That's more like it - a debate, not "trying to stir things up". What we are discussing is the class issue of middle-class collectors protecting (alright 'preserving', if you prefer) folk music from an 'unlettered' (Sharp's word) lower class who were starting to bring the influences of popular culture (especially the music halls) into their traditional music. I make no comment as to whether this was a good or a bad thing - simply illustrating that "class" has been an issue in folk music long before the second folk revival.