Editing Selling out (section)

===Music===
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There are three distinct forms of "selling out" in terms of music. First, there is the use of the term "sell-out" to refer to those who sign for [[Music industry|major labels]] or to those who license their music to companies for use in [[advertising]]<ref name=GreatSellOut>{{cite web|url=https://www.theguardian.com/music/2011/jun/30/rocknroll-sellout|title=The great rock'n'roll sellout|first=Dorian|last=Lynskey|work=The Guardian|date=30 June 2011|access-date=21 July 2012}}</ref> that contradicts their apparent values. Secondly, the expression can refer to those who sacrifice their musical integrity through a change in their musical sound, sometimes due to pressure from major labels<ref name=InDefense>{{cite web|url=http://nyulocal.com/entertainment/2012/03/20/in-defense-of-sell-out-musicians/|title=In Defense of "Sell Out" Musicians|first=Lizzie|last=Azran|publisher=NYU Local|date=20 March 2012|access-date=21 July 2012}}</ref> or in order to gain profit by making their music more appealing to a mainstream audience. The third form of selling out is simply to sell out a venue, which normally has nothing to do with a lapse of integrity.

====Record labels and advertising====

Since the time of [[big band]] radio shows, there has been an established relationship between musicians and commercialization. There had been some signs of resistance to this model as early as the 1960s, when gospel group [[The Blind Boys of Alabama]] refused to sign record deals to record secular music.<ref>{{Cite web|url=http://ktep.org/post/clarence-fountain-leader-and-founding-member-blind-boys-alabama-dies-88|title = Clarence Fountain, Leader and Founding Member of Blind Boys of Alabama, Dies at 88| date=4 June 2018 }}</ref> It was not until the [[punk subculture]] in the 1970s that the notion that musicians should be completely independent of commercial influences began to increase in popularity.<ref name=GreatSellOut /><ref name=Cnet>{{cite web|url=http://news.cnet.com/8301-13526_3-20002543-27.html|title=Can bands sell out anymore?|first=Matt|last=Rosoff|publisher=Cnet|date=14 April 2010|access-date=21 July 2012}}</ref> This partly manifested itself in the reluctance of bands to sign for major labels, as this would include taking part in activities that were seen as crass and overly commercial.<ref name=Science>{{cite web|url=http://news.bbc.co.uk/1/hi/magazine/7901003.stm|title=The science of selling out|first=Stephen|last=Dowling|publisher=BBC|date=20 February 2009|access-date=21 July 2012}}</ref> This continued into the 1980s, when bands were scorned by [[fanzines]] for signing with major labels as the mainstream success this would bring was symptomatic of the general decay in culture.<ref name=GreatSellOut /> However, after a number of bands maintained the quality of their records after signing for a major label, by the end of the 1980s the focus on "selling out" shifted to advertising.<ref name=GreatSellOut />

The attitude held by those who disliked the idea of "selling out" towards advertising was negative; comedian [[Bill Hicks]] claimed that any band who licensed their music for advertising was "off the artistic roll call forever",<ref name=GreatSellOut /><ref name=Science /> and [[Neil Young]] mocked the fact that songs became associated with brands on his 1988 album ''[[This Note's for You]]''.<ref name=GreatSellOut /> However, although it was possible for fans to feel a sense of betrayal due to the relationship they developed with the song and artist, when artists did allow their music to be used for commercials others considered the advertised product to be more appealing.<ref name=Science /> As CD sales fell and record companies became unwilling or unable to afford the push new bands needed to become established, sponsorship of bands by major companies began to be seen as more acceptable, with even minor record labels devoting time and money towards marketing deals with well-known brands.<ref name=Cnet />

By the 2010s, the use of licensing of artists in commercials had become an accepted part of the music industry, and even those who would previously have been considered part of the 1970s resistance to "selling out" have been used in advertising products, such as former [[Sex Pistols]] frontman [[John Lydon]] advertising Country Life [[butter]] and [[Iggy Pop]] endorsing car insurance.<ref name= Science /> Consequently, it has been suggested<ref name=Cnet /><ref name=Risk>{{Cite web|url=https://www.npr.org/blogs/monitormix/2009/11/risk_management_can_an_artist.html|title=Risk Management: Can An Artist Sell Out When There Are No Boundaries?|first=Carrie|last=Brownstein|publisher=NPR Music|date=11 November 2009|access-date=21 July 2012}}</ref> that the acceptance of music in advertising is generational, as younger listeners are comfortable with the relationship to the point of indifference<ref name=Science /><ref name=Risk /> whilst those who have seen the industry evolve still reject it.<ref name=Cnet /><ref name=Science />

====Musical integrity====
[[File:Metallica 46.jpg|thumb|right|200px|Metallica playing live at Illinois in 2004.]]
Another definition of "selling out" refers to putting aside musical quality or original intentions in favor of commercial success,<ref name=Anti>{{cite web|url=http://www.antimusic.com/lowdown/05/integrity.shtml|title=The Art of Selling Out: Compromising the Music|first=Trent|last=McMartin|publisher=antimusic|access-date=22 July 2012}}</ref> where a distinction is made for those who achieve success without changing their original sound.<ref name=InDefense /> The difference between the two is often subjective.<ref name=Anti /> While artists may change their musical direction for commercial reasons, such as pressure from major labels who require songs to appeal to mass markets,<ref name=InDefense /> a change in sound may also be part of a natural progression of creative maturity.<ref name=Science />

An example of artists being accused of "selling out" is the band [[Metallica]], whose [[Metallica (album)|1991 eponymous album]] has been considered the turning point in the band's musical direction;<ref name=Review>{{cite web|url=https://www.bbc.co.uk/music/reviews/8b8c|title=Metallica (The Black Album) Review|first=Sid|last=Smith|publisher=BBC|date=18 April 2007|access-date=22 July 2012}}</ref> the band members were called the "poster boys for musical un-integrity" after many incorrectly thought that the band attempted to sue fans who were downloading their music through [[Napster]]. The album, known as ''The Black Album'', saw critics<ref name=Review /> and [[Bob Rock]],<ref name=Rock>{{cite web|url=http://www.musicradar.com/news/guitars/metallicas-black-album-track-by-track-485030#!1|title=Metallica's Black Album track-by-track|first=Joe|last=Bosso|publisher=MusicRadar|date=1 August 2011|access-date=22 July 2012}}</ref> the album's [[Record producer|producer]], acknowledge that there was a move away from the band's previous [[thrash metal]] sound. Rock claimed that the change stemmed from the band's desire to "make the leap to the big, big leagues",<ref name=Rock /> while some fans blamed Rock himself, going as far to eventually create an internet petition demanding the band cut their ties with him.<ref name=Review /> However, other fans did not consider the change in sound to be significant enough to be considered "selling out",<ref name=Anti /> and others accepted the change as part of a natural evolution of the band's style.<ref name=Geeks>{{cite web|url=http://www.geeksofdoom.com/2011/08/13/metallica-20th-anniversary-of-the-black-album/|title=Metallica: 20th Anniversary Of The 'Black Album'|publisher=Geeks of Doom|date=13 August 2011|access-date=22 July 2012}}</ref> Ultimately ''The Black Album'' became the band's most commercially successful release,<ref name=Anti /> going [[Metallica (album)#Certifications and sales|16× Platinum in the United States]].<ref name=Lulu >{{cite web|url=https://www.theatlantic.com/entertainment/archive/2011/10/metallicas-lulu-problem-why-dont-they-just-sell-out-again/247295/|title=Metallica's 'Lulu' Problem: Why Don't They Just Sell Out Again?|first=Daniel|last=Snyder|publisher=The Atlantic|date=25 October 2011|access-date=22 July 2012}}</ref> The differing reaction by fans to the album demonstrates the difficulty in labelling an artist as a "sellout" objectively.

"[[Poseur]]" is a pejorative term, often used in the [[Punk subculture|punk]], [[Heavy metal subculture|heavy metal]], [[hip hop]], and [[goth subculture|goth]] [[subculture]]s, to describe a person who copies the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group or for popularity among various other groups, yet who is deemed not to share or understand the values of the subculture.
 
While this perceived [[wikt:inauthentic|inauthenticity]] is viewed with scorn and contempt by members of the subculture, the definition of the term and to whom it should be applied is subjective. While the term is most associated with the 1970s- and 1980s-era punk and [[hardcore punk|hardcore]] subculture, English use of the term originates in the late 19th century.<ref name="dictionary">[http://dictionary.reference.com/search?q=poseur Definition of poseur] at Dictionary.com</ref>