"The 'proletariat' is perfectly capable of living along with and inside a big ballad, provided it is performed excellently and you don't destroy your case before the first note by describing it with that terminally damaged term 'f*lk' music."

Speaking as someone who performs a number of substantial ballads including "Young Hunting" itself, I have to say that, although in principle songs like that can and should be able to appeal to anyone who enjoys a good story (I sang YH to a large and appreciative sixth-form assembly at a local state secondary school, for instance), it would be suicide to perform such a song in, say, a stand-up performance in a public bar. If WLD had a point at all (see above), it is that Mike Waterson - or for that matter, Ewan MacColl - singing 'Tam Lin' is not the thing you'd want to expose your workmates or regular drinking companions to, as their first introduction to traditional song. You have to learn to appreciate that kind of singing, and vast numbers of the populace (not just the 'proletariat', whatever that is these days) simply haven't had the ear conditioning.

Diane speaks contemptuously of "trivial, 'jolly' or angst-ridden ditties", but if you're going to get anywhere with an audience of any kind you need your fair share of those things as well as big ballads. As most singers from the tradition have been well aware.

Since we can't be at the National Festival every week (or, in fact, at all - for the moment), folk clubs actually represent a rather suitable venue in which to perform traditional ballads. A degree of intimacy, an expectation of paying attention, help greatly in the cause. Although anyone who thinks that performing "Young Hunting" in a folk club is "preaching to the converted" clearly doesn't do it very often.