Diamanda Galas Interview Youtube Job

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3. Diamanda Galás. Interview in Toronto 1992 Part 1. | Amara
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When I was first involved in doing Plague Mass, I myself was in excruciating pain. When I work on any of the work that I'm doing, it's because I feel a sense of horror at what's happening, and I feel it being very, very close. There are people who want me to perform this work, but it's also hard to find producers, especially here in the United States, who will help me stage the material. It's almost impossible. Because they are afraid of the material? There's just no money for the arts. Or, I should say, there's no money for this art. I mean, there's money if you want to do something really stupid, then there's money for you. Make sure it's really stupid, and it sounds stupid and it will appeal to lots of people and it won't make anyone too miserable and it's just fine and groovy and right on, and then someone might pay you for it. I've never been interested in that. I've never been interested in pleasing people in a traditional way. Well, judging by your shows in NYC last year—which will soon be released as a live album—a lot of people are pleased by it.

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And he's doing that, singing the hell out of it. So I don't know. I don't know what's going to happen with my voice, but I've been singing for quite a long time and seems to be just fine. I discovered that I'm able to sing far longer phrases than I was able to do in the past. Much longer phrases with extreme relaxation, so that's good. So I guess the advice I have is very basic—take care of your body. Sing about things you understand and care about. Much of the music that you put out in the late '80s and early '90s—particularly things like Plague Mass, which deals explicitly with the horror of the AIDS epidemic in a very brutal way—is harrowing to revisit. For those who lived through it, those records are painful documents. How do you maintain a relationship with that material? And how does it feel to perform it now? They want me to perform Plague Mass again, and I will, but it's interesting to me that the work I'm doing now is actually very similar. I've always been drawn to these stories about epidemics and plagues, but those stories never stop being relevant, sadly.

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You stepped away from touring and appearing in public for a number of years. Given the intense nature of your work, was it necessary to take a break? Was it an artistic choice? There were many different reasons why I was gone. The first reason was that for a long time most of my work was happening in Europe and I was always there. It was a wonderful time, actually. But during that period my father died. And then, within two months, I heard that my mother was ill and was given only a short time to live. So I stopped everything and went to see her—and it was terrifying. I had canceled tours previously because of my father, to be with him, and so I decided it was time to step away from this world and be with my mother. She is the only one left in my family, having lost my brother to AIDS a long time ago. I just decided that I wasn't going to leave her. We decided not to listen to the doctor about her prognosis and just focus on taking care of her and following a very rigorous procedure of treatment.

Diamanda Galás. Interview in Toronto 1992 Part 1. | Amara

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