On musing about why I've been so kindly received by people here, I feel in no small part, it was my desire to ask questions and seek guidance from multiple others who were already fully immersed in the history of the tradition before I began forging ahead (I only sing by the way - nothing more ambitious than that).

I understand that while it may be alien to me (and it surely is at times), what many of these individuals hold and cultivate, is precious and rare to them (and to us all likewise). Through the naive eyes of a newcomer like myself, I tend to only see bickering over interesting pretty things (though I don't at the same time - for I'm now forging my own living personal relationship with some of these artifacts).

It has however, appeared to me - at more times than I can number, to be contrary and perverse (with consequent dangers of scaring away possible further enthusiasts). And yet the personal passion which inspires such strongly expressed views, is ironically a quite non-selfcentered devotion to the those rare cultural materials they engage with every day - as performer, researcher, recording artist or simply session organiser.

As such, I can readily appreciate both the Museum as a personal creative project with an ambitious and important social purpose intended to attract the interest of people like me. And also, the reasoning behind why it has also caused some degree of inflamed reaction.

I understand the vibrancy and enthusiasm of Simon's piece, and thus it's likely success in attracting interest from regular people. But I also understand the reaction against some of it. Such a project will inevitably be fraught with great challenges to meet demands of both an unknowing public, professionals, passionate dilettantes, and academics alike.

Whatever it's flaws, or personal aesthetic biases (which I see some problems with) however, from the position of a relative newcomer to the world of folk, I heartily wish the Museum well both in infancy and full fruition.