Ankhon Dekhi : Watch it to believe it !

#Ankhon Dekhi : Often the simplest of the stories turn out to produce the most riveting screen plays . Rajat Kapoor’s delightful “Ankhon Dekhi” primarily runs on three premises, questioning convention while living life on your own terms without falling prey to predefined notions, learning through experience and the intricacies of relationship. The beauty of Ankhon Dekhi lies in its humorous narrative and its ensemble cast that perfectly fits into the role.

Bauji , played by a brilliant Sanjay Misra, after a moment of epiphany , decides to believe only what he will see with his own eyes. The film starts on this premise and follows bauji’s journey of self discovery. Though, may seem eccentric on surface, bauji’s quest to only accept the facts that he himself experiences, presents some deeply philosophical questions. And this is where the deft touch of director Kapoor comes into play. He keeps his narrative extremely simple, with a generous dose of humor. While bauji’s action brings much embarrassment to his family, he also manages to find a bunch of followers who follow every word of his. Their interaction in the cramped house in Old Delhi is a delight to watch.  Through these interactions you smell the fragrance of an old India where joint families used to be a norm and not aberration.  

The way the relationship between bauji and his younger brother, played by a fantastic Rajat Kapoor is portrayed is really heart touching.  Kapoor takes care of the finer nuances to explore the equation of lower middle class family. He even brilliantly showcases the father – daughter relationship.  Ankhon Dekhi has its moments when the screen play falters, like the scene where Bauji decides not to speak and only to listen. However moments like these are few and far between. Seema Pahwa is outstanding as a hyper wife, while often under rated Sanjay Mishra gives his finest performance till date. Rafey Mehmood’s cinematography beautifully captures the lanes & by lanes of Delhi and Sagar Desai’s music is in sync with the screen play.

Ankhon Dekhi is just not a film; it is storytelling at its best. I will go out with 3.5 out of 5 for this unconventional venture from Rajat Kapoor. 

Don’t miss this fine experience and don’t take my word for that. As Bauji says go and find the truth.

Between Hopelessness & Blind Faith Falls the Shadow

With the General Election just round the corner, political parties are leaving no stone unturned to project how, if voted to power they will bring a colossal change to the way the system functions in India. So on one hand you have a Narendra Modi, whom Time magazine describes as “America’s other India problem”, boasting tirelessly about how single handedly he turned around Gujrat’s economy , completely ignoring the question of social inclusiveness and the fundamental concept of secularism. On the other hand you have a 43 year old, still eating out of Mumma’s hand “young” man, who is almost shamelessly reaping the benefit of dynasty politics. This gentle man has standard answer for all questions; shows mock anger in political rallies & possess the sense to tolerate all the “nonsense” happening around him. And then we have a recent addition to this bunch of jokers. A mufflered messiah, who calls himself AAM but behaves and probably believes that he is of the Alphonso variety, spends his time demonstrating against everyone, (hold your breath , including against his own govt) instead of putting focus on administration that could have helped the democracy succeed or at least survive.

Entangled in this milieu of Machiavellian Politics, common man has lost his faith in system. That India still continues to survive is a miracle. Take this example. A basic facility like health care is in doldrums. Forget the Govt apathy; even the private players have learned the tricks of the trade. They know whom to warm up to. Hence they are least bothered to serve the general paying public.

                                           

A health Insurance company like #ApolloMunich , which promises 24*7 customer care , doesn’t even respond to calls post 6 PM. Imagine calling them in case of a medical emergency. The only time they show prompt service is while acquiring new customer or when renewal of policy is due. The govt on its part has constituted #IRDA, to deal with such erratic service providers. On its website they have a list that provides the contact details of Grievance Redressal Officers for each Insurance company. Unfortunately that list was last updated probably during Chacha Nehru’s regime, since the contact details provided in that list are invalid. And yes they too have a toll free call centre. Hoping against hope, you call the number. No surprises here as well, the call centre employee is not even aware of the list put on their own IRDA website, fails to differentiate between a general and a health insurance and promptly puts down the phone.

Now let’s analyze a case of India’s oldest private airline #JetAirways. They believe they can cancel any flight (no weather/technical issue) as per their whims and fancies. And yes they have the audacity of cancelling a two hour flight and booking an individual for a 10 hour Bharat Darshan Journey as well. Miffed when you contact their so called customer care, the response you get is a polite “go to Hell”. Devoid of any other way and as a law abiding citizen you decide to exercise your right. Logically you might be thinking of lodging a complain with #DGCA . Ah, don’t even try that. DGCA has as recently as Jan’14 created a dedicated email id sugam@dgca.nic.in for complains to be registered. They have published about it in most of leading dailies .Any email to this id is responded with a mail delivery failure. This customer complain cell is headed by a Joint Director General Ranked babu Mr. Lalit Gupta, who never replies to emails.

Now I have another amazing story to share, just to showcase how beautifully our system works. A provident fund transfer could not happen over a period of 22 months and 46 emails. It is only after an intervention from the Prime Minister’s office, I was able to get the money I, all the while was thinking mine ! EPFO too have a grievance redressal system, which has been trained extensively to give only standardized replies! As a consumer, without any fault of mine, the EPFO expected me to travel between their Kolkata and Mumbai office, meet them again and again, and probably give some kickback to get the issue sorted. And the beauty of the system is neither the Chief Provident Fund Commissioner, a very senior ranked IAS, nor his office bother to reply to umpteen letters /mails. About the Ministry of Labour, under which EPF comes, the lesser said the better.

That politicians are self centered idiots is a foregone conclusion. But what about our bureaucrats, who have the best of the mind in the country and are, treated as a special class across the socio – economic strata. Did the system failed them or they failed the system is a debate for some other day, but today India runs on faith. Unfortunately this faith doesn’t stem from the deep rooted conviction but rather is a byproduct of sheer hopelessness. How long a nation can run like this , how long people will tolerate this will be interesting to watch. At the moment to Modiji, Rahulji , AAM ADMI ji and all your sycophant supporter , the country is aware of your capability and hence it doesn’t need you, rather you need the nation to either amass wealth or to satiate your shameless hunger for power.

Highway takes you to unusual “High” before losing bit of a “way"!!

Though little late in the day, couldn’t resist the temptation of writing this piece after watching the movie last evening. To set the record straight, must admit, I’m not a Imtiaz Ali fan and the only movie of Imtiaz I loved was his directorial debut “Socha Na Tha”.

Imtiaz’s ambitious & unconventional journey on the Highway is a trip of self discovery for Veera, the rich girl who was kidnapped just days before her big, fat Indian wedding. Even though the trip looks scary in company of four foul mouthed, brute kidnappers, for Veera it turns out to be a liberating trip. She doesn’t know the destination, she doesn’t care about the outcome, but she enjoys the moment, the freedom, she wants to prolong it. Her trip is a metaphor. From a world of chaotic cosmopolitan cacophony, she traverses to a world of serenity and simplicity.  Her kidnapper becomes her co-passenger. Their connect is a result of the deep rooted pain that they had endeared since long, which they could share. If Mahabir had a difficult childhood, Veera had been sexually abused as a kid.  They bare their souls to each other and this provides the emotional catharsis. To his credit Imtiaz steers clear of the typical bollywood romance and projects the unconventional bonding between Veera and Mahabir as it is, without coating it with typical romantic paint. They travel through the heartland of north India and Anil Mehta’s  captures the breathtaking beauty with his amazing camera work.  His cinematography is drop dead gorgeous. Through his camera Mehta transforms the snow capped mountains, the rippling rivers, the unending highways and the exotic greenery into living and breathing characters.

Highway’s brilliance lies in the casting of two opposite characters, an effervescent Veera, who finds the freedom of expression in the company of her abductor and a reticent and rough Mahabir. While Veera is uninhibited, Mahavir speaks through his silent, forlorn stares. Though Veera’s inclination towards Mahavir hints at Stockholm syndrome, it can well be a result of her new found liberty to express herself un-inundated and live an instinctive life.

Irrespective of  whatever she does from here on, Alia Bhatt’s Veera announces her courage to take on roles sans make up and ability to flawlessly deliver them. The scene where breaks into tears even while laughing stamps her skill as an actress. She flawlessly portrays   the vulnerability of a difficult character whose emotion veers between a dark past, exciting present and an unknown future. Randeep Hooda gets into the skin of Mahavir.There are moments when it seems he was born to play this role. His brooding eyes speak more than words. Rehman’s music , though not his best , is in sync with the theme of the movie.

However it is the climax that suddenly turns preachy and lets the movie down. A movie that celebrated the essence of freedom, the exhilarated feeling of liberation for 120 minutes, suddenly tries to justify Veera’s trip away from the cocooned world. For heaven’s sake Highway was not meant to be film on child sexual abuse. Why then suddenly it turns into a movie with a social massage. Ali , who till now was showing the guts to stay away from the world of convention , abruptly turns to the familiar world to build an emotional connect with his Indian Audience. No Imtiaz, Veera’s liberated soul doesn’t require the pretext of sexual abuse to escape into the world of liberation from a life of pretension. The climax stretches a bit too much to provide a justification to Veera’s escapade, but then does freedom require any reason!

Highway takes you to unusual “High” before losing bit of a “way” in the end. However I will go out with 3.5 out of 5 for a movie that shows enough conviction to drive on a path less traveled.

Dedh Ishqiya.. Lihaaf Maang Le !

#DedhIshqiya : With a screen play developed around one of the best known feminist Urdu writer Ismat Chughtai’s most controversial short story “Lihaaf”, with an atmosphere of shero – shayari , with its tongue in cheek dialogue , with a neo-noir theme laced with homo-eroticism, its sepia toned cinematography , with Babban and Khalujaan on a wild adventurous spree and with Begum Para’s “nazakat aur ada” you will expect the audience to explore seven stages of  love with Abhishek Chaubey’s Dedh Ishqiya. 

They do in fact pass through phases of attraction (dilkashi) , attachment (Uns)  and love (Mohabbat). However the over indulgence of the director, some sloppy editing and lack of quality music (in spite of a deeply musical under current and Gulzab Saab as lyricist) ensures you don’t get to experience akidat (trust) and ibadat (worship) that could have resulted in Junoon(madness).

In spite of its flaws and inability to maintain uniformity and pace in screen play Dedh Ishqiya is enticing. It takes you back to a poetic world where interplay of words enriches your senses. The movie opens brilliantly and goes back to show how Babban and Khalujaan got separated. There is a scene where both their hands are tied as Begum Para and Munira are getting close and the shadow on the wall portrays their intimacy.  Khalujaan looks at Babban and asks Lihaaf maang le. That is the essence of the movie. 
Naseeruddin Shah is one of the finest actors Hindi Cinema has produced and he is flawless as Khalujaan. Arshadi Warsi as Babban is a pocket dynamite, you almost look in awe how effortlessly he gets into the skin of his role. Madhuri in her come back reiterates, irrespective of how gifted you are, it takes time to come back to form after a long hiatus. She fails to add the oomph and dignity required for Begum Para’s character. The music is a big let down. 

The high point of Dedh Ishquiya lies is its dialogue (one of the best in a long time), in its deadpan humor, its poetry,Abhiskek’s imaginative direction (till he shot that terrible final scene), its ambience, aesthetics and the chemistry between Babban and Khalujaan. Oh yes I forgot to mention about Munira , no better you go and discover it yourself. And by the way, if Urdu is not your cup of tea, don’t you worry, Vishal Bhardwaj ensured this time around it is released with subtitles !

I will go out with three out of five. No it is not better than the original, but manages to hold its place in spite of that one last platform scene which the director probably shot out of sheer madness. 

Ramleela : Bhansali's Rashleela with Art

Rarely very rarely one comes across a film which has breathtaking visuals , brilliant performance , splendid music, imaginative choreography , unadulterated passion , and yet lacks the soul. Sanjay Leela Bhasali, who credits himself as director, music-director, producer, co-writer and co-editor, suffers from over indulgence leading to exhaustion. The man, who celebrated silence so beautifully through a classic film “Khamoshi”, decides to endorse noise, opulence and sexual innuendo to deliver a dud that suffers from a fatigued script.

For most sensitive film makers songs and dances are a medium to take the story ahead or to celebrate an occasion, for Bhansali they are mere tools to showcase his talent to the world. Hence every fifteen minute a song-dance sequence pops up no matter how irrelevant or irritating that might be. The first half is pure madness; guns keep blazing without reason, the main protagonists meet for the first time and exchange lusty stare, they break into sexual intimacy every time they meet, even when there is death in the family. The dialogues at times are so raunchy; I had to cross check if it is the same one who wrote dialogue for Grand Masti.

Thankfully some sanity returns in the second half where the script finds some method to the madness and picks up pace. Deepika and Ranveer’s passionate chemistry is exhilarating. Supriya Pathak gives a thunderous performance. However the reason, probably the only one, to watch it, is the visual opulence. Each frame is picture perfect with rich color, stylish costume and dazzling set.

This is one of those films that could have been a memorable one if the director wouldn’t have imposed his own esoteric world on everyone and instead tried to instill soul into the bare flesh that he exposed so fervently. I will go out with two for the film and an additional one for the aesthetic sense and sensitivity that makes it masterpiece in terms of cinematography.

No, Mr. Bhansali this Ramleela is all about your Rasleela with self indulgence!

Salute to the Last Samurai: Sachin

A man who made his test debut on 15^th Nov 1989 , played international cricket for 24 years, achieved almost everything statistically possible for a batsman on a cricket field , decides to pad up for his Ranji Team, travels to a nondescript village in Haryana , in order to prepare himself for his final test series. That passion for the game, that ability to stay focused consistently, that unquenchable thirst to achieve perfection through hours of practice, the respect to treat the game bigger than him,  has transformed a man into a phenomenon.

A quarter of a century is a longtime in a life span and most sportsmen would require two to three rebirths to survive that long actively in an outdoor sport. And here we have a diminutive man carrying the hope of a nation, weight of a heavy cricket bat and surviving a tennis elbow, a broken toe, several blows on the body (starting from his 1^st international series against Pakistan), uncharitable criticism & innumerable scrutiny for twenty four long years.  To be born with extraordinary talent is one thing and to convert that into consistent performance through relentless practice and single minded devotion is another. Hence Sachin stands tall not only amidst his contemporaries but also has carved a niche in the pantheons of all time cricketing greats.

To understand the contribution of Sachin to Indian cricket it is imperative to explore the era when he walked into the Indian Team and almost single handedly laid the foundation of the edifice of Indian Cricket. Though with monumental statistics he has secured a place in the realm of history, his colossal impact on cricket lover’s psyche can only be explained by the generation that has seen him wielding his willow as a warrior while all around him wickets were tumbling like nine pins. Who can forget that epic innings played in January 1999 against Pakistan at Cheapuk. Walking in at 6 for 2, chasing 271, the master battled a day five pitch that was spitting venom, against Waqar & Wasim who were reversing the ball prodigiously, Saqlain who has added a new weapon “Doosra” into his armor and his own troubled back. He faced 273 balls, stood at the ground for 405 minutes to score 136, where the only other person to score more than 10 was Nayan Mongia. That India lost the match leaving Sachin and the nation crestfallen underlines the fact, he too is a human, which we forget regularly and unfairly expect him to do the impossible every time.

For most of the pre 1990 generation, Tendulkar is not just a name; it is synonymous with “Hope”. From the day in 1993 Hero Cup semifinal against South Africa when he snatched the ball from Azhar’s hand to give India almost an improbable win , that too as a bowler , Indian’s elevated him to a pedestal where expectations betrayed reality. 1998 Sharjah Desert storm innings vindicated that faith.  Rarely has one seen such impact of a single player in team sport, for almost three generation. That his contemporaries, who in their own right are great cricketers, treat him as their Idol, underlines the greatness of little master. Tormenting Shane Warne with his superlative performance in 1998 Border-Gavaskar trophy to playing that gem of an innings of 241 at SCG , each of his innings is a batting masterclass. I dare say , I don’t remember any batsman in the modern era who has faced more than 400 balls and did not hit his bread & butter shot , the cover drive, till he reached his double century. That innings can be shown in any class that teaches about mental strength & control.

Adaptability is key to survival. Though many didn’t like the way he remodeled his batting post tennis elbow, giving away flair for stability, the entire process of metamorphosis is a lesson for many. How many aggressive batmen have the audacity to change their approach in order to suit an aging body and changing need of the team? In a Team of Azhar, Shastri, Manjrekar , Prabhakar – Sachin had to play the aggressors role to give the team a flying start. In a team of Sehwag ,Dhoni, Yuvraj , Kohli, - Sachin’s role was to provide solidity , so that others  can score around him. Though I would have loved to watch him stepping down the track, hitting the bowler over the head, but in competitive sport one has to look at the body clock. The conviction to play a second fiddle to emerging youngsters, yet become so successful can happen only when one is secure with his own skill. To those who believe his effectiveness dwindled in the later part of his career, a look at the statistics gives a true picture. In a career spanning 24 years his average in ODI (minimum 12 ODI in a year) has gone below 34 only thrice (1993, 97, 2005). From 2007 his ODI strike rate has never gone below 80. In Tests (Minimum 10 innings in a year) his average has gone below 40 only twice (2006, 2012). Maintaining these yardsticks over such a long period of time requires herculean effort.

While Sachin , the batsman has been much celebrated , sometimes we miss out his wily skills with the cricket ball. 154 wickets in ODI (two 5 wicket haul) and 46* in Tests (including Hayden, Gilchrist & Warne in that summer of 2001 at Eden) is a testimony to his involvement with every aspect of the game. “The Boy with A Golden Arm” had been instrumental in breaking many crucial partnerships with his off spin, leg spin and seam up deliveries.

However what these mind boggling numbers don’t reveal is the influential impact he had on the generation of cricketers who followed him. Statistics doesn’t disclose how he instilled the winning spirit with his scintillating display not only among his team mates but also the “Can Do” effect rubbed onto the masses who watched him in stadiums and on TV. That he belonged to a middle class upbringing and started his journey from a modest Sahitya Sahawas Cooperative Society and could scale such heights, gave wings to the common men’s dreams. While the 1983 world cup win acted as a catalyst to make cricket popular, Sachin’s heroics took it to the masses and helped in its commercialization.

At the onset of twentieth century and with the emergence of high caliber players like Ganguly,Rahul, Sehwag ,Laxman, Kumble, Srinath, it was time for Sachin & Co to take team India to the next level. Overseas victory till then was rarity. This unit knew it was now or never. With this motto “The Paper Tigers” started their mission of conquering the world. They won matches in West Indies in 2002, though lost the series 2-1. The next stop was Micheal Vaughan’s England, where India drew 1-1 . Then it went on to drew in 2004 in Steve Waugh’s farewell series against Australia as well. From a team that used to jump like a cat on hot tin roof on bouncy pitches , suddenly India was evolving as a cricketing nation that can challenge any cricket playing country in their own den. And the contributions of these stalwarts were immense in transforming a meek team into world beaters. 

Generation next will marvel to look at the score card where Dravid, Tendulkar,Laxman, Ganguly occupied the No3 to No 6 position in a batting card. Blessed are us who watched them day in day out for more than a decade. For men may come and men may go , but watching cricketers of such high pedigree playing together , bringing laurel to the nation has been an exhilarating journey for many of us. While Ganguly, Dravid, Laxman walked into the sunset and Sehwag lost in the milieu of self discovery, it was Sachin Tendulkar who was the last man standing.

As you will walk into the park as a player for one final time on 18^th Nov 2013, feeling secure that the Indian Cricket is in the safe hands of an exciting bunch of Gen next Cricketers, Sachin, the whole nation will feel a lump in the throat reminiscing its 24 year old romance with you. From that cold winter morning of 15^th Nov 1989 to the evening of 18^th Nov 2013, millions have followed your career, feeling exalted when you succeeded and exasperated when you failed. For many of them a chapter of romance will come to an end. You know how tough it is to fall in love all over again after two decades. For some of us the name SACHIN stood for FOREVER. Even though the mind knew this odyssey will come to an end at some stage , but like an optimistic suitor, the heart never believed. 

While cricket will continue to be played, it will never be the same again. In the annals of cricketing history it will always be pre & post Sachin era. The eye will always look at the score card to look for its favorite No.4 batsman. Somewhere we will miss those scathing straight drives, thundering cover drives, cheeky paddle sweep and those breathtaking upper cuts. We will miss the Man & the enthusiastic child inside him. We will miss watching you run from mid off/ short extra cover to the bowler and advising him in your squeaky voice. We will be left with the memories of your magical batting. While the entire nation is in a festive mood arranging for your grand send off, come 18^th of November, it will be a day of moist eyes, somber mood and a collective sense of emptiness. As you walk off the park as the last Samurai we salute you Sachin for those hundred hopes, million memories and billion moments of bliss. This will be the end of an enigmatic era. You will be sorely missed little master.

Managing Aspiration and Maintaining Engagement In Times of Economic Crisis

The Indian economy grew at its slowest pace in a decade in 2012-13. From a high of above 9% GDP growth rate, we are now struggling to maintain a 5% growth. Factor in the global crisis looming around, including the unrest in Syria, US economy on a quantitative easing support, sovereign debt crisis, back home a volatile market, the tumbling rupee, current account deficit which is dangerously close to breaching the safe zone, negative sentiments all around, a pending election leading to policy paralysis, high inflation leading to tight monetary policy , fluctuating Industrial output, things don’t seem too exciting for Indian Economy in the coming few months. 

A look into the findings of the ‘State of the Urban Youth, India 2012: Employment, Livelihoods, Skills,’ a report published by IRIS Knowledge Foundation in collaboration with UN-HABITAT states that the population in the age-group of 15-34 increased from 353 million in 2001 to 430 million in 2011. Current predictions suggest a steady increase in the youth population to 464 million by 2021. By 2020, India is set to become the world’s youngest country with 64 per cent of its population in the working age group. This is an exciting set of data. With the West, Japan and even China aging, this demographic potential offers India and its economy an unprecedented edge that economists believe could add a significant 2 per cent to the GDP growth rate.

But most of these populations were born in the post liberalization era, who have grown up during a period when India was slowly but resiliently moving from a developing third world economy to being one of the fastest growing countries. Having been a part of a fast growing economy, they come with clear ambition and high aspiration. In an economic cycle where organization are frequently tempering with their organization structure, in order to have a flatter structure, to control cost and improve accountability and productivity, when natural attrition has gone down to single digit and retrenchment is happening on a periodic basis, managing the ambition of the young workforce, nurturing their aspiration and keeping them engaged is going to be a huge challenge for corporate India. But considering this is the work force that is going to take things ahead, it is a challenge worth taking for organizations in general and Human Resources Dept. in particular. 

A study done by a leading Indian MNC consisting of past, present and future potential employees presents an interesting picture. While for the older generation location, compensation used to be an important issue, for the present and future generation job security, recognition, good leadership, innovation and Individual capability development are the factors that matter.

Training & Development: Good organizations and visionary leaders use economic slowdown period to train their manpower. This serves dual purpose of keeping the employee engaged as well as it helps in honing his existing skill set or acquiring a new one. Since the younger generation shows immense flexibility to learning training through a proper Individual Development Plan will work wonders as this would help the employee to evaluate his strengths and areas of improvement and also work as a tool to monitor continuous development. 

Vertical Growth: Job rotation is another way to keep away the boredom and giving suitable employees an opportunity to grow vertically. And the first step to job rotation must be a robust talent management practice, where competency must be evaluated vis-à-vis performance, role expectation and job enhancement. Many a times we make the cardinal mistake of doing Job rotation just for the sake of the practice. The younger work force is completely aware of its capability and aspiration and hence it must be administered judiciously, where there is ample learning available for the employee.

Good Leadership: “Most of the employees leave their managers and not the organization”. This is a fact. The Millennial employees enjoy working with capable managers who have sound knowledge, impeccable integrity, who walk the talk and have leadership traits. They dither working with self centered and insecure managers, from whom they know they can’t learn much. As a best-practice, organizations must use slow down period to provide training and development to the managers to help them effectively manage multiple generations of workers. Those that fail to do so will experience tensions between individuals with different communication styles and expectations, leading to reduced engagement and higher turnover.

Transparent & Effective Communication: Communication plays a very important role in keeping employees motivated and engaged. In has been noticed during when organizations go through tough period, lots of rumors spread like wildfire, often leading to creating insecurities and confusion among employees. Hence it is imperative to open all channels of transparent communication. The top management must put high focus on continuous communication with team members. In an age of information overflow, the best practice is to share honest information with employees. This helps in building trust and keeps the employee motivated.

Recognition: Gen Y employees are used to a culture of instant gratification. They want to grow fast and feel the need to be recognized for their effort. They tend to get de-motivated quickly when their efforts are not noticed. Hence when giving horizontal growth becomes a difficult proposition organizations must ensure a robust recognition mechanism is in place. This involves low cost and works as a motivational factor for the employees. 

In a world where fluctuating economic cycle is a reality, it is important for Organization and Human Resources Team to build its fundaments of engagement on a strong foundation and not press the panic button and commit hara-kiri at the slightest change in macro/micro economic environment. The investment it does on developing and keeping performing resources engaged during a slow down goes a long way in defining its performance, culture and value proposition when market condition improves.