Individuals engage with urban spaces in a variety of ways. These approaches usually depend on their intentions, levels of involvement, and methods of observation. Three distinct modes of engagement — voyeurism, street ethnography, and urban exploration — offer useful points of comparison.
Voyeurism typically entails observing others without their consent, often for personal gratification and without regard to the privacy or dignity of the subjects. Voyeuristic engagement is often perceived as unethical and typically characterized by a lack of reflexivity or accountability.
In contrast, street ethnography involves a systematic, immersive approach aimed at developing a deep and critical understanding of social life in urban settings. Ethnographers try to be methodologically rigorous, ethically sensitive, and sustain engagement with the communities they study. Through participant observation, interviews, and reflective analysis, street ethnography moves far beyond mere observation.
Urban exploration occupies an intermediate position. People who engage in this behavior often seek to access and document abandoned, hidden, or forgotten spaces within the city. While urbex may involve a greater level of engagement and risk-taking than casual tourism, it generally lacks the systematic methodology and ethical frameworks associated with ethnography. Furthermore, urban exploration often centers more on the physical environment than on the social life of communities.
It’s important to note that an observer’s role is not fixed. Over time, they may shift across these modes. A tourist’s superficial engagement may evolve into a deeper ethnographic inquiry, particularly as the observer develops relationships, questions initial impressions, and reflects critically on their own positionality. This process, often shaped by reactivity — the mutual influence between observer and observed — highlights the fluidity inherent in urban engagement.
Photo Credit
Banksy’s Banksquiat. Boy and Dog in Stop and Search (2018)
https://jeffreyianross.com/wp-content/uploads/IMG_7039-1-scaled.jpeg22512560Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-04-26 23:34:032025-05-03 19:50:25Distinguishing Among Voyeurism, Street Ethnography, and Urban Exploration
A bare-chested man with dreadlocks skateboards through Adams Morgan (Washington, DC), an iguana perched on his shoulder, and a selfie stick extending from his hand. A young woman rides the New York City subway with a large snake draped around her neck, and numerous riders crowd around taking videos with their smartphones.
What are We Actually Watching?
These images don’t appear to be spontaneous expressions or political protests—they seem more like carefully choreographed performances designed to go viral. Unlike traditional forms of protest, artistic expression, or ideological movements like the Situationists, these performances are calculated rather than accidental.
The content creators aren’t trying to shift culture, make a point, or inspire debate.
Importantly, the images (and videos) are neither made nor consumed by one demographic. People of all genders, races, ages, and levels of celebrity status produce and view this content.
Meanwhile, there’s no shortage of things, people, and organizations (e.g., smartphones, social media platforms, content producers, and viewers) contributing to this phenomenon.
If we look long enough, the algorithms, because of their power, dominate what we see online.
What’s Going on with This Content?
The underlying message seems clear: producers of this content want their videos to gain attention, and the way to achieve this is by creating attention-seeking content.
To be clear, this commentary isn’t a rant about “kids these days.” It’s a reflection on the shallowness of the spectacle itself. If the goal is to be noticed, mission accomplished.
But then what? Is viral visibility an end in itself? Is sharing a personal confession, pulling a wild stunt, a meaningful self-expression, or just a louder, more absurd version of screaming into the void?
Debord Was Right
Although Baudrillard’s Simulacra and Simulation (1981) and Boorstin’s The Image: A Guide to Pseudo-events in America (1961) also explore the dominance of mediated reality, Guy Debord’s The Society of the Spectacle (1967) offers a particularly prescient critique. Debord argued that in capitalist societies, everyday life becomes increasingly dominated by representations—images, appearances, and commodified experiences. Rather than engaging with the world directly, individuals relate to it through these mediated images, resulting in passivity, alienation, and social fragmentation. While Debord could not have foreseen the rise of social media, his insights anticipate many of its most troubling effects.
The Real Cost
The more critical issue is how many otherwise creative people spend considerable resources creating this content. Meanwhile, as consumers of this work, we waste our time going down rabbit holes, permitting the absurd to drown out the urgent.
In a world dealing with urgent problems—inequality, climate change, crimes of the powerful—devoting our energy to producing and consuming this kind of content feels like a wasted opportunity.
I’m reminded of Seth Godin, who has famously said that you may win the internet for the day, but then what? In a world full of real issues and real needs, there are more constructive, impactful ways to stand out. If you want attention, maybe it’s time to consider earning it by doing something recognizably helpful and prosocial.
Photo Credit:
Creator: Ibrahim D.
Title: Social Media Icons of the 2020s
https://jeffreyianross.com/wp-content/uploads/Social_media_collection_2020s.png10801920Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-04-20 13:22:402025-04-20 13:37:31Social Media’s Never-Ending Replacement of Substance with Spectacle
Across the arts, new genres continually emerge. Some gain traction and become part of the mainstream, while others disappear after a brief moment of interest.
Behind the scenes, some creative people integrate these new forms into their work, while others experiment briefly before returning to more familiar styles.
In music, for example, talented musicians are respected for their versatility. They can play multiple instruments, write and perform songs across different genres, and take on various creative projects. Some produce interesting and engaging work when trying different styles, while others may falter and return to more familiar patterns.
For example, most recently, Beyoncé, most closely connected to Rhythm & Blues and Pop music, won numerous Grammys for her country album Cowboy Carter. Likewise, Jon Batiste, best known for jazz and blues, recently released Beethoven Blues, a classical solo piano album that marks a stylistic departure for him.
But what happens when well-respected musicians play reggae?
Reggae, a genre deeply rooted in Jamaican culture and history, is strongly connected to Rastafarianism, social justice, and post-colonial identity.
Admittedly, there are different precursors (Rocksteady, Ska), types (e.g., Roots Reggae, Dancehall, Dub, Lovers Rock), and derivatives (e.g., Ragga, Reggae Fusion, Reggaeton) to reggae.
Take, for instance, Frank Zappa’s experimentation with reggae in his song “Lucille Has Messed My Mind Up.” Zappa infused reggae rhythms into his progressive rock style, blending his trademark complexity with the genre’s laid-back groove.
Similarly, David Bowie dabbled in reggae influences in tracks like “Don’t Look Down” from his Tonight album, which incorporated reggae-inspired arrangements into his art-rock aesthetic.
More contemporary examples include Alicia Keys’ “Wasted Energy.” She layered reggae beats with her soulful vocals, creating a modern blend while paying homage to reggae’s roots.
Challenges of Cross-Genre Experimentation
When creative people explore genres outside their traditional context, it invites questions of creativity, authenticity, and cultural sensitivity. Even worse, criticisms of opportunism or cultural appropriation are often directed towards these people and their work. But are these criticisms valid, especially if these songs are only a tiny portion of the artist’s repertoire? Is a genre porous or policed? Who gets praised for crossing genres—and who doesn’t? Do commercial motives prima face mean the final product is inferior?
Opportunities in Genre Crossing
On the other hand, this kind of experimentation can bring fresh energy to a genre (especially one that appears to have spent its course), attract new listeners, and foster cross-cultural appreciation and further creativity.
Although the positive and negative aspects of this phenomenon can be debated, I think the most critical issue is whether the music or song resonates with the listener. And if you are a reggae aficionado, do these songs shock your sensibilities? If so, why? If you are a general listener of contemporary music, why do you like it or not?
Conclusion
Ultimately, when respected musicians venture into reggae—or any genre outside their usual repertoire—they walk a fine line between homage and misstep. While some attempts may be dismissed as inauthentic or opportunistic, others succeed in honoring the genre’s legacy while pushing its boundaries in meaningful and creative ways. These artistic forays underscore the evolving nature of music itself: porous, adaptive, and shaped by those willing to take creative risks. At its best, genre-crossing invites audiences to listen differently, reconsider boundaries, and perhaps discover something new in both the familiar and the unfamiliar.
Image Credit
“One drop” sixteenth-note drum pattern” prevalent in Reggae Music
Hyacinth
https://jeffreyianross.com/wp-content/uploads/Screenshot-2025-04-05-at-9.58.00 AM.png8402876Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-04-06 12:02:342025-04-06 13:02:02What Happens When Musicians Step Outside Their Genre?
Distinguishing Among Voyeurism, Street Ethnography, and Urban Exploration
/by Jeffrey Ian RossIndividuals engage with urban spaces in a variety of ways. These approaches usually depend on their intentions, levels of involvement, and methods of observation. Three distinct modes of engagement — voyeurism, street ethnography, and urban exploration — offer useful points of comparison.
Voyeurism typically entails observing others without their consent, often for personal gratification and without regard to the privacy or dignity of the subjects. Voyeuristic engagement is often perceived as unethical and typically characterized by a lack of reflexivity or accountability.
In contrast, street ethnography involves a systematic, immersive approach aimed at developing a deep and critical understanding of social life in urban settings. Ethnographers try to be methodologically rigorous, ethically sensitive, and sustain engagement with the communities they study. Through participant observation, interviews, and reflective analysis, street ethnography moves far beyond mere observation.
Urban exploration occupies an intermediate position. People who engage in this behavior often seek to access and document abandoned, hidden, or forgotten spaces within the city. While urbex may involve a greater level of engagement and risk-taking than casual tourism, it generally lacks the systematic methodology and ethical frameworks associated with ethnography. Furthermore, urban exploration often centers more on the physical environment than on the social life of communities.
It’s important to note that an observer’s role is not fixed. Over time, they may shift across these modes. A tourist’s superficial engagement may evolve into a deeper ethnographic inquiry, particularly as the observer develops relationships, questions initial impressions, and reflects critically on their own positionality. This process, often shaped by reactivity — the mutual influence between observer and observed — highlights the fluidity inherent in urban engagement.
Photo Credit
Banksy’s Banksquiat. Boy and Dog in Stop and Search (2018)
Social Media’s Never-Ending Replacement of Substance with Spectacle
/by Jeffrey Ian RossA bare-chested man with dreadlocks skateboards through Adams Morgan (Washington, DC), an iguana perched on his shoulder, and a selfie stick extending from his hand. A young woman rides the New York City subway with a large snake draped around her neck, and numerous riders crowd around taking videos with their smartphones.
What are We Actually Watching?
These images don’t appear to be spontaneous expressions or political protests—they seem more like carefully choreographed performances designed to go viral. Unlike traditional forms of protest, artistic expression, or ideological movements like the Situationists, these performances are calculated rather than accidental.
The content creators aren’t trying to shift culture, make a point, or inspire debate.
Importantly, the images (and videos) are neither made nor consumed by one demographic. People of all genders, races, ages, and levels of celebrity status produce and view this content.
Meanwhile, there’s no shortage of things, people, and organizations (e.g., smartphones, social media platforms, content producers, and viewers) contributing to this phenomenon.
If we look long enough, the algorithms, because of their power, dominate what we see online.
What’s Going on with This Content?
The underlying message seems clear: producers of this content want their videos to gain attention, and the way to achieve this is by creating attention-seeking content.
To be clear, this commentary isn’t a rant about “kids these days.” It’s a reflection on the shallowness of the spectacle itself. If the goal is to be noticed, mission accomplished.
But then what? Is viral visibility an end in itself? Is sharing a personal confession, pulling a wild stunt, a meaningful self-expression, or just a louder, more absurd version of screaming into the void?
Debord Was Right
Although Baudrillard’s Simulacra and Simulation (1981) and Boorstin’s The Image: A Guide to Pseudo-events in America (1961) also explore the dominance of mediated reality, Guy Debord’s The Society of the Spectacle (1967) offers a particularly prescient critique. Debord argued that in capitalist societies, everyday life becomes increasingly dominated by representations—images, appearances, and commodified experiences. Rather than engaging with the world directly, individuals relate to it through these mediated images, resulting in passivity, alienation, and social fragmentation. While Debord could not have foreseen the rise of social media, his insights anticipate many of its most troubling effects.
The Real Cost
The more critical issue is how many otherwise creative people spend considerable resources creating this content. Meanwhile, as consumers of this work, we waste our time going down rabbit holes, permitting the absurd to drown out the urgent.
In a world dealing with urgent problems—inequality, climate change, crimes of the powerful—devoting our energy to producing and consuming this kind of content feels like a wasted opportunity.
I’m reminded of Seth Godin, who has famously said that you may win the internet for the day, but then what? In a world full of real issues and real needs, there are more constructive, impactful ways to stand out. If you want attention, maybe it’s time to consider earning it by doing something recognizably helpful and prosocial.
Photo Credit:
Creator: Ibrahim D.
Title: Social Media Icons of the 2020s
What Happens When Musicians Step Outside Their Genre?
/by Jeffrey Ian RossAcross the arts, new genres continually emerge. Some gain traction and become part of the mainstream, while others disappear after a brief moment of interest.
Behind the scenes, some creative people integrate these new forms into their work, while others experiment briefly before returning to more familiar styles.
In music, for example, talented musicians are respected for their versatility. They can play multiple instruments, write and perform songs across different genres, and take on various creative projects. Some produce interesting and engaging work when trying different styles, while others may falter and return to more familiar patterns.
For example, most recently, Beyoncé, most closely connected to Rhythm & Blues and Pop music, won numerous Grammys for her country album Cowboy Carter. Likewise, Jon Batiste, best known for jazz and blues, recently released Beethoven Blues, a classical solo piano album that marks a stylistic departure for him.
But what happens when well-respected musicians play reggae?
Reggae, a genre deeply rooted in Jamaican culture and history, is strongly connected to Rastafarianism, social justice, and post-colonial identity.
Admittedly, there are different precursors (Rocksteady, Ska), types (e.g., Roots Reggae, Dancehall, Dub, Lovers Rock), and derivatives (e.g., Ragga, Reggae Fusion, Reggaeton) to reggae.
Take, for instance, Frank Zappa’s experimentation with reggae in his song “Lucille Has Messed My Mind Up.” Zappa infused reggae rhythms into his progressive rock style, blending his trademark complexity with the genre’s laid-back groove.
Similarly, David Bowie dabbled in reggae influences in tracks like “Don’t Look Down” from his Tonight album, which incorporated reggae-inspired arrangements into his art-rock aesthetic.
More contemporary examples include Alicia Keys’ “Wasted Energy.” She layered reggae beats with her soulful vocals, creating a modern blend while paying homage to reggae’s roots.
Challenges of Cross-Genre Experimentation
When creative people explore genres outside their traditional context, it invites questions of creativity, authenticity, and cultural sensitivity. Even worse, criticisms of opportunism or cultural appropriation are often directed towards these people and their work. But are these criticisms valid, especially if these songs are only a tiny portion of the artist’s repertoire? Is a genre porous or policed? Who gets praised for crossing genres—and who doesn’t? Do commercial motives prima face mean the final product is inferior?
Opportunities in Genre Crossing
On the other hand, this kind of experimentation can bring fresh energy to a genre (especially one that appears to have spent its course), attract new listeners, and foster cross-cultural appreciation and further creativity.
Although the positive and negative aspects of this phenomenon can be debated, I think the most critical issue is whether the music or song resonates with the listener. And if you are a reggae aficionado, do these songs shock your sensibilities? If so, why? If you are a general listener of contemporary music, why do you like it or not?
Conclusion
Ultimately, when respected musicians venture into reggae—or any genre outside their usual repertoire—they walk a fine line between homage and misstep. While some attempts may be dismissed as inauthentic or opportunistic, others succeed in honoring the genre’s legacy while pushing its boundaries in meaningful and creative ways. These artistic forays underscore the evolving nature of music itself: porous, adaptive, and shaped by those willing to take creative risks. At its best, genre-crossing invites audiences to listen differently, reconsider boundaries, and perhaps discover something new in both the familiar and the unfamiliar.
Image Credit
“One drop” sixteenth-note drum pattern” prevalent in Reggae Music
Hyacinth