The world owed Sinéad O’Connor more than it gave her, NifMuhammad writes, and so maybe she withdrew from it: “Withdrawing is one way of managing expectations.” Read a tribute the late artist:
died, on Wednesday, at the age of fifty-six, without having received adequate apologies from this society we inhabit, which is often fuelled by an obsession with doling out gleeful, prolonged punishment. Even before O’Connor tore up a picture of the Pope on “Saturday Night Live,” in 1992, to protest sexual abuse within the Catholic Church, which prompted a group to run over her CDs with steamrollers, she’d received criticism for boycotting the Grammys, in 1991, after earning four nominations.
In the years that followed, O’Connor was sometimes treated more as a spectacle than as an artist. She continued to release albums spanning genres—from pop to folk rock, from roots-reggae covers to traditional Irish tunes—and they were largely acclaimed, even as her commercial success dwindled. An album was delayed amid a suicide attempt and a high-profile custody battle with the Irish journalist John Waters, with whom she shared a daughter.
The album opens with the jaunty song “4th and Vine.” In the black-and-white music video, as an acoustic guitar plays among chugging beats of light percussion, O’Connor smiles while sitting at a pub table with other musicians. Children gather on the steps of a church for a wedding. A pastor smokes. O’Connor sings, “I’m gonna marry my love / And we’ll be happy for all time / We’re gonna have six children / And enough love for them / That they’ll be happy all the time.
O’Connor suffered, but she did not live a life only of suffering, despite what some of her detractors might have wished for. The culture in some ways has caught up to her—about the hyper-commercialization of the Grammy Awards, the role of the national anthem before concerts or sporting events, and, most notably, thewithin the Catholic Church. O’Connor lived a life of seeking. In the late nineties, a Catholic group unaffiliated with the Church ordained her as a priest.
One of my favorite O’Connor performances is a cover of Nirvana’s “All Apologies,” from her 1994 album “Universal Mother.” In one TV appearance, she stands at the front of a stage in a white top with a large red heart at its center. The stage is dipped in crimson. A single acoustic-guitar player sits at her back.
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