On the 26th of July, famous Irish singer Sinéad O’Connor passed away in her South London flat at the age of 56. Liberal Ireland’s muse for the past 30 years, O’Connor accumulated quite the expansive record as a progressive activist, using her fame for duplicitous purposes, such as abortion advocacy.
She is known to have suffered from mental health problems, and has previously had substance abuse problems, for which she was enrolled in a trauma and addiction rehabilitation programme as recently as 2020. To make matters worse, last year, O’Connor’s 17-year-old son tragically committed suicide.
Irish media outlets and international celebrities have come out of the woodworks to label O’Connor everything from a ‘warrior queen’, to an ‘iconoclast’ or a ‘trojan princess’ since the announcement of her death. RTE’s own Ryan Tubridy has even used O’Connor’s recent death to garner public sympathy in hopes it may distract the public mind from the ongoing RTE payments debacle by claiming that ‘she offered [him] her spare room in [her] new flat if [he] needed a safe haven’ at the height of the scandal.
Muslims in Ireland are now taking this as a chance to offer O’Connor an Islamic funeral for the sake of a cynical PR move as the Irish Muslim Council seeks to thaw its relationship with the Irish public.
However, amidst these shameless displays of faux interest from celebrities and newspapers, the famous singer Morrissey has published a scathing criticism of disingenuous media carry-on in light of Sinéad O’Connor’s death, saying:
‘You praise her now ONLY because it is too late. You hadn’t the guts to support her when she was alive and she was looking for you. The press will label artists as pests because of what they withhold … and they would call Sinead sad, fat, shocking, insane … oh but not today! Music CEOs who had put on their most charming smile as they refused her for their roster are queuing-up to call her a “feminist icon”, and 15 minute celebrities and goblins from hell and record labels of artificially aroused diversity are squeezing onto Twitter to twitter their jibber-jabber … when it was YOU who talked Sinead into giving up … because she refused to be labelled, and she was degraded, as those few who move the world are always degraded. Why is ANYBODY surprised that Sinéad O’Connor is dead? Who cared enough to save Judy Garland, Whitney Houston, Amy Winehouse, Marilyn Monroe, Billie Holiday? Where do you go when death can be the best outcome? Was this music madness worth Sinead’s life? No, it wasn’t.’
A mentally unwell young woman, with nascent artistic fame, swept up in the currents of a social movement whose consequences she could not understand, Morrissey’s statement rings truer than liberals care to realise: ‘Why is ANYBODY surprised that Sinéad O’Connor is dead?’
Conveniently forgotten and thrown by the wayside when it suited pompous journalists and selfish music executives to do so, O’Connor was abandoned by a society which no longer found interest in her as progressives moved on, towards focusing on other categories of so-called ‘marginalised peoples.’
The artists profession comes with exposure to human vice, but O’Connor was a particularly vulnerable person owing to her traumatic experience of physical and sexual abuse as a child. The mental instabilities caused by these unresolved traumas left on her an impressionable, anxious, and naive disposition as a young woman.
Liberal societies extol the value of ‘tolerance’ as a virtue in of itself, but perhaps, in the case of Sinéad O’Connor, tolerance only did her more harm – encouraging self-destructive behaviour and giving her the platform to communicate such ideas to a responsive Irish youth.
Would a society who valued morality and the well-being of its members allow a young traumatised woman to so publicly degrade herself, in attention-seeking displays of controversy which could only indicate an internal desire for help? On national broadcasters, should young women like Sinéad O’Connor be allowed to damage their minds, bodies, and souls for public entertainment? Allowing such people to remain in the media spotlight for the sake of studio albums, and concert ticket sales is a deeply immoral act, at which most journalists wouldn’t bat an eye.
Tolerance, then, ought not to be heralded as the quintessential virtue of our society, as such a position has only wreaked havoc on the lives of otherwise innocent people, exposing them to socially corrosive concepts in an environment which does not warn of their danger.
O’Connor was mentally unwell at the beginning of her career, with various residual signs of mental trauma, and was drawn towards the “liberating” message of the anti-Catholic counter-culture of the ‘90s.
Perhaps most well-known today for her social activism and her bouts of mentally instability, Sinéad O’Connor has wavered from extreme to extreme throughout her life, beginning in 1992 as an abortion rights activist, speaking in support of abortion amidst the scandal of the X-case, and infamously tearing up a photo of Pope John Paul II on Saturday Night Live, saying to the camera: ‘We have confidence in the victory of good over evil. Fight the real enemy.’
During Sinéad O’Connor’s time as an abortion advocate, she heinously dismissed the significance of miscarriages, and equated them to an abortion, saying: ‘I just believe that if a child is meant to be born it will be born. It doesn’t really matter whether you have an abortion or a miscarriage. The whole issue is pro-choice.’
Despite her activism for abortion, O’Connor later was ordained as a “traditional” priest for an “Independent Catholic Church” (i.e. not affiliated to the Roman Catholic Church) in 1999, by “Bishop” Michael Cox. In a surprising display of lucidity O’Connor was interviewed in 1999 defending her decision despite its contradictory nature to her character, by saying that there ought to be a connection between the traditions which a society holds dear, and the future as determined by the youth of an era.
In 2018, Sinéad O’Connor converted to Islam and changed her name to Shuhada’ Sadaqat.
As O’Connor dug herself deeper and deeper down the liberal rabbit hole, ascending to greater public notoriety through her attention-seeking behaviour, whether it be her shaved head or anti-Catholic statements, her mental state undoubtedly worsened as fewer restrictions were placed on her position in society and therefore formed a blind self-confidence in the things which she instinctively believed.
Contrary to the media’s harping following her death, Sinéad O’Connor is no model for Irish women and her actions must equally be scorned as much as we are sympathetic to her plight. Would any man tolerate his sister engaging in such self-destructive behaviour – much less help her achieve it? A young woman with severe childhood trauma ought not to be pushed to voice her grievances to the world and garner enough fame to be considered a role model for other impressionable young Irish women while she remains in an unstable state of mind, which it seems clear that O’Connor was for much of her career.
O’Connor embodies the worst of what social progressivism had to offer women, and may be heeded as a warning to Irish society as a whole: if social liberalism is not accosted with serious and appealing critiques, the youthful naivety of people like Sinéad O’Connor will continue to bolster the ranks of a diseased ideology, ruining the lives of its adherents.
Both the first victim of Irish liberalism and one of its most obsessed advocates, Sinéad O’Connor exhibited decisive influence in popularising social liberalism in Ireland, and irrespective of her mental impairments, is ultimately personally responsible for all the damage conveyed to the minds of the youth through her mouth-piece.
On June 5th, 1993, O’Connor published a poem in the Irish Times, apologising for her failure to appear at a Dublin concert in what is now the 3Arena. The following extract perhaps best surmises, in her own words, what is so explicitly a call for help – one which was, for 30 years, ignored by Irish society, celebrities, and media outlets.
‘It’s an accident that I got “famous”. But I think it proves that there
are a lot of people out there like me.
It is their pain, which they hear and see also in me — being expressed
which made them respond to that song or to my songs or my voice.
I represent a group of people.
Adult-Children we are called.
Those of us who have lost our childhoods.’
O’Connor’s tragic lifestyle is indicative of her status as an early victim, who projected her own issues, in part, onto Irish youth as a whole. Those liberal journalists who are using O’Connor’s death as an excuse to harp and extol the values of social progressivism, leniency, and tolerance ought to undergo a serious moral re-evaluation.
Ultimately, Sinéad O’Connor was a struggling young Irish woman with severe mental trauma, and in need of institutionalisation and professional therapy. Instead, RTE handed her a microphone, and the Irish Times gave her news coverage so that she could speak on their preferred social issue, whether it be feminism or abortion.