Charges of "selling out" and debates about the boundaries of cultural autonomy have played a pivotal role in the development of popular music as a legitimate and "serious" art form. With promotional strategies and commercial business practices now practically inseparable from the core activities previously associated with music making, the relevance of such concepts and the values that underpin them are questioned by industry experts, musicians, and fans. In this article, we explore how popular music making and perspectives on selling out have been shaped by digitalization, promotionalism, and globalization.

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The educational potential of entertainment television has been acknowledged, with varying degrees of enthusiasm, through research into entertainment-education strategies, intersections of politics and popular media, and the mediated public sphere. This article explores educational possibilities of entertainment programming through a consideration of British television programmes that challenge traditional and typical media framings of crimes against children, immigration and disability. Drawing on interviews with writers, directors and producers, it considers the delicate balance of roles and responsibilities generated by entertainment television content that offers unconventional perspectives on social issues. Programme makers may be hesitant to embrace the role of educator, but descriptions of their work suggest a critical pedagogic approach that encourages deliberation in the popular public sphere.