Even decades after the “SNL” controversy, O’Connor was still routinely asked by journalists if she regretted her actions, sidestepping the question of whether an apology was owed to her.
From that point on, whenever she sat with journalists, she talked about racism, sexism, child abuse and the music industry’s relentless focus on commercial success, though she rarely found a sympathetic ear. She also used awards shows to do the same, until she decided to forgo them altogether — another form of protest.
The retribution was swift and unforgiving. Her albums were steamrollered outside of her label’s offices in Rockefeller Center. On late night TV, O’Connor was turned into a punchline and a punching bag by, who bragged that he would have “gave her such a smack,” and by Phil Hartman, who joked about tearing up a photo of her supposed lookalike, Uncle Fester from “The Addams Family.
By singing and talking about things people often didn’t want to hear, O’Connor made it possible for others to confront their own shame and silencing.
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