His second cousin, Danny Kinahan of Castle Upton, served as Member of Parliament for South Antrim between 2015 and 2017. In 1994 he was found to have had an affair with his children's 19-year-old Irish nanny, Maresa Morgan, who was assisting the family while de Burgh's wife Diane was recuperating in the hospital from a broken neck suffered during a horse-riding accident. De Burgh later said he felt very guilty about the affair and subsequently reconciled with his wife. In 2011 bottles from de Burgh's vintage wine cellar sold for over $500,000, including a world record set for a magnum collection of postwar vintages. De Burgh has a noted interest in war history, especially that of the First and Second World Wars. His songs contain numerous references to soldiers and battle, and in 2006 he purchased a rare First World War letter written by an unknown soldier. De Burgh has said that he is "certainly a believer in Christ", but he has always had a deep distrust of organized religion. De Burgh believes in the power of spiritual healing as an alternative therapy to reduce pain. He claims that he has been able to heal people with his own hands and that he gained an "all-encompassing strength" that was contacted through prayer. Media profile During the 1970s, de Burgh received mainly positive feedback from the music press, as he attempted to build his career. However, since the release of "The Lady in Red", in 1986, both the music and news media have become significantly more negative towards him, both personally and professionally. De Burgh has pursued and won 16 defamation actions. The Irish Independent said he has always been a bit prickly about criticism. Peter Crawley, a theatre reviewer at The Irish Times, received a directed response from de Burgh when he wrote a less than sympathetic review of de Burgh's show in Dublin's Gaiety Theatre in September 2009. Crawley wrote: "He departs the stage for 'Lady in Red', invading boxes and draping himself over audience members ... Certain toes will never uncurl after this experience, but it is almost admirable how unaltered de Burgh has remained by the flow of time." In a lengthy, much-publicised reply to the critic, de Burgh made his feelings known, particularly in the postscript: AllMusic critic Greg Prato has stated: "Depending on who you ask, Chris de Burgh either specializes in pretentious, bombastic art