1{2 "document_id": "lb_hotpotqa_72feb2a8e5b92548a357bfc11e94050464f93f1ce286418c",3 "family": "public_hotpotqa",4 "split": "test",5 "text": "Passage 1:\nLike a Virgin (album)\nLike a Virgin is the second studio album by American singer and songwriter Madonna, released on November 12, 1984, by Sire Records. Following the success of her self-titled debut album, Madonna wanted to become the record producer of her next album. However, her label was not ready to give her the artistic freedom and she chose Nile Rodgers instead to produce the album due to his work with David Bowie. Madonna wrote six songs on the record, five of which feature Steve Bray as a co-writer. The album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played drums. Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique introduced at that time.\nThe album's photographs were shot by Steven Meisel. Madonna wanted the album title and the cover image to make a provocative link between her own religious name Madonna, as the Catholic title for Jesus' mother Mary, and the Christian concept of the virgin birth. While not a substantial musical departure from Madonna's first album, she felt that the material from Like a Virgin was stronger. After its release, Like a Virgin received mixed reviews from music critics; however, retrospective reviews of the album have been much more positive. Like a Virgin was a commercial success and became Madonna's first number one album on the Billboard 200 and set the record as the first female album in history to sell over five million copies in the United States. The Recording Industry Association of America (RIAA) later certified it diamond for shipment of ten million units. It also reached number one in Germany, the Netherlands, New Zealand, Spain, Italy and the United Kingdom, and remains one of the best-selling albums of all time with sales of over 21 million copies worldwide.Five singles were released from the album, including Madonna's first US number-one \"Like a Virgin\" and her first UK number-one \"Into the Groove\", the latter of which was introduced on the 1985 international reissue of the album. To promote the album, she embarked on The Virgin Tour, touring North America only. Like a Virgin has attained significance as a cultural artifact of the 1980s. Madonna proved that she was not a one-hit wonder and was able to provide herself with a permanent footing in the music world. Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population, especially \"Material Girl\" and \"Like a Virgin\". According to author J. Randy Taraborrelli, \"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.\" In 2023, the Library of Congress added the album to the National Recording Registry for preservation in the United States, for being a \"culturally, historically, or aesthetically significant\" recording.\n\nBackground\nA former dancer and fixture on the New York club scene, Madonna Ciccone became known to the world simply as Madonna, with the release of her 1983 self-titled debut album Madonna. Fueled by hit songs like \"Holiday\", \"Borderline\" and \"Lucky Star\", the album was one of the best selling of the year and helped Madonna become one of the most exciting new artists of the 1980s. When she started work on her second album, Madonna felt that her first album had succeeded in introducing her \"street-smart dance queen\" persona, and she wanted to solidify and build upon that concept. According to her, \"My work, my dedication—the stubbornness for getting Madonna released—had paid off. Now it was time to solidify my future.\"For Like a Virgin, Madonna attempted to become one of the primary record producers, feeling the need to control the various aspects of her music. She believed that depending on a particular producer for her album was not something that suited her. Madonna said \"I learnt my lesson while creating my debut album, and the way [Reggie, the producer of her debut project] Lucas left me in the water with the project, you can't trust men\"—referring to the incident, when due to a certain difference of opinion between producer Reggie Lucas and Madonna, Lucas had left the project half-way. However, Warner Bros. Records was not ready to give her the artistic freedom that she wanted. In J. Randy Taraborrelli's biography of Madonna, she commented,\n\nWarner Bros. Records is a hierarchy of old men and it's a chauvinist environment to be working in because I'm treated like this sexy little girl. I had to prove them wrong, which meant not only proving myself to my fans but to my record company as well. That is something that happens when you're a girl. It wouldn't happen to Prince or Michael Jackson. I had to do everything on my own and it was hard trying to convince people that I was worth a record deal. After that, I had the same problem trying to convince the record company that I had more to offer than a one-shot singer. I had to win this fight.\nUltimately, Nile Rodgers was chosen by Madonna as the producer of the album, with the approval of the Warner Brothers executives. Madonna chose Rodgers mostly because of his work as a member of the 1970s band Chic, and his most recent production work with David Bowie on his 1983 album Let's Dance. She commented, \"When I was making the record, I was just so thrilled and happy to be working with Nile Rodgers. I idolized Nile because of the whole Chic thing. I couldn't believe that the record company gave me the money so that I could work with him.\"For his part, Rodgers recalled that he had first seen Madonna perform at a small club in New York in 1983. In an interview with Time magazine, Rodgers explained: \"I went to the club to see another woman sing, but when I got there Madonna was onstage. I loved her stage presence and then we met right after that. I kept thinking to myself, 'Damn, is she a star', but she wasn't at that time. I always wanted to work with her and Like a Virgin seemed like a perfect opportunity.\"\n\nRecording\nThe album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played the drums; they appeared on several tracks of the album. Rodgers decided to be the guitarist, when Edwards requested him to do so, in exchange for their help. The recording sessions did not start until the afternoon as Rodgers, who attended late-night parties, was not accustomed to work in early mornings. The schedule was also difficult for Madonna, who recalled that she used to \"go to the swim club on the Upper West Side and go swimming and walk from there to the recording studio. It was impossible for me to reach there at morning.\" Rodgers recalled that Madonna was a hard worker and incredibly tenacious. He commented: \"I am always amazed by Madonna's incredible judgement when it comes to making pop records. I've never seen anyone do it better, and that's the truth. When we did that album, it was the perfect union, and I knew it from the first day in the studio. The thing between us, man, it was sexual, it was passionate, it was creativity ... it was pop.\"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. To ensure this, Corsaro used a Sony 3324 24-track digital tape recorder and a Sony F1 two-track during the mixing of the tracks. Madonna recorded the lead parts of the songs in a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's \"R&B room\". Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer. Once the tracks 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\".\n\nPackaging and title\nThe cover sleeve and images were shot by Steven Meisel, who would become a regular collaborator with Madonna, in a suite at the St. Regis New York. Madonna wanted the album title to make provocative link between her own religious name—Madonna as the Catholic title for Jesus' mother Mary—and the Christian concept of the virgin birth. With the title song alluding to this concept, Madonna wanted the album cover to have mixed messages as well. Author Graham Thompson described that \"reclining on a satin sheet, with a bouquet on her lap and wearing a wedding dress, a closer inspection reveals Madonna's image as highly fetishized and sexualized.\" He added that the heavy make-up, pouting lips, and despoiled hair, along with the tight-fitting bustier and full-length gloves, turned Madonna's image into a figure not of virtue, but of desire. This point, according to Thompson, is further emphasized by the belt she is wearing, the wording on which is just visible as \"Boy Toy\". He added: \"The image was ambiguous and was based upon the fact that Madonna's appeal at that point of her career was not presenting herself just as an object of desire, but also as a desiring female subject\".Stephen Thomas Erlewine from AllMusic commented that the \"Steven Meisel-shot cover ... was as key to her reinvention as the music of the album itself.\" William McKeen, author of Rock and roll is here to stay: an anthology, felt that the image was another trigger and testament to the fact that Madonna was the last word on fashion for women and young girls of that era, the epitome of cool. Costume designer Arianne Phillips commented of the Like a Virgin look: \"This was one of the most shocking, liberating and influential moments in pop culture/fashion history ... Fashion has never been the same.\" Madonna herself declared: \"I have always loved to play cat and mouse with the conventional stereotypes. My Like a Virgin album cover is a classic example. People were thinking who was I pretending to be—the Virgin Mary or the whore? These were the two extreme images of women I had known vividly, and remembered from childhood, and I wanted to play with them. I wanted to see if I can merge them together, Virgin Mary and the whore as one and all. The photo was a statement of independence, if you wanna be a virgin, you are welcome. But if you wanna be a whore, it's your fucking right to be so.\"\n\nComposition\nAccording to Taraborrelli, \"Madonna and Rodgers' collective energy—she wanting to score with a smash second album and he wanting to be the producer to give it to her—drove the production of Like a Virgin with great precision.\" Madonna also collaborated with her former boyfriend Steve Bray, who co-wrote many of the album's songs. Reflecting on the music composition for the album, Bray noted: \"I've always kind of made the rib cage and the skeleton of the songs already—she's there for the last things like the eyebrows and the haircut.\" The opening track \"Material Girl\" was written by Peter Brown and Robert Rans. Madonna explained that the concept of the song was similar to her life's situation at that time. According to her, the song was provocative, hence she was attracted to it. \"Material Girl\" incorporated new wave music and consists of synth arrangements with a robotic voice repeating the hook. The lyrics identify with materialism, with Madonna asking for a rich and affluent life, rather than romance and relationships. Written by Madonna and Steve Bray, \"Angel\" is the second track on the album. It was one of the first songs developed for the project and, according to Madonna, was inspired by a girl who is saved by, and subsequently falls in love with an angel. \"Angel\" consists of a three-chord ascending hook, which serves as the verse and chorus. It has vocal harmonies beneath the main chorus and the lyrics repeat the angel-like image of Madonna's savior. The title track \"Like a Virgin\" was written by Billy Steinberg and Tom Kelly. Steinberg said that the song was inspired by his personal experiences of romance. It was chosen for Madonna by Michael Ostin of Warner Bros. Records, after listening to a demo sung by Kelly. However, Rodgers initially felt that the song did not have a good enough hook and was not suitable for Madonna, but subsequently changed his opinion after the hook was stuck in his mind. He credits Madonna with recognizing the song's potential: \"I handed my apology to Madonna and said, 'you know ... if it's so catchy that it stayed in my head for four days, it must be something. So let's do it.'\" \"Like a Virgin\" is a dance-oriented song, composed of two hooks. Madonna's voice is heard in a high register while a continuous arrangement of drums are heard along the bassline. According to author Rikky Rooksby, the lyrics of the song are ambiguous and consist of hidden innuendo. In sexual terms, the lyrics can be interpreted in different ways for different people.In \"Over and Over\", Madonna sings about determination despite disappointments. The song consists of instrumentation from drums, synths and has a three-chord progression. An emotional moment occurred in the recording studio when Madonna covered the 1978 Rose Royce song \"Love Don't Live Here Anymore\". Rodgers recalled: \"Madonna had never performed with a live orchestra before. I was very much into doing everything live, so I just said, 'Madonna, you go out there and sing and we will follow you.' At first Madonna was hesitant, but the live setting ended up producing memorable results. She sang and she was overcome with emotions and she started crying, but I left it on the record.\" The song features Madonna's vocals supported by acoustic guitars and synth strings, with Thompson playing the drum in the second verse. Towards the end, Madonna emotes in the voice of a soul singer.\"Dress You Up\" was the last track to be added to the album as it was submitted late by songwriters Andrea LaRusso and Peggy Stanziale. Although Rodgers rejected it as he felt there was no time to compose a melody and record it for the album, Madonna pushed for the song's inclusion on Like a Virgin, as she particularly liked its lyrics. The song is a drum beat-driven dance track featuring instrumentation of guitars and vocals from a choir. The lyrics are an extended metaphor for fashion and sex, comparing dressing up with passion. \"Shoo-Bee-Doo\" contains homage to Motown music. Beginning with a slow introduction, the song is in the doo-wop genre and resembles the songs of early Sixties girl groups like The Shirelles or The Crystals. The saxophone breakdown is played by Lenny Pickett. The lyrics discuss relationship problems, and are phrased as clichés in the coda. \"Pretender\" starts with the chorus and then moves to the verse. It talks about seduction and the insecurity felt by a woman who feels that things are moving too quickly for her with her man. \"Stay\" is the final track on the album. Using triple-rhythms and double-tracked vocals, the song includes a noise resembling someone slapping a microphone and a spoken sequence which fades away in the end.\n\"Into the Groove\" was added as a bonus track in the 1985 international reissue of Like a Virgin. Madonna's inspiration behind the song was the dance floor, and she wrote it while watching a handsome Puerto Rican man across her balcony. Initially written for her friend Mark Kamins, Madonna later decided to use it in the soundtrack of her 1985 film Desperately Seeking Susan. Unlike the other songs on Like a Virgin, \"Into the Groove\" was recorded at Sigma Sound Studios, and produced by Madonna and Stephen Bray. Madonna's friend Erika Belle was present during the recording and watched the whole process. In Andrew Morton's Madonna biography, she noted that at one point of the recording, Bray was facing difficulties with the bridge of the song, as the melody thought by him was not syncing with the rest of the composition. Undeterred by his obvious difficulties, Madonna stepped up to the microphone and sang the words \"Live out your fantasy here with me\". Bray's problem was solved; Belle remembered the experience as: \"[The song] seemed to come out of her, I was awestruck.\" The song consists of instrumentation from drums, percussion, congas and whistles. Madonna's voice is double-tracked in the chorus. The lyrics are simple, and written as an invitation to dance with the singer, with sexual innuendos and undertones in the meaning.\n\nPromotion\nLive performances\nMadonna debuted the first single \"Like a Virgin\" at the first MTV Video Music Awards on September 14, 1984, where she appeared on stage atop a giant wedding cake dressed in a wedding dress, adorned with the infamous \"Boy Toy\" belt buckle, and veil. The climax of her risqué performance found her masturbating and rolling around on the stage. The performance is noted as one of the iconic performance in MTV's history. On December 13, 1984, Madonna performed \"Like a Virgin\" on BBC One's program Top of the Pops, wearing punky torn tights, a vivid pink wig, religious accessories and layered mesh tops. It was later voted as the second best Top of the Pops performance of all time. She also appeared at the 1985 Live Aid charity concert, where she performed \"Into the Groove\".The album was further promoted on her first headlining tour, The Virgin Tour, which only visited cities in the United States and Canada. Early on there were plans to schedule dates in England and Japan due to Madonna's large fan base in both countries. However, the final schedule did not reflect the idea. In the end several more US dates were added and moved to larger concert venues due to overwhelmingly strong ticket sales. Madonna's performance on the tour was described by Taraborrelli as \"full of excitement\", singing songs from her debut album as well as Like a Virgin, and asking the audience \"Will you marry me?\" The costumes included colorful new wave jackets for \"Holiday\" and white wedding gowns similar to the one worn in her \"Like a Virgin\" music video. Referring to her Detroit roots and contemporary artist Michael Jackson, Madonna sang a verse of \"Billie Jean\" during \"Like a Virgin\".The Virgin Tour was a success and collected a total of more than US$5 million. During a 2009 interview with Rolling Stone, interviewer Austin Scaggs asked Madonna regarding her feelings and emotions during the tour, since it was the first time she was playing in arenas. Madonna replied saying,\n\nThat whole tour was crazy, because I went from playing CBGB and the Mudd Club to playing sporting arenas. 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!' After Seattle, all of the shows were moved to arenas. I've never done a bus tour. Everyone says they are really fun.\n\nSingles\n\"Like a Virgin\" was released as the lead single from the album in late 1984. It received positive reviews from contemporary critics, who frequently called it one of Madonna's defining songs. It became her first number-one single on the Billboard Hot 100, while reaching the top of the charts in Australia, Canada and Japan and the top-ten of other countries. The song was certified gold by the Recording Industry Association of America (RIAA) on January 10, 1985, for shipping a million copies across United States – the requirement for a gold single prior to 1989. The music video portrayed Madonna sailing down the riverways of Venice in a gondola, as well as roaming around a palace wearing a white wedding dress. With the video, scholars noted Madonna's portrayal of a sexually independent woman, the symbolism of the appearance of a man with lion's mask to that of Saint Mark, and compared the eroticism of the video to the vitality of the city of Venice.\"Material Girl\" was the second single from the album, released in November 1984. Critics have frequently noted \"Material Girl\" and \"Like a Virgin\" as the songs that made Madonna an icon. The song was a commercial success, reaching the top-five in Australia, Belgium, Canada, Ireland, Japan and United Kingdom. It reached position two on the Billboard Hot 100 in the United States. The music video was a mimicry of Marilyn Monroe's performance of the song \"Diamonds Are a Girl's Best Friend\" from the 1953 film Gentlemen Prefer Blondes. The mimicked scenes are interspersed with scenes of a Hollywood producer trying to win the heart of an actress, played by Madonna herself. 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.\"Angel\" was the third released single from the album, in April 1985. 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. \"Angel\" became Madonna's fifth consecutive top-five single on the Billboard Hot 100 and reached the top of its dance chart.\"Into the Groove\" was released as a single in Europe, Asia and South America in July 1985. The song was appreciated by contemporary critics as well as authors, who have frequently called it \"Madonna's first great single\". \"Into the Groove\" reached the top of the charts in Australia, Belgium, Ireland, Japan, Netherlands, New Zealand, and the United Kingdom, where it was Madonna's first number-one single. In the United States, the song was only available as the B-side of the 12-inch single of \"Angel\", therefore it was ineligible to chart on the Billboard Hot 100 at the time. It reached number one on the US Hot Dance Club Play chart where it was listed as a double-sided single with \"Angel\". In Australia and Canada, the song also was released as a double-sided single with, \"Angel\".\n\"Dress You Up\" was the last single from the album. Critics reacted positively to the dance-pop nature of the track. \"Dress You Up\" became Madonna's sixth consecutive top-five single in the United States. It also reached the top-ten in Australia, Belgium, Canada, Ireland, New Zealand and the United Kingdom. The music video for the single is taken from the live performance from The Virgin Tour, filmed in Detroit.Two further singles were released internationally from the album. \"Over and Over\" was released in late 1985 exclusively in Italy.\n\"Love Don't Live Here Anymore\" was released in early 1986 exclusively in Japan.\n\nCritical reception\nAccording 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.\" Taraborrelli said, \"It was Like a Virgin which reflected Madonna as a more versatile and artistic performer and vocals on this album being reflectively sharper in contrast to her early works in the music industry.\" Michael Paoletta from Billboard commented that the songs on the album sustain a \"fevered dance-rock momentum\". In his review for AllMusic, Stephen Thomas Erlewine commented, \"Overall, the album adds up to less than the sum of its parts—partially because the singles are so good, but also because on the first album, she stunned with style and a certain joy. 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.\" Debby Miller from Rolling Stone preferred Madonna's debut album over Like a Virgin. In The Village Voice, Robert Christgau was also lukewarm towards the record, writing \"[Madonna's] so sure of herself she's asking men and women both to get the hots for the calculating bitch who sells the fantasy even while she bids for the sincerity market where long-term superstars ply their trade. And to make the music less mechanical, she's hired Nile Rodgers, who I won't blame for making it less catchy.\"Jim Farber from Entertainment Weekly said that \"In addition to raising the Madonna/whore ante with songs like the title cut, Virgin cradled the kind of '80s hits (\"Dress You Up\") built to transcend the Dynasty era.\" Alfred Soto from Stylus Magazine remembered the first time that he heard the songs from the album and commented, \"Lots of critics think something similar occurred when Madonna followed her eponymous debut with Like a Virgin, helmed by Nile Rodgers with all the fixin's—too calculated next to the 'raw passion' of the debut. This is nonsense; it misses how Madonna conflated notions of spontaneity and calculation. Rodgers is the ideal collaborator.\" Stephen Holden from The New York Times said: \"With a tough-cookie voice that's both coy and streetwise, Madonna's singing harks back to the rock-and-roll girl-group tradition that preceded the Beatles. 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 the Los Angeles Times commented: \"Madonna's beating vibrato sometimes makes her sound so robotic in the album.\" Lou Papineau, while writing for The Providence Journal, said that \"In Like a Virgin, Madonna proves she's shallow, but spunky.\" Sal Cinquemani from Slant Magazine gave a positive review, saying \"Though not as innovative as her debut, Like a Virgin stands as one of the most definitive pop artifacts from the indulgent Reagan Era. 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.\" Ed Stevenson from People felt that \"Madonna does have a sense of humor, though she is buried under so many layers of self-parody it's hard to tell sometimes ... 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. Hugo Mistry from the Chicago Tribune felt that \"Like a Virgin was Madonna's breakthrough, playing off her self-conscious campiness with a series of hot dance tracks, attention-grabbing lyrics and steamy videos.\"\n\nCommercial performance\nLike a Virgin was recorded and finished by September 1984, 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. Like a Virgin debuted at number 70 on the Billboard 200 issued for December 1, 1984. The album reached the top ten of the Billboard 200 on December 8, 1984, and after one month reached the top of the chart on February 9, 1985, where it stayed for three weeks. It also reached a peak of ten on the Top R&B/Hip-Hop Albums chart. After 14 weeks, the album sold 3.5 million copies. By July 1985, Like a Virgin became the first album by a female artist to be certified for sales of five million units in the United States. It was eventually certified ten times platinum (diamond) by the Recording Industry Association of America (RIAA), for shipment of ten million copies of the album. It placed at three on the year-end chart for 1985, with Madonna becoming the top pop artist for the year. After the advent of the Nielsen SoundScan era in 1991, the album sold a further 574,000 copies. It sold additional 882,000 units at the BMG Music Club, which are not counted by the Nielsen SoundScan. In Canada, the album debuted at number 78 on the RPM Albums Chart, on November 10, 1984. It reached a peak of number three, on February 16, 1985. The album was present for a total of 74 weeks on the chart, and was certified diamond by the Canadian Recording Industry Association (CRIA), for shipment of one million copies of the album. Like a Virgin ranked sixth on the RPM Top 100 Albums for 1985. As of June 1986, the album sold more than 750,000 units in Latin America.In the United Kingdom, Like a Virgin debuted at number 74 on the UK Albums Chart, on January 12, 1985. However, the album fluctuated on the chart for the next eight months and it was only in September that it finally reached the top of the chart. It spent two alternative weeks at the top (21st Sept and 12th Oct 1985), and a total of 152 weeks on the chart. The album was certified three times platinum by the British Phonographic Industry (BPI) and has sold over a million copies there. In France, the album debuted at number five on the French Albums Chart on October 6, 1985, staying there for eight weeks, then descending down the chart. It was certified two times platinum by the Syndicat National de l'Édition Phonographique (SNEP) for shipment of 600,000 copies. In Australia, the album debuted and peaked at two on the Kent Music Report albums chart, and was certified seven times platinum by the Australian Recording Industry Association (ARIA) for shipment of 490,000 copies of the album. It reached the top of the New Zealand Albums Chart for three consecutive weeks and was certified five times platinum by the Recording Industry Association of New Zealand (RIANZ) for shipment of 75,000 copies. Elsewhere, Like a Virgin reached number one in Germany, the Netherlands and Spain, while peaking within the top five in many other countries, including Austria, Japan, Sweden and Switzerland. It also became Madonna's first number-one album on the European Top 100 Albums, reaching the summit on November 23, 1985, for two weeks, and sold over 2 million copies across Europe at the end of the 1985 year. Like a Virgin has sold more than 21 million copies worldwide and became one of the best-selling albums of all time.\n\nLegacy\nAfter the release of Like a Virgin, Stephen Holden commented in The New York Times: \"No phenomenon illustrates more pointedly how pop music history seems to run in cycles than the overnight success of the 24-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.\" Madonna proved she was not a one-hit wonder with the release of the album which sold 12 million copies worldwide at the time of its release. In 2016, Billboard ranked at number nine in the list of Certified Diamond Albums From Worst to Best. Like a Virgin was ranked fifth in a Billboard poll of albums of the decade—the highest peak by a female performer. In 2023, the Library of Congress added the album to the National Recording Registry for preservation in the United States, for being an \"culturally, historically, or aesthetically significant\" recording.\nTaraborrelli 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.\" He added that the success of the album made it clear what was Madonna's real persona. \"She was a street-smart dance queen with the sexy allure of Marilyn Monroe, the coy iciness of Marlene Dietrich and the cutting and protective glibness of a modern Mae West\". Although the album received mixed reviews, Taraborrelli believed that the \"mere fact that at the time of its release so many couldn't resist commenting on the record was a testament to the continuous, growing fascination with Madonna ... 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.\"Chris Smith, author of 101 Albums That Changed Popular Music, believed that it was with Like a Virgin that Madonna was able to steal the spotlight towards herself. 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. Consequence of Sound ranked the album at number two on \"The 10 Greatest Sophomore Albums of All Time,\" calling it the album that \"carved out the throne...that would be Madonna's forever: the Queen of Pop.\"\n\nTrack listing\nAll tracks produced by Nile Rodgers, except \"Into the Groove\" produced by Madonna and Stephen Bray.\n\nPersonnel\nCredits adapted from the album's liner notes.\n\nCharts\nCertifications and sales\nSee also\nNotes\nPassage 2:\nChapter II (Ashanti album)\nChapter II is the second studio album by American singer and songwriter Ashanti. It was released by Murder Inc. and Island Def Jam on July 1, 2003 in the United States. Ashanti reteamed with Murder Inc. head Irv Gotti and producer Chink Santana to work on the album. Chapter II features a guest appearance by rapper Ja Rule, Chink Santana, and Gunnz. Critical reception towards the album was generally mixed, with critics commending the album's autobiographical lyrics, and its fun yet light nature, while other critics felt Chapter II lacked creativity and personality and relied too heavily on the formula of her debut album (2002).\nUpon its release, the album debut at number one on the US Billboard 200 chart with first-week sales of 326,000 units. It also reached the top ten in Canada, Switzerland, and the United Kingdom. Chapter II was eventually certified platinum by the Recording Industry Association of America in August 2003 and gained gold status in Japan and the United Kingdom. At the 46th Annual Grammy Awards, it earned Ashanti three nominations for Best Contemporary R&B Album, Best Female R&B Vocal Performance, and Best R&B Song. Chapter II spawned three singles, including the Billboard Hot 100 number two song \"Rock wit U (Awww Baby)\", the R&B ballad \"Rain on Me\" and \"Breakup 2 Makeup (Remix)\".\n\nPromotion\nMurder Inc. selected \"Rock wit U (Awww Baby),\" which they considered a continuation from her debut single \"Foolish\" (2002), to be released as the album's first single from Chapter 2. Issued on May 19, 2003, the song became a commercial success stateside and Ashanti's third solo top ten hit. It peaked at number two on the US Billboard Hot 100, while reaching number four on the Billboard Hot R&B/Hip-Hop Songs chart. Internationally, it was a moderate success, reaching the top five in Canada and Japan, the top ten in the United Kingdom, top twenty in Australia, and the top forty in Ireland, New Zealand, and Switzerland.The album's second single \"Rain on Me\", was released on August 11, 2003. It peaked at number seven on the Billboard Hot 100 and number two on the Hot R&B/Hip-Hop Songs chart. Elsewhere, it reached the top twenty in Belgium and the United Kingdom. In 2004, \"Rain on Me\" earned Ashanti a Grammy Award nomination for Best Female R&B Vocal Performance. In 2004, a remix version of \"Breakup 2 Makeup\" featuring labelmate Black Child was released as a single. It served as the lead single from Ashanti's remix compilation album Collectables by Ashanti, released in 2005, reaching number 76 on the Hot R&B/Hip-Hop Songs.\n\nCritical reception\nChapter II received mixed reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 51, based on 11 reviews, indicating \"mixed or average\" reviews. The New York Times writer Kelefa Sanneh remarked that Chapter II \"isn't perfect, but once you edit out the skits (which are, without exception, excruciating), you're left with an album that's graceful, beguiling and above all, light, in the best sense of the word.\" People magazine noted that \"the singer's sophomore CD, though, proves wrong those who thought she would be a one-hit-album wonder. Chapter II, which continues the same hip-hop soul theme as her self-titled debut, is the equivalent of a good beach read: It's easy, breezy listening that doesn't require much brainpower.\"Billboard wrote that Chapter II \"doesn't stray too far from its predecessor\" and complimented the autobiographical songs on the album. Ernest Hardy from Rolling Stone found that the \"album is filled with the same beat-driven, slickly produced midtempo tracks and ballads that made up her debut [and] the disc's best moments have a decidedly old-school feel to them [...] Still, dullard schoolgirl insights into love and heartache dominate the album; add some boring between-song skits about 'haters,' and Chapter II wears thin long before its halfway mark.\" While he complimented Ashanti for her writing credits on the album, Entertainment Weekly journalist Tom Sinclair felt that \"Chapter II is too mired in tired R&B conventions to achieve true magnificence.\"Allmusic editor Stephen Thomas Erlewine found that \"the songs have about as much personality as Ashanti's voice, but that actually is a point in its favor, since it keeps everything on an even keel and makes Gotti and Santana's stylish production the star. They are the secret ingredients that make Chapter II good romantic mood music for the summer.\" Alexa Camp from Slant Magazine wrote that \"the album's got some great tunes, but they'd be better suited for someone like Mary J. Blige, whom Shany & Co. bite off.\" Robert Christgau gave Chapter II a \"C\" rating in his review for The Village Voice, calling it a \"pathologically modest follow-up.\" PopMatters from Maurice Bottomley assured that \"Chapter 2 is not going to feature as any scribe's R&B album of the year.\"\n\nCommercial performance\nIn the United States, Chapter II debuted at number one on the Billboard 200 with first-week sales of 326,000 units sold. While it became Ashanti's second chart topper, it was a considerable decline from her previous effort Ashanti, which had opened to sales of 502,500 units in April 2002. In total, it remained on the Billboard 200 chart for 30 consecutive weeks. In addition, it reached the top position on Billboard's Top R&B/Hip Hop Albums chart, where it stayed at the top spot for two consecutive weeks. On August 14, 2003, The album was certified platinum by the Recording Industry Association of America (RIAA). Towards the end of 2003, Billboard ranked the album at number 54 and 27 respectively on its Billboard 200 and Top R&B/Hip-Hop Albums year end chart lists. By January 2005, Chapter II had sold 1.5 million copies, according to Nielsen SoundScan.Elsewhere, Chapter II reached the top five on the Canadian and UK Singles Chart. It was certified gold by the British Phonographic Industry (BPI), indicating sales in excess of 100,000 copies, and also went gold in Japan. In Switzerland, it reached the top ten, debuting and peaking at number nine on the Swiss Albums Chart, making it Ashanti's highest-charting album to date. Chapter II also entered the top 20 in Australia and Germany. To date, the album has sold 3 million copies worldwide.\n\nTrack listing\nSamples\n\"Intro (Medley)\" contains samples of Ashanti tracks \"Foolish\", \"Happy\", \"Down 4 U\" (with Ja Rule, Charli Baltimore & Vita), \"Baby\" and \"Mesmerize\" (with Ja Rule).\n\"Breakup 2 Makeup\" contains a sample of \"I'm Gonna Love You Just a Little More Baby\" by Barry White.\n\"Rain on Me\" contains a sample of \"Look of Love\" by Isaac Hayes.\n\"Then Ya Gone\" contains samples of \"Ain't I Been Good to You\" by The Isley Brothers, and \"One Day\" by UGK.\n\"Feel So Good\" contains a sample of \"Playing Your Game, Baby\" by Barry White.\n\"The Story of 2\" contains a sample of \"Dream Maker\" by Rick James.\n\"Sweet Baby\" contains a sample of \"I'm Glad You're Mine\" by Al Green.\n\"U Say I Say\" contains a sample of \"Never Enough\" by Groove Theory.\n\"I Found Lovin'\" is a cover of the same-titled song by Fatback Band.\n\nPersonnel\nCharts\nCertifications\nSee also\nList of Billboard 200 number-one albums of 2003\nList of Billboard number-one R&B albums of 2003\nPassage 3:\nChapter II (Benga album)\nChapter II is the third studio album by British record producer Benga. The album was released on 6 May 2013 through Sony Music. It entered the UK Albums Chart at number 93.\n\nBackground and development\nThe album was produced from late 2011 to 2013. On 30 November 2011, Benga and Youngman performed at 1Xtra Live. They premiered \"Running\" live from Bristol. The first official single from the album was \"I Will Never Change\", released in March 2012. In June 2012, Benga and P Money performed a live version of \"High Speed\" on BBC Radio 1Xtra in Maida Vale Studios. Benga himself provided vocoded vocals. Several singles released throughout 2012 were omitted from the album: \"Icon\", \"Pour Your Love\", \"We're Coming Out\" and \"Open Your Eyes\". However, \"Pour Your Love\" (released on 24 August 2012) is the only song so far to chart in the United Kingdom, charting at number 189 in the UK Singles Chart.\nA series of three heavier songs advertised as \"club singles\" were released throughout December 2012: \"We're Coming Out\", \"Open Your Eyes\" and \"To Hell and Back\". The latter is the only one to feature on the album. The album's initial release date was set to be 22 April 2013, but it was delayed by two weeks. Benga supported Example on his 2013 arena tour around the United Kingdom, with Youngman providing vocals for his \"Benga Live\" sets. Several songs from the album were performed on tour, including \"Choose 1\"; \"Smile\"; \"Getting 42\"; \"To Hell and Back\"; \"I Will Never Change\"; and \"Forefather\", which got its live debut at the Manchester Arena on March 1 with a live PA from Kano. \"Smile\" features uncredited vocals from Charli XCX.\n\nSingles\n\"I Will Never Change\" is the album's lead single. It was released on 16 March 2012. The track was the first to be written on the album, and its upload on UKF has over one and a half million YouTube views. The official video premiered on Benga's Vevo on 5 April 2013 at a total length of two minutes and one second. The video features the song's waveform being created in stop motion out of 960 differently sized vinyls.\n\"To Hell and Back\" is the second single from the album. It was released on 17 December 2012. On Example's 2013 arena tour, P Money performed a live PA which doesn't feature on the studio version of the track.\n\"Forefather\" with Kano is the third single from the album. It was released on 7 March 2013 and entered the UK Singles Chart at number 123. The official video premiered on Benga's Vevo on 10 March 2013 at a total length of three minutes and thirty-eight seconds. The video compares Benga and Kano's lifestyles in 2003, 2008 and 2013: showing that although their success has changed their surroundings, their music is still \"sounding like some old-school KA\". It is the only explicit track on the album.\n\nTrack listing\nPersonnel\nCredits adapted from Chapter II album liner notes.\nAdegbenga \"Benga\" Adejumo – mixing, engineering, producer (all tracks), vocals (11)\nAutumn Rowe - vocals (8)\nAyo Simpson - engineering (14)\nCharlotte Emma \"Charli XCX\" Aitchison - vocals (2)\nDaniel \"Danny C\" Caim - vocal recording (11)\nDaniel Ledinsky - backing vocals (14)\nJack Tarrant - mixing, engineering (8, 14)\nKane \"Kano\" Robinson - vocals (4)\nMichael \"Mikey J\" Asante - vocal recording, vocal mixing (4)\nParis \"P Money\" Moore-Williams - vocals (11)\nRowan \"Route 94\" Jones - co-producer (2)\nRudie Edwards - vocals (14)\nSam Frank - vocals, saxophone (10)\nSimon \"Youngman\" Smith - vocals (6, 13)\nStuart Hawkes - mastering (all tracks)\n\nChart performance\nWeekly charts\nRelease history\nPassage 4:\nRock wit U (Awww Baby)\n\"Rock wit U (Awww Baby)\" is a song by American R&B singer Ashanti. Written by her along with Irv Gotti and Chink Santana for her second studio album, Chapter II (2003), and produced by Gotti and Santana, the song was released by Murder Inc. on May 19, 2003, as the lead single from Chapter II, peaked at number two on the US Billboard Hot 100 for one week and became her first international hit from her second album, reaching number 7 in the UK and number 19 in Australia.\n\nMusic video\nDirected by Paul Hunter and filmed in Miami in early May 2003, the music video for \"Rock wit U (Awww Baby)\" features Ashanti at a beach with her boyfriend while they flirt in bed together and driving down the road in a Jeep. In some scenes, the boyfriend watches Ashanti dance for him in the house and behind some trees at night. There is also a scene where she rides on an elephant in the water. The video was nominated at the 2003 MTV Video Music Awards for Best R&B Video.\n\nSamples\nThe song was sampled for British rapper Aitch's single \"Baby\". The single was released on 10 March 2022. It debuted on the UK Official Singles Top 100 on 18 March 2022, placing at number 2.\n\nTrack listings\nNotes\n\n^[a] denotes additional producer\n\nCredits and personnel\nCredits lifted from the liner notes of Chapter II.\n\nCharts\nCertifications\nRelease history\nPassage 5:\nGuillotine IV (The Final Chapter)\n\"Guillotine IV (The Final Chapter)\" is the second single from Falling in Reverse's third album Just Like You. It is the fourth and final installment of the Guillotine series that was started by Ronnie Radke when he was the frontman of Escape the Fate. Ronnie Radke sang the first song, \"The Guillotine\", from Escape the Fate's Dying Is Your Latest Fashion; and Craig Mabbit sang \"This War Is Ours (The Guillotine II)\" and \"The Aftermath (The Guillotine III)\" from Escape the Fate's This War Is Ours and their self-titled album, respectively.\n\nPersonnel\nFalling in ReverseRonnie Radke – lead vocals\nJacky Vincent – lead guitar, backing vocals\nDerek Jones – rhythm guitar, backing vocals\nRyan Seaman – drums, percussion, backing vocalsAdditionalCharles Kallaghan Massabo – bass\nPassage 6:\nCapítulo II: Brinca\nCapítulo II: Brinca (English: Chapter II: Jump) is the second studio album by Mexican-American recording artist DJ Kane. It was released on September 13, 2005 by EMI Latin.\n\nTrack listing\nPassage 7:\nAshanti (singer)\nAshanti Shequoiya Douglas (born October 13, 1980) is an American singer, songwriter and actress. She was first discovered as a teenager and later signed to Murder Inc. Records in 2002. That year, she was featured on Fat Joe's \"What's Luv?\" and Ja Rule's \"Always on Time\", both of which became two of the biggest hit songs of 2002. She became the first female artist to occupy the top two positions on the U.S. Billboard Hot 100 chart simultaneously with \"Foolish\" and \"What's Luv?\" at numbers one and two, respectively.\nIn 2002, Ashanti released her eponymous debut album, which sold over 505,000 copies throughout the U.S. in its first week of release. The album earned her many awards, including eight Billboard Music Awards, two American Music Awards, and a Grammy Award in 2003 for Best Contemporary R&B Album. The album has since been certified triple platinum in the United States and sold six million copies worldwide by the end of 2003. The lead single for the album, \"Foolish\", was a critical and commercial success; it reached number one on the Billboard Hot 100. With \"Foolish\", she became the second artist (after The Beatles) to have their first three chart entries in the top ten of the Billboard Hot 100 simultaneously. Ashanti wrote and provided background vocals for Jennifer Lopez's \"Ain't It Funny (Murder Remix)\", which also reached number one on the Billboard Hot 100.In 2003, Ashanti released her second album, Chapter II, which debuted at number one on the Billboard 200, with first-week sales of 326,000 copies in the U.S. The album went platinum, selling over 1.5 million copies in the U.S. since its release. The album's singles, \"Rock wit U (Awww Baby)\" and \"Rain on Me\", were both commercial successes, peaking at number two and number seven on the Billboard Hot 100 chart, respectively. Chapter II was nominated for a Grammy Award for Best Contemporary R&B Album, and \"Rock wit U (Awww Baby)\" and \"Rain on Me\" were each nominated in the categories of Best R&B Song and Best Female R&B Vocal Performance. In November 2003, Ashanti released a Christmas album titled Ashanti's Christmas, which was a modest commercial success.\nIn 2004, Ashanti released her third studio album, Concrete Rose, the title of which took on Tupac Shakur's pseudonym \"The Rose That Grew from Concrete\". The album debuted at number seven in the U.S., with first-week sales of 254,000 copies, and became her third platinum-certified album. The first single, \"Only U\", reached number thirteen on the Billboard Hot 100 and became her biggest hit in the United Kingdom, peaking at number two. A second single, the ballad \"Don't Let Them\", garnered little chart success after Def Jam refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial. Her subsequent albums include The Declaration (2008) and Braveheart (2014), the latter of which was released independently, on Ashanti's record label, Written Entertainment.\nAside from music, Ashanti has also acted in various productions. In 2005, she made her feature film debut in Coach Carter alongside Samuel L. Jackson. She also starred as Dorothy Gale in the made-for-television film The Muppets' Wizard of Oz, which attracted nearly 8 million viewers when it premiered. She has since appeared in the films John Tucker Must Die (2006) and Resident Evil: Extinction (2007). Throughout her career, Ashanti has sold nearly 15 million records worldwide.\n\nEarly life\nAshanti Douglas was born on October 13, 1980 in Glen Cove, New York. Her mother, Tina Douglas, is African-American and a former dance teacher, her father, Ken-Kaide Thomas Douglas, is also African-American and a former singer. She is the oldest of her parents' children, with a younger sister named Kenashia \"Shia\" Douglas. Ashanti's mother named her after the Ashanti Empire in Ghana; in this nation, women had power and influence, and Tina wanted Ashanti to follow that model. Her grandfather, James, was a civil rights activist who was associated with Martin Luther King Jr. in the 1960s.Ashanti's mother discovered her full singing potential when she overheard Ashanti singing Mary J. Blige's \"Reminisce\" at age 12 (after the song was released on Ashanti's birthday). While attending high school, she began to write songs. As a teenager, she performed in a local talent show and at several small festivals. She got her first taste of acting as a child extra in Spike Lee's Malcolm X (1992) and in Ted Demme's Who's the Man?. She also had a couple of minor appearances in music videos, such as KRS-One's \"MC's Act Like They Don't Know\" as well as 8-Off's \"Ghetto Girl\".Ashanti struggled to find success as a singer after being courted by several record labels, including Bad Boy and Jive. Despite this, she continued to perform in and around New York and began hanging out at the Murder Inc. recording studio, hoping for a big break.\n\nCareer\n2001–2003: Ashanti, Chapter II and Ashanti's Christmas\nAshanti was first noticed by Irv Gotti because of her vocal skills. He asked her to pen hooks for his rap artists and to perform with them in duets. Ashanti provided the melodic response to their call. Ashanti was first featured as a background vocalist on rapper Big Pun's song \"How We Roll\". In the same year, Ashanti was featured on fellow labelmate Cadillac Tah's singles \"Pov City Anthem\" and \"Just Like a Thug\". She also appeared on the 2001 The Fast and the Furious soundtrack as a featured artist on Vita's 2001 hip hop remake of Madonna's \"Justify My Love\" and on the solo track \"When a Man Does Wrong\". She was then featured on Fat Joe's \"What's Luv?\" and Ja Rule's \"Always on Time\". \"What's Luv?\" and \"Always on Time\" were released simultaneously and became two of the biggest hit songs of 2002. Ashanti became the first female to occupy the top two positions on the U.S. Billboard Hot 100 chart simultaneously when \"Always on Time\" and \"What's Luv?\" were at numbers one and two, respectively.\nFollowing the success of her collaborations with Ja Rule and Fat Joe, Ashanti released her debut single, \"Foolish\", which contains a sample of the 1983 song \"Stay with Me\" by DeBarge (also used by The Notorious B.I.G. in his 1995 single \"One More Chance\", and by Big L in \"MVP\"). This is her biggest success to date, spending ten weeks atop the Billboard Hot 100. She became the second artist (after The Beatles) to have their first three chart entries in the top ten of the Hot 100 simultaneously. Ashanti's self-titled debut album, Ashanti, was released on Irv Gotti's Murder Inc. record label in April 2002. It debuted at number one on the U.S. Billboard 200 albums chart. The album has been certified triple platinum in the United States and sold six million copies worldwide. Ashanti wrote the album's twelve tracks, most of which were written on the spot in the studio. Ashanti's follow-up singles, \"Happy\" and \"Baby\", were not as successful as her debut single but peaked inside the top ten and top twenty in the U.S., respectively. Ashanti's debut album earned her many awards, including eight Billboard Music Awards, two American Music Awards, and a Grammy Award in 2003 for Best Contemporary R&B Album. Ashanti was the first artist to win Best Contemporary R&B Album before the category was last awarded in 2011. She was nominated as Best New Artist and \"Foolish\" was nominated in the Best Female R&B Vocal Performance category. She also received a Comet Award and two Soul Train Music Awards that same year.\nAshanti became the subject of controversy when it was announced that she would receive the Soul Train Aretha Franklin Award for \"Entertainer of the Year\", a high school student took offense and started an online petition against her, explaining to The Seattle Times that she was too new to deserve the award. Nearly 30,000 people agreed with him, signing the petition. Many said that established artists such as Mary J. Blige and Missy \"Misdemeanor\" Elliott or critically acclaimed singers like Alicia Keys and India.Arie were more deserving of an award that carries the name of a musical legend. Despite the petition, the Soul Train committee and Don Cornelius stuck by their decision. Ashanti was applauded by her musical peers as she entered the Pasadena Civic Auditorium to accept her award and she was supported onstage by Patti LaBelle, who stated \"she's a baby and we have to support our babies.\"Just before the release of her second album, Ashanti headlined VH1 Divas Duets alongside Whitney Houston, Chaka Khan, Beyoncé and Lisa Marie Presley. During the concert, she performed duets with the Isley Brothers and Stevie Wonder, and participated in the all-star finale performance of Wonder's \"Higher Ground.\"In July 2003, Ashanti released her second album, Chapter II, which debuted at number one on the Billboard 200, with first-week sales of 326,000 copies in the U.S. The album went platinum, selling over 1.5 a million copies in the U.S. Chapter II's first single, \"Rock wit U (Awww Baby)\", became a hit, peaking at number two on the Billboard Hot 100. Its video, which showed Ashanti in a bikini frolicking on a beach and riding an elephant, was nominated for two 2003 MTV Video Music Awards. A remix of the song contains interpolations of Michael Jackson's \"Rock with You\". The second single, \"Rain on Me\", reached the number seven spot on the Hot 100 and number two on the Hot 100 R&B Songs chart. Chapter II was nominated for a 2004 Grammy Award for Best Contemporary R&B Album, and \"Rock wit U (Awww Baby)\" and \"Rain on Me\" were nominated in the categories of Best R&B Song and Best Female R&B Vocal Performance, respectively. In the \"Rain on Me,\" mini-movie music video—directed by Hype Williams and co-starring Larenz Tate—Ashanti portrays a troubled young woman in an abusive relationship. She received a Lifetime Channel Achievement Award for her message speaking out against domestic violence. That same year, she began dating rapper Nelly.In November 2003, Ashanti released a Christmas album titled Ashanti's Christmas. It contained 10 Christmas songs and was a modest commercial success and sold just around 100,000 units in the U.S. The album peaked at No. 160 in the Billboard charts.\n\n2004–2007: Concrete Rose, Collectibles by Ashanti and acting\nBefore Concrete Rose was released, Ashanti did some major promotion for her single \"Only U\", when she premiered it at the 2004 Vibe Music Awards. She featured on \"Wonderful\"—with Ja Rule and R. Kelly—that year, which peaked at number five in the U.S. and at number one in the UK. In December 2004, Ashanti released her third studio album, Concrete Rose, the title of which took on Tupac Shakur's pseudonym \"The Rose That Grew from Concrete\". The album debuted at number seven in the U.S., with first-week sales of 254,000 copies, and eventually became her third platinum-certified album. The first single, \"Only U\", reached number thirteen on the Billboard Hot 100 and became her biggest hit in the United Kingdom, peaking at number two. A second single, the ballad \"Don't Let Them\", garnered little chart success after Def Jam refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial. The single was released only in the U.S., where it failed to chart, and the UK, where it reached the lower end of the top forty. After the release of Concrete Rose, Ashanti released the DVD Ashanti: The Making of a Star, which was available only for a limited time. The deluxe DVD includes an exclusive photo and video shoot footage, music from the albums Ashanti, Chapter II and Concrete Rose, special concert footage, unreleased childhood school performances, and behind-the-scenes interviews with family, friends, and fans.\nIn 2005, Ashanti focused more on her acting career, making her feature film acting debut in the film Coach Carter alongside Samuel L. Jackson, as well as starring as Dorothy Gale in the made-for-television film The Muppets' Wizard of Oz, which pulled in nearly 8 million viewers when it premiered. She sang \"When I'm with You\" for the film which was nominated for a Primetime Emmy in the Outstanding Music and Lyrics category. In Coach Carter, she played a pregnant teenager named Kyra who has to decide whether or not to abort her unborn child. The movie opened at number-one at the U.S. box office, eventually grossing $67 million domestically. Later in 2005, Ashanti was invited to Oprah Winfrey's Legends Ball, which honored some of the most influential and legendary African American women of the twentieth century in the fields of art, entertainment, and civil rights. In December 2005, Ashanti released a remix album of Concrete Rose titled Collectables by Ashanti. The album was an opportunity for her to fulfill her contract with Def Jam (and have the option of working with another label). It did not fare well on the charts.\nIn 2006, she starred in the teen comedy John Tucker Must Die, which opened and peaked at number three at the U.S. box office (competing with Pirates of the Caribbean: Dead Man's Chest and Miami Vice) and grossed $68,818,076 worldwide. In 2007, she played a supporting role in the action film Resident Evil: Extinction (2007).\n\n2008–2010: The Declaration, departure from The Inc. and The Wiz\nHer fourth studio album, The Declaration, was released on June 3, 2008, and sold 86,000 units its first week of release, which were the lowest first-week sales for any of Ashanti's studio albums. In mid-2007, MTV News reported that the first single from The Declaration was \"Switch\", which was produced by Shy Carter and released digitally in the United States on July 24, 2007. It was later reported that \"Switch\" may not be included on the album's track listing, and that the first single would be \"Hey Baby (After the Club)\" it was released to radio and digital outlets on October 16. The song, which does not appear on the U.S. editions of the album, peaked at number eighty-seven on the Billboard Hot R&B/Hip-Hop Songs chart. \"The Way That I Love You\", was released to radio and digital outlets in January 2008, and was referred to as the \"first single\" in press material and media reports. It reached number two on the Hot R&B/Hip-Hop Songs chart and number thirty-seven on the Billboard Hot 100, becoming Ashanti's first song to reach the top forty since \"Only U\" in 2004. \"Body On Me\" was recorded not only for Ashanti's The Declaration, but also for Nelly's fifth studio album Brass Knuckles. The track is produced by Akon and Giorgio Tuinfort. It went to number one on Billboard's Hot Videoclip Tracks chart in its first week, becoming the first number-one single from Nelly's album.\"Good Good\" was released to urban radio stations on July 16, 2008. The song contains elements of Elton John's 1974 single \"Bennie and the Jets\", and has the same melody arrangement as Michael Jackson's \"The Girl Is Mine\". In July 2008, Ashanti was named an ambassador of tourism for Nassau County, Long Island.\nIn May 2009, Irv Gotti announced that he was officially releasing Ashanti from The Inc. Records, stating that \"The relationship has run its course. The chemistry of what's needed — we're in two totally different places. You're talking to somebody that took her and shaped and molded her and put her out there for the world, and it blew up. We [hold the record] for the [fastest] selling debut by a female R&B artist — 503 [thousand]. We did it! My views and philosophies and her views and philosophies are not meeting up.\" Gotti also admitted that he and Ashanti have not spoken to each other in a long time. A representative for Ashanti did not respond. On September 24, 2009, Ashanti announced her fifth studio album would be released from her new label, Written Entertainment.\nAshanti headlined the cast of The Wiz in the New York City Center Encores! Summer Stars staging from June 12 to July 5, 2009. Ashanti's role as Dorothy has since received mixed reviews from critics as most praised her vocals but was less pleased with her acting ability. BET and Entertainment Weekly both praised the singer's performance as The New York Post and New York Times gave lukewarm reviews. Though the first night was sold out, some of the other shows were unable to follow its success. On October 27, 2008, Ashanti took part in The Yellow Brick Road Not Taken, a one night only concert to celebrate the fifth anniversary of Wicked, featuring songs written by Stephen Schwartz, that were cut from the show.\n\n2011–2014: Hiatus and Braveheart\nAfter a four-year hiatus, Ashanti released the song \"Never Too Far Away\", which was featured in Morgan Creek's film Dream House starring Daniel Craig, Rachel Weisz with Naomi Watts. The lead single from her fifth studio album, \"The Woman You Love\" featuring American rapper Busta Rhymes, was released online on December 15, 2011. Ashanti teamed up with Meek Mill and French Montana for the second single \"No One Greater\", which was produced by 7 Aurelius, Irv Gotti and Chink Santana. In April 2013, she released another single called \"Never Should Have\", which later won \"Best Independent R&B/Soul Performance\" at the 2013 Soul Train Awards. A music video for the track was also released.In November 2012, it was reported that she had landed her first series regular role in the seventh season of Army Wives, playing Latasha Montclair. The series was canceled on September 24, 2013. In the fall of 2013, she appeared in a guest spot on Law & Order: Special Victims Unit alongside Clay Aiken and Taylor Hicks. She also starred in the Lifetime film Christmas in the City which premiered on December 7, 2013.In August 2013, Ashanti announced her plans to once again work with Ja Rule, who'd been released from prison in July of that year following a six-year sentence stemming from a gun charge. On January 8, 2014, she revealed the official cover art and release date for Braveheart, her fifth album, which was released on March 4, 2014. In January 2014, Ashanti shot the video for the official first single from Braveheart titled \"I Got It\" featuring Rick Ross. The video was shot in Miami, Florida, and was directed by Eif Rivera. In July, Ashanti announced that the second official single from BraveHeart would be \"Early in the Morning\" featuring French Montana. Upon release, the album garnered favorable reviews, with music critics describing Braveheart's sound as an \"evolution of R&B\" and praising the themes of empowerment but criticizing the romantic clichés and lack of interesting moments on the album. On the charts, Braveheart opened at number ten in the U.S. Billboard 200, becoming Ashanti's fifth consecutive top-ten album, as well as her first Independent Albums chart-topper. It also debuted in the top thirty of the UK R&B Albums Chart and top-forty of the UK Indie Albums Chart.\n\n2015–present: Current activities and upcoming seventh studio album\nIn 2015, she announced that she had worked on new music for her seventh album, with an unknown release date. Ashanti collaborated with Michelle Obama for her #Let'sMove campaign to spread awareness of drinking water with her new video and song \"Let's Go\" released in 2015. In 2016, she collaborated on the song \"Seven Day Love\" included in the album \"Inzombia\" by Canadian singer Belly. She has also worked with numerous artists, including Sia, Alicia Keys, John Legend, Queen Latifah, Usher and Kelly Clarkson to interpret the songs of the Broadway musical \"Hamilton\" for the compilation \"The Hamilton Mixtape\".In 2017, Ashanti announced her seventh studio album, revealing it would be released in 2018. She denied this in June 2018, confirming the future release of an album in collaboration with rapper Ja Rule. Between 2017 and 2018 she returned to the music scene with several collaborations including the single \"Say Less\" with Ty Dolla Sign, the track \"The Road\" by Machel Montano, and the song \"Start This Shit Off Right\" with Mack Maine, from the album \"Tha Carter V\" by Lil Wayne.Ashanti released the collaboration \"Pretty Little Thing\" with Afro B in August 2019. She also featured on the soundtrack of the film Stuck, which she produced. In November, Ashanti guest-starred as herself in two episodes of the third season of The CW's Dynasty reboot: \"Mother, I'm At La Mirage\" and \"Something Desperate\".In January 2021, Ashanti released her single \"2:35 (I Want You)\".On March 10, 2022, Ashanti's single \"Rock wit U (Awww Baby)\" was heavily sampled for British rapper Aitch's single \"Baby\".In October 2022, Ashanti was featured on Diddy’s “Gotta Move On” remix which also features Bryson Tiller and Yung Miami.\n\nArtistry\nAshanti has a lyric soprano voice type. Critics have referred to her voice as \"pretty\" and her soprano as \"sultry\" and \"sweet but slight\". Jason Birchmeier of AllMusic noted her reputation for using her \"swooning voice\" in duets with Big Pun, Fat Joe, and Ja Rule. As a young girl, Ashanti was influenced by Ella Fitzgerald, Whitney Houston, Michael Jackson, Prince, and Tupac Shakur, but she cites Mary J. Blige as the main reason she wanted to pursue a singing career. Further musical influences include Janet Jackson, Mariah Carey, Madonna, Smokey Robinson, Donna Summer, and Blue Magic.\n\nPhilanthropy\nIn 2003, Ashanti partnered with LidRock and the San Francisco-based Family Violence Prevention Fund (FVPF) to raise awareness about the issue of domestic violence during National Domestic Violence Awareness Month and to distribute the \"Rain on Me\" mini-movie using LidRock's unique platform. Proceeds from the $5 mini-disc went towards helping to stop domestic violence. Ashanti also recorded a public service announcement that appeared in more than 4,000 film screens and reached millions of people. Ashanti also gives back by raising money for sickle cell research and she is active in helping the Make-A-Wish Foundation stating, \"I'll go and do just about anything for them.\" In 2005, Ashanti helped by recording public service announcement and raising money for the Southeast Asia tsunami disaster. Later that year, she helped raise money for the Hurricane Katrina victims and storm evacuees.In 2008, Ashanti, along with others celebrities, taped a PSA to help stop violence and discrimination towards the LGBT community in response to the death of Lawrence King, an eighth-grader at E.O. Green Junior High School, who was shot because of his sexual orientation and gender expression. That same year, she launched a special on-line campaign called \"I Declare Me...\" with Wal-Mart. The campaign's core is a very personal focus on the self-definition and empowerment of women across the United States, with its home base at Ashanti's official website. The campaign creates a safe and inclusive on-line space to for women to share testimonies on the site. Participants are able to openly declare their own breakthroughs, revelations, struggles and victories in every life area they choose: career, birth, death, relationships, and personal situations. \"I Declare Me...\" also invites women to a virtual discussion with Ashanti on such issues as voter registration, teen obesity, and other concerns facing women today.\nIn September 2009, Ashanti, along with other artists such as Mariah Carey, Beyoncé, Mary J. Blige, Rihanna, Fergie, Sheryl Crow, Miley Cyrus, Melissa Etheridge, Natasha Bedingfield, Keyshia Cole, Ciara, Leona Lewis, LeAnn Rimes and Carrie Underwood, teamed up for the song \"Just Stand Up!\". The charity tune for cancer was conceived by Antonio \"L.A.\" Reid, who produced it with longtime creative colleague Babyface. All 15 singers (along with Nicole Scherzinger) shared the stage to perform the song live on September 5, 2008, during the \"Stand Up to Cancer\" television special, which aired simultaneously on ABC, NBC and CBS, and helped raise $100 million for cancer research. As a result of SU2C fund raising endeavors, the SU2C scientific advisory committee, overseen by the American Association for Cancer Research, was able to award 73.6 million dollars towards novel, groundbreaking cancer research in 2009.In November 2009, Ashanti joined the crew of ABC's Extreme Makeover: Home Edition. In the episode, which aired on January 24, 2010, the singer assisted in the rebuilding of the Powell Family home in Buffalo, New York. The efforts from the show expanded significantly to include not just the family home but the entire neighborhood surrounding it. In 2013, Ashanti featured on the 19-track compilation album Songs for a Healthier America, a collaborative project by the Partnership for a Healthier America, whose honorary chair is Michelle Obama, and Hip Hop Public Health. Her song \"Just Believe\" also featured Artie Green, Gerry Gunn, Robbie Nova and Chauncey Hawkins. Additionally, she is affiliated with the Jumpstart reading program, the Tupperware Brand and the Boys and Girls Club of America.\n\nPersonal life\nOn January 1, 2003, Ashanti met rapper Nelly at a press conference for the 2003 Grammy Awards, and the two later began dating. They ended their relationship after a decade together. In 2023, they reunited and got back together.\n\nDiscography\nStudio albumsAshanti (2002)\nChapter II (2003)\nAshanti's Christmas (2003)\nConcrete Rose (2004)\nThe Declaration (2008)\nBraveheart (2014)\n\nFilmography\nFilm\nTelevision\nTheater\nSee also\nList of awards and nominations received by Ashanti",6 "char_len": 72060,7 "document_hash": "39aecd2c50fb2fa81886a2299505ef507dcac11d903e841d0fac78c618fddc49",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "When was the American singer, songwriter, record producer, dancer and actress born who's second studio album is Chapter II?"13 }14 ]15}