Thanks Maggie, totally recognise the point about tangents -

I do also understand Rigby's desire to highlight the challenges around competing sensitivities - and I think a couple of valid points/some useful consensus arose on part of that.

Given the core discussion of songs based around antisemitic tropes + language generally understood to be highly racially offensive, then at least making reference to past questions of attempted entryism and infiltration in the folk world and other sub-cultures hopefully is also relevant.

But I fully agree it's not necessary for this conversation to spin off too far in those directions, especially if they're previously very well trodden.

Overall, reasonably broad consensus seems to have been reached on a number of the substantive issues, so that's something to welcome.