“Of course, she can talk a little bad now and then. I told her, I said, ‘now, I don't cuss’”: Dolly Parton explains why that chorus lyric got changed when she joined Sabrina Carpenter for a new version of Please Please Please
Fortunately, embarrassment was saved for all concerned
When Sabrina Carpenter released her Dolly Parton-infused rework of 2024 hit Please Please Please, one of the most notable changes - aside from the presence of a country legend, obviously - was a cleaned-up lyric in the chorus.
In Carpenter’s original, non-radio-friendly version, she sings, “I beg you, don't embarrass me, motherfucker,” but with Dolly on board, this is adapted to “I beg you, don’t embarrass me like the others”.
When the remix was released, there was speculation (not least by us) that the lyric was changed so as not to cause Parton herself any embarrassment, and in an interview with Knox News, the star has now indicated that this was indeed the case.
“Of course, she can talk a little bad now and then,” Parton said of Carpenter. “I told her, I said, now, I don't cuss. I don't make fun of Jesus. I don't talk bad about God, and I don't say dirty words, on camera, but known to if I get mad enough.”
We’re guessing that Carpenter was more than happy to accommodate any demands that Parton might have had, and it seems that, in the end, the relationship blossomed. Parton describes Carpenter as “so sweet”, and the two appeared to share a great bond in the video they shot together.
Parton also discussed one of her other recent collaborations, which saw her appear on Beyoncé’s Cowboy Carter album as Queen Bey covered her much-loved hit, Jolene.
“I think that's been the greatest joy is just thinking, ‘Yay, Beyoncé wants to sing with me! She wants to sing my song!' Yeah, absolutely. Which train do I get on that’s going to get me there the quickest?” she said.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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