I THOUGHT THIS WAS A PARTICULARLY LUCID OBSERVATION, VERY WELL EXPRESSED ,AND SORT OF ADDRESSES SOME OF THE UNDERLYING NIGGLES IN THIS THREAD, WHICH FOR ALL ITS DRESSED UP IN RIGHTEOUS INDIGNATION ABOUT WHAT'S TRAD AND WHAT'S NOT, IS REALLY ABOUT WHO'S IN THE INNER CIRCLE AND WHO'S NOT, WHO'S SELLING AND WHO'S NOT,WHO GETS ON THE AWARDS SHORTLIST AND WHO DOESN'T. I'VE CUT AND PASTED THE FOLLWOIGN FROM THE BBC WEBSITE. BTW, I'M NOT A SEAN LAKEMAN GROUPIE NOR AN APOLOGIST FOR SMOOTH OPS....JUST A FAN OF THE MUSIC, AND SOMEONE WHO DOESN'T SEE FOLK MUSIC AND POPULISM/PROFESSIONALSIM AS MUTUALLY EXCLUSIVE.


As someone else who makes a living from folk music I'm with magicgillian on this one. And I'm a bit flummoxed about why making money from folk music is viewed as radically different ("tainted") to making a living from the many other skills, talents or human exchanges that used to be unpaid in communities. I mean what do all you folks who're so scornful of musical commerce actually do to pay your bills? Are you living in communes?

I'm also with the folks who point out that all of the visible folk music professionals started out playing or singing for craic or because the music connected with them on a deeply personal level. At almost any session you care to call upon in any part of Scotland you're likely to fall upon a healthy mix of amateur, semi pro and pro musicians playing for the sheer enjoyment of it. There are also unknown numbers of weekend house parties, weddings and other celebrations where the music is right at home in its "original" context.

If you don't like the idea of commerce in folk music then stop buying CDs and going to ticketed gigs. Find the music that's on your doorstep or make it only with your friends and families and be happy to let the rest of us pursue our shallow, mercenary paths.