Hip-hoppers in Istanbul, Turkey, spend much discursive energy talking and rapping about how the Turkish hip-hop movement is underground, putting a particularly local spin on their uses of a global cultural form. This spatial metaphor has thus become central to local constructions of hip-hop in Istanbul. This paper explores the different meanings the underground concept has for Turkish hip-hoppers through a combination of ethnographic research and readings of locally produced hip-hop texts. Through discourses on and around the underground metaphor, Turkish hip-hoppers use the globally circulating music genre of rap and the associated arts of hip-hop to construct a specifically local identity, re-emplacing rap and hip-hop within the landscape of Istanbul. The paper uses this case study to explore how people can use mediated music in constructing new imaginaries and identities and more specifically how people can use mediated music as a vehicle for the imagining of place.

This article argues that controversial hip-hopper Eminem is more properly termed a genderphobe than a homophobe. Eminem consistently uses homophobic language to critique gender behaviour, not sexual orientation. Focusing on genderphobic lyrics more accurately reveals hip-hop culture's emphasis on gender behaviour rather than the emphasis on sexual object-choice that homophobia implies. The focus on genderphobia also highlights a discriminatory practice aimed toward external behaviour that is related to homophobia but operates differently in certain cultural realms. I ground my discussion by focusing on the centrality of authenticity in hip-hop and gender propriety's centrality in comprising hip-hop notions of authenticity. Additionally, I emphasise how all pop stars rely on personae to convey convincing images to the public. I conclude by analysing the Pet Shop Boys and Mariah Carey's ‘answer songs’, which directly address Eminem's genderphobia and authenticity.

Examining ways in which gender is marked in the press coverage of self-produced, folk-rock artist and record label owner Ani DiFranco, this paper explores how language employed in rock criticism frequently functions to devalue and marginalise women artists' musicianship, influence on fans, and contribution to the rock canon. Investigating how the readerships of different publications may influence the ways in which journalists mark gender in rock criticism, this study utilises a corpus of 100 articles on Ani DiFranco published between 1993 and 2003 from print and online magazines and newspapers in Canada, the United States and the United Kingdom. Focusing on the use of inter- and intra-gender artist comparisons, adjectival gender markers and ‘metaphorical gender’ markers in artist background information, lyrical and musical analyses and descriptions of fans, this analysis maps the discursive conventions that music critics and theorists continue to rely on in reviews and profiles of women artists.

This essay explores connections between the notion of ‘hook’ and several recurring accent patterns found in rock music from the 1980s. It begins by identifying seven syncopated accent patterns and presents a list of over 150 songs from the 1980s that use one or more of these patterns. It then presents three main ways that the accent patterns help create ‘hooks’. First, several songs use one of the patterns to create a strong title hook, as in Rick Springfield's hit, ‘I’ve Done Everything for You', the title of which is set with a syncopated and distinct rhythmic pattern. A second type of ‘hook’ comes in the form of a ‘significant gesture’ that usually precedes the chorus. The pre-chorus ‘My-my-my-my, ah, woo!’ gesture from The Knack's ‘My Sharona’ is an excellent example. Finally, a third type of ‘hook’ involves the combination of a repeated accent pattern with a recurring pitch pattern, as in the guitar introduction to AC/DC's ‘For Those About to Rock’. By realising that these three examples all use the same accent pattern in significant, but different, ways, we acknowledge the prominence of this and other patterns while furthering the discourse on the notion of the ‘hook’.

Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk's celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States.

In the 1930s and 1940s, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular songs which suggests the beginnings of Chinese popular music in modern times. The present article gives a historical description of the rise of Shanghai popular songs and examines their generic features according to Franco Fabbri's five groups of genre rules. Through gramophone recordings, radio broadcasts and films these musical products enjoyed great popularity despite severe criticisms from certain sectors of society. The diversity of musical elements, lyrical contents and forms of performance of these popular songs reflects a collective style of the participating artists and institutions and past audience tastes in a metropolis different from other major cities in the world at that time.

To celebrate Charles Hamm's eightieth birthday, Popular Music is pleased to offer four tributes to a great pioneering scholar (and one of its founding editors).

Recently we have been talking in the Editorial Group of the journal about the term ‘popular’, and wondering in particular about its epithetic role next to ‘music’. Some of us have questioned what the term now means, partly because it has been used less and less in media studies and cultural sociology over the last few years. Others have pointed to the fact that it remains a vital concept, even a rallying point, in certain fields such as musicology and politics.

Why do bands keep audiences waiting? This question is one among several by which I aim to delimit the phenomenon of the public performance experience. I want to determine how far a concert is a sequence of rituals – rather than an encounter critically focused on the act of music-making – where it is the observance of each component that decides the success of the occasion. I ask this of all types of concerts, by the way, but – hey – this is a popular music journal.