Papa Don't Preach

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Template:Short description Template:Good article Template:Use mdy dates Template:Infobox song "Papa Don't Preach" is a song by American singer Madonna from her third studio album, True Blue (1986). Written by Brian Elliot and co-produced by Madonna and Stephen Bray, the song was inspired by teenage conversations Elliot overheard outside his recording studio. Originally penned for a singer named Christina Dent, it was later offered to Madonna after Warner Bros. executive Michael Ostin intervened. Madonna adjusted portions of the lyrics and was credited as a co-writer. Musically, the track blends dance-pop with elements of baroque, post-disco and classical music, and its lyrics tell the story of a teenage girl who becomes pregnant and chooses to keep her baby, despite her father's objection.

Released on June 11, 1986, in the United States and shortly after in most European countries, "Papa Don't Preach" was met with critical acclaim, with particular praise directed at Madonna's more controlled vocal delivery. It became her fourth number-one hit on the Billboard Hot 100 and also topped the charts in countries such as Canada, the United Kingdom, and Australia. The accompanying music video, directed by James Foley, introduced a new, more muscular and mature look for the singer, as she portrayed a conflicted young woman confronting her father —played by Danny Aiello— about her pregnancy. These scenes are intercut with shots of Madonna singing in a dark studio setting.

The song sparked controversy upon release for its subject matter, drawing criticism from women’s and family planning organizations, who accused Madonna of glamorizing teenage pregnancy. Conversely, pro-life groups praised it for seemingly endorsing motherhood over abortion. Madonna has performed "Papa Don't Preach" in five of her concert tours, the last being 2019–2020's Madame X Tour. During the Who's That Girl World Tour (1987), she dedicated the song to Pope John Paul II, prompting backlash from the Vatican and a call for Italian fans to boycott her concerts. In 2002, British television personality Kelly Osbourne released a cover version that, despite mixed critical reception, achieved commercial success.

Background and recording

"Papa Don't Preach" was written by Brian Elliot, who drew inspiration from conversations he overheard among teenage girls outside his North Hollywood recording studio, which had a mirrored front window frequently used by high school students.<ref name="Stereogum">Template:Cite web</ref> Describing it as a "love song, maybe framed a little bit differently", Elliot said the lyrics focused on a young woman facing a difficult life decision.<ref>Template:Cite news</ref><ref name="Sermon">Template:Cite webTemplate:Subscription required</ref> In 1986, while working with aspiring Warner Bros. artist Christina Dent, Elliot presented the demo of "Papa Don't Preach" to label A&R executive Michael Ostin —who had previously championed "Like a Virgin".<ref name="Stereogum" /><ref name="IndependentStory">Template:Cite webTemplate:Subscription required</ref><ref name=Easlea1>Template:Harvnb</ref> Ostin saw potential and played the track for Madonna, who was in the process of creating her third studio album, True Blue.<ref name=Easlea1 /><ref name="MusicBusinessWorldWide">Template:Cite web</ref><ref name=TaraTB1>Template:Harvnb</ref>

She expressed immediate interest, prompting Ostin to negotiate its transfer. Though initially hesitant to let the song go, Elliot ultimately agreed, later calling the opportunity for Madonna to record one of his songs "hard to resist".<ref name="Stereogum" /><ref>Template:Cite magazine</ref> While her lyrical contributions were minimal, Madonna received a co-writing credit.<ref name="metz">Template:Harvnb</ref> She later explained her connection to the material: "[The song] just fit right in with my own personal zeitgeist of standing up to male authorities, whether it's the pope, or the Catholic Church or my father and his conservative, patriarchal ways [...] that's why I thought it was so great".<ref>Template:Cite magazineTemplate:Subscription required</ref>

The song was recorded at Channel Recording Studios in Los Angeles alongside the rest of the True Blue album.<ref name=mckeen1>Template:Harvnb</ref><ref name="LinerTB" /> Upon meeting in the studio, Madonna reportedly asked Elliot if she had "wrecked his song", leading to a short but amicable discussion.<ref name=Easlea1 /> The recording featured Patrick Leonard and Stephen Bray on keyboards and percussion, with Fred Zarr and Jonathan Moffett also contributing. Guitarists included David Williams, Bruce Gaitsch, and John Putnam, while backing vocals were performed by Siedah Garrett and Edie Lehmann.<ref name="bego1">Template:Harvnb</ref><ref name="LinerTB" /> Zarr, who had worked on Madonna's 1983 debut album, created the signature string introduction while experimenting on an Emulator II synthesizer.<ref name="bego1" /> Madonna, impressed by the result, decided to use it to open the track; Zarr was not formally credited for this contribution.<ref name="bego1" />

Composition and release

Template:Listen Musically, "Papa Don't Preach" has been noted a dance-pop song that incorporates elements of baroque pop, post-disco, classical music, and 1960s-inspired psychedelia.<ref name="Stereogum" /> Written in the key of F minor, the song is set in common time with a moderate tempo of 116 beats per minute. Madonna's vocal range spans from F3 to C5, and her performance is marked by a more mature and restrained delivery than in her previous singles.<ref name="Alfred">Template:Cite web</ref><ref name="fouz">Template:Harvnb</ref> It follows a standard verse-chorus form structure and opens with an orchestral string introduction described as "Vivaldian" in character, setting a dramatic tone before transitioning into a synth-driven arrangement with programmed drums and bass.<ref name="fouz"/><ref name="Rooksby">Template:Harvnb</ref>

The lyrics are presented from the perspective of a teenage girl who confesses to her father that she is pregnant and has decided to keep the child.<ref name="Bielen">Template:Harvnb</ref> She pleads for understanding while asserting her independence: "Papa don't preach, I'm in trouble deep/But I've made up my mind, I'm keeping my baby".<ref name="Rooksby" /><ref name="Quayle">Template:Cite news</ref> The verses depict her emotional turmoil, while the pre-chorus and bridge add intensity through increasingly dramatic vocal delivery.<ref name="fouz" /> A Spanish-inspired acoustic guitar section appears mid-song, cited as one of Madonna's earliest incorporations of Latin musical influences.<ref name="fouz" />

In the second verse, the narrator describes her boyfriend's promise to marry and raise a family with her, while also acknowledging peer pressure to abandon the pregnancy.<ref name="Stereogum" /> Some scholars have identified queer subtexts in the lyrics, noting that themes of secrecy, fear of rejection, and affirmation of identity can resonate with LGBTQ+ listeners.<ref name="Stereogum" /> "Papa Don't Preach" was released as the second single from True Blue on June 11, 1986, in the United States, and five days later in most European territories.<ref>Template:Cite web</ref>Template:Efn The track was later included on Madonna’s compilations The Immaculate Collection (1990) and Celebration (2009).<ref name=25TIC /><ref name="Celebration" />

Critical reception

Since its release, "Papa Don’t Preach" has been acclaimed by critics.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> Rolling StoneTemplate:'s Davitt Sigerson praised it as the only song on True Blue with a hook as strong as Madonna's earlier hits, likening it to Michael Jackson's "Billie Jean" (1983).<ref>Template:Cite magazineTemplate:Subscription required</ref> The Chicago Tribune deemed the track "stunning", while AllMusic's Stephen Thomas Erlewine called it a "masterstroke".<ref>Template:Cite webTemplate:Subscription required</ref><ref>Template:Cite web</ref> Entertainment WeeklyTemplate:'s David Browne highlighted the unexpected emotional depth Madonna brought to the role of a pregnant teen, calling it a "perfectly conceived pop record".<ref>Template:Cite magazine</ref> On a similar note, Peter Piatkowski from PopMatters described the track as an "idiosyncratic tune" that shares the maturity of previous single "Live to Tell".<ref>Template:Cite web</ref>

Critics frequently praised the song’s bold departure from Madonna's earlier work. Adam Sexton, author of Desperately Seeking Madonna deemed it the album's "boldest" track, comparing it to punk and new wave milestones like "Bodies" (1977) by Sex Pistols and Graham Parker's "You Can't Be Too Strong" (1979).<ref>Template:Harvnb</ref><ref name="Sexton1">Template:Harvnb</ref> From Slant Magazine, Sal Cinquemani wrote that with "Papa Don’t Preach", Madonna proved she had moved from pop star to consummate artist.<ref name="Slant">Template:Cite web</ref> The Observer–Reporter noted its shift away from Madonna's "sugar-coated" past, while The GuardianTemplate:'s Caroline Sullivan hailed it as her "first socially controversial single, and one of her best tunes to boot".<ref>Template:Cite web</ref> StereogumTemplate:'s Tom Breihan called it a "masterful piece of pop craftsmanship", showcasing Madonna's unique ability to convey emotion despite her limited vocal range.<ref name="Stereogum" />

Vocally, the track was also a breakthrough. The New York TimesTemplate:' Stephen Holden praised Madonna's "passionate, bratty sob", while the Los Angeles TimesTemplate:' Robert Hilburn noted her newfound vocal control.<ref name=HeartNYT>Template:Cite webTemplate:Subscription required</ref><ref>Template:Cite webTemplate:Subscription required</ref> Author Matthew Rettenmund described it as featuring "some of the strongest vocals Madonna ever recorded".<ref name="rettenPDP">Template:Harvnb</ref> The Arizona RepublicTemplate:'s Ed Masley noted that the track contained "More soul than was expected at the time", and Albumism's Justin Chadwick deemed it "arguably the most unforgettable of True BlueTemplate:'s many memorable moments".<ref name="AZCentral">Template:Cite web</ref><ref>Template:Cite web</ref> People magazine summed it up: "Arguably the best track from the True Blue album, ['Papa Don’t Preach'] gets straight to the heart of a lot of what makes Madonna, Madonna: sex, rebellion against the patriarchy, and a whole lot of Catholicism thrown in. [...] It’s a fantastic song, and it will always be one of [her] best".<ref name=25TIC>Template:Cite web</ref>

There were a few critics who offered more mixed or dismissive takes. Author Rikky Rooksby felt that, while the chorus was "punchy enough" and the acoustic guitar solo "pleasant", the song overall was "musically a trifle under-powered".<ref name="Rooksby" /> Jeff Hamilton from The Daily Iowan questioned whether Madonna's music could be taken seriously, claiming that, "in terms of scrutable ideology, ['Papa Don't Preach'] doesn't represent a change from 'Like a Virgin'".<ref>Template:Cite journal</ref> The Record-JournalTemplate:'s Jim Zebora panned the track as "perfectly annoying".<ref>Template:Cite news</ref>

Recognition

The song also earned industry recognition, receiving a nomination for Best Female Pop Vocal Performance at the 29th Grammy Awards, though it ultimately lost to Barbra Streisand's The Broadway Album.<ref>Template:Cite webTemplate:Subscription required</ref><ref>Template:Cite web</ref> In retrospective rankings, "Papa Don’t Preach" is frequently cited as one of Madonna's finest singles. Billboard ranked it 28th among her best songs, while Parade placed it at number 25, with Samuel R. Murrian commending its humane and serious approach to a complicated subject.<ref name="BB100">Template:Cite magazine</ref><ref name="paradesongsranked">Template:Cite web</ref> Both Entertainment WeeklyTemplate:'s Chuck Arnold and Slant Magazine ranked it as Madonna's 21st greatest song, with the latter's Paul Schrodt noting it may be the only pop track about choosing not to have an abortion that feels "rebellious, even dangerous".<ref name="EW60">Template:Cite magazine</ref><ref name="Slantyrank">Template:Cite web</ref> Additional praise came from HuffPost (ranked 14th), Gay Star News (10th), The Guardian (5th), and PinkNews, where Nayer Missim ranked it third, calling it a "rare example of Madonna-as-storyteller", with lyrics that are "personal, open and interesting".Template:Efn

Chart performance

"Papa Don’t Preach" debuted on the Billboard Hot 100 at number 42 on June 18, 1986, after being added to 174 of 226 reporting pop radio stations.<ref>Template:Cite magazine</ref> Within a month, it rose to number six, marking Madonna's ninth consecutive top-ten single. This achievement made her the fourth female artist in the rock era to reach that milestone, following Brenda Lee, Aretha Franklin, and Donna Summer.<ref name="top10record">Template:Cite magazine</ref> The song reached number one on August 16 (Madonna's birthday), where it remained for two weeks, becoming Madonna's fourth chart-topper and eighth consecutive top-five hit in the United States.<ref name="bbhot100" /><ref>Template:Cite magazine</ref> It also peaked at number four on the Adult Contemporary chart and number 16 on the Dance/Disco Club Play chart.<ref name=ac /><ref name="dance" /> By year's end, it ranked 29th on the Hot 100's annual list and was certified gold by the Recording Industry Association of America (RIAA) for shipments exceeding 500,000 units.<ref name=BBend>Template:Cite magazine</ref><ref name="RIAA" /> In Canada, it climbed to number one on the RPM 100 Singles chart and placed 13th on the year-end ranking.<ref name=canada /><ref name="canadaend">Template:Cite web</ref>

Internationally, the song was equally successful. It debuted at number 13 on the UK Singles Chart and peaked at number one two weeks later, holding the top spot for three weeks and remaining on the chart for 15 weeks total.<ref name=uk /> It was certified Gold by the British Phonographic Industry (BPI) and has sold over 629,000 copies in the UK as of 2008.<ref name="bpi" /><ref>Template:Cite web</ref> Across Europe, the track topped the charts in Belgium,<ref name=belfla /> Ireland,<ref name=irl /> and Norway,<ref name=nor /> and reached the top five in Austria,<ref name=aut /> France,<ref name=fra /> Germany,<ref name=ger /> the Netherlands, Spain, and Switzerland.<ref name=dt40 /><ref name="spain">Template:Cite book</ref><ref name=swi /> It also spent 11 weeks atop the European Hot 100 Singles chart.<ref name="euro">Template:Cite magazine</ref> Outside Europe, it reached number one in Australia and charted within the top five in both South Africa and New Zealand.<ref name=kent /><ref name=nzc /><ref name="southafrica">Template:Cite web</ref>

Music video

Background

Actor Danny Aiello played Madonna's father in the video.

The music video for "Papa Don’t Preach" was directed by James Foley, with David Naylor and Sharon Oreck as producers, and Michael Ballhaus as director of photography.<ref name=TICVideo>Template:Cite video</ref> Having previously worked with Foley on "Live to Tell", Madonna wanted a video that felt more realistic and emotionally grounded, in contrast to her earlier, more stylized visuals.<ref>Template:Harvnb</ref><ref name="RS20">Template:Cite magazine</ref> The team decided to shoot in Staten Island to reflect a working-class setting. Filming took three days, including scenes aboard the ferry.<ref name="RS20" /> Actor Danny Aiello was cast as her father —a decision influenced by Madonna's then-husband Sean Penn and Aiello's own daughter, who was a fan.<ref name="Aiello">Template:Harvnb</ref> Alex McArthur played Madonna's romantic interest, and her close friends Debi Mazar, Erika Belle, and Bianca Hunter made brief appearances.<ref name="McArthurPeople">Template:Cite web</ref><ref>Template:Cite magazine</ref><ref name="Gabriel4">Template:Harvnb</ref>

The video marked Madonna's first full image transformation, trading her layered accessories and flamboyant style for a leaner, more minimalist look inspired by the gamine look of 1950s icons like Audrey Hepburn and Shirley MacLaine.Template:Efn The narrative centers on an Italian American teenager who becomes pregnant and seeks her father's understanding.<ref name="james">Template:Harvnb</ref> The video juxtaposes this storyline with stylized black-and-white shots of Madonna performing the chorus in a small dark studio. Author David James noted that Madonna intentionally included these performance scenes to highlight her fitness and distance herself from the "streetwise tramp" image of her early years.<ref name="james" /> Foley later recalled their literal approach to the song's lyrics, explaining:

We took the script literally from the lyrics of the song, and I remember having a moment's hesitation about doing that because most videos are not literal interpretations. But I just felt like it was something that tied into her desire to dip into the working-class world. [We] did have the idea that there should be a segment of the video where she was Madonna —not the character in the story— and that's where it cuts to the black and white stuff of her dancing around for the chorus.<ref name="RS20" />

Synopsis

Refer to caption
Screenshot of Madonna in the "Papa Don't Preach" video, showcasing a new look reminiscent of Marilyn Monroe, Jean Seberg and Kim Novak, as noted by Georges-Claude Guilbert.<ref name=Guil>Template:Harvnb</ref>

The video opens with aerial shots of New York City, including the skyline, the Statue of Liberty, and the Staten Island Ferry.<ref name="mitchell">Template:Harvnb</ref> Madonna portrays a tomboyish sixteen-year-old in the early stages of pregnancy, walking with a "determined" gaze through the streets.<ref name="begovideo" /> She wears tight jeans, a striped boatneck sweater, and casually slings a leather jacket over her shoulder; her hair is styled in a short, pixie cut.<ref name="rettenPDP" /><ref name="begovideo" /><ref name="Gabriel4" /> At home, flashbacks reveal her upbringing as the only child of a single father (Aiello). The narrative is intercut with stylized footage of Madonna performing the song in front of a black backdrop. In these scenes, her look is more "glamorous", featuring a black bustier, pedal pushers, curled hair, red lips, and heavily glossed eyes.<ref name="begovideo" /><ref name="Gabriel4" /><ref name="Clerk" />

In another flashback, the protagonist meets and falls for a mechanic (McArthur), while wearing a black T-shirt emblazoned with the phrase "Italians do it better".<ref name="begovideo" /><ref name="Gabriel4" /> She skips out on time with her girlfriends to be with him, and the couple shares a romantic moment aboard the ferry, reflecting on their future after watching an elderly couple nearby.<ref name="mitchell" /> As the story progresses, the teenager decides to keep the baby but grows increasingly anxious about telling her father.<ref name="Gabriel4" /><ref name="mitchell" /> A symbolic scene shows her climbing a long stone staircase before the camera pans over the neighborhood.<ref name="rettenPDP" /> Upon confessing to her father, he is initially shocked and withdraws. In the closing moments, he returns, visibly emotional, and the video ends with a heartfelt hug between father and daughter.<ref name="mitchell" />

Reception and analysis

Critical reception of the music video for "Papa Don't Preach" was generally positive. Stephen Holden described Madonna's performance as "virtuoso", drawing parallels to "Billie Jean" in terms of cultural impact.<ref name="SeanPenn">Template:Cite webTemplate:Subscription required</ref> Author Mary Gabriel praised the visual for echoing the song's emotional complexity, while also noting it broke with traditional depictions of teen pregnancy by refusing to frame the protagonist with shame. Gabriel added that Madonna began drawing comparisons to Bruce Springsteen for how she addressed working-class experiences.<ref name="Gabriel4" /> Rolling Stone wrote that the video marked a shift in Madonna’s approach, treating music videos more like short films.<ref name=RS10>Template:Cite magazine</ref> Others, like Hal Marcovitz, Mark Bego, and Slant MagazineTemplate:'s Eric Mason saw the video as a stark departure from her earlier, glamorous image; a move Madonna managed without alienating her audience.<ref>Template:Harvnb</ref><ref name="begovideo">Template:Harvnb</ref><ref name="SlantBestVids">Template:Cite web</ref> The leather jacket, short blonde hair, and "Italians Do It Better" T-shirt have since been recognized by critics and publications as an "iconic" part of her evolving visual identity.Template:Efn

Retrospective commentary has ranked the video among Madonna's finest. It placed at number 12 on Slant MagazineTemplate:'s list, number 16 on TheBacklot.com's, and number 15 on ParadeTemplate:'s.<ref name="SlantBestVids" /><ref name="Backlot">Template:Cite web</ref><ref name="ParadeVid">Template:Cite web</ref> Idolator and The Odyssey each named it the singer's fourth-best video, praising its depiction of New York life and more serious tone.<ref>Template:Cite web</ref><ref name="Odyssey">Template:Cite web</ref> Critics like Louis Virtel highlighted the "urgency" and "Ciccone angst" in Madonna's performance, while others, including HuffPost and SlantTemplate:'s Sal Cinquemani, labeled it among her most controversial.<ref name="Backlot" /><ref name="WelshHuffControversy">Template:Cite web</ref><ref name="SalControversial">Template:Cite magazine</ref> A The Independent retrospective summed it up: "Tackling the subject of an unplanned pregnancy, ['Papa Don't Preach'] was heavy on storyline, and set Madonna out as an artist who could do serious as well as sexy and fun. It is a testament to her stardom at this point that the video brought much excitement simply because she had dyed her hair blonde".<ref>Template:Cite webTemplate:Subscription required</ref> The video is included in her compilations The Immaculate Collection (1990) and Celebration: The Video Collection (2009).<ref name=TICVideo/><ref name=Celebration>Template:Cite web</ref>

The video has drawn varied analytical interpretations over time. Journalist Ellen Goodman criticized it as a "commercial for teen-age pregnancy", arguing it glamorized a situation few teenagers would realistically experience, while singer Cyndi Lauper echoed this sentiment, stressing that real-life teen motherhood is far more complex and difficult.<ref>Template:Harvnb</ref><ref name="Marcovitz">Template:Harvnb</ref><ref name="Lauper">Template:Harvnb</ref> A 1993 study found that racial and gender perspectives influenced how young viewers interpreted the video: African American teens were more likely to view it as a story about father–daughter dynamics, whereas white teens primarily associated it with pregnancy.<ref name="Teenageanalysis">Template:Harvnb</ref> Scholars such as Susanne Hamscha and Amy Robinson have explored the video's ideological ambivalence —highlighting its tension between feminism and patriarchy, private and public spheres, and parental consent in the abortion debate.<ref name="Hamschar">Template:Harvnb</ref> Carol Vernallis compared the narrative ambiguity in the video to that of No Doubt's "Don't Speak" (1995), noting how both rely on visual and lyrical vagueness that invites viewers to fill in the emotional and temporal gaps.<ref name="Vernallis">Template:Harvnb</ref>

Controversy

The song's performance on the Who's That Girl World Tour (1987) marked Madonna's first conflict with the Vatican.<ref name=Buddenbaum />

As the popularity of "Papa Don't Preach" grew in the United States, it drew both praise and criticism from groups engaged in debates over pregnancy and abortion.<ref name="TNYTAbortion">Template:Cite webTemplate:Subscription required</ref><ref name="Chapman">Template:Harvnb</ref> Conservative voices interpreted the song as promoting a pro-life message, while feminist and family planning organizations accused Madonna of glamorizing teenage pregnancy.<ref name="Chapman" /> Gloria Allred, representing the National Organization for Women (NOW), called for the singer to offer a counterstatement, while Planned Parenthood's Alfred Moran urged radio and television stations to reconsider airing the song and video, claiming it portrayed pregnancy as fashionable and defiant.<ref name="Gabriel5">Template:Harvnb</ref> Anticipating controversy, Madonna told The New York Times: "['Papa Don't Preach'] is a message song that everyone is going to take the wrong way. Immediately they're going to say I am advising every young girl to go out and get pregnant", but clarified it was about a young woman making her own choice while preserving her relationship with her father.<ref name="HeartNYT" /> Though she declined further comment on the political interpretation, her publicist stated, "[she's] singing a song, not taking a stand".<ref name="TNYTAbortion" />

Meanwhile, anti-abortion advocates welcomed the song's perceived message. Susan Carpenter-McMillan, of Feminists for Life (FFL), praised it for presenting an alternative to abortion, while Mary Elizabeth "Tipper" Gore —who had previously condemned Madonna's 1985 single "Dress You Up" as sexually explicit— described "Papa Don't Preach" as an "important song" that addressed a real social issue.<ref name="TNYTAbortion" /><ref name="Stereogum" /> Elliot himself remarked, "if [Madonna] has influenced [pregnant] young girls to keep their babies, I don't think that's such a bad deal".<ref name="Stereogum" /> Critics like Joyce Millman lauded it not only for tackling teen pregnancy, but for emphasizing the importance of communication between parents and children.<ref name="Gabriel5" /> Mary Gabriel noted that in a decade dominated by religious discourse on abortion and Roe v. Wade, Madonna's portrayal returned agency to the woman.<ref name="Gabriel5" /> Still, controversy persisted: during 1987's Who's That Girl World Tour, Madonna dedicated the performance to Pope John Paul II, prompting Vatican condemnation and calls for concert boycotts.<ref name="WTGControversy">Template:Cite web</ref><ref name=Buddenbaum>Template:Harvnb</ref> In 2016, Spin magazine included "Papa Don't Preach" among the most controversial songs of all time.<ref>Template:Cite web</ref>

Live performances

Madonna performing "Papa Don't Preach" on the MDNA Tour (2012)

"Papa Don't Preach" has been included in five of Madonna's concert tours: Who's That Girl, Blond Ambition (1990), Re-Invention (2004), MDNA (2012), and Madame X (2019―2020). On the first one, she sang wearing a 1950s-style blue dress and leather jacket, against visuals that included images of Pope John Paul II, President Ronald Reagan, the White House, and the phrase "Safe sex".<ref name="WTG1">Template:Cite webTemplate:Subscription required</ref><ref name="WTG2">Template:Cite webTemplate:Subscription required</ref> Jon Pareles of The New York Times noted that she mimicked the True Blue cover art by tilting her chin during the number.<ref>Template:Cite webTemplate:Subscription required</ref> This rendition was captured in Who's That Girl: Live in Japan and Ciao Italia: Live from Italy, filmed in Tokyo and Turin, respectively.<ref>Template:Cite video</ref><ref name="ciao">Template:Cite video</ref>

On the Blond Ambition Tour, the song was reimagined with Catholic imagery. Madonna wore black clerical robes and performed in a cathedral-like set, accompanied by seven dancers in a routine that blended classical ballet and modern choreography.<ref name="WashingtonBAT">Template:Cite newsTemplate:Subscription required</ref><ref name="Orlando">Template:Cite webTemplate:Subscription required</ref><ref name="Gabriel3">Template:Harvnb</ref> The Orlando Sentinel highlighted the performance's gospel energy and gothic organ backing.<ref name="Orlando" /> This version appeared in the tour videos Blond Ambition Japan Tour 90 and Blond Ambition World Tour Live.<ref name="yokohama">Template:Cite video</ref><ref>Template:Cite video</ref>

In subsequent tours, Madonna continued to reinvent the performance. On the Re-Invention Tour, she wore a plaid kilt and a "Kabbalists Do It Better" shirt ―a nod to the music video― incorporating a whimsical circle dance.<ref>Template:Cite magazineTemplate:Subscription required</ref><ref name="NewsdayRIT">Template:Cite web</ref> Newsday praised the number's playful tone.<ref name="NewsdayRIT" /> The MDNA Tour's performance featured a darker staging, with Madonna bound by military figures in a dystopian setting;<ref>Template:Cite web</ref><ref>Template:Cite web</ref> The Kansas City Star called it a crowd-pleasing moment.<ref>Template:Cite web</ref> A recording of the song appears in the MDNA World Tour live album (2013).<ref name="mdnavid">Template:Cite video</ref> "Papa Don't Preach" was one of the songs performed during Madonna's visit to The Late Late Show with James Corden in December 2016.<ref>Template:Cite web</ref>

Madonna performed a brief, altered version on the Madame X Tour, changing the lyric to "I'm not keeping my baby" as a pro-choice statement, set against a backdrop of Susanna and the Elders by Artemisia Gentileschi.<ref name="Gabriel2">Template:Harvnb</ref><ref>Template:Cite web</ref> The Chicago Sun-Times commended the reinterpretation's political edge.<ref>Template:Cite web</ref> Three years later, the string introduction was repurposed as a coda to "Erotica" (1992) on the Celebration Tour (2023―2024),<ref>Template:Cite web</ref><ref>Template:Cite web</ref> accompanying a provocative routine that referenced the Blond Ambition choreography and costume.<ref name="BBCelebration">Template:Cite magazine</ref><ref>Template:Cite web</ref> Some critics, however, lamented the absence of the full track.<ref>Template:Cite web</ref>

Covers

Template:See also

Kelly Osbourne

Kelly Osbourne's (picture) 2002 cover received mixed critical reviews but achieved commercial success in both the United Kingdom and Australia.

British personality Kelly Osbourne recorded a pop-metal cover of "Papa Don't Preach" in 2002, originally as a rough demo suggested by her mother, Sharon Osbourne.<ref>Template:Cite web</ref><ref name=Crawford>Template:Harvnb</ref><ref name="MTVKelly1">Template:Cite web</ref><ref name="MTVKelly2">Template:Cite web</ref> Produced by her brother Jack and featuring Incubus members Mike Einziger and Jose Pasillas, the initial version caught the attention of MTV executives, who requested a studio recording for The Osbourne Family Album soundtrack.<ref name="MTVKelly1" /><ref name="MTVKelly3">Template:Cite web</ref> According to Osbourne, the project was first offered to her sister Aimee, who declined and recommended Kelly instead.<ref name="MTVKelly3" /> The final version, recorded without the Incubus musicians, was released as a single on August 13, 2002, and later included as a hidden bonus track on Osbourne's debut album Shut Up (2003).<ref name="MTVKelly2" /><ref>Template:Cite web</ref> A music video directed by Marcos Siega accompanied the release, alongside promotional performances on The Tonight Show with Jay Leno and the MTV Movie Awards.<ref name="BBReviewKelly">Template:Cite magazine</ref><ref name="MTVKelly2" /><ref name=MTVKelly4>Template:Cite web</ref> Asked about the decision to cover the track, Osbourne remarked, "I love Madonna. Who doesn't?"<ref name=MTVKelly4 />

Critical reception to the cover was mixed. BillboardTemplate:'s Chuck Arnold described it as an "aggressive post-punk anthem" with appeal, while NMETemplate:'s Peter Robinson and Entertainment WeeklyTemplate:'s Rob Brunner dismissed it as unnecessary and incoherent.<ref name="BBReviewKelly" /><ref>Template:Cite web</ref> Despite this, the single achieved significant commercial success, peaking at number three in both the United Kingdom and Australia, where it was certified platinum.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref> It also charted within the top ten in Ireland and Finland, and reached the top 40 in several other countries, including Germany, Italy, and New Zealand.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Other artists and versions

In 1986, American artist "Weird Al" Yankovic included "Papa Don't Preach" as part of his polka medley "Polka Party!", on the album of the same name.<ref>Template:Cite web</ref> That same year, Danny Aiello released an answer song titled "Papa Wants the Best for You", written by Artie Schroeck and told from the father's perspective.<ref name="PapaWants">Template:Cite news</ref> Aiello explained that the characters in the original seemed "unable to talk to one another about something that is going to change their lives forever", prompting him to offer his own interpretation.<ref name="PapaWants" /> He recorded a music video for the song and invited Madonna to appear, though she declined.<ref name="RS20" /> In 1987, Dutch heavy metal band Angus released a rendition titled "Papa Don't Freak!", while Canadian singer Céline Dion performed a comedic tribute on a sketch show, dressed in a costume inspired by Madonna's video look.<ref>Template:Cite magazine</ref><ref>Template:Cite web</ref>

In subsequent years, "Papa Don't Preach" continued to inspire reinterpretations across genres. In 2002, French–Dutch group Mad'House recorded a Eurodance version for their album Absolutely Mad.<ref>Template:Cite web</ref> A year later, Irish band Picturehouse covered the song for the compilation Even Better Than the Real Thing Vol. 1.<ref>Template:Cite web</ref> In 2004, American singer Mario Winans sampled it in his track "Never Really Was".<ref>Template:Cite web</ref> Tribute albums also featured versions by Brook Barros (The Music of Madonna, 2005) and jazz act Bo.Da (Bo.Da Plays Madonna in Jazz, 2007).<ref>Template:Cite web</ref><ref>Template:Cite web</ref> The song was performed by Dianna Agron in the 2009 Glee episode "Hairography", and in 2019, Palestinian artist and activist Shahd Abusalama released a parody titled "Madonna Don't Go", which urged the singer to cancel her scheduled performance at the Eurovision Song Contest in Israel.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Track listing and formats

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  1. "Papa Don't Preach" – 4:27
  2. "Pretender" – 4:28
  1. "Papa Don't Preach" – 4:27
  2. "Ain't No Big Deal" – 4:12
  1. "Papa Don't Preach" (Radio Edit) – 3:47
  2. "Think of Me" – 4:54
  1. "Papa Don't Preach" – 4:27
  2. "Papa Don't Preach" (Extended Remix) – 5:43
  3. "Pretender" – 4:28
  4. "Papa Don't Preach" (Video) – 5:00

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  1. "Papa Don't Preach" (Extended Remix) – 5:43
  2. "Pretender" – 4:28
  1. A1."Papa Don't Preach" (Extended Version) – 5:45
  2. B1."Ain't No Big Deal" – 4:12
  3. B2."Papa Don't Preach" – 4:27
  1. "Papa Don't Preach" (Extended Version) – 5:45
  2. "Ain't No Big Deal" – 4:12
  3. "Papa Don't Preach" – 4:27
  1. "Papa Don't Preach" – 4:28
  2. "Ain't No Big Deal" – 4:13
  3. "Papa Don't Preach" (Extended Remix) – 5:42

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Credits and personnel

Credits and personnel are adapted from the liner notes of both the True Blue album and US twelve-inch single.<ref name="LinerTB">Template:Cite AV media</ref><ref name="PDP12" />

  • Brian Elliot – Music and lyrics
  • Madonna – additional lyrics, producer, lead vocals
  • Stephen Bray – producer, keyboards, synth bass, drums, percussion
  • Reggie Lucas – producer of "Ain't No Big Deal"
  • David Williams – rhythm guitar
  • Bruce Gaitsch – electric guitar
  • John Putnam – acoustic guitar, electric guitar
  • Fred Zarr – additional keyboards
  • Jonathan Moffett – percussion
  • Billy Meyers – string arrangements
  • Siedah Garrett – background vocals
  • Edie Lehmann – background vocals
  • Herb Ritts – photography
  • Jeri McManus – design


Charts

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Weekly charts

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Chart (1986) Peak
position
Australia (Kent Music Report)<ref name="kent">Template:Cite newsTemplate:Subscription required</ref> 1
Brazil (ABPD)<ref name="Brazilpeak">Template:Cite magazine</ref> 9
Denmark (IFPI)<ref name="denmarkfinnish">Template:Cite web</ref> 1
El Salvador (AP)<ref name="LA">Template:Cite news</ref> 2
European Hot 100 Singles (Music & Media)<ref name=euro /> 1
European Airplay Top 50 (Music & Media)<ref>Template:Cite web</ref> 1
Finland (Suomen virallinen lista)<ref name="denmarkfinnish" /> 1
Guatemala (AP)<ref name="LA"/> 1
Greece (IFPI)<ref name="greece">Template:Cite web</ref> 1
Iceland (RÚV)<ref>Template:Cite web</ref> 2
Italy (Musica e dischi)<ref name="Europe">Template:Cite web</ref> 1
Japan (Oricon Singles Chart)<ref>Template:Cite web</ref> 36
Panama (UPI)<ref>Template:Cite news</ref> 1
Portugal (AFP)<ref name="portugal">Template:Cite web</ref> 1
Spain (AFYVE)<ref name="spain" /> 4
South Africa (Radio Orion)<ref>Template:Cite web</ref> 4
US Cash Box Top 100 Singles<ref>Template:Cite web</ref> 1
US CHR & Pop (Radio & Records)<ref>Template:Cite web</ref> 1

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Year-end charts

Chart (1986) Position
Australia (Kent Music Report)<ref name="Kent">Template:Cite book</ref> 9
Austria (Ö3 Austria Top 40)<ref>Template:Cite web</ref> 21
Belgium (Ultratop 50 Flanders)<ref>Template:Cite web</ref> 6
Brazil (Brazilian Radio Airplay)<ref>Template:Cite web</ref> 70
Canada Top Singles (RPM)<ref name="canadaend" /> 13
Denmark (Hitlisten)<ref name="m&m" /> 6
European Hot 100 Singles (Music & Media)<ref name="m&m" /> 1
France (SNEP)<ref name="frayearend">Template:Cite web</ref> 35
Italy (Musica e dischi)<ref name="m&m">Template:Cite magazine</ref> 6
Netherlands (Dutch Top 40)<ref>Template:Cite web</ref> 9
Netherlands (Single Top 100)<ref>Template:Cite web</ref> 13
New Zealand (RIANZ)<ref>Template:Cite web</ref> 13
Norway (VG-lista)<ref name="m&m" /> 9
Switzerland (Schweizer Hitparade)<ref>Template:Cite web</ref> 14
UK Singles (OCC)<ref>Template:Cite web</ref> 8
US Billboard Hot 100<ref name=BBend /> 29
US 12-inch Sales Singles (Billboard)<ref>Template:Cite magazine</ref> 29
US Dance/Disco Club Play (Billboard)<ref>Template:Cite magazine</ref> 43
US Cash Box Top 100 Singles<ref>Template:Cite magazine</ref> 18
West Germany (Media Control)<ref>Template:Cite web</ref> 18

Decade-end charts

Chart (1980–1989) Position
Netherlands (Dutch Top 40)<ref>Template:Cite web</ref> 75

All-time charts

Chart (1958–2018) Position
US Billboard Hot 100<ref>Template:Cite magazine</ref> 579

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Certifications and sales

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Notes

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References

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Bibliography

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Template:Madonna songs Template:Kelly Osbourne Template:MTV Video Music Award for Best Female Video Template:Authority control

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