Viewers of Kathryn Ferguson’s fine new documentary about Sinéad O’Connor will be surprised by a strange omission.
Nothing compares named after O’Connor’s biggest hit, and at no time in the film do we hear a chord in her unforgettable version of Nothing compares 2 U.
We see clips and highlights from the song’s video, along with gently rolling tears that O’Connor spontaneously shed while filming, but with voice acting and no accompaniment.
The song was written by Prince, who passed away in 2016, and after some deliberation, his estate denied Ferguson permission to use the song.
Talk to American Music Magazine Billboards, Prince’s half-sister Sharon Nelson gave an explanation. “Nothing compares to the live version of Prince with Rosie Gaines,” she said. “I do not feel [O’Connor] deserved to use the song my brother wrote in her documentary, so we declined. His version is the best.”
In believing this, Nelson may be one of the few because while Prince threw the song away for a side project, and then recorded the rather gimmicky live version, Sinéad’s song did and remains one of the most engaging vocal pop interpretations of all time.
“As far as I’m concerned, it’s my song,” she said New York Times last year. It really should be, so why are sour grapes from Prince’s estate where so many other dishes are used?
It is perhaps no coincidence that real estate is subletting a live version of Nothing compares 2 U in November as part of a larger project, but Ferguson’s decision not to collaborate with the documentary goes deeper than that.
When Prince died suddenly in 2016, he had no children and left no will. This means that his full sister, Tyka Nelson, and 5 half-siblings will inherit his huge fortune. Its administration has been a controversial issue ever since.
When O’Connor released her brilliant memoir Remember last year, she described being summoned to a macabre mansion in Hollywood to be in an audience with the Prince, whom she often refers to as “Ol’s ‘soft cuffs'”.
There, he chastised her for swearing in interviews and berating his housekeeper for not serving the soup she didn’t want in the first place. He then insisted on a pillow fight and hit her with something solid he had sneaked into. “He wasn’t playing at all,” she realized.
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As she ran out of the house, Prince caught up with her in his car and ordered her to return to the mansion. Finally, she hid in a stranger’s driveway and rang the doorbell.
This baroque story was told in a 2021 interview with New York Times. Prince is the type of artist hailed as crazy in a good way, O’Connor said, “as in ‘you have to be crazy to be a musician.’ But there’s a difference between being crazy and being crazy.” violent abusers of women.” The legacy of the late musician cannot fail to leave its mark.
But their subsequent decision to keep the song seemed petty, especially in the context of a documentary that largely demonstrates O’Connor’s social and political views with the benefit of hindsight. , and made some of her detractors look rather stupid.
When O’Connor, who was not interested in jing music, insisted that the US national anthem not be played before her concerts during her 1990 tour, much outrage ensued.
Frank Sinatra claimed she should be kicked, MC Hammer did a great job buying her a plane ticket back to Ireland and agitated patriots absorbed piles of her albums outside the company. her recording. O’Connor put on a wig and glasses and joined the crowd.
Things took a turn for the worse when she tore a picture of Pope John Paul II on Saturday night live in 1992 and all hell broke loose. In the documentary, actor Joe Pesci, who seems to have confused himself with his character from Goodfellasswagger around Saturday night live insulted O’Connor and threatened to hit her. It’s not a pretty look.
The common perception is that in that ‘moment of madness’, O’Connor has ignited a great musical career, but she seems to know exactly what she’s doing. That photograph of the Pope was of her late mother, and for O’Connor and many others in this country, the Catholic Church is a trusted source of misery.
“Everybody wants to be a pop star,” she wrote in her memoir. “But I am a protest singer. I just got something to take off my boobs. I have no desire to be famous. “
It is said that when O’Connor’s version of Nothing compares 2 U At No.1, she cried – and not from happiness. The musical life she had planned for herself suddenly turned into something much larger and more difficult to manage. “I feel that the #1 record has derailed my career, and my tearing up the photo has put me back on track,” she wrote.
Regarding that song, Ferguson’s documentary is not diminished by its absence for the simple reason that every note of O’Connor’s version is etched in our heads.
https://www.independent.ie/entertainment/movies/nothing-compares-did-you-miss-this-vital-detail-at-the-end-of-the-sinead-oconnor-documentary-42057814.html Nothing compares: Did you miss this crucial detail at the end of the Sinéad O’Connor documentary?