I don't see why making FOLK CDRs is any more "feral" than making CDRs of any other kind of music.

One of things I keep coming back to is a notion that Folk Music has more to do with context than content; that the feral nature of a Folk Music is defined by the shadows cast by brighter lights, and, however so imitative of same, Folk Music (i.e the music of the Folk) will always be measured by its shortfall, or not, in the case of (say) Susan Boyle. Here there exists a purity of both heart and art, perhaps a similar innocence to that the early collectors responded to in their source singers, though there of course content was the very consequence of a context they perhaps weren't so keen on collecting as such, but romanticising at some considerable remove - hence the paternalistic precepts of the 1954 definition and the religiosity it inspires in the Folk Faithful to this day.