{"id":1834,"date":"2018-12-06T17:17:04","date_gmt":"2018-12-06T17:17:04","guid":{"rendered":"http:\/\/blog.richmond.edu\/parsons\/?p=1834"},"modified":"2018-12-06T17:17:04","modified_gmt":"2018-12-06T17:17:04","slug":"arachnophonia-mus-235-edition-the-hidden-story-behind-sinead-oconnors-nothing-compares-2-u","status":"publish","type":"post","link":"https:\/\/blog.richmond.edu\/parsons\/2018\/12\/arachnophonia-mus-235-edition-the-hidden-story-behind-sinead-oconnors-nothing-compares-2-u\/","title":{"rendered":"Arachnophonia &#8211; MUS 235 Edition:  The Hidden Story Behind Sinead O&#8217;Connor&#8217;s &#8220;Nothing Compares 2 U&#8221;"},"content":{"rendered":"<p><strong>Editor\u2019s note:<\/strong> <em><a href=\"https:\/\/blog.richmond.edu\/parsons\/tag\/arachnophonia\/\" rel=\"noopener\" target=\"_blank\">Arachnophonia<\/a> is a regular feature on our blog where members of the UR community can share their thoughts about resources from the <a href=\"https:\/\/library.richmond.edu\/music\/index.html\" rel=\"noopener\" target=\"_blank\">Parsons Music Library<\/a>\u2018s collection.<\/p>\n<p>This special edition of <a href=\"https:\/\/blog.richmond.edu\/parsons\/tag\/arachnophonia\/\" rel=\"noopener\" target=\"_blank\">Arachnophonia<\/a> features contributions from students in <a href=\"https:\/\/music.richmond.edu\/faculty\/jlove\/\" rel=\"noopener\" target=\"_blank\">Dr. Joanna Love<\/a>\u2018s MUS 235 class: \u201cI Want My MTV: Music Video and the Transformation of the Music Industry.\u201d<\/p>\n<p>All links included in these posts will take you to either the <a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=583246\" rel=\"noopener\" target=\"_blank\">library catalog record(s)<\/a> <a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=1665420\" rel=\"noopener\" target=\"_blank\">for the item(s) in question<\/a> or to <a href=\"http:\/\/www.sinead-oconnor.com\/\" rel=\"noopener\" target=\"_blank\">additional relevant<\/a> <a href=\"http:\/\/www.princevault.com\/index.php?title=Nothing_Compares_2_U\" rel=\"noopener\" target=\"_blank\">information from<\/a> <a href=\"https:\/\/en.wikipedia.org\/wiki\/Sin%C3%A9ad_O%27Connor\" rel=\"noopener\" target=\"_blank\">around the web<\/a>.<br \/>\nToday\u2019s installment of <a href=\"https:\/\/blog.richmond.edu\/parsons\/tag\/arachnophonia\/\" rel=\"noopener\" target=\"_blank\">Arachnophonia<\/a> is by MUS 235 student Cory and features a look at the story behind Sin\u00e9ad O&#8217;Connor&#8217;s 1990 version of the song <a href=\"https:\/\/en.wikipedia.org\/wiki\/Nothing_Compares_2_U\" rel=\"noopener\" target=\"_blank\">&#8220;Nothing Compares 2 U&#8221;<\/a>, <a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=583246\" rel=\"noopener\" target=\"_blank\">which was written by Prince in 1985<\/a>.  Thanks, Cory!<\/em><\/p>\n<p><strong><a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=1665420\" rel=\"noopener\" target=\"_blank\">The Hidden Story Benhind Sinead O&#8217;Connor&#8217;s &#8220;Nothing Compares 2 U&#8221;<\/a><\/strong><\/p>\n<div id=\"attachment_1835\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1835\" src=\"https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/image.jpg?resize=500%2C432\" alt=\"Sinead O&#039;Connor - Nothing Compares 2 U \" width=\"500\" height=\"432\" class=\"size-full wp-image-1835\" srcset=\"https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/image.jpg?w=500&amp;ssl=1 500w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/image.jpg?resize=300%2C259&amp;ssl=1 300w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/image.jpg?resize=347%2C300&amp;ssl=1 347w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><p id=\"caption-attachment-1835\" class=\"wp-caption-text\">Sinead O&#8217;Connor &#8211; Nothing Compares 2 U , cover of CD single (1990)<\/p><\/div>\n<p><a href=\"https:\/\/www.allmusic.com\/artist\/sin%C3%A9ad-oconnor-mn0000756180\" rel=\"noopener\" target=\"_blank\">Sin\u00e9ad O\u2019Connor<\/a> opens her 1990 hymn to loneliness by counting the time since her lover left, \u201cIt\u2019s been seven hours and fifteen days.\u201d Almost 29 years later, O\u2019Connor has finally stopped counting. In 2015, O\u2019Connor decided to stop performing her classic song \u201cNothing Compares 2 U\u201d in concert, writing on her Facebook page that the song no longer represented her. <a href=\"https:\/\/www.newyorker.com\/culture\/sarah-larson\/nothing-compares-2-sinead\" rel=\"noopener\" target=\"_blank\">\u201cAfter twenty-five years of singing it, nine months or so ago I finally ran out of anything I could use in order to bring some motion to it.\u201d<\/a>  This lack of identification might be understandable, as the song was never O\u2019Connor\u2019s to begin with. <\/p>\n<p>\u201cNothing Compares 2 U\u201d was intended for <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Family_(band)\" rel=\"noopener\" target=\"_blank\">The Family<\/a>, a band formed by <a href=\"https:\/\/en.wikipedia.org\/wiki\/Prince_(musician)\" rel=\"noopener\" target=\"_blank\">Prince<\/a> in 1984, and was released on their <a href=\"https:\/\/www.allmusic.com\/album\/the-family-mw0001882542\" rel=\"noopener\" target=\"_blank\">self-titled 1985 album<\/a>. The song was not released as a single, and the album bobbed around on the Billboard R&#038;B Chart. While <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Family_(band)\" rel=\"noopener\" target=\"_blank\">The Family<\/a> was a favorite of Prince fans, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Nothing_Compares_2_U\" rel=\"noopener\" target=\"_blank\">\u201cNothing Compares 2 U\u201d<\/a> received little recognition. The song was offered to a young Irish singer, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Sin%C3%A9ad_O%27Connor\" rel=\"noopener\" target=\"_blank\">Sin\u00e9ad O\u2019Connor<\/a>, fresh off releasing her first album. O\u2019Connor embraced \u201cNothing Compares 2 U\u201d in her own style, and it would end up introducing the artist to a massive global audience.<\/p>\n<p>The song would take O\u2019Connor from her home in Ireland to an iconic music video in the neighborhoods of Paris to throwing fists in Prince\u2019s driveway at 5am. For many, \u201cNothing Compares 2 U\u201d represents a relic of 1990s love and longing, <a href=\"http:\/\/[link: https:\/\/www.youtube.com\/watch?v=QmqMxFGmKr4].\" rel=\"noopener\" target=\"_blank\">but in 2014, O\u2019Connor would claim that Prince physically attacked her over a disagreement during a visit to his Hollywood home<\/a>.  The story behind the song was vastly different than the one viewers came to associate with O\u2019Connor\u2019s bold yet peaceful imagery. <\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/0-EF60neguk\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><br \/>\nOfficial music video of O&#8217;Connor&#8217;s version of &#8220;Nothing Compares 2 U&#8221; <\/p>\n<p>Nearly 29 years after its release, \u201cNothing Compares 2 U\u201d is a song that does not quite belong to O\u2019Connor. While the song served as Bel Canto 101 for the world, a cry to find oneself in the midst of heartbreak, O\u2019Connor never completely found herself in the the music. O\u2019Connor has continued to search for herself through the years, living into the controversies that surround her. <a href=\"https:\/\/www.npr.org\/2018\/10\/26\/660961507\/sin-ad-oconnor-announces-conversion-to-islam-assuming-new-namehttps:\/\/www.npr.org\/2018\/10\/26\/660961507\/sin-ad-oconnor-announces-conversion-to-islam-assuming-new-name\" rel=\"noopener\" target=\"_blank\">Only weeks ago, O\u2019Connor announced her conversion to Sunni Islam, adopting the name Shuhada\u2019 Davitt, moving one step further along in a process of self-discovery<\/a>. <\/p>\n<p>The <a href=\"https:\/\/library.richmond.edu\/music\/index.html\" rel=\"noopener\" target=\"_blank\">Parsons Music Library<\/a> contains two parts of this story in its collection. In 1993, <a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=583246\" rel=\"noopener\" target=\"_blank\">Prince released his own version of \u201cNothing Compares 2 U\u201d on <em>Hits\/the B-Sides<\/em><\/a>.  While this album is easily accessible on Spotify, it\u2019s worth a trip to the Library\u2019s CD collection to take a glimpse at the album itself. Flip open the first few pages of the liner notes, and the throwing-fists-in-the-driveway story gains credulity.<\/p>\n<div id=\"attachment_1838\" style=\"width: 594px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1838\" src=\"https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?resize=584%2C566\" alt=\"Prince - Hits\/ the B Sides \" width=\"584\" height=\"566\" class=\"size-large wp-image-1838\" srcset=\"https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?resize=1024%2C993&amp;ssl=1 1024w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?resize=300%2C291&amp;ssl=1 300w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?resize=768%2C745&amp;ssl=1 768w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?resize=309%2C300&amp;ssl=1 309w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?w=1453&amp;ssl=1 1453w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Hits-B-Sides.jpg?w=1168 1168w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\" \/><p id=\"caption-attachment-1838\" class=\"wp-caption-text\">Excerpt from liner notes to Prince&#8217;s Hits\/the B Sides<\/p><\/div>\n<p>\u201cWhen Sinead O\u2019Connor took Nothing Compares 2 U to the top of the charts in 1988, Prince was damn near obliged to perform it himself\u2026 leaving no doubt whose song it was.\u201d Fair enough. On <em><a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=583246\" rel=\"noopener\" target=\"_blank\">Hits\/The B-Sides<\/a><\/em>, the song feels completely Prince. The song is performed live, it\u2019s sensuous, and it has gentle echoes of <em><a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=551799\" rel=\"noopener\" target=\"_blank\">Purple Rain<\/a><\/em>. There\u2019s a trumpet solo. <a href=\"https:\/\/en.wikipedia.org\/wiki\/Rosie_Gaines\" rel=\"noopener\" target=\"_blank\">Rosie Gaines<\/a> contributes her vocals, telling a story in a way that one person just can\u2019t do alone.<\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/QqjCmHouxJI\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Prince\u2019s take on \u201c<a href=\"https:\/\/www.youtube.com\/embed\/QqjCmHouxJI\" rel=\"noopener\" target=\"_blank\">Nothing Compares 2 U<\/a>\u201d speaks to a level of artistry that only Prince could embody. Everything about the song is lush and performative. While the vocals yearn for the personal, there is a feeling that the song is still far beyond its listener. The song belongs near the center of a concert, capturing a feeling both grand and ethereal. It\u2019s hard for me to imagine this version being excerpted on the radio or in coaxed into a short music video.<\/p>\n<p>The song belonged to Prince, but it was a song that Sin\u00e9ad O\u2019Connor would succeed at first. There\u2019s one more part of this story, one which Marcy Rose Chvasta finds related to Sin\u00e9ad O\u2019Connor\u2019s body. <em><a href=\"https:\/\/librarycat.richmond.edu\/vwebv\/holdingsInfo?&#038;bibId=1665420\" rel=\"noopener\" target=\"_blank\">Political Rock<\/a><\/em>, available in the Parsons Music Library, offers a collection of critical essays on politically linked recording artists from Peter Gabriel to Pearl Jam.  While O\u2019Connor has been rooted in the political since the beginning of her artistry, Chvasta\u2019s chapter looks to probe a little deeper. For a singer so deeply connected to the authenticity of Bel Canto, how should we handle an O\u2019Connor who no longer feels authentic to the work and person she began with?<\/p>\n<div id=\"attachment_1841\" style=\"width: 344px\" class=\"wp-caption aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-1841\" src=\"https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Political-Rock-Book-1.jpg?resize=334%2C499\" alt=\"Political Rock Book\" width=\"334\" height=\"499\" class=\"size-full wp-image-1841\" srcset=\"https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Political-Rock-Book-1.jpg?w=334&amp;ssl=1 334w, https:\/\/i0.wp.com\/blog.richmond.edu\/parsons\/files\/2018\/12\/Political-Rock-Book-1.jpg?resize=201%2C300&amp;ssl=1 201w\" sizes=\"auto, (max-width: 334px) 100vw, 334px\" \/><p id=\"caption-attachment-1841\" class=\"wp-caption-text\">Political Rock Book cover (2013)<\/p><\/div>\n<p>Chvasta writes that Sin\u00e9ad O\u2019Connor brought \u201cNothing Compares 2 U\u201d to life because she found a way to give a body to the performance. O\u2019Connor\u2019s iconic music video absolutely arrested audiences across the world \u2014 and the reason why had everything do with flesh. <a href=\"https:\/\/www.youtube.com\/embed\/0-EF60neguk\" rel=\"noopener\" target=\"_blank\">In a music video running just over 5 minutes in length, O\u2019Connor found a way to render Prince\u2019s soaring song as something both intimate and worth screaming along to in the middle of the winter of 1990<\/a>.  O\u2019Connor did so with her body \u2014 the music was personified through O\u2019Connor\u2019s attachment of loneliness to her physical frame. <\/p>\n<p>As O\u2019Connor has moved on from \u201cseven hours and fifteen days,\u201d Chvasta notes that O\u2019Connor has sometimes defined her popularity in relative proximity to the song. It was \u201cNothing Compares 2 U\u201d that was popular, not necessarily O\u2019Connor. The song becomes a story of O\u2019Connor\u2019s body, in a certain place and time, a forcible societal imagination of O\u2019Connor as a permanently androgynous 20-something wandering around Parc de Saint-Cloud. As O\u2019Connor has aged, she has aged out of this song, \u201cher\u201d song, due to an unstable and unreliably political body.<\/p>\n<p>The O\u2019Connor of today can\u2019t quite be pinned down, and that\u2019s a good thing \u2014 it is not the place of a 1990 hit song to define a career. Chvasta notes that O\u2019Connor\u2019s body and artistry are dangerous because of what they are not: lacking in eroticism, narcissism, and self-indulgence, this duality could not be popularly sustained. As an unwieldy body, O\u2019Connor moved in directions far from her youth, and far from a place \u201cNothing Compares 2 U\u201d could ever relate to.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Editor\u2019s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library\u2018s collection. This special edition of Arachnophonia features contributions from students in Dr. Joanna &hellip; <a href=\"https:\/\/blog.richmond.edu\/parsons\/2018\/12\/arachnophonia-mus-235-edition-the-hidden-story-behind-sinead-oconnors-nothing-compares-2-u\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2182,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[61217,15223,15236],"tags":[61217,76176,92834,92872,92869,37985,15282,61206,92824,92870,35898,92871],"class_list":["post-1834","post","type-post","status-publish","format-standard","hentry","category-arachnophonia","category-collection","category-guest-post","tag-arachnophonia","tag-mus-235","tag-musicology","tag-new-power-generation","tag-nothing-compares-2-u","tag-pop-music","tag-poprock","tag-prince","tag-public-musicology","tag-sinead-oconnor","tag-students","tag-the-family"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/pgMV3E-tA","jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/posts\/1834","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/users\/2182"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/comments?post=1834"}],"version-history":[{"count":0,"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/posts\/1834\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/media?parent=1834"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/categories?post=1834"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.richmond.edu\/parsons\/wp-json\/wp\/v2\/tags?post=1834"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}