"there are also many in here who seek to turn the magic off and bring in Institutionalised Music which HAS to be appreciated in the correct way."

This is an allegation you have made on a number of occasions, Lizzie. I'd like some evidence, please. It is similar to the completely groundless allegations you levied at the EFDSS recently, before admitting you had no actual experience of the organisation, and could cite no occasion on which you had been denied access to its support or resources.

So who is it that says music HAS to be appreciated in the correct way? Who says there is a "correct" way? Names, please, and quotes. I'm genuinely interested.

In recent threads, it has been repeatedly demonstrated to you that those who are interested in history or provenance do not necessarily equate these things with perceptions about contemporary performance of traditional songs. I, for one, love to see people doing interesting and innovative things with traditional music. You should hear the Lomaxy, prison-farm vibe John Jones has given to his new recording of Polly on the Shore, for example. Great stuff. It will be up on the Myspace soon so you can hear for yourself. Or as I said the other day, Jim Moray's Lucy Wan. Or Benjamin Zephaniah's Tam Lin. Bring it on - the more ambitious the better. Admittedly, I feel I have a better understanding of those songs by knowing some of their provenance, and I feel that helps me to appreciate new versions even more.

If you want to dance round your sitting room or a festival field in a floaty dress listening to your favourite bands, have fun. I have no problem with that. It's when you insist that we're all "moaning minnies" for not wanting to be just like you that we start to disagree.