'I thought I was indestructible' : The Trials of Dolores O'Riordan
By Catherine O'Brien
Dolores O'Riordan enjoyed success with the Cranberries but it came at a high price. After years out of the limelight, she is back - but this time with no entourage and no fuss...
source : Mail Online
from 16:17 23 February 2008
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For anyone looking to restore their faith in the power of serendipity, the story of Dolores O'Riordan is a good place to start.
When she was 18, a girl at school told her about three boys in a band looking for a singer.
She met them and, within a week, they had written their first song together, called 'Linger.'
Barely a year later, it reached the U.S. top ten.
The Cranberries went on to have number-one singles in 26 countries and sell more than 40 million albums worldwide.
Dolores, a wisp of a woman with a hypnotic, powerhouse voice, was catapulted from the backwaters of Limerick to the global stage, becoming one of Ireland's richest women.
But then, almost as suddenly as she had appeared, she vanished.
Seven years of relentless touring and recording had led to a catastrophic breakdown.
She had therapy, recovered, had three children and focused on "just being anonymous".
In late 2005, just as Dolores was thinking of getting back to work, she took a call from the American actor Adam Sandler, who was directing and starring in a film called Click.
"'Linger' was one of his favourite songs, and he had this wedding scene in which he wanted me to perform in a cameo," she explains.
Her daughter Dakota was six months old at the time "and I was still nursing her, but I thought, 'I can't refuse'."
So she weaned Dakota, flew to Los Angeles and, from the moment she stepped on to the film set, "I enjoyed myself so much. It was like being called back".
Having fled the spotlight for so long it was a big step for Dolores to re-enter the fray with her debut solo album and accompanying world tour last year.
The difference this time, she says, is that she is doing it on her own terms.
"In a band, you are always rushing, working to schedules, feeling you are part of a package.
"Now I don't have to worry about anyone else - I can just be myself."
We meet in a plush Park Lane hotel in London. A decade ago, as part of the Cranberries, Dolores would probably have arrived with an entourage and conducted interviews in a lavish suite. Today, she is alone and happy to sit in a quiet corner of the lounge.
Up close you can see the subtle signs of her star status - lusciously layered hair, gleaming dentistry and a French manicure.
But at 36, she still has about her that fragile yet feisty air of the goth teenager who used to paint her nails black and pale her face with baby powder.
Her only jewellery is her wedding band.
"I don't like bling," she says.
"Don (her husband) bought me lots of jewellery, but it was just something else to stress about.
"When you have four bracelets, you constantly ask yourself, 'Which one shall I wear?' The easiest thing is not to wear any."
Her jeans and pumps are similarly understated.
"I was a fashion victim for a while, and I do love tailored clothes.
"But I don't feel I have to prove myself by wearing expensive stuff. What is important is what's in your heart."
To understand the ambitious, uber-cool yet at times crushingly insecure Dolores, you have to appreciate her earliest years, growing up in rural Ballybricken. Hers was a classic Irish Catholic childhood - convent education, Mass every Sunday and saint's day.
There was hardship - her father had suffered brain damage in a car crash two years before Dolores was born and never worked, so her mother toiled to pay the bills, childminding and doing housework by day, followed by shifts at a local factory at night.
As the youngest of seven - she has five brothers and one sister - Dolores had an attention-seeking, rebellious streak, but mostly she did what she was told.
She played the church organ, sang Gregorian chants and wasn't allowed to go to discos or wear make-up. "My mother had this notion of me becoming a nun," she recalls.
"But I was thinking rock star, and when I was 18, something inside me flipped. One day I ran away, and it broke my mother's heart."
Within weeks of leaving, she had hitched up with the Cranberries and was touring Ireland in an old bread van, before signing a jaw-dropping six-album deal, and travelling to America.
She shudders to think of how hard the wrench must have been for her mother.
"We made our peace a couple of weeks after I left, but I never moved back.
"You take your parents so much for granted, then later you're sorry for having been such a pain.
"I thought I knew it all.
"It was only when I got to my 30s that I realised I knew a lot less than I thought I did in my 20s."
They were heady days, and Dolores loved the songwriting and performing, but she admits to having been naive about what it is to be a celebrity.
"Fame is weird," she says. "You're just trying to be normal, but then you find yourself in the darkness."
The Cranberries toured with Suede and Duran Duran, before headlining around the world.
"We were on a massive high, but at the time you don't feel it because you're waking up at seven and a make-up artist is prodding you because you've got a magazine shoot at nine, and you're doing tour, album, tour, album, and it's like that every day."
She's not whingeing, just telling it as it was. And she blames no one but herself.
"I was a workaholic, like my mother. I could never say no."
She wasn't good with men - a factor she puts down to her relationship with her father.
"We have the best relationship now, but he had been emotionally absent when I was growing up.
"The car accident made him that way, but at the time I couldn't see that."
There were a couple of messy liaisons before, at 21, she met Don. He was Duran Duran's tour manager, a Canadian ten years her senior, and he showered her with love.
"To this day, if we're out to dinner, he'll take my coat, give me my chair, check out the menu for what I like. He's a real caregiver, so protective of me."
Dolores and Don married in 1994 in Tipperary - she famously wore a see-through dress - and spent their honeymoon camping in Galway.
"We only had five days before my next gig and I couldn't face staying in a hotel where everyone would recognise us, so we woke up the day after our wedding in a tent, hungover and starving," she grins.
"We had a gas stove, but no food, so I walked down to the village shop for a tin of beans and there I was, on all the front pages. I put my head down, grabbed the beans, and ran."
A year later she started having anxiety attacks - her limbs would seize up when she was about to go on stage or when she was with strangers.
She couldn't eat or sleep, and her weight plummeted to six stone.
Interviewers described her as moody and erratic, and speculated that she had anorexia.
In fact, she was just emotionally spent.
"When you have that sort of fame, you are bigger than your own self.
"I thought I was indestructible.
"It was only later, when I saw pictures of myself, that I realised how terrible I looked."
Beechy Colclough, psychotherapist to the stars (he has also counselled Elton John, Michael Jackson and Robbie Williams), proved to be her salvation.
"He made me feel that it wasn't me who was nuts, just the world around me.
"He said, 'It's your life. Stop being famous and get away.' So I did."
Taylor, now ten, was born a year after her breakdown.
"Having him gave me a whole new outlook on life."
He was followed by Molly, now seven, and Dakota, two.
The Cranberries made a couple more albums but other band members were starting families too, "and one of them had a seriously ill child and life took over".
Dolores and Don moved to Canada, to a log cabin home in Ontario.
"The Canadians are very grounded. I could take Taylor to school and sit in his class with a bunch of six-year-olds and just be Mum.
"I wasn't singing, wasn't performing, I had no website. And sometimes Don and I would go online and see all this banter on the unofficial sites, people asking 'Where is she?' But it was important to disconnect myself."
The one thing she never stopped, however, was writing songs.
Her album Are You Listening? is a collection of 12 tracks, plucked from more than 30, that reflect the highs and lows of her past decade. It is dedicated to Don's stepmother Denise, who died of cancer in 2004. She had been like a second mother to Dolores.
There are also ballads she has dedicated to her children, to Don and to her parents, and a blisteringly angry track entitled 'Loser'.
She's not identifying her 'loser', so we can only speculate whether the lyrics 'A two-watt light bulb is brighter than you/I'm sick and tired of people like you' are directed at the former nanny who tried, and failed, to sue her and Don over negligence and false imprisonment claims in 2004.
Dolores seems a woman who has achieved a hard-won equilibrium.
She and Don still have their log cabin, but their main home is now in Howth, Dublin, where Ronan Keating and other entertainment and media types are near neighbours. "This is practical for the children. We're part of the community.
"Life has changed so much for me, but I'm a normal mother, and one of the things I'm most proud of is that I'm giving my children their own normality."
She recalls an ex-boyfriend saying to her once that if she had children, she would stop being an artist.
"But you know, living my life through their lives is my inspiration. Your career goes up and down, but your family is for ever.
"Becoming famous skewed my perspective for a while, but, underneath it all, I always knew that."
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Dolores O'Riordan is back after years out of the lime light. The Cranberries' very first single, 'Linger,' charted the U.S. top ten and became an immediate pop standard.
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Are You Listening? is available on the Sanctuary label
We've posted some video of The Cranberries' astonishing surprise
one-off reunion (Fergal Lawler went missing) at Trinity College in Dublin from January of this year at our Celtic Music Group Site on imeem and there is more video in quality high def at Dolores O'Riordan's website.
Dolores was at Trinners on January 9th to pick up an honorary member- ship from the Philosophical Society and Noel Anthony Hogan and Michael Gerard Hogan showed up at the ceremony in support of their former band mate. They played a few songs from the old days and a couple from Dolores' more recent solo output, all told.

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Tannhauser is an opera in three acts, music and text by Richard Wagner, based on the two Germanic legends of Tannhauser and the song contest at Wartburg. Key themes are the struggle between sacred and profane love, and redemption through love—a theme running through almost all Wagner's mature work.
According to medieval German legend, Tannhauser is a knight and poet who found the Venusburg, the subterranean home of Venus, and spent a year there worshipping the goddess.
After leaving the Venusburg, Tannhauser is filled with remorse, and travels to Rome to ask Pope Urban IV if it is possible to be absolved of his sins. Urban replies that forgiveness is as impossible as it would be for his papal staff to blossom. Three days after Tannhauser's departure Urban's staff blooms with flowers; messengers are sent to retrieve the knight, but he has already returned to Venusburg, never to be seen again.
Algernon Swinburne's poem Laus Veneris published in 1866 explores the destructive power of Venus' love:
'Her little chambers drip with flower-like red, ...
Her gateways smoke with fume of flowers and fire,
With loves burnt out and unassuaged desires
Between her lips the steam of them is sweet
The languor in her eyes of many lyres... ...
Her beds are full of perfumes and sad sound,
Her doors are made with music, and barred round
With sighing and with laughter and with tears,
With tears whereby strong souls of men are bound.'
The legend of Tannhauser was made famous in modern times through Wagner's opera in 1845:
![]()
Opera by Wagner (libretto by composer), produced at Dresden on 19 October 1845. It was later revised for Paris, with bacchanale in the first act, and produced at the Opéra on 13 March 1861.
ACT I. Medieval Germany. In the Venusberg, magical mountain abode of Venus, the minstrel Tannhauser halfheartedly praises the goddess of beauty, who for more than a year has bestowed her love upon him. Venus promises greater revels when Tannhauser asks for his freedom, but she curses his hopes of salvation when he longs for the simple pleasures and pains of earthly life. In response he calls on the Virgin Mary, and the Venusberg vanishes.
Tannhauser finds himself in a sunny valley near the castle of the Wartburg, where passing pilgrims inspire him to laud the wonders of God. Horns announce the Landgrave Hermann and his knights, who recognize their long-lost comrade and invite him to the castle. One of them, Wolfram von Eschenbach, reminds Tannhauser that in the past his singing won the love of Elisabeth, the landgrave's beautiful niece. On hearing her name, Tannhuser embraces and joins his companions.
ACT II. In the Hall of Song in the Wartburg, Elisabeth hails the place where she first heard Tannhauser's voice. Wolfram reunites the happy pair, who sing God's praises. As guests arrive, the landgrave promises Elisabeth's hand to the winner of a contest of love songs. Wolfram delivers an idealized tribute to Elisabeth, whom he too has loved. Tannhauser, his soul still possessed by Venus, counters with a frenzied hymn to the pleasures of worldly love. Everyone is shocked, but Elisabeth protects Tannhauser from harm, securing her uncle's pardon for her beloved on the condition that he make a pilgrimage to Rome to seek absolution.
ACT III. Several months later, Wolfram discovers Elisabeth at evening prayer before a shrine in the Wartburg valley. She searches among approaching pilgrims for Tannhauser, but in vain. Broken, she prays to the Virgin to receive her soul in heaven. Wolfram, alone, asks the evening star to guide her on her way. Tannhauser now staggers in wearily to relate that despite his abject penitence, the Pope decreed he could as soon be forgiven as the papal staff could break into flower. The desperate man calls to Venus, but she vanishes when Tannhauser is reminded again by Wolfram of Elisabeth, whose funeral procession now winds down the valley. Tannhauser collapses, dying, by her bier. A chorus of pilgrims enters, recounting a miracle: the Pope's staff, which they bear forward, has blossomed.

Once more ye fair, flowery meadows I greet.
My Pilgrim's staff henceforth may rest
Since Heaven's sweet peace is within my breast.
The sinner’s ‘plaint on high was heard,
Accepted by the gracious Lord.
The tears I laid before His shrine
Are turned to hope and joy divine.
O Lord eternal praise be Thine!
The blessed source of Thy mercy overflowing
On souls repetant to seek Ye, all-knowing
Of hell and death, I have no fear
My gracious Lord is ever near.
Alleluia! Alleluia!
Eternally, Eternally.

Stories of the Wagner Opera
Works by H. A. (Hélène Adeline) Guerber
projectguttenberg.org
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