140 SCORE: 7.024 2015 PLACEMENT: DOWN 30 - 110 of 210 (7.063) HIGHEST SCORE: 10 x 10 (@funkyg @Euphoria @Angeleyes @Remyky22 @Andrew.L @Mjg0806 @Up Down Suite @torontodj @joeee @Filippa) LOWEST SCORE: 1 x 1 (@sexercise) MY SCORE: 7.5/10 Well, in what should surprise absolutely no one, "Don't Cry For Me Argentina" is the final song from Evita left in the rate. The tale behind Madonna accessing a whole new section of her voice she never realised she had while training for Evita is well known, but it's another thing to hear it. Not only do these songs challenge her, they are challenges that she surges up to meet. Do I find "You Must Love Me" to be one of the most compelling songs of her discography? No, but I do find it one of the best performed. It's just little things; small pauses, when her voice flickers like a candle, every breath. It's an emotionally articulate performance as much as it technically articulate, and it simply wouldn't sound this way in the hands of anyone else, and that's what makes it something to really pay attention to. Madonna is always able to provide stakes. It's what has made her ballads over the years so affecting. Despite her relentlessly steely persona, she's a deeply emotive singer that puts her leagues ahead of so many others, and why her songs have been able to strike such a chord over the years. This is also the second time that Madonna's performance won someone else another Oscar. Despite her best efforts to make lyrical changes after already getting her way with script changes and overhauling the recording process with the soundtrack, Andrew Lloyd Webber and Tim Rice's version of the track remained intact. Madonna had an issue with the lyrics reading as desperate and manipulative and wanted a more sympathetic take, although you also can't help but wonder if the fact she walked away from the 1991 Oscars with nothing for "Sooner Or Later" played on her mind and didn't want it to happen again. I also think she had an issue with the fact that a film set is in service of something bigger than her, and does not exist entirely for her, so not having a hand in every single facet of something she was involved in was maybe a little unnerving to someone who is both a control freak and a perfectionist to her credit and detriment. It must have also maybe stung when the nominations came out and, despite there being buzz around her (and Courtney Love for The People VS Larry Flynt, which scream) being nominated for Best Actress and even having a shot at winning, she got nothing instead. However, you can tell she's got a lot of love for the project as a whole, and even a lot of love for this song. Below is the official video, along with some performances. The 1997 Oscars video includes Billy Crystal's quite frankly horrible introduction which must have been infuriating to hear while she was waiting in the wings, and also works as a reminder of her pop culture capital just before Ray Of Light changed everything the next year. Like six years prior, you can hear the nerves in her voice in the first verse, but she shakes them off like a pro and does everything I described in the top paragraph. The second video is of its rendition as part of the Sticky & Sweet Tour setlist, where it's not only a surprisingly tender moment, but also a lovely reminder that she can sing on this tour despite the official release's ironed-flat MIDI ringtone post-production vocals on everything else. I included a pro shot performance from the Lisbon date rather than the official Buenos Aires recording because if anything it's actually an even better representation of that. Enjoy!