It’s All Over: Romantic Relationships, Endurance and Loyalty in the Songs of Northern Irish Politically-Motivated Prisoners

This article examines the issue of romantic relationships in the cultural production of politically-motivated prisoners during the recent Northern Irish conflict, with reference to two songs on the subject written by such prisoners: Sad Song for Susan, by republican Bobby Sands, and It's All Over, by an anonymous UDA detainee. I argue that, while most songs produced in this environment dealt with overtly political themes, the few that addressed romantic relationships also inculcated political and cultural norms, both for the prisoners and their partners. Moreover, these pieces shed light on broader ideological aspects of the respective paramilitary movement, the significance of prisoners within it and the mobilisation of broader community support around them, all of which heavily influenced cultural production. The article will contextualise how music was used to cope with and resist the demands of paramilitary imprisonment in Northern Ireland, as well as reinforce the imperatives of endurance and loyalty. I will then demonstrate that these norms were expressed in songs regarding romantic relationships, contributing to a cultural pressure upon prisoners' partners to mirror these values in the domestic sphere. Key Words. Republican, Loyalist, Prison, Songs, Gender, Emotions. Este articulo examina las relaciones sentimentales en la produccion cultural de los presos politicos durante el reciente conflicto en Irlanda del Norte, en referencia a dos canciones escritas por estos presos: Sad Song for Susan, escrita por el republicano Bobby Sands, y It's All Over, escrita por un detenido anonimo del UDA. Este articulo argumenta que, mientras que la mayoria de las canciones producidas en este entorno trataban temas abiertamente politicos, las pocas que abordaban relaciones sentimentales tambien incluian criterios politicos y culturales tanto para los presos como para sus parejas. Es mas, estos textos arrojan luz sobre aspectos ideologicos de amplio espectro en cada movimiento paramilitar, la importancia de los prisioneros en este ambito y la movilizacion de apoyo comunitario a su alrededor, todo lo cual influyo decisivamente en el contenido de estos productos culturales. El articulo contextualiza como la musica se usaba para lidiar con las exigencias de la prision paramilitar en Irlanda del Norte, asi como para fortalecer los imperativos de resistencia y lealtad. Se demostrara que estas normas fueron expresadas en canciones sobre relaciones sentimentales, contribuye