September 20, 1992
Regarding "The Non-Material Girl," by Robert Hilburn (Sept. 6): Sinead O'Connor is the personification of what she condemns: material success and being obsessed with hair, clothes and makeup. Like her ideological ancestors, the hippies, O'Connor has chosen the safest form of rebellion--her appearance. If she truly wants to be daringly original, she should continue to sing beautifully, earn millions and become an advocate of capitalism, the only system that encourages the best in each of us. But whatever her musical talent, O'Connor's ideas are not original; the philosophy that material success is evil has been around for centuries.
February 12, 2005 |
Irish singer Sinead O'Connor says that after two years of retirement, she is returning to music -- but not the pop scene. "I want to at least aim my records at a more spiritualized market," she told the Irish music magazine Hotpress. O'Connor, best known for her song "Nothing Compares 2 U" and for shredding a picture of Pope John Paul II on "Saturday Night Live," announced her retirement two years ago. She said she wanted to concentrate on raising her children.
February 7, 1993
After reading "Ireland's Other Troubles" (Jan. 3), written by a former Irish lass herself, Kate O'Callaghan, I am now convinced that Catholicism has caused most of the ills of the modern world. As always, the burden of bearing and rearing a child falls on the woman. The great tragedy is, she cannot make the decision to control her life but must bow to outsiders--people who have not walked in her shoes but insist that it is their right to control her destiny. Why is life only sacred in the womb?
December 27, 2011
A roundup of entertainment headlines for Tuesday. Van Halen is planning a new tour. And in case you're worried, yes, David Lee Roth is back with the group. ( Los Angeles Times ) Tom Cruise still has it: "Mission: Impossible -- Ghost Protocol" was the big movie over the Christmas weekend. ( Los Angeles Times ) Arnold Schwarzenegger and Maria Shriver spent Christmas together with their kids. Whaaaaa? ( CNN ) A fake People magazine cover touting Taylor Lautner's coming out of the closet fooled a lot of people, including Russell Simmons.
February 14, 1988 |
* * * SINEAD O'CONNOR. "The Lion and the Cobra." Chrysalis/Ensign. This debut album from 21-year-old Irish singer Sinead (pronounced shin-AID) O'Connor demands attention. The nine songs here don't just sashay up and politely ask to be heard; they bowl you over. Sometimes for the wrong reasons. O'Connor is fond of dynamics and she loves to yell. That'd be just fine if she did so only at appropriate moments. No such luck.
March 31, 1991
I could not care less as to what Robert Van Winkle and Stanley Kirk Burrell think of one another or of any other subject. Their strictly commercial success reaped from the original achievements of other artists (Rick James, as well as Queen with Bowie) is indicative of our youth culture's low musical standards. The fact that these video-embellished circus acts have record deals thoroughly justifies Sinead O'Connor's contempt for an industry that packages art like McDonald's packages burgers.
January 20, 1991
Regarding Paul Grein's Jan. 6 article on the Grammys: It is ironic that in the late '60s and through the '70s, when the best and most creative hard rock/metal was being cranked out, the Grammys ignored it as though it did not exist. And now, in these times of musical Armageddon and lame, silly, stupid, tasteless, crap-bands such as Anthrax, Megadeth and Metallica, the Grammys are acknowledging hard rock/heavy metal as if it's a new dynamic force in music. Too late! The damage is done.
October 24, 1992
In his review of the concert to salute Bob Dylan ("Legacy Lost at Tribute to Dylan," Oct. 19), Robert Hilburn contradicts himself when he criticizes the other musicians on the show for not defending Sinead O'Connor's right to be heard after she was booed off the stage, presumably because she tore up a photo of the Pope during an appearance on "Saturday Night Live." Hilburn writes: "The surprise--in the context of a night designed to pay tribute to the man who had made rock a forum for ideas and debate--is that the rest of the musicians in the show let the crowd get away with silencing her . . . no one following her to the stage defended O'Connor's right to be heard or chastised the audience for its bullying tactics."