in 2005, and for the 25th anniversary of MTV, viewers voted it as the "Most Groundbreaking Music Video of All Time". In addition, the clip was ranked at number 20 on Rolling Stones "The 100 Top Music Videos" and at number two on VH1's 100 Greatest Videos. Fuse TV named "Like a Prayer" one of its 10 "Videos That Rocked The World". In a 2011 poll by Billboard, "Like a Prayer" was voted the second best music video of the 1980s, behind only Michael Jackson's Thriller. Themes and analysis Scholars and academics have offered different interpretations of the music video and its story line. Allen Metz, one of the authors of The Madonna Companion: Two Decades of Commentary, noted that when Madonna enters the church at the beginning of the clip, the line "I hear you call my name, And it feels like.... Home" is played. The women of Italian East Harlem in New York call their Church as la casa di momma (Momma's House). In that respect, Metz believed that Madonna alluded herself to be one from Harlem, but also refers herself as divinity returning to the Church. This divine aspect is further explored by Nicholas B. Dirks, author of Culture/power/history, who argued that Madonna falling into a dream is the most important point of the narrative as it signified that "Madonna is really not putting herself in place of the redeemer, but imagining herself as one." Santiago Fouz-Hernández wrote in his book, Madonna's Drowned Worlds, that the Black woman who catches Madonna when she is falling through heaven in her dream, is a symbol for the divinity, as she helps Madonna throughout the video to come to the correct decision. Fouz-Hernández explained how the physical similarity between Madonna and woman indicated that it was actually Madonna's inner divinity which was rescuing her. When the singer accidentally cuts her hand on the dagger, it was described as receiving stigmata by scholar Robert McQueen Grant, who believed that the scene marked Madonna as having an important role to play in the narrative. This was evident when the crime scene is shown in detail, and an identification is established between Madonna and the victim. Freya Jarman-Ivens, coauthor with Fouz-Hernández, noted that the woman cries out for help when Madonna sings the line "When you call my name, It's like a little prayer". However, Madonna could not do anything thus portraying failure