Madonna replied saying,. I played a small theater in Seattle, and the girls had flap skirts on and the tights cut off below their knees and lace gloves and rosaries and bows in their hair and big hoop earrings. I was like, 'This is insane! I've never done a bus tour. Everyone says they are really fun. It received positive reviews from contemporary as well as old critics, who frequently called it as one of the defining songs for Madonna. Discovering that, contrary to her song, the young woman was not impressed by money and expensive gifts, he pretended to be penniless and succeeded in taking her out on a date.
Critics gave mixed review of the song, with one group denoting it as a classic while the others felt it was sub-par compared to the other Madonna singles. The song was appreciated by contemporary critics as well as authors, who have frequently called it "Madonna's first great single". Critics reacted positively to the dance-pop nature of the track.
According to Q magazine, Like a Virgin was the album that "propelled [Madonna] into the stratosphere — and rightly so. The songs are smart, funny, sexy and irresistible. Here, the calculation is apparent, and while that's part of Madonna's essence—even something that makes her fun—it throws the record's balance off a little too much for it to be consistent, even if it justifiably made her a star.
And to make the music less mechanical, she's hired Nile Rodgers, who I won't blame for making it less catchy. This is nonsense; it misses how Madonna conflated notions of spontaneity and calculation. Rodgers is the ideal collaborator. But where girl groups, from the Shirelles to the Ronettes, worshipfully extolled their boyfriends' cars, haircuts and rebel poses, Madonna's point of view is decidedly more self-interested.
In matters of love, she is a comparison shopper with a shrewd sense of her own market value. The words 'shiny and new' describe not only the way the love-smitten singer feels in the title song but the sound of the album.
Matt Damsker from Los Angeles Times commented: "Madonna's beating vibrato sometimes makes her sound so robotic in the album.
The mid-tempo ballad 'Shoo-Bee-Doo' and a soulful cover of Rose Royce's ' Love Don't Live Here Anymore ' proved Madonna could churn out more than just novelty hits, while the sugary ' Angel ' and the irresistible ' Dress You Up ' contributed to the singer's record-breaking list of consecutive Top 5 hits 16 in all.
The retro-infused 'Stay' and the percussive 'Over and Over' are the album's hidden gems. She is backed on this by the reliable rhythmic touch of veteran Nile Rodgers, whose contributions have helped her create a tolerable bit of fluff. Like a Virgin was recorded and finished by September , but the release of the album was held up, much to Madonna's frustration, by the continuing sales of her debut album, which was approaching two million sales in the United States.
After the release of Like a Virgin , Stephen Holden from The New York Times commented: "No phenomenon illustrates more pointedly how pop music history seems to run in cycles than the overnight success of the year-old pop siren known as Madonna.
The month before Christmas, Madonna's second album, Like a Virgin sold more than two million copies. Teen-agers were lining up in stores to purchase the album the way their parents had lined up to buy Beatles records in the late 60's. Taraborrelli felt that " Like a Virgin is really a portrait of Madonna's uncanny pop instincts empowered by her impatient zeal for creative growth and her innate knack for crafting a good record. Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment.
She asserted her sexuality as only male rock stars had done before, moving well beyond the limited confines of being a pop artist, to becoming a focal point for nationwide discussions of power relationships in the areas of sex, race, gender, religion, and other divisive social topics. Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population. Credits adapted from the album's liner notes.
From Wikipedia, the free encyclopedia. The songs on that were pretty weak. On this one I've chosen all the songs and I want them to be all hits—no fillers. That's why I've done outside songs as well as six of my own I wanted every song to be strong. Main article: The Virgin Tour. And she's stayed that way: her influence on the way women came to view sex, love and themselves was so great that some universities offered courses in Madonna studies. And she's also continued to make some of pop's most enduring singles.
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Omnibus Press. London : Archived from the original on October 15, In Brackett, Nathan; Hoard, Christian eds. Spin Alternative Record Guide. Vintage Books. The Village Voice. Retrieved September 24, Actually, they were so loud on one record that, when they hit the floor, they used to hop. When Tony played in a room, it was deafening. And he always loved to do this thing when I'd go in there to move a mic — he'd do a drum fill and hit the cymbals, and it gave him some sort of joy that they were so loud.
He never broke them, but boy, he tired them out. With all of the album's rhythm tracks taken care of before overdubbing began, about half of them were also accorded drum machine parts, courtesy of Jimmy Bralower. He usually used the whole console to bounce down all the drum bits, so that instead of it being a simple sound it would be a hybrid sound.
There'd be maybe three or four different snares all put together, three or four different bass drums, maybe more, as well as cymbals, hi-hats, toms and other sounds that were inserted. Sometimes I think he used Simmons drums that were keyed off it and pitched way down to give it a little bit extra oomph, and there were lots of different tricks on different things. Jimmy was always looking to create new sounds that would get everybody excited, and he made a huge difference in the way things sounded.
So there was a balance between that and real drums, and it wasn't an easy thing to do, being able to make drum machines stay in the frame with a drummer like Tony Thompson.
All the gear took up half the room, and it wasn't easy to get everything to work, but Jimmy was very, very good at it. I remember when he got a very high-end Linn Drum machine, the last one that came out. It did almost everything that all the other gear did, and it seemed so funny to have this in just one little box.
Since Nile was playing, he usually left that up to me. If he came into the control room and didn't like something, he'd tell me and say, 'Let's change it,' but I worked very hard at trying to attain interesting sounds. Jimmy Bralower also had a lot to do with the sound of the gear that he brought in, and the two of us would decide how that would happen.
Nile would sometimes contribute to this, but often he'd leave us alone, because unless you were into that aspect of the work it could get boring. It wasn't like now, when it takes two seconds to do certain things. Madonna, meanwhile, although not required to contribute guide vocals for the Like A Virgin album, was present every minute of the sessions, observing and opining on all that was going on.
She was very determined for the record to be successful, and she made no bones about it. She was there all the time, making sure everything was going right. If someone played a part that she didn't like, she'd make this clear and tell him how she wanted it.
She had her say, and nothing went by without her hearing it. The live room in Power Station's Studio C as it is today. Along the far walls you can see some of the isolation booths used during the recording of Like A Virgin. On the other hand, he would also say when he had a strong idea about something, so there was a balance. It was a good working relationship. The thing was, Madonna was very specific about what she wanted. For instance, Nile was really interested in playing a different style of guitar, and Madonna said, 'I don't want that.
I want what you played on Chic. If it was up to him he probably would have played things a little differently, but that's what she wanted and that's what she got. It wasn't a big deal. Let's get to work.
When anyone asks why I think she's so successful, I say it's because of all the effort she put into it. There was no other way: it was success or nothing. She didn't just come along and expect success to come to her. She went straight for it. Once the rhythm tracks met with everybody's approval, Rob Sabino laid down his keyboard parts, playing mostly a Sequential Circuits Prophet 5, as well as some Rhodes and acoustic piano, while Nile Rodgers also played a Synclavier.
The pitch was absolutely perfect and very powerful, and that made for a very easy situation. Since Studio C's main room was very bright and usually added a little too much high-end to a vocal, Corsaro preferred to track Madonna's lead parts in the small, wooden, high-ceilinged piano room at the back, placing gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps mic preamp and Pultec EQ.
Chic always sounded perfect, and he was so meticulous about pitch that he'd work on stuff for a very long time. That meant sometimes it could be a little rough, but Madonna was always very, very professional and she really came through and did a great job. She told me, 'I'm not sure I should do this. Maybe it isn't right for me. You just have to get rid of the fear,' and that's what she did.
She did great. She was very determined. Doing vocals for Nile wasn't easy for a lot of people, but nothing was going to keep her from making that record work. What we did was just punch and punch and punch, and to be fair, that's what we did with a lot of things. Nile's guitar parts were punched bit by bit, and sometimes it used to make me crazy because he would only want to punch just one note and nothing else.
I'd say, 'Why can't we just get the whole bar? It's the only thing that's wrong. That rarely happens that someone studies your demo so carefully that they use all that stuff. We were sort of flattered how carefully she followed our demo on that. Jason Corsaro, the record's audio engineer , persuaded Rodgers to use digital recording , a new technique at the time which Corsaro believed was going to be the future of recording because test pressings always sounded consistent.
Once the track met with everybody's approval, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5 , as well as some Rhodes piano and acoustic piano , while Rodgers also played a Synclavier. Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time.
She never left. Composed as a dance-oriented song, the intro of "Like a Virgin" consists of two hooks.
It is composed in the key of F major with Madonna's voice ranging from the tonal nodes of low-tone G 3 to high-tone C 5. The bassline also has some similarity with Michael Jackson 's " Billie Jean " especially during the second verse.
Madonna sings the song in her high register while drum arrangement by Tony Thompson is heard alongside the bassline, which is also supported by a synthesizer arrangement, giving it a circular progression through all the seven diatonic chords of I—IV—vii o —iii—vi—ii—V—I. Regarding the lyrics, Madonna had commented: "I like innuendo, I like irony, I like the way things can be taken on different levels. For sexually experienced girls, the song meant that they would be able to re-live the feelings of their first sexual encounter all over again.
He added that the song, and " Material Girl " from the same album, made Madonna an icon. He added that both overshadowed the rest of the record, "because they are a perfect match of theme and sound. Dave Karger from Entertainment Weekly , while reviewing the album in , felt that the song came off a bit repetitious and immature when compared to the present context.
The song debuted on the UK Singles Chart on November 17, at number 51, and peaked at number three on January 12, ; it spent a total of 18 weeks in the chart,  and was certified gold by the British Phonographic Industry BPI for shipment of , copies across United Kingdom. Madonna was portrayed as a knowing virgin, a figment of the pornographic mind, as she walked through marble rooms, wearing a wedding gown.
It alternated with scenes of a provocative-looking Madonna on board a gondola. But then we wanted to go back in time and use myself as an actual virgin. As she steps down into the city, she moves like a stripper and undulated sinuously. She wears a black dress and blue pants with a number of crucifixes around her neck. A number of game-playing involving carnival masks, men and lions are portrayed with allusions to eighteenth-century practices and Saint Mark.
The intrusion of a male lion, confirmed the underlying bestial discourse of both mythological fairy tale and pornographic sex. Whiteley observed that in the video, Madonna's lover wears the lion's mask and while cavorting with him, Madonna sheds the veneer of innocence and shows her propensity for wild animal passions. Having instilled desire, metaphorically she turns her lover into a Beast.
I thought he was going to take a bite out of me so I lifted the veil I was wearing and had a stare-down with him and he opened his mouth and let out this huge roar. I got so frightened my heart fell in my shoe. When he finally walked away, the director yelled 'Cut' and I had to take a long breather. But I could really relate to the lion. I feel like in a past life I was a lion or a cat or something.
With the video, scholars noted the expression of Venetian vitality in it. Author Margaret Plant commented: "With the lion of Saint Mark and the virginal city to the forefront, old sacrosanct Venice was propelled into a pop world of high-energy gyration, and endless circulation. Madonna appeared to challenge such brutality and stretch the boundaries of tolerance in the video. As the lion-man carried Madonna to the Venetian palace, it symbolized an instance of the Saint taking the simulated Virgin, where Madonna became a symbol for La Serenissima , the Republic itself.
Plant also noted that Madonna, in the video, restored the energy and eroticism of Venice, which had its name taken from Venus in familiar elision. As she exchanged her blue top for a black one during the video, Madonna demonstrated her mastery and bravery of the city, which had a reputation of turning out its visitors as victims. She was moving into serious spectacle. Madonna performed "Like a Virgin" at the first MTV Video Music Awards in , where she appeared on stage atop a giant wedding cake dressed in a wedding dress, adorned with her "Boy Toy" belt buckle, and veil.
It is considered by critics and academics as "one of the most important and most unforgettable VMA performances ever". Madonna again donned a wedding attire and the performance featured a quotation from Michael Jackson's similar-sounding Motown -style single, " Billie Jean ".
Balloons floated out towards the audience as she rolled around the stage, carrying a wedding bouquet in her hand. Madonna took off her outfit piece by piece, until she was standing in a black corset , and ended the performance while flirting with a young male dancer who played her bridegroom.
The overplayed accent and three-quarter time signature gave the performance a sense of parody. Dietrich's look in the film Morocco inspired the whole performance. In April , while promoting her ninth studio album American Life , an impromptu acoustic performance of the song was done by Madonna at New York's Tower Records. The performance started with Britney Spears emerging from a giant cake singing the first few lines.
She was later joined by Christina Aguilera and both of them writhed on the stage while singing. Madonna appeared on the cake dressed as a groom and sang "Hollywood", and ultimately kissed both Spears and Aguilera on the mouth. During the Confessions Tour in , the song was given a horse riding theme. Gary Hill from Allmusic called the composition as "very funny and obnoxious". Eugene Chadbourne from Allmusic commented: "Turning the tacky Madonna hit inside out and upside down, Yankovic comes up with a hilarious satire of the medical profession.
Brown played by Tarantino himself insists that "Like a Virgin" is a "metaphor for big dicks". When Madonna met Tarantino at a party after the film was released, she gave him an autographed copy of her Erotica album, signing "Quentin: it's about love, not dick".
The song also appears on the soundtrack of the film Moulin Rouge! She tells them, "Madonna is nothing if not a perfectionist! However, when her assisting surgery, Lexie Grey starts singing along, Christina looks venomously at her until she quiets down. In Korean girl group 2NE1 released a cover of the song for their debut Japanese album Collection. I was surprised by how people reacted to "Like a Virgin" because when I did that song, to me, I was singing about how something made me feel a certain way — brand-new and fresh — and everyone interpreted it as I don't want to be a virgin anymore.
Fuck my brains out! That's not what I sang at all. Biographer Andrew Morton noted that most of Madonna's admirers were females, who were born-and-brought-up with an image of old-fashioned stereotypes of women as virginal brides, or as whores, or with feminist values that rejected the use of a woman's looks for her self-advancement. He compared that image of Madonna with that of Barbie. McKeen explained that Madonna intermixed middle-class ideas of femininity with examples of what femininity meant to her, which was having equal opportunity.
She offered an aggressive sexuality that implied it was acceptable for women not only to initiate relationships, but also enjoy them. A new word called ' Madonna wannabe ' was introduced to describe the thousands of girls who tried to emulate Madonna's style. University professors, gender-studies experts and feminists earnestly started discussing her role as a post-modernist style and cultural icon.
Christina Garibaldi from the channel noted that the performance "helped make the Video Music Awards a household name From that point forward, every artist, when they hit the VMA stage, wanted to have a performance you would forever be talking about.
It's the veritable big bang for the format as pop art. Credits adapted from the album and the 12" single liner notes. From Wikipedia, the free encyclopedia.
Cover art for most inch vinyl and later CD editions, including the 12" US maxi-single. A 20 second sample of the song. Madonna sings the chorus which is supported by a continuous arrangement of drums and synth along the bassline. And Madonna dug it, because she has the whole thing with the Catholic Church and her Italian heritage. It turned into a huge party.
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