The pioneers who started the gentrification process have contributed significantly to the activation of gentrified neighborhoods, but are often overlooked in top-down urban governance strategies. We studied the core participants, who were avant-garde café owners, in the initial stage of the commercial gentrification of Mudan Street in Changchun, China. By participatory observations and in-depth interviews, we closely investigated the statuses, behaviors, and preferences of the early gentrifiers, their contributions to block revivals, and the impacts of urban renewal policies on the gentrifiers themselves. Our conclusions are as follows. Most early gentrifiers were young and highly educated. They started the process of gentrification by youth culture production, which exhibited idealistic operating behaviors, such as the decoration of shops, creation of cultural atmospheres, and organization of cultural activities. They were the pioneers who drove bottom-up block renewal, reshaped traditional blocks into youth cultural consumption centers, and stimulated commercial vitality. However, commercialization was followed by soaring rents and increasing business competition that have forced many pioneers with low economic capital to leave. Furthermore, urban governance has had strong impacts on block renewal and gentrification. Inclusive management has promoted bottom-up neighborhood renewal, whereas arbitrary management has quickly destroyed the cultural landscape and business atmosphere, thereby accelerating the displacement of the pioneers. This study provides new evidence for gentrification theories, and offers a practical reflection for urban governance by constructing the profiles of early gentrifiers and discussing the paradox of gentrification in the context of urban China.

How do people evaluate the transformation of a local music scene under tourism? Using Jacques Lacan’s mirror stage theory, Manuel Castells’ identity theory and Erik Cohen’s authentication theory, we build a framework to judge the authenticity of Naxi music in Lijiang, China, based on interviews, literature analysis and performance analysis. The conclusions are as follows. First, there are significant differences in authenticity among the three stages of Naxi music, as defined by Lacan’s theory. Second, we modify Erik Cohen’s authentication concept from the perspective of Lacan and read the spirit of persistence and innovation as “hot” authentication in the postmirror stage. Naxi musicians have clear project identity, as defined by Manuel Castells. Project identity means that they do not follow the mirror image of tourists blindly and pay attention to music and their own development. This research contributes to the sustainable development of intangible cultural heritage in tourism.