Over the past few decades, several critical theories (e.g., Colonialism/Anti-Colonialism, CRT, Gender, Intersectionality, etc.), research methodologies (e.g., Reflexivity, Lived Experience, etc.), and intellectual discourses have significantly shaped scholarship, pedagogy, and, public debate.
When applied thoughtfully and in their intended manner, these theories, methods, and discourses can be powerful tools for understanding complex and sensitive topics and become transformative tools for change. These paradigms have offered new lenses for examining power structures, systemic racism, inequality, identity, and historical narratives.
However, when these paradigms are misused, they can distort discussions, dominate conversations, and drown out plausible alternative explanations. It is not enough to condemn privilege and complain about systemic oppression; we need to go beyond to achieve transformative change.
Defining Positionality
One area where these terms are often misapplied is in the introduction of positionality statements. A positionality statement (also known as a reflexivity or identity statement) is a declaration that scholars, researchers, or practitioners may provide that outlines their personal and professional background, values, beliefs, and experiences that can influence their work. It also acknowledges the cultural, economic, ethnic, gender, political, racial, or social background of the individual that may affect the subject of their study, practice, or analysis. These expressions are commonplace, especially among researchers engaging in auto-ethnography and reflective practices.
Research presentations and publications that utilize this approach often begin with the student, instructor, or researcher explaining how their unique circumstances have shaped their perspectives and how this, in turn, affects their research. While these declarations provide valuable context, excessive focus on personal narratives can sometimes end the discussion and detract from doing rigorous research. When positionality statements dominate the discussion and stop there, they risk shifting the focus from substantive and reflective findings to me search (i.e., an excessive focus on self-disclosure).
Risks of Overemphasis
Understandably, positionality statements are one way to condemn privilege. However, highlighting personal experiences of discrimination or marginalization differs from using this reflective experience to conduct analytical and rigorous research. In a pedagogical situation, when positionality statements from instructors and students dominate classroom discourse, without thoughtful consideration and analysis of solutions to combat discrimination or marginalization, the opportunity to learn new concepts, relevant scholarship, and strategies may be lost.
Although some audiences may find such disclosures engaging, others may feel they distract from the central purpose of scientific research (e.g., “a way of testing theories and hypotheses by applying certain rules or methods of analysis to observations and interpretations of reality under strictly delineated circumstances”).
Achieving Balance
As with any ingredient in a recipe, balance and proportion are key. Overloading the introduction of a research paper or presentation with personal context—like adding too much salt—can overwhelm and obfuscate the final product. The trick is to briefly acknowledge positionality, reflect on its influence, and then move on to the substance of the study. Unfortunately, many struggle to achieve this balance.
A related challenge arises from a common misunderstanding of auto-ethnography. Some researchers, mainly those new to qualitative methods, believe that storytelling about personal experiences with minimal interpretation suffices. However, true auto-ethnography requires rigorous analysis that situates personal experiences within broader social, cultural, or historical contexts. Merely recounting lived experiences without connecting them to the research questions (including hypotheses and/or theory) does not constitute robust scholarship.
This issue extends to “lived experience,” which refers to the knowledge and insights gained through direct personal encounters. To note, everyone has “lived experiences.” While this concept holds value in fields such as anthropology, criminology,criminal justice, education, etc., where firsthand accounts can illuminate systemic issues, it should neither replace nor overshadow empirical research. Personal narratives must be integrated thoughtfully, constantly enhancing—rather than dominating and overshadowing—the study’s central argument.
Summing Up
In short, positionality statements are sometimes misused or overemphasized to the detriment of substantive research. To address this, students, instructors, and researchers should exercise better caution in using these statements and focus on their direct relevance to the investigative process and, subsequently, findings. For instance, a brief paragraph outlining key aspects of positionality, accompanied by a reflection on how these factors influence the theory and methodology, is often sufficient.
Moving forward, positionality statements should balance personal context and rigorous scholarship, ensuring they support rather than detract from the work’s overall impact.
Photo credit:
Photographer: Poussin Jean
Title: Balance scale set, with weights
https://jeffreyianross.com/wp-content/uploads/Balance_a_tabac_1850-1-e1737220612307.jpg281300Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-01-19 05:50:082025-01-19 06:49:57The Proportionality of Positionality Statements
I like selected songs, musicians, and bands from almost all genres of music, and sometimes, I find myself hating songs that I used to enjoy.
That being said, one of my longstanding favorite bands is Fun Lovin’ Criminals.
How did the Band Form, and how have they Evolved
Fun Lovin’ Criminals was formed in 1993 in New York City out of the friendship of Huey Morgan, Brian Leiser, and Steve Borgovini. Over time, the band has undergone lineup changes, affecting its development and the types of songs it has written and performed.
Although some people categorize them as a rap rock band—probably because some of their early songs sampled clips from movies and other cultural references—I consider them primarily a rock and roll band with a unique edge.
Their music has evolved from one song to another and from one album to the next. They’ve played funk (e.g., “Walking Tall”), rock (e.g., “The Grave and Constant”), Reggae (e.g., “Smoke Em”), etc.
Why are they one of my favorite musical groups?
While their name serendipitously aligns with my primary research specializations (e.g., crime, criminal justice, and street culture), my connection to their music goes deeper.
Although I’ve tried to see them perform live and encouraged others to do so while playing in their area, my connection to them is solely through their recorded work.
Their playful music blends rock, groove, and dance-like rhythms that resonate with me.
Their lyrics blend storytelling, wry humor, street sensibilities, and culture, capturing the gritty and playful essence of New York City, where I once lived and have spent considerable time, including conducting research.
Favorite Tracks and Storytelling
Just because I enjoy the band, not every song they’ve written and performed resonates with me. For example, tracks like “Scooby Snacks” and “Love Unlimited” feel too cute.
Similarly, I don’t like their cover songs (e.g., “We Have All the Time in the World,” “I’m Not in Love,” and “Crazy Train”) because they feel less distinct than All the Time in the World,” “I’ their original pieces.
In contrast, songs like “Sugar,” “We Have All the Time in the World,” “King of the World,” and “Up on the Hill” are staples on my playlists. What draws me to these tracks isn’t just the rhythm, instrumentation, or lyrical wit but the storytelling—they have a strong emotional pull that sets them apart from others in their catalog.
Most of their songs are vivid narratives that capture interesting cultural and historical moments.
These songs also interpret the complexities and contradictions of urban life and the relationships among people who work, visit, and live in it.
Their storytelling ability was highlighted when one of their songs (“King of New York”) was featured in an episode of the FX series Billions.
A Distinctly New York Sound and Lyrics
What I love most about Fun Lovin’ Criminals is their distinctly New York flavor (e.g., “Hot City Nights”). Although other musicians (e.g., Alicia Keys, Lou Reed, Jay-Z, Nas, The Notorious B.I.G., etc.) and bands (e.g., Beastie Boys, The Ramones, and The Velvet Underground, etc.) have selected songs about the city, few like Fun Lovin’ Criminals do this consistently and meaningfully.
More specifically, their music feels like a snapshot of the city, effectively capturing a sense of urban place, and this connection to New York’s character is one of the reasons their music resonates so deeply with me.
Final Thoughts
Fun Lovin’ Criminals are, in essence, storytellers who channel the spirit of a city into music that is as dynamic and multifaceted as New York itself.
Through their narratives, rhythms, and wit, they have created a work that engages and inspires listeners.
Their music isn’t just a backdrop; it’s a soundtrack to a deeper understanding of New York City’s urban life, relationships, and culture.
Someday, I hope to experience their live energy, amplifying everything I appreciate about their music.
Photo Credit:
Title: Fun Lovin’ Criminals 2024
Photographer: FGD Photography
https://jeffreyianross.com/wp-content/uploads/FLC_2024-e1736692523806.jpg5941340Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-01-12 14:27:502025-01-12 14:36:01Why the Fun Lovin’ Criminals Matter
Cities and similar places provide numerous benefits, but these are also balanced with several drawbacks. One such issue is the debris, dislocation, and noise caused by periodic construction, repair, and maintenance of buildings, structures, and utilities.
Less acknowledged amongst these externalities is the spray painting done to identify underground utilities.
These assorted blue, orange, green, and red lines, squiggles, and symbols spray-painted on sidewalks, curbs, and streets are essential for safe construction practices and infrastructure maintenance. However, they are done long before construction and sometimes remain long after their purpose has been fulfilled, creating visual clutter in urban spaces.
Utility marking workers, easily identified by their orange safety vests, often apply the paint carelessly. They might reason that it’s not their neighborhood and municipalities have given them free rein to paint wherever they please.
Meanwhile, since their emergence half a century ago, unsanctioned graffiti and street art (mainly in urban areas) have often been vilified, while utility markings—go largely unnoticed.
By contrast, graffiti (and street art) is frequently abated (painted over or removed) and condemned as vandalism, even when it showcases artistic talent, offers cultural or social commentary, and is generally tolerated by residents.
This double standard reveals a bias: utility markings, sanctioned by authorities, are tolerated, while graffiti and street art, perceived as unsanctioned, are dismissed.
What if utility companies adopt less invasive methods, such as biodegradable chalk, or commit to removing markings promptly after construction ends? And couldn’t we, as a society, reconsider graffiti—not as a blemish but as a potential enhancement to the urban landscape?
By reconsidering these double standards, we might find ways to balance utility and artistry, fostering a more equitable and vibrant visual landscape.
Photo Credit: Utility Markings in Wahington, DC/
Photographer: Jeffrey Ian Ross
https://jeffreyianross.com/wp-content/uploads/IMG_7073-scaled-e1736056508836.jpg19202295Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-01-05 06:28:592025-01-05 06:28:59Rethinking Utility Markings in Urban Public Spaces
The Proportionality of Positionality Statements
/by Jeffrey Ian RossOver the past few decades, several critical theories (e.g., Colonialism/Anti-Colonialism, CRT, Gender, Intersectionality, etc.), research methodologies (e.g., Reflexivity, Lived Experience, etc.), and intellectual discourses have significantly shaped scholarship, pedagogy, and, public debate.
When applied thoughtfully and in their intended manner, these theories, methods, and discourses can be powerful tools for understanding complex and sensitive topics and become transformative tools for change. These paradigms have offered new lenses for examining power structures, systemic racism, inequality, identity, and historical narratives.
However, when these paradigms are misused, they can distort discussions, dominate conversations, and drown out plausible alternative explanations. It is not enough to condemn privilege and complain about systemic oppression; we need to go beyond to achieve transformative change.
Defining Positionality
One area where these terms are often misapplied is in the introduction of positionality statements. A positionality statement (also known as a reflexivity or identity statement) is a declaration that scholars, researchers, or practitioners may provide that outlines their personal and professional background, values, beliefs, and experiences that can influence their work. It also acknowledges the cultural, economic, ethnic, gender, political, racial, or social background of the individual that may affect the subject of their study, practice, or analysis. These expressions are commonplace, especially among researchers engaging in auto-ethnography and reflective practices.
Research presentations and publications that utilize this approach often begin with the student, instructor, or researcher explaining how their unique circumstances have shaped their perspectives and how this, in turn, affects their research. While these declarations provide valuable context, excessive focus on personal narratives can sometimes end the discussion and detract from doing rigorous research. When positionality statements dominate the discussion and stop there, they risk shifting the focus from substantive and reflective findings to me search (i.e., an excessive focus on self-disclosure).
Risks of Overemphasis
Understandably, positionality statements are one way to condemn privilege. However, highlighting personal experiences of discrimination or marginalization differs from using this reflective experience to conduct analytical and rigorous research. In a pedagogical situation, when positionality statements from instructors and students dominate classroom discourse, without thoughtful consideration and analysis of solutions to combat discrimination or marginalization, the opportunity to learn new concepts, relevant scholarship, and strategies may be lost.
Although some audiences may find such disclosures engaging, others may feel they distract from the central purpose of scientific research (e.g., “a way of testing theories and hypotheses by applying certain rules or methods of analysis to observations and interpretations of reality under strictly delineated circumstances”).
Achieving Balance
As with any ingredient in a recipe, balance and proportion are key. Overloading the introduction of a research paper or presentation with personal context—like adding too much salt—can overwhelm and obfuscate the final product. The trick is to briefly acknowledge positionality, reflect on its influence, and then move on to the substance of the study. Unfortunately, many struggle to achieve this balance.
A related challenge arises from a common misunderstanding of auto-ethnography. Some researchers, mainly those new to qualitative methods, believe that storytelling about personal experiences with minimal interpretation suffices. However, true auto-ethnography requires rigorous analysis that situates personal experiences within broader social, cultural, or historical contexts. Merely recounting lived experiences without connecting them to the research questions (including hypotheses and/or theory) does not constitute robust scholarship.
This issue extends to “lived experience,” which refers to the knowledge and insights gained through direct personal encounters. To note, everyone has “lived experiences.” While this concept holds value in fields such as anthropology, criminology, criminal justice, education, etc., where firsthand accounts can illuminate systemic issues, it should neither replace nor overshadow empirical research. Personal narratives must be integrated thoughtfully, constantly enhancing—rather than dominating and overshadowing—the study’s central argument.
Summing Up
In short, positionality statements are sometimes misused or overemphasized to the detriment of substantive research. To address this, students, instructors, and researchers should exercise better caution in using these statements and focus on their direct relevance to the investigative process and, subsequently, findings. For instance, a brief paragraph outlining key aspects of positionality, accompanied by a reflection on how these factors influence the theory and methodology, is often sufficient.
Moving forward, positionality statements should balance personal context and rigorous scholarship, ensuring they support rather than detract from the work’s overall impact.
Photo credit:
Photographer: Poussin Jean
Title: Balance scale set, with weights
Why the Fun Lovin’ Criminals Matter
/by Jeffrey Ian RossMy taste in music is eclectic.
I like selected songs, musicians, and bands from almost all genres of music, and sometimes, I find myself hating songs that I used to enjoy.
That being said, one of my longstanding favorite bands is Fun Lovin’ Criminals.
How did the Band Form, and how have they Evolved
Fun Lovin’ Criminals was formed in 1993 in New York City out of the friendship of Huey Morgan, Brian Leiser, and Steve Borgovini. Over time, the band has undergone lineup changes, affecting its development and the types of songs it has written and performed.
Although some people categorize them as a rap rock band—probably because some of their early songs sampled clips from movies and other cultural references—I consider them primarily a rock and roll band with a unique edge.
Their music has evolved from one song to another and from one album to the next. They’ve played funk (e.g., “Walking Tall”), rock (e.g., “The Grave and Constant”), Reggae (e.g., “Smoke Em”), etc.
Why are they one of my favorite musical groups?
While their name serendipitously aligns with my primary research specializations (e.g., crime, criminal justice, and street culture), my connection to their music goes deeper.
Although I’ve tried to see them perform live and encouraged others to do so while playing in their area, my connection to them is solely through their recorded work.
Their playful music blends rock, groove, and dance-like rhythms that resonate with me.
Their lyrics blend storytelling, wry humor, street sensibilities, and culture, capturing the gritty and playful essence of New York City, where I once lived and have spent considerable time, including conducting research.
Favorite Tracks and Storytelling
Just because I enjoy the band, not every song they’ve written and performed resonates with me. For example, tracks like “Scooby Snacks” and “Love Unlimited” feel too cute.
Similarly, I don’t like their cover songs (e.g., “We Have All the Time in the World,” “I’m Not in Love,” and “Crazy Train”) because they feel less distinct than All the Time in the World,” “I’ their original pieces.
In contrast, songs like “Sugar,” “We Have All the Time in the World,” “King of the World,” and “Up on the Hill” are staples on my playlists. What draws me to these tracks isn’t just the rhythm, instrumentation, or lyrical wit but the storytelling—they have a strong emotional pull that sets them apart from others in their catalog.
Most of their songs are vivid narratives that capture interesting cultural and historical moments.
These songs also interpret the complexities and contradictions of urban life and the relationships among people who work, visit, and live in it.
Their storytelling ability was highlighted when one of their songs (“King of New York”) was featured in an episode of the FX series Billions.
A Distinctly New York Sound and Lyrics
What I love most about Fun Lovin’ Criminals is their distinctly New York flavor (e.g., “Hot City Nights”). Although other musicians (e.g., Alicia Keys, Lou Reed, Jay-Z, Nas, The Notorious B.I.G., etc.) and bands (e.g., Beastie Boys, The Ramones, and The Velvet Underground, etc.) have selected songs about the city, few like Fun Lovin’ Criminals do this consistently and meaningfully.
More specifically, their music feels like a snapshot of the city, effectively capturing a sense of urban place, and this connection to New York’s character is one of the reasons their music resonates so deeply with me.
Final Thoughts
Fun Lovin’ Criminals are, in essence, storytellers who channel the spirit of a city into music that is as dynamic and multifaceted as New York itself.
Through their narratives, rhythms, and wit, they have created a work that engages and inspires listeners.
Their music isn’t just a backdrop; it’s a soundtrack to a deeper understanding of New York City’s urban life, relationships, and culture.
Someday, I hope to experience their live energy, amplifying everything I appreciate about their music.
Photo Credit:
Title: Fun Lovin’ Criminals 2024
Photographer: FGD Photography
Rethinking Utility Markings in Urban Public Spaces
/by Jeffrey Ian RossCities and similar places provide numerous benefits, but these are also balanced with several drawbacks. One such issue is the debris, dislocation, and noise caused by periodic construction, repair, and maintenance of buildings, structures, and utilities.
Less acknowledged amongst these externalities is the spray painting done to identify underground utilities.
These assorted blue, orange, green, and red lines, squiggles, and symbols spray-painted on sidewalks, curbs, and streets are essential for safe construction practices and infrastructure maintenance. However, they are done long before construction and sometimes remain long after their purpose has been fulfilled, creating visual clutter in urban spaces.
Utility marking workers, easily identified by their orange safety vests, often apply the paint carelessly. They might reason that it’s not their neighborhood and municipalities have given them free rein to paint wherever they please.
Meanwhile, since their emergence half a century ago, unsanctioned graffiti and street art (mainly in urban areas) have often been vilified, while utility markings—go largely unnoticed.
By contrast, graffiti (and street art) is frequently abated (painted over or removed) and condemned as vandalism, even when it showcases artistic talent, offers cultural or social commentary, and is generally tolerated by residents.
This double standard reveals a bias: utility markings, sanctioned by authorities, are tolerated, while graffiti and street art, perceived as unsanctioned, are dismissed.
What if utility companies adopt less invasive methods, such as biodegradable chalk, or commit to removing markings promptly after construction ends? And couldn’t we, as a society, reconsider graffiti—not as a blemish but as a potential enhancement to the urban landscape?
By reconsidering these double standards, we might find ways to balance utility and artistry, fostering a more equitable and vibrant visual landscape.
Photo Credit: Utility Markings in Wahington, DC/
Photographer: Jeffrey Ian Ross