Jim, you are obviously not going to change your view of what is needed on the folk scene, which appears to be some sort of vetting panel that decides who should perform and who should go away quietly - along with the belated but welcome idea of good performers actually helping out those who are starting up. Fortunately, I have never found a club such as you describe, and I hope I never do. I would not wish to go to such an elitist, exclusive, discouraging gathering, and can only say how pleased I am that all the clubs I have attended and learned in have been inclusive and encouraging. The only thing I would learn in a club such as you describe is how to be part of an audience, as i would never have been asked to perform. And please tell me how it is possible to learn how to perform IN FRONT OF AN AUDIENCE without an audience?

"Did you expect the other singers at the club to pick up the pieces after you had made a fool of yourself and was the extra work you put them through worth it now you have "had your first professional booking"? "
I expected what I got - everyone there clapped me like mad and told me not to worry, they had all been there, done that. Then quite a few of them showed me how it should be done, while several others made as big or bigger "fools" of themselves. And a great time was had by all. There were no pieces to pick up, nothing got broke.

This seems to me to be a matter of expectations. If I go to see a pro guest at a folk club, which seems to be about once a month around here, my expectations are very much higher than if I go to a normal meeting. I don't go to see as many guests as I should - cost is a big factor, but the other factor is that on a guest night I probably won't get to perform. I, like many people, want to perform, and I learn how to do that by doing it and watching others do it - good and bad. It seems to me that clubs who attract new performers are doing as much if not more than clubs who attract new audiences.

And a Happy New Year to all!