This past week, Trump proposed an executive order aimed at increasing sentences for violent crimes (especially gun-related), quality-of-life offenses (e.g., public urination), the clearing of homeless encampments, and the removal of graffiti from national monuments in the District of Columbia.
Notwithstanding whether Trump has the legal authority to impose these sanctions, over the past century, a concerted effort by various political figures, political parties (especially Republicans directed against Democratically controlled cities), real estate developers, news media, popular culture industries, especially Hollywood has portrayed inner cities as entirely dangerous and rife with undesirable elements—ranging from poor and homeless people, immigrants, and criminals, to excessive garbage, graffiti, street art, and urban blight.
This narrative has not only shaped public perceptions but has also contributed to the growth of suburban and exurban areas, migration to these locations, and policies surrounding urban and regional development.
From political campaigns during the “War on Drugs” to crime-focused films, television series, and sensationalist news reports, these depictions have painted urban environments as a threat to the alleged safety and stability of suburban/exurban life. However, the impact of this narrative extends beyond migration trends—it has also led to policies that further entrenched inequality and stigmatized urban areas.
And the problem is too many people believe this shit.
This demonization has had tangible effects. Cities such as Detroit, Philadelphia, and Pittsburgh, once important centers of industry, commerce, and education, have experienced a significant decline. Their tax bases have eroded, forcing them to operate with fewer resources. As a result, public transportation systems, public housing, critical infrastructure, air quality, green spaces, neighborhoods, social and public health services, public safety, and retail and commercial areas have all suffered. In contrast, suburban areas have mostly flourished, benefiting from a growing tax base and better infrastructure, including highways that connect these communities to urban centers.
Media portrayals perpetuate the stereotype of the dangerous inner city. Popular nighttime television shows and films depict law enforcement combating street criminals in gritty, crime-ridden neighborhoods. These narratives have shaped the perceptions of many, particularly suburbanites, rural residents, and exurbanites, regularly exposed to these negative depictions.
Political figures, such as Donald Trump and right-wing pundits, have capitalized on this fear, tapping into the anxieties of the middle class. They have helped fuel a larger societal divide among urban, suburban, and rural America by framing the inner city as a place of chaos and danger.
However, it is essential to acknowledge that while certain parts of cities struggle with poverty, crime, etc., these issues are complex and multi-faceted. The notion that entire cities are dangerous oversimplifies the reality. Most cities are socio-economically, ethnically, and racially diverse, with many thriving neighborhoods and cultural hubs. Moreover, the focus on urban decay often ignores the challenges suburban and rural areas face. For example, these latter areas also have their own pockets of poverty and violence, which are frequently overlooked by the media and our politicians. Dangerous enclaves exist not only in cities but also in less densely populated regions.
While political and media forces have unfairly demonized inner cities, it is crucial to understand the full scope of urban, suburban, and rural challenges. Addressing urban decline requires a nuanced approach that considers the real struggles of city life and the broader political, social, and economic contexts in which these issues exist. The truth is that when it comes to cities, especially the inner city, not everything is broken. It’s time to drop the stereotypes and call out the tropes used and how false they are. These portrayals are too simplistic.
Photo Credit
Photographer: Rd Kohler
Title: Baltimore Row Houses Near Bond Street
https://jeffreyianross.com/wp-content/uploads/5062751748_704f2b59ea_o-scaled.jpg15312560Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-02-23 05:09:382025-02-23 05:09:38The Never-Ending Demonization of the American Inner City
The documentation and dissemination of images of contemporary graffiti and street art have been integral to its existence and development.
Meanwhile, how people have shared images of this material has evolved.
Much of this shift parallels advances in photographic, computer, digital, and web-based technology and the culture’s response to these developments.
While practitioners and audiences have always seen graffiti and street art firsthand, the medium’s ephemeral nature necessitated documentation for preservation and sharing.
For some subway and freight train writers, the mobility of their canvas provided a unique form of exposure. Their work traveled to different parts of the city, region, or country, creating a dynamic showcase.
Meanwhile, photos were taken and exchanged through interpersonal networks, and some of these images were reproduced in zines, magazines, and books or featured in or referenced in films.
These publications, often produced with limited resources, became vital archives of the movement’s evolution and helped establish graffiti’s visual language. Films like Style Wars (1983) and books such as Subway Art(1984) further cemented the importance of documentation in graffiti culture.
The Digital Revolution Begins
In 1993, a significant shift occurred when Susan Farrell, then a master’s student in computer science at Georgia Tech, began posting her graffiti photographs online under the name Art Crimes. She was later joined by Brett Webb, a student at the University of Southern California. Their efforts coincided with the rise of the World Wide Web, and in 1994, they launched www.graffiti.org, one of the first dedicated online platforms for graffiti documentation.
The site quickly attracted attention from graffiti writers and the news media, including coverage in The Atlantic, Newsweek, and Scientific American. Over time, the domain transitioned to www.artcrimes.com, with Farrell serving as head curator and Webb as assistant curator and system administrator. Though they were passionate about the work, sustaining the project without financial backing became increasingly challenging.
Social Media’s Impact on Documentation and Style
The landscape of graffiti (and street art) image-sharing underwent another change in the mid-2000s with the emergence of social media. The launch of Facebook (2004), Flickr (2004), and YouTube (2005) provided new avenues for graffiti writers and street artists to showcase their work to a global audience. The introduction of the iPhone in 2007, with its built-in camera and subsequent video capabilities, further accelerated the ease of capturing and sharing graffiti and street art in real-time.
This website influenced how work was shared and the nature of the work itself. Practitioners began considering how their pieces would appear on the app, sometimes choosing locations and styles that would photograph well for social media.
However, this digital evolution came with tradeoffs: While reach expanded the reach of graffiti and street art images, the intimate connection of physical sharing networks diminished, and corporate algorithms began influencing visibility.
Seeking Independence from Mainstream Social Media Controls
As mainstream social media platforms became increasingly commercialized, particularly following Elon Musk’s acquisition of Twitter (X), many graffiti writers, street artists, and enthusiasts felt that the countercultural spirit that had long defined graffiti had been lost. They began seeking alternative spaces to share and view this content.
In response to these developments, over the last few years, dedicated mobile apps, such as Graff Map, Grafy Map, MASA Street Art, Spray Street, and Street Art Cities, that support user photo uploads have become available on the Apple App and Google Play stores. These tools attempt to reclaim the community-focused sharing ethos of graffiti’s earlier days.
For Webb, the creator of the Spray Street App, “I got to thinking that I would like to have a private app catering to photographs for urban art that would not be supported by ad revenue,” Webb explained. “The community needs to have its own tools. If we can move away from corporate platforms, that’s a win.”
The Future
While social media has increased the reach of graffiti writers and street artists, dedicated art photo-sharing apps demonstrate the community’s desire to maintain autonomy over how their work is shared and preserved.
This tension between accessibility and authenticity shapes how graffiti and street art are documented and shared. As new technologies emerge, the graffiti and street art community’s approach to documentation will likely continue to evolve, balancing the benefits of broad exposure with the need to maintain the culture’s independent spirit and artistic integrity.
Photo Credit
Title: Share Key
Photographer: Mike Lawrence
https://jeffreyianross.com/wp-content/uploads/38470144796_1185f249ba_o.jpg15072381Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-02-16 05:56:012025-02-16 13:27:52Tracing the History of Documenting and Sharing Images of Graffiti & Street Art
I’ve stayed in everything from budget hostels to luxury hotels—and, most recently, so-called smart hotels.
With this last type of accommodation most interactions with the hotel and the room are either automated, and/or customers can do this through their smartphone or computer.
Guests are usually given a code to check in and out and to request specific amenities. There is usually no front desk and no security. Customers can typically program their rooms’ lights, televisions, heating, and air conditioning.
Why do these types of accommodations exist?
There is an underlying logic to this type of hotel. When traveling (especially for business or tourism purposes), you spend little time in the room when you’re busy with meetings or sightseeing.
The appeal is clear: automation promises convenience for guests and cost savings for hotels.
In principle, this arrangement makes sense. Nowadays, when you can book, modify, and cancel a reservation online, and with the convenience of your iPhone, modify it online, having a reception staff and even a concierge seems unnecessary.
But all that glitters is not gold.
To begin with, in-room digital user interfaces are not always intuitive, working, or functioning correctly, and it is not easy to override them. Sometimes, they are in a foreign language and cannot easily switch to English.
Room and bathroom lights can turn on and off at all times of the day and night.
Curtains and blinds open and close at hours you may not want.
And the same is true with televisions, air conditioning, and heating.
Customer service is almost nonexistent. Chat-based exchanges with hotel management are dominant, and you often deal with an AI bot.
Reaching a human is challenging. When you do, they are often offshore, unfamiliar with your hotel, and juggling multiple customers.
You are often better able to solve problems than someone working on a different continent.
Meanwhile, the cleaning staff is typically skeletal. If you have challenges, like the room you just rented was not cleaned, the remediation times may be ridiculous, typically until the next day.
If your smart hotel has a front desk, the staff can be incredibly rude. This is probably because they have been dealing with customer complaints all day (if they work past 8 p.m.).
Smart hotels typically offer less security. If you encounter a challenge, such as being locked out of your room or a stranger buzzing your room at all hours of the night, customer service is often of minimal help. It’s better to put a pillow over your head or call the cops.
So what is going on?
The so-called smart hotel goes against the basic model of hospitality, which makes guests feel welcome. Hotel rooms are not simply places to rest your weary head. They should be frictionless for the customer. It is not supposed to be a stressful experience, and customers should not be subject to numerous hassles.
So what is the solution? Unless you have a friend or relative who has raved about a location, just like you would do with an Airbnb, home exchanges, etc., carefully read all the reviews on different platforms before booking a smart hotel in a city or country you are unfamiliar with. Treat the positive reviews with a degree of skepticism.
Remember that there are also hybrid smart hotel models. I recently stayed at one in San Francisco. From when I checked in to when I left, I interacted with friendly staff who assisted patrons with everything from navigating the computer tablet in each guest suite to restaurant recommendations.
,
Photo Credit
The Three Stooges from the movie The Idle Roomers (1941)
https://jeffreyianross.com/wp-content/uploads/Screenshot-2025-02-08-at-12.42.54 PM-e1739037046644.png9331212Jeffrey Ian Rosshttps://jeffreyianross.com/wp-content/uploads/jeffrey-ian-ross-logo-04.pngJeffrey Ian Ross2025-02-09 05:27:152025-02-09 05:27:15No Soul in the New Hotel?
The Never-Ending Demonization of the American Inner City
/by Jeffrey Ian RossThis past week, Trump proposed an executive order aimed at increasing sentences for violent crimes (especially gun-related), quality-of-life offenses (e.g., public urination), the clearing of homeless encampments, and the removal of graffiti from national monuments in the District of Columbia.
Notwithstanding whether Trump has the legal authority to impose these sanctions, over the past century, a concerted effort by various political figures, political parties (especially Republicans directed against Democratically controlled cities), real estate developers, news media, popular culture industries, especially Hollywood has portrayed inner cities as entirely dangerous and rife with undesirable elements—ranging from poor and homeless people, immigrants, and criminals, to excessive garbage, graffiti, street art, and urban blight.
This narrative has not only shaped public perceptions but has also contributed to the growth of suburban and exurban areas, migration to these locations, and policies surrounding urban and regional development.
From political campaigns during the “War on Drugs” to crime-focused films, television series, and sensationalist news reports, these depictions have painted urban environments as a threat to the alleged safety and stability of suburban/exurban life. However, the impact of this narrative extends beyond migration trends—it has also led to policies that further entrenched inequality and stigmatized urban areas.
And the problem is too many people believe this shit.
This demonization has had tangible effects. Cities such as Detroit, Philadelphia, and Pittsburgh, once important centers of industry, commerce, and education, have experienced a significant decline. Their tax bases have eroded, forcing them to operate with fewer resources. As a result, public transportation systems, public housing, critical infrastructure, air quality, green spaces, neighborhoods, social and public health services, public safety, and retail and commercial areas have all suffered. In contrast, suburban areas have mostly flourished, benefiting from a growing tax base and better infrastructure, including highways that connect these communities to urban centers.
Media portrayals perpetuate the stereotype of the dangerous inner city. Popular nighttime television shows and films depict law enforcement combating street criminals in gritty, crime-ridden neighborhoods. These narratives have shaped the perceptions of many, particularly suburbanites, rural residents, and exurbanites, regularly exposed to these negative depictions.
Political figures, such as Donald Trump and right-wing pundits, have capitalized on this fear, tapping into the anxieties of the middle class. They have helped fuel a larger societal divide among urban, suburban, and rural America by framing the inner city as a place of chaos and danger.
However, it is essential to acknowledge that while certain parts of cities struggle with poverty, crime, etc., these issues are complex and multi-faceted. The notion that entire cities are dangerous oversimplifies the reality. Most cities are socio-economically, ethnically, and racially diverse, with many thriving neighborhoods and cultural hubs. Moreover, the focus on urban decay often ignores the challenges suburban and rural areas face. For example, these latter areas also have their own pockets of poverty and violence, which are frequently overlooked by the media and our politicians. Dangerous enclaves exist not only in cities but also in less densely populated regions.
While political and media forces have unfairly demonized inner cities, it is crucial to understand the full scope of urban, suburban, and rural challenges. Addressing urban decline requires a nuanced approach that considers the real struggles of city life and the broader political, social, and economic contexts in which these issues exist. The truth is that when it comes to cities, especially the inner city, not everything is broken. It’s time to drop the stereotypes and call out the tropes used and how false they are. These portrayals are too simplistic.
Photo Credit
Photographer: Rd Kohler
Title: Baltimore Row Houses Near Bond Street
Tracing the History of Documenting and Sharing Images of Graffiti & Street Art
/by Jeffrey Ian RossThe documentation and dissemination of images of contemporary graffiti and street art have been integral to its existence and development.
Meanwhile, how people have shared images of this material has evolved.
Much of this shift parallels advances in photographic, computer, digital, and web-based technology and the culture’s response to these developments.
While practitioners and audiences have always seen graffiti and street art firsthand, the medium’s ephemeral nature necessitated documentation for preservation and sharing.
For some subway and freight train writers, the mobility of their canvas provided a unique form of exposure. Their work traveled to different parts of the city, region, or country, creating a dynamic showcase.
Meanwhile, photos were taken and exchanged through interpersonal networks, and some of these images were reproduced in zines, magazines, and books or featured in or referenced in films.
These publications, often produced with limited resources, became vital archives of the movement’s evolution and helped establish graffiti’s visual language. Films like Style Wars (1983) and books such as Subway Art(1984) further cemented the importance of documentation in graffiti culture.
The Digital Revolution Begins
In 1993, a significant shift occurred when Susan Farrell, then a master’s student in computer science at Georgia Tech, began posting her graffiti photographs online under the name Art Crimes. She was later joined by Brett Webb, a student at the University of Southern California. Their efforts coincided with the rise of the World Wide Web, and in 1994, they launched www.graffiti.org, one of the first dedicated online platforms for graffiti documentation.
The site quickly attracted attention from graffiti writers and the news media, including coverage in The Atlantic, Newsweek, and Scientific American. Over time, the domain transitioned to www.artcrimes.com, with Farrell serving as head curator and Webb as assistant curator and system administrator. Though they were passionate about the work, sustaining the project without financial backing became increasingly challenging.
Social Media’s Impact on Documentation and Style
The landscape of graffiti (and street art) image-sharing underwent another change in the mid-2000s with the emergence of social media. The launch of Facebook (2004), Flickr (2004), and YouTube (2005) provided new avenues for graffiti writers and street artists to showcase their work to a global audience. The introduction of the iPhone in 2007, with its built-in camera and subsequent video capabilities, further accelerated the ease of capturing and sharing graffiti and street art in real-time.
Platforms like Instagram, which started in 2010, had a critical transformational impact on graffiti and street art. Reflecting on this shift, Webb noted, “Instagram was a game changer. It was the modern equivalent of sending photos in the mail to fellow graffiti writers.”
This website influenced how work was shared and the nature of the work itself. Practitioners began considering how their pieces would appear on the app, sometimes choosing locations and styles that would photograph well for social media.
However, this digital evolution came with tradeoffs: While reach expanded the reach of graffiti and street art images, the intimate connection of physical sharing networks diminished, and corporate algorithms began influencing visibility.
Seeking Independence from Mainstream Social Media Controls
As mainstream social media platforms became increasingly commercialized, particularly following Elon Musk’s acquisition of Twitter (X), many graffiti writers, street artists, and enthusiasts felt that the countercultural spirit that had long defined graffiti had been lost. They began seeking alternative spaces to share and view this content.
In response to these developments, over the last few years, dedicated mobile apps, such as Graff Map, Grafy Map, MASA Street Art, Spray Street, and Street Art Cities, that support user photo uploads have become available on the Apple App and Google Play stores. These tools attempt to reclaim the community-focused sharing ethos of graffiti’s earlier days.
For Webb, the creator of the Spray Street App, “I got to thinking that I would like to have a private app catering to photographs for urban art that would not be supported by ad revenue,” Webb explained. “The community needs to have its own tools. If we can move away from corporate platforms, that’s a win.”
The Future
While social media has increased the reach of graffiti writers and street artists, dedicated art photo-sharing apps demonstrate the community’s desire to maintain autonomy over how their work is shared and preserved.
This tension between accessibility and authenticity shapes how graffiti and street art are documented and shared. As new technologies emerge, the graffiti and street art community’s approach to documentation will likely continue to evolve, balancing the benefits of broad exposure with the need to maintain the culture’s independent spirit and artistic integrity.
Photo Credit
Title: Share Key
Photographer: Mike Lawrence
No Soul in the New Hotel?
/by Jeffrey Ian RossI’ve stayed in everything from budget hostels to luxury hotels—and, most recently, so-called smart hotels.
With this last type of accommodation most interactions with the hotel and the room are either automated, and/or customers can do this through their smartphone or computer.
Guests are usually given a code to check in and out and to request specific amenities. There is usually no front desk and no security. Customers can typically program their rooms’ lights, televisions, heating, and air conditioning.
Why do these types of accommodations exist?
There is an underlying logic to this type of hotel. When traveling (especially for business or tourism purposes), you spend little time in the room when you’re busy with meetings or sightseeing.
The appeal is clear: automation promises convenience for guests and cost savings for hotels.
In principle, this arrangement makes sense. Nowadays, when you can book, modify, and cancel a reservation online, and with the convenience of your iPhone, modify it online, having a reception staff and even a concierge seems unnecessary.
But all that glitters is not gold.
To begin with, in-room digital user interfaces are not always intuitive, working, or functioning correctly, and it is not easy to override them. Sometimes, they are in a foreign language and cannot easily switch to English.
Room and bathroom lights can turn on and off at all times of the day and night.
Curtains and blinds open and close at hours you may not want.
And the same is true with televisions, air conditioning, and heating.
Customer service is almost nonexistent. Chat-based exchanges with hotel management are dominant, and you often deal with an AI bot.
Reaching a human is challenging. When you do, they are often offshore, unfamiliar with your hotel, and juggling multiple customers.
You are often better able to solve problems than someone working on a different continent.
Meanwhile, the cleaning staff is typically skeletal. If you have challenges, like the room you just rented was not cleaned, the remediation times may be ridiculous, typically until the next day.
If your smart hotel has a front desk, the staff can be incredibly rude. This is probably because they have been dealing with customer complaints all day (if they work past 8 p.m.).
Smart hotels typically offer less security. If you encounter a challenge, such as being locked out of your room or a stranger buzzing your room at all hours of the night, customer service is often of minimal help. It’s better to put a pillow over your head or call the cops.
So what is going on?
The so-called smart hotel goes against the basic model of hospitality, which makes guests feel welcome. Hotel rooms are not simply places to rest your weary head. They should be frictionless for the customer. It is not supposed to be a stressful experience, and customers should not be subject to numerous hassles.
So what is the solution? Unless you have a friend or relative who has raved about a location, just like you would do with an Airbnb, home exchanges, etc., carefully read all the reviews on different platforms before booking a smart hotel in a city or country you are unfamiliar with. Treat the positive reviews with a degree of skepticism.
Remember that there are also hybrid smart hotel models. I recently stayed at one in San Francisco. From when I checked in to when I left, I interacted with friendly staff who assisted patrons with everything from navigating the computer tablet in each guest suite to restaurant recommendations.
,
Photo Credit
The Three Stooges from the movie The Idle Roomers (1941)