Sinead O’Connor: She’s Only an Icon when She’s Gone, Not When She’s Here

It’s all love and praise, but only after they’re dead. 

Magda Davitt, artistically known as Sinead O’Connor, was an Irish singer-songwriter most famously known for ripping up a photo of Pope John Paul II on national  TV. This action earned her scorn from all directions, both secular and religious. Unfortunately, the reason behind her actions was rarely explored, and her music and activism was overshadowed by the 1992 SNL clip where it happened…

Until now. 

Suddenly, articles are beginning to crop up posthumously with titles like ‘Sinead O’Connor, evocative and outspoken singer is dead at 56’ and ‘Sinead O’Connor was our freedom singer, our keener, and our feminist killjoy.’ And yes, although true and deserved, where was this while she was alive? 

Sinead O’Connor, had a distinctive powerful voice that paired well with her emotive music and her fearless and unapologetic activism. Throughout her career, she has harnessed her platform to advocate for various social and political causes. One of the most memorable aspects of her activism has been her notable protests, which have sparked discussions and controversy on issues ranging from child abuse to women’s rights and religious matters.

“I am Irish,” O’Connor told the New York Times in 1994.  “Everything that has happened to Ireland has happened to me.”

The statement is painfully on the nose. With those words, she drew attention to the silence of native people, abuse at the hands of a supposed caretaker, thievery and exploitation. 

Looking into the history of her career and discography, it is clear she was outspoken about her beliefs at a time when it was more difficult for the public to accept ideas outside of the norm. 

First Impressions and “Nothing Compares 2 U” (1990)

While her cover of Prince’s “Nothing Compares 2 U” launched her to international stardom, the accompanying music video thrust her into controversy. The video featured O’Connor’s face in extreme close-up, which, combined with her raw emotion, made it a powerful visual experience. It was simple, shot in black and white. There was nowhere to look other than at the subject, and the subject was bald. 

“They wanted me to grow my hair really long,” O’Connor told Oprah Winfrey in 2014, “and wear miniskirts and all that kind of stuff because (record executives) reckoned I’d look much prettier. So I went straight to the barber and shaved the rest of my hair off.”

In other interviews, she delved deeper into her strive to be freed from the conventional. O’Connor had experienced sexual assault as a child, and sought to repel future advances by not fitting into the mold of standard beauty. She also expressed a desire to be successful in music because of her skill as a musician, not because of her marketability as a sexual object. By presenting herself without any artifice or glamor, O’Connor challenged the industry’s expectations for female performers. And naturally, critics reacted poorly.

Songs of Protest

O’Connor always declared herself as a protest artist, and acted accordingly. With influences like Bob Dylan, David Bowie, Bob Marley, Siouxsie and the Banshees and the Pretenders, it’s no surprise that her music followed suit. 

Sinead O’Connor wrote and performed several protest songs throughout her career. These songs often address social and political issues, challenge the status quo, and advocate for change. 

O’Connor’s debut is her most introspective album, raw and sometimes flailing from pad to pad. “The Lion and the Cobra” delves into themes of identity and self-exploration. O’Connor was in her early twenties at the time of its release, and the album reflects her search for self-identity and purpose. 

Despite her youth, you can see bits of weho she would grow into as an artist. Criticism of the church blooms in “Never Get Old” and “Drink Before the War.” “Mandinka” and “I Want Your (Hands on Me)” which touch on issues of sexual liberation and gender roles.

Meanwhile, album I Do Not Want What I Haven’t Got featured “Black Boys on Mopeds,” tackling the issue of police brutality and its impact on Black communities head-on. It was inspired by the case of Colin Roach, a young black man who died in a London police station in 1983.

Fittingly, a cover of “War” by Bob Marley also appears on this album. The song’s lyrics are adapted from a speech by Ethiopian Emperor, Haile Selassie I, towards the United Nations, in which he addressed issues of racial inequality and injustice.

Although not explicitly a protest song, the presence of traditional Irish song “I Am Stretched on Your Grave” on I Do Not Want What I Haven’t Got can be seen as an act of defiance toward English oppression, especially in light of when the monarchy did to try and stamp out Irish history. The song carries strong themes of love and loss, and O’Connor’s emotional rendition has made it a powerful and moving anthem.

1994’s Universal Mother features “Thank You for Hearing Me.”  Although not explicitly controversial, the song addresses themes of gratitude and connection. Some interpreted it as a veiled message to the public and media, given O’Connor’s history of public controversies and personal struggles.

“Take Off Your Shoes” from Faith and Courage deals with themes of faith, spirituality and personal transformation. While not overtly political, it reflects O’Connor’s journey through personal challenges and growth.

“The Wolf Is Getting Married” From her 2012 album How About I Be Me (and You Be You)? addresses themes of love, marriage and societal expectations. It can be interpreted as a protest against conventional norms and a call to embrace individuality.

Not to be confused with Hozier’s hit song of the same name, O’Connor released her own song titled “Take Me to Church” in 2014. The song addresses themes of love, faith, and desire. Some found the song’s content and title provocative due to their religious connotations.

Acts of Protest

While Sinead O’Connor is known for her protest songs which have made her a prominent figure in the realm of socially conscious and politically engaged artists, she was not all bark and no bite. 

As a mere 21-year-old on her U.S. debut, the Irish singer boldly made herself known on the 1988 Grammys stage by making her feelings known through fashion. 

She wore Public Enemy’s logo spray painted to the side of her head, in solidarity with their absence from the Grammys, notorious for its erasure and dismissal of rap. She also wore an article of baby clothing strapped to her own, in defiance of her label’s advice of the incompatibility of motherhood and a career. 

In 1992, O’Connor made another statement during a performance on “Saturday Night Live.” She wore a T-shirt with the words “Fight the real enemy” emblazoned on it, protesting against racism and inequality. At a time when discussions about racism were not as prevalent in popular culture as they are today, O’Connor used her appearance to shed light on these critical issues.

SNL is also the home of her most iconic act of protest. In the midst of her performance, she produced a photograph of Pope John Paul II, ripped it to shreds, and declared, “Fight the real enemy.” This audacious act was a protest against the Catholic Church’s handling of child abuse cases. It sparked outrage and condemnation from many, not ready to acknowledge the crimes covered up within the church. It earned O’Connor near universal scorn, and many pinpoint it as a sharp downturn in her career. Even years later, when she was proven beyond right by multiple news outlets, apologies rarely came her way. 

While not a traditional protest in the conventional sense, O’Connor’s openness about her struggles with mental health has been a crucial and ongoing form of advocacy. By sharing her experiences with bipolar disorder and depression, she has challenged the stigma surrounding mental health and inspired others to seek help and speak out about their own mental health challenges. 

Her courage has helped reduce the shame often associated with mental illness.

O’Connor’s notable protests throughout her career have not only showcased her fearlessness but have also brought important issues to the forefront of public discourse. 

In Conclusion

Whether challenging the music industry’s objectification of female artists, exposing child abuse within the Catholic Church, or advocating for racial equality and mental health awareness, O’Connor’s protests have left an indelible mark on both the music world and society at large. Her unwavering commitment to speaking out for change continues to inspire and challenge us to confront uncomfortable truths and take action for a better world.

O’Connor was a powerful artist that lived by her own mantras, whether they were in line with mainstream ideals or not. She was not a perfect person, but she was tactful in expressing her ideas through music, which sometimes landed her in hot water. 

People die every day, sometimes they die young – but the true tragedy is watching people ONLY come to terms with what they lost after it is too late to dive deep and express appreciation for the living. May this be yet another lesson O’Connor tried to teach us.