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    Don't Tell Me

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  1. You should go to sleep Sue Ellen, you know how haggard you look when you don't get your full eight hours!
  2. If it were that easy, you could use Google Translate to translate foreign books and songs. We all know that this does not work very well, because translation is a complex and creative process, especially when it comes to lyrical texts that are not only subject to a certain rhythm, but also make substantive demands. To use a quote: "Translation is an art because the translator tries to find out what is meant in one language, and then basically paints a picture of what is meant in the other language." It is simply ignorant not to appreciate the art of translating lyrical texts and pretend that everyone is capable of doing so, because that's absolutely not the case.
  3. Some licenses are cheaper than others. I'm not that familiar with copyright, but as I've heard, live performances are much cheaper for licensing than commercial usage. There is no plausible reason, why this highlight of the show (also vocally!) did not appear on DVD/CD, as the licenses were too expensive.
  4. If he gets co-writer credits she must pay him percentages for the album and the tour. I guess that's the reason why she used only a short snippet of LDLHA on the RH tour and cutted it from the RH DVD/CD.
  5. Because his contribution to the song is absolutely essential, if it's true that he co-wrote the intro. Even if he "only" translated it, it's shaping the song because it's his own words that Madonna speaks. It is common to name anyone who has co-written a song and no one seriously doubts that Casey's contribution was used.
  6. Isn't that the way Madonna claimed songwriting credits to many of her songs?
  7. Actually, Madonna could turn this problem to the good, if she would praise Casey's contribution, give him his co-writing credits, pay well for it, release the song as a single and letting Casey remix it. But this will not happen. It will likely be another tabloid massacre.
  8. Madonna claimed songwriter credits for far less, as we all know.
  9. It doesn't matter if he has serious issues. He undoubtedly co-wrote the song and deserves co-writing credits and proper payment. GC is one of the most important songs of the album decisively shapes Madonna's show.
  10. My favourites at the moment: Looking For Mercy Crazy I Rise (Laibert Remix) Crave (Benny Benassi Remix) Extreme Occident (Marco Sartori Remix) I would have liked the album a lot more if the production had been more danceable, but GC, CB and IDSIF don't give me the real feeling.
  11. I guess there once was a blink of a moment were a video was possible but Madonna was too busy preparing her tour and had other releases in her schedule. Maybe she thought that another latin song release isn't useful after the under performance of Medellin. I think the song would have been extremely well received by young people.
  12. I think it's the same thing that happened to Avicii's amazing Rebel Heart: Her ego is too big to take one step behind another and she prefers to miss a massive worldwide hit, rather than others saying she just jumped on another bandwagon. From the artistic point of view, she may be right, from the commercial point of view, it is unwise, considering that she should use every potential hype at the moment.
  13. At the moment I only listen to: Medellin Crazy Looking For Mercy Faz Gostoso Back That Up To The Beat I Rise (Dance Remix) Dark Ballet My least favourites are: Future Funana Bitch I'm Loca
  14. Madame X happened the same as Erotica and American Life: It stands as a personal masterpiece for itself, with or without awards. If the law of the rule is correct, then the next album will be a commercial hit again.
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