I would like to thank all of you who have replied. the pros and the cons. My meaning is that, of course, a ticket buying, CD ordering audience is needed for a national folk music industry. Without the avid fans to orginise and support them, events, like the Philadelphia Folk Festival, would not be possible and, for those, like myself, who perform in these venues, audiences are valued and appreciated. But, and here's the hub, commercial venues represent, only, a small part of the professional folk market. I don't have to tell you guys that there are more licenced music therapists (with all trad repitoires) than there are full time "folksingers" on the festival and club curcuit. There are thousands of full time Irish musicians, Klezmerim, Polka bands and you-name-it, thousands of school assembly specialists, Gospel artists, tenor banjo toting singalongers, music directors, cantors, square dance callers (those guys can, really, sing), all of them, making very nice livings and continuing the tradition.
I am not, in any way, suggesting that Mudcat should turn its back on the "stars" or should establish a litmus test for what is, and what is not, folk music (Lord knows, we've been down that path before).
I just want to have an exchange with other full time folksingers regarding the larger market in which we ply our trade.
Joe, the Philadelphia Folk Festival is a commercial enterprise which has, often, employed me to run their workshops and campfires so bless their little singer/songwriter lovin' hearts. The funds from the festival provide grants for music therapy (Children's Heart Hospital and Shriners Hospital), The Odyssey of American Folk Music (Which sends traditional music into inner city schools), library programs, The Please Touch Museum series and a Community Service program that is, still, going strong after forty five years. So, although, the festival doesn't meet my lofty "folk" standards, their hearts are in place and I love them, one and all (As I do, all the Mudcatters)

                         Mike