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The lyrics identify with materialism, with Madonna asking for a rich and affluent life, and only wanting to date men who can offer her this. Contemporary critics have frequently identified "Material Girl" along with "Like a Virgin" as the songs that established Madonna as an icon. "Material Girl" was a commercial success, reaching the top-five ...
Sunü (Chinese: 素女; lit. 'the Immaculate Girl') is an ancient Chinese goddess associated with music and sexuality. She is viewed as the divine sister of the Chinese war and sex goddess Jiutian Xuannü.
The Immaculate Collection is the second music video compilation by American singer-songwriter Madonna. Released by Warner Music Vision , Warner Reprise Video and Sire Records on November 13, 1990, to accompany the audio release , it contained music videos for the singer's singles released between 1983 and 1990.
Erotica is the fifth studio album by American singer Madonna, released on October 20, 1992, by Maverick and Sire Records.The album was released simultaneously with Madonna's first book publication Sex, a coffee table book containing explicit photographs of the singer, and marked her first release under Maverick, her own multimedia entertainment company.
[30] [7] One of the lyrics is taken from Public Image Ltd's "Death Disco" (1979), while Rodgers provides pizzicato guitars. [31] The title track, "Like a Virgin", is a "mildly titillating" dance-rock song, in which the singer talks about how true love can make a girl feel shiny and new. [25]
"Rescue Me" is a song by American singer Madonna from her first greatest hits album, The Immaculate Collection (1990). Written and produced by Madonna and Shep Pettibone, the song was released as the second single from The Immaculate Collection on February 26, 1991, in the United States, and as the third single on April 7 in the United Kingdom.
The title means "You are completely beautiful" (referring to the Virgin Mary). It speaks of her Immaculate Conception. Some of its verses are used as antiphons for the Feast of the Immaculate Conception. It takes some text from the book of Judith, and other text from the Song of Songs, specifically 4:7. [1]
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.
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