The Kinks’ 1970 hit “Lola” has resurfaced in cultural conversation, not for its catchy melody or ambiguous lyrics, but for a debate over its portrayal of gender and sexuality. The controversy began when musician Moby revealed in The Guardian’s “Honest Playlist” column that he now finds the song “gross and transphobic,” despite previously enjoying it. His comments sparked a swift response from Dave Davies, guitarist and founding member of The Kinks, who defended the song’s intent and highlighted its positive reception within the transgender community.
Moby, known for his electronic music and animal rights activism, didn’t specify which lyrics prompted his discomfort, but the song centers around a narrator’s encounter with a captivating individual who is revealed to be a man. The lyrics, “Girls will be boys and boys will be girls/ It’s a mixed up, muddled up, shook up world, except for Lola,” have long been interpreted as a commentary on gender fluidity and societal norms. While some now view those lines through a more critical lens, the song was, for many at the time of its release, a groundbreaking moment of visibility for gender nonconformity.
Davies swiftly countered Moby’s assessment, sharing a statement from transgender punk icon Jayne County, originally known as Wayne County, who expressed profound appreciation for “Lola.” County’s statement, posted on social media and shared by Davies, directly addresses Moby’s criticism. “I am highly insulted that Moby would accuse my brother of being ‘unevolved’ or transphobic in any way,” Davies wrote, framing County’s words as a direct rebuttal.
County’s statement is particularly poignant, recalling the impact the song had when it was first released. “When I heard the song I was both thrilled and amazed that the Kinks would be singing a song about a trans person and wondered if anyone else had picked up on it!” she wrote. “Lola will always be one of those songs that for me ‘broke the ice’ so to speak! A song that breaks down barriers and brings a used to be, hush, hush subject to the forefront and makes it sound perfectly natural to be singing a song about a ‘girl’ named Lola!”
A History of Interpretation
The debate highlights the evolving understanding of gender and sexuality, and how art created in one era can be re-examined through the lens of contemporary values. Ray Davies, the primary songwriter for The Kinks, has previously discussed his deliberate attempt to explore themes of gender ambiguity in “Lola.” In a 2020 retrospective published by The New York Times, he explained that he “did a bit of research with drag queens,” motivated by “admir[ing] anyone who can get up and be what they want to be.”
This research, Davies explained, informed his portrayal of Lola as a figure who defied easy categorization. The song’s ambiguity was intentional, aiming to capture the fluidity and complexity of identity. However, modern interpretations are often more nuanced, and some critics argue that the song’s narrative, told from a heterosexual male perspective, ultimately reinforces a binary view of gender, even while attempting to challenge it.
The song’s release in 1970 coincided with a period of increasing visibility for the LGBTQ+ rights movement, following the Stonewall Riots in 1969. While mainstream representation was still limited, “Lola” offered a rare glimpse into a world beyond traditional gender roles, resonating with many who felt marginalized or unseen. The song reached number nine on the Billboard Hot 100 chart, becoming one of The Kinks’ most enduring hits.
The Shifting Landscape of Cultural Sensitivity
Moby’s critique reflects a broader trend of re-evaluating older works of art in light of contemporary social justice concerns. What was once considered progressive or subversive can now be seen as problematic or even harmful. This process of re-evaluation is often contentious, sparking debates about artistic license, historical context, and the responsibility of artists to anticipate future sensitivities.
The conversation surrounding “Lola” also underscores the importance of listening to the voices of those directly impacted by the art in question. County’s powerful statement serves as a reminder that the song held genuine meaning for many within the transgender community, offering a sense of validation and visibility at a time when such representation was scarce.
As the conversation continues, it’s clear that the legacy of “Lola” remains complex and contested. The song serves as a reminder that art is not created in a vacuum, and its meaning can evolve over time, shaped by changing social norms and individual experiences. The ongoing discussion surrounding the song is likely to continue, prompting further reflection on the intersection of art, identity, and cultural sensitivity.
Further statements from Moby or The Kinks regarding this matter are not currently scheduled, but this story will be updated if any new information becomes available.
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