"Castles Made of Sand": Racial Ambiguity and Mid-twentieth Century American MusiciansMain MenuRacial Classification in American Culture and Law into the Twentieth CenturyMass Media in Mid-Twentieth Century AmericaRacial Ambiguity in the Age of Integrationism: Lena HorneRacial Ambiguity in the Age of Integrationism: Charles MingusRacial Ambiguity in the Age of the Popular Counterculture: Jimi HendrixRacial Ambiguity in the Age of the Popular Counterculture: Charles LloydRacial Ambiguity in the Age of the Popular Counterculture: Keith JarrettRacial Ambiguity and the Sale of Identity and ArtSam Schaefer394cfd47fa9812b1affb27b8128defe57fcac106
Prince - Controversy
12017-12-12T10:12:38-08:00Sam Schaefer394cfd47fa9812b1affb27b8128defe57fcac106275401Prince performs his song "Controversy," in which he discusses the way people speculated about his race and sexual orientation. He, at once, coyly made fun of the discussion and perpetuated it, using the mystery and "exoticism" as part of his artistic and commercial appeal.plain2017-12-12T10:12:38-08:00YouTube2017-07-24T21:59:23.000Z4gazNwzC4H0PrinceSam Schaefer394cfd47fa9812b1affb27b8128defe57fcac106
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12017-12-13T17:03:51-08:00Racial Ambiguity and the Sale of Identity and Art4plain2017-12-13T17:33:45-08:00Although the midcentury years were a key period in the commodification of racial ambiguity, as well as the development of its use as a license for complex artistic expression that defied racialized genre restrictions in music, these modes of culture have continued.
In 1981, rising star Prince released a song and album entitled Controversy, where he coyly asked, "Am I Black or white? Am I straight or gay?" answering his own query with a sly answer, "controversy." By doing so, Prince simultaneously mocked and amplified outside speculation about his identity, which was inextricably linked to the art and entertainment he produced for sale.
Musicians who used racial ambiguity as part of their craft often used it to critique homogenized constructions of race, opening the door for more complex understandings of racial identity. Those efforts, however, have been unsuccessful in dismantling racialized codings of art, music, images and entertainment, leaving Charles Mingus' dream of a "colorless island" far out of reach of contemporary platforms for popular culture.