I just finished reading the piece. But -- as someone who knows Anup personally and respects him -- I am not sure whether Anup's impressive scholarly talents shine through in the piece. The piece has a more of "rah rah" tone to it than a sober analysis. Thta is to say, since Anup is identified as a social scientist (and not a music critic), I would have preferred to read what he has to say about how changing forces within our pan-Nepali samaaj have influenced the production/distribution and growth of various strands from Nepali music . . . from lokgeet to even rap in the last 10 years. I mean, to say that Kunti Moktan has a beautiful voice is not much help, really. I am also surprised that the piece contains absolutely no reference to three things that have been instrumental (pun intended!)in the development of Nepali music, especially in the last 10 years. a) an easier availability of technology to produce and distribute music. b) A rise in the number of distribution channels: FM radio stations, concerts, Nepali movies, etc. c) a changing demography: more younger people in Nepal now as a per centage of its population than ever before. There are also tensions within the Nepali music industry that the piece fails to explore. At a conference at Royal Nepal Academy in January 2005, Ambar Gurung was vociferously critical of younger Nepali musicians. Since his words seemed to contained more spite and bile than genuine criticisms, and were going unchallenged, I -- as a member of the audience -- requested him, during the Q & A time, to back up his claims. Gurung started mumbling a few nice words about the younger generation, but he was visibly uncomfortable. Later, Abhi Subedi told me that he used that discussion -- the one on the generational divide -- as a reference point in a program on Radio Sagarmatha, where Subedi had been invited to talk about Nepali music. I hope my comments here are seen as attempts to add to the discussion. More later, **************** And, Nepe, on a personal note, you could have posted Anup's piece without speaking less of Sajha posters whose music sensibilities, according to you, do not go beyond saying "cool". I mean, you did not have to praise one by speaking ill of others, and come across with a "let me teach you barbarians a lesson by showing you how to talk about music by referring to this piece" sort of an attitude. It's OK if you disagree the above para. On a larger note, let's not forget that Sajha attracts all kinds of people, and it's this 'wisdom of crowd' (the title of a book I happen to be reading at the moment!) that remains Sajha's strengths; and let there continue to be space on Sajha for people who can't say anything beyond "cool" and who can write in flowing paragraphs and everyone else in between. After all, that's how a genuinely democratic space must function, no? oohi ashu