feel it's all about. I feel that's the only way that you get fulfillment out of life.
I do think there's something about the digital age that is increasingly dehumanising us. We're in this very weird place where we're being pulled into experiences that aren't really experiences at all.
If you're thousands of feet up with just a thin piece of webbing that you're standing on, it's really a sensation of being at one with the air.
The friendship that you create between you and a mom - or you and an older woman figure - is so important and so influential. I think that my relationship with my sister, my relationship with my best friends - when I'm feeling really terrible about myself, they're always there to let me know that I am being dramatic about something, or I'm being stupid about something - it's good to have those kinds of people to drag you back down and protect you.
There's a responsibility level that comes along with being a public figure. I can use this for really cool things. That really [allows] me to be very honest about my experiences.
If you're stuck in a rut doing the same thing over and over again, what are you actually, really achieving? I'm someone who strives for success, for self-growth and new experiences, and to make a record that pushes me out of my comfort zone is something that's really exciting. It means you're making new decisions, you're making bold decisions, you're being scared, and you're getting through that - hopefully making something you're proud of, or being in a better position that makes you feel stronger as a human being.
People make fun of cybersex, but it's really something to take into account: it is a drama, a split of the human being! The human being can now be changed into some kind of spectrum or ghost who has sex at a distance. That is really scary because what used to be the most intimate and the most important relationship to reality is being split. This is no simulation but the coexistence of two separate worlds.
What I've learned in my life, it's a very interesting social study for me, to go back and forth between being the guy at home and being the guy on the road and being the guy in studio and being the guy in the interview. The environment around you has so much to do with your character, and when I'm home, my character really changes quite a bit.
The image itself is kind of the least important factor to me, though I'm still interested in putting forth an interesting image. I see the image as the screen laid over top of what really interests me, which is that depth of surface and that filmic quality that it has when you pass the piece. The idea that my pieces look like paintings, but are most definitely not, is really interesting to me.
Criticism does demand a certain kind of authority, but what about the authority of not really being sure what you think? What about the authority, the authenticity that comes from bringing all your intellectual, emotional and spiritual equipment to a piece of art or entertainment whilst still being uncertain and confused?
The thing I loved about my old punk band, it wasn't really about being vulnerable, it was about shouting and being fun and being aggressively political, which I thought was really cool and really fit that energy.
Somebody told me about a band that works out their whole set as if it was one song. They learn the whole set as one piece, so they know how the dynamics of it work. It's really difficult to do, and you can only really do it while you're on tour, as being in a rehearsal studio is not the same as being on stage in front of an audience.
Someone asked me very recently why I have 8 million views on TED - "your work resonates, what are you doing?" What I think my contribution is, what I do well, is I name experiences that are very universal that no one really talks about. That's the researcher in me; that's really part of being a grounded theory researcher - putting names to concepts and experiences that people have. That's the researcher part.
You can't go wrong with reading the fans and letting them tell you who they like. I think that's really paid off for me in the long run - being down to earth and just really cool with each and every fan that I meet - and they've really supported me through thick and thin.
We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.
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