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The authors provide a personal insight into how they see the potential of urban culture as a vehicle for creative placemaking. The purpose of this study is to highlight the opportunities for the tourism industry to embrace this global youth culture now that one of its pillars, breakdance, is on the brink of becoming an Olympic discipline in 2024, thus nudging this youth culture from underground to mainstream.

The authors interviewed two Dutch pioneers in the field of urban culture: Tyrone van der Meer, founder of The Notorious IBE (IBE), an international breaking event, and Angelo Martinus, founder of the urban scene in Eindhoven and initiator of EMOVES, an urban culture and sports event.

The authors illustrate the added value of urban culture to creative placemaking by addressing the initiatives of previously mentioned Dutch pioneers. Their urban culture events on Dutch soil, yearly attract thousands of participants and visitors from the urban scene, covering over 40 nationalities, to the South of The Netherlands.

This study provides a glimpse into a global youth culture that is primarily invisible to the tourism industry and a foresight in how the tourism industry and other stakeholders (e.g. policy makers, city marketeers, tourism managers and event organisers) can pick up on this evolving trend. The study is meant as a wake-up call.

This paper is a companion piece to the short documentary Breakin' Away. The paper aims to touch on Texas b‐boy culture and tourism, the hip‐hop industry at large, book publishing, intra‐industry media‐synergy, the Hollywood film industry and related aspects of pop culture.

Part ethnographic memoir, part confessional, part anecdotal how‐to, the article is written in the first person and fits within the tradition of autoethnography.

Given its autoethnographic focus, the paper follows several unique cases rather than attempting to abstract generalizable principles.

The paper provides an inside view of Texas b‐boy subculture and reveals specific aspects of the hip‐hop industry.

This chapter discusses how young Black people produce social agency through the sphere of culture, based on hip-hop. Divided into two parts, it surveys theses and dissertations produced in Brazilian universities on the subject in the last ten years. In a second moment, it proposes a research methodology that takes young people as narrators of their social experiences, emphasizing how they think about the school space. The work is an exploratory study and seeks the interposition between formal schooling and the cultural practices of hip-hoppers. It intends to affirm hip-hop as a power, an affirmative form of an ethic of life, a way of life, and a way of escaping the established places for poor, Black young people from the suburbs. It is also intended to show how hip-hop, a marginal culture, has triggered a game of cultural positions within the school and displaced provisions of power.

To demonstrate why leaving the ethnographic field provides an excellent opportunity for the researcher to engage in reflexivity on all aspects of the research and especially on issues of power, age and gender.

An autobiographical reflection on a 40 year career as an ethnographer.

The autobiographical literature and the methods literature on ethnography has neglected leaving the field, and the opportunities that process provides for reflectivity. The author reflects on issues of power, age and gender as they have been implicated in the various fieldsites studied in her career. The particular field site featured centrally is two martial arts, savate and capoeira.

To improve the quality of reflexive writing on leaving the field.

Cultural expertise can play a relevant role in countries where cultural diversity marks social life, as in the case of Portugal, a country where migration always characterized its past and continues to influence the present, and where the presence of ethnic and religious minorities must be noticed. In this chapter, we aim to survey the use of cultural mediation in Portuguese law, as well as case law and culture centered mediation out of courts, in order to understand whether the concept of cultural expertise, in a broad sense, might be useful. Although it is a “contested concept,” culture is understood, for the purposes of this chapter, in a dynamic and non-essentialist sense, as a valuable asset providing context and significance to people’s lives. Assuming that the State is not “culturally neutral” and that its institutions somehow reflect the established culture, issues of equality and demands for cultural recognition will necessarily arise. However, it is the duty of the State to respect and protect cultural identity. Even though cultural expertise may become relevant in several domains of the State, particular attention is given in this chapter to the role played by cultural arguments and cultural expertise in courts in Portugal. Cultural expertise is also very relevant for social intervention, and it is mobilized in the processes of cultural mediation. These processes have a low level of institutionalization in Portugal, since it is not routinely recognized in the implementation of public policies as an autonomous professional profile.

Many have noted the role of metaphor in branding understanding. More than mere decorative frills, tropes play a fundamental, foundational part in the process. The purpose of this comment is to consider some of the branding's core conceits and classifies them for scholarly convenience.

Metaphors, first and foremost, are figures of speech not analytical tools or techniques. Accordingly, the commentary adopts an appropriate literary approach to its subject matter. Reflective for the most part, it seeks to deconstruct and reconstruct simultaneously. Suggestion not stipulation is the aim.

After scrutinising branding's figurative landscape, then focussing on several promising analogies, the commentary concludes with a cautionary note concerning internal branding. Metaphor is not all fun and games, nor the be all and end all of branding understanding.

Services marketing possesses two powerful and deeply entrenched tropes – relationships and dramaturgy. Although this comment touches on both, particularly the former, it points out the plethora of figurative possibilities, some fresh, others familiar, that are available to brand managers and researchers both.

Tobacco has exercised the interest of the nation since Elizabethan times, and the inhalation of its smoke for pleasure has become very widespread. It was not until the mid‐twentieth century, however, that its effects upon health were suspected. It is now widely accepted that tobacco smoke is implicated in a range of dangerous diseases, although the tobacco industry sometimes argues that the link is not proven. The arguments about the conflicting needs of a large, world‐wide industry and the health and prosperity of individuals and society are complex, and often influenced by conflicting vested interests. Government's involvement in the issues is further complicated by its reliance upon large tobacco revenues. The link between advertising and increased smoking, either by existing or new smokers, is not proved by research, although there are strong indications that it exists. The behaviour of most parties involved, including the tobacco companies, indicates that they share the belief of a link. Voluntary controls upon tobacco advertising have had some effect, in that, for example, advertising in the U.K. is no longer overtly directed at children, but various anti‐smoking lobbies believe voluntary control to be ineffective. The present British government has toyed wth the possibility of statutory control, but faces stiff opposition from back‐benchers and within the cabinet; it is also probably philosophically opposed to such measures. More research is needed into the link between advertising and smoking behaviour.