From this one, I’d like to post about the songs of Stevie Wonder who is

one of my fav singer with my personal.

A bow is a symbol written in the Bible as a promise from God after he flooded the Earth the promise to never do that again every time we see a rainbow it’s meant to be a reminder of the promise god made to us.

The bow is a symbol written in the Bible as a promise from God after he flooded the Earth the promise to never do that again every time we see a rainbow it’s meant to be a reminder of the promise god made to us.

The bow is a symbol written in the Bible as a promise from God after he flooded the Earth the promise to never do that again every time we see a rainbow it’s meant to be a reminder of the promise god made to us.

The bow is an arched shape symbol a ribbon is like 1 rope but it can be arched twice and tied to create what we know as a ribbon bow it’s a symbol that becomes a tie between people with a promise it mentions they’ve got god on their side so that ribbon is tied into a bow before god meaning marriage it’s the seal of a promise in marriage that kind of seal is not meant to be broken lets tie the knot.

Colours possibly represent different types of bonds and personalities like ties between families ties between business the arch shape was the symbol originally used to represent the woman’s uterus for when she gives birth meaning a new life or a new beginning that’s why at weddings whether they realize it or not the arch which they stand under usually in garden weddings like as in a garden arch is a bow, its true origin represents a birth the new promise of life does not literally have to mean giving birth to a child it could be many things ideas (to make it a reality) like a new business it’s a tie that you become tied to (committed) once you commit to tie the ribbon.

When you make a new life commitment using a bow is a symbol to to ask God for his blessing, if you are fully prepared to make a promise to commit to that idea creating a birth a new beginning it’s now a true born path of life to commit to.

The song reached number one on the Billboard Hot 100 and in New Zealand, and number nine in the United Kingdom. “No Diggity” ended “Macarena“‘s 14-week reign atop the Billboard Hot 100.

It ranked at number 91 on Rolling Stone and MTV: 100 Greatest Pop Songs. It sold 1.6 million copies in 1996, and won the 1998 Grammy Award for Best R&B Performance by a Duo or Group with Vocals and was nominated for Grammy Award for Best R&B Song.

It ranked at #32 on VH1’s 100 Greatest Songs of the ’90s. In the United Kingdom, the song climbed back into the top forty of the UK Singles Chart in March 2013, peaking at number thirty-eight 16 years after its original release there.

Co-producer Teddy Riley originally offered the song to Guy as part of their short-lived reunion in 1996. After failing to record any material, he then suggested the song to Guy’s lead singer Aaron Hall, who refused to take part in recording the song. He then offered the song to his other group Blackstreet.

Musically, “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 synths are heard along the bassline.

The lyrics of the song are ambiguous and consist of hidden innuendo, interpreted in different ways.

“Like a Virgin” received positive reviews from music critics, who frequently called it as one of the defining songs for Madonna.

It became her first number-single on the record charts in Australia, Canada, Japan, and the United States, while reaching the top ten elsewhere.

“Like a Virgin” became Madonna’s first of 12 number-one hits on the Billboard Hot 100, where it debuted at number 48 on the issue dated November 17, 1984.

The song reached number one on the Billboard Hot 100 chart the week of December 22, 1984 and remained there for six weeks.

“Like a Virgin” was certified goldby 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 song also reached number-one on the Hot Dance Music/Club Play chart, and was her first top-ten entry on the Hot R&B/Hip-Hop Songschart at position nine.

It placed at two on the year-end chart for 1985, with Madonna becoming the top pop artist for the year.

In Canada, the song debuted on the RPM Singles Chart at number 71 on the RPM issue dated November 24, 1984, and reached the top of the chart on January 19, 1985.

It was present on the chart for a total of 23 weeks and ranked thirty-five on the RPM Year-end chart for 1985.

The song debuted on the UK Singles Chart on November 17, 1984 at number 51, and peaked at number three on January 12, 1985; it spent a total of 18 weeks in the chart, and was certified gold by the British Phonographic Industry (BPI) for shipment of 500,000 copies across United Kingdom.

According to Official Charts Company, the song has sold 892,000 copies there as of August 2018. Across Europe, the song peaked within the top-ten of the charts of Austria, Belgium, France, Germany, Ireland, Italy, Netherlands, Norway and Switzerland.

According to Music & Media magazine the song had sold around 1.5 million copies in Europe by September 1985

This was released in the United States October 27, 1980, which was the same day

Mark David Chapman bought the gun he would use to kill Lennon on December 8. “Starting Over,” which came out in the UK on October 24, was Lennon’s first release since 1975. The Double Fantasy album was issued on November 17.

This song embodied the sense of renewal in Lennon and Yoko’s professional and personal lives during the writing and recording of Double Fantasy.

“It was kinda obvious what ‘Starting Over’ was about,” said journalist David Sheff,

who did the last major interview with Lennon, to Mojo.

“He’d been untrusting of Yoko, she’d been untrusting of him, all that kind of stuff.

But in that one song was this incredible optimism and joy.”

Lennon said in his last Rolling Stone interview in 1980: “All through the taping of ‘Starting Over,’ I was calling what I was doing ‘Elvis Orbison.’

It’s like Dylan doing Nashville Skyline, except I don’t have any Nashville, being from Liverpool. So I go back to the records I know

– Elvis and Roy Orbison and Gene Vincent and Jerry Lee Lewis.”

Physical is a song by the British-born Australian singer Olivia Newton-John for her twelfth studio album Physical. It was released in September 1981

The song was an immediate success, shipping 2 million copies in the United States, being certified Platinum, and spending 10 weeks at number one on the Billboard Hot 100, ultimately becoming Newton-John’s biggest American hit as well as being the 1980s’ most popular. It also cemented Newton-John’s legacy as a pop supersta

Recorded in early 1981, it first rose to number one on the Billboard Hot 100 in America in November 1981 and stayed there for 10 weeks, until near the end of January 1982.

It reached #2 on the Radio & Records CHR/Pop Airplay chart on November 27, 1981, staying there for two weeks and remaining on the chart for fourteen weeks. In terms of chart placement, it was the most popular single of her career in the U.S., as well as her final number-one (to date).

Billboard ranked it as the number one pop single of 1982 (since the chart year for 1982 actually began in November 1981), and it was also the most successful song on the Hot 100 during the 1980s in terms of the number of weeks spent at number one

“We Belong Together” was written by Carey, Jermaine Dupri, Manuel Seal,

and Johntá Austin, and produced by the former three.

We Belong Together” earned her several music industry awards and nominations throughout 2005–06. The song broke chart records in the United States and became Carey’s sixteenth topper on the US Billboard Hot 100.

Sal Cinquemani of Slant Magazine wrote “the… diva [keeps] cool with breathy, rapid-fire verses until the final full strong-voiced climax that… proves that ‘The Voice’ has indeed returned.

Other critics commended Carey on her novel singing style which, according to Kelefa Sanneh of The New York Times, gave the song its propulsion, writing “This style is part of the reason why she has been able to turn a ballad into a summer smash.

‘We Belong Together’ doesn’t have a guest rapper, or a hard-hitting beat, but Ms. Carey’s tricky vocal lines give the song more propulsion than you’d expect, with tightly coiled counter-rhythms that tug against the beat.”