The debate over artistic interpretation and evolving social norms flared up this weekend after electronic musician Moby labeled The Kinks’ 1970 hit “Lola” as “gross, and transphobic.” The criticism, stemming from a playlist feature in The Guardian, quickly drew a sharp rebuke from Kinks guitarist Dave Davies, who defended the song and his brother Ray Davies’ songwriting. The exchange highlights the ongoing conversation about how older works of art are viewed through a modern lens, particularly concerning gender identity and representation.
Moby, reflecting on songs that have impacted his life, included “Lola” in a category titled “The song I can no longer listen to.” He stated, “‘Lola’ by the Kinks came up on a Spotify playlist, and I thought the lyrics were gross and transphobic. I like their early music, but I was really taken aback at how unevolved the lyrics are.” The comment ignited a swift response from Davies, who took to social media to challenge the assessment.
Davies shared a letter from Jayne County, a pioneering transgender singer and performance artist, who offered a contrasting perspective on the song’s significance. County’s letter, which Davies posted alongside his response, praised “Lola” as a groundbreaking moment of visibility for the transgender community. “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!” County wrote. “’Lola’ will always be one of those songs that for me ‘broke the ice’ so to speak.”
The core of the disagreement centers on the interpretation of the song’s lyrics, which share the story of a man’s ambiguous encounter with someone he believes to be a woman, only to discover the person is a man dressed as a woman. Whereas some view the song as a playful exploration of gender fluidity, others, like Moby, now witness it as perpetuating harmful stereotypes. The song’s ambiguity was intentional, according to Ray Davies, who has spoken about wanting to challenge societal norms with the lyrics. The Guardian published the original playlist feature containing Moby’s comments.
Davies Defends His Brother’s Work and Legacy
Davies expressed strong disagreement with Moby’s characterization, stating he was “highly insulted” by the accusation that his brother Ray was “unevolved” or transphobic. He further elaborated on the band’s history of embracing inclusivity, recalling how drag performers, including members of the legendary performance troupe The Cockettes, frequently followed The Kinks on tour and were warmly received. “We appreciated them,” Davies wrote. “Why is Moby being so rude about this simple song? We’re not transphobic. Why does he have to have a travel at us?”
The Cockettes, formed in San Francisco in 1969, were known for their flamboyant drag performances and their challenge to conventional gender roles. Their association with The Kinks, as Davies recalls, suggests a level of acceptance and appreciation for gender nonconformity that predates widespread public discourse on transgender issues. The band’s willingness to engage with and support such performers adds another layer to the debate surrounding “Lola’s” meaning.
A Song’s Evolving Meaning in a Changing World
The controversy surrounding “Lola” reflects a broader trend of re-evaluating classic songs and films in light of contemporary social values. What was once considered harmless or even progressive can now be seen as problematic or offensive. This re-evaluation isn’t necessarily about erasing the past, but rather about acknowledging the harm that certain representations can cause and fostering a more inclusive understanding of art and culture.
Jayne County’s perspective is particularly poignant in this context. As a transgender artist who emerged during a time of limited visibility and acceptance, County’s experience offers a valuable insight into the song’s impact on the LGBTQ+ community. Her letter underscores the idea that “Lola,” despite its potential flaws, resonated with many as a moment of recognition and validation.
The debate also raises questions about the responsibility of artists and the potential for unintended consequences. While Ray Davies may not have explicitly intended to create a transgender anthem, the song’s ambiguity allowed for multiple interpretations, and for many, it became a symbol of liberation and self-expression.
Here’s the official music video for “Lola” released in 1970:
Davies’s response, shared on Instagram, included the following image:
Looking Ahead
The discussion sparked by Moby’s comments is unlikely to subside quickly. As societal understanding of gender and sexuality continues to evolve, so too will the interpretations of art that explores these themes. The Kinks’ “Lola” remains a complex and contested work, a testament to the power of music to provoke thought and inspire debate. The band, inducted into the Rock and Roll Hall of Fame in 1990, continues to influence musicians today.
Further discussion on the evolving interpretations of classic rock songs is expected to continue online and in music criticism. The Kinks’ catalog remains available on major streaming platforms and for purchase on vinyl and CD. Find The Kinks’ music here.
What are your thoughts on the evolving interpretations of classic songs? Share your perspective in the comments below.
