Seeming to no longer have any qualms about following in her mother’s footsteps, Lolahol—still better known as Lourdes Leon—has not only stepped up behind the microphone to record an album (okay, an EP) called Go, but she’s also shown that she takes no issue with emulating Madonna’s visuals either. And we’re not just talking about the “Like A Virgin”-esque writhing and general hyper-sexual image. No, Lolahol has gone into Madonna’s aesthetic vault to bring us a video concept centered on horses.
To those who regularly see Madonna on Instagram, it doesn’t take long to realize that the video for the second single (after “Lock&Key”), “Cuntradiction,” makes optimal use of Madonna’s Bridgehampton realm. One in which we frequently see her feeding and riding horses in the various photos and videos she posts. But hey, why shouldn’t Lolahol make good use of that property? It is likely part of her inevitable inheritance, after all. However, more than just Madonna riding horses in her day-to-day life (even after falling off of one in 2005), she also long ago incorporated them into her work (the most current example being “Medellín”). This transpired rather notably in a Steven Klein (a fellow Bridgehampton resident) video and photoshoot that served as backdrops during Madonna’s 2006 Confessions Tour (specifically for the opening, “I Feel Love/Future Lovers”). As is to be expected, Madonna, at times, gets very suggestive in her interactions with the horse (tranquilized or not), with one image featuring her lying on top of its side smoking a cigarette. Lolahol furnishes us with a similar pose (minus the cigarette) via direction from Anna Pollack.
A bed in the corner of the hay-filled stable lends added kink to the très Equus-oriented motif. Interspersed “disturbing” shots of horses filmed in black-and-white or nightshot mode are meant to lend perhaps a tinge of “horror” to the bestial flavor. And, speaking of, as Lolahol sensually sings, “I want it to last/But I want it to end,” she leans back while mounted atop a horse in “bondage”-y lingerie that Rihanna would surely approve of (and yes, Lola already made her debut as a Fenty model in the Savage X Fenty Vol. 3 show). And also, of course, her mother, who, like, invented such provocative scenes and maneuvers (see: Sex).
While some children might have run in the other direction away from “that life” (kind of like Rocco Ritchie running into the arms of Madonna’s ex-husband back in 2015), Lola has very much decided to embrace it. Dare one even say, “carry the torch.” The very “fire” Madonna tried to symbolically pass on to Britney and Xtina at that 2003 VMAs performance… yet neither pop star has been able to fully embrace it in the long-run (Britney for obvious reasons). And, incidentally, since Lourdes “played” a flower girl at the beginning of the aforementioned performance and then graduated to full-on “Like A Virgin” bride regalia for the 2009 “Celebration” video, maybe all the writhing and gyrating she’s employing in the present was foreshadowed.
More of which comes after the first round of “stable scenes,” when things start to get “impressionistic” as we’re shown images of Lolahol eating an apple (yes, how “profound” on the symbolism front) and other assorted fruits before we see her lounging sideways on a banquet table and then smashing some grapes… and, predictably, crawling/writhing (again, very Madonna) across it.
Another tableau presents itself when Lola and a suspended rope appear in an empty barn as she proceeds to “do sexy shit” with it. This leads into another dirt-filled barn where horses run around amid mirrors that reflect their image back to them in a manner that, one would think, might cause an inevitable snafu. But anyway, that’s not the real standout of this portion, so much as Lola vaguely recreating the pouring of sand on her body the way Madonna does in the “Don’t Tell Me” video (the moment, it could be said, that M’s own fascination with horses first began). Implementing the dance moves she studied in school (as her mother did before dropping out), Lolahol does everything to give the most while pretending to do the least.
In the final scenes, Pollack captures footage of a butterfly on Lola’s hand (cue Lana Del Rey’s “Happiness Is A Butterfly”), followed by the image of crushed grapes that remind one of what Caroline Polachek’s vibe was in “Billions.” It’s all concluded with a black-and-white image of a horse running away through the field. Likely back to Madonna’s crotch.
Genna Rivieccio
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