www.cognizantcommunication.com martial arts, dragon and lion dances, and acrobatics, and taste Ch... more www.cognizantcommunication.com martial arts, dragon and lion dances, and acrobatics, and taste Chinese food. In many cases, annual CNY festival celebrations have now become regarded by city marketing agencies as spectacles that have the potential to attract tourists to their cities (Birmingham City Council, 2012; Visit London, 2012). CNY celebrations, alongside other festivals, are also seen as a vehicle for promoting policy goals such as "community cohesion" or the development
benefit from this insightful exploration of the tourist experience. In the preface to the first e... more benefit from this insightful exploration of the tourist experience. In the preface to the first edition Chris Ryan hoped that The Tourist Experience would stimulate more research into the issues raised, and I am sure that this revised second edition will even better fulfil this objective.
This examination analyses transformations to statecraft accelerated by digital media technologies... more This examination analyses transformations to statecraft accelerated by digital media technologies. This theory-building study moves beyond digitalisation of diplomacy as a means of adapting statecraft to evolving media landscapes and extends to the governance of soft power capabilities. It challenges static approaches to digital diplomacy and argues for conceptualisations of soft power that account for changes to statecraft. To theorise this dynamic, the concept of "soft power statecraft" and the notion of hybridity in the analysis of "GREAT", Britain's prominent strategic campaign, reveal trajectories of change elicited by it. The findings, drawn from interviews, policy data, and media artefacts, reveal how "GREAT" embodies a hybridised approach to soft power statecraft at the levels of governance, communicative practices, media landscapes, and cultures. They reveal how these changes translate into statecraft strategies for the articulation of soft power. This exegesis explores changes to the field of diplomacy and statecraft associated with the British government's "GREAT" campaign, a long-term initiative launched in 2012. Drawing from multisource data, analysis centres on the relationships amongst key actors in "GREAT", the mobilised 2 sources, and resources of soft power and media strategies that were deployed in its implementation. British statecraft has developed capabilities and communicative practices aimed at exerting "attractiveness effects". From the late-1990s, the Labour government pursued the "re-packaging of diplomacy for public and business consumption". 1 British diplomatic practice has tended towards polyphonic statecraft, focusing on a diversity of domains ranging from, for example, development aid programmes, international broadcasting to trade, and cultural relations. In these settings, state actors have displayed tendencies to operate in silos. There had been some collaboration with non-state actors although, prior to "GREAT", this was fragmented and limited in strategic coordination. British foreign policy-makers have, in recent years, sought to align diplomacy and statecraft with "global competition", seeking to harness wealth creation through promoting tourism, arts, higher education, and "creative industries". Expanding economic imperatives have directed the course of foreign policy orientation for the British "competition state", re-enforcing "the spread of pro-business solutions" in diplomacy and statecraft. 2 Against this background, "GREAT" has survived funding cuts to participating state actors such as Visit Britain, the Foreign and Commonwealth Office [FCO], UK Trade and Investment [UKTI], and the British Council. The 2012 London Olympics and Paralympic Games bid provided impetus for developing "GREAT" in anticipation of their providing excellent opportunities for increased and positive exposure in foreign broadcast and print media and across social media platforms. Explicit raisons d'être for the campaign were domestic and foreign policies, notably austerity at home and commercial interests abroad. Implicitly, the British government aimed to advance narratives of Britishness by drawing on state and national identities. The simultaneity of changes in statecraft and the timing of the "GREAT" launch anticipated four strategic goals: deliver significant direct return to the British 3 economy; have an impact on Britain's international consumer behaviour; increase brand value; and gain support at home with a view to generate value in cash and kind. 3 The "creative industries" equipped campaigners with conceptual resources and, by drawing from extensive symbolic sources, enabled the skilful articulation of tactics organised around "pillars": "Innovation"; "Entrepreneurship"; "Creativity" and "Technology" supporting trade and investment; "Knowledge" underpinning education; and "Heritage", "Culture", and "Countryside" embodying the key attractions for tourism. In addition, "Design", "Music", "Fashion", "Film", "Food", and "Literature" were used as themes for pillars to increase the appeal of Britain, followed by "Shopping" and "Coastline and Adventure" as tactics promoting tourism and English language education. 4 In terms of engagement, endogenous to the field, state actors integrated into the campaign exogenous actors referred to as "partners" and "ambassadors". The former included sponsoring organisations and individuals that, by March 2015, had "attracted £68 million of sponsorship from the private sector with 202 private sector partners and 164 high-profile individuals endorsing the brand". 5 The latter constituted high-profile actors endorsing "GREAT", featuring a range of celebrities from business, sport, and the arts including Sir Richard Branson, Sir James Dyson, Daniel Craig, David Beckham, Dame Judi Dench, and members of the Royal Family. In contrast to either corporate or celebrity diplomacy, 6 which tend to be practiced in parallel to state diplomacy, high profile actors in the case of "GREAT" were directly engaged in transferring perceived commercial and personal attributes to "brand equity" and, in turn, amplifying the campaign. Apart from "brand equity", the discourse on the campaign reveals different relationships between state and non-state endorsers of "GREAT", including pro bono engagements and sponsorship. In what follows, the field refers to a space, spanning across diplomacy and statecraft, made up of state actors, open to newcomers, and equipped in soft power
The Routledge Handbook of Popular Culture and Tourism, 2018
In 2008, we explored both implicit and explicit relationships between royalty and tourism in cont... more In 2008, we explored both implicit and explicit relationships between royalty and tourism in contemporary and historic UK and some international contexts. In doing so, we provided an original, direct and specific focus on the hitherto neglected subject of ‘Royal Tourism’ (Long and Palmer, 2008). A range of historical, sociological and popular cultural perspectives were included as a basis for examining the royal tourism phenomenon. There has to date, and surprisingly given the continuing relevance of the subject and enduring prominence of royalty, been no further academic studies of which we are aware that focus specifically on this royal tourism phenomenon. Nine years on, we revisit the peculiar attraction of royalty for tourism and specifically consider an enduring and persistent touristic focus on the monarchy, particularly in the UK. This chapter re-investigates the concept of 'Royal Tourism' as a specific form of popular cultural tourism and considers how royal tourism ...
... Tour consists of a seven-day bus journey through Romania, visiting various locations which ha... more ... Tour consists of a seven-day bus journey through Romania, visiting various locations which have some connection with Stoker's novel, the later film shoots or the life of Vlad Dracula The highlight of the Dracula Tour is the fancy-dress party Two party ... John Caughey (1984: 289) ...
While the increased scale and importance of international students to the UK Higher Education sec... more While the increased scale and importance of international students to the UK Higher Education sector is now well established, little is known about the ways in which students from non-UK countries experience and interact with the heavy drinking culture that predominates on and near many British universities. Drawing on qualitative interviews, this article analyses the perceptions, attitudes, and experiences of British drinking cultures held by international students studying on postgraduate courses at a UK university. Students report prior awareness of alcohol consumption being important to British culture and recount both positive and negative experiences of witnessing and, for many, participating in drinking alcohol. Students make ready comparisons with the drinking habits and attitudes of their own culture. Further still, many made a distinction between the public house, or ‘pub’, as a welcoming and friendly social space, and bars and nightclubs, where a far greater risk of expos...
This paper attempts to develop a conceptual model of the process of production and consumption of... more This paper attempts to develop a conceptual model of the process of production and consumption of popular media texts (PMTs) to investigate the relationships between the production elements of PMTs and the ways in which particular production values may appeal to potential tourists in diverse settings. The proposed model presumes that there may be structurally causal relationships between highlighted major elements of PMTs production and patterns of consumption associated with audience involvement, subsequent audience loyalty, and intention to visit the locations depicted in the programming in the context of film-induced tourism. The conceptualised model of the process of production and consumption of PMTs is hypothesised by reviewing previous literature and empirical studies. This paper draws attention to trans-national and interdisciplinary perspectives which will enable researchers to develop new ideas and perspectives in exploring the complicated inter-communication processes bet...
Research on the tourism implications of television-induced tourism generally remains limited, wit... more Research on the tourism implications of television-induced tourism generally remains limited, with no single agreed approach to its study. In particular, there are methodological difficulties in understanding this phenomenon and a subsequent lack of empirical research into the relationships between films and TV programmes and tourism. Furthermore, there has been limited attention to the underlying mechanisms and structures in the relationships between the production and consumption of films or TV programmes, audiences and potential tourists, particularly in non-Western contexts. Considering these limitations in this subject, the paper aims to provide insights into the complicated intercommunication processes between TV programmes from the production side and audiences/tourists as consumers. Based on a triangulated approach, this paper delineates an empirical study to investigate theoretical positions and research methodologies that may be used to explore the production end of popular TV programming and the ways in which particular production values may appeal to tourists in diverse settings. Based on a case study of the 'Hallyu' phenomenon, five major elements of the production of popular TV dramas are proposed by this paper and verified by the interviews with professional producers. Quantitative research supports examining causal relationships between the highlighted major elements of TV drama production and patterns of consumption associated with audience involvement, its sequential loyalty, and destination choice in the context of Hallyu drama tourism. This paper will, therefore, draw attention to uniquely transnational and interdisciplinary approach which will enable the researcher to develop new ideas and perspectives on the relationship and mediation between production and consumption of popular texts and associated tourism.
w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a... more w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m Perla Innocenti Unbounded Cultures: Migrating Heritage and Cultural Networks This book collects selected contributions of international scholars and practitioners, presented at the international conference 'Migrating Heritage: networks and collaborations across European museums, libraries and public cultural institutions', 1 organised and hosted by the School of Cultural and Creative Arts-History of Art at the University of Glasgow on 3-4 December 2012 within the activities of the EU-funded collaborative research project 'European Museums in an Age of Migration' (MeLa), SocioEconomic Sciences and Humanities Program. 2 The focus of this volume lies in the realisation that we are witnessing a shift from the identity-marking heritage of European nation states (
This excellent book is published in the Manchester University Press 'Studies in Imperialism' seri... more This excellent book is published in the Manchester University Press 'Studies in Imperialism' series. Reed provides a deep and also wide ranging scholarly coverage of the highly symbolic, planned, stage managed and mediated official visits that were undertaken by members of the British monarchy to the Empire, Dominions and Commonwealth during the period identified in the title and their reception by those visited.
Tourism and cultural agencies in some English provincial cities are promoting their popular music... more Tourism and cultural agencies in some English provincial cities are promoting their popular music ‘heritage’ and, in some cases, contemporary musicians through the packaging of trails, sites, ‘iconic’ venues and festivals. This article focuses on Sheffield, a ‘post-industrial’ northern English city which is drawing on its associations with musicians past and present in seeking to attract tourists. This article is based on interviews with, among others, recording artists, promoters, producers and venue managers, along with reflective observational and documentary data. Theoretical remarks are made on the representations of popular musicians through cultural tourism strategies, programmes and products and also on the ways in which musicians convey a ‘psychogeographical’ sense of place in the ‘soundscape’ of the city.
This chapter re-investigates the concept of 'royal tourism' as a specific form of special... more This chapter re-investigates the concept of 'royal tourism' as a specific form of special interest tourism (though royalty is also very much of mass interest) and considers how royal tourism may be employed not solely for economic gain and commercial exploitation (one of the most enduring and publically contested aspects of the relationships between tourism and monarchy) but also as a political and social tool and context. We consider royal tourism as a socially constructed concept, (Berger and Luckman, 1966), whereby the entering into and playing out of roles and reciprocal actions by members of society are institutionalized. Thus, responses to royalty, in a tourism context, are embedded in the institutional fabric of society.
Tourism and cultural agencies in some English provincial cities are promoting their popular music... more Tourism and cultural agencies in some English provincial cities are promoting their popular music 'heritage' and, in some cases, contemporary musicians through the packaging of trails, sites, 'iconic' venues and festivals. This article focuses on Sheffield, a 'post-industrial' northern English city which is drawing on its associations with musicians past and present in seeking to attract tourists. This article is based on interviews with, among others, recording artists, promoters, producers and venue managers, along with reflective observational and documentary data. Theoretical remarks are made on the representations of popular musicians through cultural tourism strategies, programmes and products and also on the ways in which musicians convey a 'psychogeographical' sense of place in the 'soundscape' of the city.
www.cognizantcommunication.com martial arts, dragon and lion dances, and acrobatics, and taste Ch... more www.cognizantcommunication.com martial arts, dragon and lion dances, and acrobatics, and taste Chinese food. In many cases, annual CNY festival celebrations have now become regarded by city marketing agencies as spectacles that have the potential to attract tourists to their cities (Birmingham City Council, 2012; Visit London, 2012). CNY celebrations, alongside other festivals, are also seen as a vehicle for promoting policy goals such as "community cohesion" or the development
benefit from this insightful exploration of the tourist experience. In the preface to the first e... more benefit from this insightful exploration of the tourist experience. In the preface to the first edition Chris Ryan hoped that The Tourist Experience would stimulate more research into the issues raised, and I am sure that this revised second edition will even better fulfil this objective.
This examination analyses transformations to statecraft accelerated by digital media technologies... more This examination analyses transformations to statecraft accelerated by digital media technologies. This theory-building study moves beyond digitalisation of diplomacy as a means of adapting statecraft to evolving media landscapes and extends to the governance of soft power capabilities. It challenges static approaches to digital diplomacy and argues for conceptualisations of soft power that account for changes to statecraft. To theorise this dynamic, the concept of "soft power statecraft" and the notion of hybridity in the analysis of "GREAT", Britain's prominent strategic campaign, reveal trajectories of change elicited by it. The findings, drawn from interviews, policy data, and media artefacts, reveal how "GREAT" embodies a hybridised approach to soft power statecraft at the levels of governance, communicative practices, media landscapes, and cultures. They reveal how these changes translate into statecraft strategies for the articulation of soft power. This exegesis explores changes to the field of diplomacy and statecraft associated with the British government's "GREAT" campaign, a long-term initiative launched in 2012. Drawing from multisource data, analysis centres on the relationships amongst key actors in "GREAT", the mobilised 2 sources, and resources of soft power and media strategies that were deployed in its implementation. British statecraft has developed capabilities and communicative practices aimed at exerting "attractiveness effects". From the late-1990s, the Labour government pursued the "re-packaging of diplomacy for public and business consumption". 1 British diplomatic practice has tended towards polyphonic statecraft, focusing on a diversity of domains ranging from, for example, development aid programmes, international broadcasting to trade, and cultural relations. In these settings, state actors have displayed tendencies to operate in silos. There had been some collaboration with non-state actors although, prior to "GREAT", this was fragmented and limited in strategic coordination. British foreign policy-makers have, in recent years, sought to align diplomacy and statecraft with "global competition", seeking to harness wealth creation through promoting tourism, arts, higher education, and "creative industries". Expanding economic imperatives have directed the course of foreign policy orientation for the British "competition state", re-enforcing "the spread of pro-business solutions" in diplomacy and statecraft. 2 Against this background, "GREAT" has survived funding cuts to participating state actors such as Visit Britain, the Foreign and Commonwealth Office [FCO], UK Trade and Investment [UKTI], and the British Council. The 2012 London Olympics and Paralympic Games bid provided impetus for developing "GREAT" in anticipation of their providing excellent opportunities for increased and positive exposure in foreign broadcast and print media and across social media platforms. Explicit raisons d'être for the campaign were domestic and foreign policies, notably austerity at home and commercial interests abroad. Implicitly, the British government aimed to advance narratives of Britishness by drawing on state and national identities. The simultaneity of changes in statecraft and the timing of the "GREAT" launch anticipated four strategic goals: deliver significant direct return to the British 3 economy; have an impact on Britain's international consumer behaviour; increase brand value; and gain support at home with a view to generate value in cash and kind. 3 The "creative industries" equipped campaigners with conceptual resources and, by drawing from extensive symbolic sources, enabled the skilful articulation of tactics organised around "pillars": "Innovation"; "Entrepreneurship"; "Creativity" and "Technology" supporting trade and investment; "Knowledge" underpinning education; and "Heritage", "Culture", and "Countryside" embodying the key attractions for tourism. In addition, "Design", "Music", "Fashion", "Film", "Food", and "Literature" were used as themes for pillars to increase the appeal of Britain, followed by "Shopping" and "Coastline and Adventure" as tactics promoting tourism and English language education. 4 In terms of engagement, endogenous to the field, state actors integrated into the campaign exogenous actors referred to as "partners" and "ambassadors". The former included sponsoring organisations and individuals that, by March 2015, had "attracted £68 million of sponsorship from the private sector with 202 private sector partners and 164 high-profile individuals endorsing the brand". 5 The latter constituted high-profile actors endorsing "GREAT", featuring a range of celebrities from business, sport, and the arts including Sir Richard Branson, Sir James Dyson, Daniel Craig, David Beckham, Dame Judi Dench, and members of the Royal Family. In contrast to either corporate or celebrity diplomacy, 6 which tend to be practiced in parallel to state diplomacy, high profile actors in the case of "GREAT" were directly engaged in transferring perceived commercial and personal attributes to "brand equity" and, in turn, amplifying the campaign. Apart from "brand equity", the discourse on the campaign reveals different relationships between state and non-state endorsers of "GREAT", including pro bono engagements and sponsorship. In what follows, the field refers to a space, spanning across diplomacy and statecraft, made up of state actors, open to newcomers, and equipped in soft power
The Routledge Handbook of Popular Culture and Tourism, 2018
In 2008, we explored both implicit and explicit relationships between royalty and tourism in cont... more In 2008, we explored both implicit and explicit relationships between royalty and tourism in contemporary and historic UK and some international contexts. In doing so, we provided an original, direct and specific focus on the hitherto neglected subject of ‘Royal Tourism’ (Long and Palmer, 2008). A range of historical, sociological and popular cultural perspectives were included as a basis for examining the royal tourism phenomenon. There has to date, and surprisingly given the continuing relevance of the subject and enduring prominence of royalty, been no further academic studies of which we are aware that focus specifically on this royal tourism phenomenon. Nine years on, we revisit the peculiar attraction of royalty for tourism and specifically consider an enduring and persistent touristic focus on the monarchy, particularly in the UK. This chapter re-investigates the concept of 'Royal Tourism' as a specific form of popular cultural tourism and considers how royal tourism ...
... Tour consists of a seven-day bus journey through Romania, visiting various locations which ha... more ... Tour consists of a seven-day bus journey through Romania, visiting various locations which have some connection with Stoker's novel, the later film shoots or the life of Vlad Dracula The highlight of the Dracula Tour is the fancy-dress party Two party ... John Caughey (1984: 289) ...
While the increased scale and importance of international students to the UK Higher Education sec... more While the increased scale and importance of international students to the UK Higher Education sector is now well established, little is known about the ways in which students from non-UK countries experience and interact with the heavy drinking culture that predominates on and near many British universities. Drawing on qualitative interviews, this article analyses the perceptions, attitudes, and experiences of British drinking cultures held by international students studying on postgraduate courses at a UK university. Students report prior awareness of alcohol consumption being important to British culture and recount both positive and negative experiences of witnessing and, for many, participating in drinking alcohol. Students make ready comparisons with the drinking habits and attitudes of their own culture. Further still, many made a distinction between the public house, or ‘pub’, as a welcoming and friendly social space, and bars and nightclubs, where a far greater risk of expos...
This paper attempts to develop a conceptual model of the process of production and consumption of... more This paper attempts to develop a conceptual model of the process of production and consumption of popular media texts (PMTs) to investigate the relationships between the production elements of PMTs and the ways in which particular production values may appeal to potential tourists in diverse settings. The proposed model presumes that there may be structurally causal relationships between highlighted major elements of PMTs production and patterns of consumption associated with audience involvement, subsequent audience loyalty, and intention to visit the locations depicted in the programming in the context of film-induced tourism. The conceptualised model of the process of production and consumption of PMTs is hypothesised by reviewing previous literature and empirical studies. This paper draws attention to trans-national and interdisciplinary perspectives which will enable researchers to develop new ideas and perspectives in exploring the complicated inter-communication processes bet...
Research on the tourism implications of television-induced tourism generally remains limited, wit... more Research on the tourism implications of television-induced tourism generally remains limited, with no single agreed approach to its study. In particular, there are methodological difficulties in understanding this phenomenon and a subsequent lack of empirical research into the relationships between films and TV programmes and tourism. Furthermore, there has been limited attention to the underlying mechanisms and structures in the relationships between the production and consumption of films or TV programmes, audiences and potential tourists, particularly in non-Western contexts. Considering these limitations in this subject, the paper aims to provide insights into the complicated intercommunication processes between TV programmes from the production side and audiences/tourists as consumers. Based on a triangulated approach, this paper delineates an empirical study to investigate theoretical positions and research methodologies that may be used to explore the production end of popular TV programming and the ways in which particular production values may appeal to tourists in diverse settings. Based on a case study of the 'Hallyu' phenomenon, five major elements of the production of popular TV dramas are proposed by this paper and verified by the interviews with professional producers. Quantitative research supports examining causal relationships between the highlighted major elements of TV drama production and patterns of consumption associated with audience involvement, its sequential loyalty, and destination choice in the context of Hallyu drama tourism. This paper will, therefore, draw attention to uniquely transnational and interdisciplinary approach which will enable the researcher to develop new ideas and perspectives on the relationship and mediation between production and consumption of popular texts and associated tourism.
w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a... more w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m w w w .a s h g a te .c o m Perla Innocenti Unbounded Cultures: Migrating Heritage and Cultural Networks This book collects selected contributions of international scholars and practitioners, presented at the international conference 'Migrating Heritage: networks and collaborations across European museums, libraries and public cultural institutions', 1 organised and hosted by the School of Cultural and Creative Arts-History of Art at the University of Glasgow on 3-4 December 2012 within the activities of the EU-funded collaborative research project 'European Museums in an Age of Migration' (MeLa), SocioEconomic Sciences and Humanities Program. 2 The focus of this volume lies in the realisation that we are witnessing a shift from the identity-marking heritage of European nation states (
This excellent book is published in the Manchester University Press 'Studies in Imperialism' seri... more This excellent book is published in the Manchester University Press 'Studies in Imperialism' series. Reed provides a deep and also wide ranging scholarly coverage of the highly symbolic, planned, stage managed and mediated official visits that were undertaken by members of the British monarchy to the Empire, Dominions and Commonwealth during the period identified in the title and their reception by those visited.
Tourism and cultural agencies in some English provincial cities are promoting their popular music... more Tourism and cultural agencies in some English provincial cities are promoting their popular music ‘heritage’ and, in some cases, contemporary musicians through the packaging of trails, sites, ‘iconic’ venues and festivals. This article focuses on Sheffield, a ‘post-industrial’ northern English city which is drawing on its associations with musicians past and present in seeking to attract tourists. This article is based on interviews with, among others, recording artists, promoters, producers and venue managers, along with reflective observational and documentary data. Theoretical remarks are made on the representations of popular musicians through cultural tourism strategies, programmes and products and also on the ways in which musicians convey a ‘psychogeographical’ sense of place in the ‘soundscape’ of the city.
This chapter re-investigates the concept of 'royal tourism' as a specific form of special... more This chapter re-investigates the concept of 'royal tourism' as a specific form of special interest tourism (though royalty is also very much of mass interest) and considers how royal tourism may be employed not solely for economic gain and commercial exploitation (one of the most enduring and publically contested aspects of the relationships between tourism and monarchy) but also as a political and social tool and context. We consider royal tourism as a socially constructed concept, (Berger and Luckman, 1966), whereby the entering into and playing out of roles and reciprocal actions by members of society are institutionalized. Thus, responses to royalty, in a tourism context, are embedded in the institutional fabric of society.
Tourism and cultural agencies in some English provincial cities are promoting their popular music... more Tourism and cultural agencies in some English provincial cities are promoting their popular music 'heritage' and, in some cases, contemporary musicians through the packaging of trails, sites, 'iconic' venues and festivals. This article focuses on Sheffield, a 'post-industrial' northern English city which is drawing on its associations with musicians past and present in seeking to attract tourists. This article is based on interviews with, among others, recording artists, promoters, producers and venue managers, along with reflective observational and documentary data. Theoretical remarks are made on the representations of popular musicians through cultural tourism strategies, programmes and products and also on the ways in which musicians convey a 'psychogeographical' sense of place in the 'soundscape' of the city.
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