Folk music had always had a strong symbiosis with children. Early in the century British Folklorist Cecil Sharp had advocated using folk songs to create cultural identity in the schools. Alan Mills had one of the first folk music shows on CBC in the mid 40’s- Folk Songs for Young Folk. Edith Fowke had pursued the campaign of taking folk music into the schools and other locations. Summer camps in the 50’s and 60’s were one of the most prolific breeding grounds for the future folk music artists and audiences. Merrick Jarrett and Sharon Trostin (later Sharon of Sharon, Lois, and Bram) were performing folk music for children in the early 60’s. In the early 80’s this long marginal activity exploded with the first recording of Raffi. Soon a major industry was created for “kids’ artists”. Like most other areas of folk music, there was the commercial arena and its few stars, while other artists created less saleable but more interesting and challenging work. The new market for children’s music joined with the “world music” boom as a new emphasis on cultural diversity opened the doors of the schools to artists from many musical backgrounds. Infrastructures developed and made full time music making a possibility for more artists than ever before.