I agree with all of you about the lack of proper recognition for "traditional" music in the Folk Alliance Awards AND in the organization in general.

For those of you who do not know about the organization, it is made up of approximately 2500 dues-paying members from across the United States and Canada, and I understand there are also members in other countries. MOST, but not all, of the people are involved as a BUSINESS aspect. Even though I do not get paid, I consider folk music an important part of my life, and a "vocation" for which I do not get paid.

The Folk Alliance was formed in 1989 when a group of 125 individuals that included representives from folk societies across the country met in California to discuss forming a coalition to share information and to work together to promote "folk" music.

The organization has grown, and it has had it's share of disagreements and stumbles, and each year the conference serves as a "town meeting" for performers, agents, media and presenters.

I am a member, and also a member of the Northeast Regional Folk Alliance (NERFA)- one of the regional offshoots of the Folk Alliance. I'd like to stress that I am not a spokesperson for either organization, but I am sharing my own views as a member and an observer.

The lack of traditional music is an obvious issue. The organization has attempted to rectify, but nothing has seemed to work. The fact is, most of the work and focus is created by the members.

Now we get to the problem. The members are interested in promoting the business aspects as well as the artistic aspects of the music. What sells? What brings out an audience? Where are the most opportunities?

At NERFA, I have served on the formal showcase committee. Each year the committee, made up of concert presenters, festival organizers, radio people like myself, listen to over 200 submissions and select 14 people for the "FORMAL" showcase (there are plenty of additional showcases.) Make no mistake, this is subjective - but the selected artists have impressed all of the judges.    I can tell you that the lack of traditional submissions is noticeable.   I can understand the reasons for that - a feeling that it is inevitable that they will be ignored (not true), or a feeling that they do not need to be a part of a process like this (probably very true).

When Barry said that "they're covering what's commerically viable & what's left after that the rest of us can argue over the crumbs" - he is correct, partially. The problem is the definition of the term "commercially viable".

In the Folk Alliance it is not a matter of who sells the most CD's, but who can appeal to the audience that has developed for contemporary folk music. There is a distinction. Who does the Folk Alliance serve?

Barry said that the Boston Folk Festival and Falcon Ridge are "are taxi's for the singer/songwriter" and I say - thank God for that!   Falcon Ridge especially has become an important stage. Without Falcon Ridge, I don't think as many people would have been aware of the music of artists like Vance Gilbert, Ellis Paul, the Kennedys, Eliza Gilkyson, Dave Carter, and dozens of other BRILLIANT singer-songwriters.   These artists are not going to be knocking down the Billboard 100 charts - unless it is by "accident", but they have developed A COMMUNITY of people across the country that have a love for this music - a music that I would strongly argue has roots in the traditions and we are witnessing the current "folk" trend. I realize that many people will disagree with that statement, and I fully understand why.

The Folk Alliance may not be serving the needs of "traditional" artists, but what have these "traditional" artists done to help themselves - or more importantly - do they even need help??? There are still people, like myself, who love the traditions and the traditional music and singers play an important role in their life. There are plenty of people still singing the songs and gathering at places like Old Songs, Mystic, or in their own communities to keep these traditions alive. Does it need help, does it need promotion? Perhaps promotion will lead down the slippery slope and end up with "commercialism".

Is there a point to my ramblings?   Well, I think that the Folk Alliance serves a segment of the population that needs to be exposed to new singer-songwriters and the current folk trends which includes the term "world music" (a huge topic for another discussion). I am not concerned that the traditions will be forgotten or ignored because the beauty lies in the art - and the art will always find its own audience.   

IF traditional musicians want to reach a wider audience, be prepared to make a case of why you want to do so - and be prepared to expose yourself to the commercial aspects. It is a tough choice.