Fulfilling my overlapping roles as a drummer, a teacher of aspiring musicians in a London music college, and a ponderer on what it is some of us are trying to achieve in and through higher popular music education, I spend a good portion of my time worrying about what kind of example I set, and to what extent how many students will see my example, casually ignore it, and go their own way. Most of the music I play is perhaps most easily grouped under the broad descriptor of “popular” – although the relative popularity of that music is borne testament by the collection of boxes I have at home containing CDs of the Eruptörs’ first (OK, and also our second) punk-metal quasi-concept-album from 2008 (and 2010). That being said, I just finished a run of panto in Essex, and the show was 99% sold out – an impressive box office feat that I am confident had nothing at all to do with my being involved in the production. But although panto is popular and I hardly stopped drumming throughout, isn’t it much more theatre than music? Where does one draw the line, and why? All of this (and more) has me wondering about my relevance, anxious about the pedagogic authority – as Bourdieu and Passeron (1977) have termed it – that students, consciously or unconsciously, ascribe to me.