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“The Fireworks Next Time”: The Intersections of Place-Making, Play, and Protest in NYC in Summer 2020
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“The Fireworks Next Time”: The Intersections of Place-Making, Play, and Protest in NYC in Summer 2020
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Journal Article
“The Fireworks Next Time”: The Intersections of Place-Making, Play, and Protest in NYC in Summer 2020
2020
Overview
A simultaneous pandemic and political uprising offer an opportunity to reinterpret that struggle.4 It is in this context of a national reckoning with the ongoing refusal to listen—the challenges to the deep, persistent, and powerful apparatus for converting speech into noise, protest into disruption—that we have to understand the responses to the fireworks that erupted night after night in numerous cities throughout June and July. The fireworks not only illuminated how the character of a neighborhood is aural as much as visual—what R. Murray Schafer called “soundmarks” establish place as much as landmarks do—but also how the struggle over gentrification often takes place in the terrain of the aural and thus can remain invisible to those just visiting these neighborhoods.5 This case study also aims to contribute to an understanding of the shifting soundscape of Brooklyn—not just during the pandemic, but also as a result of the longer term processes of displacement and contestation that has so altered the character of many neighborhoods, including my own, Ditmas Park. Under the Rocket’s Red Glare: Fireworks and the Implosion of Meaning, Social Justice, and Sound The protests this past summer—and the Black Lives Matter movement in general—were about being heard and taken seriously such that American common sense assumptions about safety, the value of life, and knowledge of history could be rewritten. In the first few days, some protestors burned police cars, broke shop windows, and generally refused to show the respect for authority and property that passes for order and safety in U.S. society.8 Although cable news channels savored the highly dramatic video of these incidents and played them on repeat, commentators on MSNBC and CNN did not unequivocally denounce the damage to property.
Publisher
H Wiley Hitchcock Institute for Studies in American Music
Subject
