I'm with you strongly on the book. I'd go so far as to call it one of the most important pieces on folksong we have. The revelation on the meanings of songs dramatically changing from the origin to today are startling. Jon's research is superb and patently proves the remarkable points.

As to BGW, even Legman hesitates on this one. He names it frankly - sadistic and misogynistic. The only note I've ever personally seen in Legman that suggests any pause whatsoever on bawdy or sadistic lines in folk song.

I think the difference these days may be similar to the moral or tolerance changes we have since BGW was first produced. The perceived humor of a blind person stumbling around or of kicking out a person's crutch or shooting him in the foot or punching out the sassy child seems to have changed. I admit I have no issue singing or hearing bawdy folk song and few taboo words bother me. (I sang a stronger version of The Old Sea Crab the other night and it went over well.)

But that's just sex. I don't sing BGW. I also don't sing "hateful" songs recommending or finding humorous the reviling any group - for me that includes sexual orientation, race or even preferred musical instrument. I don't permit ethnic jokes in my house or hearing.

I was struck when I discovered I objected to BGW. At least to my _own_ singing of it. Surprised me, that did. It didn't bother me much as a child but I finally concluded it wasn't about sex at all.