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Decades of experience with closed, relocated, and renamed venues, make punks very familiar with cycles of gentrification. Often established in edge neighborhoods, punk venues participate in reproducing the “grit” of urban decline and subculture. Urban revitalization plans that promise community, livability, and culture, rarely leave spaces for established punk community and subculture. The newly branded Retail, Arts, and Theatre District in Ottawa, Canada is a case study in cultural urban development that operationalizes creative placemaking and its future-oriented visions of urban revitalization through cultural spaces and activities. Although the city’s Official Plan celebrates that existing cultural venues add diversity to the district, the pressure placed on punk venues by surrounding development reveal that not all venues are to be recognized by the city as legitimate or desirable forms of either diversity or culture. Close readings of official city planning documents, urban histories, development proposals, and marketing literature are juxtaposed with auto-ethnographic, storytelling, punk histories, and song writing. I argue that punk counter-cultural placemaking practices provide counter-information, counter-environments, and counter-temporalities to space in the city to resist gentrification and refuse displacement as endings. Gentrification kills punk. But punk always comes back, finds new places, haunts old sites, and remembers its past.

“Did You Hear? Mavericks Is Closing!” Punk Refusal of Gentrified Endings