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Critical reception

"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 Madonna’s best. It's no wonder it not only hit the No. 1 spot [of the Hot 100], but also spent two weeks there".

People magazine's Drew Mackie commenting on "Papa Don't Preach".[1]

Since its release, "Papa Don't Preach" has been acclaimed by critics. On his review of True Blue, Rolling Stone's Davitt Sigerson wrote that, "only the magnificent 'Papa Don’t Preach' has the high-profile hook to match 'Like a Virgin', 'Dress You Up' and 'Material Girl'", and compared it to Michael Jackson's "Billie Jean" (1983).[2] It was deemed "stunning" and a "masterstroke" by the Chicago Tribune's Daniel Brogan and AllMusic's Stephen Thomas Erlewine, respectively.[3][4] For Entertainment Weekly's David Browne, "a 30-ish urban sophisticate singing in the voice of a pregnant teen [...] ought to sound ridiculous. With the help of collaborators like Stephen Bray and Patrick Leonard, though [...] [it] turns into a perfectly conceived pop record".[5]

Adam Sexton, author of Desperately Seeking Madonna: In Search of the Meaning of the World's Most Famous Woman, named it True Blue's "boldest" track, with a melody that's just as "insistently chugging" as the singer's previous singles "Into the Groove" and "Dress You Up" (1985), but its mood is "tense and claustrophobic".[6] On this note, John Quayle from the Observer–Reporter noted a departure from the "sugar-coatedness" of Madonna's past songs.[7] Slant Magazine's Sal Cinquemani said it was "undeniably more mature" than Madonna's previous works, further adding that, with songs like "Papa Don’t Preach", "[she] made the transition from pop tart to consummate artist, joining the ranks of the decade's icons like Michael Jackson and Prince.[8]

Caroline Sullivan from The Guardian opined it was the artist's "first socially controversial single, and one of her best tunes to boot [...] it wasn't her first attempt at a teenage persona (see 'Dress You Up'), but it was the most endearing".[9] Tom Breihan from Stereogum added that, "['Papa Don't Preach'] signaled that Madonna had enough juice to make a social-issue song that was also a stylistic left-turn".[10] He also said it proved "how Madonna, a technically limited singer, could always capture the feeling of a song", and referred to "Papa Don't Preach" as a "masterful piece of pop craftsmanship".[10] From the New York Times, Stephen Holden praised the singer's vocals; "[she] sings it in a passionate, bratty sob that makes the plea immediate and believable".[11] Robert Hilburn, writing for the Los Angeles Times, expressed that the "most obvious growth is in the control and character in Madonna's singing", and considered the lyrics to be "tailor-made for video.[12] "Papa Don't Preach" boasts "some of the strongest vocals Madonna ever recorded", according to Matthew Rettenmund.[13]

Writing for PopMatters, Peter Piatkowski said it was an "idiosyncratic tune", that shared the "maturity and ambition" of previous single "Live to Tell".[14] Santiago Fouz-Hernández, one of the authors of Madonna's Drowned Worlds, concluded the track was a "significant milestone in [Madonna]'s artistic career".[15] This sentiment was echoed by The Arizona Republic's Ed Masley, who perceived "more soul than was expected at the time" in Madonna's vocals.[16] From website Albumism, Justin Chadwick said that "Papa Don't Preach" was "arguably the most unforgettable of True Blue's many memorable moments".[17] Negative criticism came from The Daily Iowan's Jeff Hamilton: "[Madonna] had a good year at the stores, but can anyone take her music seriously? [...] In terms of scrutable ideology ['Papa Don't Preach'] doesn't represent a change from 'Like A Virgin'".[18] The Record-Journal's Jim Zebora was also negative, referring to the song as "perfectly annoying".[19]

Recognition

At the 29th Grammy Awards, "Papa Don't Preach" was nominated for Best Female Pop Vocal Performance, but lost to Barbra Streisand's The Broadway Album.[20][21] Furthermore, it's often referred to as one of Madonna's finest singles. The staff of Billboard placed it on the 28th spot of the magazine's ranking of the singer's songs.[22] On Parade's ranking, where it came in at number 25, Samuel R. Murrian praised it for treating a "complicated subject with the humanity and gravity it merits", and having an "ace pop hook driving it".[23] Chuck Arnold, writing for Entertainmenmt Weekly, said that it found Madonna "tackling a social issue for the first time — and in strutting style"; he named it her 21st greatest song.[24] "Papa Don't Preach" also came in at number 21 on Slant Magazine's ranking, where Paul Schrodt wrote: "[It] may well be the only song about choosing not to have an abortion that also feels rebellious, even dangerous".[25]

For the HuffPost's Matthew Jacobs, "Papa Don't Preach" is Madonna's 14th best song, and its "sweeping string arrangement" one of "pop music's most engaging openings.[26] On the ranking of Madonna songs created by Gay Star News, "Papa Don't Preach" was allocated the tenth spot.[27] From The Guardian, Jude Rogers named it Madonna's fifth greatest song, praising her vocals and the "glorious string arrangement".[28] Finally, Nayer Missim from PinkNews named it the third best song of the singer's discography: "A rare example of Madonna-as-storyteller [...] Unfairly dismissed (or claimed) as a pro-life anthem, its lyrics are much more personal, open and interesting than that".[29]

Chart performance

Music video

Background

The music video for "Papa Don't Preach" was directed by James Foley, who had previously worked with Madonna on "Live to Tell".[30][31] Crew David Naylor and Sharon Oreck on production, while Michael Ballhaus was in charge of cinematography.[32] Having just done the "glamorous and stylized" videos for "Material Girl" and "Like a Virgin", for "Papa Don't Preach", Madonna wanted to "tap into a working-class environment", and do something "a bit more grounded and 'drama'", thus Foley suggested filming on Staten Island.[31] Shooting took three days, with the ferry being used for one; the director recalled that, "there were thousands of people and paparazzi and everything".[31] The singer chose actor Danny Aiello to portray her father in the visual.[31] Aiello recalled that he didn't thought of Madonna as a "music star or tabloid gossip queen. We were shooting a drama, so I viewed both of us through our characters".[33] He also revealed that he agreed to star in the video as a favor to Sean Penn, and because his daughter was a fan of the singer's.[33] Alex McArthur ―whom Madonna had spotted in the 1985 film Desert Hearts― was cast as her romantic interest.[34] "I was out in the garage working on my Harley [...] I answered the phone and a voice said, 'Hi, this is Madonna. I would like you to be in my next video'", McArthur recalled.[34] The singer's friends, actress Debi Mazar and dancer Erika Belle, also participated.[35][36]

According to Samuel R. Murrian, the video marked Madonna's first "head-to-toe image makeover".[37] No longer wearing heavy jewelry and make-up, she instead adopted a gamine look similar to the one donned by Shirley MacLaine and Audrey Hepburn in the 1950s.[38][39] The video's main storyline revolves around an Italian American teenager (Madonna) with an unexpected pregnancy who seeks the approval of her father.[40] Author David James noted that Madonna wanted to "make sure the world could see she'd been working out heavily. [And] no longer was a streetwise 'tramp'", thus additional footage of her singing was shot.[40] Foley explained how this idea came to be:

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.[31]

Synopsis

The video begins with shots of the New York skyline, the ¨statue of Liberty, and Staten Island Ferry.[41] Madonna, as a sixteen year-old teenager in her first months of pregnancy, walks down the sidewalk with a "determined" gaze.[42] She wears tight jeans, a striped boatneck sweater, and a leather jacket to her back; her hair is short and blonde.[42][36] When she gets home, images of her past flash on her mind. Flashback tells the story of her life as an only child being raised by her single father (Aiello).[42] The main story is intercut with footage of Madonna, in a black bustier, singing and dancing against a black background; in these sequences, her appearance is more "glamorous", with blonde hair and red lips.[42][36]

Reception and analysis

Live performances

Madonna singing the track on the MDNA Tour of 2012.

"Papa Don't Preach" has been included on five of Madonna's concert tours: Who's That Girl (1987), Blond Ambition (1990), Re-Invention (2004), MDNA (2012), and Madame X (2019―2020). On the first one, she performed the song wearing a 1950s blue dress and a leather jacket.[43] The screen in the background projected images of Pope John Paul II, then-president of the United States Ronald Reagan, the White House, and the phrase "Safe sex".[43][44] Writing for the New York Times, Jon Pareles pointed out that, at certain point in the performance, Madonna tilted her chin up to resemble the cover photograph for True Blue.[45] The Vatican publicly denounced Madonna and John Paul II urged fans to boycott the concerts in Italy.[46][47] Two different performances can be found on the videos Who's That Girl: Live in Japan, filmed in Tokyo on June, and Ciao Italia: Live from Italy, filmed in Turin on September.[48][49]

On the Blond Ambition World Tour, "Papa Don't Preach" was given a Catholic theme: The stage was set up to resemble a candlelit cathedral, while Madonna wore black vestments.[50][51] The number featured seven dancers, and the choreography mixed modern and classical ballet, as noted by Mary Gabriel.[52] Carlton Wilborn, one of the dancers, played a priest Madonna interacted with.[50] While reviewing the Houston concert, the staff of the Orlando Sentinel highlighted the number's "joyous gospel and heavy gothic organ scorings".[51] Performances of the song can be found in Blond Ambition Japan Tour 90, taped in Yokohama, and in Blond Ambition World Tour Live, taped in Nice.[53][54]

Elements of "Papa Don't Preach" were incorporated to the performance of "Erotica" (1992) on the Celebration Tour (2023―2024).

For the song's performance on the Re-Invention World Tour, Madonna donned a plaid kilt and a black T-shirt that read "Kabbalists Do It Better" ―a nod to the one from the music video.[55] The number, which included a Ring a Ring o' Roses circle dance, was praised for its "playfulness and innocence" by Newsday's Glenn Gamboa.[56] On the MDNA Tour, the performance of "Papa Don't Preach" sees Madonna "manhandled and bound by military thugs".[57] Timothy Finn, for The Kansas City Star, noted that it was the number that caused "the first big eruption" from the crowd.[58] The performances of the song at the November 19–20 shows in Miami were recorded and released in the MDNA World Tour live album (2013).[59] "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.[60]

On the Madame X Tour, Madonna sang the first verse and refrain of "Papa Don't Preach" against a backdrop of Susanna and the Elders by Artemisia Gentileschi, following an "impassioned tirade about abortion".[61][62] She additionally changed the lyric I'm keeping my baby to I'm not keeping my baby.[63] Selena Fragassi, from the Chicago Sun-Times, applauded the singer for turning the song into a "platform for pro-choice beliefs".[64]

The song's string introduction was used as a coda during the performance of "Erotica" (1992) on the Celebration Tour (2023―2024).[65][66] In the sequence, Madonna simulates being masturbated by a dancer wearing the Jean-Paul Gaultier-designed corset from Blond Ambition, and recreates the song's choreography from that tour.[67][68] Reviewing one of the Seattle concerts, Michael Rietmulder from The Times lamented the abscence of the full song.[69]

Covers

Kelly Osbourne

In 2002, Kelly Osbourne (pictured) released a cover of "Papa Don't Preach", which was met with lukewarm critical reviews but achieved commercial success, reaching the top three in the United Kingdom and Australia.

A pop-metal cover of "Papa Don't Preach" was recorded by Kelly Osbourne in 2002.[70][71] In April of that year, MTV reported that Osbourne had recorded a "rough" demo of the song per her mother Sharon's suggestion.[72][73] Produced by her brother Jack, it featured Incubus members Mike Einziger and Jose Pasillas on guitar and drums, respectively.[72] Executives for The Osbournes were impressed with the demo and requested a studio version, which would be included on a planned soundtrack to the series.[74] According to Osbourne, series executives originally wanted her sister Aimee to record the song, but she declined and suggested Kelly do it instead.[74] Osbourne then re-recorded the song without the involvement of her brother or the Incubus members.[73] The rendition was included on the The Osbourne Family Album soundtrack, and released as a single on August 13.[73][71] The following year, it was added as a hidden bonus track to Osbourne's debut album Shut Up.[75] Explaining the cover, Osbourne said, "I love Madonna. Who doesn't?".[76]

To promote the release, Osbourne shot a music video in Los Angeles, under the direction of Marcos Siega.[76] She also appeared on The Tonight Show with Jay Leno, and sang the single live at the MTV Movie Awards, where her father introduced her to the audience.[77][73] Critical reviews were generally mixed: Billboard's Chuck Arnold considered it an "aggressive post-punk anthem" that's "certainly good for three minutes of steering-wheel banging on the way to the market".[77] NME's Peter Robinson, on the other hand, said it made "precisely zero sense", and panned it as a "sorry mess [that's] barely distinguishable".[78] From Entertainment Weekly, Rob Brunner was also negative on his review, dismissing the cover as "unnecessary".[79]

Despite lukewarm reviews from critics, the cover was commercially successful: It peaked at number three in the United Kingdom and Australia, where it was certified platinum by the Australian Recording Industry Association (ARIA) for having sold over 70,000 units.[80][81][82] Furthermore, Osbourne's rendition of "Papa Don't Preach" reached the top 40 in Austria, Germany, Italy, and New Zealand, the top 20 in Sweden, and the top 10 in Ireland and Finland.[83][84][85]

Other artists

In 1986, American singer "Weird Al" Yankovic incorporated "Papa Don't Preach" into "Polka Party!", one of the polka medleys taken from his album of the same name.[86] The next year, Canadian singer Céline Dion sang the track on a Canadian sketch show, wearing a blonde wig and a black strapless getup like the one Madonna wore on the video.[87] In 2002, French–Dutch group Mad'House did a Eurodance take on the song for their album Absolutely Mad.[88] One Year later, Irish band Picturehouse sang it for the first Even Better Than the Real Thing covers album.[89] In 2004, "Papa Don't Preach" was sampled at the beginning of American singer Mario Winans' "Never Really Was".[90] Renditions of the song on tribute albums include Brook Barros on The Music of Madonna (2005), and a jazz version on Bo.Da's Plays Madonna in Jazz (2007).[91][92] Finally, in 2009, Dianna Agron sang the track on "Hairography", the eleventh episode of American television series Glee.[93]

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