In my earlier posting (see way above!), I mentioned these as glaringly missing in Anup's celebratory piece. 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. Anup said that while he did not have much to say about (c), he did make references to (a) and (b). I would have expected more, but, OK, given the nature of the piece, ****** But since I know and respect Anup personally -- and my comments here need to be seen as an effort to sharpen the kura-kani on Nepali music (of which I have remained a fan ever since I heard Deepak Kharel's 'Timro tyo hasilo muhar ko' way back in 1977 when I was kid), I hope he does pen a much longer piece on Nepali music someday. But some observations: 1) The piece seems to be about Nepali musicians than about Nepali music. There are many referneces to musicians, but few to their songs. 2) The piece even reads like a chrono-genealogical piece . . . as in who came in after who . That's a style which is much favored by our literary historians whose whole idea of doing literary history is endlessly lining up -- in a chronological order -- Bhanubhakta, Moti Ram, Devkota, Bhupi Sherchan and so on and on THAN in interpreting/critiquing those writers' work. oohi ashu