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In Washington, DC, Black residents have experienced unprecedented levels of cultural and physical displacement since 2000. Because of gentrification, the first “chocolate city,” long been defined by its blackness, has experienced shifts in the economy and commitments by the local government, that privilege policies that facilitate the displacement of Black families. Everyday struggles against gentrification have been of wide-ranging theoretical concern and pose an ongoing challenge for scholars in geography to understand the ways people resist gentrification and displacement. In this article, I show through an analysis of the anti-gentrification movement, #DontMuteDC, how Black people challenge the processes of gentrification by reclaiming space and resisting capitalist dispossession through cultural production. I demonstrate the relationship between Black sound aesthetics, gentrification, and a spatial politics of reclamation. I analyze the movement’s emphasis on go-go music as part of a process to (re)claim their place in the city, which I argue disrupts structures governing and managing normative space. I propose reclamation aesthetics as an analytic through which we can understand Black cultural production and Black place- and space-making practices as responses to socio-spatial inequities.

This article brings Black feminist thought to bear on the urban geography of racialised financial violence. Our analysis focuses on the Moms 4 Housing movement, which began when five Black mothers occupied a vacant, corporate investor‐owned house in West Oakland to protest how real estate speculation is fuelling displacement and homelessness for Black Oakland residents, disrupting care at the scale of the home and community. In taking space through recuperating the house on Magnolia Street, the Moms insist on housing as a site of care central to the survival of Black families and reclaim Oakland as a Black geographic space. In claiming ownership based on relations of care while refusing the institution of private property, we argue the Moms engage in speculative urban worldmaking—a form of collective care and a praxis of providing an alternative present that imagines and advocates for urban futures beyond financialisation's abstract racial violence.

Our article explores the cultural politics of public space and the placemaking politics of urban redevelopment in the Atlas District of Washington, DC, a popular commercial district undergoing rapid gentrification. The major questions we address are, how do race and class impact the ways public space is controlled and/or managed in the context of rapid changes in the built, economic and social environments of the neighborhood? What role do those narratives play in justifying changes in and management of public space? We focus on uses of public space and describe how various forms of power are linked to the control of space in the context of gentrification. Our analysis focuses on designated public space in the Atlas District—the Starburst Plaza. By analyzing everyday practices around community control at the Starburst Plaza, this case study focuses on the discrete methods by which the symbolic and material inequities promulgated by the neoliberal state are reconfigured through struggles to define and manage contested public spaces.

While Washington, D.C., is still often referred to as “Chocolate City,” it has undergone significant demographic, political, and economic change in the last decade. In D.C., no place represents this shift better than the H Street corridor. In this book, Brandi Thompson Summers documents D.C.’s shift to a “post-chocolate” cosmopolitan metropolis by charting H Street’s economic and racial developments. In doing so, she offers a theoretical framework for understanding how blackness is aestheticized and deployed to organize landscapes and raise capital. Summers focuses on the continuing significance of blackness in a place like the nation’s capital, how blackness contributes to our understanding of contemporary urbanization, and how it laid an important foundation for how Black people have been thought to exist in cities. Summers also analyzes how blackness—as a representation of diversity—is marketed to sell a progressive, “cool,” and authentic experience of being in and moving through an urban center.Using a mix of participant observation, visual and media analysis, interviews, and archival research, Summers shows how blackness has become a prized and lucrative aesthetic that often excludes D.C.’s Black residents.