Youthful rebellion and societal evolution practically guarantee that there will always be some kind of language barrier between different generations. Words tend to take on new meanings over the course of several decades, some for the better and others for the worse. \u201cSick\u201d eventually came to mean \u201ccool.\u201d Once-accepted terms for people of a certain race, gender, or sexuality become taboo\u2014and rightfully so\u2014as civil rights grow and improve.<\/p>\n
In a one-on-one context, these language barriers can manifest as, say, the shock we\u2019ve all felt when our parent or grandparent says something utterly inappropriate or politically incorrect. But on a greater scale, this can show up in retrospective opinions about music, some of which are more readily accepted than others. In the case of electronic artist Moby denouncing The Kinks\u2019 1970 track \u201cLola\u201d<\/a>, the backlash didn\u2019t work in the lasher\u2019s favor.<\/p>\n Moby Called Out The Kinks\u2019 \u201cLola\u201d for Transphobic Content<\/strong><\/p>\n The Kinks released \u201cLola\u201d as a single in the summer of 1970, encapsulating the \u201cfree love\u201d attitude of the Swinging Sixties and showcasing the rock band\u2019s signature jangly sound. The track was an international hit, peaking at No. 2 in their native United Kingdom, No. 9 on the Billboard Hot 100, and topping the charts in Ireland, South Africa, New Zealand, and the Netherlands. \u201cLola\u201d became inextricably linked to The Kinks\u2019 musical legacy.<\/p>\n