Even if the original lyrics are off-limits to old media, it’s clear to everyone that the profane versions of the songs are going to be heard. The enforced innocence of broadcasting is no longer a cultural firewall; it’s barely an inconvenience. “The Net interprets censorship as damage and routes around it,” the Internet-freedom activist John Gilmore famously said in 1996 — and hits with choruses that revolve around a four-letter word can count on Internet accessibility. Shock value is viral, and probably a selling point. Forbidden by the Federal Communications Commission as broadcast indecency, the original songs gain a tiny frisson of rebellion for those who click through to the grown-up versions on YouTube or iTunes. The songs lead a double life: the broadcast version for the uninitiated or oblivious, the raunchy one for anyone paying attention. Listening to a pop star singing a bawdy word, consumers of mass culture can feel like insiders.