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    The Raw Art and Life of Sinead O’Connor

    Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicSinead O’Connor, who died recently at 56, had a complicated relationship to the spotlight, and to stardom. She revealed her most vulnerable self over and again, and was often chastised for it, but her direct expression of her personal truth also became one of her signature artistic achievements.But O’Connor was a signature musician, too — her first two albums were intimate, vividly intense and full of nimble and variegated singing. And she was an inventive covers artist too, often dismantling other performers’s songs until she’d unearthed their emotional core.On this week’s Popcast, a conversation about O’Connor’s unlikely pop fame, the musical corners she naturally gravitated toward, the ways in which her personal convictions intersected with her art, and the paths she followed once leaving the spotlight behind.Guests:Alfred Soto, who writes about music for Pitchfork, Billboard and othersAmanda Hess, a New York Times critic at largeConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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    Sinead O’Connor, Prince and the Thrill of ‘Nothing Compares 2 U’

    O’Connor, who was found dead this week, was catapulted to fame when she covered the song written by Prince on her sophomore album.Sinead O’Connor and Prince, passionate singer-songwriters who both died in their mid-50s, were tied together by the plaintive song “Nothing Compares 2 U,” which catapulted O’Connor to fame when she recorded it for her sophomore album.Prince had composed the song in 1984, deciding to give it to the Family, a side project featuring the singers Susannah Melvoin and Paul Peterson. But the track never gained much recognition when the band released its self-titled album in 1985.The response was considerably different when O’Connor, working with the Japanese jazz musician Gota Yashiki and the producer Nellee Hooper, recorded a stripped-down version for her 1990 album “I Do Not Want What I Haven’t Got.”“Nothing Compares 2 U” became a No. 1 hit in 17 countries, topped the Billboard Hot 100 for four straight weeks and helped win O’Connor a Grammy (which she later refused to accept). The track’s popular music video, featuring a close-up of O’Connor’s shaved head and piercing gaze, was itself nominated for a Grammy.“As far as I’m concerned, it’s my song,” O’Connor told The New York Times in 2021.Prince was pleased to see O’Connor’s version become so popular, Melvoin said in an interview this week.“When it hit and it was doing remarkably well, he had a big smile on his face about it.” Melvoin said. “He loved it. At one point later in his life, he was known to say, ‘Thank you for all the beautiful houses, Sinead.’”Peterson said he was so shocked when he first heard O’Connor’s cover over the car radio that he had to pull over.“I didn’t know who she was, and I felt like I had ownership in that song even though I didn’t write it,” he said in an interview. “So I think I was a little disappointed that our version didn’t get out there at the incredible rate that hers did.”At the same time, Peterson said, he feels thrilled that O’Connor’s cover has been so influential. “It’s incredible the amount of people’s lives that song has touched,” he said. “I was just thrilled to be a small part of that”Melvoin said Prince wrote the song both about herself and his housekeeper, Sandy Scipioni, who left the role after her father died. Melvoin and Prince had been intimately involved for years, she said, but were encountering difficulties in their relationship when he wrote “Nothing Compares 2 U.”It took only a short time for Prince to draft the song at his Eden Prairie warehouse studio, Susan Rogers, Prince’s sound engineer, said in Duane Tudahl’s book “Prince and the Purple Rain Era Studio Sessions.”“I was amazed how beautiful it was,” Rogers told Tudahl. “He took his notebook and he went off to the bedroom, wrote the lyrics very quickly, came back out and sang it.”O’Connor wrote in her memoir, “Rememberings,” that she felt a particular resonance with the lines, “All the flowers that you planted Mama/In the backyard/All died when you went away.”“Every time I perform it, I feel it’s the only time I get to spend with my mother and that I’m talking with her again,” wrote O’Connor, who was 18 when her mother died in a car crash. “There’s a belief that she’s there, that she can hear me and I can connect to her.”Although “Nothing Compares 2 U” was vital to O’Connor’s career, she grew conflicted about Prince, writing in her memoir about a distressing encounter at his Los Angeles residence.They had first met at a club around the time of O’Connor’s debut album in 1987, she wrote, but did not interact again until after her version of “Nothing Compares 2 U” became a hit in America.When O’Connor arrived at Prince’s residence, she wrote, the singer criticized her for swearing in interviews. Prince then suggested the two engage in a pillow fight, she wrote, and began hitting her with a pillowcase containing a pillow and some hard object.O’Connor fled and Prince pursued her in his car, she wrote, until she escaped to a nearby home. (A spokeswoman for Prince’s estate did not respond to requests for comment.)“I never wanted to see that devil again,” O’Connor wrote. More

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    10 Essential Songs by Sinead O’Connor

    Her catalog is full of raw passion and raw nerve.Sinead O’Connor did not hold back. Not her voice, not her ideas, not her troubles, not her rage, not her sorrows, not her faith. From the moment her debut album, “The Lion and the Cobra,” appeared in 1987, O’Connor — whose death was announced on Wednesday — flaunted raw passion and raw nerve.She seemed equally startling, at first, for her keening voice and her shaven head. Her singing encompassed cathartic extremes: lullabies and imprecations, sighs and howls. She made bold, intemperate public statements, like famously tearing up a photograph of the pope on “Saturday Night Live” in 1992. Yet her songs also offered comfort, nurturing and righteousness; she was an idealist, not a provocateur. And she struggled openly: with the music business, with unforgiving journalists, with career pressures and with mental illness.O’Connor was emphatically Irish. The inflections of old Celtic music sharpened her voice, and she was shaped by her Catholic upbringing, if only to later reject it. Yet she was anything but provincial. She produced her own debut album when she was only 20, drawing already on punk, dance music, electronics and seething orchestral arrangements. She would go on to work with reggae, big-band music and more; her voice, even at its gentlest, could leap out.O’Connor’s first two albums were her most inspired ones. They were charged with youthful turbulence and unbridled ambition, as O’Connor sang about love, death, power and making her own place in the world. She went through some fallow patches afterward, but she never stopped striving to sing her own truth.‘Mandinka’ (1987)With a distorted, three-chord rock stomp, O’Connor brashly announces, “I don’t know no shame/I feel no pain,” landing hard on dissonant notes. The song seesaws between refusal and acceptance, with a final tease of “Soon I can give you my heart.” But O’Connor also flexes her high notes in nonsense syllables that are as defiant as any word she sings.‘Troy’ (1987)One side of a lover’s quarrel unfurls across an operatic six and a half minutes, backed by a string ensemble that underlines every churning emotion: memories, accusations, confessions, vows, pleas, warnings and the sheer desperation when O’Connor sings, “Does she hold you like I do?” followed by a howl of pain.‘I Want Your (Hands on Me)’ (1987)Chattering, percussive funk carries this call for physical pleasure, and as she bounces her voice against the syncopated beat, O’Connor summons unabashed rasps and moans.‘Nothing Compares 2 U’ (1990)O’Connor’s commercial peak — a No. 1 pop single — thoroughly commandeered a song Prince wrote for a 1985 album by the Family. She makes her voice small and bereft, then lashes out at consolations; she places Celtic turns at the ends of phrases. And she brings crucial changes to Prince’s melody, making upward leaps when the chorus gets to the line “Nothing compares to you.” Its video clip — almost entirely a close-up of O’Connor’s face against a black background — forged an indelible image of loneliness.‘I Am Stretched on Your Grave’ (1990)A hip-hop beat backs an old Irish poem that was translated into English and turned into a song. Its narrator mourns the death of his lover, wishing to join her. O’Connor’s voice, completely exposed over the stark rhythm track, is otherworldly. A fiddle arrives near the end, completing the mesh of traditional and contemporary.‘The Last Day of Our Acquaintance’ (1990)The formal mechanics of a divorce — “I will meet you later in somebody’s office” — can’t contain the bitterness of the situation. For most of the song, O’Connor sings over two calmly strummed acoustic guitar chords, but agitation rises in her voice, and when a band eventually kicks in behind her there’s no mistaking her fury.‘You Made Me the Thief of Your Heart’ (1994)This incantatory rocker was written by Bono, Gavin Friday and Maurice Seezer for the film “In the Name of the Father.” If it sounds like O’Connor fronting 1990s U2 — with a pealing piano and an implacable beat — it draws the best from both, with U2’s echoey depths, O’Connor’s primal peaks and the high-stakes dynamics they both thrived on.‘This Is to Mother You’ (1997)O’Connor promises to “do what your own mother didn’t do” in a song that radiates kindliness and womanly strength. It’s a folky, Celtic-tinged lullaby that promises to end a dark back story, to release someone — perhaps a lover, as the video suggests — from “All the pain that you have known/All the violence in your soul.” It’s pure unselfish comfort.‘Jealous’ (2000)“I don’t deserve to be lonely just ’cause you say I do,” O’Connor insists in “Jealous,” a not-quite-breakup ballad she wrote with Dave Stewart of Eurythmics. The beat is measured. But the singer’s partner is keeping her dangling, and she’s not sure what she wants either; she makes her harshest judgments in her most fragile voice.‘Dense Water Deeper Down’ (2014)The folk-rock jubilation of “Dense Water Deeper Down” — with muscular guitar strumming, layered harmonies, even some happy horns — celebrates a lover who “makes me forget everything my mother warned.” There’s just one catch: He’s only a memory. More

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    Sinead O’Connor, Evocative and Outspoken Singer, Is Dead at 56

    She broke out with the single “Nothing Compares 2 U,” then caused an uproar a few years later by ripping up a photo of Pope John Paul II on “S.N.L.”Sinead O’Connor, the outspoken Irish singer-songwriter known for her powerful, evocative voice, as showcased on her biggest hit, a breathtaking rendition of Prince’s “Nothing Compares 2 U,” and for her political provocations onstage and off, has died. She was 56.Her longtime friend Bob Geldof, the Irish musician and activist, confirmed her death, as did her family in a statement, according to the BBC and the Irish public broadcaster RTE.“It is with great sadness that we announce the passing of our beloved Sinead,” the statement said. “Her family and friends are devastated and have requested privacy at this very difficult time.” No other details were provided.Recognizable by her shaved head and by wide eyes that could appear pained or full of rage, Ms. O’Connor released 10 studio albums, beginning with the alternative hit “The Lion and the Cobra” in 1987. She went on to sell millions of albums worldwide, breaking out with “I Do Not Want What I Haven’t Got” in 1990.That album, featuring “Nothing Compares 2 U,” a No. 1 hit around the world and an MTV staple, won a Grammy Award in 1991 for best alternative music performance — although Ms. O’Connor boycotted the ceremony over what she called the show’s excessive commercialism.Ms. O’Connor rarely shrank from controversy, though it often came with consequences for her career.In 1990, she threatened to cancel a performance in New Jersey if “The Star-Spangled Banner” was played at the concert hall ahead of her appearance, drawing the ire of no less than Frank Sinatra. That same year, she backed out of an appearance on “Saturday Night Live” in protest of the misogyny she perceived in the comedy of Andrew Dice Clay, who was scheduled to host.But all of that paled in comparison to the uproar caused when Ms. O’Connor, appearing on “S.N.L.” in 1992 — shortly after the release of her third album, “Am I Not Your Girl?” — ended an a cappella performance of Bob Marley’s “War” by ripping a photo of Pope John Paul II into pieces as a stance against sexual abuse in the Roman Catholic Church. “Fight the real enemy,” she said.That incident immediately made her a target of criticism and scorn, from social conservatives and beyond. Two weeks after her “S.N.L.” appearance, she was loudly booed at a Bob Dylan tribute concert at Madison Square Garden. (She had planned to perform Mr. Dylan’s “I Believe in You,” but she sang “War” again, rushing off the stage before she had finished.)For a time, the vitriol directed at Ms. O’Connor was so pervasive that it became a kind of pop culture meme in itself. On “S.N.L.” in early 1993, Madonna mocked the controversy by tearing up a picture of Joey Buttafuoco, the Long Island auto mechanic who was a tabloid fixture at the time because of his affair with a 17-year-old girl.Once a rising star, Ms. O’Connor then stumbled. “Am I Not Your Girl?,” an album of jazz and pop standards like “Why Don’t You Do Right?” and “Bewitched, Bothered and Bewildered,” was stalled on the charts at No. 27. Her next album, “Universal Mother” (1994), went no higher than No. 36.Kris Kristofferson spoke to Ms. O’Connor after she was booed off the stage during a concert in tribute to Bob Dylan at Madison Square Garden in 1992, shortly after her “Saturday Night Live” appearance.Ron Frehm/Associated PressThe British musician Tim Burgess, of the band Charlatans (known in the United States as the Charlatans UK), wrote on Twitter on Wednesday: “Sinead was the true embodiment of a punk spirit. She did not compromise and that made her life more of a struggle.”Ms. O’Connor never had another major hit in the United States after “The Emperor’s New Clothes,” from “I Do Not Want What I Haven’t Got,” although for a time she remained a staple on the British charts.But in her 2021 memoir, “Rememberings,” Ms. O’Connor portrayed ripping up the photo of the pope as a righteous act of protest — and therefore a success.“I feel that having a No. 1 record derailed my career,” she wrote, “and my tearing the photo put me back on the right track.”She elaborated in an interview with The New York Times that same year, calling the incident an act of defiance against the constraints of pop stardom.“I’m not sorry I did it. It was brilliant,” Ms. O’Connor said. “But it was very traumatizing,” she added. “It was open season on treating me like a crazy bitch.”Sinead Marie Bernadette O’Connor was born in Glenageary, a suburb of Dublin, on Dec. 8, 1966. Her father, John, was an engineer, and her mother, Johanna, was a dressmaker.In interviews, and in her memoir, Ms. O’Connor spoke openly of having a traumatic childhood. She said that her mother physically abused her and that she had been deeply affected by her parents’ separation, which happened when she was 8. In her teens, she was arrested for shoplifting and sent to reform schools.Ms. O’Connor at Lincoln Center’s Alice Tully Hall in Manhattan in 2013.Ruby Washington/The New York TimesWhen she was 15, Ms. O’Connor sang “Evergreen” — the love theme from “A Star Is Born,” made famous by Barbra Streisand — at a wedding, and was discovered by Paul Byrne, a drummer who had an affiliation with the Irish band U2. She left boarding school at 16 and began her career, supporting herself by waitressing and performing “kiss-o-grams” in a kinky French maid costume.“The Lion and the Cobra” — the title is an allusion to Psalm 91 — marked her as a rising talent with a spiritual heart, an ear for offbeat melody and a fierce and combative style. Her music drew from 1980s-vintage alternative rock, hip-hop and flashes of Celtic folk that came through when her voice raised to high registers.She drew headlines for defending the Irish Republican Army and publicly jeered U2 — whose members had supported her — as “bombastic.” She also said she had rejected attempts by her record company, Ensign, to adopt a more conventional image.The leaders of the label “wanted me to wear high-heel boots and tight jeans and grow my hair,” Ms. O’Connor told Rolling Stone in 1991. “And I decided that they were so pathetic that I shaved my head so there couldn’t be any further discussion.”“Nothing Compares 2 U” — originally released by the Family, a Prince side project, in 1985 — became a phenomenon when Ms. O’Connor released it five years later. The video for the song, trained closely on her emotive face, was hypnotic, and Ms. O’Connor’s voice, as it raised from delicate, breathy notes to powerful cries, stopped listeners in their tracks. Singers like Alanis Morissette cited Ms. O’Connor’s work from this period as a key influence.Ms. O’Connor in 2021, the year she published a memoir, “Rememberings,” in which she spoke openly of a traumatic childhood. Ellius Grace for The New York TimesNot long after “Nothing Compares” became a hit, Ms. O’Connor accused Prince of physically threatening her. She elaborated on the story in her memoir, saying that Prince, at his Hollywood mansion, chastised her for swearing in interviews and suggested a pillow fight, only to hit her with something hard that was in his pillowcase. She escaped on foot in the middle of the night, she said, but Prince chased her around the highway.The effects of childhood trauma, and finding ways to fight and heal, became a central part of her work and her personal philosophy. “The cause of all the world’s problems, as far as I’m concerned, is child abuse,” Ms. O’Connor told Spin magazine in 1991.Her mother, whom Ms. O’Connor described as an alcoholic, died when she was 18. In her memoir, Ms. O’Connor said that on the day her mother died she took a picture of the pope from her mother’s wall; it was that photo that she destroyed on television.On later albums, she made warmly expansive pop-rock (“Faith and Courage,” 2000), played traditional Irish songs (“Sean-Nós Nua,” 2002) and revisited classic reggae songs (“Throw Down Your Arms,” 2005). Her last album was “I’m Not Bossy, I’m the Boss,” released in 2014.As her music career slowed, Ms. O’Connor, who had been open in the past about her mental health struggles, became an increasingly erratic public figure, often sharing unfiltered opinions and personal details on social media.In 2007, she revealed on Oprah Winfrey’s television show that she had been diagnosed with bipolar disorder and that she had tried to kill herself on her 33rd birthday. Her son Shane died by suicide in 2022, at 17.Ms. O’Connor said in 2012 that she had been misdiagnosed and that she was suffering from post-traumatic stress disorder stemming from a history of child abuse. “Recovery from child abuse is a life’s work,” she told People magazine.Several years ago she converted to Islam and started using the name Shuhada Sadaqat, though she continued to answer to O’Connor as well.Complete information on survivors was not immediately available. Ms. O’Connor had two brothers, Joe and John, and one sister, Eimear, as well as three stepsisters and a stepbrother. She wrote in her memoir that she was married four times and that she had four children: three sons, Jake, Shane and Yeshua, and a daughter, Roisin.In discussing her memoir with The Times in 2021, Ms. O’Connor focused on her decision to tear up the photo of John Paul II as a signal moment in a life of protest and defiance.“The media was making me out to be crazy because I wasn’t acting like a pop star was supposed to act,” she said. “It seems to me that being a pop star is almost like being in a type of prison. You have to be a good girl.”Alex Traub More